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Sarah Teale

No Door Theatre is a Manchester company that produces plays that we want to see, and that we think people should see.

This means that the plays showcase positive roles for and issues surrounding being female in today’s society.

They look at the corners and edges of mental health and anxiety that we think need to be represented onstage more.

They engage with these issues all the while attempting to remain funny and hoping that the audience likes them.

There is often an unnecessary amount of glitter.

There is always an unnecessary amount of rehearsal snacks.

Though we’ve been lucky enough to collaborate with some beautifully talented friends over the years, at the heart of No Door Theatre are Georgia Affonso and Sarah Teale.

Georgia and Sarah’s stories began 21 years ago on the 16th July 1995. Georgia was born a couple of hours earlier, accidentally sealing her fate as the responsible older one. As Georgia spent her formative years in the Oxfordshire countryside birthing lambs, Sarah spent hers in Wigan trying to understand why one high street could need three pie shops, three pound shops and seven places to buy a kebab at four in the afternoon. Still, somehow, after 18 years of contrast, the two decided to make the same overall life decision and study Music and Drama at the University of Manchester.

No Door Theatre’s story started when working on a play called ‘Frank’s Actor’. In Frank’s Actor there was a door. This door was not overly crucial to the story; it was not the star of the show. It was intended to be on stage for two scenes, and beyond this it was supposed to be backstage. Expertly producing, Georgia managed to find a workshop to build Sarah’s door at a fully reasonable price meaning everything would be fine.

On the afternoon of the first show, Georgia and ‘Van with a Man’ went to pick up the prop door from the workshop, and it was already too late. 8-foot-tall, 3-foot-wide and 5 billion kilos heavy, this monstrosity could not be moved offstage, nor really walked around. It would just have to stand in the centre of the stage, intimidating the actors and reminding Sarah that it was a silly, silly prop and she should never be left to her own devices again.

When Georgia is feeling kind, she tells people that this is when the pair made the most out of a bad situation and took on the name for their future theatre company. In Sarah’s memory, as she cried hysterically, Georgia rocked her gently and promised that in the future they would create a theatre company with this core value: No Doors.

Now, No Door stands for a lot more than just not using doors.

But primarily it does just stand for that.

No Blooming Doors.

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