Sutton FilmMakers

Casting Night for the Anthology Films
2025-10-21 19:45 - 22:15 UTC | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Adrian Dean and Rhys Davies

Lights, camera… auditions!

We’re entering the casting phase for our exciting Sutton FilmMakers Anthology Project, and this club night will be dedicated to auditioning actors for a selection of the short films we’re producing as part of the series.

We’d like to invite performers from local drama groups to join us for the evening and actors that would like to be involved. You do NOT have to be a member. They’ll be reading scenes from selected scripts, giving directors and producers a chance to see how different actors bring the material to life. This is your chance to meet local talent, hear your lines performed aloud, and make decisions about who’s right for each role.

It is FREE for those auditioning.

We’ll be:

Auditioning roles from several anthology scripts

Inviting actors from the local community

Filming test scenes where needed, to help with casting decisions

Finalising casting for shoots scheduled in the months ahead

We’re looking for a diverse range of actors for several upcoming short films and scripts.

We’re currently accepting self-tapes and encourage everyone to audition. Even if you’re not cast in this round, your audition will be considered for future projects in the anthology. The Casting night is on the 21st If you can’t make the night a selftape can work.. The self tapes do not have to be videography master pieces, we just want to see you act.

Details: To read the scripts simple click on the film name.

Echoes of Silence (family drama):

DAUGHTER: 16, female – sarcastic

MOTHER: 40, female – playful & warm

FATHER: 40, male – loves a bit of banter

GRANDMOTHER: 65-70 patient – wise & playful

TV BROADCAST: 30-50, any gender

The Scam (slice-of-life drama):

PETER: 60-70, male, well spoken

YOUNG PETER: 25-35, male, well spoken

PETER’S SON: 20-30, male, techy/geeky

EVELYN: 60-70, female, well spoken

JOHN/SIMON: 50-60, male, accents preferred

After I Am (family drama):

BILLY: 7-11, male

GINA: 30-40, female

GRANDDAD: 50+, male

Undelivered (action):

DELIVERY CYCLIST: any age and gender – own bike preferred

WORKER: any age and gender

RECIPIENT: any age and gender

Self Driving Trouble (workplace drama):

LESLIE: 20, male – timid but earnest

TARON: 40, male – chaotic and in-command

Threadbare (sewing bee comedy):

CLEANER: 30+, any age and gender

DEREK: 50-60, male – cheerful and calm

LUCY: 28, female – warm-hearted but tired-looking

MARGARET: 40s, female – prim, proper, composed but warm

PAM 58, female – quick, colourful and with (a Northern Irish lilt, not essential)

If you’re interested, please submit (if you have them) your headshot, résumé, and self-tape of one page from the relevant script(s) if you can’t make the night. Please complete the form on this page – Casting Call.

If you’re involved in one of the anthology films, or simply want to learn more about directing actors and running auditions, this is a must-attend session. And if you’re an actor yourself, you’re very welcome to attend and read – just let us know in advance!

Whether you’re a director with a script in the anthology, a writer curious to hear your dialogue off the page, or just interested in the casting process, this will be a lively and engaging evening.

The casting choices made here will shape the next phase of the project, so come along and help us discover the faces of our upcoming productions.

Sutton Filmmakers Spooktacular - Part 1
2025-11-04 19:45 - 22:15 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Owain Dain

History of Horror is here!

Welcome, boils and ghouls!

Prepare to take a deep dive into the history of horror and discover why we at SFM just can’t get enough of being scared.

We’ll explore how horror has evolved over the years, discuss how the “rules” of who lives and dies have changed, and figure out the best way to tell who’s next to go.

“There’s a formula to it, a very simple formula!!”

In this spooktacular, expect clips, conversation, and maybe a few jump scares of our own.

We’ll also talk about why horror is such a genius genre from a filmmaking perspective — low budgets, minimal sets, no big-name actors (though plenty of famous ones started in horror), and still massive returns.

We’ll cite the Blumhouse financial model and look at just how effective it’s been.

It’s creative freedom with a killer payoff. We’ll explore sound design (where less is definitely more), the history of the jump scare, and how music and camera positioning can turn an ordinary scene into pure nightmare fuel — or even casual comedy.

Basically, what makes horror work — and why it keeps haunting us.

To top it all off, we’ll be screening and evaluating two club horror films — Night Fears and Lake on the Cabin — discussing what works, what doesn’t, and what we can learn for our own projects.

By the end, we’ll all have a better sense of how to create a solid, spooky short ourselves, using everything we’ve learned.

Filmmakers beware — you’re in for a scare!

Guests welcome. First two sessions free for visitors.

Screen Acting Workshop with Sara Jordan
2025-11-18 19:45 - 22:15 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Sara Jordan

Bring your stage craft to camera

This event has passed. However you can see the write up and footage here Screen Acting Workshop, One Line at a Time

Bring your stage craft to camera with clarity and confidence. This focused, two hour workshop is designed for theatre trained performers who want to understand what changes on set, how the lens reads truth, and which habits help you deliver clean, believable takes.

Led by experienced actress and award winning Director Sara Jordan, you will feel the difference between stage scale and screen intimacy, and leave knowing exactly what directors at Sutton FilmMakers are looking for.

What we are aiming to achieve

By the end of the night you will

recognise how the camera magnifies thought and pares back gesture

know where to place your eyeline and how to keep it consistent

use stillness, breath, and listening to carry a moment

match simple actions for continuity so your performance cuts smoothly

take a clear redirect and repeat the beat with confidence

Theatre vs. Screen Performances

How the night runs

A short welcome, why screen acting is different, three simple rules, smaller, later, listen

Live demonstration with immediate playback to show stage size, medium shot, and close up

Paired drill off camera to practise eyeline and stillness with a reader just off lens

On camera hot seat rotations, each actor delivers a short contemporary beat, receives one precise note from Sara, and runs a quick pickup

Group debrief, five recurring patterns to watch for in future screen auditions, and practical next steps

Who this is for

Actors with strong theatre experience who are new to camera or returning after a break, recent graduates building their first screen credits, am dram performers ready to translate their skills to film, performers who want sharper, simpler on set habits.

Theatre trained actors who want to translate stage craft to camera with confidence

Amateur dramatic performers ready to shift from projection to on camera truth

Recent drama school graduates building screen experience and set discipline

Actors returning after a break who want a fast, practical refresh on screen habits

Presenters, creators, and voice actors moving into filmed performance

Directors or writers who act in their own projects and want cleaner takes

Any performer who’s heard “smaller, later, listen” and wants to feel what that means under the lens

If you can hold a scene, take a note, and you are curious about how the camera reads thought, this night is designed for you.

What to bring

Neutral top without logos, minimal jewellery, comfortable shoes, a bottle of water, your curiosity and a willingness to listen on camera

Why we are offering this

Our recent anthology casting brought in brilliant theatre talent, and we saw how much potential there is when stage craft meets the lens. This workshop bridges the gap, helping you keep everything you do that works on stage while refining it for the intimacy of screen.

If you are a theatre actor and would like to take part do let us know in advance please as it would be nice (but not essential) to know how many actors we can work with.

Guests welcome. First two sessions free for visitors.

Writers Room, Live Script Workshop
2025-12-02 19:45 - 22:15 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Adrian Dean

Welcome back to the writers room.

We are turning the evening into a live script workshop. If you have a script, or even just a few scenes, that you think could be stronger, this is a chance to put it in front of your fellow filmmakers and get some honest, constructive help.

Most of us write because we want to see our stories made into real films. The hard part is getting the script to the level it needs to be before anyone points a camera at it. It is very easy to work in a bubble, not get notes, and only discover the weak spots when it is too late, on set, with a crew waiting.

On this writers room night we will sit together, read sections of your script, and break them down in a supportive way. We will talk about structure, character, dialogue and pacing, and look at how clearly the film appears in the reader’s mind. The aim is not to tear work apart, but to find the strongest version of your idea and help you move towards it.

Your script does not have to be finished. You can bring a first draft, a problem scene, or even a rough outline if you are stuck and need to know whether to push on or start again. Sometimes a ten minute conversation saves you months of circling the same issue.

How will Live Script Workshop work

Send us your script, or an extract, in advance, preferably as a PDF, use the script submission page (its one we use for lots of submissions so some of the fields wont be appropriate but ignore them) , with “Writers Room” in the subject line.

On the night we will work through as many scripts as we reasonably can, scene by scene, with the writer in the hot seat to answer questions and hear suggestions.

If you are not ready to share your own work yet you are still very welcome to come along, listen in, and join the discussion. Watching other people’s scripts being pulled apart, gently, is one of the quickest ways to improve your own writing.

Come ready to give and receive feedback, ask questions, and bounce ideas around. With a bit of courage, and a room full of peers behind you, you might find that the script you have been wrestling with is closer to production ready than you thought.

Guests welcome. First two sessions free for visitors.

Christmas Social
2025-12-16 19:45 - 22:15 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Join us at The Parochial Halls in Cheam on Tuesday 16 December 2025 at 7.30pm for our Christmas social, with drinks, nibbles and member made films from this year.

Our final meet up of the year is a relaxed Christmas social at The Parochial Halls, Cheam, Sutton, starting at 7.45pm on Tuesday 16 December 2025. This is a chance to unwind, catch up with other members and look back at what we have created together over the past twelve months.

We will have a few beers and wines available, along with soft drinks and some nibbles. Nothing formal, just an easy going evening where you can chat, share ideas for next year and enjoy some of the work that has come out of the club recently.

During the evening, we will screen three Sutton FilmMakers projects that many members will not have seen yet.

• From Hong Kong To Sutton, Directed by Tom McDanialA thoughtful documentary about the Hong Kong community who have made Sutton their home, sharing how they are settling in and their hopes for the future.

• Best Day Worst Day, Directed by Julie ChildsA sharp short comedy about a new driver, old grudges and some very bad decisions.

• Women In Film, Directed by Peter LeverickA behind the scenes documentary celebrating the women who crewed Best Day Worst Day, highlighting their roles, their paths into film and how Sutton FilmMakers helps people step up, learn and lead on set.

The Christmas social is free for current members. Visitors are very welcome too at the usual £8 visitor rate, so if you know someone who is curious about the club, this is a gentle way to introduce them.

Come along if you can and help us round off the year in good company, with good films and a bit of festive cheer. If any details like timing or access are a concern, just get in touch and we will do our best to help.

Guests welcome see below.

Sutton Filmmakers Spooktacular - Part 2
2026-01-06 19:45 - 22:15 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Owain Dain

Lets Dive Back In

Tonight, we’re diving back into the world of horror for a follow-up, and trust me, it’s not just about jump scares.

Horror is full of surprises: genre-bending stories with symbolism and hidden themes, monsters that represent real fears, and subtle tricks that make you question what’s real.

The Horror Rules Change

It’s clever. It’s creative. And it’s constantly evolving.

Over the course of the evening, we’ll travel through the decades, from the raw rebellion of the ’70s, to the blood-soaked excess of the ’80s, the self-aware ’90s, and the chilling influence of Japanese horror and “torture porn” in the 2000s.

With each era, the rules change: who survives, who falls, and what we’re really afraid of.

We’ll also explore why horror works so well in short films, and why those ideas don’t always translate to feature-length films.

Short horror thrives on the event itself: the shock, the tension, the atmosphere, while features often focus on the people experiencing the event.

We’ll also look at how horror shares a lot in common with comedy: it’s all about the build-up, the suspense, and the punchline, or in horror’s case, the reveal that makes your heart skip a beat. By the end of the night, you’ll understand not just why horror works, but how to craft it yourselves.

Guests welcome. First two sessions free for visitors.

January Club Social Meal
2026-01-20 19:45 - 22:15 | ECO, 23 The Broadway, Cheam, Sutton SM3 8BH, 23 The Broadway, Sutton, SM3 8BH, United Kingdom
Rather than trying to squeeze a Christmas meal into a hectic month, we’re having a more relaxed club social meal in January, when it’s usually easier to book and nicer to chat.

On Tuesday 20 January we will not be holding our usual meeting. Instead, we’ll meet at 7:45pm at ECO, 23 The Broadway, Cheam, Sutton SM3 8BH (just opposite the club).

I’ve booked a table for 20 people to start with, and the restaurant can expand the booking if we have more members who want to join.

Club members will receive a £5 subsidy towards their meal (members only).

If you’d like to come along, please reply to the club email by end of day 13 January so we can confirm numbers with the restaurant.

Eco Menu

Focusing and Camera Movement Evening
2026-02-03 19:45 - 22:00 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Tom McDaniel

Join us for a practical club night looking at camera movement and focusing techniques, the sort of stuff that can quietly lift a scene from “fine” to “that feels like a film”.

Ever wanted to pull off an exciting move that has that blockbuster energy, or tried to block actors only to realise the focus has drifted the moment they take a step? This evening is about getting more confident with the basics that make movement work, keeping shots usable, and understanding what’s actually happening when focus goes right, or wrong.

We’ll run through a handful of classic camera moves and explore how to execute them cleanly, with simple, repeatable approaches. Alongside that, we’ll look at practical ways to keep the action in focus while the camera is moving and the performers are moving, which is usually where things start to unravel.

It’s a hands on session, so expect to watch, try, adjust, then try again. The aim is to leave with a better feel for how to plan a move, how to place people for it, and how to focus in a way that supports the shot rather than fighting it.

Non-members welcome for the evening (first two nights free as our guests) Here is how to find us

Date: Tuesday 3rd February 2026Time: 7:45 pm – 10:00 pm

Col Spector, 8 Rules For Shooting A Documentary
2026-02-17 19:45 - 22:00 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Col Spector

We’re delighted to welcome Col Spector to the club for a talk on something most of us only learn the hard way, how to shoot a documentary that actually turns into a film, not just a pile of interesting footage.

Col has worked across documentary, commercials and fiction, and he’s known for being both practical and refreshingly direct. This evening he’ll be sharing his “8 rules” for documentary making, the kind of rules that stop you drifting, keep you honest about what you’re trying to say, and give you a structure you can lean on when the shoot starts throwing surprises at you.

Col Spector set up documentary consultancy to help documentary filmmakers make emotionally engaging films that get seen and launch their careers. Using the principles/guidelines that he developed throughout his career as a documentary maker at the BBC, Col has worked with hundreds of early career directors helping them turn their ideas into films that have been commissioned and screened on the BBC, Netflix and many top tier film festivals. See some testimonials from filmmakers Col has helped and for more about how he can help you at www.thedocumentaryconsultant.com

This is not a technical talk about cameras, lenses, or kit. It’s about decisions, focus, and storytelling. The invisible stuff that makes the difference between a documentary that feels alive, and one that feels like it never quite gets going.

What You’ll Take Away

A clearer way to start, so you’re not “finding the film” three months into the edit

How to shape a documentary around an idea without strangling the real life out of it

Why a documentary needs tension, development, and a dramatic arc, even when it’s truthful

How to hold a critical point of view, without turning your film into a lecture

A simple framework you can use on your next project, whether it’s 5 minutes or 50

Col will introduce the rules, unpack the thinking behind them, and share examples of how they show up in the real world of shooting and editing. You’ll come away with plenty to try, and probably a couple of uncomfortable realisations too, in a good way.

There’ll be time for questions at the end, so if you’ve got a documentary idea you’ve been circling for ages, or you’ve started one and hit the familiar “do I actually have a film here?” moment, bring that with you.

Non-members welcome for the evening (first two nights free as our guests) Here is how to find us

Date: Tuesday 17 February 2026Time: 7:45 pm – 10:00 pm

Acting And Auditioning Workshop With Sara Jordan
2026-03-03 19:45 - 22:00 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Sara Jordan

Sara Jordan is running a practical, hands on acting and auditioning workshop for anyone who wants to feel more confident in auditions, and more grounded in their acting choices.

This is not a sit back and listen kind of evening. Expect plenty of exercises, short explorations, and supportive feedback as you work on what casting people and directors actually respond to, believable character, clear choices, and an actor who feels present rather than “performed”.

What We’ll Explore

Finding character and authenticity

You’ll work through simple, repeatable exercises that help you build a character with truth at the centre, not just a collection of mannerisms. The aim is to feel connected to what the character wants, what they fear, what they’re protecting, and then let that inner world shape everything else.

Building a character from the ground up

Sara will guide you through how movement and voice naturally grow out of character, rather than being added on top. You’ll explore posture, pace, gesture, rhythm, breath, and vocal tone, and how small physical choices can make a character feel specific without becoming forced or “put on”.

Understanding your casting type

This bit is often surprisingly useful. You’ll look at the kinds of roles you’re most realistically likely to be cast in right now, and how to lean into that strategically, without boxing yourself in forever. It’s about knowing where you fit in the casting landscape so you can show up with clearer choices and less second guessing.

How auditions really work

We’ll cover what directors tend to look for, what helps you stand out in a good way, and what quietly undermines an audition even when the acting is solid. You’ll also focus on how to present yourself well in the room, how to take direction, and how to keep your nerves from hijacking your performance.

Who It’s For

This workshop is suitable for beginners who want a practical starting point, and for more experienced actors who want to sharpen their audition technique and make their character choices feel more grounded and intentional.

If you’ve ever left an audition thinking “I could do it, but I didn’t show it”, this evening is basically for you.

Non-members welcome for the evening (first two nights free as our guests) Here is how to find us

Date: Tuesday 3rd March 2026Time: 7:45 pm – 10:00 pm

Film In A Night Evening - One Concept, Told In Multiple Genres
2026-03-17 19:45 - 22:00 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Adrian Dean

One Concept, Told In Multiple Genres

On 18 March, Adrian Dean is running a Film In A Night challenge built around a simple idea, one concept told in multiple genres. We’ll split into teams and be given a basic plot plus a genre to tackle it in.

Each group will then discuss and plan quickly before going off to shoot their idea, aiming to edit in camera so we can screen a finished film to the rest of the club at the end.

No pressure, just a fun, practical evening of filmmaking with friends, and a great way to see how much genre comes from choices, not budget.

See our other events here

Film In A Night Evening – One Concept, Told In Multiple Genres

In a film in a night challenge the teams that finish strong usually do one thing early, they commit. Not to perfection, just to a clear direction.

Start with three quick agreements:

Genre Promise, what do you want the audience to feel most, amused, tense, unsettled, warm, suspicious

Genre Signal, pick one obvious “tell” you can lean on all the way through, sound, lighting, performance style, pacing, camera movement

Final Beat, decide what the last moment is meant to land like, so you’re always shooting towards something

Then keep the rest ruthlessly simple.

Time Saving Tips That Actually Work On The Night

Planning can drift into a mini writers room if you let it, so for a film in a night challenge give yourselves a few constraints and stick to them.

Limit locations

One location is ideal, two at most. Moving between places eats time, and it’s where continuity and sound start falling apart.

Keep the shot list small

Aim for around 6 to 10 shots. If you’re listing 20, you’re probably trying to cover uncertainty rather than telling the story. One strong wide and a couple of close ups will do a lot of heavy lifting.

Assign “owners” even if roles overlap

Someone watches sound, someone watches framing, someone watches continuity. People can double up, but it helps if each area has a name attached to it.

Rehearse the blocking once

A quick walk through of where people stand, where they move, and where the camera is, saves more time than repeating takes later.

If you get stuck, go more obvious

Film In A Night is not the moment for subtle genre. Make the genre clearer than you think it needs to be, especially in the first 20 to 30 seconds.

What Editing In Camera Means

Editing in camera means you’re assembling the film as you shoot, rather than collecting lots of coverage and building it later. In practical terms, you film only what you intend to use, and where possible you shoot shots in the order you want them to appear.

It’s a great approach for this kind of challenge because it keeps things moving, and it stops the evening turning into a long laptop session.

You might also want to read how to get it right colour wise in camera

How To Get Editing In Camera Right

Shoot in sequence where you can

If your story beat order is A then B then C, try to film in that order. It reduces confusion and makes the “assembled” version feel natural.

Give every shot a clean start and finish

Hit record, hold for a second, let the action happen, hold for a second at the end. Those little handles make it much easier to stitch together quickly.

Cut on actions, not on words

People turning, standing, picking something up, reacting, these are natural cut points. Cutting mid line can work, but only if you’re doing it deliberately.

Fewer takes, but one safety take

Do not chase perfection, but if a take felt messy, do one more while you’re there. “We’ll fix it later” is how Film In A Night projects die.

Prioritise sound

Clear dialogue makes a film feel finished. Get close enough to the actors, do a quick listen back before you move on, and avoid noisy corners if you can.

At The End Of The Night

We’ll bring the films back together and watch them as a group. Same basic plot, different genres, different choices, and a lot of laughs, plus you’ll probably pick up a few tricks just from seeing how other teams tackled the same starting point.

The Basics Of Film Editing
2026-04-07 19:45 - 22:00 | Sutton FilmMakers Club – Parochial Rooms, 42 The Broadway, Cheam, Surrey, SM3 8BL, United Kingdom
Session led by Peter Leverick

If you’ve ever sat in front of a timeline and thought, “I know what I want this scene to do, but it’s not landing”, this evening is for you. We’re keeping it simple and practical, a night focused on the basics of film editing and the core decisions that make a sequence feel clear, natural, and emotionally right.

We’ll work through the three questions that sit underneath almost every edit:

When to cut

Sometimes the cut is obvious. Sometimes it’s a tiny moment you can’t quite describe, but you can feel it. We’ll explore the cues that tell you it’s time to move on, pace, performance, energy, eye movement, and even breathing.

Why to cut

Cuts aren’t just there to shorten things. They shape meaning. They control what the audience notices, what they miss, what they expect, and how they feel. We’ll look at the most common reasons for cutting, to tighten rhythm, to hide problems, to heighten emotion, to build tension, to reveal information at exactly the right time.

What to cut to

This is where the basics of film editing starts to feel like storytelling rather than assembling shots. We’ll look at how choosing the next shot can change the mood of a scene, and how different choices can make the same material feel funny, unsettling, calm, or urgent.

We’ll also look at how the basics of film editing shift depending on genre, because genre is basically a set of audience expectations, and editing is one of the quickest ways to meet those expectations, or deliberately play against them. We’ll talk through a few common genres and the sort of cutting style they tend to lean on:

Comedy, timing, reaction shots, and how a fraction of a second can make a joke work, or kill it

Horror, controlling what the audience sees, when they see it, and how cutting can create dread before anything even happens

Drama, staying with performance, letting moments breathe, and knowing when not to cut

Suspense, tightening the rope slowly, using pace and withholding information to keep the audience leaning forward

Peter Leverick will also focus on one of the most useful skills an editor develops, knowing whether the cut feels right. Often the editor’s first clue is simply that something feels off. It might be a timing issue, too early, too late, not held long enough, or it might be something else entirely, a mismatch in energy, a performance beat that’s been cut away, or a moment that needs a different shot to make the scene make sense emotionally. Peter will share ways to spot what’s actually wrong, so you’re not just nudging clips around at random.

We’ll also cover a couple of common cut types that editors use all the time, including J cuts and L cuts, and why you might use them. They’re simple techniques, but they’re surprisingly powerful for smoothing transitions, pulling the audience into the next moment, and making scenes feel more natural without the edit drawing attention to itself.

This is a hands on learning night in the sense that it’s all about real decision making, the sort of stuff you can immediately apply to your own projects, whether you’re editing on a phone, a laptop, or a full editing suite. If you’re new to editing, it’ll give you a foundation. If you’ve edited a bit already, it’ll help you understand why some sequences work and others don’t, even when the footage is decent.

Come along and sharpen up your instincts, get clearer on the basics of film editing, and leave with a few practical ideas you can try the very next time you sit down to edit.

Non-members welcome for the evening (first two nights free as our guests) Here is how to find us

Date: Tuesday 7th April 2026Time: 7:45 pm – 10:00 pm
