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A year on from Perth, the British Final moved to The Garrick Theatre, Lichfield to decide the winner of the Howard de Waldon Trophy in 2025. Blessed with fine weather, the weekend offered a warm welcome and a chance to celebrate drama with friends old and new.

Friday evening opened with MC David White welcoming the audience and adjudicator Chris Jaeger. The Together Community Gospel Choir set the festival mood with three uplifting songs that had the audience joining in.

Nantwich Players (England) opened the competition with Lemons, Lemons, Lemons, Lemons, Lemons by Sam Steiner. Exploring a world limited to 140 spoken words a day, the play combined inventive choreography, projections and energetic performances to make a strong start.

Wales followed with PMA Theatre’s Echoes in the Static, set in a WWII radio station during a violent storm. Themes of love, loss and blurred reality were supported by atmospheric sound and a detailed, realistic set.

In his adjudication, Chris Jaeger praised Nantwich’s teamwork, pace and imaginative staging. Of Echoes in the Static, he commended its originality, strong design and effects, while noting that sound levels occasionally masked dialogue.

Saturday began with a civic reception hosted by Mayor Claire Pinder-Smith, followed by the exchange of gifts between the four nations. The morning concluded with a rehearsed reading of the Geoffrey Whitworth Award-winning play I Know a Place by Tony Domaille, presented by TACT.

Saturday evening opened with Northern Ireland’s Bart Players performing Neil Simon’s Visitor from Mamoroneck, a well-paced mix of comedy and poignancy centred on a troubled marriage anniversary.

Scotland closed the competition with Bon Accord Players’ Storytelling by Oliver Emanuel, a powerful piece using imaginative staging, lighting and music to explore identity and the healing power of stories.

Chris Jaeger praised the consistently high standard across the weekend, highlighting strong ensemble work, creative direction and confident use of pace and silence.

At the awards ceremony, the Friendship Quaich was presented to Teri McCarthy, inviting everyone to Theatr Clwyd, Mold, in 2026. With just one mark separating the top two, Nantwich Players were announced as winners of the Howard de Waldon Trophy.

The festival ended with a final supper in the studio theatre, where everyone agreed it had been another memorable British Final and looked ahead to meeting again in Mold.

In 2025, fifteen plays were entered into the competition, with four from Scotland, two from Northern Ireland and nine from England. Scripts were assessed by experienced readers from all four countries, with the top nine progressing to final judge Colin Dolley for selection and commentary.

Two Scottish entries, Eisd Ri Glaodh Na Feannaig by Jo McCartney and Waiting Fir Ken by Graeme Fergusson, were highly commended. Colin praised both plays for their quality and individuality in an exceptionally strong field.

Runner-up was Elegy for Geordie by Seamus Steele from Northern Ireland. Colin highlighted its tight structure and escalating tension, as two contrasting men engage in a verbal and physical battle driven by retribution and vengeance. The shift from a peaceful hillside to a stark, violent conclusion was particularly effective.

The winner, for the third time, was I Know a Place by Tony Domaille. Set in a police interrogation room, the play explores control, coercion and power beneath the surface of infatuated love. The script moves smoothly through time and space, driven by crisp dialogue and mounting intensity.

While the central character was richly drawn, Colin noted the piece could work especially well as a radio play. Its energy and momentum compel the audience to stay with the conversation and discover the fate of its deluded young protagonist.

A rehearsed reading of I Know a Place was held at the Garrick, Lichfield, performed by TACT in front of many of the competing teams. Following the reading, Tony Domaille spoke with the audience about his inspiration and writing process, bringing the spirit of the Geoffrey Whitworth Award vividly to life.

There was a real buzz in the Perth Theatre foyer on Friday 12 July as friends reunited and the 89th British Final Festival finally began. SCDA Chair Carolyn Harrison welcomed everyone, promising four very different plays from the competing nations.

Scotland opened the festival with Largs Players performing It’s Behind You by Alan McHugh. Set backstage at the end of a pantomime season, the play follows Norrie and Nicky as shifting fortunes test their relationship. The duo’s comic timing, pathos and slick dialogue had the audience captivated from the start.

Next came Total Arts Community Theatre with The Real & Imagined History of the Elephant Man by Tom Wright. Imagining an alternative life for Joseph Merrick, the production combined inventive staging, period costumes and creative use of lighting and music to tell a moving story of belonging.

Adjudicator Dave Bennet praised Largs Players’ detailed set and strong character timing, noting particularly Nicky’s energy and use of pause. Of TACT’s production, he commended the imagination and ensemble work, singling out Joseph’s subtle physicality and describing the evening as a strong start to the festival.

A lively ceilidh in the Joan Knight Studio followed, with performers and supporters dancing long into the night.

Saturday morning brought a civic reception hosted by Provost Xander McDade, with the traditional exchange of gifts between teams. This was followed by a rehearsed reading of the Geoffrey Whitworth Award-winning play These Four Walls by Louis Wharton.

Saturday evening opened with Players Theatre from Wales presenting Albert by Richard Harris, a fast-paced comedy driven by physicality and mime as three characters struggle to understand each other.

The festival concluded with Theatre 3 Newtownabbey performing Even Numbers by Tony Domaille, a thoughtful and challenging piece exploring the mind of a serial killer.

Dave praised Albert for its energy, pace and physical comedy, while noting strong work across the cast. Of Even Numbers, he highlighted Mary-Ann’s powerful delivery, particularly in the final speech, while suggesting greater conversational realism from the remaining characters.

As tension rose at the awards ceremony, the Friendship Quaich was presented to Susan Pierce, inviting everyone to the Garrick Theatre, Lichfield in 2025. Dave thanked the hosts for their warm welcome and described it as an honour to adjudicate such high-quality productions, before announcing Total Arts Community Theatre as winners of the Howard de Walden Trophy.

Competitors and supporters travelled early to Belfast, many arriving ahead of the festival to visit the Titanic Experience before gathering at The MAC, which was already buzzing as some enjoyed a pre-show theatre dinner.

Northern Ireland opened the competition with Theatre 3 Newtownabbey performing Something for the Ducks by Jean Lennox Todie, a gentle two-hander about two strangers in their seventies who meet by a duck pond and discover companionship through beautifully timed comedy.

Scotland followed with Kirkintilloch Players presenting The Beaches of St Valery by Stuart Hepburn. Telling the story of the 51st Highland Division, the production used narration, projection and carefully staged scenes to powerful effect, earning warm applause.

Adjudicator Imelda McDonagh praised the friendly rivalry between the four nations and highlighted shared themes of loneliness, survival, immigration and depression. Of Something for the Ducks, she admired the simple autumnal setting and rapport between the actors, while noting that stronger vocal projection and subtler lighting could have deepened moments of isolation.

Turning to The Beaches of St Valery, Imelda commended the imaginative use of space, strong technical design and smoothly balanced storytelling, praising the cast’s timing and teamwork in what she described as a visually engaging performance.

Saturday morning featured a welcome reception hosted by UKCDFF Vice Chair Mac Pollock, with AUDF President Dan Gordon sharing anecdotes before the traditional exchange of gifts. The afternoon concluded with a rehearsed reading of the Geoffrey Whitworth Award-winning play.

Saturday evening opened with Total Arts Community Theatre performing A Sudden Burst of Rain by Sami Ibrahim, a reflective piece on immigration supported by a simple but striking set and strong ensemble work.

Wales closed the competition with The Unknown Theatre Co presenting A Super Happy Story (about feeling super sad) by Jon Brittain and Matthew Floyd Jones. Using music and humour to explore depression, the play provided an uplifting and sincere finale.

In her final adjudication, Imelda praised the imagination and teamwork across all productions, offering constructive notes on pacing, vocal strength and character depth while celebrating the commitment of every cast.

At the awards ceremony, the Friendship Quaich was presented to Carolyn, inviting everyone to Perth in 2024. Imelda thanked the hosts for their warm welcome and described it as a privilege to witness such a high calibre of British amateur theatre.