amateurstage THE UK’S ONLY MONTHLY MAGAZINE FOR AMATEUR THEATRE www.amateurstagemagazine.co.uk
JANUARY 2011
WHAT A BEAUTY!
DARLINGTON STAGES A SPECTACULAR BEAUTY & THE BEAST
TIM RICE TALKS CHESS PLAYS AND PLAYSCRIPTS PLAYSCRIPTS REVIEWS * NATIONAL LISTINGS * INTERVIEWS WEST END REVIEWS * NEWS * COMPETITIONS * COMMENT jancover.indd 1
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WE’RE ONLINE! The new interactive Amateur Stage community is now online!
With our new wesbite you can:* Establish your own personal profile; * Establish a group page for your theatre company, special interest or company. * Post photographs and video from your productions; * Write blogs about items of interest; * Post details about your productions and invite friends to attend; * Read previous issues or research past articles of interest; * Chat online to friends using our chat service. You can also:* Subscribe to the magazine online and purchase past issues; * Buy tickets to West End plays and musicals and greatly reduced prices; * Join our Facebook group; * Join our email mailing list to receive latest news, special offers and compeition details each month.
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THE UK’S ULTIMATE ONLINE RESOURCE FOR AMATEUR THEATRE.
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John Morley’s Pantomimes “The Doyen Of Good Pantomime Writers (The Times 1994)
Cinderella Snow White and the Seven Dwarfs Peter Pan Babes in the Wood Beauty and the Beast The Sleeping Beauty Puss in Boots Red Riding hood Humpty Dumpty Wizard of OZ Mother Goose “No one knows more about Panto than John Morley (Sunday Times) From Noda LTD. 58-60 Lincoin Road, Peterborough PE1 2RZ (01733 865790)
Aladdin Robinson Crusoe Goldilocks & The Three Bears Pinocchio Jack and the beanstalk The Wind in the Willows Sinbad The Sailor Dick Whittington “Written byJohn Morley, this is Panto at its best” (The Guardian) From Samuel French LTD 52 Fitzroy Street, London W1T 5JR (020 7387 9373)
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amateurstagejan11 FROM THE EDITOR With the start of a New Year comes a new look for Amateur Stage. Over the next few months we’ll be implementing some major changes which we hope you will agree are for the better. So keep your eye’s peeled. Thanks to all those who have joined us online at our new website. If you have ever used Facebook you should find the new site easy to use. Set up your own profile, establish a group profile for your theatre company, this isn’t just for committees, it’s for everyone. Join in and start talking to fellow amateur enthusiasts. This month is very much about playwrights. It’s something we’re going to be covering a lot more so we hope you like this first look into playwrights and publishers in the UK. I hope you enjoy this month’s magazine. Doug
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THIS MONTH 7
OVERTURE
Theatre news from around the country.
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AETF Diary
All the dates you need for this years All England Theatre Festival.
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Interview : Tim Rice
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We talk to this Knight about the new tour of Chess.
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West End Reviews
Mark Ludmon reviews the latest West End offerings.
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THE MUSICAL PRODUCED
Julian Cound discusses Darlington’s Beauty & the Beast.
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PLAYSCRIPT REVIEWS
David Muncaster looks at the latest plays published.
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PLAYS AND PLAYWRIGHTS
Our special feature looking at the business of writing. The feature includes interviews with Michael Starr and Fin Kennedy along with a look at some of our UK publishers.
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FIRST NIGHT INSURANCE
Robert Israel ACII discusses the latest insurance issues.
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UK SHOW DIARY
National listings for February and March 2011.
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THE LAST WORD
Doris is back and on good form in 2011.
subscribe now www.amateurstagemagazine.co.uk contents.indd 3
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credits
Published monthly by Amateur Stage Limited IISN 00026867 Suite 404 Albany House, 324 Regent Street, London W1B 3HH www.amateurstagemagazine.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk P: 0203 006 2514 SUBSCRIBE NOW UK Rates 1 Year £24. 2 Years £40 Subscribe online or by sending a cheque to the address shown above. DEADLINE FEBRUARY ISSUE 22ND JANAUARY 2011 All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of Amateur Stage. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of Amateur Stage. (c) 2011 Amateur Stage Limited
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OVERTURE www.amateurstagemagazine.co.uk
PLAYSCRIPTS
and understanding to the dialogue. The first meeting between the newly elected Mrs Thatcher and her Queen By is awkward they find common ground: their mutual JOHNuntil CROCKER admiration for Ronald Reagan.
PANTOMIMES
1984 and Helen, a heavily pregnant young mother, describes the effects of radiation on human beings. The imagery continues as a young child decorates the fence with ribbons before turning to the audience to reveal her bleeding gums.
The Smaller Cast Versions
Then, in the midst of the horror, comes humour. Two protesters, Margaret and Lorraine, discuss the problems of trying to keep everyone happy: the difficulties in arranging the cooking roster, how to avoid upsetting delicate emotions and how to remain ‘politically correct’ years before the term had even been invented. Within the first few pages the author has presented us with the both big picture and the practicalities of organising a protest. When Helen is the victim of an attack by local residents, angry at the notoriety caused by the campaign, she returns home to a confrontation with her husband. For seven weeks she has been away ‘registering her protest’ leaving him feeling inadequate and unable to cope with running the house on his own. In an allusion to the cold war the arguments leads them both to threatening to unleash their weapons, the power to hurt one another, unless the other backs down. They don’t want to use these weapons, they just want the other side to know that they have them.
However, it is Reagan that introduces the first note of conflict. His invasion of Grenada ALADDIN “PEAK OF PANTO PERFECTION” over concerns that Russia and Cuba were planning to use the island as a re-fuelling Exeter Express & Echo stop were highly criticised byGOOSE the British“FUN monarch, Head of State of the island, and MOTHER FILLED SCRIPT” her government. However, it Western was Mrs Thatcher Reagan chose to apologise to by Morningthat News telephone. “Why didn’t he BEAuTy ring me?” asks Queen Elizabeth. SUCCESS” SLEEPING “ A RIP-ROARINg Exmouth Herald
After this CINDERELLA episode the relationship between the two women begins to break down. “TRADITIONAL PANTO AT IT’S BEST” The monarch’s concern for theHampshire commonwealth conflicted with Mrs Thatcher’s desire Gazette DICK CRACKER OF alone. A PANTO” to do what was best,WHITTINGTON in her opinion, for“ABritain and Britain Disagreements over Evening Herald, Plymouth sanctions against South Africa, the government’s handling of the miner’s strike and an BABES IN the THE WOOD NEW ChRISTmAS PANTO” agreement with USA to allow“WONDERFUL missiles to be launched against Libya from our shores led to newspapers carrying storiesHerald that theExpress Queen was dismayed with her government’s and the latest policies. JACK AND THE BEANSTALK “gIANT ChRISTmAS TREAT” Crediton, CulmShea, Valley Gazette It was the Queen’sTiverton Press Secretary, Michael who paid the price for the public
squabble between the elected government and the House of Windsor and his fate was PLUS the much loved favourites with music and lyrics by ERIC GILDER sealed with just three words from Mrs Thatcher as he sought to apologise for the trouble CINDERELLA, PuSS IN BOOTS, DICK WHITTINGTON, ALADDIN, he had caused. were “Never mind, BABES INThese THE words WOOD, SINBAD THE dear”. SAILOR, MOTHER GOOSE,
THE MAKE-UP SCHOOL &
.
.
ROBINSON CRuSOE, SLEEPING BEAuTy, HuMPTy DuMPTy, This is a very absorbing a fascinating period inHOOD, recent history and another QuEENplay OF about HEARTS, RED RIDING piece of quality drama from a highly acclaimed writer. JACK AND THE BEANSTALK
to appear on Newsnight. The child Helen was carrying in 1984 is James, a product of Greenham Common and very much his mother’s son who is dismayed at how things have changed, but it is Lillian, a woman already in her fifties at Greenham, who brings info@greasepaint.co.uk home why it is important that ordinary people continue to stand up for what they believe in, and why protest is still relevant.
POTTy PANTOMIME PLAY OF THE MONTH
Having read some of Lucy Kirkword’s work before I expected to enjoy Bloody Wimmin and I was not disappointed. This is another fine play from a remarkably gifted writer.
And a zany potted panto sketch
.
Make-up Hair Prosthetics Ai Suddenly it is 2009. Another protest but now the participants are slick, choreographed for Fashion / TV / Film / Theatr and breathtakingly efficient. They have people responsible for talking to the press, to Short courses the police even, and the arguments are not about who is going to cook, but whointensive is going
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Also a Rock Musical THE FRANKENSTEIN MONSTER SHOW By JOHN CROCKER and TIM HAMPTON Music by KEN BOLAM Lyrics by LES SCOTT
Lucy Kirkwood excels in strong imagery. Even her description of the set is powerful: an angry barbed wire fence – All we obtainable know exactlyfrom what she means. Bloody Wimmin is SAMuELCommon FRENCH LIMITED about the legacy of the Greenham protests and as the action begins it is 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
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overture national news * events * products * competitions * stuff
GET INTO LONDON THEATRE LAUNCHES
To launch Get Into London Theatre 2011, award-winning West End performer, Daniel Boys hosted a free afternoon of theatrical fun at the Royal Festival Hall. With special performances by the casts of Jersey Boys, Legally Blonde and Priscilla, Queen Of the Desert, the afternoon was a perfect antidote for the winter blues. Tim Stanley, dance captain for Mamma Mia even taught the crowd the moves for the finale of the international hit musical (above). Offering tickets to over 60 London shows for as little as £10, Get Into London Theatre is becoming one of the great annual theatre events. www.getintolondontheatre.co.uk Pictured Left: Ray Meagher & Ben Richards (Priscilla), Louise Dearman (Wicked) & Alex Gaumond (Legally Blonde). Photos: Daniel Wooller
MBE FOR MIKE JEFFRIES AT ACT IV
The founder member of a Dundee-based theatre company which has raised more than £350,000 for charity has been awarded the MBE. However, Mike Jeffries is adamant that he is accepting the award on behalf of everyone associated with Act IV. Mr Jeffries, of Kirkinch, near Meigle, received the honour for his service to amateur drama and to charity in Tayside. One of the founder members of Act IV in 1984, he has held several committee posts and has produced and directed most of the company’s 50 shows over the years. He retired from the post last year. Mr Jeffries said he felt very proud and added, “But I also feel humility because I very well know that a lot of people have been coming and going from Act IV over the years.” Right: Mike Jeffries. Below: Act IV rehearsing for Fawlty Towers in 2007.
LES MISERABLES 25TH ANNIVERSARY CONCERT DVD
Last year was a mammoth year for Les Miserables - the longest running musical in the world! Celebrations were topped off with an all-star megaconcert version of the musical at London’s O2 which has now been released on DVD. With a cast including Matt Lucas, Alfie Boe, Nick Jonas, Lea Salonga and just about everyone who’s ever appeared in the hit show taking part in the choral section, this is a must have for any musical theatre enthusiast. With no sign of slowing down anytime soon, we’re taking bets that Les Miserables may well be with us for another 25 years. Les Miserables in concert is available on DVD and Blu-ray.
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OVERTURE
SOME ASIDES
A GIANT AMONG MEN When a giant of a panto part needed a gargantuan voice, the obvious choice was... Goldthorpe–born actor Brian Blessed. Brian’s trademark booming tones will echo around the stage at the Dearne Theatre panto Jack and the Beanstalk, in January. But the area’s most famous son won’t be treading the boards as a bearded behemoth – he will remain disembodied – as he recorded all the parts. Jack and The Beanstalk runs from January 22-29, and Producer Simon Carr says rehearsals are progressing brilliantly. “We are tightening things up and everything is coming together”. “Brian is patron of the theatre. He was at the opening after it was refurbished in 2006, and he takes a great interest in what we are doing. Jack and the Beanstalk is performed in January, on: Saturday, 22 at 2pm; Sunday, 23 at 3pm; Tuesday, 25 to Friday, 28 at 7pm; and Saturday, 29 2pm and 7pm. Dearne Playhouse box office is open from 10am-2pm on 01709 894128.
IDIOCY HITS PANTOLAND A Glasgow theatre has had to change a pantomime costume after being told it was breaking the Geneva Convention. The dress worn by Nurse Poltis in the Pavilion Theatre production of Robin Hood originally had red crosses on the hat and tunic. These were changed to green crosses after the British Red Cross informed the theatre it was breaking the law and could face prosecution. Unauthorised use of the emblem violates the Geneva Conventions Act 1957. The British Red Cross said it had contacted the Pavilion Theatre over the use of a red cross on a nurse’s costume in the pantomime, The Magical Adventures of Robin Hood. A spokesman for the humanitarian organisation said: “We have no desire to be the villains of the pantomime or to appear heavy handed, but we do have a very serious obligation to protect the Red Cross emblem. “The emblem is a special sign of neutrality and protection recognised by all sides during armed conflicts. “Misuse of that emblem - even when done in an innocent and light-hearted manner - has to be addressed. Repeated and widespread misuse of the Red Cross emblem could dilute its neutrality and its ability to protect. “When we contacted the theatre management, they quickly changed the cross on the nurse’s
COUNCIL OVERTURNS PLANNING ADVICE A project to create a village community hall was surprisingly given the go-ahead after councillors overruled planning advice. Ambitious plans to convert the long-disused former Clayton West Baptist Church into a theatre and community centre were unveiled by local dramatic society The Scissett Stage Door Theatre Company last June. The chapel – built in 1840 – was abandoned by the church in the early 1980s and the group earmarked the grade 2 listed building on High Street as a new base and a centre for village shows and activities. They planned a total overhaul of the site with an extension, new vehicle access and parking for 16 cars. They also said the new facility could pave the way for a host of voluntary jobs. But a report into the application by Kirklees Council planning officers recommended it should be turned down. It said the plan would cause too much harm to the amenity of residential neighbours and too significant an impact on a listed building.
It also raised concerns about the size of the extension and the uncertainty of the unmarked graves on the grounds. But councillors said they thought the benefits outweighed the impact and over-ruled the officials’ advice. Speaking to the Heavy Woollen Planning SubCommittee as a member of the public, Clr Elaine Ward, who is also chairman of the theatre group, said: “A number of people have said to me ‘when’s this going to be up and running? This isn’t for us it’s for the community’. Founded in 1929 as the Scissett Amateur Operatic Society, the amateur theatre group currently stages its performances at Scissett Middle School. The society changed its name in the late 1990s but has remained true to its roots and still performs shows in the village of Scissett. The group is now set to begin raising the six-figure fund needed to being the work.
Sky Blue Theatre are looking for enthusiastic actors with good singing voices to take part in their new venture - Pollyanna The Musical. This new show, based on the popular, classic novel by Eleanor Porter will enthrall the whole family. With libretto by Frances Bartram and music by Geoff Page, Pollyanna will be premièring at The Edinburgh Fringe in August then at The Cambridge Corn Exchange in September. Auditions will be held in February. If you live in the Cambridge area and would like to find out more or book an audition space please contact Sky Blue Theatre - www.skybluetheatre.com; Tel 01223 832288 Ariel Company Theatre is currently searching for a Toto for their up and coming production of The Wizard of Oz’ at the Hawth, Crawley next June. The Theatre company will be looking for any breed or colour at all, but must be well trained and have a huge personality, and be able to commit to up to 3 Sunday rehearsal prior to the show and of course the week of the show ! Auditions will take place on Sunday the 23rd January in Crawley. Please contact www.arielct.co.uk or call 01444 250407 for an application pack.
CAST SNOWED IN BUT SHOW GOES ON Dedicated amateur actors endured freezing overnight temperatures to ensure this year’s Company of Friends panto went ahead as planned. Poor weather conditions forced the cast of Dick Whittington and his Amazing Cat to bed down in Chequer Mead’s theatre on Friday night, ahead of the first performance the following day. Foam mattresses, old curtains and borrowed bedlinen were gathered for those performers who were unable to get home but were determined to get the show under way. Producer Leslie Lowy, of the Company of Friends, said: “It was quite horrendous, but everyone was absolutely wonderful. There were a few people who couldn’t get home, so the only option was to bed down for the evening.” The cast got snowed in after they arrived for dress rehearsals on Friday. Company of Friends manager Michelle Blackall said: “Some of the kids brought sleeping bags with them, just in case. We also went under the stage and found anything we could, including old curtains and bedding. It was incredibly basic, it was like living in the war.” Chequer Mead technician Will Perkins was among a handful of people who were also forced to stay overnight on Saturday. He said: “I live in an area where I couldn’t get home on Saturday night. I knew I wouldn’t be able to make it in the next morning but, as always, the show must go on.”
AMATEUR STAGE LAUNCHES WEST END TICKET WEBSITE Amateur Stage is please to announce that we have recently launched our very own West End theatre tickets website. The site offers tickets (many at hugely discounted rates) to nearly all of the shows in the West End and to many special events as well. We hope that the website will be of benefit to our readers who frequent London Theatre but find the cost sometimes prohibitive. Visit us at http://www.asmagazine.eolts.co.uk/ to see the latest offers.
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OVERTURE
Celebrating the best theatre in Coventry and Warwickshire After months of promoting and public voting the Wheatsheaf Players have been announced the best theatre in the Coventry and Warwickshire’s Godiva Awards. The prestigious Godiva Award winners were announced on at a glittering awards ceremony in the Mercia Live Level, Ricoh Arena on October 14. The best of the best attended the ceremony that recognises the region’s best businesses in the lifestyle, tourism and leisure industry. 650 people from across Coventry and Warwickshire packed into the venue to see which businesses would be crowned the cream of the crop. The awards which were organised by CVone, have developed over the last decade to become the largest lifestyle awards in the region, covering a geographical area stretching from South of Birmingham through Coventry, Solihull, Rugby, Nuneaton, Bedworth and the Warwickshire heartlands of Leamington Spa, Kenilworth, Stratford-upon Avon and Warwick. The awards were divided into three categories The Lifestyle Awards, The Business Awards and an Ambassadors Award which is given to an individual who has made an outstanding contribution to Coventry and Warwickshire. With 602 participating venues and 256,992 votes awards the awards are highly contested. Eight members from the Wheatsheaf Players attended
L-R Barry Chadwick Managing director of Watermark design who presented the award, Christine Rye, Alan Wales, Roni Tillman, Anne Collins, Ruth Carver Smith and Kristen Shelton at the back Stephen Hocking and Chris Jarvis Photo: CVone and Paul Gilroy
the ceremony to see if the group had won the lifestyle award in the best theatre category. The lifestyle awards were voted for by the public. The shortlisted nominations in the best theatre the category out of the 14 nominated theatres were: Abbey Theatre, Nuneaton Criterion Theatre, Coventry Priory Theatre, Kenilworth Wheatsheaf Players Coventry Having last won the award in 2006 the Wheatsheaf Players were ecstatic to win the award in 2010. This year is a fantastic year for the Wheatsheaf Players.
They have celebrated 80 years as a company and 30 years in their current home at the Co operative Theatre. Anne Collins a member of the Wheatsheaf Players accepted the award on behalf of the group and said “Its fantastic to win the Godiva award for best theatre. The Wheatsheaf Players are celebrating an incredible year and winning this award is the icing on the cake”. Based at the Co operative theatre in Wyken, Coventry, the group welcome new members. Anyone wishing to join this award winning theatre can do so by coming to the theatre on any Wednesday night from 730pm.
Ministers to encourage inclusion of children in amateur dramatics Children should be encouraged to perform in amateur dramatic productions and should not be stopped by “unnecessary” regulations and form-filling, ministers announced in early January. The Government is to review the 40-year old child performance laws and want more children to benefit from the extra confidence and skills they gain from acting. Some local authorities are currently insisting that amateur dramatic groups obtain a licence for each child performing in each play or musical. This has led some groups to restrict their casts to adults only. However, the Government will today advise local authorities that they only need one licence per dramatic group which will cover all children appearing in all their productions. Tim Loughton, the Children’s Minister, said: “We have a great tradition of amateur theatre in this country, especially at this time of the year when the local pantomime or Christmas show brings local communities together. It is crazy that some children are being denied the chance to perform in local shows. “Performing gives children fantastic skills and helps them build their confidence. The law needs reviewing to ensure children are not denied the opportunities of performing in an amateur or professional capacity. But there is also agreement that we must keep children safe from potential exploitation and make sure their education doesn’t suffer.” In the New Year, the Government will convene a working group including theatre groups, broadcasters and child psychologists to consider more fundamental reforms to the system of licensing child performers. The amateur sector may be excluded from the regulations altogether in future – with only children appearing in “long-running” television series or theatre productions required to obtain licences. These children may receive greater protection and safeguards amid fears over psychological damage and other problems associated with some child stars. Sir Ian McKellen, the actor and patron of the Little Thea-
tre Guild, which represents amateur theatre groups, said: “I am delighted that the Children’s Minister is to facilitate a working group to consider future arrangements within amateur theatre to safeguard youngsters. “Any additional burden on amateur companies would be regrettable as existing provisions can be improved. The sort of rules, necessary within the professional theatre, inhibits the Guild’s honourable and longstanding tradition to introduce children to theatre, within a safe and enjoyable environment.” Earlier this year, the last Government appointed Sarah Thane, the former chair of the Royal Television Society, to review the treatment of child performers. She recommended that there should be more flexibility on the working hours of children and an improvement in education for professional child performers. Mrs Thane also backed an increased role for “chaperones” to protect children. The review was ordered amid concerns over the treatment of children on reality television shows such as Britain’s Got Talent. Last year, Hollie Steel, 10, broke down in tears after struggling to complete a song on Britain’s Got
Talent. Natalie Okri, another 10-year-old singer who appeared in the first semi-final heat, was distraught after Simon Cowell rejected her in favour of a rival act. However, the Government has ruled out a ban on children appearing in the shows.
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AETF 2011 OVERTURE
The All-England Theatre Festival organises the only country-wide eliminating contest for one-act plays in performance throughout England. This provides an opportunity for Amateurs to compete against like-minded groups and to benefit from the adjudication they receive to improve the quality of their performance. It also provides social contact so that we can share the experience to our mutual benefit. The AETF also maintains Contact with other leading bodies involved in Amateur Drama thoughout the UK by means of its membership of the Central Council for Amateur Theatre, The Drama Festivals Consortium and the British Finals Standing Committee. Finally it is also involved with the Geoffrey Whitworth Trophy Competition, inconjunction with the other ‘Hosts’ of the British Festival, to judge Original, unpublished Scripts that are first produced within the relevant Festivals. For further information visit www.aetf.org.uk
Northern Area - Preliminary Rounds North West Division Cumbria District : March 12th Victoria Hall GRANGE-OVER-SANDS Adjudicator : Colin Snell G.O.D.A. Contact : John Larkham, 01946 728242 e-mail : john@jolola.plus.com West Pennine District : tba Adjudicator : tba Contact : Jeff Brailsford, 01772 611706 e-mail : jeffbrailsford@jandowae.freeserve.co.uk Leverhulme Drama Festival : April 12th - 16th Gladstone Theatre PORT SUNLIGHT Adjudicator : Jeff Brailsford G.O.D.A. Contact : Phyllis Driscoll - 0151 348 4688 e-mail : driscoll284@@btinternet.com Manx Amateur Drama Federation, One Act Play Festival : February 9th - 12th Erin Arts Centre PORT ERIN Adjudicator : Jeff Brailsford G.O.D.A. Contact : John Hayes - 01624 834720 North Central Division Nidderdale & District Drama Festival March 17th - 19th Frazer Theatre, KNARESBOROUGH, N. Yorks. Adjudicator : Colin Snell, Assoc. G.O.D.A. Contact : Elizabeth Clarke - 01423 712240 e-mail : elizclarke77@waitrose.com Richmond Festival : February 1st - 5th Georgian Theatre royal RICHMOND Adjudicator : Chris Jaeger G.O.D.A. Contact : Suzy Brown 01748 823710 North East Division Hull & East Riding District : March 31st - April 2nd The Village Hall NORTH FERRIBY Adjudicator : Russell Whiteley G.O.D.A Contact : Barbara Prince - 01482 650952
Saltburn Drama Festival : March 14th - 19th Saltburn Community Theatre, SALTBURN, Cleveland Adjudicator : Russell Whiteley G.O.D.A. Contact : Sheenah Taylor, 01642 481638 e-mail : sheenahtaylor@hotmail.co.uk
Central Area - Preliminary Rounds Western Division Herefordshire County Drama Festival March 10th - 12th The Courtyard, HEREFORD Adjudicator : Alan Hayes G.O.D.A. Contact : Lucy Zammit 01568 616150 The Worcestershire Theatre Festival : March 4th - 6th The Swan Theatre, WORCESTER Adjudicator : Mike Kaiser G.O.D.A. Contact : Roger Seabury - 07967 692202 e-mail : rseabury@liscombe.co.uk Birmingham’s Festival of Acting and Musical Entertainment Festival February 21st - 26th Dovehouse Theatre, SOLIHULL Adjudicator : Scott Marshall G.O.D.A. Contact : Jean Cunnington 0121 707 6684 e-mail : cunnington@talk21.com The Shropshire One Act Drama Festival March 23rd - 26th The Belfrey Theatre, WELLINGTON Adjudicator : Alan Hayes G.O.D.A. Contact : Brian Hughes 07731 575616 e-mail: brian@breakaleg.org
Stoke-on-Trent Annual Drama Festival March 20th - 26th Trentham High School STOKE-ON-TRENT Adjudicator : Arthur Aldrich G.O.D.A. Contact : Alan Hill - 07973668993 e-mail : hilldepanto@ntlworld.com Warwickshire One-Act Play Festival March 24th - 26th The Abbey Theatre & Arts Centre Adjudicator : Chris Jaeger G.O.D.A. Contact : Dave Sedgwick - 07956 909369 e-mail : sedg@talktalk.net Eastern Division Nottingham Festival : 1st - 2nd April Chilwell Olympia Theatre Nottingham Adjudicator : Max Bromley Contact : Bob Wildgust 0115 929 1077 e-mail : rwildgust@hotmail.co.uk
Eastern Area - Preliminary Rounds North Division Bedford Festival: 21st - 26th March Haynes Village Hall HAYNES, Bedford Adjudicator : To be advised Contact : Debbie Bosher - 01234 381295 e-mail : debbie.bosher@tiscali.co.uk Cambridge Festival : 28th March - 2nd April The Mumford Theatre CAMBRIDGE Adjudicator : Mike Kaiser G.O.D.A. Contact : Wendy Walford - 01223 323519 email : raw1000@cam.ac.uk
Central Division Leicester & Rutland Festival : March 29th - April 2nd Countesthorpe College Leicester Adjudicator : Cherry Stephenson, Assoc. G.O.D.A. Contact : Jacqui Armand - 0116 2954047 e-mail : jacqui.holohan1@ntlworld.com
South Division Elmbridge Drama Festival February 28th - March 5th The Playhouse, WALTON-ON-THAMES Adjudicator : Jan Palmer-Sayer G.O.D.A. Contact : Margaret Watford - 01932 228525 e-mail : margaret.watford@btinternet.com
Tamworth (Hastilow) Drama Festival : March 14th - 19th The Assembly Rooms TAMWORTH Adjudicator : Marie O’Sullivan G.O.D.A. Contact : Sue Fortune - 07970913057 e-mail : sue.fortune@tact-web.co.uk
Southern Counties Drama Festival February 28th - March 5th The Barn Theatre, OXTED Adjudicator : Jill Colby G.O.D.A. Contact : Bruce Reed - 01959 561811 email : sc.df@btinternet.com
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OVERTURE
East Division Southend on Sea Theatre Festival March 28th - April 2nd Eastwood Studio Theatre, LEIGH-ON-SEA Adjudicator : Charles Evans G.O.D.A. Contact : Kay Banning - 01268 752239
Western Division Cornwall Festival : April 8th - 9th Arts Theatre, ST AUSTELL Adjudicator : Sally Noble G.O.D.A. Contact : Fred Parker - 01579 362269 e-mail : fred.parker@uphill.fsnet.co.uk
Waltham Forest Festival of Theatre March 21st - 26th Chingford Village Hall CHINGFORD Adjudicator : Colin Snell, Assoc. G.O.D.A.. Contact : Elaine Elliot - 0208 527 4690 e-mail : Elaine17elliot@aol.com
Exmouth Festival : April 4th - 9th Blackmore Theatre, EXMOUTH Adjudicator : John Scowen Contact : Norman Warne - 01395 266069
Western Area Wessex Division : April 18th Chipping Sodbury Town Hall CHIPPING SODBURY Adjudicator : Chris Jaegr G.O.D.A. Contact : Mark Graves - 01454 238384 e-mail : mark@normark.eclipse.co.uk
The Teignmouth Drama Festival : March 21st - 26th Carlton Theatre, TEIGNMOUTH Adjudicator : Graham Bill G.O.D.A. Contact : Freda Welton - 01626 775140
Mercia Division : To be advised Adjudicator : tba Contact : Martin Clifton - 01672 810436 online via www.pvads.net
West Division Maidenhead Drama Festival : April 12th - 16th Norden Farm Centre for the Arts, MAIDENHEAD Adjudicator : Keith Thompson G.O.D.A. Contact : Carolyn Morley - 01628 828463 e-mail : carolynmorley@tiscali.co.uk
Western Area - Preliminary Rounds Wessex Division Avon Festival : February 17th - 19th Chipping Sodbury Village Hall, CHIPPING SODBURY Adjudicator : Rex Walford G.O.D.A. Contact : Janet Adams - 0117 963 8347 e-mail : aad.oneact@virgin.net Bristol Festival : 10th - 12th February The Olympus Theatre, FILTON COLLEGE Adjudicator : Paul Fowler G.O.D.A. Contact : Jill Gill - 0117 924 7266 e-mail : jillgill47@yahoo.co.uk
Quarter Finals Northern Area North West Division : May 7th Victoria Hall, GRANGE-OVER-SANDS Adjudicator : Robert Meadows G.O.D.A. Contact : John Larkham - 01946 728242 e-mail : john@jolola.plus.com North Central Division : April 9th Bishop Monkton Village Hall BISHOP MONKTON, RIPON. Adjudicator : Jeff Brailsford G.O.D.A. Contact : Elizabeth Clarke 01423 712240 e-mail : elizclarke77@waitrose.com North East Division : May 7th Spotlight Theatre BRIDLINGTON Adjudicator : to be advised Contact : Barbara Prince - 01482 650952
Somerset County Drama Festival : April 2nd - 3rd Kings College TAUNTON Adjudicator : Marie O’Sullivan G.O.D.A. Contact : Martin Jevon, 07951 368387 e-mail : mjevon@hotmail.com Mercia Division
Central Area Central Division : April 9th Two Rivers High School TAMWORTH Adjudicator : Michael Patterson G.O.D.A. Contact : Sue Fortune - 07970913057 e-mail : Sue Fortune@tact-web.co.uk
Harold Joliffe One Act Play Festival February 17th - 19th The Arts Centre SWINDON Adjudicator : Chris Jaeger G.O.D.A. Contact : Ashley Heath - 07899 967157 e-mail : swindononeact@googlemail.com
Western Division : April 16th The Courtyard Theatre, HEREFORD Adjudicator : Richard Woodward G.O.D.A. Contact : Jean Cunnington 0121 707 6684 e-mail : cunnington@talk21.com
The Woolstore Country Theatre One Act Play Festival April 7th - 9th Woolstore Theatre CODFORD, Wiltshire Adjudicator : Marie O’Sullivan G.O.D.A. Contact : Maureen Marshall - 01985 850414 e-mail : brima@ruislip26freeserve.co.uk
Eastern Area North Division Winners of Bedford and Cambridge Festivals will Perform at the Semi-Final at Norden Farm Centre for the Arts, MAIDENHEAD Contacts : Debbie Bosher - 01234 381295, e-mail : debbie.bosher@tiscali.co.uk Wendy Walford - 01223 323519, e-mail : raw1000@ cam.ac.uk
Southern Division The Totton Drama Festival : February 28th - March 5th Hanger Farm Arts Centre TOTTON Adjudicator : Sonia Woolley G.O.D.A. Contact : Michael Farleigh - 023 8086 2882 e-mail : tottondrama@ntlworld.com
East Division Winners of Southend-on-Sea and Waltham Forest Festivals will Perform at the Semi-Final at Norden Farm Centre for the Arts, MAIDENHEAD Contacts : Kay Banning - 01268 752239 Elaine Elliot - 0208 527 4690, e-mail : Elaine17elliot@ aol.com
Dorset Drama League : March 21st - 26th The Arts Centre SHAFTESBURY Adjudicator : Sonia Woolley G.O.D.A. Contact : Simon Hunt - 01747 830242 e-mail : simon.hunt3@btinternet.com
South Division Winners of Elmbridge and SCDF Festivals will Perform at the Semi-Final at Norden Farm Centre for the Arts, MAIDENHEAD Contact : Richard Davis 01932 845855 e-mail : richardc.davis@classicfm.net Bruce Reed 01959 561811
West Division Winner of the Maidenhead Festival will Perform at the Semi-Final at Norden Farm Centre for the Arts, MAIDENHEAD Contact : Carolyn Morley 01628 828463, e-mail : carolynmorley@tiscali.com
Southern Division : April 16th The Arts Centre SHAFTESBURY Adjudicator : Mike Tilbury G.O.D.A. Contact : Dennis Dunsford 01305 776151 e-mail : cathrin@dadunford.plus.com Western Division : April 16th St. Austell Arts Centre ST, AUSTELL Adjudicator : Russell Whiteley G.O.D.A. Contact : Freda Welton - 01626 775140
Semi Finals Northern : May 21st, Todmorden Hippodrome Adjudicator : Jan Palmer-Sayer G.O.D.A. Contact : Jeff Brailsford - 01772611706, e-mail : jeffbrailsford@jandowae.freeserve.co.uk Eastern : May 7 & 8, Norden Farm Centre for the Arts MAIDENHEAD Adjudicator : To be advised. Contact : Chris Hepher - 020 8656 5554 e-mail : cih@tinyworld.co.uk Central : May 7th, The Brewhouse Arts Centre BURTON-ON-TRENT Adjudicator : Jeannie Russell G.O.D.A. Contact : Sue Fortune 07970913057 e-mail : sue.fortun@tact-web.co.uk Western : May 14th, The Hub VERWOOD Adjudicator : Jan Palmer-Sayer G.O.D.A. Contact : Ann Aplin 01454 228243 email: annaplin@tiscali.co.uk
ENGLISH FINAL June 4th, Harrogate Theatre, HARROGATE Sessions start at 2.30pm and 7.00 pm Box Office : 01423 502116 Adjudicator : Scott Marshall G.O.D.A. Contact : Ian Clarke Phone : 01423 712240 e-mail : ian.clarke33@btinternet.com
BRITISH FINAL July 1st and 2nd, Wyvern Theatre, SWINDON Adjudicator : Mike Tilbury G.O.D.A. For the Festival :Box Office : 01793 524481 Website : www.wyverntheatre.org.uk www.bestofbritishdrama.org.uk Contact : Mike Linham e-mail : mike.linham@btinternet.com
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ONSTAGE
ONE MORE VARIATION LEFT TO BE PLAYED Tim Rice talks to Mark Shenton about the tortured history of his musical Chess - and how he hopes they’re finally getting it right now.
S
ir Tim Rice is currently renewing his most famous association working with Andrew Lloyd Webber on providing new songs for a stage version of The Wizard of Oz that opens at the London Palladium next year. Their names are, of course, forever bound together in musical theatre history, like those of Gilbert and Sullivan, for creating a trilogy of smash hit shows, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita, that are now legendary. Tim Rice calls Evita “my favourite, but then maybe I’m a bit biased”, he says, as he sips on a cup of coffee in the lounge of a Covent Garden hotel. “Tune after tune it is just wonderful”, he adds. It was their last big scale collaboration until now. But while Lloyd Webber quickly moved onto a succession of other hits, the 1980s would prove, in Rice’s own words, “very hit and miss” for him. “Blondel and Chess both had things I loved in them, but neither originally worked the way I wanted them to work,” he says.
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extent, but it seemed it would be quite nice to try to get one last crack at what could possibly be a definitive author’s version.” So he worked on it one more time for the Royal Albert Hall, and says now, “I’m not sure that what we did there is that, but it is much closer now to what the piece can be.” That was always heard to its best advantage on the original concept album that was released ahead of the production itself, and he says now, “The album could not have gone better - it was a big hit in many countries and we had several hit singles - and we should have had the confidence to leave it as it was. But then other people came on board, and everybody wanted to re-write it. It’s our own fault - I’m not trying to blame anybody,” he adds graciously.
But Chess, written with Abba’s Benny Andersson and Bjorn Ulvaeus, remains very close to his heart, and in 2008 a spectacular all-star concert version was produced at the Royal Albert Hall, from which a new album and DVD were released. “The story of the show is a catalogue of how not to produce a musical at times”, he says now, of the original stage version that he himself co-produced. “We did have a lot of genuine bad luck, too”. Nevertheless, it ran in the West End for nearly three years.
The show was also entirely his idea: it not based on a pre-existing story but rather spun by him from the clash of American and Soviet chess players, whose international tournaments mirrored the playing out of the Cold War: “The point of the story is that the Russian character Anatoly is bombarded from all sides by politicians, by his wife, by his mistress, and he’s trying to serve them all, but he can’t, because no man could. In the end, as everything is falling about him and he is being blackmailed emotionally and actually, he decides that the one thing he can be certain of and true to is his skill in the game, and he decides to win it, since that’s the one thing he can do. He knows that he has lost nearly everything else by doing this, but he wins.”
The show’s legacy, however, has lived on, and as its lyricist points out, “It is always being done in various places around the world. I’ve come to the conclusion that one has to let people play around with it to a certain
And Rice, who has similarly been bombarded by trying to serve the wishes of others in putting the show on, has returned to his own skill as a writer in returning it now to where it began: “I wish I’d been a lot tougher and more
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ONSTAGE ruthless when Chess was happening”, he says now. He also admits that he set himself a big task: “Writing an original musical is a very difficult thing to do, and in a way I wish I had stuck to telling the life story of someone famous. With Jesus Christ Superstar, you don’t have to worry too much about the plot - not only was it written for you, but everybody knew it anyway! Likewise with Joseph and even Evita to a certain extent, though she certainly wasn’t as well known here before the show.” For Rice, Chess had been his first major project after breaking away from Lloyd Webber. Was there a sense of competition between them at the time? “I think there probably was, and if there was, he clearly won it hands down,” he acknowledges. He was stung by its early failure, so much so that he says, “I didn’t want to do musicals or theatre anymore. The thing about the earlier shows was that nobody tried to change them too much - that could be because they were much better works, you might say, but it has always struck me how strange it is that the longer you are in this business, the more people want to tell you how to do things!” Instead, he signed on as a writer for Disney’s reinvigorated animated feature section, and the rest is history. “The 90s were like the 70s again - everything I did was a massive hit.” He would win his first Oscar for writing an additional song for Aladdin and joined forces to work with Elton John on the score for The Lion King, later brought to the stage (and that last year marked its 10th anniversary at the West End’s Lyceum Theatre). “In the 90s, I probably did better than Andrew did”, he notes now. He also provided additional songs for Disney’s
Beauty and the Beast when that, too, was brought to the stage, and is now working on a new film of the show of the film. He’s showing no signs of slowing down, either: he recently did songs from a film based on The Nutcracker (“I was working with Tchaikovsky, who is great, because he never rings up to complain!”); and is also working on a new animated version of the South African classic Jock of the Bushveld. He’s also written a play about Machiavelli (“it could be a musical, but I’m not sure I shouldn’t leave it as a play”), and has to write the second volume of his memoirs, following the best-selling success of the first, published in 1998: “I wasn’t trying to settle any scores, because I didn’t have too many to settle, at least not in part one”, he jokes. But he’s not stopping there: “Maybe I’ve got one more good decade left, so I’m hoping I will burst into new life.” Meanwhile, though, Chess is bursting into new life, and he is looking forward to seeing this new incarnation. “It’s going great guns. I’d like to look at doing it as a film, too, before I snuff it - I think it could be very interesting as a movie!” Chess is touring the UK and has a season at the Milton Keynes Theatre from 25 – 29 Jan. Box Office: 0844 871 7652 www.ambassadortickets.com/miltonkeynes Mark Shenton is theatre critic of the Sunday Express and writes a daily blog for The Stage website, www.thestage.co.uk/shenton Production photos by Keith Pattison
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BACKSTAGE
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ONSTAGE
The Master Builder Almeida Theatre
With his 1892 play The Master Builder, Henrik Ibsen mixed myth with realism in his story of an architect tormented by his past and fearful of the future. In the Almeida Theatre’s stunning new production, director Travis Preston emphasises the poetic dream-like elements of the play, paring back the traditional set and costumes to such an extent that you can see the bare brick back wall of the theatre space. Using a translation by Kenneth McLeish, they have reduced the play to 105 minutes without an interval, giving it a momentum that drives the action to its dramatic climax. As the audience sits down, master builder Halvard Solness, played by Stephen Dillane, sits at the front of the stage on one of two stripped-back chairs – the only furniture on Vicki Mortimer’s set. Characters come and go, but on one level they are part of Solness’s internal struggle as he deals with guilt over the death of his two
children and the sacrifices he has had to make for his career as well as his anxiety about the fearless younger generation snapping at his heels. The catalyst for his destruction and redemption comes in the form of 23-year-old Hilde Wangel, who enters like a heavenly creature in a bright stream of light through the door of the auditorium. Played with power and child-like innocence by Gemma Arterton, she is like an unearthly force conjured up by Solness to fight his inner “trolls”. Anastasia Hille is faultless as Solness’s wife, broken by the death of her babies and surviving only through her sense of duty. With an impressive central performance by Dillane, this is a haunting production that is both lucid and heavy with mythic ambiguities.
The Glass Menagerie The Young Vic
My first experience seeing The Glass Menagerie was through Bench Theatre in Havant, Hampshire, 15 years ago, where – in what is a convention for
Tennessee Williams’ “poetic” play – there was a minimalist expressionistic staging for the story of a Southern woman and her grown-up children uprooted to the Midwest. At the Young Vic, the family’s apartment, plus the surrounding fire escapes and corridors, is created with naturalistic detail but, at the same time, original expressionistic elements by designer Jeremy Herbert emphasise the theatrical poetry of what Tennessee Williams called his “memory play”. At the start, Tom Wingfield – played by an intense Leo Bill – summons the characters and the action with a flourish like a stage magician while a huge picture of his missing father stares down on the action like Dr TJ Eckleburg’s poster ad in The Great Gatsby. Williams said music was essential to the play, and director Joe Hill-Gibbons goes as far as having the musicians on stage. Deborah Findlay shifts from steeliness to skittishness as the mother, Amanda, an out-of-place ageing Southern belle happy in her self-delusion. The excellent Sinéad Matthews is perfect casting for the shy daughter, Laura, crippled by embarrassment about her limp and as emotionally fragile as the glass animals she treasures. She brings a moving radiance to the character when her “gentleman caller”, played superbly by Kyle Soller, charms and literally whisks her off her feet. With its mix of realism and expressionism, this is a solid production that captures a world of “hot swing music and liquor, dance halls, bars, and movies, and sex that hung in the gloom like a chandelier and flooded the world with brief, deceptive rainbows”.
westend
Photo: Simon Annand
Mark Ludmon looks at the latest West End offerings.
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ONSTAGE
A REAL BEAUTY Darlington Operatic Society produced Disney’s Beauty & The Beast in November 2010. Julian Cound looks at just how they bought Disney magic to live theatre.
I
t is every young girls dream to wear Belle’s iconic yellow dress, walk down the sweeping staircase and dance with the ‘Beast’ as Mrs Potts sings “Tale As Old As Time”… such is the draw of the Disney classic ‘Beauty and The Beast’ for societies and audiences alike. DarlingtonOS were fortunate enough to secure the rights to produce this show but is was going to be the biggest and most extravagant production they were to face in their long history.
THE MUSICAL
Everyone knows the story, the tunes are part of Disney history, the characters are larger than life. There is no other show quite like Beauty and The Beast. With music by Alan Menken (Aladdin, Little Shop of Horrors, Sister Act) and lyrics by Howard Ashman (Little Shop of Horrors, Aladdin) and Tim Rice (Joseph, Evita, The Lion King) the show has a musical pedigree which is difficult to beat. The story follows a prince, living in a shining castle, who is disturbed one winter’s night by an old beggar woman who comes to his castle and offers him a simple rose in return for shelter from the bitter cold. He is repulsed by her appearance and turns the old woman away. The old woman’s ugliness melts away to reveal a beautiful enchantress. Though the prince is apologetic when he sees her beauty, the enchantress turns the cruel, unfeeling prince into a hideous beast. To break the spell, the beast must learn to love another and earn their love in return before the last petal falls from the enchanted rose. If not, he will be doomed to remain a beast for all time.
REHEARSALS
The main issue when rehearsing Beauty & The Beast is not having the costumes. So make-shift items were produced to allow the ‘enchanted’ characters to move in the way their character demanded. A series of Hula-Hoops tied together for Mrs Potts, a large TV Packaging box for Madam de la Grande Bouche (the Wardrobe), a baby’s push chair for Chip and two bits of wide plumbing pipe for Lumiere… and plenty of imagination! Professional director Martyn Knight was at the helm for this production - his second time on the show having directed the Northern Amateur Premier in York just five months previously. With us for only 11 rehearsal sessions time was always going to be tight and everyone was going to have to work hard. Working with his resident assistant, Joanne
CASTING
A Clock, a Candlestick, a Tea Pot, Feather Duster and a Wardrobe as well as a hideous Beast…. What other show can ask so much of a company and of a casting committee? Add to that a chorus who must be versatile enough to play villagers, wolves, a whole mixture of cutlery, crockery and other household items and we knew the casting discussions would be long and interesting. As ever in Darlington, a very strong cast was put together who would soon gel very well and allow the magic of Disney to shine through early on in the rehearsal period.
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ONSTAGE
www.amateurstagemagazine.co.uk
Hand, the company enjoyed a tough couple of months working on the show almost every night.
COSTUMES
I think it is fair to say that the success of any production of Beauty & The Beast depends hugely on the quality of the costumes. Every child knows how all the enchanted characters should look and work and we were not going to disappoint. The budget for costumes alone was in the region of £12,000. In the end we used an amalgamation of costumes from three different sources (as well as creating and producing several of our own). We were fortunate enough to purchase a set of ‘enchanted’ costumes from a company in Jersey, we hired a full set of costumes from Molly Limpets (Sheffield) and also hired in the talents of Stephen Metcalfe and Alex Taylor primarily for the prosthetics and make-up for the beast but their talents and generosity soon meant we had a complete set of brand new costumes for Belle and the Beast including a stunning yellow gown for Belle - as well as over 100 wigs spread among the 34 members of the company. Matthew McCabe was playing our Beast and he was needed at the theatre from 5.00pm to start the arduous two hour process of transforming him into the Beast. But the finished product was well worth the wait. Stephen Metcalfe had worked for Disney on Beauty & The Beast for four years and knew the make-up requirements inside-out.
SET
We used the beautiful, but huge, set from Scenic Projects. The scale of the production meant we needed two full technical rehearsals to ensure the set, costumes, pyrotechnics, orchestra cast and crew knew exactly what was going on when. With a get-in starting at 9.00am Sunday morning we managed a rough technical run through on Sunday night, a full technical on Monday night, full Dress Rehearsal on Tuesday night and opened on Wednesday night for our ten night run.
SOUND
For the last two productions, DarlingtonOS have hired in the services of sound specialists AP Audio who specialize in professional pantomime productions. The team worked tirelessly to not only balance the sound for each individual character (we had 26 mics on stage in total) but also balanced each instrument in the 16 piece orchestra - with so much under-scoring in Beauty & The Beast it is essential to have the balance right between performers and orchestra.
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ONSTAGE MARKETING
No show can ever ‘sell itself’ although with the Disney name above this show it is easier to grab people’s attention. Many marketing initiatives were arranged - filming the make-up and prosthetics process, Mrs Potts in full costume in the town centre, live local radio interviews, and a special ‘Fancy Dress’ opening night performance where children were encouraged to dress up as their favourite character in the show - the winner being presented with their prize on stage by Belle in front of a sell-out audience. With an estimated budget of over £110,000 for the production, our marketing team had to work on overtime to be able to re-coup that investment through ticket sales. It was imperative to get audiences to the theatre for the first three or four performances to ensure word of mouth (the best form of marketing) to sell tickets for the second week.
CONCLUSION
It is still too early to report on the financial success of this production of Beauty & The Beast but our audience figures are consistently growing - a positive sign in such an economic climate. With over 9000 seats to sell over eleven performances in a theatre that plays host to many west end touring shows - we had Joseph, Blood Brothers, The Rocky Horror Picture Show as well as the professional panto, Peter Pan with David Essex as direct competition, DarlingtonOS are proud to be up there among the best in live entertainment. Working on huge productions such as Beauty & The Beast is a challenge but it ensures everyone on stage, back stage and front of house learns something new and for DarlingtonOS it has created a momentum on which we hope to build with our forthcoming productions of 42nd Street, The Producers and Titanic taking us into the Spring of 2012. Belle & Beast (all costumes, wigs, prosthetics) Stevie Metcalfe, Maurice - costume Molly Limpets / wig Stevie Metcalfe, Cogsworth (wig and costume)- Stevie Metcalfe, Mrs Potts (wig and costume) Stevie Metcalfe, Babette - costume - Molly Limpets / wig and headpiece – Stevie Metcalfe, Lumiere - costume Molly Limpets / wig and headpiece plus working hands - Stevie Metcalfe
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BACKSTAGE
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playscri pts
BACKSTAGE
David Muncaster reviews the latest playscript offerings.
PLAY OF THE MONTH MICKY SALBERG’S CRYSTAL BALLROOM DANCE BAND
Micky’s relationship with his daughter and her relationship with Tommy provide plenty of opportunity for both humour and pathos. The three characters are beautifully observed and as the play progresses we begin to regard them as friends and we are willing them to succeed. However as act one comes to an end, we learn a surprising bit of information about the bailiffs and find that Tommy is about to be conscripted into the army.
It is 1952 and Polish immigrant Micky Salberg and his daughter Sam are just about surviving on their small farm on the outskirts of Stoke-on-Trent. As the play begins Micky is serenading his pig, a sad lament about the problems of non- productive cows, whilst Sam is out in the farm yard. Her long coat is covered in pig muck and there is nothing feminine about her appearance. Tommy enters. He is a young Stoke lad who claims to have been attracted by Micky’s song and their short dialogue quickly establishes their characters. Sam seems very confident but vigorously hides her femininity. Tommy is a cocky teenager acting, and pretending, to be older than his real age and someone who speaks without thinking, or even caring, about the consequences.
Act two and Micky has plans to keep Tommy at home and the band together but this, unfortunately, involves Tommy marrying Sam and starting work on the farm. This is not something that is met with universal approval but, putting the problem to one side for now, the band switches to playing rock and roll and they really take off. When it comes to the time for Tommy to leave to do his basic training we expect him not to go, but leave he does, though the play does end with a very satisfying twist.
Ade Morris Samuel French ISBN NO: 9780573112911 2M 1F
Tommy is sent on his way and Sam enters the farmhouse to berate her father. The bailiffs are due any moment, the gas is about to be cut off and all he can do is get drunk and sing to his pig. But Micky has news. He has got them a gig at The Crystal Ballroom in Burslem and he just needs Sam to agree to sing. She refuses but does agree to play the clarinet. The night of the gig and Tommy appears, suggesting to Sam that the addition of his guitar would ‘fatten’ up the sound. It seems that Tommy is a bit of a virtuoso, but more than that, thanks to his father’s collection of jazz 78s, he has heard of Micky Salberg. Micky is surprised. He was known in the dance halls of Krakow but did not expect to be recognised by someone from the home of coal, steel and the toilet bowl!
AWAKING BEAUTY
Alan Ayckbourn with music by Dennis King Samuel French ISBN NO: 9780573180026 5M 5F Alan Ayckbourn is such a prolific producer of scripts that we might be misled into believing that the productivity comes at the cost of innovation. Anyone who has witnessed any of his recent plays will know this is not true. His ability to surprise and astound has never diminished and his style of writing means that he is always contemporary. Ayckbourn’s seventy-second play is a saucy seaside postcard of a fairytale musical that imagines what would have happened had Sleeping Beauty awakened to find herself in the twenty-first century. Six narrators play a variety of roles supporting The Prince, Princess Aurora, the evil Carabosse and her familiar, the half man- half pig, Pigcutter. As the play begins, the prince discovers his sleeping beauty and we launch into the first song which confirms this is not a tale intended for children! Princess Aurora is awakened with a kiss from the prince and their bodies entwine. Carabosse resolves to turn the pair into bluebottles but before she can do so the princess wriggles out from under her prince to attend to an urgent bodily function. After all, she has been asleep for one hundred years; is it any surprise that she needs to ‘go’? Carabosse seizes her opportunity. She locks the princess in the bathroom and takes her place in the arms of the prince. Back home Pigcutter is scornful of Carabosse’s chance of holding onto the prince but, as the story develops, we see another side to the evil one with a bit of typical Ayckbourn morality emerging from all the silliness.
Warm, thought provoking and very funny, Micky Salberg’s Crystal Ballroom Dance Band requires three multi talented actors but the challenges of production are worth overcoming in order to bring this peach of a play to the stage.
Alan Ayckbourn always puts bums on seats and Awaking Beauty should be no exception. The cast, particularly the narrators, will have a lot of fun as will the audience.
HI-DE-HI
Paul Carpenter and Ian Gower Samuel French ISBN NO: 9780573111686 9M 8F Stage adaptations of popular television comedies seem to be in vogue at the moment. In this last year I have had the opportunity to see Dad’s Army, Fawlty Towers, ‘Allo ‘Allo and Rising Damp. Now, whilst the actress who made Gladys Pugh a nation’s favourite tours in Calendar Girls, we are presented with the chance to bring Hi-De-Hi to the stage. So, to Maplin’s Holiday Camp in the 1950’s. Gladys plays the notes C G E on her xylophone and yells out “Hello Campers. Hi-De-Hi!” It would be a mean spirited audience that did not respond with a rousing “Ho-De-Ho!” But the play has not started. This is a rather neat prologue that gives Gladys the opportunity to do your theatre’s safety announcement: the location of the fire exits, no flash photography and, of course, mobile phones must be switched off. The play begins and the familiar characters are gradually introduced. I can imagine the delight as the audience recognises each one. Peggy, desperate to be noticed; Mr Fairbrother, bewildered by this unfamiliar world; Fred, stealing sugar lumps for his horse; Ted, the camp comic; Spike, his sidekick and, of course Fred Astaire and Ginger Rogers – or Barry and Yvonne as they prefer to be known. The story concerns Joe Maplin’s announcement that he is setting up a camp in the Bahamas and will need female Yellowcoats to go out
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there to work. The annual ‘Miss Yellowcoat’ competition will decide who goes and Gladys and Sylvia go head-to-head. Peggy, meanwhile, is thrilled that whoever wins the resulting vacancy will give her the chance to swap her mop and bucket for a yellow coat. There are no surprises with this script; if you have seen just one episode of the TV programme, then you will know what to expect. Actors will enjoy impersonating the actors who made the roles famous and the audience will enjoy rating their efforts. As a piece of throwaway entertainment Hi-De-Hi provides a fun evening at the theatre.
THE ADVENTURES OF JASON AND THE ARGONAUTS Phil Willmott Samuel French ISBN NO: 9780573150395 10M 10F + Chorus
A group of travelling players gather in a town square to tell the story of the heroic Jason and his Princess Medea. The king listens with interest, keen to hear of Jason’s demise when he finally meets his match in the Dragon Snake, but what the king does not know is that this is not just any group of travelling players.
BACKSTAGE www.amateurstagemagazine.co.uk
CoMEdIES BY IAn hoRnBY nEWLY PUBLIShEd
ThE Ex FACToR CoMEdY 3M 4F, SInGLE SET
(No, nothing to do with the game show!) Imagine it - you and your wife-to-be are struggling to open your bed and breakfast. The B&B inspector is due any moment. So it is for Phil and Jane. Except the imminent inspector is Phil’s ex-wife Felicity, and there never was any love lost between the two women. And there’s a rumour that Felicity’s latest beau used to be a Chippendale - not good when your first guests - two matronly women - are also due to arrive. And the place is almost - but not quite - finished, the rising wind threatening to blow the roof off the barn. The stage is set for misunderstandings, jealousy, women at war and even a burglary. That all-pervading scent of the farmyard doesn’t help either.
ConFEREnCE PAIRS CoMEdY 2M 5F, SInGLE SET
Each and every year, the members of the national sales team of JW Roberts Ltd. meet in a hotel for their sales conference. And each and every year they continue their “liaisons” with other members of the sales team. Afterwards they will go back to their everyday lives, but this weekend they’re out to enjoy each other. Peter and Eve have conveniently-opposite rooms in the hotel, but just about anything that can prevent their continued relationship actually does prevent it, including fire alarms, falls, difficult hotel staff, visiting bosses, lost keys, two pairs of handcuffs and a surprise visit from Peter’s wife.
With scope to insert your own songs and include references to current popular culture The Adventures of Jason and the Argonauts is an opportunity for an imaginative director to produce a musical romp that can be enjoyed by all ages. It certainly bounces along at a jolly pace and the humour is sophisticated enough to be enjoyed by adults but never so rude as to make it unsuitable for children. It could also be argued that there is an educational element because, despite all the tomfoolery, the themes that form the ancient myths on which the story is based are still present. As our heroes climb aboard the mighty Argo and set off in search of the Golden Fleece, they encounter Chiron the Centaur, the Bull of Colchis and, finally, the Dragon Snake. These roles could easily be accommodated by actors in masks but the author does suggest that if your production does have any money to invest it should be used to make elaborate puppets to represent these characters. At just thirty-two pages The Adventures of Jason and the Argonauts could be presented as part of an evening’s entertainment or, by the inclusion of musical numbers, could be extended to be a full length production. The script is good natured, witty and fun and it could be produced as a youth production or would make a nice alternative to a pantomime.
DANCING TO THE SOUND OF CRUNCHING SNAILS Joe Graham J Garnet Miller ISBN NO: 9780853436621 2M 2F
Katie, a woman in her early twenties, is busying herself in the kitchen, nervously humming along to The Blue Danube as it plays on the stereo. She is obviously trying to mentally prepare herself for an ordeal ahead. Meanwhile, Sam, her husband is in the living room completely immersed in honing his skill in the fine and ancient art of, er, Buckaroo. Finding the Strauss waltz distracting he swaps the music for the genius that is Mike Batt and the air is filled with the sound of A Wombling Merry Christmas.
And not forgetting the very popular favourite
hELLo, IS ThERE AnY BodY ThERE? FARCE 4M 5F, SInGLE SET
All is dull and peaceful at Squire Grange. Lady Amelia searches for new ideas for her latest mystery novel as Sir Malcolm sleeps off the excesses of another idle day. Family friend Freddy is persuaded to try and think of new ideas. Meanwhile the hapless Vic Tim arrives and is promptly dispatched by an unknown assailant. Everyone tries really hard to discover the murderer, but not in time to prevent the Producer being murdered. And someone else. This hilarious farce steadfastly refuses to take itself (or anything else) seriously.
www.scripts4theatre.com Free evaluation copies on request. Visit our for details of these and the rest of Ian Hornby’s 36 published plays.
Contact ian@scripts4theatre.co.uk tel: 01925 485605 Or write to Ian at 2 Hereford Close, Warrington, Cheshire WA1 4HR www.amateurstagemagazine.co.uk | 21
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AM
BACKSTAGE Joe Graham has shown good skill here. Within the first minute he has introduced us to some characters that it is hard not to like, established that it is Christmas and that, for Katie at least, there is tension in the air. We might guess that, due to the season, the cause of that tension is families. Before long Katie’s sister arrives, but she is not the cause of this tension. Through little clues in the dialogue we realise that the sisters’ father is what is causing Katie to be so anxious. She has not seen him since she was a small girl and her parents divorced. The nervousness at meeting her father is tinged with resentment; a feeling that he abandoned them at a time when they didn’t understand what was happening. Katie’s memories of her father are so remote she does not know what is real and what was planted into her head by her mother so that, when the meeting comes, you could cut the air with a knife. Perhaps it is he knife that Katie was, until recently, threatening to use for self harm as a way of avoiding the meeting all together. Fortunately for all concerned, Father turns out to be good natured, jolly and, by his own admission, a big fan of Buckaroo. All families have secrets though and we haven’t quite reached the “all live happily ever” after stage just yet. The author does very well to avoid any clichés with the storyline and, as the significance of the play’s title and of The Blue Danube is revealed, we have a sense of having been on a journey with the characters. This is quite an achievement and I found Dancing to the Sound of Crunching Snails to be a very satisfying piece of theatre.
WHILE YOU LIE Sam Holcroft Nick Hern Books ISBN NO: 9781848421240 3M 2F RRP: £8.99
Before I read a word of this script I was intrigued by the note on costume below the character list. “At no point should any actor appear naked”, it says. I wondered why the author felt it necessary to insist on this point rather than leave it to the discretion of the director. I read on with interest. The play begins with Ana and Edward dressing to go out for the evening. Ana tries on a red dress, then a black, then the red again whilst Edward worries about the time. This typical domestic scene could have taken place in bedrooms throughout the land, but a row begins and the theme of the play is quickly established. This is a play about truth and lies and Edward’s brutally honest remark that it is not Ana’s varicose veins that make her unattractive but her constant need for reassurance, is the start of an investigation into our need for honesty regardless of how much it may hurt. Ana works as a secretary for Chris who both patronises her and takes her for granted until he is shocked by Ana’s new found need for the truth no matter what the cost. I have remarked before on Sam Holcroft’s use of very strong language in her plays, but I believe that this time the context makes it justifiable. As we are still reeling from the sudden outburst, the setting changes to the bedroom of Chris’s house. He has just arrived home where his heavily pregnant wife, Helen, is preparing for bed. There is a short but effective piece of dialogue that reminds us of just how many little white lies we tell each other every day. Chris embarks on an affair with Ana, making ever more extreme sexual demands on her. Meanwhile both of the women solicit the services of Ike, a representative of a company that does re-constructive surgery and the services purchased by Helen lead to a frantic and dramatic event at her birthday barbecue. While You Lie is an interesting examination of the effect of truth and lies. As the characters push the boundaries we wonder how much of the naked truth we really want to know. Perhaps this is why the author included her instruction on the nakedness of the actors.
Plays for review should be submitted to: Amateur Stage Limited Suite 404 Albany House 324 Regent Street London W1B 3HH Whilst all efforts will be made to review scripts received the publisher cannot guarrantee reviews. We regret that scripts cannot be returned.
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BACKSTAGE
Samuel French Ltd
play publisher and leasing agents Samuel French Ltd New releases! The play publisher
Lingua Franca
A play by Peter Nichols CasT M3 F4. sCene A classroom Based around a leading character in Peter Nichols’ Privates on Parade, and inspired by his own experiences, Lingua Franca is a fast-paced story that plays with notions of xenophobia and cultural stereotypes to comic effect. It’s the mid1950s and Steven has travelled to Florence to teach English in a chaotic language school, Lingua Franca. As he tries to make sense of his life and a Europe at peace after so many years of war, his colleague’s unrequited obsession leads to highly dramatic consequences. Price £9.25
samuelfrench-london.co.uk
Party
A comedy by Tom Basden CasT M4 F2. sCene A garden shed In a humble garden shed in deepest Suburbia, four young idealists have decided to form a new political party to save the world from itself. The new fifth member, Duncan, sets about saving the world from them. Party is a comic play about small minds tackling big issues. “Tom Basden’s astonishingly well written and incredibly funny debut play ... by turns hilarious and incisive, poignant and tragic. Don’t miss this...” Time Out. Price £8.95
French’s Theatre Bookshop 52 Fitzroy St London W1T 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 Email: theatre@samuelfrench-london.co.uk Open 9.30 - 5.30 Monday - Wed and Fri and until 7.00 on Thursdays. 11- 5 Sat
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A Chat with
MICHAEL STARR
Michael Starr is a young British playwright who came to our attention through the Amateur Stage website. We talked to him about his playwriting career and the ups and downs he has experienced as a self publishing writer.
A
career as a writer can be a lonely one with many aspiring writers not knowing the first thing about how to break into the industry. For Michael, it’s been a case of hard work, perserverence and just a little bit of luck. “I started off writing some comedy material for a chap called Graham Storer, who was an up and coming comedian. He was at the Comedy Club in Putney and at the time he wanted a team of writers behind him to come up with some material. I applied for the role and was incorporated into the team. I did small sketches and monologue routines. I’d never really written before that so it was quite a challenge. I did it for about six months and it was a good time, then he went back to Australia to carry on his career there”. “From there I saw an advertisement in a local newspaper for a small amateur festival. I submitted a short play called Dilemma which I had written especially for that and it was featured with a group of plays at the Eastbourne Congress Theatre. It was a short play about a depressed clown, you saw two faces of him – when the children were about and then behind the scenes when he took to the bottle. It was dark and deep which really wasn’t my style if I’m completely honest but it was my introduction to amateur theatre and writing plays in general”. When talking about the process we asked him if there was a general way he worked. “I’ve now completed 7 plays and have about 20 scripts on the go. I’m always working on one at any time and will work on that for a while before jumping into another. Having spoken to other playwrights, that seems to be the way many work”. “I’ve had several plays produced, with my full length play being the most popular. 2011 is already shaping up to be a good year with a production scheduled in Jordan in the Middle East. I’ve started writing for children’s theatre and have a couple of productions of those plays starting next month. I’m also gearing up for the fringe
festivals”. Playwriting is a notoriously difficult industry. We asked Michael what challenge existed in the early days of his writing career. “The biggest challenge for me was being intimidated by what other playwrights were doing. I like to look at what other playwrights (both amateur and professional) are doing, their styles and how they promote their plays. I had enormous self doubt about whether my plays were acceptable and whether I could market myself in a way that would attract theatre groups. There were also challenges technically with things like script formatting. It was just a case of trying to find my own style. I tried lots of things, some worked, some didn’t. Lots of scripts never got finished as I lost the momentum and the motivation. You need to just find your place
within the amateur theatre environment, somewhere you feel that things work for you. Script formatting and submission is still one of the most common questions I get asked about”. “Initially I used word with a free plug in offered by the BBC, before moving on to Final Draft which is more geared towards screen and movie writing. They seem to have expanded into stage and radio plays now, which is great. When I first started formatting was the big hurdle. I would submit my scripts to some publishers only to have it rejected just on the basis of formatting. It took a long time to go back and reformat the scripts. My biggest piece of advice would be to take the time to read tutorials on how to do it and make your scripts as clean and easy to read as possible”.
CUDOS - Stranded
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SCRIPT-WRITING SOFTWARE Amateur Stage looks at some of the offerings available to budding playwrights and seasoned professionals.
SCRIPTSMART ScriptSmart is a free set of templates that work with Microsoft Word. ScriptSmart is a great starting point for anyone considering writing their first script and can be downloaded from http://www.bbc. co.uk/writersroom/scriptsmart/index.shtml Horsington Festival - On The Belgian Front COLNBROOK AMATEUR STAGE THEATRE - Stranded
FINAL DRAFT
Michael is quick to point out that writing a script is sometimes the easy bit. Once a script is written a whole other set of obstacles come into view. “It was very difficult to get onto the publishing ladder. I lost count of the number of rejections I received from the leading publishers. It got to the point where I decided to self publish my plays. I initially used Lulu (www.lulu.com), but then realised that this wasn’t as handy as I had hoped. With Lulu you can self publish, then pay a little bit more for distribution and that filters your work into Amazon and other book retailers. Whilst that gets your books out onto the market, you lose control of your royalties. People can buy the plays and perform using the scripts without paying royalties, there’s no security blanket. I thought the best way to go was to scrap the royalty fees and just focus on the publications which I discovered was not a very successful plan. Eventually, I fell back into publishing myself and I’m now using Production Scripts (www.productionscripts.com) to manage that for me”. Michael is quick to point out that the role of an aspiring playwright is now largely about self-promotion. “I talked to another playwrights who focuses purely on adaptations of things like Charles Dickens and he does very well out of it, but then he has a huge portfolio to fall back on. Ultimately, I think it has a lot to do with luck and how well you promote your plays. You can have the best play in the world but if no one sees it...”. “It’s difficult to get amateur groups to look at your work but it is changing. Groups used to look at well known plays that would put bums on seats but now many groups are looking to cut costs. Sometimes the royalty demands on a script can be quite high. Now many are looking for new plays, new writers or works they can commission that cost less. It’s horrible to say but it’s about the cheaper option! Groups seem to be more prepared to take risks with new works than ever before. If you are applying to festivals or groups take the time to
really read the submission guidelines and make sure you meet those guidelines”. “Social networking has really helped a lot recently, it allows playwrights like me to communicate directly with a lot of the theatre groups nationally, which is something we really couldn’t do before. These little things make up a bigger picture. If the group is ambitious enough and confident enough in what they are doing, there are great opportunities on both sides”. “I’m using both Twitter and Facebook and they are great ways to meet people you wouldn’t usually meet. There are a few sites popping up with specific reference to theatre and they are well worth joining”. Perhaps one of the most exciting developments for Michael is the news that he has just received a grant. “I’ve just received a grant from the Arts Council. I’ve been applying to self publish one of my plays for about three years now. Each year I got a polite rejection, but this year (and I don’t know what changed), they decided to back me which is fantastic. What I’m intending to do is write a play and stage it at a major fringe festival. It’s hard work but every playwright should apply, it’s open to everyone and well worth it”. Michaels enthusiasm towards writing is quite infectious. We asked if he had any advice he’d offer to young writers just starting out. “If you’re looking to start out make sure you research what others are doing. Take the time to read scripts and see how people are working. Get involved with a local theatre group or grab some friends together to go through your scripts to get some feedback. Find a corner of the internet that is yours and start self promoting. The rest hopefully will start to write itself”. Find out more about Michael at www.michaelstarr.co.uk
Final Draft is the number-one selling application specifically designed for writing movie scripts, television episodics, and stageplays. It combines powerful word processing with professional script formatting in one self-contained, easy-to-use package. Don’t waste valuable writing time on stringent formatting rules – Final Draft automatically paginates and formats your script to industry standards as you write. Final Draft isn’t a cheap option (RRP $USD249) but for seasoned writers it can be a great help. www.finaldraft.com
SCRIPPED Primarily used for screenplays Scripped has several packages available and offers online support and a writers community that many writers may find of interest. www.scripped.com
CELTX Free to download, Celtx can be a bit of overkill if you are just starting out. You can use Celtx for the entire production process - write scripts, storyboard scenes and sequences, sketch setups, develop characters, breakdown & tag elements, schedule productions, and prepare and circulate informative reports for cast and crew. www.celtx.com
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WHO’S WHO OF PLAY PUBLISHING IN THE UK Amateur Stage takes a look at just a few of the players in publishing in the UK and gets an idea of what they have to offer. OBERON BOOKS
Oberon Books was founded by James Hogan in 1985 at a time when few new writers were published. It grew out of Hogan’s work with a play reading group at Riverside Studios. Hogan wanted to open the doors to publication to new writers beyond the lucky few who were published at the Royal Court. “It was a dire time”, says Hogan “when much of the funded theatre sector had been colonized and practically sterilized by the intellectual left and an army of blinkered apparatchiks”. Hogan set about freeing things up which included breaking down longestablished connections between theatres and agents, agents and publishers. “Drama publishing needed an upstart”, says Hogan, “and I happened to be there at the time”. Twenty five years later Oberon is in danger of joining the establishment with its picture books for the Royal Opera House and other prestigious organizations. But all this additional commitment grew out of Hogan’s love of graphic art and design, rather than ambition. Hogan relishes the feel of good paper and the chance to work with illustrators like Andrzej Klimowski and Elizabeth Bury. New titles include the Royal Ballet Yearbook and the soon to be published book of the BalletBoyz, which promises to be “real cool”. Oberon’s new book on the Birmingham Royal Ballet is currently selling well on Amazon. Hogan: “It always surprises me if we make any money”. The soul of Oberon is playtexts and always will be. The backlist includes some 1,000 plays by new successful writers such as Richard Bean, Simon Bent, Tim Crouch, Mick Gordon, Tanika Gupta, Dennis Kelly, Laura Wade, Tamsin Oglesby, Robin Soans and the recent Royal Court discovery 18 year old Anya Reiss, whose first play Spur of the Moment won the TMA Best New Play Award. But every publisher needs a thriving backlist and where do find one if you’re a brand new publisher? Oberon made some shrewd acquisitions is the early days. It bought the entire Absolute Classics list, which included performing versions of most of the European classics and some “discoveries”. But the most surprising acquisition, says Hogan, was a huge chunk of major British plays from the 50s, 60s and 70s which had gone out of print. They include swathes of plays by John Mortimer, Pam Gems, Charles Wood, John Osborne, Bernard Kops, David Pownall, John Whiting, Arnold Wesker, Keith Waterhouse, Charles Dyer and Rodney Ackland. This farsighted policy is paying off. Ackland’s The Dark River enters the National Theatre repertory later this year and Before the Party opens at the Almeida. Oberon has already had a major success with Ackland’s Absolute Hell which reached Channel 4 and the National starring Judi Dench. Wesker’s The Kitchen also opens at the National. Oberon’s focus on the hot political potatoes of the day is largely built on the “Tribunal” plays pioneered by The Tricycle Theatre under Nicolas Kent’s trail-blazing leadership. They include Guantanamo, Bloody Sunday, and the much celebrated The Colour of Justice (Stephen Lawrence Enquiry). Behzti by Gurpreet Gaur Bhatti caused riots in Birmingham and Richard Bean’s England People Very Nice had protestors jumping on the stage at the National. Now Oberon like the rest of the world is faced with the challenges of a rapidly changing publishing industry, and
meeting the demands of consumers in an increasingly technological age, but Hogan has his own way of coping with this technological revolution: “I just fill the place with clever young people”.
JOSEF WEINBERGER
Josef Weinberger Plays is pleased to announce the publication of our 2011 Catalogue of New Plays, featuring some of the best new plays from here and abroad and available for performance in the United Kingdom. Recent acquisitions include Brian Parks’ Edinburgh Festival favourite Imperial Fizz, Jane Thornton’s latest comedy Say it With Flowers from Hull Truck, Simon Brett’s delightful two-hander A Healthy Grave and Jill Hyem’s new romantic comedy We’ll Always Have Paris, first seen at the Mill at Sonning Theatre. New and recent releases as well as those listed include: Vanessa Brooks: HYPOTHERMIA Arthur Miller: ALL MY SONS Arthur Miller: A VIEW FROM THE BRIDGE Arthur Miller: THE CRUCIBLE: If you’ve yet to receive a copy of the 2011 Catalogue of New Plays, please contact us to receive your complimentary copy or visit our all-new website www.josef-weinberger.com for up to date information on our latest acquisitions, releases, current restrictions and news of our plays in performance throughout the UK.
SAMUEL FRENCH
As a play publisher, play leasing agent and theatre bookseller, Samuel French Ltd has been serving theatre for over 175 years. 1830 was the year that George IV died and his younger brother William became King; Stephenson’s Rocket had just been completed and the first passenger-carrying train was being “dragged by a locomotive”. In the theatre Black Eye’d Susan had just made history, running for 150 performances at the Surrey Theatre. In this year too the forerunner to the firm which was to become Samuel French Ltd was founded in London. Thomas Hailes Lacy, a respected actor manager who had dabbled in publishing, gave up the stage and established a play publishing business in Covent Garden, London, in the mid 1840s. The business expanded rapidly as Lacy acquired titles by buying up the plates of earlier publishers; Dunscombe, Webster, Oxberry and Cumberland all came into his grasp. Lacy also published his own editions and by 1873 Lacy’s Acting Editions of Plays ran to 99 volumes and contained 1,485 pieces. In 1854, in New York, Samuel French was starting a similar enterprise to Lacy’s. Five years later he came to London on a visit and about this time the two were doing business together, each acting as the other’s agent across the Atlantic. In 1872 French decided to settle in London, leaving his son Thomas Henry French in charge of the New York business. Lacy was now 62 and having no-one in his family interested in carrying on the business, he sold out to French for £5,000. Two years later Lacy died. The business continued to prosper under Samuel French and a young manager he had appointed, Wentworth Hogg. When French died in 1898, it is doubtful if there was then a single famous English playwright of the past sixty years that had not been represented by his
firm, as a glance at his catalogue for that year will show. The London end of the business developed the idea of controlling performing rights and the collection of royalties on them. Samuel French acquired not only the publishing rights but also the rights of performance of plays throughout the British Isles, later adding the same rights for America. The business developed steadily throughout the 20th Century. Overseas agents were appointed to license our plays as far afield as Australia, Africa and India and the catalogues of other play and musical publishers were acquired. As the theatre took a new direction in the 1950’s this was reflected in Samuel French’s list and soon its authors ranged from John Osborne and Joe Orton to Arnold Wesker and Eugene Ionesco. At the same time the company was consolidating its reputation in the professional theatre both as an invaluable source of information and as an agent representing professional stage rights. The advent of the new millennium saw Samuel French develop an internet presence with a website offering online sales and a unique search engine for plays along with a newsletter and opportunities to interact through Facebook and Twitter, while the company continued to acquire plays by important new writers from theatres across the UK. Today the company has offices in New York, London and Hollywood and agencies worldwide. French’s Theatre Bookshop in central London stocks plays, musicals and books on the theatre and offers a well-informed specialist service, backed by unique knowledge and experience. Currently, we handle some 2000 titles for amateur performance and have a list of nearly 1600 Acting Editions in print, with authors including Oscar Wilde, Noël Coward, Samuel Beckett, Tom Stoppard, Harold Pinter, Alan Ayckbourn, Agatha Christie and many more. For more information, to contact Samuel French or to buy online, visit www.samuelfrench-london.co.uk.
STAGE SCRIPTS
Stagescripts Ltd is seen as a relatively new entrant in the publishing and rights-management business but is one that has evolved and expanded over time. It signed its first titles into a catalogue in 1998, but it wasn’t until four years later as ‘Plays And Musicals’ that it began to really expand and grow a new catalogue. In 2007 it registered the company name Stagescripts Ltd as the formal trading operation and has forged quietly ahead ever since. David Waters, their Managing Director, says that its business strategy is to fill a void in the marketplace between the types of publishers with catalogues of mostly junior school musicals, pantos and one act plays for festivals, and the big three or four market leaders with their huge lists of ex-West End and ex-Broadway titles. For plays, they provide a balanced general catalogue of titles ranging from family-friendly comedy to some distinctly edgy contemporary drama, with all shades of styles and content in between. They’re certainly not the biggest publisher and rights-holder for plays, nor do they claim to have lots of famous authors or ‘hundreds of titles’, but they do have a catalogue which is broad and varied, carrying a range of plays to amuse, excite, challenge and entertain. David told us, “Not everybody
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BACKSTAGE chooses their plays from French’s catalogue nowadays, and there are some cracking plays around if you know where to look”, and over the past few years the Stagescripts best one act sellers have been : ‘A Little Box Of Oblivion’, ‘Lucy In The Sky’, ‘The Ladybirds’ and ‘Fate’s Thread’, and their best selling full length plays have been ‘Stand And Deliver’, ‘The Village Hall’, Playing Away’ and ‘The Magdalen Whitewash’. For musicals, when they stepped up their game to become Stagescripts Ltd they had a small and restricted musicals catalogue and faced a choice. “Either we had to forget musicals altogether because they were a far harder sell than plays and pantos”, says David, “or, we had to go all out for a catalogue of good quality but ‘unknown’ musicals”. They decided on the latter approach and now have an expanding selection of highquality musicals, both small contemporary ones and big production ones. Each year a number of superbly written new musicals are produced that have good box office potential, but not having had West End success they get no wide exposure. These shows, being ‘in the shadow of the mega-musical’, can, nevertheless, given the right marketing, fill a theatre particularly if the title is right or it has some local resonance. Think for example whether ‘Wuthering Heights’, ‘Pride And Prejudice, ‘Witchfinder’, ‘Quasimodo’, ‘Much Ado’, ‘Nosferatu’ or ‘Gulliver’s Travels’ might attract your audience – all these are in the Stagescripts catalogue. For musical societies with a membership comprising nowadays mostly of ‘mature ladies’ they also have ‘Act Your Age’, a musical farce which was written especially for this type of group. They don’t just have ‘unknown’ titles though – there are some well-known titles too. For example, adaptations of Jayne Austen’s ‘Sense And Sensibility’, Mansfield Park’ and ‘Persuasion’, as well as the high-energy Australian musical theatre version of ‘The Pirates Of Penzance’. Youth group and college societies haven’t been forgotten either – over the last few years they’ve expanded this area to provide spiky dramas, contemporary musicals and some great comedy pieces. Their acquisitions come from many countries around the world, but being a British company, where possible they like to publish the works of new British writers and composers. Stagescripts provides a place where prospective producers and risk-taking amateur societies can find some exciting new material.
LAZY BEE SCRIPTS
Lazy Bee Scripts was one of the leaders in the charge to put publishers and rights agents on the Internet. What Lazy Bee in particular brought to the party was a neat bit of technology that allows every play in its catalogue to be read in full on its web site. The idea is to provide a service to potential producers that saves time, effort and expense. “Rather than scour catalogues, then libraries and bookstores,” says Stuart Ardern, the founder of Lazy Bee, “Why not do everything in one place? You can search the site for a script that might suit your purpose, and read it immediately to see that it really fits.” Stuart is keen to emphasise that the interest is in the content: “We’re not a technology company. Being on the Internet is not the point; the point is to use the web to give customers easier access to more scripts.” The only scripts that can’t be read on-line are the interactive murder mysteries - a separate category on the web site. Murder is a great money spinner for lots of theatre groups and whodunnits are often staged as competitive events, with prizes awarded to the audience members with the best (and sometimes worst) solutions. Publishing the text on the Internet would give some of the competitors an unfair advantage! Publishing the whole text on the Internet is a model that works for plays where it would not work for books. “When you’ve read a book, you’ve read it, but you read plays because you intend to stage something. That’s where the commercial side kicks-in.” The web site offers paper copies of scripts - either single “review copies” (for people - and reading committees - who prefer to read from paper rather than from a screen) or
performance sets of scripts. For customers with easy access to printers and photocopiers, the site offers electronic copies and copying licences. (“The licence to make your own copies usually works out considerably cheaper - but then you do the printing work.”) Of course, performance rights can be purchased on-line, and after that there’s an intriguing range of optional extras. The company started out with pantomimes; whilst these are still a major part of the offering, Lazy Bee Scripts has branched out into many other areas, and now offers well over a thousand scripts, ranging from one-minute sketches to a four-hour play cycle. Recent additions, for example, include a series of sketches by the members of the TLC Creative writing team, a musical space pantomime (“It’s a Panto, Jim, but not as we know it”) by Andrew Yates, and the musical “Hook and Pan - How it all began” written and originally staged in South Africa by Giles Scott, Helen Dooley and Bob Walsh. (Aficionados of 1980s British Pop may remember Helen and Bob from The Dooleys.) The web site groups scripts by category (one-act plays, plays for kids, and so on), but there are inevitably many overlaps. To get over this, and to help customers to focus on a manageable number of scripts, there is also a search engine, which can find scripts by genre, run-time, numbers of characters and a host of other parameters. Whilst the emphasis is on new writing, the classics also get a look-in, both through stage adaptations of novels and short stories and through Bill Tordoff’s abridgements of the Shakespeare canon, which preserve the original language, plot and character but distil the plays down to a run time of thirty to forty minutes. These were written for schools but are, of course, open to anyone. (Why not stage Hamlet at a one-act festival?) Lazy Bee Scripts can be found on-line at www.lazybeescripts.co.uk or via your favourite search engine.
PLAYSTAGE
There are two Playstage companies – Playstage Junior and Senior – both filling a need in undervalued areas of amateur drama. Playstage Junior provides royaltyfree plays for performance by primary schools and Playstage Senior publishes plays and sells licences to perform plays where all the best parts are for actors over the age of 40 (and far, far beyond!) Playstage Junior was started in 2002 by Lynn Brittney who is a published playwright and children’s author. In a previous life, Lynn was a drama teacher for both children and adults and started writing plays for her own students to perform. Her adult plays have been performed all over the world but it was in the area of children’s plays that Lynn felt there was the greatest need. Her own experiences as a drama teacher in a primary school highlighted the lack of easy to perform plays and so she set about filling the gap herself. “I feel passionately that drama in schools is undervalued at primary level and it is a shame because experience has taught me the value of drama as a tool for building confidence,
stimulating imagination and enhancing reading skills. So often, drama in primary schools (and some secondary schools) is pushed out by the demands of the rest of the curriculum and yet it can be of tremendous value by complimenting classroom work in history, humanities and English.” All the plays in the Playstage Junior catalogue have now been performed in schools in 38 countries. “We added schools in Vietnam; South Africa and Tibet in 2010,” comments Lynn, “word of Playstage Junior just keeps on spreading!” The formation of Playstage Senior for the adult amateur market, in late 2009, by Lynn and playwriting friends just seemed like a natural progression. “We were irritated that the existing play publishers were rejecting new writing that they deemed ‘oldfashioned’. It just seemed to us that they were completely out of touch with the needs of the core membership, and the audiences, of amateur groups in the UK. A significant section of amateur actors are over the age of 40 and their audiences are looking for an evening’s entertainment – preferably with the family –watching farces; comedies; mysteries and good dramas. Also, a lot of new writing completely sidelined older actors and relegated them to bit parts. We felt it was a waste of all that experience.” All Playstage Senior play reading sets are sent free of charge to all local drama libraries in the UK that will accept them. “Some don’t,” says Lynn, with exasperation, “though quite why they should turn down something that is free in this day and age, we have no idea.” Some libraries, apparently, have now relented, forced to admit that there have been constant requests from the public for Playstage Senior reading sets. Playstage Senior has been extraordinarily successful during it’s first full year of operation. “We have licensed performances throughout the UK of both one act and full length plays, and, during the second half of 2010, we found ourselves suddenly very popular in Eire, the USA, Canada and amongst expat groups in France and
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BACKSTAGE Switzerland.” The Senior catalogue was started with 18 plays by Lynn Brittney; David Summers and Alan Marshall. A further 7 plays were added at the end of 2010 and a new writer joined the stable – Stewart Auty. The range of plays now “covers all the bases” according to Lynn Brittney, “We have comedies; farces; a new murder mystery; a spy thriller; two Dicken’s adaptations; a revue; moving dramas; two all-women one act plays and several themed one act plays that can be performed as stand a lone or bolted together to make a full evening’s entertainment. More plays will be added during 2011.” Which plays have proved the most popular in the Playstage Senior catalogue? Well, undoubtedly the most performed, to date, has been the full length farce Old Actors Never Die…they simply lose the plot which, according to one reviewer of a recent performance in Cobham, Kent, had the audiences “weeping with laughter.” Of the one act plays – A Different Way To Die (a moving Holocaust survivor drama); Failed Investments (an all-women black comedy) and The Luvvies (a comedy about a drama association’s quiz night) have all had to go into reprint, such was the demand last year. The company has high hopes of one of its new one acts, which is called Unexpected Item in Bagging Area (an all-women satire on modern life), which has already attracted considerable sales. Similarly, two of the new full length plays, Annie, One, Two, Three (a murder mystery) and The Haunted Bookshop (a post WW1 spy thriller set in a bookshop) have also attracted interest, despite only being available since just before Christmas 2010. Playstage Junior can be accessed at www.schoolplaysandpantos.com Playstage Senior can be accessed at www.playsforadults.com
NEW THEATRE PUBLICATIONS
New Theatre Publications is the trading name of the publishing house of then not-for-profit Playwrights’ Cooperative. This exciting project was launched by writers Paul Beard and Ian Hornby in October 1997. It is run by playwrights who are member of theatre companies themselves, so we hope we know what you need, and we’re lucky to have a couple of high-profile household names as our patrons. From the outset it was our intention to provide the kind of service to writers that no other publishing house offers and we are constantly reviewing our methods to keep one step ahead of all the others. We have an online catalogue of well over 700 plays of all types (comedies, thrillers, farces, dramas, monologues, youth plays, pantomimes, etc.) and lengths, including a number of short plays that are free to download. Our plays are not limited to the UK, having attracted performances from just about every English-speaking country in the world, with a small number having been translated into other languages, notably Turkish and Japanese, by theatre companies in those countries. We offer FREE reading copies of any and all published plays for evaluation purposes - read the entire script without risking any cash. As with any plays, a royalty must be paid prior to any performances. Our website, www.plays4theatre.com has been specially designed with theatre companies in mind. You can search by type, length and cast size (both minimum and maximum), a system many other publishers have started to emulate. By request, we’ll send you occasional lists (by email) of recent publications. We print all plays to order, meaning every copy is an original print, thereby keeping our overheads low. For this reason we are often able to give a chance to new playwrights and new plays that show promise without us being driven by the cash register. And we’re always available on the other end of a phone line to help with play selection or just for a chat about anything to do with theatre. Give us a call and tell us what kind of play you want and what cast you have available and we’ll give you a list of suitable possibilities. In many cases we’ve started to list the age ranges of the characters and in all cases can tell you the number of spoken lines or words
for all characters – if you have some beginners to try or a few members who want small easy-to-remember roles, we can tell you what’s possible. Our performance rights are among the lowest in the business and we have a (possibly unique) advantage over other publishers in that we are constantly in touch with our member playwrights, meaning any changes needed to a script for your production can probably be addressed by the original writer - especially useful when you want to give topical flavour to a pantomime or adapt it for your cast. All our writers are encouraged to go and see your productions, allowing you to attract local media interest and sell a few more seats! All members of The Playwrights’ Co-operative, be they writers or theatre companies, qualify for a 15% discount on all play script orders. We always welcome new members and new submissions (each of which has a small admin fee). Members receive newsletters with advice and opportunities, an “author profile pages” on our website and many other benefits.
PRODUCTION SCRIPTS
Production Scripts is a web based marketplace service geared towards connecting writers of all levels to prospective directors, producers and actors from theatre groups across the globe. Our mission is to provide customers with the best possible selection of scripts whilst showcasing the hard work and talents of our writers. Production Scripts is not a publisher of plays, simply a listings site. This is what we have to offer so far:FOR THE WRITER - Free and unlimited script listings - Priority ticketing support - Competitive royalty payouts on all associated revenue - Live statistics on sales and rankings by script - Live statistics on viewing figures by script - The writer maintains all associated rights - Unique page url addresses for each script - No exclusivity capping. Writer may list works elsewhere - Cross reference exposure - Listing details are set by the writer - LiveSupport for any urgent priority queries - A selection of premium services to enhance script position within the marketplace - Free access to the writer portal - Monthly royalty payouts - Production and purchase information broken down by individual sale - Bestsellers chart for popular scripts - Unique control over what you list, how, and when. - Monthly newsletter with script submission opportunities - Individual writer Profile Pages (NEW!) FOR THE CUSTOMER - Instant downloadable digital scripts or audio files upon purchase - Instant royalty licencing cover upon purchase - Online script sample previews, read upto 90% of a script online before you buy - Licence A purchases for read throughs and workshops only - Licence conversion tool (NEW!) - LiveSupport for any urgent priority queries - Unique search functionality, search by many different functions. - Streaming audio samples built into script viewer for musical scripts - A huge selection of scripts to choose from - Sign up to newsletters and mailing lists to keep with updates - Purchase scripts in GBP, USD, or EUR currency - Simple sign up process for first time users - Bestsellers chart for popular scripts - Upgrade your customer account to a full writer account at anytime for free - Rate, view, or review all scripts individually www.productionscripts.com
WRITING FOR A GOOD CAUSE Eighteen years ago my twenty year old daughter, Katy, was diagnosed with multiple sclerosis. After trying to come to terms with the anger and pain that dominated the lives of my family, I decided to raise some money for research. It is a fairly simple equation: the more money raised for research, the sooner a cure will be found. This applies to all the diseases which afflict our world. I am not one of those brave people who can jump from a plane or walk around the coast line of Britain to raise money, so I took the fairly unusual step of writing farcical comedies and donating my royalties to MS research. In 1998 I wrote my first play and called it ‘Love Begins at Fifty’. It took me eighteen months to complete. My local amateur dramatic society, Hanborough Players, showed an interest in the play and staged it for three nights, the result being that over £1000 was sent to the MS Society. By a quirk of coincidence, relations of mine, who are involved with an amateur dramatic society called TOADS, travelled from Torquay to see it. The following year they ran it for their summer season production at The Little Theatre in Torquay. I was extremely relieved and pleased to say that the play was a great success at the box office. I then naively decided to find myself a publisher. This was quite a challenging task. However, Hanbury Plays very kindly took me on and published the play. I have now written a total of seven full length plays, all of which have been published by Hanbury Plays. They are all farcical comedies and they all have the word ‘love’ in the title. As well as raising money for MS research, through the writing of my plays I try to make people laugh, and what better way to do it than looking at the confusion and frustration that love can bring into our lives! It is often difficult for an unknown author to get his work into the marketplace. I am pleased to say, however, that my plays have enjoyed great success in the UK, with hundreds of productions and some summer season runs. They have also become very popular in Australia and Europe. At the present time over £22,000 has been raised by amateur dramatic societies staging my plays. My aim is to raise at least £100,000. For more information about my efforts please visit my website, www.raymondhopkins.com Information on my fundraising can be found at www.mssociety.org.uk and searching for ‘Raymond Hopkins’. If you would like to order one of my plays, please visit my publisher’s website at www.hanburyplays.co.uk/hopkins.html
NEXT MONTH SPECIAL FEATURE
PANTOLAND For further information on this feature contact editor@asmagazine.co.uk DEADLINE 22ND JANUARY 2011
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BACKSTAGE
MEET FIN KENNEDY
Fin Kennedy has written a number of plays for young female performers whilst in residence at Mulberry School for Girls, published in the volume The Urban Girl’s Guide to Camping and other plays. Three of these plays were performed at the Edinburgh Fringe, to great acclaim. His first play, How To Disappear Completely and Never Be Found, won the John Whiting Award for New Theatre Writing in 2005. He is published by Nick Hern Books, who also license his plays for amateur performance. Your play, How To Disappear Completely and Never Be Found, won the John Whiting Award before even having been premiered at the Sheffield Crucible, and is now being performed by amateur theatre groups all across the country – why do you think that is? It’s very hard to say. There was a time when I thought it would never see the light of day so it’s been terrifically heartening that it seems to be speaking to so many people now. I guess it just tapped into something about modern life. I’ve always thought that the treadmill of work in an advanced capitalist and (largely) atheistic society inevitably raises certain existential questions about where we now look for meaning – and what happens when we don’t find it. These questions are particularly acute when you’re younger, which is why I think the play appeals to youth theatres and university groups so much. There’s also the fact of the play’s form; though it has been arranged for five actors, between them they play something like thirty characters, so you could in fact use a much larger cast and have less doubling. That flexibility in the cast size makes it suitable for a whole range of different groups. Where did the ideas for the play come from? The play idea originally came from stumbling across the website www.missingpeople.org.uk for people who have gone missing and their families. They’ve got galleries of snaps of ordinary-looking people who are missing. I was instantly fascinated and began doing some more research. An academic study I read said that 210,000 people are reported missing each year in the UK alone. And far fewer of them than you might expect are due to abduction or mental health or suicide. Of those that are traced, two thirds say they did it deliberately
(as opposed to just drifting out of touch unintentionally). Further research showed that there was a whole cottage industry out there in self-help books about how to change your identity, and how to exploit loopholes in various systems so that you could survive outside of the mainstream world of documentation which we all take for granted. Is there any advice you would like to give groups interested in staging it? Just make the play your own. I don’t really believe in writers giving sets of instructions to follow about their plays – one of the joys of stage plays are that they are infinitely open to reinterpretation. Plus if a play is any good then all the clues you need to pull it off will be in the text. However, I have started a Facebook group for people who are staging the play. Go to www.facebook.com and search for “Staging Fin Kennedy’s HOW TO DISAPPEAR COMPLETELY AND NEVER BE FOUND ”. It’s an open group so anyone can join. I hope it will become a forum for performance groups to swap tips and advice, promote their own productions, or contact me directly if they want to. Could you tell me a little more about the plays you originally wrote for Mulberry School, Mehndi Night, Stolen Secrets and The Unravelling? How were they received when they were performed at the Edinburgh Fringe? The politics of belonging were explored in Mehndi Night through the personal stories of four sisters, three aunties, and a grandmother, the night before a wedding. I tried to do justice to these characters by inflecting their dialogue
with dashes of lyricism, which are such an important part of both traditional Bangladeshi and contemporary east London popular culture. The result was a heartfelt family drama about a rebel daughter returning to the roost after years of going it alone in the wider world. For Stolen Secrets we encouraged the girls to focus on any local stories that took their interest. To do this, we asked them to be our eyes and ears around east London, to harvest characters, lines of dialogue, scenarios and settings from the local area. Our designer created a beautiful set of ‘secret vaults’ - boxes with a deposit slot, for anonymous secrets from students and staff. We then took the best of this material and ended up with a set of five ‘urban fairytales’ about the hidden side of east London. A direct-address, ensemble storytelling style emerged, which was boldly interpreted by our directors that year with a really physical storytelling aesthetic. The critics loved it, and we got our first four-star review that year. The Unravelling is an existential fable about the power of the imagination. It places a metaphorical ‘handover’ between female generations at the heart of the story, yet it also uses direct-address storytelling as the means by which the characters summon their imaginative worlds from the apparent emptiness around them, and in so doing, discover their power. Perhaps most importantly, it took the Mulberry Theatre Company aesthetic to a whole new level. The production got rave reviews, sell-out houses, and won us a Scotsman Fringe First Award, the first time a school has ever received one. We had such a positive response from the critics, with the Scotsman dubbing us ‘One of the best writer-education partnerships there is’!
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BACKSTAGE In The Urban Girl’s Guide to Camping, the protagonists have left school. Would you still say it is a play for pupils? Yes, this is a play with a wide appeal I think. The characters are all aged between 19 and 21, but the issues of identity, community and personal morality which they are dealing with as young adults all start at younger ages than that. I chose that age bracket because it was dramatically most interesting to have the characters at a point where they were finishing uni and starting ‘real life’, ie. jobs, responsibilities and marriage pressures. It put them on the cusp of adulthood and made the choices they make loaded with significant consequences. It’s also no secret that adolescents look up to those a few years older than them, and aspire to that stage of life as somehow being more mature or important or ‘authentic’ than the stage they are currently at. The plays were written originally for a group of young third-generation Muslim women in the East End of London and portray some of the difficult choices they are facing. What did these girls teach you? They taught me that the established narrative about Islam in the UK isn’t very accurate. Here were a group of intelligent, articulate, ambitious, confident young women as comfortable with pursuing a high-flying career as they were with their faith, which was clearly a source of great strength and positivity in their lives. They weren’t oppressed, or exotic, or into extreme ideas – which are the three broad stereotypes about Islam most often repeated in the mainstream media. They were East London girls, with that brassy, Cockney confidence – and they were flying the flag for a new generation of inner-city youth who are finding ways to straddle two cultures and, for the most part, find acceptance in both.
The challenges they faced were mostly challenges that young people from the inner cities have always faced, such as class prejudice, material deprivation, or misunderstandings between generations – conflicts that are to a large extent archetypal in the adolescent experience. The ways that these young Londoners are forging new identities right under our noses is really interesting to me, and a rich seam to mine for dramatic material. So it was a real pleasure to work with them and write some plays together – not least because we didn’t just focus on ‘being Asian’ or ‘being Muslim’, but produced some great plays that will appeal to anyone, and which I hope stand on their own merits as great stories, truthfully told. The four plays are displaying great awareness of the way young people speak today. How did you achieve this immediacy? There’s no substitute for just spending time with the group you’re writing for. You find you end up absorbing the dialect and accent of the students, and after a while being able to reproduce it on the page. Though I am a bit of a language nerd and will always ask them about it if they come out with a word or expression I haven’t heard before – and I’ll add it to my collection of east London slang.
we develop those drafts throughout the rest of the year and eventually hand the plays over to Mulberry Theatre Company’s director to rehearse them up into script-inhand readings, where we hire professional actors to come in and perform them at the end of the summer term. Drama and English teachers in particular get a lot out of it, because working as writers themselves, building their own play up from scratch, helps them see from the ‘inside out’ certain rules about dramatic structure, or subtext, or how a location affects action, which they can then apply to other playtexts which they might be teaching in class, or when their students are doing their own creative writing. They’re free to use, adapt or recycle all the exercises I do with them. But sometimes I’ll get other teachers, say from Science or Maths, enrolling too. It’s not just about transferable skills or professional development, but also about Mulberry as an enlightened organisation just saying ‘Let’s have happy, fulfilled staff by having a dedicated space where they can explore a creative interest.’ The modern teacher’s schedule is pretty hectic, so it’s great to have something on-site where they can continue to learn and develop - as professionals, but as people too. Read more about Fin and his work at www.finkennedy.com
You teach as well as write yourself - in what way do your classes enable drama teachers to engage better with their students? During the four years I have worked at Mulberry I’ve run a staff playwriting course that has gone from strength to strength. The brief is for each teacher to develop their own ten-minute play, and we use the Easter break as a natural window of opportunity where they will have some time to write their first draft. Then
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BACKSTAGE
FIRST NIGHT INSURANCE
ELTO - A GREAT LEAP FORWARD Robert Israel ACII talks about insurance updates relating to amateur theatre.
E
very so often the Insurance Industry comes up with a particularly good idea, although good ideas always seem to involve us, the Insurance Broker, in extra work.
Some years ago following, I would suspect, a significant amount of pressure being exerted by the Police, Insurance Companies banded together and the Motor Insurance Database (MID) was formed. The Database allows the Police and Insurers to trace the current insurer of any motor vehicle, with the registration number being the unique identifier. A similar problem has existed in the Employers’ Liability Insurance market and Insurers are now moving towards a similar database, which will shortly be operational. This will allow claimants to be able to trace the Employers’ Liability Insurer that was on risk at the time of the claimant’s injury.
Database). The Employers’ Liability Tracing Office members will be required to supply Policy data to the Employers’ Liability Database on all new and renewed Employers’ Liability Policies from 1st April 2011. The Employers’ Liability Database will be accessible for claimants’ searches from this data via www.elto.org.uk This is, in my opinion, a great step forward and should be an enormous help to claimants who have contracted serious illnesses over the years, remembering that Insurance is a service industry and here is a way of improving that service, which must be good for both Insurer and individual. One up to the Insurers, at last some good news!
In 1999, the Association of British Insurers and the Insurance Industry established a voluntary Employers’ Liability Code of Practice. This was the forerunner for the Employers’ Liability Tracing Office, which is an independent industry body comprising members who provide Employers’ Liability Insurance in the UK. The Tracing Office is a pro-active move by the Insurance Industry to meet its obligations to help those who have suffered injury or disease in the workplace identify the relevant Insurer quickly and effectively. From my own experience, some years ago we received a letter from a firm of solicitors acting on behalf of an individual who had contracted asbestosis in the late 1970s. The solicitors were trying to trace the Employers’ Liability Insurers so that they could attempt to make a claim against the Policy on behalf of their client. When the letter first arrived, I was extremely concerned because they were referring to an incident that had occurred 30 years ago. You must remember that, of course, in the late 1970s computerised records were only just beginning and tracing something that had occurred all those years ago was at first sight somewhat of a worry. In fact, the situation was quite complicated because the employer concerned had long since ceased to trade. In this particular case, we were quite fortunate in that I remembered who the Insurers were and I contacted them immediately. They were a little concerned because their records were archived and it appeared to be a bit of a problem! Fortunately for all concerned, we were able to trace the original file and were able to provide the Insurers with their actual Policy number, thus the problem was immediately solved, however I can see that as an industry this could be a massive problem and I am very pleased that the Employers’ Liability Tracing Office will soon be up and running because it is, in my opinion, an industry-wide problem and it is vital for the industry to be able to be able to successfully deliver a database that will ultimately improve claimants’ ability to identify their Employers’ Liability Insurer and seek the compensation to which they are entitled. At the heart of this new process is a centralised database (the Employers’ Liability www.amateurstagemagazine.co.uk | 31
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia 39 Steps, The
Blood Brothers
Dick Whittington
05 - 12 February 2011 Rugby Theatre Society Rugby Theatre Rugby, West Midlands 01788 541234
21 - 26 February 2011 Jersey Amateur Dramatic Club Jersey Arts Centre Jersey, CI 01534511115
28 January - 06 February 2011 Phoenix Players St Peter’s Theatre Southsea, Hampshire 0845 2939350
15 - 19 February 2011 Humdrum Spring Arts & Heritage Centre Havant, Hampshire 023 9247 2700
Bonaventure
26 Febraury 2011 St Marys Panto Players St Peters Theatre Southsea, Hampshire 02392 293020
09 - 12 March 2011 Knutsford Little Theatre Knutsford Little Theatre Knutsford, Cheshire 01565 873515
Aladdin 10 - 13 March 2011 Bingley Amateur Operatic Society Bingley Arts Centre Bingley, West Yorkshire 01274 562988
And Then There Were None
09 - 12 February 2011 Guildonian Players Little Theatre Harold Wood, Essex 01708 762822 www.guildonianplayers.co.uk
Brassed Off 29 March - 02 April 2011 Ulverston Outsiders Concordia Theatre, Ulverston, Cumbria 01229 587140
08 - 12 March 2011 Astwood Bank Operatic Society The Palace Theatre Redditch, Worcestershire 01527 546569
28 February - 05 March 2011 East Kilbride Light Opera Club The Village Theatre East Kilbride, South Lanarkshire 01355 245888
09 - 12 February 2011 Carnegie Youth Theatre Carnegie Hall Dufermline, Fife 01383 602302
Disney’s Beauty and the Beast
Annie
Chess
24 - 26 February 2011 Mid Cheshire Amateur Operatic Society The Grange School Theatre Northwich, Cheshire 01606 331557
01 - 05 March 2011 Dundee Operatic Society Whitehall Theatre Dundee, Tayside 01382 643868
01 - 05 March 2011 Starmaker Theatre Company The Wilde Theatre Bracknell, Berkshire 01189 789238
27 February - 04 March 2011 Ayr Amateur Opera Company Ayr Town Hall Ayr, Ayrshire 01292 262355
14 - 19 March 2011 Loughborough Amateur Operatic Society Loughborough Town Hall Loughborough, Leicestershire 01509 231914
07 - 12 March 2011 Knowle Operatic Society Solihull Arts Complex Solihull, West Midlands 0121 704 6962
Anybody for Murder
Cinderella
21 - 26 February 2011 Tynemouth Priory Theatre North Shields, Tyne and Wear 0191 292 9292
04 - 05 February 2011 Quaintwood Players Quainton Memorial Hall Aylesbury, Buckinghamshire 01296 651835
09 - 12 March 2011 Elgin Amateur Dramatic Society Town Hall Elgin, Moray 01343 542088
15 - 18 March 2011 Carnoustie Musical Society Carnoustie High School Theatre Carnoustie, Angus 01241 410337
11 - 13 February 2011 Quaintwood Players Grendon Underwood Village Hall Aylesbury, Buckinghamshire 01296 771022
22 - 26 March 2011 Penistone Centre Stage Musicals Paramount Penistone, South Yorkshire 01226 370121
25 - 27 February 2011 Elstree Productions St Michael & All Angels Church Hall Borehamwood, Hertfordshire 0208 953 6560
Babes in the Wood
Countess Maritza
23 - 26 February 2011 MDAODS The Grove School Market Drayton, Shropshire 01630 652454
10 - 12 February 2011 The Operetta Company St Georges Church Bolton, Lancashire 01204 527092
Back to the 80’s
Crazy For You
Best Little Whorehouse In Texas, The 22 - 26 February 2011 Heanor Operatic Society Heanor Gate Science College Heanor, Derbyshire 01773 762042
Blackadder The Third for Comic Relief 09 - 19 March 2011 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245 606505
24 - 26 March 2011 Erewash Musical Society Youth Group Duchess Theatre Long Eaton, Derbyshire 01332 875350
Footloose 16 - 19 March 2011 Marlow Amateur Operatic Society Shelley Theatre Marlow, Buckinghamshire 01628 473577
Disco Inferno Carousel
21 - 26 March 2011 Harpenden Light Operatic Society Harpenden Public Halls Harpenden, Hertfordshire 07817 331150
21 - 26 February 2011 Tiverton Junior Operatic Club The New Hall Tiverton, Devon 01884 253672
Fiddler on the Roof Jnr
Die Fledermaus
12 - 19 March 2011 Rugby Theatre Society Rugby Theatre Rugby, Warwickshire 01788 541234
Anything Goes
15 - 19 March 2011 Redruth Amateur Operatic Society Trust (RAOST) Hall for Cornwall Truro, Cornwall 01872 262466
28 February - 05 March 2011 Wickersley Musical Theatre Company Civic Theatre Rotherham, South Yorkshire 01142 877289 28 March - 02 April 2011 Maidstone Amateur Operatic Society Hazlitt Theatre Maidstone, Kent 01622 761998
22 - 26 February 2011 Waterside Theatre Company Waterside Theatre Southampton, Hampshire 07743 444819
15 - 19 March 2011 Alnwick Stage Musical Society The Playhouse Alnwick, Northumberland 01665 510785 15 - 19 March 2011 Yeadon Amateur Operatic & Dramatic Society Yeadon Town Hall Yeadon, West Yorkshire 01132 503032 22 - 26 March 2011 Romiley Operatic Society The Plaza Theatre, Mersey Square Stockport, Cheshire 08456 009186
Drowsy Chaperone, The 22 - 26 March 2011 Hebden Bridge Light Opera Society Little Theatre Hebden Bridge, West Yorkshire 01422 842371
Fanfare to Hollywood 08 - 12 March 2011 Good Companions Stage Society Guildhall Theatre Derby, Derbyshire 01332 721108
05 - 12 February 2011 Bolton Little Theatre Bolton, Manchester 01204 334 400 www.boltonlittletheatre.co.uk
08 - 12 February 2011 Chase Theatre Company Cryer Studio Theatre Carshalton, Surrey 020 8770 6990 www.suttontheatres.co.uk
Deep Blue Sea
Fiddler on the Roof
29 January - 05 February 2011 Wilmslow Green Room Society Green Room Theatre Wilmslow, Cheshire 01625 540933
08 - 12 February 2011 Stafford Players The Malcolm Edwards Players Stafford’s Gatehouse, Staffordshire 01785 254653
Goldilocks and The Three Bears 10 - 13 February 2011 Morley Amateur Operatic Society Morley Town Hall Morley, West Yorkshire 07960 766334
Gondoliers, The 02 - 05 February 2011 West Norfolk G & S Society Kings Lynn Corn Exchange Kings Lynn, Norfolk 01553 674715 16 - 19 February 2011 Clevdon Gilbert & Sullivan Society The Princess Hall Clevedon, North Somerset 01275 871983 03 - 05 March 2011 Kirkcaldy Gilbert & Sullivan Society Adam Smith Theatre Kirkcaldy, Fife 01592 595824 23 - 26 March 2011 Worthing Light Opera Company Pavilion Theatre Worthing, West Sussex 01903 206206
Graduate, The 09 - 12 February 2011 CCADS New Theatre Royal Portsmouth, Hampshire 02392649000
Grand Hotel 09 - 12 March 2011 Durham Musical Theatre Company Gala Theatre Durham City, Durham 0191 332 4041
Grapes Of Wrath, The 19 - 26 March 2011 Bolton Little Theatre Bolton Manchester 01204 334 400 www.boltonlittletheatre.co.uk
Guys & Dolls Fawlty Towers Part 2
Dangerous Corner
Ghost Train, The
15 - 19 February 2011 Southern Light Opera Company Kings Theatre Edinburgh, Mid Lothian 0131 661 1806
08 - 12 February 2011 Twickenham Operatic Society Richmond Theatre Richmond, Surrey 0844 8717651 www.twickenhamoperatics.com 23 - 26 February 2011 Hayling Youngsters Hayling Community Centre Hayling Island, Hampshire 01329 231942
32| www.amateurstagemagazine.co.uk
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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Guys & Dolls
Hamlet
Honk!
Iolanthe
24 - 26 February 2011 Stage One Youth Theatre Ferneham Hall Fareham, Hampshire 02392 293020
15 - 19 March 2011 Derby Shakespeare Theatre Co Derby Theatre 01332 255800
02 - 04 February 2011 Swanley Light Opera Group Woodlands Theatre Swanley, Kent 01474 708448
08 - 12 February 2011 St Andrews Operatic Society St Andrews Roker Sunderland, 0191 548 4621
09 - 12 March 2011 Breakaleg Productions Unicorn Theatre Abingdon, Oxfordshire 01235 821351
10 - 12 March 2011 Axis Youth Productions The Playhouse Walton on Thames, Surrey 0208 890 6826
07 - 12 March 2011 Leicester G & S Operatic Society The Little Theatre Leicester 01162 551302
Haywire
Hot Mikado
22 - 26 March 2011 Birmingham Savoyards G & S Society Old Rep Birmingham, West Midlands 0121 303 2323
01 - 05 March 2011 St Andrews Amateur Operatic Society Byre Theatre St Andrews, Fife 01334 475000 30 March - 02 April 2011 Ellesmere Operatic Society Montgomery Theatre Sheffield, South Yorkshire 01142 364487
Half A Sixpence 21 - 26 February 2011 Carmarthen & District Youth Opera Lyric Theatre Carmarthen, Carmarthenshire 01267 242791 21 - 26 February 2011 Guiseley Amateur Operatic Society Guiseley Theatre Leeds, West Yorkshire 08453 705045 01 - 05 March 2011 Lyric Club The King’s Theatre Glasgow, Glasgow 08448 717627 29 March - 02 April 2011 Ingatestone Musical Operetta Group Ingatestone Community Theatre Club Ingatestone, Essex 01277 234581
Hay Fever
03 - 06 February 2011 Avenue Theatre Sittingbourne, Kent 01795 471140
Hello, Dolly! 27 February - 05 March 2011 Chelmsford Amateur Operatic & Dramatic Society Civic Theatre Chelmsford, Essex 01702 527407 30 March - 02 April 2011 Tamworth Arts Club Tamworth Assembly Rooms Tamworth, Staffordshire 01827 709618
High School Musical 15 - 19 March 2011 Wolverhampton Musical Comedy Company Grand Theatre Wolverhampton, West Midlands 01902 429212
02 - 05 March 2011 Doncaster Amateur Operatic Society Civic Centre Doncaster, South Yorkshire 01302 344865
Jamaica Inn 10 - 19 February 2011 Hartley Arts Group Victoria Hall Hartley Wintney, Hampshire 07956 412826
08 - 12 February 2011 Ecclesall theatre Company Ecclesall Parish Hall Sheffield, Sth Yorkshire 0114 2308842 www.ecclesalltheatre.co.uk
Into The Woods
Jane Eyre
Inspector Calls, An
21 - 26 March 2011 The Tinhatters Concordia Theatre Hinckley, Leicestershire 01455 610010
22 - 26 March 2011 Hessle Theatre Company Hull New Theatre Hull, East Yorkshire 01482 226655
22 - 26 March 2011 Canterbury Operatic Society Gulbenkian Theatre Canterbury, Kent 01227 769075
Jekyll & Hyde 21 - 26 February 2011 Erewash Musical Society Duchess Theatre Long Eaton, Derbyshire 01332 875350
24 - 27 March 2011 Whitefield Amateur Operatic & Dramatic Soc The Paragon Theatre Prestwich, Greater Manchester 0161 278 8178
WOODHOUSE PLAYERS - OUR COUNTRY’S GOOD
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia
WImbledon light opera - dad’s army
Jesus Christ Superstar
Likes of Us, The
Lucky Sods
Mack and Mabel
07 - 12 March 2011 Galashiels Amateur Operatic Society Volunteer Hall Galashiels, Selkirkshire 07754 588688
09 - 12 March 2011 Andover Musical and Operatic Society The Lights Theatre Andover, Hampshire 01264 368368
17 - 19 March 2011 An-Other Theatre Company Peterborough School Peterborough, 01733 315684
21 - 26 March 2011 Markinch Amateur Operatic Society Markinch Town Hall Markinch, Fife 01592 758478
Ladies Day
Little Red Riding Hood
Lucky Stiff
Me and My Girl
16 - 19 February 2011 Cosmopolitan Players The Carriageworks Leeds, West Yorkshire 01132 243801 www.thecosmopolitanplayers.btck.co.uk
27 January - 05 February 2011 Lyndhurst Drama & Musical Society Vernon Theatre Lyndhurst, Hampshire 02380 282729
15 - 19 February 2011 Southport Amateur Operatic Society Greenbank Theatre Southport, Merseyside 01704 228936
14 - 19 February 2011 Penzance Amateur Operatic Society St Johns Hall, Penzance, Cornwall 01736 363 350
Little Shop of Horrors
Macbeth
31 March - 03 April 2011 Hemel Hempstead Theatre Company The Boxmoor Theatre Hemel Hempstead, Hertfordshire 01442 234004
19 - 26 March 2011 Wilmslow Green Room Society Green Room Theatre Wilmslow, Cheshire 01625 540933 www.wgrsoc.org.uk
Lark Rise 16 - 19 March 2011 Beaconsfield Theatre Group The Beacon Centre Beaconsfield, Buckinghamshire 01628 524127
Les Miserables (School Edition) 22 - 26 February 2011 Seaham Youth Theatre Seaham School of Technology Seaham, County Durham 0191 581 0340
Lettice and Loveage 16 - 19 February 2011 Hayes Players Hayes Village Hall Bromley, Kent 07905 210718 www.hayesplayers.org.uk 12 - 14 March 2011 Henfield Theatre Company Henfield Hall Henfield, West Sussex 01273 492204
LOOKING FOR A RECORD BREAKING SELL OUT MUSICAL www.whenthelightsgoonagain.co.uk
For further information 01977 609828
19 - 26 February 2011 Clitheroe Parish Church AO & DS St Marys Centre Church St Clitheroe, Lancashire 07974 323832 08 - 12 March 2011 Central Operatic Society Landau Forte College Derby, Derbyshire 01332 366279
COSTUMES COSTUME HIRE, SHOWS KING & I, PHANTOM, LES MIZ, OLIVER, FIDDLER, KISS ME KATE, FOLLIES, PINAFORE, ANNIE, ALL PANTO SUBJECTS, ORIENTAL COSTUMES www.bpdcostumes.co.uk P: 01273 481004
34| www.amateurstagemagazine.co.uk
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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>
GUISELEY AMATEURS - Half A Sixpence 22 - 26 February 2011 Young Arcadians Plinston hall Broadway, Letchworth 01462453801
Me and My Girl
Murder Is Announced, A
Not Now Darling
09 - 12 March 2011 Eyemouth Variety Group Eyemouth Old High School Eyemouth, Berwickshire 01890 750585
14 - 19 March 2011 Little Theatre Gateshead Hateshead Tyne & Wear 0191 478 1499
10 - 12 February 2011 Thurrock Courts Players Thameside Theatre Grays, Essex 01375 382555
Merry Widow, The
Music Man, The
Nunsense
07 - 12 February 2011 Cupar Amateur Musical Society Corn Exchange Cupar, Fife 07813 502722
22 - 26 February 2011 Burton on Trent & District Operatic Society De Ferrers Specialist Technology College Burton Upon Trent, Staffordshire 01283 541552
16 - 19 February 2011 Cromer & Sheringham Amateur Operatic & Dramatic Society Sheringham Little Theatre Sheringham, Norfolk 01263 822347
21 - 26 February 2011 Bridgnorth Musical Theatre Company Bridgworth Leisure Centre Bridgworth, Shropshire 01746 763257
29 March - 02 April 2011 Stirling & Bridge of Allan Operatic Society Macrobert Theatre University of Stirling Stirling, Stirlingshire 01786 472756
Mikado, The
My Fair Lady
23 - 26 February 2011 Dunfermline Gilbert & Sullivan Society Carnegie Hall Dunfermline, Fife 08452 412187
28 February - 05 March 2011 Tynemouth Amateur Operatic Society Playhouse Whitley Bay 0191 252 1827
09 - 12 March 2011 Alton Operatic & Dramatic Society Alton Assembly Rooms Alton, Hampshire 01730 827200
17 - 19 March 2011 Skegness Musical Theatre Company Embassy Theatre Skegness, Lincolnshire 08456 740505
22 - 26 March 2011 Edinburgh Gilbert & Sullivan Society The King’s Theatre Edinburgh, Mid Lothian 0131 529 6000
30 March - 09 April 2011 Peterborough Operatic & Dramatic Society Key Theatre Peterborough 01733 207239
Mother Goose
No, No, Nanette
18 - 19 February 2011 Needham Market Entertainment Company Needham Market Community Centre Needham Market, Suffolk 01449 723171
22 - 26 February 2011 Fatfield Musical Stage Society St Roberts School Theatre Washington, Tyne and Wear 0191 388 5425
Oklahoma! 19 - 26 February 2011 Clitheroe Parish Church AO & DS St Marys Centre Clitheroe, Lancashire 07974 323832
03 - 06 March 2011 Mansfield Amateur Operatic & Dramatic Soc Mansfield Palace Theatre Mansfield, Nottinghamshire 01623 633133 07 - 12 March 2011 Newcastle Glees Musical Society Annesley Hall Newcastle, County Down 02843 723491 16 - 19 March 2011 Thurrock Operatic Society Thameside Theatre Grays, Essex 01375 675591
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia Oliver!
Pajama Game, The
10 - 12 February 2011 Shrewsbury Amateur Operatic Society Theatre Severn Shrewsbury, Shropshire 01743 281281
07 - 12 March 2011 Wombwell & District Amateur Operatic Soc Operatic Centre Wombwell, South Yorkshire 01226 758375
01 - 05 March 2011 Grange & Dist Amateur Operatic Society Victoria Hall Grange-over-sands, Cumbria 01539 534308
Panda’s Pirates of Penzance
07 - 12 March 2011 Stockton Stage Society ARC Stockton on Tees, Cleveland
09 - 12 March 2011 The Panda Players Elgiva Theatre Chesham, Buckinghamshire 01494 794399
08 - 12 February 2011 Aireborough G & S Society Yeadon Town Hall Yeadon, West Yorkshire 01943 872020
29 March - 02 April 2011 Paisley Musical & Operatic Society The King’s Theatre Glasgow, Glasgow 08448 717648
Orpheus In the Underworld 29 March - 02 April 2011 Epsom Light Opera Company Epsom Playhouse Epsom, Surrey
30 March - 02 April 2011 Melbourne Operatic Society Castle Donigton Community College Castle Donnington, Derbyshire 01332 863030
22 - 26 February 2011 Godalming Operatic Society The Borough Hall Godalming, Surrey 01252 703376
Prescription for Murder 09 - 12 March 2011 Shinfield Players Theatre Reading, Berkshire 01189 758880
04 - 05 March 2011 Godalming Operatic Society The Leatherhead Theatre Leatherhead, Surrey 01252 703376
29 March - 02 April 2011 Pendle Hippodrome Theatre Company Pendle Hippodrome Theatre Colne, Lancashire 01282 612402
24 - 26 February 2011 Aberdeen Opera Company His Majestys Theatre Aberdeen 01224 586900
23 - 26 March 2011 Eldorado Musical Productions The Bob Hope Theatre Eltham, London 0208 850 3702
Pirates Of Penzance, The
Out in the Garden 01 - 05 February 2011 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245 606505
02 - 05 March 2011 Plymouth G & S Fellowship The Devonport Playhouse Plymouth, Devon 01566 775557
£50
CO U
Reach for the stars
23 - 26 March 2011 Berwick-upon-Tweed Amateur Operatic Soc The Maltings Theatre Berwick-upon-Tweed, Northumberland 01289 330999
Six-Days World, The 24 - 26 March 2011 Loughton Amateur Dramatic Society Lopping Hall Loughton, London 0208 502 5843
Sleeping Beauty 04 - 12 February 2011 New Mills Amateur Operatic & Dramatic Soc The Art Theatre New Mills, Derbyshire 01663 742951
Snow White & the Seven Dwarfs 28 January - 05 February 2011 Iver Heath Drama Club Iver Heath New Village Hall Iver, Buckinghamshire 01753 652 616 www.ihdc.co.uk
NT
Youth Academy
NODA Youth Academy for 12 - 17 year olds
12 - 16 April 2011 Oakham School Rutland For more information and an application form visit:
www.noda.org.uk/youth or telephone: 01733 865 790
Sorcerer, The 28 March - 02 April 2011 Melrose Amateur Operatic Society The Corn Exchange Melrose, Roxburghshire 01835 822425
Return to the Forbidden Planet
Spring Awakening
21 - 26 February 2011 Hinckley Comm Guild AOS Concordia Theatre Hinckley, Leicestershire 01455 847676
02 - 05 February 2011 What We Did Next Unity Theatre Liverpool, Merseyside 08448 732888
Robinson Crusoe
22 - 26 March 2011 Stoke Youth Musical Theatre Company Stoke Repertory Theatre Stoke on Trent, Staffordshire 01785 815540
02 - 06 February 2011 Blyth Players Barnby Memorial Hall Worksop, Nottinghamshire 01909 531289
B 1ST OOK BE JA F AN NUAR ORE DR Y ECE 201 IVE 1
DIS
Singin’ In The Rain
Producers, The
Phantom
Our House
09 - 12 March 2011 The Savoy Singers The Camberley Theatre Camberley, Surrey 01252 834380 22 - 26 March 2011 New Rosemere Amateur Operatic Society Alberrt Halls Bolton, Lancashire 01204 520395
Patience
22 - 26 March 2011 Peterbrook Players Solihull Arts Complex Solihull, West Midlands 0121 704 6962
09 - 12 March 2011 Knaphill & St John’s Opera Group Rhoda McGaw Theatre Woking, Surrey 01483 473657
Robin Hood & Babes In The Wood 9 - 19 February 2011 Kelvin Players Theatre Company The Studios Bishopston Bristol 0117 959 3636 www.kelvinplayers.co.uk
Robinson Crusoe 04 - 05 February 2011 Windlesham Drama Group Windlesham Theatre Windlesham, Surrey 01276 472870 www.windleshamdramagroup.com
Robinson Crusoe and the Pirates 16 - 19 March 2011 Polden Production Edington Village Hall Bridgwater, Somerset 01278 723095
Run For Your Wife 10 - 12 February 2011 Bridgewater Players Thelwall Parish Hall Thelwall Cheshire 0845 331 2958 www.bwplayers.co.uk
Sherlock Holmes and the Mystery Of Mallen Hall 31 January - 05 February 2011 PADOS Studio Theatre St Marys Rd, Prestwich 0161 7737729 www.pados.co.uk
Sugar 04 - 08 March 2011 Brookdale Theatre Bramhall, Cheshire 0161 439 0505
Summer Holiday 08 - 12 February 2011 Kirkwall Amateur Operatic Society Orkney Arts Theatre Kirkwall, Orkney
Sweeney Todd 15 - 19 March 2011 Croft House Operatic Society The Lyceum Theatre Sheffield, South Yorkshire 01142 496000
Thoroughly Modern Millie 09 - 12 March 2011 The Heckmondwike Players The Town Hall Cleckheaton, West Yorkshire 01924 492671 21 - 26 March 2011 Evesham Operatic & Dramatic Society The Arts Centre Evesham, Worcestershire 01386 765966 23 - 26 March 2011 Hillingdon Musical Society Beck Theatre Hayes, Middlesex 01895 639769
Titfield Thunderbolt, The 15 - 19 March 2011 Halifax thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998 www.halifaxplayhouse.org.uk
36| www.amateurstagemagazine.co.uk
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ORPEN PLAYERS - LAYING THE GHOST WOODHOUSE PLAYERS - KINDERTRANSPORT
Trial by Jury 08 - 12 February 2011 Crosby G & S Society Crosby Civic Hall Crosby, Merseyside 0151 256 8197
Trial By Jury & HMS Pinafore 27 February - 04 March 2011 Barrow Savoyards The Forum Barrow-in-Furness, Cumbria 01229 820000
We Happy Few 24 - 26 February 2011 Portishead Players Somerset Hall Portishead 01275 843169
Wedding Singer, The 09 - 12 March 2011 Cygnet Players London Oratory School Theatre West Brompton, London 07941 448689
21 - 26 February 2011 WOW Witham Public Hall Witham, Essex 01376 512902 08 - 12 March 2011 SCAMPS Youth Company Evans Theatre Wilmslow Leisure Centre Wilmslow, Cheshire 01625 527593
When The Lights Go On Again 23 - 26 March 2011 The Garrick Singers The Duthac Centre Tain, Ross-shire 01862 842311
Winslow Boy, The
DIARY SUBMISSIONS
14 - 19 February 2011 Little Theatre Gateshead Gateshead Tyne & Wear 0191 478 1499
Wyrd Sisters 21 - 26 February 2011 Louth Playgoers Wharfingers Youth Theatre Riverhead Theatre Louth, Lincolnshire 01507 600350 www.louthplaygoers.co.uk
Yeomen of the Guard, The 09 - 12 February 2011 Southgate Opera Wyllotts Theatre Potters Bar, Hertfordshire 01707 645005
Diary submissions in the form shown in our listings should be sent to editor@asmagazine.co.uk Please ensure listings are sent well in advance to ensure publication.
21 - 26 March 2011 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507600350 www.louthplaygoers.co.uk
Wizard of Oz, The
21 - 26 March 2011 Abbey Musical Society The Forum Barrow-in-Furness, Cumbria 01229 820000
30 March - 02 April 2011 Newtown Musical Theatre Company Theatre Hafren Newtown, Powys 01686 625007
West Side Story
Wizard of Oz, The (RSC Version)
21 - 26 February 2011 Centrestage Productions Youth Theatre The Point Eastleigh, Hampshire 02380 652333
Woman In Mind
01 - 05 March 2011 Melyncrythan Amateur Operatic Society Princess Royal Theatre Port Talbot, Neath 01639 763214
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the last word
CURTAIN CALL
Wisteria Cottage Garrick Lane
A Happy New Year As you know, the snow put paid to Campton Royal Amateur Players production of The Cemetery Club and it crossed my mind that Crispin’s version of A Christmas Carol might go the same way. Sadly, this proved to be wishful thinking. I felt duty bound to put in an appearance, so I extracted the ‘Uncle Vanya’ fur coat that Marjorie had taken such exception to and prepared to brave the elements. I managed to reach my front gate, only possible, I might add, because Darren turned up asking what he should do with the polystyrene gravestones. I forbore to say what was in my mind and pointed to a shovel instead. I stepped onto what was probably the pavement only to be nearly swept off my feet by a mother hauling two small children on a plastic sledge. (They don’t make them like they used to.) The kiddies were singing ‘Jingle Bells’, but their words indicated a ‘one horse sloping sleigh’. I pointed out that these were not only the wrong lyrics, but a sloping sleigh was likely to have only one runner and therefore an impractical device. They were dragged away with not a word of thanks, this time to the tune of ‘Rhubarb the Red-nosed Reindeer’. The church, when I finally got there, was decked out with swathes of green and white crepe paper adorned with what looked like red dragons. I wondered if his lordship had Welsh connections, but later discovered that the dragons had been painted by the Mums and Toddler group and were supposed to be reindeer, or indeed, rhubarb. Crispin had obviously found the iambic pentameters too much of a challenge, as I knew he would, and had opted for rhyming couplets. I could cope with ‘doornail’ rhymed with ‘paranormail’, but ‘Ebenezer’s a diamond geezer’ in the finale was too much. He had also chosen to intersperse the whole with re-written carols and we were treated to such horrors as ‘The miser watched his box by night’ and ‘God rest ye little Tiny Tim’, not to mention ‘Away in a garret’. The costumes were surprisingly good, though if the ghost of Christmas Future had had eye-slits, two of the audience would not have emerged with bruised ankles. Yours, as ever,
Doris Richardson-Hall
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