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THE MUSICALS ISSUE HERTFORD TURN 90 * THE PLAY POSTPONED SHOW DIARY * WEST END REVIEWS dEC09_1-11V2.indd 1
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asmagazinedec09 FROM THE EDITOR Seasons Greetings. In this issue of AS Magazine we are focusing on musicals. We are celebrating those exceptional shows which are still popular many years after this first productions and look at the latest offerings from one of the UK’s biggest musical rights holders. At this time of year we would like to offer all of our readers the very best and wish you all a propserous 2010 with a “Full House” sign outside all of your theatres. We look forward to a bigger and better 2010. We hope you enjoy this issue. Regards Doug
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THIS MONTH 5
NEWS
8
THE PLAY POSTPONED
A cancellation diary by Helen Sharman.
11
FIRST NIGHT INSURANCE
Robert Israel discusses insurance issues.
12
HERTFORD 90TH
Jo Crossley looks at thei special anniversary.
15
MUSICAL BIRTHDAYS
We look at some musicals celebrating significant birthdays this year.
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THE MUSICAL PRODUCED
Julian Cound talks about The Full Monty.
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SHOW DIARY
Listings for January and February 2010.
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NEW MUSICALS
The latest musicals available from Josef Weinberger
35
CD REVIEWS
We look at the latest musical theatre recordings.
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WEST END REVIEWS
Mark Ludmon reviews the last West End offerings.
38
THE FINAL WORD
The latest gossip from Doris Richardson Hall!
News from around the country.
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15 CREDITS
Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0207 622 6670 www.asmagazine.co.uk Publisher - Paul Webster : paul@nextphasemedia.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk Advertising : advertising@asmagazine.co.uk Subscriptions/ Diary Listings : diary@asmagazine.co.uk 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 AS Magazine. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of AS Magazine. (c) 2009 Next Phase Media Ltd
AS MAGAZINE | DECEMBER 2009
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Wed 24th - Sat 27th Feb 2010, 7.45pm Tickets: £7.00 / £6.00 • Box Office: 01606 353534 www.harlequinplayers.co.uk Harlequin Theatre is a member of the CTG and NODA. Reg’d Charity no 507845 bookscdreviews.indd 1
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NEWS
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NEWS
PETITION DEMANDS THAT THEATRE IS REOPENED. A Plymouth man’s call for the city council to step in and re-open the Athenaeum Theatre has found support among amateur dramatic societies. Fred Sharpe, from Plymstock, said he always enjoyed going to the Athenaeum, which provided reasonablypriced theatre entertainment in a venue easily accessible to everyone. Now Mr Sharpe, 59, has started a petition on the Number 10 Downing Street website calling on the council to speed the re-opening of the theatre for the benefit of the city and surrounding area. “I know they haven’t got money for everything but they seem to find it for other things,” he said. The financially-troubled Athenaeum Theatre closed at the end of July this year, leaving dozens of organisations such as amateur dramatic groups having to find new venues for their performances. Mr Sharpe, who also campaigned against the closure before it happened, said: “The longer the theatre remains closed the less likely it is to re-open.” The Athenaeum remains open as the home to the Plymouth Athenaeum Society, a 200-year-old members’ group of people interested in the arts and sciences which leases the building from Plymouth City Council. The society used to hire out the 340-seat theatre to other organisations, but said the
MCKELLEN JOINS RUGBY AT 60TH BIRTHDAY CELEBRATIONS Stage and screen star Sir Ian McKellen helped tiny Rugby Theatre celebrate its 60th birthday in style on Saturday night. The Lord Of The Rings star was there on the final night of the theatre’s production of the hit musical Chess – and cut a massive 60th birthday cake in front of a packed audience at the venue in Henry Street in the town. Sir Ian was there as the patron of the Little Theatre Guild, of which Rugby Theatre is a member, and climbed up on stage with the amateur stars to praise their production of the musical. He said during a rousing speech: “With amateurs like these, who needs professionals,” before turning to the cast and saying a stage whisper “...I don’t mean that, obviously!” Sir Ian said he was overawed by the quality of the theatre’s production, and urged the people of the town to support their local amateur actors by packing the auditorium for every performance of every show. theatre ran at a loss of £50,000 a year due to staffing and insurance costs. A council spokesperson said yesterday: “We simply do not have the resources to ‘step in’ to run the Athenaeum, which is not a council-run venue. “Our arts unit is currently compiling a guide for theatre companies detailing stages which are available in the city including stage sizes, technical spec and auditorium size. We also hope to extend this to consider more unusual spaces such as community centres and facilities in our schools and colleges. “Plymouth City Council is a keen supporter of the arts and contributes funding to the Theatre Royal, the Pavilions and the Barbican Theatre. “ But Mr Sharpe’s petition has found support among amateur dramatics groups, who said the Athenaeum could be made more financially viable if it were better advertised and the box office opened for longer hours. Wendy Holmes, chair of the Wran-
glers Theatre Company, said this year her children’s company was performing a Christmas show at Lipson Community College’s new theatre, but it was not the same. “It’s absolutely outrageous that the Athenaeum closed,” she said. “It’s a perfect community theatre. “It’s so sad. I’m appalled by the lack of interest the council has shown.” She said performing in a real, fullsized theatre provided young actors with a valuable experience that built confidence and would be beneficial whether or not they chose a career in acting. David Bailey, the chairman of the Touchwood Musical Company, said: “I think it’s disgraceful that it closed down in the first place.” He said bids had been made by other parties to run the theatre but nothing came of them. The petition can be seen and signed on the website http://petitions. number10.gov.uk/helpathenaeum/ and Mr Sharpe suggested that people could also write to the council if they did not have access to the internet.
JANUARY 2010 PLAYS & PLAYSCRIPTS TO ADVERTISE CALL AS MAGAZINE ON 0207 622 6670 6 dEC09_1-11.indd 6
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NEWS
A NEW SOURCE OF SOUTHERN COUNTIES DRAMA FESTIVAL AT OXTED’S BARN PLAYSCRIPTS THEATRE Innovative new source of playscripts The Bush Theatre in London has launched an innovative website, called Bush Green, where writers can upload their plays for other writers, producers, theatres and, of course, drama groups to read and consider for production. There is a wealth of plays, both full length and short with a full search facility, so it could be a valuable extra source of scripts. There is a small charge for download, but you can preview each script before you do so. AS contributor Derek Webb was one of the first writers to have worked featured and is very pleased with the response to his work so far. His fulllength play ‘Objects of Obsession’ has in fact become the fifth most popular download! You can access Bush Green by going to www.bushgreen. org
The All England Theatre Festival has a history dating back to 1919 when the British Drama League was formed. It is the only national competitive one act drama festival in the UK and organises an eliminating series of festivals which lead ultimately to the British final. The Southern Counties Drama Festival, (previously The Betchworth Festival), a preliminary round of this festival has been an important part of local amateur dramatics in Surrey and Kent for over 50 years. The result is the return of an exciting week of festival drama in 2010 from 22nd – 27th February, at the Barn Theatre in Oxted, with 12 groups competing against each other and Arthur Rochester, a member of The Guild of Drama Adjudicators, pressed with the difficult task of deciding who should be declared winner to go forward to the next round of festival. With a mixture of youth and adult teams during the week, most entrants are experienced in festival and the Young Oxted Players have had recent experience of success in the further rounds that lead to the English and British finals. Tenacity and perseverance has ensured that this festival endures and you can support the endeavour by ordering your tickets by telephoning 01959 561811. General enquiries can be answered by telephoning 01959 561811 or by email at sc.df@btinternet.com. More information is also available at www. barntheatreoxted.co.uk/scdf.html This year’s selection of plays is an eclectic and interesting mix of comedy, tragedy and drama and a week not to be missed.
SHOWS CANCELLED AS ELECTRICS FAIL
Theatre groups have had to call off their shows at the Royal Victoria Hall in Southborough as it shuts for extensive electrical rewiring work. The first stage of ongoing refurbishment will see the theatre close from January 18 to April 30. The town’s annual pantomine was almost cancelled when Scarborough Town Council was told, by local electricians that the hall needed emergency electrical work to see it through the Christmas Season. The council agreed to carry out immediate work this week, leaving the bulk of the re-wire until the New Year. “The electrics keep failing because of their age” Mayor Colin Bothwell said. “It’s been put off for probably the past 15 years by previous councils because we thought we would have the money from the town centre development and it has never happened. But it’s come to a point where we can’t put it off any longer and we have to bite the bullet.” “It’s one of the finest theatres in the south east and we either have to save it or lose it.” Seven groups - schools, amateur dramatic clubs and dance schools - have had to cancel or schedule shows. However, all 2010 bookings were provisional as the council knew the works would have to take place some time in the year. The overall revamp of the hall - estimated to cost £500,000 is running behind schedule. The council would like to redecorate, update sound and lighting, improve the bar, toilets and seating, install a kitchen and return the front of the building to its original Victorian design.But the £65,000 of Southborough Town Council reserves allocated to the project are not enough to see the ambitious project through.“We have got to raise a lot of money and we haven’t got it so we’re going to have to fundraise,” said Cllr Bothwell.“Unfortunately, we don’t think we qualify for grants from English Heritage or the lottery.”He said he expected the whole project to run over the course of three to four years, without interrupting shows.
PANTOMIMES By JOHN CROCKER
The Smaller Cast Versions ALADDIN “PEAK OF PANTO PERFECTION” Exeter Express & Echo MOTHER GOOSE “FUN FILLED SCRIPT” Western Morning News SLEEPING BEAuTy “ A RIP-ROARINg SUCCESS” Exmouth Herald CINDERELLA “TRADITIONAL PANTO AT IT’S BEST” Hampshire Gazette DICK WHITTINGTON “A CRACKER OF A PANTO” Evening Herald, Plymouth BABES IN THE WOOD “WONDERFUL NEW ChRISTmAS PANTO” Herald Express and the latest JACK AND THE BEANSTALK “gIANT ChRISTmAS TREAT” Tiverton Crediton, Culm Valley Gazette PLUS the much loved favourites with music and lyrics by ERIC GILDER CINDERELLA, PuSS IN BOOTS, DICK WHITTINGTON, ALADDIN, BABES IN THE WOOD, SINBAD THE SAILOR, MOTHER GOOSE, ROBINSON CRuSOE, SLEEPING BEAuTy, HuMPTy DuMPTy, QuEEN OF HEARTS, RED RIDING HOOD, JACK AND THE BEANSTALK And a zany potted panto sketch POTTy PANTOMIME Also a Rock Musical THE FRANKENSTEIN MONSTER SHOW By JOHN CROCKER and TIM HAMPTON Music by KEN BOLAM Lyrics by LES SCOTT All obtainable from SAMuEL FRENCH LIMITED 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
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FEATURE
THE PLAY POSTPONED We’re sure that many of you have read our insurance pages and thought “It will never happen to me”, well don’t be too sure. Helen Sharman (GODA) diarises the plight of her recent production of Charley’s Aunt. This is a cautionary tale of the farce and the ‘flu. For the first time that anyone can remember in its 59 year history, Beaconsfield Theatre Group was forced to cancel an entire run. This eventuality is mercifully rare, but with the dreaded swine ‘flu on the rampage, amateur groups are more vulnerable. The unthinkable can happen! BTG’s production of Charley’s Aunt was all systems go. The penultimate rehearsal showed energy, pace and panache and the cast could not wait to put it in front of an audience. Then the countdown to disaster started. SUNDAY Set build on schedule and bookings looking good. Two members of cast phone the director. Both unwell and unable to come to the evening run through. MONDAY Technical rehearsal The first two casualties still unwell. The husband of one confirmed as having swine ‘flu. Number two feeling worse. Number three calls in, also ill. Deep breaths all round and the tech continues as planned. Mercifully, this is not a demanding show in terms of sound
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and lights. Stage management have three set changes to contend with and innumerable props, but who needs actors to sort logistics? Fast costume changes can be rehearsed at dress. So no panic. TUESDAY Dress rehearsal One invalid is much better, one is on the way to recovery and threatening to stagger in, the other is barely able to speak or stand. Unfortunately this was the actor playing Jack who is the driving force in the play. Never mind, we can read him in and carry on. But no. Casualty number four calls at 3pm with a violent gastric upset. Dress rehearsal cancelled. Plan B: run Wednesday as a preview/ open dress rehearsal and reduce ticket prices accordingly. WEDNESDAY Call all invalids. Good news – three back on their feet and raring to go. Bad news -Jack Chesney is worse than yesterday. We have no understudy and the part is so physically demanding that even supposing we had a spare actor, it cannot be done justice without rehearsal and certainly not with a book in hand. Call the director and committee
members. We agree to cancel tonight and keep fingers crossed for tomorrow. This is a slim hope, but all amateurs are optimists. Call all cast and crew. Cast run a skeleton dress rehearsal without Jack. If he is back, then they will be better able to support him. Box office hits the phones. Fortunately we run our own system including on-line bookings and manage to contact all those pre-booked for tonight. I stand in the forlorn empty foyer to catch anyone who comes on the door. Ten appear, a party of four from a nearby operatic society who are very understanding. Two couples who said they would try again. Notice saying ‘Tonight’s performance cancelled’ attached to main door. THURSDAY I didn’t sleep well last night! Cast had a good rehearsal and are desperate to go on. I am begged to coax, cajole and drag Jack to the theatre, in a wheelchair if necessary. 11.30am : As arranged, call Master Chesney. He is wiped out, cannot say three words without coughing and has been diagnosed with swine ‘flu. No amount of coaxing is going to help the guy give a half decent performance. We’re out of choices. Call the director
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FEATURE
www.asmagazine.co.uk and as many of the committee as possible; this sort of decision is a team game. 12.30pm : We agree that a sub-standard performance would be frustrating for the actors, disappointing for the audience and all in all, would do the company as a whole far more harm than good. We further decide that we cannot repeat this process tomorrow in the hope of two shaky performances and we should call the whole thing off. Plan B: check availability of the theatre and redo the play sooner rather than later. If no slot available, then we would consider putting in our March slot and bumping March into May. 1pm : Notice of the cancellation goes on our web site. Frantically try to contact cast and crew and field incoming calls at the same time. Don’t manage to speak directly to all of them, but leave messages with my number attached. I fear many of the cast are likely to be severely unhappy. Calls completed by 2.30pm. Regrettably, one actor has found out from a friend who saw the web site and calls me in fury. Much pouring of oil. Am pleasantly surprised by the response. Most are disappointed, but realistic, likewise the crew. Call them all to the theatre in the evening to discuss possible new dates and take advantage of the set, lights and costumes to grab publicity shots. 4pm: Establish that the last two weeks in January are available. Perfect – the cast get a break, but not so long a gap that they will have forgotten everything. The dates are also early enough not to have a major knock-on effect on the next show. The local paper is sent an urgent press release which goes up on their web site almost immediately. A miracle! 5pm : Box office and team have e-mailed the on-line bookers and our mailing list. Phone calls to other bookings for tonight and most of Friday completed. Be warned, it seems that if the phone provider is other than BT, then the individual and that precious number are not listed in the current BT directory. Treasurer has been in touch with our insurance company. Likely that major expenses will be covered, though obviously we lose ticket sales. Charley’s Aunt is out of copyright, but we make a courtesy call to Samuel French anyway. 6pm: Meet with cast and crew. Despondent, but up for a second bite of the cherry. New dates are settled and booked with the theatre. Photo shoot goes well and there is much needed laughter and larking about. Props beaver away and take an inventory of everything on the stage and where it comes from. Those that are from members of the group are carefully boxed. The stage manager is absent and ill;
another key player is pink-eyed and streaming with cold. We made the right call! 7pm; Attach notice to main door – All performances cancelled. Shame. I was hoping for ‘House Full’! Wait in foyer. Only four. One older man has come some distance so is plied with coffee and generally looked after. FRIDAY : A little less stressed. The technicians plan the get-out with care and aim to work on Saturday afternoon. We need to keep the flats in as good a condition as we can for next time. There is also a hardboard floor that must be preserved as far as possible. Box office have finished the marathon task, hopefully word will have got round and there will be few on the door. The majority of those who booked are keen to return in January. All those who booked on-line using PayPal have been refunded. 7pm : Back in the foyer. Three or four appear looking for tickets. They are sympathetic and eager to come back. Take contact details to add them to our mailing list. SATURDAY: Set is dismantled, lights de-rigged and so on, in a couple of hours thanks to many hands, including cast members. Mr Chesney is improved but still fragile, there was no way he could have done the show. He has a medical certificate to prove it! Try to make direct contact with the show sponsors, but have to make do with email. We will reprint the programme that they paid for and retain their big ad. They also paid for roadside boards which we have asked them to keep and we will alter the dates at our expense. Hope they will be happy with this. 7pm: Back in the foyer. Only two tonight – one at 7.05pm the other at 7.55pm. In between it was like watching paint dry.
and we have a dame! P.S. We got fantastic coverage in the local press the very next week, so as Doris would say ‘Onwards and Upwards!’ LESSONS Some of these may seem obvious, but when you’re in a panic things are easily missed. 1. Check the terms of your insurance. 2. Know your cast. I have known ‘Jack’ for many years and if he says he can’t do it then he means it. 3. If an irreplaceable actor is too ill to appear, try and get a medical certificate for insurance purposes. 4. Talk. Talk. Talk and keep talking. Decisions of this magnitude are a team game and emails don’t cut it. 5. Look for a new date wherever possible. To simply discard a production is demoralising for everybody and you will lose members 6. If you have a revised date, catalogue props and costume and plan the get out to preserve as much as you can. 7. Check your booking system. How would you , or the venue that handles the tickets, deal with this problem? ALWAYS take a phone number. 8. Contact local press as soon as you can. They love a good disaster! 9. Remove all advertising material, leaflets, posters as fast as possible. 10. If you have paid royalties, contact the rights holders quickly to arrange refund or, hopefully, new dates.
SUNDAY : We strip the theatre. Another good turn out, so quick work. The group is now looking forward to the ‘revival’ and the few who were disgruntled are now happy that the right decision was made. The photos look great and marketing has come up with a bright new image. As a silver lining, like many towns, Beaconsfield has a Festival of Lights, the perfect opportunity to leaflet and advertise the new dates. We will be competing with panto, but hey, it’s a farce
AS MAGAZINE | DECEMBER 2009
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AS 2009 2009 ASMAGAZINE MAGAZINE| MAY | DECEMBER
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FIRST NIGHT INSURANCE
www.asmagazine.co.uk
HELP IS AT HAND!!
Robert Israel ASCII from Gordon & Co discusses the latest insurance issues affecting amateur theatre. Unfortunately, there is nothing like a good catastrophe to concentrate people’s minds on the boring subject of insurance. The latest event to capture the public’s imagination has, of course, been the severe flooding in Cumbria which occurred during the period of 19-22 November. The main areas being affected are the towns of Cockermouth and Workington, along with surrounding villages. Apparently the rainfall in Cumbria included the wettest 24 hour period for a single location in the UK since records began in 1914. Insurers’ shop window is always their claims service and it is in circumstances like these that clients see whether they have in fact bought value for money. Unfortunately there have been a number of similar incidents over the recent past and insurers have, I am pleased to say, learned from each event. Loss adjusters and insurers themselves decamp en masse to the affected area in order to provide on-the-spot assistance to claimants. The obvious portion of any claim is, of course, the flood aspect, which will result in drying out costs, as well as replacement and reinstatement costs. This, of course, is not the only element of the claim. Most important to the affected policyholders is where they are going to live whilst their property is undergoing the, unfortunately, very long timeframe required for drying out. This cover is provided by the “alternative accommodation” section of a household buildings policy. Most insurers will provide cover in the region of 10% of the buildings sum insured for alternative accommodation cost. One fortunate, if there is a fortunate, aspect to this particular flood is that there are, I understand, a higher proportion of properties to let in the vicinity than would normally be the case due to the “holiday let” market, so hopefully by the time you read this article everybody who has needed alternative accommodation will have been settled. The problem unfortunately is that the incident occurred only 5 weeks prior to the Christmas break, which is notorious for extended holiday periods. This, of course, is absolutely no good at all for the claimants, who obviously want to return to their properties as quickly as possible. I do understand that loss adjusters’ response units and back office staff at insurers have been working over weekends and will continue to work extended periods to try and assist everybody in the best way possible. As far as commercial claims are concerned, these are obviously more complex, especially when trying to find alternative accommodation. This cover is, of course, not included as standard in most policies because commercial clients are deemed to be able to “work out” what cover they need and not be reliant upon a package policy. Unfortunately, in this particular set of circumstances, it appears that there are a higher proportion of commercial claims than for previous losses. First reports indicate that the overall cost of the flooding in Cumbria is, whilst considerable, unlikely to have any effect on insurers’ overall pricing costs for 2010, but the level of water damage excess may be revised upwards. When bearing in mind that the standard water damage excess under a commercial policy is probably £250 and under a household policy can be low as £50-100, any increase in these figures can be a severe burden on the customer. I am well aware that in certain parts of the UK insurers’ excess for flood can be as much as £10,000. For a private householder or small commercial business, this is a real worry. However, insurers would respond by saying that they either impose such an excess or they decline to give this cover in its entirety. Unfortunately, this all harps back to the change in weather patterns and the amount of money that the government are spending on enhancing flood defences. As far as amateur theatre societies are concerned, obviously water damage to scenery props and wardrobe is of major concern, but of course there is also the possibility of cancellation
due to damage to the venue or indeed to equipment which prohibits the show carrying on. In any of these circumstances we would expect to be told immediately, even if there is no guarantee that the show is going to be cancelled, Underwriters should be aware that there is a potential loss as of course, there is an immediate notice of claim clause under the Policy. So, if there is any possibility of a claim, you must notify Underwriters immediately. As another year draws to a close, this is now probably an ideal opportunity to review 2009 from an insurance perspective. The year started with major snow issues affecting Central London, which resulted in many West End shows being cancelled. The worldwide recession has not helped insurers because of dwindling investment income, together with the expected increase in the number of claims, so bottom line rates have been under pressure. Given that clients’ trading conditions are equally as bad, the problem is that insurers are trying to increase rates, whereas customers are unable to pay increases due to reduction in turnover/profit margin. So the elastic is being stretched and it will be an interesting time in 2010 to see whether insurers continue increasing rates or whether pressure from customers to reduce rates tips the balance in favour of policyholders. Interesting times ahead, but from all at Gordon and Co I take this opportunity of wishing every reader of Amateur Stage a happy, healthy and prosperous 2010.
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HERTFORD TURNS 90!! It was `House Full` on Saturday September 27th at the Studio Theatre, Pegs Lane, Hertford, Hertfordshire, the headquarters of Hertford Dramatic and Operatic Society when the Society celebrated the 90th anniversary of its formation. The membership, past and present made the most of the opportunity to enjoy the afternoon festivities in what is a busy annual programme presenting a pantomime, two plays, a musical, two youth productions and the Full Length Play Festival, Hertford Theatre Week either at the Castle Hall, Hertford or the Studio Theatre. The society is a member of NODA and NDFA. Four Past presidents served the three course lunch after which the President, Mary Jane Tomlin (a founder member of the Young Idea section) proposed a toast to the Society. She then invited the Mayor (Cllr) David Poole to assist her in cutting the specially decorated cake. Several members who have been in the Society for more than 60 years joined
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them for the photo call. Included in the `chorus line` is Zillah Driver who was in the production of The Vagabond King in 1938. Before the afternoon tea, there was a short entertainment, which was written and directed by member Cheryl Nicholson. It took the form of a melodrama, entitled `Something for the Week-end` which was performed by Cheryl and other members of the Society. The script included 135 titles of productions presented over the 90 years. To add to the fun the audience were asked to make a note of how many titles they recognised - the winner recognised 130! Society Archivist, Pat Steadman, mounted a stunning display of photos, programmes and memorabilia, which spanned the 90 years from the first production Mice and Men by M.L.Ryley in November 1919 up to the recent production of The Pied Piper by the Young Idea, youth section. The display
gave members a unique opportunity to see this material and share their memories. There were shrieks of laughter and groans of embarrassment – did we really look like that? There were also reminders of the important milestones in the Society’s life including the move to the purpose built Bentley House, in 1983 that incurs a `peppercorn rent` on the 999year lease. Past members travelled from Wales, the West Country, Suffolk and Lincolnshire to exchange memories, renew `old friendships` and indulge in a little nostalgia. However, there was something for everyone. The younger members of the Society had a display showing photos and programmes from the Young Idea productions since its formation in 1971, and at the workshop on the following Sunday morning they all enjoyed slices of the cake. What a great celebration it was to mark the anniversary of 90 years of the Society. So, it is on to the 100th – we had better start planning now!! Jo Crossley
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Professional sound for the amateur stage – 2010 weekend training courses Theatrical sound can be a demanding subject, but many of its mysteries can be unlocked by learning a few tricks of the trade. Orbital Sound’s newly-developed series of training courses are structured to broaden theatre sound skills, irrespective of previous experience. Take advantage of our decades of theatre sound know-how, and demystify the techniques and technology by attending our free courses, covering eight modules each weekend.
Held at our South London seminar facility, the practical courses will help you become more proficient in all areas of theatre sound, with modules including: • the basics – mics, speakers and desks • show control software • MIDI, networking and remote control • wired and wireless communication • radio microphones • sounds system design and deployment • digital mixing desks – hands-on experience • sound effects – sourcing and strategies • bands, click tracks and foldback • working with digital audio. Put theatre sound at the top of your 2010 agenda by signing up for one or more of our free Professional Sound for the Amateur Stage courses: February 20–21 May 8–9 June 26–27 August 7–8 September 25–26 October 16–17
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For more information on our courses and modules, please visit: www.orbitalsound.co.uk/training/
Orbital Sound – at the forefront of theatrical and musical sound design, from small-scale fringe to international productions
020 7501 6868 14/12/2009 11:46:54
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CELEBRATION TIME!
www.asmagazine.co.uk
THE PLAY PRODUCED
The next twelve months sees some of the world’s biggest musicals celebrate some landmark birthdays. Musicals that we consider to be modern are now coming of age. Milestone dates like these can offer groups some amazing opportunities for publicIty. Douglas Mayo took a brief look at some shows that are celebrating major birthdays in 2010.
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OLIVER
With music and lyrics by Lionel Bart, Oliver is based on the novel Oliver Twist by Charles Dickens. It premiered in the West End in 1960, enjoying a long run, a successful Broadway production in 1963. It was made into a film in 1968 and a new London production opened following a reality tv hunt for the role of Nancy in 2009. Oliver was the first musical adaptation of a Dickens work to become a stage hit. The production featured a revolving stage set, an innovation designed by Sean Kenny. The London production ran for 2618 performances and featured Georgia Brown, Barry Humphries, and Ron Moody (who narrowly beat a young Michael Caine for the role of Fagin). Oliver offers amateurs a rich score full of well known showstoppers, comedy and emotion, but most of all the opportunity to cast lots of children – a sure fire way to bring in families to buy tickets. At the time of writing performance rights to Oliver were under some restrictions. Musicscope are taking applications with permission being granted on an application by application basis.
JESUS CHRIST SUPERSTAR One of the first modern rock operas Jesus Christ Superstar started life as a double concept recording in 1970. Composer Andrew Lloyd Webber and Lyricist Tim Rice created this through sung production which stormed the world to acclaim and considerable controversy. The controversy has now ebbed but the brilliance of this rock opera remains. In June 1971, the “first” US staged version was performed at Southold High School in Southold, New York by students of the school. However, other unauthorized productions were also going on at the time, eliciting a response in court from the authors, eventually shutting down several hundred productions between them before the official premiere (and becoming a benchmark in copyright law). Performance rights are now available and here at AS we have already been receiving notification from groups around the country celebrating the shows birthday.
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A CHORUS LINE
A Chorus Line has certainly earned its place in musical theatre history. Conceived following a series of actor workshops by director/choreographer Michael Bennett and with music by Marvin Hamlisch, the musical received 12 Tony Nominations winning 9 awards and the Pulitzer Prize for Drama. The show holds the record for Longest Running Broadway Musical Originally Produced in the USA and the Fourth Longest Running Broadway musical with a run of 6,137 performances.
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Me and My Girl 25 Originally produced in the West End in 1937, 2010 marks the 25th birthday of the revised version of the show which took the West End by storm in 1985 running for 3,303 performances. With a revised script by Stephen Fry, the show was as fresh and alive as it had ever been and had audiences dancing to the Lambeth Walk once again.
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Opening on Broadway in 1945, Carousel ran for 890 performances and was named Best Musical of the Century by Time Magazine. The show has become a staple of amateur musical seasons for many years with its lush score and wonderful roles. Both Richard Rodgers and Oscar Hammerstein II named the show as their favourite collaboration, one reviewer for the New York Times called it “goo�.
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Carousel
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Adapted from the 1933 Hollywood film and original novel by Bradford Ropes, the Broadway musical was written by Mark Bramble, Michael Stewart, Al Dubin and Harry Warren and skilfully produced by David Merrick, one of Broadways most controversial and publicity savvy producers. Merrick took a huge gamble producing the show. Prior to 42nd St, the only musical film ever made into a Broadway show was the 1974 flop Gigi. The shows real magic though, came from the incredible staging of Gower Champion who created some of the shows landmark dance sequences. The London season of the musical launched the career of Catherine Zeta Jones who understudied the role of Peggy Sawyer, taking over when the original actress bowed out due to illness shortly after opening. 42nd Street currently enjoys amateur productions around the world.
42nd St
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THE MIKADO
One of the most frequently performer shows in the world is the result of the epic collaboration between Gilbert & Sullivan. The ninth show of their collaboration it ran for 672 performances when it opened at the Savoy theatre in 1885. The creation of the operetta was dramatised in the 1999 film Topsy Turvy.
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THETHE MUSICAL PRODUCED MUSICAL PRODUCED
THE MUSICAL LAID BARE
Julian Cound talks about the production of The Full Monty at DarlingtonOS, presented in Oct/ Nov 2010.
commanding the stage by themselves but also willing to strip completely naked in the final scene – their blushes saved only by a snap lighting cue.
It was a brave choice. Choosing the musical adaptation of a film that is written into UK film folklore… an adaptation that transports the setting from Sheffield over to Buffalo, New York…. an adaptation that drops the wealth of seventies and eighties pop hits so loved in the movie version in favour of 15 original musical numbers in a time when the ‘backcatalogue’ musical was breaking ground. A brave choice indeed.
As a modern musical, the voice range is set high… consistently high. With numbers ranging in styles from theatrical rock through blues and with some beautiful ballads thrown in for good measure you need six men capable of strong acting, singing and dancing. Add to this the fact that one character has to be black… this adds an extra dimension of difficulty in casting for amateur groups whose membership may not be ethnically diverse.
Would the ‘gamble pay off’? THE MUSICAL Set in present day Buffalo, New York State, The Full Monty sticks close to the original storyline of the film. Indeed it expands on the relationships not only between the main six male characters but their relationships with their wives, mothers or ex-wives. It interweaves these relationships in a fast paced, rollercoaster of a musical. We are introduced to Jerry, Dave, Malcolm, Harold, ‘Horse’ and finally Ethan… six characters from hugely different backgrounds each with their own failings but all of them feeling emasculated by recent unemployment, watching their lives turn upside down as the women of the town become the main breadwinners. CASTING Casting was always going to be difficult…. Finding six men capable of
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Not forgetting the women. Many people think of The Full Monty as a man’s show, but with five decent leading female roles to consider along with several cameos this is a fine ensemble piece of musical theatre. Following an enlightening and often revealing day of auditions we had our cast… one of the strongest we had put together for some time, including a ‘Horse’ we imported from Leeds – who was one of four possible ‘Horses’ we could have chosen, following a concerted national advertising campaign. REHEARSALS Rehearsals were a dream to be a part of. The small cast (22 in total) gelled so quickly, and the sound being made often made the hairs stand on end… we knew from an early stage this was something completely different for the Society and everyone could sense it. We
use professional directors for our shows and this means block setting an entire act in just five or six rehearsals, so there were some very late nights and some long Sunday rehearsals. Our Assistant Director worked like the ture star she is in order to get our heads together and make sense of the sensory overload we were experiencing – always in the back of our minds we knew the ‘strip’ had yet to be set.
Then came the fateful night…. How would it go… would we be expected to go all the way from the outset? Of course not… with our little g-strings over our boxer shorts or swimming trunks all blushes were saved, well… apart from Horse who decided enough was enough on one of our final run-throughs and literally went ‘The Full Monty’ at rehearsal… most of the women watching did not know where to look! COSTUMES Our Director was setting the piece in present day which meant we could selfcostume a majority of the show. We do tend to rely on hiring costumes for major shows but for something like Monty we knew there was an opportunity to save some money here. Our costume team knew what the Director wanted so set out individual colour schemes for the entire cast and let them loose on the chatiry shops in the town. With several people playing more than one part in the show their task was often harder than most. There were costumes we had to hire in… namely the strip uniforms (consisting of jacket, shirt, tie, trousers, belt, bright
AS MAGAZINE | DECEMBER 2009
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www.asmagazine.co.uk
THE MUSICAL PRODUCED
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THE MUSICAL PRODUCED boxer shorts and the skimpiest thong you have ever laid eyes on! The biggest problem in terms of ‘costumes’ was that, in the final number, 6 men end up not wearing one… so where do we put the mic. pack? Do we put the final number on click-track… but with dialogue interspersed this could prove tricky…. Do we have hanging mics… these may not pick up enough to come over the orchestra. Eventually we worked out that the 6 guys needed a separate mic in their security guard hats…. Taking off their first mic during their quick changes at various points leading into the final scene… SET The set was hired from Scenic Projects and mirrors the Broadway production. There does not seem to be a lot on
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paper – many open stage sets and only 4 ‘cloths’ to hang. But once the trucks were all built we knew things would be tight back-stage. The Full Monty sign required specialist equipment in order for it not to fuse most of Darlington when fully lit… this sign is in position throughout the entire show as it is too heavy to fly, being exposed just at the right moment during the final number. All through rehearsals we were told not to get too close as it is hot, hot, hot and boy was it hot! Having a raked stage meant that trucks needed bolting or wedging to stay static… but on more than one occasion we suffered ‘moving door’ syndrome (much to the amusement of the audience).
the night… with Malcolm trying to commit suicide by exhaust fumes being pumped in through the back window. On stage for only a matter of minutes, the car took up most of stage right wing space but there is no other way to play the scene. With the right amount of ‘fumes’ the scene brought the house down every night. So, did the ‘gamble’ pay off….? If audience comments have anything to go by, then yes. If ticket receipts are anything to go by, then yes. If society member enjoyment is anything to go by, then yes. www.darlingtonoperaticsociety.org.uk
The need for a full sized, fully accessible car on stage raised the largest laughs of
AS MAGAZINE | DECEMBER 2009
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Give TheaTre Tokens The larGer Than life ChrisTmas GifT
The perfect Christmas gift for family and friends. Theatre Tokens are national theatre vouchers available in values of £5, £10 and £20 at participating theatres and selected branches of WHSmith and Waterstone’s. Tokenline 0870 164 8800 www.theatretokens.com
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar 1001 ARABIAN NIGHTS
22 - 30 January 2010 Corvus Amateur Dramatic Society Greneway School Royston, Hertfordshire 07774 782440
42ND STREET
13 - 20 February 2010 Clitheroe Parish Church AO & DS St Mary’s Centre Clitheroe, Lancs 01200 424545
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM 19 - 23 January 2010 Southampton Operatic Society Nuffield Theatre Southampton, Hants 023 8067 1771
A LITTLE NIGHT MUSIC
20 - 23 January 2010 Pendle Hippodrome Theatre Company Hippodrome Theatre Colne, Lancs 01282 863210
ABSURB PERSON SINGULAR 28 January - 06 February 2010 Hartley Arts Group Victoria Hall Hartley Wintney, Hampshire 079564412826
ACT YOUR AGE
17 - 20 February 2010 Ruthin Musical Theatre Theatre John Ambrose Ruthin, Denbighshire 01824 703748
ALADDIN
08 - 16 January 2010 Otterbourne Village Hall Committee Otterbourne Village Hall Winchester, Hampshire 02380 614655 08 - 09 January 2010 Felling & District Music, Arts & Drama Felling Methodist Church Gateshead, Tyne and Wear 0191 420 6632 09 - 16 January 2010 Huddersfield Light Opera Company Lawrence Batley Theatre Huddersfield, W Yorks 01484 430528 10 - 16 January 2010 Wombwell & District AOS Operatic Centre Wombwell, S Yorks 01226 758375 14 - 17 January 2010 Walkerville Musical Society Walkerville Community Centre Newcastle Upon Tyne, Newcastle 0191 236 25647 16 - 23 January 2010 Dursley Operatic & Dramatic Society Lister Hall, Long Street Dursley, Glos 01890 203318 20 - 23 January 2010 NOMADS The Masque Theatre Barton Seagrave, Kettering, Northants 07857 186005 29 - 30 January 2010 Sheffield Grenoside Community Association Panto Section Grenoside Community Centre Sheffield, S Yorks 0114 201 7338 14 - 16 January 2010 Theydon Bois Drama Society Theydon Bois Village Hall Theydon Bois, Essex 01992 812250 www.theydondrama.co.uk
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ALADDIN AND HIS WONDERFUL LAMP
21 - 24 January 2010 Barnton Variety Theatre Workshop Northwich Memorial Hall Northwich, Cheshire 01606 782442
ALI BABA & THE FORTY THEIVES
04 - 10 January 2010 Newton Abbot & District Musical Comedy Soc Alexandra Theatre Newton Abbot, Devon 01626 203570 23 - 30 January 2010 HIADS Station Theatre Hayling Island, Hampshire 023 9246 6363 www.pad.hampshire.org.uk
ALI BABA AND THE “FAULTY” THIEVES 05 - 09 January 2010 From The Top Theatre Company Highbury Theatre Complex Sutton Coldfield, W Midlands 07974 894542
ANNIE
16 - 20 February 2010 Fatfield Musical Stage Society St Robert’s School Washington, Tyne and Wear 0191 388 5425 23 - 27 February 2010 Melyncrythan Amateur Operatic Society Princess Royal Theatre Port Talbot, Neath Port Talbot 01639 635502
BABES IN THE WOOD
27 - 30 January 2010 Morpeth Theatre Group King Edward VI Lower School Hall Morpeth, Northumberland 01670 820999 17 - 20 February 2010 Brantham Amateur Theatrical Society Brantham Village Hall Brantham, Suffolk 07523 218270
BAD GIRLS THE MUSICAL 23 - 27 February 2010 York Stage Musicals Joseph Rowntree Theatre York, York 07989 586 906
25 - 27 February 2010 Theatreworkz The Masque Theatre Barton Seagrave, Kettering, Northants 01933 224294
BEAUTY AND THE BEAST
16 - 20 February 2010 Shavington Village Festival Committee Shavington Leisure Centre Crewe, Cheshire 07913 372619
BEDROOM FARCE
24 - 27 February 2010 Belmont Theatre Company Pump House Theatre Watford, Herts 0845 521 3453
BLITHE SPIRIT
25 - 30 January 2010 Rotherham Phoenix Players Rotherham Civic Theatre Rotherham, S Yorks 01142 756981
BRIGADOON
15 - 20 February 2010 Penzance Amateur Operatic Society St John’s Hall Penzance, Cornwall 01736 363198
15 - 20 February 2010 Bridgnorth Musical Theatre Company Bridgnorth Sports & Leisure Centre Bridgnorth, Shropshire 01746 763510
BUGSY MALONE
22 - 31 January 2010 Phoenix Players St Peter’s Theatre Southsea, Hampshire 0845 293 9350 www.pad.hampshire.org.uk
22 - 27 February 2010 Guiseley Amateur Operatic Society Guiseley Theatre Leeds, W Yorks 08453 705045
29 - 31 January 2010 Kingfisher Players Stuart Memorial Village Hall Tempsford, Beds 01767 691982
24 - 27 February 2010 Carnegie Youth Theatre Carnegie Hall Dunfermline, Fife 01383 602302
10 - 13 February 2010 Irchester Players Parsons Hall Irchester, Northants 01933 624310
CALAMITY JANE
16 - 20 February 2010 Hereford Amateur Pantomime Society The Courtyard Hereford, Herefordshire 01432 340555
23 - 27 February 2010 Selkirk Amateur Operatic Society Victoria Hall Selkirk 01750 21719
CAROUSEL
17 - 20 February 2010 Community of Hungerford John O’Gaunt Community and Technology College Hungerford, Berkshire 01488 684011 26 - 30 January 2010 Elmbridge Youth Theatre The Playhouse Walton-on-Thames, Surrey 01932 845855
CASH ON DELIVERY 02 - 13 February 2010 Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761
CAUGHT IN THE NET
16 - 23 January 2010 Farnworth Little Theatre Farnworth, Bolton 0845 643 0808 www.farnworthlittletheatre.co.uk
CHRISTMAS CAROL 08 - 17 January 2010 Quaintwood Players Quainton Memorial Hall Quainton, Bucks 01296 770248
CINDERELLA
09 - 16 January 2010 Arrow Players St Edmund’s Hall Northwood Hills, Middlesex 020 8868 7785 www.arrowplayers.org.uk 08 - 10 January 2010 Broxbourne Theatre Company Broxbourne Civic Theatre Hoddesdon, Herts 01992 441946 14 - 16 January 2010 Orchard Players Capel St Mary Village Hall Ipswich, Suffolk 07761 782456 14 - 16 January 2010 Broxbourne Theatre Company Broxbourne Civic Theatre Hoddesdon, Herts 01992 441946 20 - 23 January 2010 Priory Players Ossett Town Hall Ossett, W Yorks 07852 978407 15 - 30 January 2010 Lane End Players Lane End Village Hall Lane End, Buckinghamshire 07852 153914 boxoffice@laneendplayers.com
17 - 20 February 2010 Seaton Pantomime Society Seaton Town Hall Seaton, Devon 01297 23202 20 February 2010 St Mary’s Panto Players St Peter’s Theatre Southsea, Hampshire 023 9229 3020 www.pad.hampshire.org.uk
CINDERELLA - NOT QUITE A PANTO 23 - 31 January 2010 Aston Players Aston on Trent Memorial Hall Aston on Trent, Derby 07813 641006
CRAZY FOR YOU
24 - 30 January 2010 Christchurch Theatre Club Loughborough Town Hall Loughborough, Leics 01509 231914
CURTAIN UP
28 - 30 January 2010 Petuaria Players Brough Village Hall Brough, East Yorkshire 01482 668610
DAISY PULLS IT OFF 10 - 13 February 2010 Guildonian Players Methodist Church Harold Wood, Essex 01708 341442 www.guildonianplayers.co.uk
DANCE ATTACK
09 - 13 February 2010 Island Dance Fusion Station Theatre Hayling Island , Hampshire 023 9246 6363 www.pad.hampshire.org.uk
DICK BARTON SPECIAL AGENT 11 - 13 February 2010 Thurrock Courts Players Thameside Theatre Grays, Essex 0845 300 5264
DICK WHITTINGTON
06 - 11, 21 - 23 January 2010 Chellaston Players The Guildhall Theatre Derby, Derbyshire 01332 703828 www.derbyartsandtheatre.org.uk 08 - 16 January 2010 Oxted Players Barn Theatre Oxted, Surrey 01883 724852 www.barntheatreoxted.co.uk
AS MAGAZINE | DECEMBER 2009
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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> DICK WHITTINGTON 09 - 16 January 2010 NOMADS Kings Theatre Newmarket, Suffolk 01638 663337
15 - 23 January 2010 South Shields Westovian Theatre Society Westovian Theatre, Pier Pavilion South Shields, Tyne & Wear 0191 456 0980 29 January - 13 February 2010 Lindsey Rural Players Broadbent Theatre Wickenby, Lincolnshire 01673 885500
DISCO INFERNO
17 - 20 February 2010 Pendle Hippodrome Youth Theatre Hippodrome Theatre Colne, Lancs 01282 699799
DISNEY’S BEAUTY AND THE BEAST 07 - 15 January 2010 Broxbourne Theatre Company Broxbourne Civic Theatre Hoddesdon, Herts 01992 441946
01 - 06 February 2010 Southern Light Opera Company Kings Theatre Edinburgh, Midlothian 0131 529 6000
DOUBLE DEATH
25 - 30 January 2010 Keighly Playhouse Keighly, West Yorkshire 08451 267 859 www.keighlyplayhouse.co.uk
DROP IN
02 - 06 February 2010 Revellers Music & Dramatic Society Peterborough Indoor Bowls Club Peterborough, Cambs 01733 560449
FAME - THE MUSCIAL 17 - 20 February 2010 STP Muscials Academy Ferneham Hall Fareham, Hampshire 01329 231942 www.pad.hampshire.org.uk
FESTEN
24 - 27 February 2010 CCADS Portsmouth Central Library Portsmouth, Hampshire 023 9247 7466 www.pad.hampshire.org.uk
FIDDLER ON THE ROOF 26 - 30 January 2010 Leatherhead Operatic Society Epsom Playhouse Epsom, Surrey 07787 870012 26 - 30 January 2010 Shenfield Operatic Society Queen’s Theatre Hornchurch, Essex 01708 700625
GOLDILOCKS & THE THREE BEARS
22 - 27 February 2010 Orpheus Club The King’s Theatre Glasgow, Scotland 08700 606648 23 - 27 February 2010 Chelmsford Amateur Op & Dramatic Society Civic Theatre Chelmsford, Essex 01245 606505
FOOTLOOSE
06 - 09 January 2010 Five Towns Theatre Stoke on Trent Repertory Theatre Stoke on Trent, Staffordshire 01782 321666 17 - 20 February 2010 Seaham Youth Theatre Seaham School of Technology Seaham, Durham 0191 581 0340 22 - 27 February 2010 Edinburgh Music Theatre Company Ltd. Church Hill Theatre Edinburgh, Midlothian 0131 332 6558
GLAMOROUS NIGHT
17 - 20 February 2010 Present Company Derby Theatre Derby, Derbyshire 01332 255800 www.derbyartsandtheatre.org.uk
GODSPELL
23 - 25 February 2010 Kirkcaldy Youth Music Theatre Adam Smith Theatre Kirkcaldy, Fife 01592 203161
15 - 23 January 2010 Creakes Drama Group North Creake Village Hall North Creake, Norfolk 07818 696660
GONDOLIERS
09 - 13 February 2010 Crosby G & S Society Crosby Civic Hall Waterloo, Liverpool 0151 924 5977
GOODY TWO SHOES 22 - 27 February 2010 Burton Bradstock Players Burton Bradstock Village Hall Burton Bradstock, Dorset 01308 897415
GRIMM TALES
28 January - 06 February 2010 Harleston Players Archbishop Sancroft High School Harleston, Norfolk 01379 676324
HAIRSPRAY
15 - 23 January 2010 Curtain Call Productions Grange Theatre Hartford Northwich, Cheshire 01270 587173
HARVEY
06 - 09 January 2010 Wick Theatre Company Barn Theatre Southwick, West Sussex 01273 597 094 www.wicktheatre.co.uk
Harlequin Theatre - Sweeney Todd
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar
Bournemouth Little Theatre Club - Shadowlands
HELLO DOLLY!
15 - 20 February 2010 CAOS Musical Productions Minerva Theatre Chichester, West Sussex 01243 781312 www.pad.hampshire.org.uk
HICKORY DICKORY DOCK 22 - 30 January 2010 Chapel Players Chapel Playhouse Chapel-en-le-Frith, Derbyshire 01298 813176
HMS PINAFORE
16 - 20 February 2010 Rugby Operatic Society Rugby Theatre Rugby, Warwickshire 01788 541234
HOT MIKADO
23 - 27 February 2010 Torbay Operatic & Dramatic Society Palace Theatre Paignton, Devon 01803 290371
HUMPTY DUMPTY
06 - 09 January 2010 Woodlands Theatrical Society Woodlands Hall Newcastle-upon-Tyne 0191 236 3060
JACK AND THE BEANSTALK 14 - 17 January 2010 The Chameleons The Paul Daisley Hall Wembley, London 0208 123 6443
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19 December 2009 - 02 January 2010 GADOC Beau Sejour Theatre Guernsey, Channel Islands 01481 747200 www.gadoc.org
22 February 2009 - 27 February 2010 Wickersley Musical Theatre Company Civic Theatre Rotherham, South Yorkshire 01709 544643
24 - 30 January 2010 Northallerton Amateur Variety Company Hambleton Forum Northallerton, N Yorks 01609 770936
15 - 20 February 2010 Penzance Amateur Operatic Society St John’s Hall Penzance, Cornwall 01736 363198
26 - 30 January 2010 Bolsover Drama Group Moorfield Hall Bolsover, Derbyshire 01246 850402 04 - 07 February 2010 Morley Amateur Operatic Society Morley Town Hall Morley, West Yorkshire 07960 766 334 02 - 17 January 2010 Jersey Amateur Dramatic Club Jersey Arts Centre Jersey, Channel Islands 01534 700444
KEY FOR TWO
25 - 27 February 2010 Lechlade Players New Memorial Hall Lechlade, Glos 01367 253351
KING AND I
09 - 13 February 2010 Lindley Church Amateur Operatic Society The Lawrence Batley Theatre Huddersfield, W Yorks 01484 430528
KISS ME, KATE
LA PERICHOLE - OFFENBACH 23 - 27 February 2010 Opera South Haslemere Hall Haslemere, Surrey 01428 642161
LES MISERABLES (SCHOOL EDITION) 15 - 20 February 2010 Centrestage Productions Youth Theatre The Point Eastleigh, Hants 023 8065 2333 15 - 20 February 2010 Tiverton Junior Operatic Club The New Hall Tiverton, Devon 01884 253672
LITTLE RED RIDING HOOD 12 - 16 January 2010 Dover Operatic & Dramatic Society Dover Town Hall Dover, Kent 01304 240477
LITTLE SHOP OF HORRORS 20 - 22 January 2010 Swanley Light Opera Group Woodlands Theatre Swanley, Kent 01474 703448
LORD ARTHUR SAVILE’S CRIME
09 -13 February 2010 Stafford Players Malcolm Edwards Theatre Stafford Gatehouse, Staffordshire 01785 254855 www.staffordgatehousetheatre.co.uk
LOST MAN’S CHEST 23 - 30 January 2010 St Mark’s Players The Stanley Halls S. Norwood Hill, London 020 8393 3640 www.smplayers.co.uk
MOTHER GOOSE
11 - 16 January 2010 Wellingborough Pantomime Society The Castle Wellingborough, Northants 01933 317304 14 - 16 January 2010 Heath Players East Malling Institute East Malling, Kent 01622 717491 15 - 23 January 2010 Yeadon Charities Association Town Hall Yeadon, Leeds, W Yorks 07758 278395
AS MAGAZINE | DECEMBER 2009
14/12/2009 10:56:08
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Iver Heath Drama Club - Jack & The Beanstalk
Darlington OS - The Full Monty
15 - 23 January 2010 Winton Players Festival Hall Petersfield, Hampshire 01730 268829 19 - 23 January 2010 Harlequin Pantomime Productions Perton Community Centre Perton, South Staffordshire 01902 678242
NOISES OFF
23 - 27 February 2010 Potters Bar Theatre Company Wyllyotts Theatre Potters Bar, Herts 01707 880017
NOT QUITE PANTO 04 - 06 February 2010 Bolney Players Rawson Hall Bolney, W Sussex 01444 461320
OKLAHOMA!
20 January - 06 February 2010 Ballywillan Drama Group Riverside Theatre Coleraine, Londonderry 02870 323232 16 - 20 February 2010 South Shields G & S Operatic Society Customs House South Shields, Tyne & Wear 0191 454 1234
OLD MOTHER HUBBARD 23 - 30 January 2010 The Young Ones Netherton Arts Centre, Netherton Nr Dudley, W Midlands 01384 895266
OLIVER!
09 - 13 February 2010 Porthsmouth Players Kings Theatre Southsea, Hampshire 023 9266 0880 www.pad.hampshire.org.uk 16 - 20 February 2010 Heanor Operatic Society Heanor Gate Science College Heanor, Derbyshire 01773 762042
ONCE UPON A TIME - TALES FROM THE BROTHERS GRIMM 24 - 27 February 2010 Stevenage Lytton Players Lytton Theatre Stevenage, Herts 0870 777 7619
12 - 16 January 2010 Dryburn Theatrical Workshop Park View Theatre Chester-le-Street, Durham 0191 388 9709 29 January - 06 February 2010 New Mills Amateur Operatic & Dramatic Soc Art Theatre New Mills, Derbyshire 0161 427 5317 11 February 2010 - 13 February 2010 Coquetdale Amateur Dramatic Society Jubilee Hall Rothbury, Morpeth, Northumberland 01669 622856
PIRATES OF PENZANCE 25 - 30 January 2010 Northampton G & S Group Royal & Derngate Northampton, Northamptonshire 01604 624811
16 - 20 February 2010 Burton on Trent & District Operatic Society De Ferrers Specialist Technology College Burton upon Trent, Staffordshire 01283 541552 17 - 20 February 2010 Southgate Opera Wyllyotts Theatre Potters Bar, Hertfordshire 020 8372 2383
PAJAMA GAME
14 - 15 February 2010 Havering Music Makers Queens Theatre Hornchurch, Essex 01708 762256
PATIENCE
17 - 20 February 2010 Intake Methodist Musical Society Intake Methodist Church Sheffield, S Yorks 0114 248 9971
PETER PAN
06 - 09 January 2010 Cheshire Youth Pantomime Society (CHYPS) The Woodford Centre Woodford, Cheshire 01625 529774
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar PIRATES OF PENZANCE (BROADWAY VERSION) 01 - 06 February 2010 Cupar Amateur Musical Society Corn Exchange Cupar, Fife 01334 654187 22 - 27 February 2010 Hinckley Comm Guild AOS Concordia Theatre Hinckley, Leicestershire 01455 847676
PUSS IN BOOTS
13 January - 06 February 2010 The Pantomime Company Concordia Theatre Hinckley, Leics 07956 543369 14 - 24 January 2010 Nomad Theatre Productions Nomad Theatre East Horsley, Surrey 01483 284747 20 - 24 January 2010 Littlehampton Musical Comedy Society Windmill Theatre Littlehampton, W Sussex 01903 722224 22 January - 06 February 2010 St Nicholas Players St Nicholas Church Hall Derby, Derbyshire 01332 556228 www.derbyartsandtheatre.org.uk 30 January - 06 February 2010 Keighley Amateur Operatic & Dramatic Soc Victoria Hall Keighley, W Yorks 01535 611922
09 - 13 February 2010 Circle Light Opera Company Sutton Coldfield Town Hall Sutton Coldfield, W Midlands 07960 869250
RAPUNZEL
04 - 06 February 2010 Woodmansterne Operatic & Dramatic Society St Peter’s Church Hall Woodmansterne, Banstead, Surrey 01737 555009
RED HOT AND COLE
23 - 30 January 2010 Cheltenham Operatic & Dramatic Society Playhouse Theatre Cheltenham, Gloucestershire 01684 565030
RED RIDING HOOD
22 - 30 January 2010 Watson Players Guildhall Theatre Derby, Derbyshire 01332 343649 www.derbyartsandtheatre.org.uk
RETURN TO THE FORBIDDEN PLANET
ROBIN HOOD & BABES IN THE WOOD
REVUE 2010
ROBINSON CRUSOE
RJ - THE MUSICAL
17 - 20 February 2010 Lowdham Pantomime Group Lowdham Village Hall Lowdham, Notts 0115 9664143
09 - 13 February 2010 Wilton Productions Plowright Theatre Scunthorpe, N Lincs 01724 330940
14 - 16 January 2010 Musselburgh Amateur Musical Association Brunton Theatre Musselburgh, East Lothian 01620 826210
25 - 27 February 2010 Sosage Factory Solihull Arts Complex Solihull, W Midlands 0121 704 6962
ROBIN HOOD
12 - 16 January 2010 St Austell Players St Austell Community Centre St Austell, Cornwall 01726 879500
12 - 16 January 2010 Spennymoor Stage and Song Town Hall Spennymoor, Durham 01388 420057
ROSENCRANTZ AND GUILDENSTERN ARE DEAD
RELATIVE VALUES
14 - 16 January 2010 Killin Drama Club McLaren Hall Killin, Scotland 01567 820424 www.killindramaclub.co.uk
RUDDIGORE
RENT
21 - 24 January 2010 Saint Monica’s Players The Intimate Theatre Palmers Green, London 0844 414 2731 www.smptheatre.co.uk 29 - 30 January 2010 Tread the Boards Theatre Group Chrysalis Theatre Milton Keynes, Bucks 01908 377449
22 - 27 February 2010 Barrow Savoyards Forum 28 Barrow-in-Furness, Cumbria 01229 820000
11 -16 January 2010 Arundel Players Priory Playhouse Arundel, West Sussex 01243 782976
09 - 13 February 2010 Blaenau Gwent Young Stars - Youth Mus TC Beaufort Theatre Ebbw Vale, Gwent 01495 301049 24 - 27 February 2010 Stampede Theatre Company Yeadon Town Hall Yeadon, Leeds 07947 535536
30 January - 06 February 2010 Richmond Shakespeare Society Mary Wallace Theatre Twickenham Embankment, Surrey 020 8744 0547 www.richmondshakespeare.org.uk
03 - 06 February 2010 West Norfolk G & S Society King’s Lynn Corn Exchange King’s Lynn, Norfolk 01553 764864
asmagazine
wishes all our readers SEASONS GREETING and a PROSPEROUS NEW YEAR
28 diary.indd 8
AS MAGAZINE | DECEMBER 2009
14/12/2009 10:56:56
OWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Every two weeks you can
SLEEPING BEAUTY
SNOW WHITE
09 - 16 January 2010 Seaford Musical Theatre The Barn Theatre Seaford, East Sussex 01323 492240
09 - 16 January 2010 Pickering Musical Society The Kirk Theatre Pickering, N Yorks 01751 474833
24 - 30 January 2010 Reydon & Southwold Panto Group St Edmunds Hall Southwold, Suffolk 01502 724539
26 - 30 January 2010 Ferndown Phoenix Musical Society Barrington Theatre Ferndown, Dorset 01202 874073
10 - 16 January 2010 Frodsham PG Frodsham Community Centre Frodsham, Cheshire 01928 579575
SNOW WHITE & THE SEVEN DWARFS
SEASONS GREETINGS
11 - 16 January 2010 Whitley Bay Pantomime Society Playhouse Theatre Whitley Bay, 0191 252 3681
23 - 27 February 2010 Preston G & S Society Playhouse Preston, Lancashire 01772 339452
read the complete, unabridged reviews of all the major national drama critics,
SCROOGE
reprinted with photos in Theatre Record. Send for a free specimen copy to:
Theatre Record PO BOX 445 CHICHESTER, W. SUSSEX
21 - 23 January 2010 Grange Drama Victoria Hall Grange over Sands, Cumbria 01539 533735
COSTUMES
SEE HOW THEY RUN!
14 - 16 January 2010 Loughton Amateur Dramatic Society Lopping Hall Loughton, Essex 0208 502 5843
COSTUME HIRE, SHOWS KING & I, PHANTOM, LES MIZ, OLIVER, FIDDLER, SHUT YOUR EYES AND THINK KISS ME KATE, FOLLIES, OF ENGLAND 17 - 20 February 2010 PINAFORE, ANNIE, ALL Preston Drama Club PANTO SUBJECTS, Preston Playhouse Preston, Lancs ORIENTAL COSTUMES 01772 744771 ABOUT ALWAYS ARTWORK SIMON BURKE SOMETHING PUBLICATION BEIGE SINBAD THE SAILOR www.bpdcostumes.co.uk - 25 January 2010 MM TRIM W185 H130 MM BLEED19W191 H136 Spittal Variety Group CONTACT PETER CITRONI 07515 402 508 The Malting Art Centre P: 01273 481004 Berwick upon Tweed, Northumberland
07 - 09 January 2010 Starlight Productions Eastwood Theatre Eastwood, Southend, Essex 01702 612351
14 - 23 January 2010 Leeds Insurance Dramatic & Operatic Society Carriage Works Theatre Leeds, West Yorkshire 0113 2522514 22 - 30 January 2010 Dinnington Operatic Society The Lyric Theatre Dinnington, South Yorks 01909 569340 15 - 30 January 2010 Riverside Players Eynsford Village Hall Eynsford, Kent 01322 861001 www.riversideplayers.co.uk
16 - 23 January 2010 Alnwick Theatre Club Alnwick Playhouse Alnwick, Northumberland 01665 510785
19 - 23 January 2010 The Mellow Dramatics Brewhouse Arts Centre Burton-upon-Trent, Staffs 01283 508100 www.mellow-dramatics.org 17 - 20 February 2010 Brixham OD&CS Brixham Theatre Brixham, Devon 01803 857654
SNOW WHITE AND THE CURSE OF THE ICE QUEEN 10 - 13 February 2010 Darnall Musical Theatre Company Darnall & District Community Association HQ Sheffield, South Yorkshire 0114 268 3327 www.mellow-dramatics.org Southern Counties Drama Festival 22 - 27 February 2010 1st Round All England Theatre Festival Barn Theatre Oxted, Surrey 01959 561811 www.barntheatreoxted.co.uk
01289 330999
SOMETHING ABOUT ALWAYS THE DEBUT ALBUM FROM
SIMON BURKE WITH SPECIAL GUEST STARS
CONNIE FISHER & CAROLINE O’CONNOR AVAILABLE FROM SIMONBURKE.COM & DRESS CIRCLE LONDON SIMON_BURKE_BEIGE_185x130.indd 1
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13:44:47
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar 16 - 20 February 2010 Letchworth Arcadians Plinston Hall Letchworth Garden City, Herts 01462 453801 17 - 20 February 2010 Cygnet Players The London Oratory School West Brompton, London 07941 448689
TOM, THE PIPER’S SON 13 - 16 January 2010 Ripon Charity Pantomime Group Ripon Leisure Centre Ripon, N Yorks 01765 601262
TOUCH & GO
STRICTLY MURDER
23 February - 06 March 2010 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761 09 - 13 February 2010 Ecclesall theatre Co. Ecclesall Parish Hall Sheffield 0114 230 8842
SUMMER HOLIDAY
17 - 20 February 2010 Marvellous Amateur Dramatics (MAD) The Guildhall Axminster, Devon 01297 561400 22 - 27 February 2010 Melyncrythan Amateur Operatic Society Princess Royal Theatre Port Talbot, Neath Port 01639 763214
SWEENEY TODD
26 - 30 January 2010 Slough Musical Theatre Company Norden Farm Centre for the Arts Maidenhead, Berks 01628 788997
SWEET CHARITY
16 - 20 February 2010 Shrewsbury Amateur Operatic Society Ashton Theatre Shrewsbury, Shropshire 01743 281281
SWEET REVENGE
23 - 30 January 2010 Rossendale Players New Millenium Theatre Waterfoot, Rossendale, Lancs 01706 228720
THE ANNUAL VARIETY SHOW 23 - 27 February 2010 The Rex Players The Rex Cinema Wareham, Dorset 01929 551817
THE FULL MONTY
18 - 23 January 2010 Brentwood Operatic Society Brentwood Theatre Brentwood, Essex 01277 626515
THE HUNCHBACK OF NOTRE DAME 22 - 30 January 2010 Haverhill & District Operatic Society Town Hall Arts Centre Haverhill, Suffolk 01440 714140
16 - 20 February 2010 St Andrews Youth Fellowship Sandon Sandon Village Hall Sandon, Chelmsford, Essex 01245 477872
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THE IMPORTANCE OF BEING EARNEST 24 - 27 February 2010 Harlequin Theatre Harlequin Theatre Northwich, Cheshire 01606 353534 www.harlequinplayer.co.uk
THE LIKES OF US
20 - 23 January 2010 Sunderland Amateur Operatic Society Sunderland Empire Theatre Sunderland, Tyne & Wear 0844 847 2499 23 - 24 January 2010 Silhouettes Operatic Society Grimsby Central Hall Grimsby, NE Lincs 01472 346251
THE MIKADO
09 - 13 February 2010 St Andrews Operatic Society St Andrew’s Roker Sunderland, Tyne & Wear 0191 548 4621
THE PIRATES OF PENZANCE 04 - 09 January 2010 Dynamo Youth Theatre St Faith’s Church Hall Havant, Hampshire 023 9245 4244 www.pad.hampshire.org.uk
THE SORCERER
17 - 20 February 2010 Dunfermline G & S Society Carnegie Hall Dunfermline, Fife 0845 2412 187
THE WEDDING SINGER
24 - 27 February 2010 Cecilian Society - University of Glasgow The Mitchell Theatre Glasgow, Scotland 07595 363006
THE YEOMEN OF THE GUARD 16 - 20 February 2010 Godalming Operatic Society Borough Hall Godalming, Surrey 01252 703376 26 - 27 February 2010 Godalming Operatic Society The Leatherhead Theatre Leatherhead, Surrey 01252 703376
30 January - 06 February 2010 Heald Green Theatre Company Heald Green Theatre Heald Green, Cheshire 0161 436 5000 www.hgtc.org.uk
UTOPIA LIMITED
25 - 27 February 2010 Girton Operatic Society Girton Glebe Primary School Girton, Cambridgeshire 01223 276601
VIVA, MEXICO!
04 - 05 February 2010 Aycliffe Musical Theatre Greenfield School Arts and Community Centre Newton Aycliffe, Co Durham 01325 379048
WYRD SISTERS 13 - 16 January 2010 Preston Drama Club Preston Playhouse Preston, Lancs 01772 744771
THOROUGHLY MODERN MILLIE
27 - 30 January 2010 Stockport Amateur Operatic Society Plaza Theatre Stockport, Cheshire 0161 427 7121
THE PRODUCERS
01 - 06 February 2010 Norfolk & Norwich Operatic Society Theatre Royal Norwich, Norfolk 01603 891494
THE RAILWAY CHILDREN 16 - 20 February 2010 Court Players The Memorial Hall Rangeworthy, South Glos 01454 321149
THE SEVEN AGES OF MAN 27 - 27 February 2010 Centre Stage Theatre Arts Assembly Rooms Derby, Derbyshire 01332 754449
THE SHAPE OF THINGS 16 - 20 February 2010 Kelvin Players Theatre Company The Studios Bishopston, Bristol 0117 942 5540 www.kelvinplayers.co.uk
THE SNOW QUEEN 11 - 16 January 2010 St Giles Marys Panto/TS Pontefract Town Hall Pontefract, W Yorks 01977 795904
DIARY SUBMISSIONS Diary submissions are published each month for the two months immediately following publication. Please note that the submission deadline is the 1st of each month. Submissions should be sent in the format shown in the magazine to diary@asmagazine.co.uk
AS MAGAZINE | DECEMBER 2009
14/12/2009 10:58:28
NEW and IMMEDIATELY AVAILABLE
SLEEP NO MORE
A gripping supernatural thriller by DAVID GILLESPIE and COLIN WAKEFIELD (3F, 4M – one set)
“A fabulous play” – Nunthorpe Players (Amateur World Première – October 2009) For all enquiries or an inspection copy please contact: 07796 178581 or dgill1812@aol.com
01:18:11
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www.asmagazine.co.uk
PLAYSCRIPTS
13
Music and Lyrics by Jason Robert Brown Book by Dan Elish and Robert Horn A grown-up story about growing up! When his parents get divorced and he’s forced to move from New York to a small town in Indiana, Evan Goldman just wants to make friends and survive the school year. Easier said than done. The star quarterback is threatening to ruin his life and his only friend, Patrice, won’t talk to him. The school freak sees an opportunity for blackmail and someone is spreading the nastiest rumours. With an unforgettable rock score from Tony Awardwinning composer Jason Robert Brown, “13” is a hilarious, highenergy musical for all ages about discovering that cool is where you find it, and sometimes where you least expect it. Cast: Flexible ensemble cast with many featured teenage roles Instrumentation: Bass, Drums, 2 Guitars, 2 Keyboards
THE BRAIN FROM PLANET X
Music and Lyrics by Bruce Kimmel. Book by David Wechter, Bruce Kimmel. Orchestrations by Larry Moore. An hilarious musical send-up of bad 50’s sci-fi movies, THE BRAIN FROM PLANET X tells the story of an alien invasion circa 1958. A Brain and its two alien cohorts arrive on Earth with a plan to take over the San Fernando Valley - starting with a happy nuclear family. It’s the first step on the road to their quest of taking over the entire planet and destroying the family unit. This rousing, toe-tapping musical features a dancing, singing brain ... what more could you want from a musical? Cast: 6 men, 3 women, Singing-dancing ensemble of Townspeople, Newscasters and Aliens. Instrumentation: Acoustic Bass/Bass Guitar; Drums/Percussion; Synthesiser
DRACULA THE MUSICAL
Music by Frank Wildhorn Book and Lyrics by Don Black and Christopher Hampton Conceived by Don Black, Christopher Hampton, Frank Wildhorn and Des McAnuff Drink deep...and live forever! A terrifying and passionate new musical based on one of the most frightening novels ever written. “Dracula: The Musical” is a thrilling drama of suspense and a Gothic romance of dreamlike temptation from the extraordinary team Christopher Hampton, Don Black and Frank Wildhorn. Set in Europe at the end of the Victorian Age, the production follows Dracula’s lust for new blood and a small band of mortal men and women who must face his overwhelming seduction and mesmeric supernatural powers. Cast: 7M, 2F, Female Chorus. Instrumentation: Reed 1 (Alto Sax/Flute/Piccolo); Reed 2 (Oboe/Cor Anglais); Reed 3 (Clarinet/Bass Clarinet); 2 Horns; Trumpet; Trombone; Percussion; Guitar; 2 Keyboards; 2 Violins; Viola; Cello; Bass
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AS MAGAZINE | DECEMBER 2009
14/12/2009 11:00:20
PLAYSCRIPTS
www.asmagazine.co.uk
THE DROWSY CHAPERONE
Book by Bob Martin and Don McKellar. Music & lyrics by Lisa Lambert and Greg Morrison If you’ve ever sat in a darkened theatre and thought ‘Dear Lord in heaven, let it be good’, then this is the show for you. Winner of five awards at the 2006 Tonys, THE DROWSY CHAPERONE is a rare combination of unprecedented originality and good old-fashioned nostalgia, a musical-within-a-comedy hosted by a die-hard musical theatre fan whose favourite musical bursts to life in his living room as soon as he places the cast album on the turntable. The show is filled with glorious, zany characters and at its heart is an affectionate mocking of musical theatre in all its silliness and self-absorption. Cast: 9 males, 5 females, possible chorus Instrumentation: Reed 1 (Alto Sax, Clarinet, Flute, Piccolo, Soprano Sax); Reed 2 (Alto Sax, Clarinet, Flute, Soprano Sax); Reed 3 (Clarinet, Piccolo, Tenor Sax); Reed 4 (Baritone Sax, Bass Clarinet, Clarinet); 3 Trumpet; Trombone; Drums; Percussion; 2 Keyboard; Bass
EUROBEAT ALMOST EUROVISION (SARAJEVO)
By Craig Christie & Andrew Patterson Eurobeat is a riotously funny musical banquet, a glorious and dazzling homage to the biggest annual song contest in the world, LIVE ON STAGE! Winning Is Everything in Eurobeat. This critically-acclaimed musical event gives audiences the power to decide which of the ten competing countries will win the coveted award! No two shows are ever the same at Eurobeat! Sir Terry Wogan will help to whip you and your fellow Europeans into a frenzy and only you and your texting thumb can affect the outcome* as no one knows who will be crowned the most ‘eurotastic’ on the night... including the contestants! Bring your mobile phone, your best and loudest friends, grab a flag and get set for the best night out you will EVER have. WARNING: Do not wear mascara to Eurobeat. Cast: Flexible ensemble cast, 1 male & 1 female presenter Instrumentation: Accompaniment CD
FOOTLOOSE
Book by Dean Pitchford and Walter Bobbie. Based on the Original Screenplay by Dean Pitchford. Music by Tom Snow. Lyrics by Dean Pitchford Additional Music by Eric Carmen, Sammy Haggar, Kenny Loggins and Jim Steinman When Ren and his mother move from Chicago to a small farming town, Ren is prepared for the adjustment to his new high school. What he isn’t prepared for are the local laws - including a ban on dancing - which are the brainchild of a local preacher bent on exercising control over the town’s youths. When the Reverend’s rebellious daughter sets her heart on Ren, her boyfriend tries to sabotage Ren’s reputation and many of the locals are eager to believe the worst
about the new kid. With its Oscar-nominated hit score (the film soundtrack album has sold over 15 million copies worldwide) the celebrated film musical now bursts explosively onto the stage. Cast: 5 men, 3 teenage boys, 4 women, 2 teenage girls, chorus. Instrumentation: 1 Reed; 2 Keyboards, Drums; Percussion; 2 Guitars; Bass
GREENWILLOW
Music and Lyrics by Frank Loesser Book by Frank Loesser and Lesser Samuels Based on the Best-Selling Novel by B.J. Chute Based on the novel by B.J. Chute, Greenwillow is the tale of a magical town whose inhabitants see no reason to leave the comforts of home… that is, all the inhabitants save Amos Briggs. For generations, the eldest Briggs men have been cursed with a powerful wanderlust, a “call” that fills their souls and sends them traveling, leaving the ones they love behind them. Determined to stop the curse from passing to the next generation, and despite his love for Dorrie Whitbred, Amos’ son Gideon vows never to marry. While the gloomy Reverend Lapp wrestles with the town over their souls, the arrival of Reverend Birdsong encourages the citizens of Greenwillow to trust their hearts, helping Gideon listen to a new “call” and find his way back home for good. With a lush, romantic score, fine ensemble singing, and a cast of quirky, fablebook characters, Greenwillow is a Broadway charmer with opportunities for actors of all ages. Cast: 8M, 10F, 2 boys, 1 girl, Chorus Instrumentation: Reed 1 (Piccolo/Flute/Alto Flute); Reed 2 (E flat Clainet/Clarinet/Bass Clarinet/Oboe/Cor Anglais); Reed 3 (E flat Clarinet/Clarinet/Bass Clarinet); Reed 4 (Clarinet/Bass Clarinet/Oboe/Cor Anglais); Reed 5 (Bassoon/Contrabassoon); Horn; Trumpet; 2 Trombones; Percussion; Harp; 3 Violins; Viola; 2 Cello; Bass
OUR HOUSE
Book by Tim Firth Music and Lyrics by Madness Our House is the story of Joe Casey who, on the night of his sixteenth birthday, takes Sarah, the girl of his dreams, out on their first date. In an effort to impress her with bravado, he breaks into a building site overlooking his home on Casey Street, which is owned by Mister Pressman, a high-end property developer. The police turn up, at which point Joe’s life splits into two: the Good Joe, who stays to help, and Bad Joe, who flees. All of these great new muscals can be licensed throughJosef Weinberger Ltd 12-14 Mortimer Street, London W1T 3JJ T/: 020 7580 2827 F: 020 7436 9616 www.josef-weinberger.com e-mail: general.info@jwmail.co.uk
AS MAGAZINE | DECEMBER 2009
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Samuel French Ltd
Curtain up on our NEW WEBSITE! Combining the very best of the old with the very best of the new
samuelfrench-london.co.uk • Search for your new play using our unique search facility, Select-a-Play • Full cast and story details of the 2000+ plays and musicals we have available • Check performing rights and apply for a licence quotation • Sign up to French’s Parades, our free email newsletter • Buy online from our secure site (SSL certified) French’s Theatre Bookshop 52 Fitzroy St London W1T 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 Email: theatre@samuelfrench-london.co.uk
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14/12/2009 13:06:07
REVIEWS
www.asmagazine.co.uk
NEXT TO NORMAL
Next To Normal is a musical about mental illness and the effect of that illness on people’s lives. Currently playing on Broadway, it’s unique, modern and definitely worth a listen. Encompassing all manner of musical forms there’s something for everyone here. With a knockout central performance by Alice Ripley (you may remeber her as one half of the Siamese Twins in Side Show) Side Show may not be to everyone’s taste but it is a musical that dares to be different and in doing so will hopefully encourage others to develop the form. I must admit to also finding some of the emotions expressed in the show quite touching as people grapple with life, mental health and the medications which in effect numb one to the world.
9 TO 5
Based on the hugely successful film of the same name, this new musical by Dolly Parton should have been a huge hit. Something went wrong though on the way to Broadway and whilst it’s a hard call having not seen the show itself, I found the CD as bland as bland could be. Vocally the three leads - Allison Janney, Stephanie J Block and Mehan Hilty are in fine form, the problem seems to lie in Parton’s score. There are a few stand out moments but its perhaps a warning that writing musicals is perhaps not quite as easy as many may think.
DAD’S ARMY
This is a stonking recording of the Dad’s Army stage show made at the Forum Theatre Billingham in 1975. This must have been a brilliant show with original songs and war time classics. Recorded with all of the original cast including Arthur Lowe, John Le Mesurier, Clive Dunn and Ian Lavender, this recording sparkles with the wit and humour of Jimmy Perry and David Croft. At £5.99 what have you got to lose? For Dad’s Army fans, this is a great opportunity to re-discover an unreleased live performance of this cult lassic.
BLUEBIRD
From the writer and composer of Escape and A Million Grains of Sand. Bluebird takes place in and around East London and the battlefields of Europe, during the turbulent years of the Second World War. It charts the story of ordinary people, living in extraordinary times. This is an amazing concept recording made all the more interesting by the casting of Ramin Karimloo (who is about to take on the role of Phantom in Love Never Dies). Ramin’s voice is devastatingly beautiful. Hoined by other West End actors including Sarah lark, Stephen Weller and Abi Finley, Bluebird is a real must have for musical theatre fans who like to be two steps ahead of the next big smash!!
ALL CD’S REVIEWED ON THESE PAGES CAN BE PURCHASED FROM
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REVIEWS throwing a woman’s shoe onto a building site late at night, a woman missing in the woods, a discarded pair of brogues belonging to a man distressed by the disappearance of his fiancée. While the characters weave in and out of each others’ stories, they share a feeling of isolation and inability to trust despite the connectivity of their lives. There is a strong ensemble cast of John Simm, Lucy Cohu, Ian Hart and Kerry Fox, matched by some interesting staging including effective use of sound and video to add nuances to the stories being told.
PAINS OF YOUTH COTTESLOE THEATRE, NATIONAL THEATRE
Lydia Wilson and Laura Elphinstone
SPEAKING IN TONGUES DUKE OF YORK’S THEATRE Andrew Bovell’s Speaking in Tongues has been performed several times since its premiere in 2000 and a film version, called Lantana, two years later. It is an intricate narrative of nine characters, played by just four actors, each doubling or tripling up, to add extra dimensions and complication to the story. It begins with two couples contemplating a one-night stand with each others’ partners, played out in two different hotel rooms but occupying the same stage space. To make matters more complex, the parallels and differences between the simultaneous scenes are emphasised by the actors speaking many of their words and lines in perfect unison with each other – a fascinating but disorienting technique that thankfully ceases until later in
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the play. After the repercussions of these bedroom infidelities, the story suddenly opens out, switching to new characters mentioned only in passing earlier in the play – a man spotted
When I first saw Ferdinand Bruckner’s 1926 play Pains of Youth at the Finborough Theatre nine years ago, I found it rather flat but I had hopes that my opinion of it would be changed by Katie Mitchell’s production at the National Theatre, with a new translation by the excellent Martin Crimp. Sadly, I am still baffled why theatre companies return to this Austrian play where a series of 20-something characters drift humourlessly about the stage, talking with great seriousness about not much at all. Of course, this is at the heart of what the play is about, showing the discontented, listless youth of 1920s Austria after their country
Kerry Fox and Ian Hart (photo by Johan Persson)
AS MAGAZINE | DECEMBER 2009
14/12/2009 11:01:53
REVIEWS
www.asmagazine.co.uk
Old Laundry Theatre in Bowness-onWindermere and then at London’s Menier Chocolate Factory. Still set in the 1970s, it gets much of its appeal from now-kitsch references to Babycham and Lena Zavaroni, with some hilarious lines that are now familiar to Wood’s fans, such as the tale of the woman who laughs to much that “a Malteser came down her nose” and the nun who left the monastery because “they were always having tomato soup and she lost her faith”.
Laura Elphinstone and Leo Bill was let down by their elders and supposed betters during World War One. With its depiction of drug-taking and lesbianism, it would have been shocking at the time, but it seems quite tame for anyone who has been to the Royal Court in the last 50 years. The most exciting aspects are in the staging, with an unsettling soundscape designed by Gareth Fry and atonal music by Paul Clark. The most striking moments come between each scene where the action freezes and members of the cast move props around the stage in semi-darkness before everything fizzes back into life like electricity switched back on. Before the play starts, the furniture is draped with large sheets of transparent hermetic plastic, which are removed by the actors before the action begins and then replaced during the interval. These all create a sense that the characters are part of a lab experiment, being moved like automata by an unseen scientist. The cast do a good job with a difficult play, particularly Laura Elphinstone as the morally confused, disintegrating Marie and Lydia Wilson as the highly strung Desiree, but you are left with the sense that they are not only clinical subjects in an experiment but are like ghosts haunting a room, pointlessly repeating their unfulfilled existences – which is all intellectually stimulating but not so thrilling as theatre.
TALENT MENIER CHOCOLATE FACTORY Long before the days of Acorn Antiques and Dinnerladies, a 25-yearold Victoria Wood wrote a short play set backstage during a talent contest at a Manchester variety club, Bunters Nitespot, focusing on aspiring singer Julie and her best friend Maureen. Starring Julie Walters and herself, it had some success and was made into a play for TV, providing a push for the pair’s careers. Thirty-one years later, it has been revived at the
The play is more like a musical, featuring many of Wood’s comic songs, with new ones added for this production which aim to “open up the lost world of the cabaret club”, according to Wood who has directed the revival. There are some good performances, most notably from Suzie Toase as Wood’s original character, Maureen, and Mark Hadfield as both Mary the club’s front-of-house manager and the charmingly hopeless assistant to Jeffrey Holland’s ventriloquist. But funny lines and nicely drawn characters are not enough to make this more than just an extended sketch with songs.
Suzie Toase and Leanne Rowe (photo by Catherine Ashmore) AS MAGAZINE | DECEMBER 2009
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THE LAST WORD
Wisteria Cottage Garrick Road Campton Royal
Greetings, Here we are in the midst of panto season yet again. Not my favourite genre I have to say. I find the concept of directing a cow most disturbing, particularly when the front end has gone home. And I have had some dreadful experiences. Probably the worst was playing the genie and being trapped in the very confined space of the ‘cave’, not helped because I’m claustrophobic. This was all because Aladdin dried on ‘Open Sesame’ and the prompt had gone for a smoke. During my last foray into this world of bad jokes and even worse singing, there was an unfortunate incident with the cooking scene. One night, one of the actors took it upon himself to break an egg on top of his partner’s head. The following night, said partner exacted revenge and another egg bit the toupee. The scene then descended into an extended ad lib and what should have taken four minutes became a toe-curling twenty. As a not-so-grand finale a number of cream pies ended up on the theatre curtains, the piano and the pianist’s blue-rinsed hair. The cleaning bill was extortionate. As if this was not enough, I had major problems with the gentleman operating the lights. I use the term ‘gentleman’ loosely; he was a used car salesman. There was a moonlit scene during which I had demanded a complete black out for a tricky transformation. However, three nights running, despite my protests, the lights remained stubbornly on and the audience were treated to the witch and the good fairy changing places as furtively as possible and wishing the stage would swallow them. This resulted in the fairy waving her magic broomstick and the witch making a hasty exit with a pair of wings impaled on her pointed hat. I finally challenged Harold, I think that was his name. And do you know what he said? He said ‘You can’t turn off the moon, Doris. That ain’t natural.’ I knew he wasn’t very bright, but really! Then I had an inspiration and replied ‘For your information, at precisely ten minutes past nine, every night, a dirty big black cloud will blow across the moon.’ Though I think I said ‘dratted big cloud’ to add force to my argument and I had no more trouble! Happy Thesping,
Doris Richardson-Hall
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AS MAGAZINE | DECEMBER 2009
14/12/2009 11:09:43
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