Amateur Stage Magazine June by Amateur Stage Limited

amateur amateurstage THE INDEPENDENT MAGAZINE FOR AMATEUR THEATRE JUNE 2010 www.amateurstagemagazine.co.uk

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The Musical Produced JESUS CHRIST SUPERSTAR Special Feature AETF England Final 2010 National Show Diary JUNE10_1-11.indd 1

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amateurstagejun10 FROM THE EDITOR It was our pleasure this year to act as sponsor of the AETF England Final. We attended the final in Burton On Trent and were hugely impressed with the enthusiasm and sheer abundance of talent that was on display in the four productions. Our congratulations to everyone who took part and to the organisers on a job well done. We hope that you are all enjoying the summer break and gearing up for the rest of 2010. We have a lot of exciting news coming up which we will be unveiling over the next few months. We’re quite pleased to have a few months of quiet in which to initiate some plans we’ve been working on for a while now. Keep an eye out!! I hope you enjoy this month’s magazine. Doug

THIS MONTH 5

NEWS

AETF ENGLAND FINAL

Ann Aplin reports on a great day of theatre.

THE MUSICAL PRODUCED

Darlington O S presents Jesus Christ Superstar.

INSURANCE

Robert Israel ASCII reports on the latest insurance issues.

PRODUCTION DIARY

What’s on where across the UK.

WEST END

Mark Ludmon reviews the latest West End offerings.

PLAYSCRIPT REVIEWS

David Muncaster reviews the latest scripts.

THE FINAL WORD - DORIS

News from around the country.

Cover: Jesus Chris Superstar

credits Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0207 622 6670 www.amateurstagemagazine.co.uk Publisher - Paul Webster : paul@nextphasemedia.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk Subscriptions/ Diary Listings : diary@asmagazine.co.uk Advertising : Zoya Berkeley: zoya@asmagazine.co.uk P: 0207 078 4893 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.

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NEWS

A NOTE FROM NICK HERN BOOKS I am writing to let you know about a new scheme we are introducing at NHB. For the amateur drama market only, we are making some as yet unpublished plays available for performance. We will begin with a wonderful play by Amanda Whittington: PLAYERS’ ANGELS. Those of you who have enjoyed success with BE MY BABY and the LADIES’ plays (LADIES’ DAY and LADIES DOWN UNDER) will want to take note, as this is very similar territory, and as yet undiscovered. The play is set in 1950’s Nottingham, and follows a group of friends who work on the production line of the John Player tobacco factory. Cyn is an aspiring starlet, beautiful and sassy, Vee has just got married, but feels insecure about what her new situation requires, Glad has a dark, but wonderful secret, and Mae, who comes to work in the big city, has a warm heart and an open mind, and might just rescue them all towards the end of the play. It offers great parts for four women and a man (ages range from early 20s to 40s), so very similar cast requirements to the LADIES’ plays, and can be staged fairly simply. The 1950’s setting allows for great costumes and authentic stage design (there should at least be lovely dresses for the ladies), but it can also be staged with minimal requirements, according to budget. The script is available in digital form only, and can be sent out as an email attachment. We will sell it to you at a very moderate £35 plus VAT for a printable copy, and, if you want to read it on screen beforehand, we will send you a non-printable copy for free. The rights are available at £64 per performance plus VAT. Do let me know if you are interested. I am looking forward to hearing from you. Tamara von Werthern tamara@nickhernbooks.demon.co.uk

FELIXSTOWE DRAMA FESTIVAL RESULTS The 60h FELIXSTOWE DRAMA FESTIVAL of full length plays was held 29 May – 5 June 2010. With Tony Rushforth GODA presiding as adjudicator the results were as follows:Winner: Tryst Theatre; Art by Yasmina Reza plus Best Team Acting, Best Set, and Adjudicator’s Award for recall of telephone conversation for Craig Murray as Yvan. Runner Up: Parkside Players: The Importance of Being Earnest by Oscar Wilde plus Audience Winner, Best Director (for the play’s language) Val Tillett, Best Actor Greg Tillett as John Worthing, Best Actress Ame Tillett as Gwendolyn Audience Runner Up: In Yer Space; Like a Virgin by Gordon Steel Best Supporting Role: Neill Pearce as Sir Andrew Aguecheek in Deben Players production of Twelfth Night by William Shakespeare. Best Dressed: Rushmere Players production of Under Milk Wood by Dylan Thomas.

DRAMA FESTIVALS CONFERENCE 2010 The 2010 Drama Festivals Conference is to be held at the Lighthouse Theatre and Conference Centre, Kettering, Northants on Saturday September 18. The theme of the conference, organised by the Guild of Drama Adjudicaors on behalf of the drama festivals movement, will be “Winning Festivals” and will include sessions, workshops and forums of interest to everyone involved in festivals at all levels. The conference centre, a splendid venue both in terms of facilities and accessibility, is situated less than a mile from Junction 8 of the A14 – the main east/west route linking the A1 and M1/M6, and is half a mile from Kettering’s mainline railway station. “The facilities are second to none,” says conference organiser Paul Fowler. “The

conference amenities are really excellent and in house catering is a real bonus.” In addition to the conference facilities the Lighthouse has a fully-equipped 600 seat theatre that stages a varied programme of local community theatre, touring production and music events. A tour of the theatre will form part of the conference programme, and there will be an optional evening theatre visit as part of the fringe events.

settlement – is well served for overnight accommodation with several reasonably priced branded outlets nearby as well as a luxury hotel and spa and a number of reasonably priced Bed and Breakfast places. For further information please contact Paul Fowler: Telephone: 01536–511308. Mobile: 07973 343158. E: paul @paul-fowler.co.uk (Provided courtesy of www.amdram.co.uk)

The full conference programme including details of the headline speaker, and prices for delegates, will be announced in the New Year along with details of a new initiative for participating teams. The town of Kettering – originally a Saxon

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NEWS

62ND ANNUAL PLAY FESTIVAL RESULTS Here are the festival results for the 62nd Annual Play Festival hosted by Skegness Playgoers at the Embassy Theatre in Skegness, May 24th to 29th 2010. The festival was adjudicated by David Vince GoDA who gave thanks to all the teams who entered for an excellent selection of plays which were all performed to a high standard. The Trophies were awarded as follows:Premier Award- The Arcadia Trophy Holder: Halifax Thespians - “Flamingoland” Runner Up- Grace Green Cup Holder: Horncastle Theatre Company ”Shakers Re-Stirred” One-Act Winner- Skegness Playgoers One-Act Shield Holder: Scothern Players - ”Meat and Two Veg” Best Actress- Betty Lowndes Cup Holder: Julie Johnston (Halifax Thespians) Best Actor-Skegness Entertainments Bateman Cup Holder: David Edgar (Boston Playgoers) Best Supporting Actress- Phyllis Garner Memorial Trophy Holder: Melissa Marlowe (Boston Playgoers) Best Supporting Actor-Cyril Shepherd Memorial Trophy Holder: John Davies (Halifax Thespians)

Holder: Charlotte Argyle (Boston Playgoers) Most Promising Actor (Under 21)- Joe Wright Cup Not awarded Adjudicators Special Award (Acting)-Eileen Pett Memorial Trophy Holders: Horncastle Theatre Co. Shakers’ Cast

PRESS RELEASE

Adjudicators Special Award (Backstage)William Butlin Cup Holders: Gladrags Productions. (Boston)

Nottingham Co-op Society Trophy Holders: Boston Playgoers (Billy Liar) Award for Best Lighting and Effects-Claude Sharman Memorial Plate Holder: Halifax Thespians Most Innovative Production- Les Allison Plate Holder: Lindsey Rural Players with “Always” Supreme Comedy Moment-Joyce Smith Trophy Holder: Horncastle Theatre Company

Looking at Durham Stage and Screen

Most Promising Actress (Under 21)- Elizabeth Allan Trophy

Best Setting Award (Furniture & Dress)-

Memories 1884 - 1963

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interested in the arts in Durham, as well as the

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general reader. John C. Foster has long had a keen interest in theatre. In 1958 he joined the Durham Amateur Dramatic Society and took up acting. Most of his appearances were with this Club but he was also a member of the

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NEWS Saturday May 15th.

New ‘hands’, new territory

It used to be rare to have a youth group appear at this prestigious, third round of the All England. This Festival rejoiced in two youth groups proving that they could take on productions by the more experienced groups. From Southern Division came Oasis Youth Theatre ‘A million to STOP THE TRAFFIK’ by Mark Wheeller, whose scripts are well-known and deservedly popular amongst schools and youth groups. Mark directed this talented team which is associated with Oasis Academy, Lord’s Hill, Southampton. Adjudicator Colin Dolley, GODA, was enthusiastic about their committment, energy and focus and sent this exciting production forward to the English Final as the Western Area winner. The other youth group were Ampersands from Sands School in Devon. They presented a ‘very different’ production of David Campton’s ‘The Cagebirds’, directed by Meryl Duff. A play that frequently appears in festivals was given a very imaginative and beautiful staging backed up by disciplined performances from a talented cast. This production received the adjudicator’s award. (See our report on the English Final for what happened next - ED).

Old ‘hands’, known values

AETF SEMI FINAL WESTERN AREA The Venue

The western version of this annual showpiece of English theatrical talent was held this year in The Athenaeum Centre in Warminster, Wiltshire. This gem of a facility is in fact an old Victorian building, founded in the mid nineteenth century as a literary institute.

After various changes, including a life as the Palace cinema in the early part of the twentieth century, it is now a great community arts centre run and manned entirely by volunteers. It is a real treasure and obviously much loved as a ‘proper’ theatre space and was very much appreciated by the many players on stage on

The other two contestants have been ‘here’ before, having met at the Area final last year and having a history of Festival successes. Mercia Division winners were Whole Hog Productions from Wiltshire. They presented an original play, ‘The Last Supper’ by Phil Regan. Wessex Division were represented by the redoubtable Taunton Thespians. This well-established company staged work by well-established playwrights, to wit Neil Simon and Anton Chekhov. They played two of the ten vignettes that make up ‘The Good Doctor’, modern rewriting of not-so-well-known, very funny comedy. Ron Roberts, with acknowledgement to source material by Ann Aplin.

POSITIONS VACANT FEATURES WRITERS

Amateur Stage is looking for voluntary contributors interested in writing features for forthcoming issues of the magazine. Interested parties should email us together with a sample of their work and any features suggesstions they may have. Email editor@asmagazine.co.uk in the first instance.

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AMATEUR STAGE | JUNE 2010

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PANTOMIMES By JOHN CROCKER

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AETF

FEELING THE HEAT AETF ENGLISH FINAL Theatre Companies from across England gathered in Burton On Trent recently for the AETF English Final. Ann Aplin looks at the days activities and the results of the coveted awards. Four teams were feeling the heat of competition at the English Final of the AETF at Burton on Trent on Saturday June 5th - and so were the audience as the temperatures soared! And what very different companies and productions they were. For the ﬁrst time ever not just one but two youth teams reached the English Final; Oasis Youth Theatre from Southampton with a play One Million to STOP THE TRAFFIK written especially for them by their director, Mark Wheeler and Saltburn ‘53 Drama Group (Youth) with an increasingly

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popular play The Musicians written by Patrick Marber for Shell Connections and ﬁrst performed at the National Theatre in 2004. The two other companies were Total Arts Community Theatre from Tamworth with The Mother Tree, an original play written by Peter Machen. This team were last year’s winners with Moll Flanders but this time put on a play with a completely female cast. The last play was one with an all male cast; The Dumb Waiter by Harold Pinter - a 20th century

classic- presented by the Wadham Players. Well there you go - who ever said one act festivals contained only one type of play - a cast of one man and one woman - feeling miserable! The name Total Arts indicates a willingness to embrace the many forms of artistic expression and this was certainly borne out in this production which was visually stunning with its set consisting of black two-dimensional cut-outs and a back-lit white screen behind

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www.amateurstagemagazine.co.uk

which the crinoline-clad women appeared initially as silhouettes with movements and wigs reminiscent of Japanese theatre and whose movements followed a choreography that made them appear to float. The clarity of this visual picture was intensified by their decision to play it on a white floor cloth. The whole production was underscored by subtle and evocative music that never intruded. It was the well thought out and detailed visual impact of this production that will stay with me longest - I haven’t yet mentioned that the play was a retelling of the Cinderella story which according to the adjudicator, Paul Fowler, was known in ninth century China long before the Brothers Grimm got hold of it. The script

was not quite of Angela Carter quality but a variation on the Cinderella theme - with a modern twist. It was easy to see why the directors of the second production , The Musicians , chose this play - it offers such splendid opportunity for a large youth group to explore various theatrical conventions. It is set on the stage of an empty opera house somewhere in Moscow that Alex, the young Russian cleaner, is sweeping in preparation for a rehearsal of an English comprehensive school orchestra which despite its inadequacies has somehow ended up giving a concert. It opens with a duologue between the Russian and a young

AETF

Englishman whose teacher has given him his ﬁrst opportunity to conduct. An opportunity for two contrasting performances here - in which one can practise his Russian! The arrival of the orchestra provides us with group speaking, interaction in which each member of the young cast has an opportunity to establish with very few words their own character and to work as a team. This company was very strong in this section and then moved on effectively to the section where , owing to the conﬁscation of their instruments by Customs they have to mime Tchaivosky’s Symphony Number 4. The ending is a song and dance routine centred round Alex whose air guitar is now a real one. Plenty for any young group to get their teeth

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AETF into there - and one which Saltburn attacked with energy and skill. Cometh the hour cometh the man - or men, in this case Gus and Ben in Pinter’s disturbing play, The Dumb Waiter. I have seen productions in which the director has been too clever by half but this one was straightforward and as Paul Fowler pointed out true to the script. However for my taste it could have been more effective if underplayed. The script is full of ambiguities , hesitations, silences and pauses, and I feel that in such cases it is the actors’ job not to get between the script and the audience but let it speak as clearly as possible. We don’t want to be absorbed by the characterisations but by what is being said or happening - or not being said and not happening. I suspect every audience can be divided up into Pinter-lovers and Pinterloathers but it speaks volumes for Wadham Players that they brought this classic work to the attention of an English final audience and held their attention until its dramatic ending.. The final company to storm on to the Brewhouse stage was Oasis Youth Theatre and I use the word storm advisedly as the sixteen strong cast swarmed and scrambled, climbed and attacked to the accompaniment of grunts and feral sounds as we began to see the plight of young people throughout the world who are the prey of employers, pimps, and traffickers. Dressed in dark STOP THE TRAFFIK tee shirts and loose trousers, with the Predators in scarlet tee shirts the cast took roles as African, Indian, European and British children and of their families and tormenters. Working with immense vigour, concentration, precision and control this team left us in no doubt at all about what happened and is happening to these children. The title is that of the charity Stop the Traffik and the catalyst of the story is a small group of brightly and ‘normally’ dressed social workers who work to get one million signatures to present to the UN. In common with many others I prefer my plays with a message to have rather more subtlety and allow me to make up my own mind but this cast is of the age to feel these moral issues with great intensity and rage (I remember my mother asking my teenage self not to be so intense - especially at breakfast!) and this feeling , enthused and motivated their performances and, skilfully directed, gained them the John Maude winner’s Trophy. They will be representing England at the British Final in East Kilbride on June 25th and 26th. The Paul Dyson Trophy (Adjudicator’s Discretion) went to Matt Savage and Charlie Wheeller, the Predators in One Million to STOP THE TRAFFIK and the Irene Gartside Trophy for Stage Decor to Total Arts Community Theatre. The whole festival was a resounding success Burton-on-Trent is well served by this delightful civic Arts Centre with its welcoming foyer, dance and drama studios, and theatre space with a strongly raked auditorium that when you stand on the stage seems to stretch up and back for ever. However all four teams succeeded in communicating to the packed houses (it was a sell out) and we were all made very welcome by enthusiastic and friendly hosts. Councillors from both Staffordshire County Council and Burton Town Council were Central Area’s guests and I

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am sure welcomed the many appreciative remarks, both formal and informal, made about their councils’ support of the arts and drama in particular. Also greatly appreciated was Amateur Stage’s sponsorship of this event, and it was good to meet the Editor in person, and not just as part of a telephone or e-mail exchange. EDITORS NOTE: My thanks to everyone who made our visit to the AETF England Final so enjoyable. It was great to see so many great companies delivering such a great array of brilliant work.

and say hi. My congratulations to Oasis Youth Theatre, Matt Savage and Charlie Wheeler and Total Arts Community Theatre for their well deserved wins and to all the other groups who took part. Thanks also to Roger, Jean and Ann for their continued support of Amateur Stage. It was our pleasure to support this event and we look forward to next years final.

Thank you to all the subscribers who took the opportunity to make themselves known

AMATEUR STAGE | JUNE 2010

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THEMUSICAL MUSICALPRODUCED PRODUCED THE

JESUS CHRIS SUPERSTAR In celebration of the 40th Anniversary of Jesus Christ Superstar, Darlington OS staged an ambitious production of the hit musical. Julian Cound relates their experiences. Once in a while there is a musical that comes along that changes the face of musical theatre forever. Showboat, Oklahoma, West Side Story and Les Miserables to name a few. Another to add to this list would be the Tim Rice / Andrew Lloyd Webber classic Jesus Christ Superstar which is enjoying a well deserved re-release to adult amateur societies to help celebrate the 40th anniversary of the show. DarlingtonOS were very fortunate to be one of just a few UK societies to secure the rights to perform this emotionally charged show in April 2010. Fortunate in so far as we were all systems go to progress the planning of our chosen show of 42nd Street. One eagle eyed member of the committee saw an innocuous news item on the Really Useful Group’s website that the full amateur rights had been released and decided to set the wheels in motion. All plans for 42nd Street were put on the back-boiler as the entire committee felt this was an opportunity too good to be missed.

THE MUSICAL The premise for this emotionally charged piece of theatre is, of course, the greatest story ever told. The last seven days in the life of Christ. However, the twist is that the story is told through the eyes of Judas (the real ‘star’ of the show), and instead of a narrative of Christ as the Messiah, the Son of God…. we are faced with the hopes and fears of simple men and women who know they have a calling but ﬁnd it difﬁcult to understand why they have been chosen. Human emotions trying to understand a divine process…. powerful stuff indeed. Jesus Christ Superstar is billed as a ‘rock opera’ - slightly out-dated terminology for the 21st Century, but it is a genre unlike any other, a fabulous mix of heavy, repetitive themes interspersed with some beautiful ballads. Requiring a small but powerful band combined with a stage full of actors and singers with huge vocal ranges, this musical is a massive challenge for any society.

CASTING When a Society announce they have the rights to perform Jesus Christ Superstar, news quickly gets around and you ﬁnd many, many people want to be involved. New member enquiries into the website shot through the roof and the Society eventually took in a record 18 quality new members - such is the draw of this show. Being a sung-through piece, it was a strange feeling not having to learn any dialogue for your audition…. but the lyrics are so well crafted, they offer so much scope to show a range of emotions within a short audition piece. With a passionate membership simply desperate to be a part of the production the audition day was a lengthy affair. The Director, Scott St Martyn, wanted to audition every member for the production - requiring only 36 to stage his vision of the show - competition always bringing out the best in people. Even with an early morning start it was late afternoon when the full cast list was eventually

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complete. A fine mix of existing members and new talent - Jesus played by Neil Harland in just his second show with the Society and Matthew McCabe as Judas - a newcomer to the Society and to musical theatre in general. REHEARSALS Scott St Martyn had directed for DarlingtonOS several years ago so was no stranger to us. Having been in the professional production of Superstar with Paul Nicholas, it was clear that his understanding of the piece would be

THE MUSICAL PRODUCED

incredibly detailed…. so it came as a surprise to learn that this would be the first time he had ever directed the show. How Scott directed the company was wonderful to watch. Almost workshop style but interspersed with deep thoughtfulness and an insight into historical fact allowing individuals to take from the piece their own deep-rooted emotional experience. Building a number, layer on layer… adding another fact or emotion for people to tap into, constantly striving for more, constantly encouraging… it was clear from an early stage this

was going to be something special. Rehearsals obviously started long before Scott arrived - with Musical Director Michael Trotter having the unenviable task of teaching 90 minutes of solid music in just 12 sessions. With the dedicated cast of 36 we soon had the harmonies cracked and were able to ‘run’ the show vocally ensuring we were ready for Scott to start floorwork. It is often easy to let the emotion of the

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THE MUSICAL PRODUCED piece overtake the performance and we have to admit to a lot of tears being shed throughout the rehearsal period. COSTUMES A wonderfully colourful set of costumes were made for us by X3 Costumes near Loughborough. The set we were to use was the modern set from Scenic Projects. With the modernity of the set it was clear that costumes and creative lighting would be necessary to add the appropriate colour and feel for each different scene. So, we have the followers and crowds in beautifully ornate reds, blues, golds, greens and creams… 4 priests in full length black cloaks, Pilate in knee length leather boots, leggings, breast-plate and robes while Herod was resplendent in red top hat and tails. SET As previously mentioned we used the ‘SLX’ set from Scenic Projects…. A simple looking set but a huge piece of engineering. Two wide set of treads lead up to a platform which houses a huge triangular light-box. Each staircase has a second set of treads beneath them which are winched on tracks on and off stage to create a full width set of treads when fully closed. So simple but so effective. The light box offering

endless possibilities to add mood and colour. Obviously this causes all kinds of problems when (as with all amateur societies) you only get to ‘see’ the set on technical rehearsal…. So all the moves you had planned to get you from down stage right, up the treads over the platform, down the stage left treads to end up down stage left usually took 10 bars of music in the rehearsal room… now it takes 18 bars on the actual set! The cross - an integral part of every production of Superstar, was a major concern during rehearsals…. a heavy, solid cross which had to be choreographed into position then attached to a special hydraulic power-box placed within the treads. Christ is ‘nailed’ to the cross as it lays on an angle on the treads, when safely in position Roman guards lift the cross and Christ up to a vertical position…. Hydraulics then kick in and Christ is lifted 16 feet up above the stage… such a powerful image. PROPS Originally the Director wanted live sheep, goats, chickens and doves for the ‘Temple Scene’ but having looked into the logistics of

this it would have meant reams and reams of paperwork from the Ministry of Food and Agriculture to ensure we got licenses to move the animals every night to and from the theatre… with the way legislation is going the term ‘never work with children or animals’ will soon turn into ‘you are not able to work with children or animals’. SOUND The score for Superstar is completely different to any other show on the amateur circuit. We used the services of a new sound team who balanced the orchestra and performers brilliantly. With a shallow pit there was some natural over-spill of sound into the front of the stalls but this was unavoidable. CONCLUSION Jesus Christ Superstar is a very special show. There was closeness, a special bond between every member of the cast which is still evident some 3 weeks after the final curtain fell. A production which will live long in the memory of each and every person involved, on stage, back stage and front of house…. and by the reaction from the fabulous audiences it attracted, by everyone who came to see it too.

AMATEUR STAGE | JUNE 2010

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www.amateurstagemagazine.co.uk

FIRST NIGHT INSURANCE

PERSONAL ACCIDENT INSURANCE QUESTIONS Robert Israel ASCII from Gordon & Co discusses the latest insurance issues affecting amateur theatre. I have just had an Amateur Dramatic Society contact me, particularly concerned about one aspect of the Insurance package we provide. Apparently it came up at a recent committee meeting in that the committee members felt that the benefits provided under the Personal Accident Section of the First Night Policy were low and inappropriate to current day needs. I accepted what the Chairman of the Society was saying to me, but then tried to explain the rationale behind why the benefits were at the current levels. It is interesting that the Society are, I would point out at this juncture, not alone in raising their concerns but the main point at issue is that the Insurance Policy is designed to cover what is, in effect, a hobby. As I am sure you are all now well aware, the main reason for the existence of the package is to provide Societies with the opportunity of arranging Public Liability Insurance at a reasonable price. The Personal Accident extension is a fringe benefit and must be treated as such. It cannot be any more than that for the following reasons:

they have any more cover than if they were out shopping and had an accident in the supermarket? Going back to the original telephone conversation I had with the Chairman of the Society, having discussed this matter at great length with him, he fully appreciated the situation and was referring back to his Committee and this is, of course, the major point and the reason why I am devoting part of this particular article to this issue. I would suggest that your members are made aware that the Personal Accident benefits under an Amateur Theatre Policy are not substantial and that, if they are concerned about it, they effect their own individual Policy that would be tailored to their specific needs. There is a small article in this week’s “Stage” newspaper indicating that Equity Council are being instructed to negotiate a new clause in an actor/musician’s contract to cover the cost of hire, maintenance and insurance costs should the actor/musician be asked to provide their own instruments in a production. I am pleased to say that the First Night Insurance Policy automatically insures such instruments as long as you are responsible for them and that the overall sum insured covering all equipment is adequate.

1. The Insurance premium itself is a package premium, with various component sections, all of which have to be costed by the Insurance Company. A vast majority of the premium is used to buy the Public Liability and Material Damage (Property Insurance) Sections. The Cancellation and Employers’ Liability Sections use up quite a small element of the cover, which leaves the Personal Accident Section as the least expensive element. If I was asked to place a Personal Accident Insurance for a company, the Underwriters would need certain information in order to correctly rate the risk. The most important question is the proposers occupation. This is because Underwriters need to gauge the likelihood of an accident taking place at work and, if you stop to consider this for a moment, you will see that where you are dealing with an Amateur Dramatic Society, the members’ occupations can be many and varied, ranging from a non-hazardous occupation such as secretary, accountant or lawyer to something that could be considered extremely hazardous such as a North Sea Oil Rig worker and this is the problem because you do not know what the occupations of your members are, nor the degree of hazard to which they are exposed. 2. As far as the level of benefit is concerned, again we are not trying to replicate cover that is suitable to an individual’s needs. If that individual feels that they should have Personal Accident cover then they should have a Policy in their own name and not be reliant upon the cover provided by the Amateur Theatre Package. The weekly benefit which we provide is not designed to replace somebody’s income, it is there as an out of pocket expenses item. One of the other underwriting criteria when providing a quotation for Group Personal Accident Insurance is the level of benefits required by the individuals. This is normally shown as a percentage of someone’s salary, the standard level being somewhere between 75-100% of their Gross Weekly Wage. When you think about all the different members of your Society and their salary range, you can see that it is impossible for you to adequately provide a level of cover under the Personal Accident Section that will be suitable to everybody’s individual needs. Of course, the overwhelming argument is why should an Amateur Society provide this level of benefit for their members? Why should the member feel that, just because they are engaged in their hobby that

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia 3 Plays: Don’t Mention the Dream, Moving On, & There’s Something About Bernard 22 - 24 July 2010 Lancing Repertory Players Lancing Parish Hall Lancing, W. Sussex 01903 243558

42nd Street

31 August - 04 September 2010 Bridport Musical Theatre Company Bridport Arts Centre Bridport, Dorset 01308 424204

Adventures of Huckleberry Finn

Bare - The Musical

Don Giovanni

Grand Night For Singing, A

Beauty and the Beast

Dracula

Guys and Dolls

29 - 31 July 2010 Billboard Ensemble Barry Memorial Hall & Theatre Barry, Vale of Glamorgan 01446 733625

Dracula Spectacula

Hay Fever

Dresser, The

26 - 31 July 2010 Marlowe Players Darley Abbey Village Hall Derby, Derbyshire 07961 607372

19 - 21 August 2010 Giselle Academy St. Peter’s Theatre Southsea, Hampshire 023 9264 3385

23 July - 01 September 2010 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007

16 July 2010 Weymouth Drama Club Curtain Raisers Pavillion Theatre Weymouth, Dorset 01305 783225

25 - 28 August 2010 Present Company Buxton Opera House Derby, Derbyshire 0845 1272190 www.derbyartsandtheatre.org.uk

Aladdin Jr

Billy Elliot

08 - 09 July 2010 New Directions Theatrical Society Theatr Elli Llanelli, Carmarthenshire 0845 226 3510

Alice In Wonderland 17 - 17 July 2010 Centre Stage North East Sunderland Empire Sunderland, Tyne and Wear 0844 8472499

All that Jazz

14 - 17 July 2010 Runnymeade Drama Group Riverhouse Barn Theatre Walton-on-Thames, Surrey 01932 253354 www.rdg.org

Allo ‘Allo

02 August - 14 September 2010 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007

Alls well that ends well 07 - 10 July 2010 Castle Players Grounds of the Bowes Museum Barnard Castle, Durham 0800 074 7080

And Then There Were None 14 - 17 July 2010 Shawbury Village Players Acton Reynald Hall Shrewsbury, Shropshire 01743 281287

Annie

01 - 02 July 2010 Glow Theatre Group Barn Theatre Oxted, Surrey 01883 720167 www.barntheatreoxted.co.uk 29 - 31 July 2010 Bradford Stage and Theatre School Lord Kalms Theatre Bradford, W Yorks 0871 230 0010

Art

11 - 14 August 2010 Wick Theatre Co. Barn Theatre Southwick, W. Sussex 01273 597094 www.wicktheatre.co.uk

Bad Girls

13 - 17 July 2010 HUMDRUM New Theatre Royal Portsmouth, Hampshire 023 9264 9000

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22 - 24 July 2010 Llandudno Youth Music Theatre Venue Cymru Arena Llandudno, Conwy 01492 872000

Blood Brothers 14 - 21 August 2010 HIADS Station Theatre Hayling Island, Hampshire 023 9246 6363

13 - 17 July 2010 Somerset Opera Kings College Taunton, Somerset 01823 324025

14 - 17 July 2010 Zenith Theatre Company Kingswood Theatre Bath, Somerset 01225 835301

08 - 10 July 2010 Thornton Cleveleys A O S Little Theatre Thornton Cleveleys, Lancashire 01253 860856

14 - 17 July 2010 Rustington Players Woodlands Centre Rustington, West Sussex 01903 774849 www.rustingtonplayers.org.uk

Farndale Avenue Housing Estate Townswomen Guild Dramatic Society’s Production of A Christmas Carol 01 - 03 July 2010 Leighton Buzzard Drama Group Lieghton Buzzard Theatre Leightong Buzzard, Beds

Boyfriend, The

Fawlty Towers

25 - 28 August 2010 Centre Stage Theatre Buccleuch Centre Langholm, Dumfriesshire 01387 381196

12 - 17 July 2010 South Shields Westovian Theatre Society Westovian Theatre South Shields, Tyne & Wear 0191 456 0980

Bugsy Malone

Fiddler on the Roof

02 - 04 July 2010 NOMADS Nomad Theatre East Horsley, Surrey 01483 284717 www.nomadtheatre.com

15 - 17 July 2010 Musicality Academy of Performing Arts Penyrheol Theatre Gorseinon, Swansea 01792 897039

Cash on delivery

22 July - 02 September 2010 Whitby Amateur Dramatic Society Whitby Pavilion Theatre Whitby, North Yorkshire 01947 604855

Charley’s Aunt

02 July 2010 Livewire Opera Company Queen Hall Watton, Norfolk 01953 851543 03 July 2010 Livewire Opera Company Public Hall Beccles, Suffolk 01953 851543

Fings Ain’t Wot They Used T’Be 28 - 31 July 2010 The Nomads & Mid Surrey Theatre Co. Nomad Theatre East Horsely, Surrey 01483 284747 www.nomadtheatre.com

16 - 17 July 2010 Tynemouth Amateur Operatic Society Kings Hall School Tynemouth, Tyne and Wear 0191 252 1827

15 - 17 July 2010 Erewash Musical Society Duchess Theatre Long Eaton, Notts 01332 875350

01 - 04 July 2010 John Lewis Partnership D S Odney Club Maidenhead, Kent 07977 070211

High School Musical 13 - 17 July 2010 St Andrews Players Ashville College Harrogate, N Yorks 01423 883070

High School Musical 2 15 - 17 July 2010 The Kings Lynn Players Springwood High School King’s Lynn, Norfolk 01553 765260 22 - 28 August 2010 Trowbridge A O S TArc Theatre Trowbridge, Wiltshire 0845 299 0476

Honk!

11 - 18 July 2010 Centre Stage Theatre Arts Mill Hill School Ripley, Derbyshire 01332 232940

James and the Giant Peach 02 - 03 July 2010 HIYA Station Theatre Hayling Island, Hampshire 023 9246 6363

Jesus Christ Superstar 20 - 24 July 2010 Wisbech A O & D S St Peter and St Pauls Church Wisbech, Cambs 07857 887059 20 - 24 July 2010 Day 8 Productions Playhouse Whitley Bay, Tyen and Wear 0844 277 2771

07 - 10 July 2010 Staines Players Riverhouse Arts Centre Walton-on-Thames, Surrey 01932 253354 www.stainesplayers.com

Footloose

Chess

Gilbert and Sullivan

Journey Around the World

14 July 2010 Tunbridge Wells O & D S The Opera House Tunbridge Wells, Kent 01732 355363

16 - 18 July 2010 Combined Companies St. Peter’s Theatre Southsea, Hampshire 0845 293 9350

Disco Inferno

Going for Gold

Lieutenant of Inishmore

25 - 28 August 2010 Dionysis Theatre Company Gala Theatre Durham 01388 815105

03 - 07 August 2010 Worcester O & D S Swan Theatre Worcester, Worcs 01905 423809

Dog in the Manger, The 22 - 31 July 2010 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245 606505

08 - 10 July 2010 Footloose Musicals Civic Hall Ellesmere Port, Cheshire 07712 674862

24 - 25 July 2010 The Nomads Nomad Theatre East Horsely, Surrey 01483 284747 www.nomadtheatre.com

02 - 03 July 2010 Portchester Players Ashcrodt Arts Centre Fareham, Hampshire 01329 223100

Gondoliers

18 - 21 August 2010 Revellers Music & Dramatic Society Peterborough High School Peterborough, Cambs 01733 755176

28 July - 01 August 2010 Opera Options Hever Castle Hever, Kent 01732 866114

Little Night Music, A

AMATEUR STAGE | JUNE 2010

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Little Shop of Horrors

Musical Mayhem

Oliver!

09 - 14 August 2010 Padiham Performers Society Shuttleworth College Padiham, Lancs 07854 069040

My Fair Lady

Our House

22 - 24 July 2010 The Quay Players Edward Alleyn Theatre Dulwich, London 020 8690 4925

Man of No Importance, A 14 - 17 July 2010 Good Company Barn Theatre Oxted, Surrey 07583 035709 www.barntheatreoxted.co.uk

Michael Frayn Comedy Double Bill 28 - 31 July 2010 Forest Players Parish Hall East Grinstead, W. Sussex 01342 323640

Midsummer Night’s Dream 28 July - 07 August 2010 Eastbourne O & D S Italian Gardens Eastbourne, E. Sussex 0871 6630031 www.eodsinfo.co.uk

Mikado, The

28 June - 03 July 2010 Havant Light Opera Spring Arts & Heritage Centre Havant, Hampshire 023 9247 2700

01 - 03 July 2010 The Orchard Players Village Hall Chapel St Mary Ispwich, Suffolk 07761 782456

08 - 10 July 2010 Havering Music Makers Queens Theatre Hornchurch, Essex 01708 762256 www.haveringmusicmakers.co.uk

Night at the Movies, A 18 July 2010 Starzmarkerz Theatre School Barn Theatre Oxted, Surrey 07771 595171 www.barntheatreoxted.co.uk

Night at the Musicals, A 08 - 10 July 2010 Lees Street CC AMDS Lees St. Church Hall Manchester, 0161 231 0004 www.amdram.piczo.com

Oh What A Lovely War 13 - 17 July 2010 Dynamo Youth Theatre St Faith’s Church Havant, Hampshire 023 9245 4244

Oklahoma!

01 - 03 July 2010 Tipton ARTS Dormston Mill Theatre Sedgley, W Mids 01384 816389

20 - 24 July 2010 Weymouth Operatic Society Pavilion Theatre Weymouth, Dorset 01305 783225

16 - 17 July 2010 The Elizabethans A O S Town Hall Ossett, W Yorks 01924 265248

Play in a Week

19 - 25 July 2010 The Nomads Nomad Theatre East Horsely, Surrey 01483 284747 www.nomadtheatre.com

07 - 19 July 2010 Whitworth A M & D S Curtain Theatre Rochdale, Lancs 07947 609277 05 - 07 August 2010 Centrestage Productions Youth Theatre The Point Eastleigh, Hampshire 0238 065 2333

Pajama Game

13 - 17 July 2010 Appeal Theatre Group The New Wolsey Theatre Ipswich, Suffolk 01473 295900

Pastiche & Last Bread Pudding 01 - 02 July 2010 HATS Mechistoun Hall Horndean, Hampshire 023 9259 7114

Rent

06 - 10 July 2010 Gallery Players New Wolsey Theatre Ipswich, Suffolk 01473 295900

Rope

18 - 21 August 2010 The Nomads Nomad Theatre East Horsely, Surrey 01483 284747 www.nomadtheatre.com

Roses of Eyam, The

08 - 10 July 2010 Henfield Theatre Company St Peter’s Church and Churchyard Henfield, W Sussex 01273 495220

Pirates Of Penzance Jr 14 - 16 July 2010 Crigglestone Theatre Company Lupset Lodge Social Club Wakefield, W Yorks 0795 600 1834

Salad Days

15 - 17 July 2010 Sunningdale Savoy Chorus St Mary’s School Ascot, Berks 01344 297347

Rumours performed by The Petuaria Players

AMATEUR STAGE | JUNE 2010

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia

The St Ursula Players - The Lady in the Van

Sauce for the Goose 13 - 17 July 2010 Carlton Dramatic Society New Wimbledon Studio Theatre Wimbledon, London 0844 871 7646

11 - 14 August 2010 Kenley Holiday Workshop Barn Theatre Oxted, Surrey 01883 331400 www.barntheatreoxted.co.uk

Secret Garden, The

That’s Life

21 - 24 July 2010 Harlow Theatre Co. Victoria Hall Theatre Old Harlow, Essex 01279 460062

Showstoppers

30 June - 03 July 2010 Stage Door Theatre Co. Windmill Enetertainment Centre Littlehampton, W. Sussex 01903 722224

Tons of Money

15 - 17 July 2010 South Downe Musical Society Ferneham Hall Fareham, Hampshire 01329 231942

31 August - 04 September 2010 Halifax Thespians Halifax Playhouse Halifax, W. Yorkshire 01422 365998

Singin’ In The Rain

Twelfth Night

13 - 17 July 2010 Torbay O & D S Princess Theatre, Torquay, Devon 01803 290371

Suddenly Last Summer

07 - 10 July 2010 Harrogate Dramatic Society Harrogate Theatre Studio Harrogate, N Yorks 07770 630299

Summer Holiday

07 - 10 July 2010 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761 21 - 24 July 2010 Starlight Theatre Company Loughborough Town Hall Loughborough, Leicestershire 01509 231914

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30 June - 03 July 2010 Mikrokosmos Theatre Co. Theatr Clwyd Mold, Wales 01691 777074 www.mikrokosmos.co.uk

Verdi - A Masked Ball

Waiting in the Wings 05 - 11 July 2010 The Progressive Players Little Theatre Gateshead Gateshead, Tyne& Wear 0191 478 1499 www.littletheatregateshead.com

Wannabe

07 - 09 July 2010 Formby Youth Theatre Formby Little Theatre Formby, Merseyside 01704 875821 www.formbytheatre.com

27 - 31 July 2010 Really Necessary Travelling Actors New Theatre Royal Portsmouth, Hampshire 023 9264 9000

Yeoman of the Guard 08 - 10 July 2010 Downland Singers Station Theatre Hayling Island, Hampshire 023 9261 7097

West Side Story 14 - 17 July 2010 Upstagers Ilkley Albanbra Theatre Bradford, West Yorkshire 01274 432000

Wizard of Oz, The

01 - 03 July 2010 Our Lady Star of The Sea A O & D S Our Ladys Social Centre Lytham St Annes, Lancashire 01253 721060

01 - 03 July 2010 Southgate Opera Wyllyotts Theatre Potters Bar, Herts 020 8372 2383

07 - 10 July 2010 College Amateur Operatic Society Kenneth More Theatre Ilford, Essex 020 8553 4466

Waiting for Godot

03 July - 07 August 2010 Young Generation The Poly Falmouth, Cornwall 01372 375756

21 - 24 July 2010 Lighted Fools Theatre Co. Riverhouse Walton-on-Thames, Surrey 01932 253354 www.lighted-fools.co.uk

Wyrd Sisters

AMATEUR STAGE | JUNE 2010

14/06/2010 21:13:47

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WEST END

Women Beware Women Olivier Theatre, National Theatre

Debbie Reynolds: Alive and Fabulous Apollo Theatre, London

There might not seem much humour in murder, rape and incest, but Thomas Middleton’s classic 17th-century play comes to life in the hands of director Marianne Elliott who draws out its comic potential. Inspired by the Medicis as well as scandals closer to home, it opens lightly with newlywed Leantio bringing home his young bride Bianca to live with his mother. While he is away on business, the two women are sucked into the corruption of the Duke of Florence’s court, where Bianca is seduced and becomes part of the dark world of deception.

London has suffered a recent spate of diva disappointments: Julie Andrews sitting on the sidelines at the O2, Shirley Jones cutting short her poorly received West End show and Stephanie J Block cancelling due to food poisoning. But legendary Hollywood star Debbie Reynolds proved how it could and should be done, with her Alive and Fabulous show. At 78, she toured 15 towns and cities around the UK before a two-week run in the West End.

At the heart of the depravity is Livia, a widow who plays people as cunningly as she plays chess, performed with feline charm by Harriet Walter. She not only helps the duke seduce Bianca but also tricks her own niece, Isabella, into a relationship with an uncle, before she herself seduces the much-younger Leantio, setting in motion the wave of murderous destruction that engulfs the play. Despite the moralising of the title, it is the female characters who provide the most psychological depth. Lauren O’Neil has to portray Bianca’s descent from coy young bride to cunning adulterer, while Vanessa Kirby’s Isabella manages to balance her disgust at incest with a carefree willingness to commit adultery. Middleton’s language is rich in wit and irony, making the audience delight in the subtly crafted intrigues of the plot. Elliott’s production brings out the amorality of the characters who go out of their way to undermine family values, encouraging us to laugh as we witness a world where corruption and hypocrisy are out of control.

Despite her age, she sang and danced like a woman many years younger, reminding us still of the star who first shot to stardom in Singin’ in the Rain in 1952. With her own band on stage, she belted out standards from the Great American Songbook as well as some more modern ballads, including her one chart-topper Tammy – “my greatest hits”. As well as giving us anecdotes about her co-stars, she showed clips from some of her screen roles, providing witty and touching commentary and even singing along with her younger self. It made it truly a celebration of a career spanning over 50 years, offering nostalgia for fans who know her from her films and entertainment for those who may only know her as Grace Adler’s eccentric mother in Will and Grace. The show also provided one of the most surreal moments in musical theatre when the Hollywood legend re-appeared on stage in a straight wig and false nose to treat us to a remarkable Barbra Streisand impression, complete with adenoidal Brooklyn Jewish accent. For the rest of the show, she flitted around in a sparkly outfit daringly slashed up to the waist, proving that she is very much alive and fabulous.

AMATEUR STAGE | JUNE 2010

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PLAYSCRIPTS

PLAYSCRIPT REVIEWS - JUNE

David Muncaster reviews the latest playscript releases.

PLAY OF THE MONTH CLING TO ME LIKE IVY

AUTHOR: Samantha Ellis PUBLISHER: Nick Hern Books ISBN NO: 9781848420656 CAST: 3M 3F RECOMMENDED RETAIL PRICE: £8.99 Cling To Me Like Ivy was inspired by Sheitelgate; an event that, I admit, passed me by but that had huge impact in the orthodox Jewish world. Incredibly, the whole thing was sparked by a chance remark from Victoria Beckham when, during a TV interview, she was asked if the hair in her extensions came from Russian prisons. She made light of it but it sparked an investigation into the origin of the hair that makes up the wigs, or sheitels, worn by married orthodox Jewish women who cover their heads according to rules of modesty. It was a Rabbi who discovered that much of the hair came from a Hindu temple in India where the hair was removed from women’s heads as part of a religious ceremony. As Hindus worship Idols it was suggested that the wearing of these wigs contravened Jewish law. Samantha Ellis’ play centres around Rivka, a young Jewish woman who has just bought her ﬁrst sheitel ahead of her impending wedding; her relationship with her father, a Rabbi, and her best friend Leela who is Hindu. Rivka’s grandmother, ﬁancé and Leela’s tree-saving boyfriend, Patrick, make up the rest of the characters, all of whom play an important role as the story develops. The play is beautifully written: the dialogue has pace and humour, the characters are engaging and the storyline is sharp and elegant. The turmoil caused by Sheitel-gate leads to Rivka questioning her faith until, full of doubt, she crosses a line. Then, having taken that small step, she rushes headlong into a world that she barely knew existed. She joins Patrick in his tree protest. The pair drink kosher wine followed by beer and Bourbon Creams before making love. In the morning she is arrested and then brought home by her father to answer for her behaviour. She has no answers, only questions, but in an emotional climax a father’s love for his daughter defeats all other concerns. Cling To Me Like Ivy is an intelligent play. It educates and informs yet is accessible, witty and always entertaining: A remarkable piece of theatre from a supremely talented playwright.

A CANTERBURY TALE

AUTHOR: Richard Macaulay PUBLISHER: Drama Association of Wales ISBN NO: 1898740860 CAST: 7M 3F A Canterbury Tale is set in the parlour of The Hope Inn, Canterbury, in 1388. Geoffrey Chaucer has been summoned by his friend, Sir Simon Burley, to warn him that they are in danger. A group of Barons are bringing charges of treason against anyone who had been close to the young Richard II. Before leaving the city, Chaucer had been comptroller of the Port of London, whilst Burley was the Constable of Dover Castle and Warden of the Cinque Ports. Although Chaucer does not believe his former position is important enough to justify his arrest, Burley is preparing to ﬂee, but just as he is pulling on his boots, the Kings Marshall arrives and he is arrested. They had been joined in the parlour by a haphazard assembly of pilgrims and local characters, one of whom, the slimy Stoate, points out Chaucer to the Marshall who concurs that he is, indeed, ‘on the list’. However; the others make a fool out of the Marshall and Chaucer is spared. A Canterbury Tale is an ambitious one act play. The dialogue feels authentic, yet is easy to follow and the story is, at least in part, based on historical fact. The clever thing, though, is that the persons assembled in the inn are the characters that are featured in Chaucer’s Canterbury Tales.

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CALENDAR GIRLS

AUTHOR: Tim Firth PUBLISHER: Samuel French ISBN NO: 9780573110672 CAST: 4M 10F Tim Firth is responsible for one of my own more memorable experiences in theatre. Some years ago I played Gordon in an amateur production of Neville’s Island. At the end of one evening the Front of House Manager informed me that a couple had walked out during the interval vowing never to return to that particular theatre again. When she enquired what had angered them they replied, ‘That Gordon!’ Well at least it wasn’t the acting. I cannot see Calendar Girls causing such offence, even allowing for that one thing that everyone knows about this play. The nudity is brief and hidden from the audience but, all the same, any society planning to put this on will need to ensure that they have a game bunch of girls in their number as well as a theatre that is free from draughts. Well, they will once this play becomes available for amateur production: it is not possible to obtain a licence at present, though that fact has not harmed sales of the script. The play is, of course, based on the true story of a group of ladies from a Women’s Institute in Yorkshire who created a nude calendar to raise money for leukaemia research. As the action starts we are in Knapeley Church Hall where Cora is belting out ‘Jerusalem’ which is doing nothing to enhance the atmosphere of ‘Eastern Mysticism’ that Chris is attempting to enjoy as part of her t’ai chi class. Time passes and the girls celebrate each new season in their own unique way. As Chris wryly points out, ‘If more people did WI, there’d be half the need for hallucinogenic drugs’. There are plenty of laughs but amongst them are huge dollops of pathos. Anne’s husband, John, has ‘got his results,’ as the play begins and with the passing of time his treatment intensifies and his condition worsens. Anne’s visits to Skipton Hospital are not improved by the dreadful sofa in the waiting room and, when her husband dies, her modest ambition is to raise enough money from the sale of next year’s WI calendar to buy the hospital the ‘John Clarke Memorial Settee’. With Chris at her side she presents the group with a selection of calendars that have outsold pictures of churches in recent years. In short, the proposal is that, instead of producing a WI calendar of spectacular views, they will produce a calendar of spectacular views of the WI! We get the photo shoot out of the way at the end of act one, just in time for any outraged members of the audience to storm out. Act two deals with the media frenzy, the fame and the effects that the girls’ actions have on the lives of complete strangers who find, to their astonishment, that they are able to smile at a picture on a page that has the word ‘leukaemia’ on it. The play ends with the revelation of how much money they have raised – the target was five hundred and nineteen pounds – and, though I won’t be giving anything away by saying that they raised considerably more than that, it is impossible not to be moved by the warmth, compassion and downright decency of these women.

CONVERSATIONS IN HALLWAYS AUTHOR: Carole Bugge PUBLISHER: www.productionscripts.com ISBN NO: none CAST: 3M 3F 1M Voice

Conversations in Hallways is a warm and funny play about relationships. Harry and Carl are best friends: Harry is seeing Michelle but things are not well between them; and the three of them are all currently rehearsing a musical that has great music, but dreadful lyrics written by the ultra-conﬁdent Steve. Michelle ﬂirts with Carl but Harry seems unconcerned. He considers ‘Jealousy (to be) an outmoded expression’. Exasperated, Michelle asks Carl, in front of Harry and Steve, if he would like to sleep with her. He would, of course, and Harry refuses to stand in his way. Carl almost begs him to tell him to ‘keep my hands off your girl’. But, to Harry, it is politically incorrect to consider another person as a possession. Just as we become convinced that Harry is an insensitive fool the story takes a turn and we realise that his behaviour is an attempt to help Michelle overcome her deep seated insecurity. Then we learn that Michelle is not quite what she seems, nor indeed is she how Harry describes her. As the characters reveal hidden depths they become

Samuel French Ltd The play publisher

NEW RELEASE!

Tracy Beaker Gets Real! A musical for children and young people Book and lyrics by Mary Morris Music and additional lyrics by Grant Olding Based on The Story of Tracy Beaker by Jacqueline Wilson

Cast M2-5 F4-11. Chorus sCene Various simple settings

The most popular teenager in Britain comes to the stage! Tracy Beaker Gets Real has been adapted by Mary Morris with music by Grant Olding from one of the most successful children’s books ever, Jacqueline Wilson’s The Story of Tracy Beaker We join Tracy, aged Beaker. 15, as she returns to the “Dumping Ground” and looks back on the last four years of her life, from being fostered — and dumped, to finding a happy home with writer Cam. When Tracy’s mum unexpectedly reappears in her life, Tracy hopes that her days of being passed around like a parcel are over, but she soon comes to realize that the people she has always tried to push away are the ones she really needs the most. Touching and very funny, this play brings Tracy Beaker’s trademark talent for troublemaking, fun and friendship to any production. Libretto £8.95 Music - vocal score, chorus books and backing tracks are available on hire Perusal material is available.

For this and over 2000 other plays to perform, visit our secure website:

samuelfrench-london.co.uk French’s Theatre Bookshop 52 Fitzroy St London W1t 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 Email: theatre@samuelfrench-london.co.uk AMATEUR STAGE | JUNE 2010

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PLAYSCRIPTS more real and this makes the somewhat surprising twists in the tale more acceptable. I enjoyed this play: it is uplifting, engaging and written with great skill.

DISCONNECT

AUTHOR: Anupama Chandrasekhar PUBLISHER: Nick Hern Books ISBN NO: 9781848420854 CAST: 3M 2F A couple of years ago the newspapers were full of stories about call centres based in India where the staff were taught to speak with English accents and watched episodes of Eastenders and Coronation Street in an attempt to fool customers into believing that they were based in the UK. These stories encouraged us to be either amused or scandalised (depending on the newspaper) that the operators knew precisely what the weather was currently like in our part of the country but had no idea whether Newcastle was north or south of London. Then, as more British companies started to ‘offshore’ their call centres, and people started to lose jobs, there was a noticeable backlash against this practice. A friend of mine, who worked on a help desk, was once challenged by a caller as to where, precisely, the help desk was located. The answer to that question was ‘Crewe’ and my friend is, in fact, Welsh. Disconnect is based at a call centre in Chennai, India, where the operators are chasing payments owed to an American credit card company. Avinash is one of the supervisors and is being given a dressing down by his young boss Jyothi. The problem is that he is under-performing and cannot be allowed to remain in his section that is responsible for collecting payments from customers in New York. He is, effectively, being demoted and moved to Illinois – a small team on the fourth ﬂoor. Life in Illinois is frenetic. Ross, Vidya and Giri are constantly on the telephone trying to persuade their ‘delinquent’ customers to make payments on their cards whilst there is much chat amongst themselves between and even during calls. Avinash doesn’t like what he sees. He believes in doing things by the book and this team, Ross in particular, breaks all the rules. For the workers in the call centre one day is pretty much like the next. It’s the same old thing day after day and, unfortunately, I felt that the same could be said for the many scenes in this play. As the plot develops, Ross foolishly falls for one of his customers and commits a serious breach of policy; Vidya is devastated to learn that one of her customers took his own life soon after her call demanding payment and Giri eventually escapes life in the call centre, but there was too little variety to keep me interested.

DUETS

AUTHOR: Peter Quilter PUBLISHER: Samuel French ISBN NO: 9780573111112 CAST: Min 1M 1F Duets is a collection of four short plays that may be performed individually or as a single production. Each play examines relationships and features just two characters, hence the title and the suggested link music to bridge the scenes. The ﬁrst of the plays is ‘Blind Date’ which introduces us to an elderly pair seeking romance. Although the bespectacled Wendy and the toupee’d Jonathan were both clearly economical with the truth when they described themselves in a dating magazine, when Wendy arrives at Jonathan’s apartment, clutching a huge block of cheese, she does not seem too disappointed. Quilter beautifully captures the nervousness of two strangers trying to make light-hearted conversation, and the scene works very well if one is able to put aside the idea that it is unlikely that any woman would agree to meet a stranger at his apartment. The second story concerns Barrie, a successful gay man who cannot live without the organisational skills of secretary, Janet, who is looking for a husband. The trouble is that she doesn’t want any old husband, she wants Barrie and, despite the obvious impediment, the arrangement does seem to have its advantages.

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In ‘Holiday’, Bobby and Shelly have decided to go to Spain and consume a large number of cocktails before discussing the ﬁner points of their forthcoming divorce and, in the ﬁnal story, Angela is about to embark on her third marriage regardless of the fact that all the signs are that this is a very bad idea. In all four plays the characters are believable and endearing whilst the dialogue is entertaining throughout. My one reservation is that, at times, the script reads like a series of gags. For example, Wendy’s vegetarian ex-husband and Barrie’s order for a new bed have no relevance to the plot and were forgotten after a couple of funny lines which would have been more at home in a stand up comedy routine than a piece of theatre.

LIFE IMITATES ARTIST

AUTHOR: S. W. Senek PUBLISHER: www.productionscripts.com ISBN NO: none CAST: 3 not speciﬁed Life Imitates Artist is a short play in which three painters seek to achievethe notoriety of the recently deceased Vincent Van Gogh. They have already each cut off an ear and they are now deciding which of their number will take his own life; thereby allowing the other two to beneﬁt from having been associated with the tortured artist. Artist A has, literally, drawn the short straw but he is none too happy about it, whilst the others try to persuade him to do the honourable thing. There is plenty of Three Musketeers type silliness, with paintbrushes in place of swords, and the play is entertaining throughout. However, this said, the ten minute play market is rather saturated, particularly in America, and I don’t feel that Life Imitates Art is exceptional enough to make it stand out.

MEDEA

AUTHOR: Tom Paulin from the original by Euripides PUBLISHER: Nick Hern Books ISBN NO: 9781848420946 CAST: 3M 5F plus chorus RECOMMENDED RETAIL PRICE: £8.99 A married couple spilt up. He has given into lust and the chance to do a bit of social climbing. She is left with the kids. Punished for something that was not her fault she extracts a terrible retribution. This is the synopsis of Medea which earned Euripides third place in a playwriting competition in Athens two and a half thousand years ago. Actually, only three playwrights entered the competition so, in effect, Euripides came last. Since then, Medea has become a most popular Greek tragedy featuring, as it does, one of the strongest female roles in the history of theatre and has been adapted many time into many different forms. Shortly after Medea takes the stage she is ordered to leave the city of Corinth by the king, who happens to be the father of the woman that Jason, Medea’s husband, is now planning to marry. She begs him for one more day in the city to make her plans, and her wish is granted. As the king leaves she vows to ‘turn their marriage into darkness’, and ‘blacken the day they chose to banish me’. She makes a fool of the king of Athens, the city where the play was ﬁrst performed, then sets about her murderous revenge. Northern Broadsides toured with this version of Medea early in 2010 to mixed reviews but I found the script compelling, modern and accessible.

MRS AFFLECK

AUTHOR: Samel Adamson PUBLISHER: Samuel French ISBN NO: 9780573112898 CAST: 5M 4F 4 Other Henrik Ibsen’s Little Eyolf debuted in Berlin in 1895 and tells the story of the Allmers and their disabled son, the Little Eyolf of the title. His disability arose when he fell from a table as a baby whilst his parents were too busy making love to care for him. Samuel Adamson’s adaptation moves the story to 1950’s England: The Allmers are now Rita and Alfred Afﬂeck and their son is Oliver; the Rat Woman of the

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original is replaced by ‘Flea’, an enigmatic and charming teenage boy, but the substance of the tale remains, as does the unusually affectionate relationship that Alfred has with his half sister, Audrey. Alfred is something of a dreamer: he writes poetry and reads Shakespeare to his son, but whilst away in Scotland he began to see things differently and has decided he is now going to devote himself to Oliver. Flea visits the house and asks if there is anything bad that they want rid of, but he is sent away. After this Rita’s jealousy of the attention Alfred lavishes on Oliver and Audrey leads to an argument during which Oliver leaves the house. Once again his parents are too busy to care for him and he makes his way down to the sea where he drowns. Audrey’s discovery that she and Alfred do not, after all, share the same father leads her to believe that they have a future together but, in the end, it is Alfred and Rita that are reconciled. Ibsen is celebrated for the challenges to Victorian values and morality that characterised his dramas: Adamson’s adaptation attempts to modernise the story by making Rita the centre of the action, but it left me with a feeling that I would rather just watch the original play.

WHAT WE KNOW

AUTHOR: Pamela Carter PUBLISHER: Nick Hern Books ISBN NO: 9781848420922 CAST: 3M 3F RECOMMENDED RETAIL PRICE: £8.99 The first thing to strike one when picking up this script is that the author obviously doesn’t believe in capital letters. She follows the tradition of the character names being in upper case but everything else is lower case including the first letter of words that begin a sentence and “i” when referring to the first person. I really don’t understand why playwrights feel the need to stylise their scripts in this way. A script is a tool used by a group of people to create a piece of theatre. Making it harder to read is hardly doing them any favours. The story begins with Jo and Lucy cooking and discussing their relationship. This is diverting enough but we are a quarter way through the script before anything really happens: Jo suddenly disappears and Lucy is thrown into confusion, compounded by the appearance of a teenager who seems entirely at home. Lucy tries to make sense of what is happening but only succeeds in making a sandwich for the teenager who eats, shoots a few words of wisdom and leaves. He is replaced by Charlie, a neighbour, and Helen, an emergency call handler. They in turn are joined by Cal, who went to college with Lucy, and a dinner party commences as Lucy tries to keep up. The truth about what has happened is gradually revealed and Lucy, herself, begins to understand who these people are, why they are in her kitchen and, most importantly, what happened to Jo. After a slow start the pace of this play picks up and, in the end, it all works rather well. I just wish that the unconventional approach had been reserved for the storyline and not the grammar. TO HAVE YOUR SCRIPT REVIEWED SUBMIT A COPY TO PLAY REVIEWS -NEXT PHASE MEDIA SUITE 404 ALBANY HOUSE. 324- 326 REGENT STREET LONDON W1B 3HH

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THE LAST WORD

Wisteria Cottage Garrick Road Campton Royal

Dear Thespian Friends, As I announced last time, that very next Sunday, I girded my loins, gritted my teeth and put my best foot forward –which I’m sure you’ll agree is a great deal of exercise on what is supposed to be a day of rest – and braved the morning service. The experience reminded me why I have not set foot in the place for more than a year and that was for Daisy Bootle’s wedding. I only went then because I didn’t believe she would go through with it. Well, would you change your name to Lawne with a Christian name like that? For a start, Vera Derby was ensconced at the keyboard that passes for an organ and Jeff, my Charles Condomine, was standing behind her apparently poised to turn the pages. I say apparently, because three bars into the first hymn his hand found its way to her shoulder and everything went down from there –the playing, not his hand. Reverend Wilson delivered the prayers with as much feeling as a shopping list and the sermon was rattled off like machine gun fire. At least it was mercifully short. I was ready to bolt for the door by the end, but restrained myself. I had come to meet and greet after all. I saw Crispin Featherstonehaugh step into the aisle and decided to intercept. I too, stepped out of the pew and contrived to tread on Marjorie’s foot. This may seem a little drastic, dear reader, but Marjorie is one of those people who simply has to make herself look important, so I knew it was only a matter of time, and a little orchestration, before she would effect the introduction that I desired. My profuse apologies and ensuing chaos caused a convenient log jam, the chivalrous Crispin, who also appears to crave the limelight, thrust himself forward to assist the damsel in distress. (Damsel is something of a misnomer for Marjorie, but it has a nice ring to it.) And hey presto, I am shaking hands with my target. This resulted in an invitation to ‘drop by’ rehearsal the following week. On the appointed evening, the heavens opened, so I telephone Marjorie and persuaded her to give me a lift. This proved a shrewd move, for I discovered that due to a double booking of the church hall with the martial arts class, the rehearsal was to be at Crispin’s mansion. I would not have been best pleased to have found myself among all those sweaty, grunting bodies who probably think a Shakespeare is some sort of oriental weapon. However, worse was to come. We arrived to discover the cast shivering on the expansive lawns and the director cavorting amongst them, shouting, “This is Tempest weather! Soak up the atmosphere! Feel the power of the elements!” ‘Soak’ was the operative word, Crispin eschewed umbrellas, demanding that we ‘get in touch with nature’ and consequently we were drowned. I did discover to my horror that Crispin had cast himself as Prospero. Firstly, one should never act and direct unless, of course, one is as experienced as myself. And secondly, he is decidedly short, with the result that he looks more like Paul Daniels than a wizard of great power. I was further shocked to discover that Ariel had been completely cut. The spirit is apparently to be represented by the stage manager’s torch and the lines will be spoken by Crispin as reported speech. I am familiar with the concept of growing your part, but this takes the biscuit! As always, I will keep you well informed. Yours,

Doris Richardson-Hall P.S. Rehearsals the following week were abandoned due to an unsurprising epidemic of coughs and sneezes.

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At St Paul’s Catholic College. Burgess Hill

7.30pm - 18th September 2010 Only £ 5.00 - Box Office will be on the door £ 2.00 - St Paul’s and Ariel Drama Academy Students

For the Queen Elizabeth II Special Needs Drama Project Charity

“Musicality”

is for those who think that a night of old Musicals leads to little other than sugar-coated despair! Pulling on the latest of the modern musicals that have taken the West End & TV by storm over recent years, “Musicality” presents a collage of all that’s best from shows such as “Wicked”, “GLEE” and “We Will Rock You”, to name a few. This is a evening not to miss if you like your show tunes with attitude.

for more information contact

01444 250407 www.arielct.co.uk

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