Amateur Stage Magazine April 2011 by Amateur Stage Limited

amateurstage THE UK’S ONLY MONTHLY MAGAZINE FOR AMATEUR THEATRE www.amateurstagemagazine.co.uk

APRIL 2011

£2.95

THEATRE ON THE HIGH SEAS WE UNVEIL SHOW CRUISE 2012

ROSS SUMMER SCHOOL A GOOD PERFORMANCE ALL ROUND

INCORPORATING

REGIONAL NEWS APR11cover.indd 1

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OUR NEW TELEVISION PROGRAMME IS SET TO LAUNCH NEWS * REVIEWS * INSURANCE NATIONAL DIARY * INTERVIEWS 28/03/2011 09:51:53

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amateurstageapr11 FROM THE EDITOR We are thrilled this month to be announcing the launch of Amateur Stage TV. Amateur Stage is planning to bring exciting coverage of Amateur Theatre across the UK to SKY in May. This marks the first stage of our move into new media to supplement the magazine. We are planning some exciting new announcements that we hope will benefit amateur groups across the UK and we’ll be starting to announce these soon. All this comes at a time when so much is happening in Amateur Theatre. We’re pleased to be amongst the first to announce Show Cruise 2012. This great concept looks set to be a lot of fun and we look forward to announcing further details as the event gets closer. Book you berth now!! Finally, thank you for all the positive feedback about the inclusion of NODA regional news in the magazine. We hope that the information will be of benefit no matter which part of the UK you hail from. Enjoy! Doug

THIS MONTH 5

AMATEUR STAGE TV We announce our latest venture.

OVERTURE News from across the UK

SHOW CRUISE 2012

Amateur Theatre takes to the high seas.

ROSS SUMMER SCHOOL We profile Ross Summer School 2011 offering.

YOUNG THEATRE TALENT We look at Coombe Boys’ Drama Departments involvement in the National Theatre Connections Festival.

WEST END Mark Ludmon reviews the latest West End offerings.

THE PLAY PRODUCED David Muncaster discusses The 29 Steps

NODA EAST MIDLANDS News from NODA East Midlands

NODA SOUTH EAST News from NODA South East

KNOW YOUR RIGHTS We talk to Ian Horny at New Theatre Publications

PLAYSCRIPT REVIEWS David Muncaster reviews the latest playscripts

THE LAST WORD Doris returns!!

CREDITS Published monthly by Amateur Stage Limited ISSN 00026867 Suite 404 Albany House, 324 Regent Street, London W1B 3HH P: 0203 0062845 www.amateurstagemagazine.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk SUBSCRIBE NOW UK Rates - 1 Year £24. 2 Years £40 Subscribe online or by sending a cheque payable to Amateur Stage to the address shown above. DEADLINE APRIL ISSUE : 15TH APRIL 2011 All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of Amateur Stage. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of Amateur Stage. (c) 2011 Amatuer Stage Limited

Cover: Mack & Mabel. Alderly and Wilmslow OS

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28/03/2011 13:04:39

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INTRODUCING

OVERTURE

amateurstage.tv Amateur Stage TV is a new niche television programme aimed at amateur theatre enthusiasts across the UK. Having been published in magazine format for the past 65 years, Amateur Stage is embarking on bringing the world of amateur theatre to new media and television is the first step in this process. A new episode of Amateur Stage TV will broadcast free-to-air every fortnight on Showcase 2 (Sky Channel 203) with all programme content available via our website (www.amateurstagemagazine.co.uk). “Even if we published a 200 page magazine every month it would be difficult to represent the entire amateur theatre experience” said Douglas Mayo, Editor of Amateur Stage magazine. “We hope that this venture into television will bring that live performance magic to the reporting of Amateur Theatre shows and features”. Amateur Stage TV will showcase all aspects of amateur theatre. Whilst we will be looking at issues relating to management, the show is primarily for those onstage and backstage who work tirelessly to make the magic happen.

now, but we needed to start looking to the future. With the success of digital television formats and digital recorders like Sky+ we have a unique opportunity to broadcast to niche audiences without having to run the gammut of the terrestrial channels” Douglas said. Amateur Stage TV will begin transmission in mid-May 2011. Programming content is now being filmed and submissions are being invited from interested parties across the UK. We’re keen to know what you think? Do you have a story or feature you think you can contribute? Then we’d like to hear from you... Opportunities to advertise and sponsor sections of the programme exist and we’ll be announcing other ways you can choose to promote your shows live on air. Amateur Stage Magazine and our website will keep you informed about each months show content. This is a great opportunity for performers and groups to take part in a show that is especially for them. For further information please email editor@asmagazine.co.uk

“We realised a while ago that we needed to be getting our message out via new media. The magazine and website have served readers well for many years

WHAT YOU CAN EXPECT TO SEE:ONSTAGE An overview of exciting new shows available for amateur performance. From the latest musicals to the hottest plays, you’ll get the inside buzz on them here first.

BEHIND THE SCENES

Amateur Stage TV aims to bring together all apects of the amateur theatre experience. Everyone is invited to take part!

Set building, costumes, backstage tours and much more will be featured to give viewers an insight into the magic of theatre. We’ll look at interesting ways to achieve West End quality on a tight budget.

WEST END AND TOURING We will give you previews of the latest West End and Touring productions together with great offers for the latest shows.

TALKING HEADS We will talk to industry professionals, West End performers and leading lights in the world of amateur theatre.

COMING IN MAY 2011 amateurstage.tv

PERFORMANCE We will be presenting performances from some of the best amateur groups across the UK.

TECH TALK We will be highlighting the latest technology for theatre.

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OVERTURE

overture national news * events * products * competitions * stuff

A PIG CALLED BETTY

Betty Blue Eyes is the first original musical Cameron Mackintosh has produced in ten years. Now previewing in London’s West End, Betty Blue Eyes is a new musical comedy based on the Alan Bennett film A Private Function. Casting includes Sarah Lancashire who will play ‘Joyce’ and Reece Shearsmith who will play ‘Gilbert’ and of course Betty the pig in the title role (Pictured above). Since playing the loveable ‘Raquel’ in “Coronation Street”, Sarah Lancashire has starred in many TV dramas. For the BBC she has appeared in “Clocking Off”, “Cherished”, “Five Daughters”, “Murder Most Horrid” and most recently “All The Small Things”. For ITV she has appeared in three series of “Where The Heart Is”, two series of “Rose and Maloney”, “Seeing Red”, and “The Cry”. For Channel 4 she played ‘Mary Miles’ in “Skins”. Sarah last appeared in the West End as ‘Miss Adelaide’ in “Guys and Dolls”. Reece Shearsmith first came to prominence by co-writing and starring in “The League of Gentlemen” on TV, film and stage. He is also co-writer and star of the BBC’s “Psychoville”. He has appeared as ‘Leo Bloom’ in “The Producers” and “Art” in the West End and was most recently seen in “Ghost Stories” at the Duke of York’s Theatre. Cameron Mackintosh said “I first read this musical about a year ago and immediately felt it was one of the funniest and most original pieces I had come across in years. I was already a great fan of Alan Bennett’s hilarious film “A Private Function” so I could see how brilliantly the American writers Ron Cowen and Daniel Lipman had adapted and extended the original, incorporating a joyously infectious score by George Stiles and Anthony Drewe. When I agreed to produce “Betty” I certainly didn’t imagine that this unique musical tale set in 1947 would be so topical. From its opening number “Goodbye Austerity Britain”, with a Government mantra of “Fair Shares For All”, greedy local Councillors lauding it over a hungry belt-tightened population on rations, the worst winter in living memory and even a Royal Wedding (Princess Elizabeth and Prince Philip’s!) time seems to have stood still. But most great stories are timeless and this one revolves around an adorable pig called Betty who is secretly being raised to be the main course at a very private function to celebrate the Royal Wedding. To find out what happens you need to trot to the Novello Theatre.” Box Office 0844 482 5170 or www.bettyblueeyesthemusical.com

Ribchester choreographer wins Olivier award for work in West End

A choreographer from East Lancashire has been recognised among the best in theatre after picking up a Laurence Olivier Award. Leon Baugh, from Ribchester, was awarded the coveted bronze statuette for Best Choreographer at the Theatre Royal Drury Lane. The former Blackburn College student beat off stiff competition for his ‘stunning’ work in the Roy Williams show, Sucker Punch. The play, directed by Leon’s partner, Sacha Wares, was performed at the Royal Court Theatre last year. Set in a run-down London boxing gym in the 1980s it follows the lives of two young boxers. Accepting the award, Leon, who also attended Longridge High School, thanked Sacha. “ I honestly believe that without her this show wouldn’t have been nominated for all the things it has been,” he said. Leon’s introduction to theatre was aged nine when he played a rat in the Pied Piper of Hamelin with the Ribchester Amateur Theatrical Society. He went on to study dance and performing arts at Blackburn College before training at the world renowned Laban Centre for Contemporary Dance in Deptford.

WE LOVE OUR CALENDAR GIRLS

Reports in from Samuel French this week that Calendar Girls looks set to be one of the most performed shows in the UK when it becomes available to Amateurs in late 2012. The demand for this play is unprecedented and in the few weeks since we announced the release we’ve had nearly 170 licence applications from groups in this country alone. Samuel French told Amateur Stage they had been overwhelmed by the number of licenses and were pleased amateurs were taking on the show. Currently breaking box office records across the UK, the producers of Calendar Girls are offering amateur groups tickets to certain performances for £25 for groups of 10 or more. This special offer also offers groups the chance to meet the cast and discuss the production after the show. For further information on the ticket offer visit www.seecalendargirls.com. Performance applications can be made through Samuel French.

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28/03/2011 10:01:11

PETUARIA PLAYERS TURN 50

The Petuaria Players are proud to present their 50th Anniversary production, ‘Outside Edge’ by Richard Harris, on the 5th, 6th & 7th May at 7.30 pm at the Brough Village Hall, Elloughton Road. Set in a cricket Pavilion, Outside Edge deals with an eventful Saturday afternoon in the lives of five men and four women. Roger struggles to keep together his team while the wives and girlfriends of his players help and hinder to devastating and hilarious effects. First staged with a cast including Maureen Lipman and Julia McKenzie, Richard Harris’s hit comedy enjoyed a hugely successful West End run before being made into a TV sitcom starring Timothy Spall, Josie Lawrence & Brenda Blethyn. While the play is ostensibly about cricket, it’s actually about relationships and Harris is soon lifting the lid on all manner of angst and extra-marital shenanigans among the lead characters. This will be the 146th play the Petuaria Players have staged since 1961 and they look forward to celebrating this event with audiences new and old. Tickets are £6 each, telephone Stella on 01482 668610.

60 YEARS ON – THE GEOFFREY WHITWORTH TROPHY The Geoffrey Whitworth trophy was first awarded in 1951, and every year since then original plays that are unpublished and performed in an AETF festival for the first time are eligible to enter. Similarly in the parallel organisations in Scotland, Northern Ireland and Wales, so that the Geoffrey Whitworth winner is announced each year at the British Final of One Act Plays. How is this winner arrived at? Well, for many years plays that are sent in are read by a panel of judges in Scotland. They are judged ‘blind’ (ie with the identities of the authors unknown) and in recent years have frequently been published by DAW. The identity of the winner is kept secret until the last night of the British Final when a presentation is made before an enthusiastic, but often uninformed audience - the plays are judged on their writing not on performance so frequently only a handful of people in the audience will have seen it. Who was Geoffrey Whitworth? you may ask - and you would not be the first person to have asked it. In 1983, on the centenary of Whitworth’s birth in a tribute to him on Radio 4 George Bernard Shaw was quoted; “Who is this man named Whitworth? What is he? He is not a great actor, So far as I know he has never acted in a play. If he has written any plays I have not seen them,. And yet, wherever I go I hear the name: Geoffrey Whitworth. He is one of the most important people in the theatre today”. Inspired by a play reading in 1918 by Vickers munitions workers, Whitworth set about forming the British Drama League which supported both professional and amateur theatre and the idea of founding a national theatre. Whitworth , by then a sick man attended the ceremony of a symbolic laying of a foundation stone in 1951, but died two months later and never saw the realisation of his dream. The AETF and others involved in one act plays have for long realised the importance of encouraging new writing for the theatre - it’s relatively very difficult to get a play performed professionally compared to getting a story published - and amateur companies have an important role to play in helping writers see their works on stage. They can often be persuaded to stage a new one-act play in a festival when a full length play in a bums-on-seats production in their home venue is often ‘a step too far’. We can all remember exciting new writing that has come to the fore in this way and the AETF are looking to take this recognition a stage further at the British Final at the Wyvern Theatre in Swindon on July 1 and 2 this year. For a while we have felt that this ‘gem’ of the British Final has remained a ‘hidden gem’ so with the help of generous sponsorship from Amateur Stage (thank you, Doug) we are staging a rehearsed reading of the winning Geoffrey Whitworth play at 2.30 on the Saturday afternoon in the Wyvern’s studio. We are seeking to maintain the element of surprise, so the company performing the reading will have to keep a secret but there are 70 free tickets (available in advance from annaplin@tiscali.co.uk or jillgill47@ yahoo.co.uk or from the Welcome Desk at the festival). At least when the winner is presented with this splendid trophy at least seventy members of the audience will know the reason why! Ann Aplin

STAGE WHISPERS TURNS 20

We’d like to take this opportunity to congratulate Stage Whispers magazine (the Australian Amateur Stage magazine) who are celebrating their 20th birthday this month. Given the geographic distances that lie between many of the participants in the magazine, it’s no mean feat to bring together such a great magazine. So congratulations, may you go on for another 20 years. www.stagewhispers.com.au

get in on the ACT!

OVERTURE

The Association of Community Theatre (A.C.T.) was launched at The Alma Lodge Hotel, Stockport, Cheshire on Sunday 16th January 2011. Many people attended the inaugural meeting from all sections of community theatre including Drama, Musical, Dance and theatrical traders to name but a few. The management board were delighted with the turnout and were overwhelmed by the positive vibes and support for A.C.T. A.C.T. is governed by voluntary officers who have extensive knowledge of the wide ranging services that the Association will be able to offer. The newly appointed Trustees have considerable past experience in the most executive positions in other similar umbrella organisations. As the management of A.C.T. will be conducted by entirely non paid personnel without the overheads of premises this will ensure that these otherwise heavy costs will not be passed on to the groups in membership. Every amateur group these days are looking for savings and this association will certainly offer these benefits. A.C.T. will be an umbrella body and will cover all performing groups involved in theatrical productions embracing Dramatic, Musical and Operatic, Pantomime groups, Gang Shows, Dance School productions, College and School presentations. The range of services offered will cover Performance/Group Insurance, Achievement Awards, Adjudication/Show Reports. Legal Help, Child Protection Registration, Summer School, Theatre supplier discounts to members, Workshops in all aspects of acting, music, singing, dance, technical, backstage and many more. For details of how to join contact sarah@actuk.org or telephone Sarah on 0161 278 1976.

MOTHERS DAY THEATRE TOKEN WINNER Last month we offered readers the chance to win Theatre Tokens for Mother’s Day. Our winner Mr P Gibbs send us the following reason for winning. “I’d love to win the vouchers to take my mum to the theatre. Over the years she inbued a love of theatre in me and made sure I had every opportunity to see as many shows as possible. As an older lady now she can’t afford a West End treat that often and it would be great to show my appreciation by taking her to the theatre. She’d love it!!” Mr Gibbs you vouchers are on the way, we hope you both enjoy whichever show you select. Further information on Theatre Tokens for mothers day can be found at www.theatretokens.com

Getting the Breaks

40 mins Youth Play 3M 3F + 1M (voice only) Jason and Zoe were going out together. Now Zoe claims she is pregnant. Sarah thinks Ben should stand up for himself. Berwyn dreams of achieving the perfect break in snooker. We hear from all these teenagers, their hopes and fears. And, when Zoe attempts suicide, their lives converge, brießy touching. “...a one act youth play about growing up... that a young audience would enjoy” Amateur Stage review April 2010

TWO GREAT NEW ONE ACT PLAYS BY DEREK WEBB Calling Time Variable 30-60 mins Cast variable 2M+2F to 6M+6F

In the lounge bar of the local pub, these Þve linked short plays all take place during one evening. They are all two handers and vary from straight comedies to more thoughtprovoking ones. Calling Time is written to be performed by four actors performing all the parts, but can be played by a cast of up to 12. “A series of perfectly pitched dark-light comedies... a great show” Salisbury Journal Both available from New Theatre Publications www.plays4theatre.com

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OVERTURE Birmingham’s Festival of Acting & Musical Entertainment Presented by the Birmingham & District Theatre Guild (BDTG) Saturday 26th February saw the conclusion of the BFAME Festival Week and the annual Peripatetic Festival. The audience was privy to a lively performance by pupils of Bromsgrove School and were then indulged by an Oscar like presentation, with the Mayor of Solihull, Councillor Ian Courts, presenting the trophies. During the week at the Dovehouse Theatre, Solihull, the audience was treated to a very high standard of one-act plays. The Wednesday evening was devoted entirely to individual youth work, when twenty nine young people all under the age of 19, captivated the audience with an excellent night’s entertainment. Roseanna Swani won the under 14 poetry and Connor Fox took the award for poetry from 15-18 years with an impressive rendering of ‘Glue Story’. Chloe Jones secured the under 19 drama award and Laura Dowsett triumphed in the younger drama group with her splendid rendition of Emma from ‘The Resident Ghost’. George Hannigan & Jonni Dowsett won the duologue section and Francesca Kingston was awarded the Lillie C Johnson Trophy for her impressive singing of ‘On My Own’ from Les Miserables. The adjudicator for the Festival Week, Scott Marshall, GoDA, awarded the Alexander Theatre Trophy for the adult one-act winner, to Stage2 Seniors for their

BILLY YOUTH THEATRE ANNOUNCES REGIONAL PARTNER THEATRES Billy Youth Theatre announced the four theatres that will partner with Billy Youth Theatre to host regional showcases throughout May and June 2011. A number of participating groups will be invited to perform excerpts from their productions of Billy Elliot the Musical at the showcases. A selection of groups will then be offered the opportunity to follow in the steps of Billy and perform at the Billy Youth Theatre West End Gala at the Victoria Palace Theatre, Billy’s London home, in July 2011. Billy Youth Theatre, an initiative from the producers of Billy Elliot the Musical provides schools and youth groups

production of ‘The Year of The Monkey’ by Claire Dowie. The one-act youth winners were the younger members of Stage2 with another Claire Dowie, ‘Arsehammers’. The group going through to the Quarter Finals of the AllEngland Theatre Festival is Stage 27 with ‘A Cut in the Rates’ by Alan Ayckbourn. We wish them every success at the Courtyard, Hereford on 16th April. During his summing up of the Festival Week, Scott Marshall commented on the large number of people who had taken part. He would normally expect to adjudicate a festival with between 35-45 participants, not a massive 208! He was extremely complimentary about the organisation of the festival and said that he had enjoyed

every minute of his visit to Birmingham. Councillor Dave Osborne, the BDTG President, summed up the near record twenty eight entries in the Peripatetic Festival Year. The winners in the drama section were announced as Highbury Players with ‘Who’s Afraid of Virgina Woolf?’’ and BMOS Musical Theatre Company succeeded in the musical section with their performance of ‘Wallop Mrs Cox’. The full results can be seen on www.bdtg.org.uk

around the country with the opportunity to stage their own productions of the internationally award-winning show. The partner theatres and performance dates are: Poole Lighthouse Theatre: Sunday 8 May at 7pm Sunderland Empire Theatre: Saturday 21 May at 7pm Grand Opera House York: Sunday 22 May at 7.30pm Milton Keynes Theatre: Sunday 5 June at 7pm Tickets for each event are bookable direct with each partner theatre. Billy Elliot writer Lee Hall together with Martin Koch, Musical Supervision and Orchestrations, adapted their original script and orchestrations to produce a shortened version of the show exclusively for groups staging local productions as part of Billy Youth Theatre. Thousands of young people from Aberdeen to Aberdare are now part of Billy Youth Theatre which is open to schools

and established youth groups in England, Scotland and Wales, and to performers aged 10-19. Lee Hall said “I am delighted to see these great regional theatres give a platform to our local youth theatre productions of Billy Elliot The Musical. The showcases are a great opportunity to see young people bring the story of Billy Elliot to life in their local communities.” In December last year, to support and encourage their local productions, group leaders took part in a specially created workshop led by the award-winning team that brings Billy Elliot to life each day on the London stage. Resident Choreographer (‘Electricity’ and ‘Dream Ballet’) Damian Jackson, Associate Director (London) Nick Evans and Assistant Musical Director Mark Collins rehearsed young members of the Billy Elliot cast while Resident Choreographer Lee Proud got the group leaders on their feet in a dance workshop on the Victoria Palace Theatre stage. The critically acclaimed, internationally award-winning musical opened at the Victoria Palace Theatre in 2005 and has subsequently been seen by over 6 million people worldwide. As well as the current London production, Billy Elliot the Musical has performed in Sydney, Melbourne and Chicago, and is currently playing at the Imperial Theater on Broadway, at the LG Arts Center in Seoul, South Korea and on tour across North America. On 1 March 2011 Billy Elliot the Musical will open at the Canon Theatre, Toronto with a further production due to open in Japan in the same year. Productions are also in the works for Germany and Holland. www.billyelliotthemusical.com

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DATES FOR THE DIARY! 15TH-16TH JUNE - THE ABTT THEATRE SHOW

OVERTURE T H E S P E C I A L I S T T H E AT R E T E C H N O L O G Y S H O W

Building on the success of previous years, the 33rd ABTT Theatre Show promises to deliver a packed showcase, whilst celebrating The Association of British Theatre Technicians 50th anniversary. Theatre is a constantly evolving and growing business, so taking stock of technology and innovations is vital. Each year the ABTT (Association of British Theatre Technicians) Theatre Show gives the ideal opportunity to see the latest products that will shape future productions. The ABTT Theatre Show is perfect for theatre practitioners, architects, building services professionals and consultants to learn about the solutions on the market for all performance venues and auditoria, whether it’s an up-grade or new build project. The Show will focus its marketing campaign online and again offer a simple and free pre-registration facility through its enhanced website. This will also boast easy to use facilities for exhibitors and visitors alike allowing fast upload and download features. The ABTT Theatre Show is already well over 50% sold out for 2011 with an enviable list of key industry players including XL Video, ETC, Stage Technologies, Martin Professional, Yamaha and Philips Entertainment booked to appear from 15th -16th June, at the Royal Horticultural Halls, Vincent Square, London SW1P 2PE. The Show will feature a two-day programme of seminars and meetings, which will reflect the achievements of the ABTT as it reaches its 50th birthday and look forward to the challenges for technical theatre in the coming years. For more information check out: http://www.abtttheatreshow.co.uk/

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28/03/2011 10:12:30

ONSTAGE

SHOW CRUISE 2012 SETS SAIL FOR THE STARS!

he luxury cruise market is one of the travel industry’s biggest growth areas and this month sees the launch of an exciting new cruise experience aimed primarily at lovers of amateur musical theatre. SHOW CRUISE 2012 is being hailed as ‘A magical 14-night cruise dedicated to musical theatre!’

SHOW CRUISE 2012 sets sail from Southampton on 15 September 2012 aboard the Celebrity Eclipse, and brings an exclusive opportunity to visit nine exciting ports and cities around the Mediterranean - while immersed in the magic of musicals! This is an unusual and exciting opportunity to indulge your passion for performing in, or just enjoying, musical theatre - while visiting Gibraltar, Provence, Florence, Pisa, Rome, Cagliari, Seville, Lisbon and Vigo. This thrilling new venture is the brainchild of travel agents Peter Grayson and David Logan, who share a life-long passion for musical theatre. They support and sponsor local amateur musical productions - and their travel business, with seven branches across the South West of England, is one of the country’s leading cruise specialists. Peter Grayson explains, “As well as enjoying a luxury cruise experience, and visiting 5 countries, this is your chance to showcase your own performance talent, develop your theatre skills and techniques, meet and learn from West End professionals and share your musical theatre experiences with other enthusiasts!” David Logan adds, “You can choose from the busy programme we’re putting together, and do as much or as little as you like! The sooner you book, the greater your choice of workshops and activities.” Amateur Stage understands that the SHOW CRUISE 2012 programme could include useful workshops and master-classes to help you hone your talents and skills in singing, acting, choreography, direction, make-up, wigs, lighting, marketing and more. There are plans for not one but two professionally produced concert performances of highlights from the shows, each featuring amateur performers auditioned on board and staged in the ship’s magnificent 1,100-seat auditorium!

culminating in a nail-biting on-stage final! This exclusive onboard activity programme will be carefully designed around the cruise itinerary, allowing you to make the most of ship’s nine fascinating ports of call - and the SHOW CRUISE website will release more programme details as they become available. It’s important to remember that the sooner you book your cruise, the greater your opportunity to participate in your preferred choice of the activities and events Interestingly, this new cruise experience is more affordable than you might think - especially when you remember that prices for this 14-night trip include all meals, entertainment, tax and gratuities - plus that specially designed programme of musical theatre experiences and enrichment. Fares for two people sharing an inside suite start from £1,499 per person - that’s little more than £100 per person per day. Outside suites start at £1,699 per person, and balcony suites from £1,899 per person. And the best bargain of all - four people sharing an inside suite pay only £1,149 per person, or just £82 per day! “If you share our passion for musicals, we look forward to welcoming you on board”, say Peter and David. “This is a genuinely unique opportunity to sharpen your skills, show off your talents, enjoy a rare behind-the-scenes glimpse into the world of professional musical theatre, rub shoulders with a few ‘stars’- or just sit back and enjoy the show - as you cruise the Mediterranean for two glorious weeks! For further information, visit www.showcruise2012.com. For best prices, suites and choice of on-board activities, or to make a booking, call 0845 557 6341 or email showcruise2012@travelangels.net.

You could even be part of an ambitious plan to create the biggest ever show chorus at sea - a great opportunity to rehearse with, and learn from, a professional musical director! Or simply get ‘Up close with...’ - exclusive opportunities to put your questions to the West End professionals who’ll join SHOW CRUISE 2012, with in-depth and candid revelations about their world of musical theatre. You’ll also be able to sit back and enjoy informal and exclusive performances from the West End stars who are now being invited to join you on the cruise. And you could even win a free place on SHOW CRUISE 2013 by pitting your wits against your fellow enthusiasts in a cruise-long musical theatre quiz ‘So you think you know your shows!’,

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A magical 14-night cruise dedicated to musical theatre! Sailing from Southampton on 15 September 2012 aboard the luxurious Celebrity Eclipse, don’t miss this exclusive opportunity to cruise the Mediterranean whilst indulging your passion for appearing in, or simply enjoying, musical theatre!

Showcase your performance talents! Develop your theatre skills and techniques! Share your musical theatre experiences! Mingle with West End professionals! Or just sit back and enjoy the show! This unique cruise is home to a full, specially-designed programme of musical theatre experiences and enrichment - while letting you visit Gibraltar, Provence, Florence, Pisa, Rome, Cagliari, Seville, Lisbon and Vigo. Fares include all meals, entertainment, tax and gratuities and, based on two people sharing a suite, start from £1,499 per person - or little more than £100 per person per day! With four people sharing, you can enjoy SHOW CRUISE 2012 for as little as £1,149 per person, or as little as £82 per person per day!*

Be amongst the first to secure a place onboard SHOW CRUISE 2012 Places onboard will be limited, but for just a £200 deposit per person*, you can confirm your place on board today!

Find out more at www.showcruise2012.com or for latest availability call 0845 557 6341 or email showcruise2012@travelangels.net SHOW CRUISE 2012 is an exclusive collaboration between Celebrity Cruises and UK independent travel agents and cruise specialists Travel Angels.

YOUR LOCAL INDEPENDENT TRAVEL AGENT AND CRUISE CENTRE

* Travel Angels are agents for ATOL holders. All offers subject to availability at the time of booking and can change without notice. All Bookings are subject to the standard terms and Conditions of Celebrity Cruises as shown in the 2012 Celebrity Cruises Brochure. All Show Cruise events are exclusive to Travel Angels Show Cruise passengers and are subject to availability in the venues on board and change without notice. Travel Angels reserve the right to vary the events on board. All performers will be appearing subject to their availability on the date of the cruise and can change without notice.

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It’s all about the performance... Whether you are an experienced performer or just keen to find out more about performing, ROSS is the summer activity for you! You will work with professional staff and friendly fellow performers to produce a performance of 40 minutes of brilliant entertainment in one week, staged and fully costumed in front of a live and appreciative audience. For more information about the 2011 school visit www.RossSummerSchool.co.uk or call the administrator on 01480 381939.

pictures from 2009/2010 schools

Main image: Die Fledermaus A Funny Thing Happened on the Way to the Forum, Parade, La Cage Aux Folles, You Can’t Stop the Beat

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ONSTAGE

D ROUN L L A E C AN M ERFOR P D ROSS - A GOO The one thing everyone should know about ROSS Theatre Summer School is that you get to perform your week’s work in costume with a set and live accompaniment to an audience! Currently based at the Scarborough Campus of the University of Hull, ROSS provides a week of musical theatre training focussed on creating a performance of the material on offer. An amazing week of study and fun makes the ROSS Summer School ‘the best week of theatre ever’.

Arriving… From the moment you arrive on Saturday you meet up with other students and the first thing you learn is many of the participants have been coming to the school for years. As old friends meet up again and new people are introduced to delegates and staff, the family atmosphere is apparent to all. Students have picked their class in advance from a choice of 3 extracts from operettas, musicals and on occasion, operas. The extracts are 40 minutes long and contain all the favourite bits of the show on which they are based. Often the extract tells the complete story but sometimes it may just be an act or section.

Getting going… Having had a first rehearsal on audition pieces, the students look forward to the first evening together and the chance to discuss who is going for what parts! One of the most innovative elements of the extracts is double casting. By giving more people the chance to play the parts they want makes for a more fulfilling week and sharing a part with someone gives you real support and further learning opportunities. Sunday is audition day and nerves (as always) are on show. The school always gives great support to the auditioning students and nerves soon turn to smiles as the parts are announced. Once cast it’s all systems go and the first class rehearsals on Sunday afternoon are a chance to meet your classmates.

The performance… Friday morning is the last chance to rehearse before afternoon and evening dress rehearsals. Each class runs its extract twice due to the double casting. Friday ends with everyone feeling very excited about the shows next day. Saturday contains one more rehearsal session to iron out any issues from the dress run and then the performances start at 2pm. Again both cast combinations perform so there is a second house at 7pm. Full costume, set, lighting and live accompaniment makes the end of the week a real joy for the students. As the applause dies down and the students go back to the bar for the end of school party there is a sense of camaraderie between class members, and admiration for other classes now that students have seen what others have been doing all week. The 2011 School runs from 6th to 14th August and the three extracts are: Class A – Iolanthe Class B – Merrily We Roll Along Class C – The Drowsy Chaperone

Be part of it…. The first time you come to ROSS can feel daunting, but because so many people return year after year to take part it is clear that it is worthwhile and fulfilling. We have just celebrated 60 years of Summer School and we are looking to the future now to make ROSS even more successful. Our strap line is hard to live up to but it is a constantly heard phrase – ‘the best week of theatre, ever’.

More for your money… Extra activities through the week start with an informal sing-along on Sunday night after dinner. Great fun and always full of laughter this gives everyone a chance to wind down after the big day. The next 6 days will be exciting, fulfilling and hard work and start on Monday with the daily movement workshop and vocal warm-up, then off to class for music rehearsals. Monday evening offers additional activities that include dance, performance workshops, tips on make-up or reading music etc. Tuesday is the time the extract ‘goes on the floor’ and a full day of setting and music tidying takes you to the student forum and regular quiz night which is a great occasion for everyone in the school. Friendly rivalry makes the quiz a very lively event! Wednesday brings more setting and the arrival of the costumes, Thursday is the time to start polishing the extract and the afternoon is free so students can relax, do any last minute shopping or just hang out in Scarborough and enjoy the beach. There is an additional dance workshop for those who want to keep working and a lighting session run by one of the directors and our professional lighting designer for students to observe.

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CELEBRATING YOUNG THEATRE TALENT Coombe Boys’ Drama Department recently participated in a nationwide celebration of young theatre talent. Samatha O’Reilly, Senior Teacher & Head of Drama discusses the experience.

ere within the Coombe Boys’ Drama Department we have a history of providing high quality performance opportunities for our boys to showcase their dramatic talents. We regularly produce work for a range of Local, National and International festivals throughout each academic year and 2011 saw us signing up for the National Connections Festival Programme. We were also delighted to be able to work in partnership with the CGS Drama Department to audition twenty Coombe Girls pupils and cast four to participate with the 80 boys in the cast. At the heart of the Connections Festival is the opportunity for young people to engage with new plays commissioned by the National Theatre from some of today’s most exciting playwrights. The National Connections Festival is a nationwide celebration of young theatre talent and provides our pupils with the opportunity to work towards performing their work on a professional stage; in our case the wonderful Rose Theatre, Kingston. So once the National Theatre had confirmed our play choice of Samuel Adamson’s ‘Frank & Ferdinand’ we did what we do best here at CBS and began the hard work. Coombe Boys’ pupils once inspired by what they are doing, will work tirelessly to achieve what we expect of them. We set our performance expectations high and ‘Frank & Ferdinand’ has most definitely made real demands on our cast of 80! Yet our pupils have responded – and I know they will do their best to surprise and impress our audiences. I know I am always amazed by what our boys are capable of achieving. The script, which was written especially for the National Theatre Connections Festival, follows the story of five children. A village in a war-ravaged country wakes to find that one hundred and thirty children have vanished. Only four are left: Otto, Aloysius, Sarah and Flora. Interviewed by a Military Inquiry, each child tells the events of the night before. But their accounts seem to differ. Who is the elusive Sebastian and why does the Inquiry’s depiction of him keep changing from delinquent to charmer and back again? What’s real, and what’s fairy-tale?

as actors and which also challenges their prejudices and makes them think and react in ways which are new to them. It is difficult to explain the rehearsal process and creative stages of the development of any play: so many things seem to happen at once. The moment the basic idea for the show takes root, ideas start flowing fast - if they don’t, then the idea isn’t a very good one! Following the National Theatre Director’s weekend an exciting weekend where we worked alongside National Theatre Directors and the playwright Samuel Adamson to explore the play the creative team started with an idea and through exploring this with the cast have arrived at our production as it currently stands. One of the most exciting aspects of the Festival is the chance to be chosen as the theatre company who will represent the play on the National Theatre Stage in the summer. There are twenty other schools and youth theatres across the UK currently presenting Frank & Ferdinand. Our first performance was on Friday 11th March in the Barton Hall at Coombe Boys’ and was performed in front of Year 6 pupils, parents and our National Theatre Director Gbolahan Obisesan. Our reviews already read well “Dark, mysterious and moving. Brilliant! Had me in tears at some points.” and we are really looking forward to our show report from Gbolahan which will no doubt give us some thought-provoking ideas to explore in the final four weeks of rehearsals. Our focus now turns towards our performance at the Rose Theatre, Kingston on Saturday 9th April. We look forward to welcoming as many pupils, parents and supporters of the school to this performance where we will be able to truly celebrate the achievements and experience the Festival has provided our pupils. Further information about the National Theatre, Connections Festival below: http://www.nationaltheatre.org.uk/58027/about-connections/take-part.html http://www.rosetheatrekingston.org/whats-on/national-theatre-connections

This process has provided our boys with a play which makes demands on the pupils

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westend

ONSTAGE

Mark Ludmon looks at the latest West End offerings.

Greenland. Photo: Helen Warner

The 25th Annual Putnam County Spelling Bee Donmar Warehouse

It is six years since The 25th Annual Putnam County Spelling Bee opened in New York to good reviews and two Tony awards, so it has been a long time coming to the UK. The phenomenon of spelling bees – a spelling competition for children – is little known in Britain but that is no barrier to the Donmar Warehouse’s production being an entertaining and clever little show. It is a one-act musical play, with the stage transformed into an American school gymnasium. Grown-up actors take the roles of the young children participating in a contest presided over by former spelling bee champion Rona Lisa Peretti and vice principal Douglas Panch. Four members of the audience are dragged up on stage to take part in the competition, providing many of the best comic moments in the show. The music is sadly unremarkable, with forgettable tunes which seem redundant to British audiences who are less accustomed to the dominance of musicals in American theatre. But the book by Rachel Sheinkin is sharp and funny, full of hilarious lines for the cartoon-like kids’ characters. The enjoyment also owes much to the superb cast, including the excellent Steve Pemberton as vice principal Panch and Katherine Kingsley who, as Rona, combines a talent for comedy with a flawless voice.

lesbian couple troubled by their pressure to protect the environment in their everyday lives, which provide plenty of roles for the 15-strong ensemble. While the play offers different perspectives on climate change, it offers a chilling warning on why our planet is doomed unless we take action.

Our Private Life Royal Court

The theme of child abuse has become a familiar one to theatre audiences. In fact, one London commissioning theatre now bans it as a plot twist because of its ubiquity. The sensitive topic is at the centre of Our Private Life at the Royal Court’s Jerwood Theatre Upstairs, in which a respectable family man is accused of being a paedophile. The difference is that the story is set in a village in Colombia and is a translation of a play by Colombian writer Pedro Miguel Rozo. It looks at the impact of the rumoured child abuse on the man’s family, including his wife, played with great comic skill by Ishia Bennison, and their gay son, who is a manic ball of energy in the hands of Colin Morgan. The narrative is driven along by the ever-changing evidence of whether the father, played by Anthony O’Donnell, is a paedophile or not, but it is enhanced by elements of humour, including social satire, and some intriguing dramatic effects – the actors make regular

Greenland

Lyttelton, National Theatre When you hear that four writers have been tasked to write a play about climate change, you approach the result with a sense of trepidation. Will it be a polemical play that preaches at us for two hours or a more engaging drama about the people affected by the issues being covered? Greenland has elements of both and, although it is not perfect, it is an interesting and sometimes moving piece of theatre. Reminiscent of the Royal Court’s stylised retelling of the Enron story, Greenland brings in plenty of theatrical effects from a life-size polar bear and a flying shopping trolley to snow and rain falling from above. It weaves together different stories written by Moira Buffini, Matt Charman, Penelope Skinner and Jack Thorne that provide a variety of warnings on the risks we pose to the environment. The opening scenes present us with lots of facts and figures but, fortunately, it then moves on to more character-based drama. There is Lisa, the discontented trainee teacher who becomes an activist, and the geographer dodging polar bears in the Arctic as he examines his life. A Labour policy adviser, played by Lyndsey Marshal, visits Copenhagen in 2009, locked in both a debate and a love affair with Peter McDonald’s climatologist. Interspersed with these are smaller stories, such as a

Putname County Spelling Bee Photo: Hugo Glendinning

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Becky Shaw Photo: Hugo Glendinning

asides to the audience which are, unconventionally, also sometimes audible to some of the other characters. It all adds up to an unsettling experience. Despite excellence performances, the play is balancing on a thin dividing line between broad black comedy and tragedy. With impressive young actor Joshua Williams playing the damaged fragile boy at the centre of the child abuse accusations, the darkness of the central theme threatens to overwhelm the comedy.

Becky Shaw

There’s no doubt that tackling a subject like Oz will leave many purists hurling abuse, Jeremy Sams production is bubbly, fast moving and quite emotional. Danielle Hope as Dorothy is assured and delivers the showstopper Over The Rainbow with confidence and emotion aplenty. Her trio of companions give solid performances bringing life to some of Arlen’s beautiful melodies as they seek a brain, heart and courage respectively. The real star of this show however is Hannah Waddingham. Her take on Miss Gulch and The Wicked Witch really stop the show. Whether it is onstage or suspended above the audiences heads, she is almost unrecognisable beneath the green make up and prosthetics. She is truly wicked (no pun intended). The show does have moments though where it lets itself down. Primary amongst these is the closing of the first act where the entire Wizard’s Song is performed offstage with only an indiscernable video image onstage to keep an audience occupied. With a running time of just over two hours, Lloyd Webber’ production team have succeeded in reimagining this classic. It’s a first rate family show that I hope will leave children enamoured with the theatre and wanting more. This Oz is a production worthy of the London Palladium. The enormity of its staging will have you captivated from start to finish.

ONSTAGE Million Dollar Quartet Noel Coward Theatre

Inspired by an actual event that took place when Sun Records music producer Sam Phillips managed to get Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins into the same studio in 1956, this show could be called the ultimate juke box musical. What drives Million Dollar Quartet is it’s casting. Sure the show has some of the best Rock N Roll numbers ever written as its core, but it is the quartet themselves that make this show great. Ben Goddard doesn’t just play Jerry Lee Lewis - he IS Jerry Lee complete with the type of combustible stage presence that made the man great. Derek Hagen delivers a more than credible Cash, close your eyes and you could be listening to a recording of the man himself. Where Million Dollar Quartet might come unstuck is in the fact that as a one act musical in tough economic times many may feel it is overpriced when compared against other shows. That said, the entire audience were on their feet at this show, they could have kept the cast on stage for hours longer!!

Almeida Theatre

Becky Shaw, which was a big hit off-Broadway, uses a mix of comedy and drama to dissect the nuances of personal relationships. It focuses on a somewhat dysfunctional family whose fragile existence is thrown into sharp relief by the arrival of the eponymous Becky. She is invited by newly married couple Suzanna and Andrew to go on a blind date with Suzanna’s adopted brother Max. When the date proves a disaster, the fall-out forces the characters to look more closely at themselves and how they relate to each other. Set in and around Rhode Island, the Almeida’s production includes David Wilson Barnes who created the role in New York. He brings out Max’s deadpan humour, delivering many of the play’s hilarious one-liners, but also his vulnerability. Anna Madeley combines strength and brittleness as the emotionally damaged Suzanna while newcomer Vincent Montuel shows that enviably good people can also be wrong. Becky Shaw herself, played to perfection by Daisy Haggard, demonstrates most of all how writer Gina Gionfriddo is examining how our perceptions of people shift in their different relationships – she is initially a sympathetic innocent but emerges as being needy and subtly manipulative. While Daisy Haggard, a leading comedy actor, is in the title role, it is not just about her – in fact, her character is not even mentioned until several scenes into the play. Instead, it is an ensemble piece, completed by Suzanna’s jaded mother played by Haydn Gwynne, that cleverly presents us with a set of characters we don’t know whether to love or hate.

Million Dolar Quartet

the Wizard Of oz Photo: Keith Pattison

The Wizard Of Oz London Palladium

There have been many attempts over the years to stage the classic MGM film The Wizard Of Oz. It’s no easy feat given the magic that celluloid created with the talents of Judy Garland, Margaret Hamilton, Ray Bolger and others with a magical score by Harold Arlen. This time it’s Andrew Lloyd Webber who has tried and in the most part succeeded in creating a brand new OZ that successfully follows yet another televised search for new talent. Not a penny has been spared in the creation of this new Oz. Whilst most of the film score remains intact, Lloyd Webber has turned to original writing partner Tim Rice to provide new material. In this new version there is an opening number to set the scene in Kansas, a wordy patter song for Professor Marvel, songs for the Wizard and a showstopping moment for the Wicked Witch.

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ONSTAGE

S P E T S 9 3 THE

Knutsford Little Theatre began life as Knutsford Amateur Dramatic Society in 1925 and early performances were at the YMCA and the Town Hall. After the war the society took over a building on Queen Street where American troops stationed in the town helped build a stage out of old ammunition boxes. Changing their name to match that of their new home the group set about transforming the theatre into the comfortable, well equipped space that it is today.

life, takes a trip to the music hall where he meets a beautiful and mysterious foreign agent who tells him of a plot by an evil power to steal secrets vital to Britain’s air defence. When the agent is murdered in Hannay’s flat, he finds himself on the run both from the police and from the shadowy organisation known as The Thirty-Nine Steps. What follows is an exhilarating and, for the actors, pretty exhausting chase that culminates at the London Palladium.

The group perform four or five plays a year plus a junior production and a very popular pantomime. The theatre is also available for external lets and their extensive selection of props, costumes, back cloths and lighting equipment is available for hire.

Casting the Play

Selection of Play

The 39 Steps first came to my attention in my capacity of script reviewer for this magazine. It is a jewel of a play; witty, fast paced and very, very silly: something that, done properly, would guarantee a memorable night’s entertainment. Not only did I know I had to see it, I knew that, one day, I had to produce it. I didn’t have to wait long to achieve my first ambition. The play was on tour and due to be performed at Manchester’s Opera House, so I splashed out on a couple of top price tickets, a wise investment as it got me a seat close up to the action in the vast auditorium.

With a script as good as this it was unsurprising that there would be a lot of interest amongst our theatre’s acting community, but the casting of the lead role was never in doubt. Sean Duvall was born to play Richard Hannay! His comic timing and appreciation of the script comes from many years of experience, whilst his appearance and athletic ability made him a natural for the part. The female lead plays three characters and is a very challenging role. Each has to be distinct in the characterisation but each also has to gain the sympathy of the audience. I was fortunate in having a couple of very fine actresses express their interest in the roles, and, after some deliberation, decided that Ali Hulford brought just the right level of softness required for ‘Margaret’, dizziness required for ‘Pamela’ and seductiveness for ‘Annabella’.

Having witnessed the play in the theatre, I was brimming with ideas about what I would do if I got the chance to produce it myself and passed a copy of the script to the Drama Secretary of Knutsford Little Theatre. “Is it available?” she asked. A fair question as it is unusual for a play that is on tour and packing them in at its West End home to be available for amateur performance. She rang Samuel French and their response was that they’d have to seek permission from the producers in the West End. It didn’t sound at all hopeful so it came as a shock a couple of days later to receive a text message from her to tell me that they’d said yes. I was so pleased I dashed out of a meeting to ring her back and express my delight. It was only later that I began to dwell on the enormity of the task I was taking on!

Two ‘clowns’ play all the other roles: salesmen, heavies, Mr Memory and the compère, the professor and his wife, policemen, doddery old gents, the list goes on and on. In the West End production the roles are covered by two male actors but I decided to be flexible as to the gender of whom I cast. Again, I was rather spoilt for choice but, in the end, decided to give the wardrobe department a nightmare by casting the very tall Bob Jennings and the petite Nicola Quinn. At first I considered having Bob play all the female roles but then thought that it was a joke that would soon wear thin so assigned the characters to make best use of the actors’ strengths. Nicola’s imitation of a sheep is a glory to behold!

Play

The Set

The stage production started life, playing in church and village halls around Yorkshire and Lancashire, as a two man version of the John Buchan novel by Simon Corble and Nobby Dimon. When Patrick Barlow came on board he changed it so that it follows the plot of the Alfred Hitchcock film with everything included. The train journey, the Forth bridge, the chase across the moors, the plane crash, it is all there and all characters are played by just four actors. The great thing about the script is that, though it is very definitely played for laughs, it is never disrespectful of the work on which it is based. Richard Hannay, bored with his

Thirty-Three scenes mean that the set has to be representative rather than authentic. We have a very deep stage available but I wanted to keep the action close to the audience throughout the production. Some of the action actually took place in the auditorium whilst a pair of tabs hung half way back gave us some flexibility for the music hall and Palladium scenes. Re-using the same chairs and tables in different scenes and the use of rostrums to be both train seats and carriages, then the Forth bridge, and then the bed at the McGarrigle Hotel meant that the stage and wings were not cluttered up with furniture. With windows and doors on casters, a lamppost made out of a drainpipe and a fold-away theatre box the changes between scenes could all

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ONSTAGE be made at the speed required for such a fast paced play.

Sound, Lighting, Props and Costumes

One of the first things I did once I knew that I was doing the play was to go through the script make a list of all the requirements. The list of costumes covered a page and a half of A4 paper, another page was required for the props list and there are ninety eight sound effects. Lighting too would be a challenge with the requirement to light distinct areas of the stage as well as areas in the auditorium. I was in no doubt that I was going to need all the help I could get and made sure that I approached the most experienced persons available to make sure I had them on board. When I first started in the theatre it was to do sound, and with an exciting sound plot like this I was very tempted to do it myself, but in the end contented myself with putting the cues together for someone else to play on the night. James Broughton created some interesting spacial effects: for example, the script calls for canned applause and laughter and we had this coming from speakers mounted at the back of the theatre. Other speakers were mounted to the front and rear of the stage so, in total, we had a choice of six areas for the effects. Viccie Dougall and Penny James, two alumni from the theatre’s junior section, coped magnificently with the technology. Miles Buckley’s understanding of how to create just the right atmosphere with the lighting proved invaluable as we moved from scene to scene. I was particularly impressed by the moody atmosphere he created for the Forth bridge and also for a spectacular plane crash effect. I believe that lighting is part of the magic of theatre and a simple thing, such as daylight gradually coming up on Pamela as she watches Hannay sleep, can indicate, not just the passing of time, but also allows us to get inside the character’s head. Jenny O’Brien came up with all manner of props be they very realistic looking kippers, a bullet implanted into a hymn book, or a dagger that doubled as a lever and Jacky Slator was the model of efficiency during the performances. Costume was a real challenge and a huge thanks have to go to Sarah Lorenz whose cheerful resourcefulness contributed greatly to the success of the production. Together with her small army of helpers she magically produced, amongst other things, identical costumes of vastly different sizes for our clowns, a marvellous Harris Tweed suit for Hannay and a stunning dress for the alluring Annabella. It is my honest opinion that our costumes were superior to the ones used in the professional production I saw in Manchester.

Director’s Comments When I direct a play I approach it as though I am a project manager bringing together a group of people who all have a contribution to the final product. I will, of course, have a very clear idea of what I want to achieve, but how we get there relies on the talents of the people in my team. Before we started rehearsals I made sure I was very familiar with the play. I had read it dozens of times and was bursting with ideas of how I was going to put my own stamp on the production. In homage to the master, I wanted a cameo role for Hitchcock, I wanted dancing girls at the London Palladium and, above all, I wanted to present our audience with a unique experience. The advantage of having an experienced cast is that they naturally know what works. Blocking was completed at the first rehearsal and I tried to help them find their characters rather than just tell them how it should be played. Naturally I have an opinion on how the play should be presented but I think it is important for the actors to be fully involved in the creative process. If someone delivers a line differently from how I imagined it I will always ask myself what works best before imposing my point of view. I believe that the end result is a team effort of which we can all be proud. In addition to the magnificent cast and the technical team already mentioned a number of other people played their part. Tina Buckley’s contribution as prompt was invaluable during the rehearsal period and I must also mention Lilian Atkinson who choreographed my dancing girls, Tessa Sawyer who taught my clowns to jitterbug, Amy Curran for make-up, Sean Duvall, Geoff Crook and their team who built my set and James Broughton who pulled off a minor miracle in stage managing the whole thing.

Conclusion

The 39 Steps is a challenging play to put on both from a technical point of view and for the actors. The clowns, in particular, have some very rapid costumes changes and with the actors themselves setting the scenes everyone found it both physically and mentally exhausting. Having said that, it is also a great deal of fun. Every rehearsal was a pleasure and it is good if you can have a laugh along the way, providing of course you remain focussed on the task in hand. People were reserving tickets months in advance and it came as no surprise to completely sell out. The laughter during the performance, and the compliments from people as they left the theatre, was all the reward we needed and The 39 Steps is a production that I shall remember for a very long time.

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BACKSTAGE

FIRST NIGHT INSURANCE

Claims - The Proof Of The Pudding

Robert Israel ACII talks about insurance updates relating to amateur theatre.

In the eyes of a Client, an Insurance Policy is probably a necessary evil that only comes into its own when the Policyholder wishes to make a claim.

although of course the First Night excess is only £100). At least one major Insurer is increasing their standard excess to £350, which will have 2 effects:

In my opinion, the best advertising an Insurance Company can put forward is the speed and efficiency of their Claims Department, because it is only then that the Client realises that they haven’t “wasted their money”.

It will save the Insurer money; and (i) (ii) It might obviate the necessity for an increase in rates, or at least mitigate such an increase. The third reason that is sometimes used is that, with the effects of inflation, the value of the excess reduces over time. Of course, this argument does not hold too much weight during period of low or no inflation, however the trend is definitely to increase excesses and, in fact, a lot of substantial commercial clients opt to increase their excess in order to keep their premiums down. The problem with this is that some clients have very short memories when there is a claim and do become somewhat agitated at that point!

99% of the claims that we handle go through with no trouble at all in a speedy and efficient manner. Unfortunately, very occasionally, issues do arise and it is at this point that a Broker probably comes into their own. However, in order for the Broker to do his job, he or she must have all of the information required. In its simplest form, if an Amateur Society damages a microphone, let us say, and wishes to make a claim for £500, the Insurer will require proof of the loss. You cannot just ask for a cheque without supplying the appropriate documentation, such as the original purchase receipt or, if that is not available, an estimate for a replacement item of similar nature to the lost item. You need to supply such documentation for various reasons - so that the Insurer knows that you are replacing the item on a like for like basis and not upgrading the microphone to a better model. The reason is because an Insurance Policy is designed to put you back into the place you were in immediately prior to the loss. In other words, that you do not end up in a better situation.

So, if you are thinking of increasing your excess on your Motor Policy you must bear in mind that, if your current excess is, say, £100 and you increase the excess to £250 and you then have a claim for £400, would you actually make a claim for £150 or would you feel that you would have to pay that element of the claim as well, effectively increasing the excess because you do not want to lose your No Claim Bonus for such a small differential? The situation can, of course, be the same on your Household Insurance as some Insurers do incorporate a No Claim Discount in their renewal calculations.

Where there are only one or two items involved then this somewhat tedious process should not take too long, but where a significant number of items are damaged, maybe your lorry was involved in an accident on the motorway and your entire set has been smashed to pieces, then I can understand that you will be involved in a lot of work in the formulation of your claim. Very occasionally, in circumstances such as these, where the claim is of a significant value, we may suggest to the Client that they involve the use of a firm of Loss Assessors. Loss Assessors provide a service to the Client and help in formulating, submitting and negotiating the claim on behalf of the Insured person. They charge the Clients a fee for their services, which is normally a percentage of the claim settlement figure. A Loss Assessor is not the same as a Loss Adjustor as Loss Adjustors act on behalf of an Insurance Company, not the Client. Unfortunately, by using a firm of Loss Assessors, you are adding to your costs but, where the figures are substantial and the claim complex, there is no doubt in my mind that a Loss Assessor comes into his own and is well worth the fee charged. The recent events in Japan and New Zealand have brought into sharp focus what can go wrong for reasons that are not immediately to the forefront of one’s mind when arranging an Insurance Programme. What effect the losses will have on the overall Insurance Market is too early to say, although I have seen an increase in Cancellation Insurance rates over the last couple of weeks. Whether these increases continue, or whether it is just a knee jerk reaction, we will have to wait and see. I suspect that a lot will depend on whether there are any other major catastrophes that occur during 2011, which unfortunately from an Insurance perspective, still has 75% of the year to run. Property Excesses There is certainly a trend in the Property Insurance market for Insurers to increase the standard excess from its existing amount (usually £250,

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EAST MIDLANDS

APRIL 2011

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Musicals from the Stagescripts catalogue ... new titles ... new challenges ... new rewards ...

The haunting image of Heathcliffe searching the moors for the ghost of his beloved Cathy is surely one of the enduringly passionate scenes in English literature. This adaptation has been recognised by the Brontë Society as marking the first time that the true spirit of this masterpiece has been captured in music. Heathcliffe enters the House On The Hill, and the wild boy falls for Cathy, but attracts nothing but hatred from Hindley, her brother. “… A dark, brooding score; fiery and dramatic as the subject …”

Winner : Best Book & Lyrics Greater Manchester Drama Festival, 2009

In 17th Century Lancashire two young lovers from different classes, backgrounds and worlds are thrust together in a melting pot of politics and suspicion. The King, his court and his henchman (the Witchfinder) take up against the innocent Catholic residents of Pendle who they ‘suspect’ are witches. A powerful story with dominant characters and soaring themes, tracing the heart-rending events and their consequences, and painting a picture of life and of loss, of love and of hope.

“... a wonderful night's entertainment, one which I didn't want to end ...” The story told in Pride And Prejudice of the Bennet family, centred as it is on the relationship between the proud aristocrat Fitzwilliam Darcy and the high-spirited Elizabeth Bennet, is one of the most most popular novels of all time and has had a far-reaching influence on all romantic fiction right up to the present day. This musical disappoints neither Austen fans nor theatre audiences. “... a plethora of glorious melodies ... captures the mood of the book ...” A colourful, fun and inventive adaptation of Swift's satirical novel bringing out the deeper side of Gulliver's character set to stunning music. The Lilliputians (tiny people) and the Brobdingnadians (huge people) are well known to most, but the musical also covers two not so well known parts of the original book : the lands of Laputa (the flying island) and Houyhnhnm (the land of intelligent horses). Whilst this musical is enjoyable in its spectacle to children, it is most definitely a musical for all ages. “A musical journey into the soul of a person who has had his view of life challenged, in his search for a perfect way to live.” The high energy Australian musical theatre version. Essgee Entertainment has thoroughly updated this Victorian operetta into a piece of musical theatre allowing today's theatregoer a fresh look at this classic, and it forms one third of the Australian G&S trilogy. All the original songs are included though, and despite the 'pop feel' of many of the chorus numbers the most beautiful solos are untouched. The end product is true to the spirit of Gilbert and Sullivan, but much more accessible for a modern audience. Includes a superb eight minute ‘Megamix’ finale!

“… an absolute hoot from beginning to end …” A musical with a large chorus and 22 named parts, the majority of which are for women aged from 25 to 50 to over 70. A therapy clinic for celebrities, down on its luck with no celebrities and no staff, is forced to take in a bunch of old folks as their Home has become uninhabitable. A mystery celebrity phones to check in, and it's all hands to the pumps to try and convince her and her entourage that the place is well run and managed; when in fact it's the old folk who are gearing up to administer their own bizarre range of alternative therapies.

“A fabulous cross between Celebrity Fit Club and Dad’s Army” Stagescripts Ltd Lantern House 84 Littlehaven Lane Horsham, West Sussex RH12 4JB

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21/02/2011 13:35:11

COUNCILLOR’S NOTES Hello everyone and my very best wishes for your spring and summer productions which by now will be well into rehearsal; I look forward to seeing as many of these as possible. It is amazing to think that the best part of a year has gone by since I was elected as East Midlands Councillor and our regional day is rapidly approaching. Please endeavour to join us on 8th May 2011 at Loughborough Town Hall for this event. Details have been circulated to societies and individual members in our region, they are also included in this publication. We are really pleased that Gerry Branton, our president, will be attending. A reminder about the NODA summer school, this year at Warwick University – some courses are already fully booked so if you are thinking of going, please contact HQ to see what is still available. The Youth Academy will be held at Oakham School from 12th to 16th April this year and there were still some vacancies at the time of going to print. We shall again be holding our own East Midlands Youth Day at Loughborough University on 27th July and full details will be sent out in a few weeks’ time. You are advised to book early for this event as all places have been quickly taken up in previous years. I would like to welcome the new societies and individual members who have joined us in the past six months and hope you will come along to our regional day. Finally thank you to all the societies who have invited me to see their productions. Please let me have the dates for visits well in advance, especially during the half term holidays, as these can get very busy. Have a great season. Nanette Lovell East Midlands Area Councillor

REGIONAL COMMITTEE Nanette Lovell Regional Councillor nanette.lovell@nodaem.org.uk

Keith Scott-Savage Representative District 1 keith.scott-savage@nodaem.org.uk

Joyce Handbury Representative District 2 joyce.handbury@nodaem.org.uk

Amanda Hall Youth Advisor amanda.hall@nodaem.org.uk

Peter Beddall Awards Secretary peter.beddall@nodaem.org.uk

Stephen Bartram Regional Treasurer & Website Manager stephen.bartram@nodaem.org.uk

Phil Williams Representative District 3 & Membership Secretary phil.williams@nodaem.org.uk

Anne Key-Huckerby Representative District 4 anne.key-huckerby@nodaem.org.uk

Peter Breach Representative District 5, Regional Secretary & Editor peter.breach@nodaem.org.uk

Christine Clarke Representative District 6a and District 6b christine.clarke@nodaem.org.uj

Neil Richardson Representative District 7 Neil.richardson@nodaem.org.uk

Jenny Chandler Representative District 9 & Program & Poster Competition Co-ordinator (No Email)

Pogramme and Poster Competition The attention of member societies is drawn to the criteria for judging the programme and poster competition. These criteria will apply to entries for shows between 1st January and 31st December 2011-2013 and comes into effect from 1st January 2011. Full details can be found on site www.noda.org.uk

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SHAKESPEARE’S GLOBE T

here is no playwright more quintessentially English than William Shakespeare. Lauded throughout the centuries, honoured in Stratford and familiar to schoolchildren, it took a foreigner, Sam Wanamaker, to create a permanent memorial to him in London. He came to London in 1949 and was very disappointed to discover that not only was there no testament to Shakespeare’s career in London, but there was no Globe Theatre. The only acknowledgement that such a one had ever existed was a plaque in a car park, on which the date was inaccurate. Sam immediately set his sights on reconstructing the original Globe and in 1970 set up the Shakespeare’s Globe Trust. This was quite a struggle to achieve, as there was no money available from English Heritage or the lottery. I know there must have been a large body of enthusiastic people spreading the word, as I first heard of the idea at a Little Theatre Guild Conference when two actors came to address us after the Sunday lunch. Talk of the formation of the ‘Friends of the Globe’ inspired me to become a member and I am pleased to say, remain one to this day. After tireless fundraising, building work began in 1987. The concept of Shakespeare’s original Globe Theatre, a three storey open air amphitheatre approximately 100 feet in diameter was meticulously followed. At the base of the five foot high apron stage was an area called the pit, where for a penny, people (The ‘goundlings’) would stand on the rush-strewn earthen floor to watch the performance. When it came to the reconstruction of the theatre, which took three and a half years to complete, the techniques used were painstakingly accurate. ‘Green’ oak was cut and fashioned, as it would have been done in the 16th century. Oak laths and staves support lime plaster, mixed according to contemporary recipe, and the walls were covered in a lime wash. The roof was made of water reed thatch, based on samples found during the excavation. The only concession to our times was the installation of some modern backstage machinery. The Globe architect was Theo Crosby and he was Sam’s right hand man throughout the project. Help and support came from many quarters, not only England. Without this help, the theatre could not have been built. Even today the theatre would never run without the very loyal audience, ‘Friends’ and volunteer stewards. The Globe receives no annual government subsidy consequently its activities have to be self financing in overall terms, with activities balanced in such a way, that net income from the Box Office, donations and exhibitions is sufficient to cover net deficits. Educational and academic works are an important part of the Globe’s work. The first director was Mark Rylance, and it was he who was responsible for getting the theatre on its feet, and fixing it in the minds of a London theatre-going audience. He did an enormous amount towards setting the standards of quality and his work revolutionised previous thoughts on Shakespeare’s text in performance. The weather at times can be a challenge but performances are never cancelled unless the weather is considered dangerous for audience performers. I am told that they are always amazed to find that the audiences are prepared to face dire weather conditions with sometimes the weather actually adding to the play. It was magical, apparently, to

hear a clap of real thunder during the storm scene in King Lear and to have actors cross a bridge over the yard flooded with rainwater during The Merchant of Venice. I have sat through afternoons of unrelenting sun and once watched Henry V through a heavy rainstorm. The latter was a fascinating experience as the rain lessened and competed with the drops from the thatch, all glinting as the sun finally appeared. One benefit of a rainy day is the selling of plastic capes to the groundlings! My preference of play is a Shakespeare dressed in some of the wonderfully created and authentic style costumes. There has always been new writing at the Globe since the time of Mark Rylance and it is planned to continue this under the present director, Dominic Dromgoole. This year they have the first play written by a woman to be shown at the Globe in 400 years - Bedlam by Nell Leyshon. They also have a wonderful text by the British writer Howard Brenton - Anne Boleyn. In 2009 they had a Christmas show for the first time. It was tremendously successful and that tradition may continue. There are plans to complete an indoor Jacobean Theatre on the site, which can be used all year round. This had been part of Sam’s original concept, which was never completed. The touring repertory is expanding with two small touring operations, which have really taken off in the last two years and a main stage show will continue to go abroad each year. Do try to visit this lovely theatre. You can join a tour round the Globe and later enjoy a superb show. Being part of the audience is a wonderful experience with exciting contact and by-play between actors and audience. Finally, take a stroll beside the Thames to Southwark Cathedral and see the plaque to Sam Wanamaker who unfortunately didn’t live to see the Globe completed. Christine Hewson/Roy Smith These are the fabulous Bankside Gates; each motif is inspired by animals, insects, and characters from Shakespeare’s plays . The gates are the work of 130 blacksmiths from around the world.

Thanks to Fiona Moorhead (PA to Dominic Dromgoole) for much of the information in this article.

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Wanted: One… Suit of Armour? When Grantham Dramatic Society decided to stage a production of Charles Dyer’s ‘Wanted: One Body!’ in autumn 2010 there was a small detail the script selectors overlooked. The play, set in the archetypal eerie country house, features thunder and lightening, sliding panels and… a suit of armour! Finding such an unusual stage dressing required a true team effort and uncovered a few surprises. “Ah,” thought the Production team. “This bit could be tricky.” The armour is only actively featured in the script in one scene: a moment of classic comedy when the nervous young solicitor checks it for the hidden killer and instead gets a faceful of dust. Even so, it would really add a touch of authenticity to the set, and where would be the challenge in just giving up? But where to start? The local museum drew an immediate blank. Even if they had a suit of armour, they wouldn’t have considered loaning it out. Next on the list were the local stately homes. The National Trust property in nearby Belton was ruled out on the grounds that they were unlikely to even talk to us, let alone lend us a historical artefact. The two private properties in the vicinity seemed like a good bet. One of our members knew an Assistant to the local Duke, but a curt response was soon received: “His Grace regrets…” Another grand mansion, Harlaxton Manor, the UK base of the University of Evansville, was friendlier. Although they could not provide a suit of armour, they were more than happy to help and allowed us to film a promotional video on the premises. We were granted the privilege of two days free access to the Manor’s state rooms with their marble floors, crystal chandeliers and sweeping staircases. A short-lived lead was found when a nearby costume hire company claimed to have a full suit of armour available to hire for £50. Eventually it turned out that the ‘chain mail’ was knitted. Not very impressive looking, and couldn’t be mistaken for having a person hiding within when just hanging up. A dead end! It was at this stage that the amateur theatre’s best friend, eBay, was scoured. Reproduction helmets alone were starting to get pricey, let alone the full suit, so that too was out. The silver lining of this ongoing search was that it provided excellent PR opportunities. Always on the lookout for a way to get the current production into the paper, the Marketing team got in touch with the friendly local Chief Reporter. Spotting that there was a chance for a quirky article, the Grantham Journal newspaper obliged by printing a lovely story about our search for this unusual prop. This was when the search got really surprising. My manager, who I had been sitting next to every day while the search went on, suddenly piped up. “Is it your group in the paper, looking for some armour?” she remarked. “I do medieval re-enactment; I think I might know someone.” A few emails by my helpful manager put us in contact with Paul Spence of Lincolnshire’s own ‘Lord Burgh’s Retinue’. After all the searching, phone calls and emails, the answer to our problem was sitting within three feet. Mr Spence delivered his magnificent replica 15th century suit of armour direct to the theatre, for the King’s ransom of two tickets to the last performance and a mention in the programme. The armour graced the stage, proving a constant talking point, and made us realise that you never know what your colleagues do at the weekend. So, on to our next production: Hi-de-Hi, in May 2011. Finding a set of ten yellowcoats, well, that’s another story! Helen Pack Vice-Chairperson, Grantham Dramatic Society www.lordburghsretinue.co.uk www.granthamdramaticsociety.co.uk

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NODA EAST MIDLANDS REGIONAL DAY This will be our fifth East Midlands regional day; our third time at Loughborough Town Hall. We are hoping that you will support the day and we look forward to welcoming you at this splendid venue. The AGM will take place in the morning in the council chamber when you will have the opportunity of meeting our president, Gerry Branton. At 1.00pm there will be an informal lunch buffet in the ground floor restaurant, followed by the annual awards for 2010 and also the programmes and poster competition awards for the region. If your company has been nominated for an award please ensure there is somebody present from the company to receive it and mark on the booking form that you are there for that purpose so we can check we have a representative for each nomination.

Closing date for bookings: 24th April 2011 Please feel free to copy this and pass on to interested parties. The more people who attend the better.

PROGRAMME FOR THE DAY 11.00am Arrival - tea and coffee 11.30am Annual General Meeting in the Council Chamber. This year we are delighted to welcome the President of NODA Gerry Branton 1.00pm Theatre Bar will be open. Finger buffet lunch will be served in restaurant at the town hall. This must be pre-booked and paid for in advance. 2.30pm Presentation of Annual Awards with cabaret and Regional Competition Awards for programmes and poster.

THIS IS A TICKETED EVENT AND BOOKINGS MUST BE MADE PRIOR TO THE EVENT.

Carlton Operatic Society 90th Anniversary. Carlton Operatic Society celebrated their 90th Anniversary with a Civic Reception at Nottingham Council House on the 17th of February. Among the invited members and guests present were many long standing members including three ladies who had been with the Society for over 60 years, Eve Higton, Margaret Donnelly and Mary Thone and they were invited to make the initial cut of the celebration cake. Mary is the daughter of the founder members of the Society, Frank and Merle Ingram and so provided the link with the birth of the Society all those years ago. Carlton have performed musicals every year since they were formed except for a break during the second world war and even then they kept going with a concert party, performing over 300 concerts for service personal in Nottinghamshire and the surrounding counties. Over the 90 years they have only used three locations for their productions, starting in the Co-operative Hall in Netherfield, moving to the George St Theatre (now the Nottingham Arts Theatre) in 1952 and finally to the Nottingham Playhouse in 1986. Their recent successes have seen three NODA production awards notably with “The Producers” in 2009 winning both the District and the Councillor Award for the East Midland Area. We look forward to the centenary celebrations! Their next production will be “Crazy For You” in March.

Theatre Talk Good and bad news for Theatres in the area. The good news is that the Nottingham Arts Theatre now has a Studio Theatre alongside the main Theatre with the initial production “Shakers” having taken place in November 2010. This will be ideal for the smaller intimate productions and it will be quite flexible to set up. In addition the Duchess Theatre in Long Eaton is now going from strength to strength following the extensions which were basically completed in September 2010. Minor works are taking place to complete the alterations but already there have been many “House Full” signs in recent productions and the audiences are certainly taking to the facility. The bad news is that one of the results of the cut backs in Local Authority support has seen the Bonnington Theatre in Arnold threatened with closure as part of the leisure facilities which exist at that location. There are proposals to redevelop the leisure site but with no indications of a replacement Theatre. There is strong local support to retain a Theatre on the site but the outcome is certainly not promising.

SECRETARIES PLEASE NOTE From 1 February 2011 all fixture information will only be accepted via the NODA Headquarters website, with members completing the relevant form online themselves. The yellow form has been discontinued.

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NODA EAST MIDLANDS REGION LONG SERVICE AWARDS PRESENTED AUGUST 2010 to January 2011 Peter Beddall – Awards Secretary 34 Millfield Road, Kimberley, Nottingham NG16 2LJ Tel: 0115 9139490 Email: peter.beddall@nodaem.org.uk Beeston Musical Theatre Group

25 year Award 10 year badge

Mrs Ruth Maddison Mrs Naomi Cummins

Chesterfield Gilbert & Sullivan Society

35 year Silver bar 25 year Award 20 year badge 15 year badge 15 year badge 10 year badge 10 year badge

Mr David Stokes Mr Albert Thomas Mrs Sue Kinley Mr William Hoskin Mrs Philippa Lockwood Mr Keith Follows Mrs Melanie Gilbert

Chesterfield Operatic Society

40 year Silver bar 30 year Silver bar 20 year badge 20 year badge 20 year badge 10 year badge 10 year badge 10 year badge 10 year badge

Mrs Diane Sanderson Mrs Sylvia Jackson Mrs Carole Blair Mrs Jacqueline Day Mrs Dawn Melloy Miss Laura Clowes Mrs Barbara Crofts Mr Robert Newton Mr David Sallis

Derby Opera Company Erewash Musical Society

Gainsborough Amateur Operatic Society Long Eaton Operatic Society

40 year Silver bar 40 year Silver bar Diamond bar 30 year Silver bar 20 year badge 15 year badge 10 year badge 10 year badge 10 year badge

Mrs Linda Jennison Mr Ian Jennison Mrs Fay Kirk Mrs Carol Lawson Mrs Jane Maltby Mrs Heather Howe Mrs Joan Dockerill Mr Mark Haigh Mr Gary Lever

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Commendation Award Mrs Alice Pearson 55 year pin Mrs Jennifer Carty 50 year Gold Award Dr Anthony Newton 40 year Silver bar Mr Keith Butcher 40 year Silver bar Mrs Angela Walters 35 year Silver bar Mr John Fox 25 year Award & 30 year Silver bar Mr Steven Twigg 25 year Award Mrs Siobhan Parker 25 year Award Mrs Elizabeth Woolley 15 year badge Mr Robert Byatt 15 year badge Mrs Claire Collishaw

Northampton Amateur Operatic Company

35 & 40 year Silver bars Mrs Joy Eason 25 year Award & 30 year Mr John Eason Silver bar

Stamford Gilbert & Sullivan Society

30 year Silver bar 25 year Award 25 year Award 10 year badge 10 year badge

Mr Trevor French Mrs Liz Knight Mrs Rachel Parsisson Mr Allan Crowson Mr Ian Ferguson

The Watson Players

10 year badge

Mr Sean Beeston

Wolverton Gilbert & Sullivan Society

20 year badge 10 year badge

Mrs Karen Platt Mrs Ruth Martin

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SHOW REPORTS EAST MIDLANDS District 1 South Derbyshire Centre Stage Theatre Arts

Jack and the Beanstalk Reviewed by: Keith Scott-Savage on Thursday 16 December 2010  Robert Ludlam Theatre, Derby  Producer/Director: James Rayner & John Hale  This is Centre Stage`s first venture into the world of pantomime, and on this performance it has paid off handsomely, and should certainly be considered for future productions. Great credit must go to all the production officials of C S T A involved in presenting three entirely different casts for this show. Schools at Littleover, Chellaston and Ripley performing their individual presentations over five performances. The Littleover Group gave us a very good performance, with the whole cast enthusiastically giving of their all. The hero and heroine, Jack (Emily Cant) and the Princess (Emma Goodwin) led the way, and the baddies Piccalilli (Hayley Clark) and Rancid (Jack Eklid) handled the villainy aspect with aplomb. Good support from Alfie Lowe as Dame Dotty, and a very impressive Sam Pickering as Simon. I liked Buttermilk the Cow, not a foot, or maybe hoof, out of place, with Emily Bramley and Brogan Cain inside. The whole cast of eighty, ranging from six to teenagers, deserve great praise for their performances. Good scenery with bright costumes, and a swinging band made for a good evening, my only gripe was on many front curtain cues the cast could be seen, such a problem will probably be overcome as the show progresses. Kaleidoscope Players

Dick Whittington Reviewed by: Keith Scott-Savage on Thursday 2 December 2010  The Guildhall Theatre, Derby  Producer/Director: Tina Webster  Musical Director: James Rayner  Choreographer: Josephine Walker & Lisa Beetison The first pantomime of the local season, and this one was really worth it. With good direction and delightful choreography, it couldn`t fail to impress. The innovative sequence of the underwater dance was very effective and well done. Phil Stanley was an enticing King Rat, and the audience needed little encouragement to vent their `Hiss and Boo Quota`. Toby Bradford threw himself into the part of Idle Jack, partnered well by Barry Smith as Sarah the Cook. Dick (Amy Bradford) and Alice (Catherine Long) also played their parts well, supported by an enthusiastic young chorus. My stars were the Junior Rats, who got deserved `Ahs` on each appearance. A good band, who didn`t drown out the chorus, and a colourful set. The costumes were excellent as usual. Kaleidoscope once again produced a show that would make anyone `Turn Again` to see it. The Marlowe Players

A Gown For His Mistress Reviewed by: Keith Scott-Savage on Tuesday 2 November 2010  Darley Abbey Village Hall, Derby  Producer/Director: Martin Illston  With five different entrances, on a very cramped performing space this was a very creditable production of this farce. The first act was slightly hesitant and lacked pace, but acts two and three really picked up the tempo, and the audience appreciation was apparent with good responses to the very funny `laughter lines`. Excellent

Pinoccio - Watson Players performances from Mike Aspry as Moulineaux, and John Freeman as Bassinet carried the play, with a good rapport throughout. Solid support from Lucy Wells, Suzi Illston, Jak Carr and Mark Pardner, and Janet Townes as a very haughty Mlle Pompinette enhanced the mood. As usual with The Marlowes, a super set with excellent costumes, all adding to an entertaining performance of this farce. The first time it has been performed in the Derby area. The Watson Players

Pinoccio Reviewed by: Keith Scott-Savage on Monday 17 January 2011  The Guildhall Theatre, Derby  Producer/Director: Angela Baird-Swift  Musical Director: Lynne Dickinson  Choreographer: Sharon Harding Good to see a panto with the theme Pinocchio, not often seen on the amateur scene. Written, directed and performed by an excellent company. This was a very good panto. A top rate Dame (Wayne Perry), led the way with the audience lapping up her antics. Along with Foxy Lady (Regina Repton) and Thelma Cat (Yvonne Baird), the highlight for me was the hilarious interpretation of The Twelve Days of Christmas, Superb mayhem. Classy performances from Jiminy Cricket (Liz Woolley), Beautiful Fairy (Patricia Church) and Pinocchio (Angela Barradell) kept the show moving at a good pace throughout. Graham Swift as Geppetto, Shaun Banks as Lugino, and Emily Johnston as Serena gave sound support. An enthusiastic chorus enhanced the show. A very good scene in Beneath the Waves, lovely clever effects, good scenery and costumes, with a bouncy band. A first class evenings` entertainment. A slight moan about the length of the first half, but that`s all. Thank you Watson`s, good luck with your proposed move to Derby Theatre in June.

District 2 North Derbyshire Bolsover Drama Group

Sleeping Beauty Reviewed by: Joyce Handbury on Tuesday 25 January 2011  Moorfield Hall Theatre, The Bolsover School, Bolsover  Producer/Director: Mick Whitehouse & Wendy Blunt  Musical Director: Chris Davis  Choreographer: Leanne Whitehouse This has been a period of uncertainty for the group because the school where they perform has undergone great change and a new school performance area has been built. They didn’t know whether or not it would be ready in time for this production and alternative venues had to be considered. Fortunately it was, but the venue has brought many problems for them one being that it is a flat performance area ie no stage which they had

been used to. There is limited space for dressing rooms and storage so after each performance the sets, props etc. had to be removed as the school was still in use. However, they coped extremely well and whilst the sets, by necessity, had to be simple they were effective and some of the props quite inventive, I particularly liked the way the thrones were converted into a bed for Princess Rose. An essential for any pantomime is a good script and this was just that. With that in place, you then need to have a cast that can deliver it and bring it alive and this they had too. All the main principals were very good in their respective roles. Ray Hall as King Cactus and Donna Knowles as Queen Marigold were suitably regal and Ella Clark looked every inch the young Princess Rose with Chris Peck as the ‘awakening’ suitor Prince Alexis. Wendy Blunt was delightful as Good Fairy Lilac and had four lovely Rainbow Fairies as her helpers. The opposition, Bad Witch Hazel, was in the very capable hands of Dawn Shearwood who had four evil little witches as her attendants. Paul Holland and Michelle Simpson were perfect as the Palace Heralds, Fetch and Carrie, and their rendition of the ‘localised’ postal delivery of invitations was really funny. Dale Shaw was outstanding as Nurse Dottie Dettol involving the audience to great effect and Nicky Constable gave a simply brilliant performance as Muddles. The principals were ably supported by a fine chorus playing villagers, courtiers, school children and wedding guests and good choreography and singing provided some well executed chorus numbers. The specialised dance routines, particularly the one with ‘ten cats’ were splendid. There were a few small hiccups but some just added to the fun. Despite what must have seemed like unsurmountable drawbacks they came through with flying colours. Well done! Chesterfield Operatic Society

Songs from the Shows Reviewed by: Joyce Handbury - November 2010  Venue: The Pomegranate Theatre, Chesterfield    Musical Director: Jonathan Francis  Choreographer: Julia Metcalf & Paula Wilson There are so many societies that perform concerttype shows entitled ‘Songs from the Shows’ that you can become rather blasé about seeing yet another one. However, this was certainly not the case with this production by Chesterfield Operatic Society.  They had a splendid full orchestra led by Jonathan Francis who had not only written voice parts but had produced many of the orchestral arrangements. The superb singing of the chorus and the outstanding individual performances by the principal singers including Doug Melloy, Ian Jones, Karl Brennan, Robert Spencer, Sarah Morrell, Pauline Hindle, Roseanna Sanderson, Julie Metcalfe and Holly Sumpton were all of such a high standard that every sequence of songs was magnificent.  The stylish settings, the imaginative choreography especially that performed to perfection by the principal dancers - Laura Clowes, Alison Doram, Julie Metcalfe, Roseanna Sanderson and Paula Wilson and the absolutely stunning costumes, especially the fabulous evening gowns, further enhanced the whole show.  The Youth Company played a big part in many of the numbers and their ‘special spot’ was excellent. The lighting plot was extremely creative adding great atmosphere to many of the numbers. The hard work that must have gone into this show by everyone involved was evident throughout and none more so than in the penultimate medley from Mamma Mia which was terrific.  So I say “Thank YOU for the music, The songs YOU sang, and Thanks for all the joy YOU brought” not only to me but to everyone who came to see the show it was truly fabulous!

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Four Blokes

Our Country’s Good Reviewed by: Joyce Handbury - November 2010  The Guildhall Theatre, Derby  Producer/Director: Barry Taylor  This is a powerful piece of drama telling the story of the problems facing both the convicts and the officers in the first Australian penal colony established in 1788. The Governor is trying to bring a semblance of civilisation to the colony by suggesting that the convicts perform a play under the direction of Ralph Clark one of his junior officers. The play relies totally on characterisation and is written so that most of the parts are doubled up and such is the acting strength of the performers in this company that in many cases I didn’t even realise this not knowing the play and not perusing the programme beforehand!!  The play is very bitty with eleven scenes in each of the two acts but this never interfered with the flow of the piece and the ‘title’ of each scene was shown on a side-easel, cards being moved by actors either coming on or going off the stage. Every single actor that appeared on the stage played their characters to perfection and can feel proud of their part in making the whole production so moving and thought provoking, bringing out the inhumanity of this penal system, the brutality of man against man and the unprejudiced nature of love. Some performances that really impressed me were displayed by Mik Horvath who was convincing as Lt. Ralph Clark, Toby Bradford gave a powerful performance as Harry Brewer, Richard Stevenson was excellent as Ketch Freeman, Phil Stanley showed his versatility in the three roles he played and Sandy Lane was formidable as the fiery Liz Morden. An effective set with good use being made of ‘wooden blocks’ (although they were rather new-looking), appropriate music and excellent costumes and make-up together with exceptional acting made this a remarkable production. Congratulations to Barry Taylor and all involved.

District 3 Nottinghamshire Blyth Players

Robinson Crusoe Reviewed by: Phil Williams on Monday 7 February 2011  Barnby Memorial Hall, Blyth  Producer/Director: Sharon Hughes & Jeanette Adams  Choreographer: Jeanette Adams This NODA script certainly provided a change from the pantomimes stories that do tend to get performed on a more frequent basis. The Directors made good use of the limited space available, blending stage movement with dance and also achieving efficient movement on and off stage, particularly difficult with the large cast involved. On stage there was a fine performance from Lucy Greaves (Robinson Crusoe) working well with Rosie Bramall (Josephine), a good principle boy and girl team. The comedy side was well presented by Malcolm Pike (Dame) and Richard Fletcher (Billy) who certainly kept the kept the audience happy throughout. There was strong support from the rest of the cast, especially Michael Pearce (Captain), Tracey Priest (Juanita) and George Earle (Josiah). The dancers provided a particularly lovely opening to act 2, well danced and well choreographed. The sets were simple but effective with some nice detail touches. Costumes and lighting all helped to enhance the visual effect. It was certainly traditional pantomime, but it was all the better to see one of the rarer performed stories and the audience certainly seemed to appreciate it.

Choreographer: Laurie Trott Drama and music at its best. This splendid production had excellence in all departments. This started with Nigel who certainly achieved the atmosphere of the piece, establishing the many different characters from principal to chorus member and always used interesting and changing settings. The music provided no problems for James with stage and pit responding to the challenge with skill and no mean musical ability. The story demands strong character portrayal and we certainly had that, led by Mark Birch with a very powerful performance as Jekyll/Hyde both vocally and dramatically. Netty Leek (Lucy) and Tracey Renshaw (Emma) established their contrasting relationships with Jekyll very well with excellent all round performances. All the supporting roles were well cast with fine individual performances. The chorus certainly played their part very well, again vocally and dramatically. The super choreography blended well with the action on stage, with excellent dancing especially from the Red Rat Girls. The simple but effective set was well used and met all requirements while the imaginative lighting certainly added to the atmosphere. Costumes were very good including the attention to detail. Back stage work was smooth with minimum disruption to the flow, and the props were excellent. Overall, it was a lesson in stage discipline and excellent preparation together with great teamwork. Nottingham Arts Theatre

Under Milk Wood Reviewed by: Phil Williams on Tuesday 11 January 2011  Nottingham Arts Theatre, Nottingham  Producer/Director: Paul Jennings  This production utilized the recently opened Studio Theatre in the Arts Theatre and the intimate setting certainly helped draw the audience into the action, we could well have been on a street in Llareggub. Not a lot of space and there was very limited access especially considering the large cast involved, but Paul handled the situation with imagination. keeping the action flowing. Paul also took on the role of narrator jointly with Eve Gurd, both linking the story line very well with the action on stage. With so many characters to portray there are many opportunities for the cast to demonstrate their skills yet so little time to establish characters. However, this cast was successful in both areas with many excellent cameo performances leaving us in no doubt as to the character portrayed. Typical amongst these were Cassandra Stone and Shirley Ellis playing a variety of ladies, Tony Breeze playing a variety of men and Colin Treliving as Rev. Eli Jenkins. A simple but effective setting, good lighting and basic costumes provided all the background required and the Welsh music provided before each act set the atmosphere beautifully. Well worth seeing, a vey enjoyable evening.

Nottingham Arts Theatre

Shakers Re-Stirred Reviewed by: Phil Williams on Tuesday 16 November 2010  Nottingham Arts Theatre (Studio), Nottingham  Producer/Director: David Price  Set in a trendy cocktail bar in 1991 this comedy reflects on the lives of four waitresses together with a cross section of their customers. David adapted well to the constraints of the Studio space with a set that conveyed the atmosphere of such a bar. He made good use of the space to convey the story lines and maintain the flow of the action through all the many short scenes. There were excellent performances from the cast of four, Rachel Williams (Adele), Amy Patterson (Carol), Hayley Jackson (Mel) and Theresa Pollard (Nicky). Apart from demonstrating their very individual waitress characters, they also gave super portrayals of checkout girls out to celebrate and a group of lads on a night out, not to mention various other characters along the way. Accents changed with the character, but there was good diction throughout. Suitable costumes and props together with good lighting all enhanced the visual effect. It was certainly very entertaining and very well performed, in fact a great night out enjoyed by cast and audience, not to mention the lads! Nottingham Arts Theatre

Dick Whittington Reviewed by: Phil Williams on Saturday 4 December 2010  Nottingham Arts Theatre, Nottingham  Producer/Director: Rob Goll  Musical Director: Graham Anderson  Choreographer: Barry Langford A traditional Peter Denyer panto is usually a good start to the Christmas season and this one certainly was. It was well produced making good use of all the facilities available at the Arts Theatre, together with excellent costumes and fine props. Plenty of popular songs nicely handled particularly the “Les Mis” finale to Act one, very ambitious but a splendid achievement.  Jessica Nicklin and Beth Hickling as Dick and Alice were very good

Erewash Musical Society

Jekyll and Hyde Reviewed by: Phil Williams on Friday 25 February 2011  Duchess Theatre, Long Eaton  Producer/Director: Nigel Taylor  Musical Director: James Rayner

Nottingham Arts Theatre - Under Milk Wood

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helped, but the enthusiasm of the cast carried it and the audience certainly enjoyed the evening. Worksop Light Operatic Society

Cinderella Reviewed by: Phil Williams on Tuesday 11 January 2011  Worksop Regal, Worksop  Producer/Director: Joanne Lassmans  Musical Director: Paul O’Leary  Choreographer: Kristi Chambers

as individuals and as a team, with lovely singing from both. Just a pity we didn’t see traditional Principal Boy boots with heels! John Uttley and David McCormac gave strong (very contrasting) performances as Sarah and King Rat making the most of comedy and drama, while Idle Jack was well played by Michael Pearson. Loved the underwater fish scene and “Bollywood-style” song and dance scene (especially the fine singing from Chelsea Shepherd). Good dancing from Senior and Junior dances with a number of lovely individual performances. There were a few problems on the technical side particularly with lighting but also excessive sound at times, not least the balance in the “Les Mis” finale. Overall, good family entertainment - result a very happy audience. Nottingham Arts Theatre Youth Group

Rent School Edition Reviewed by: Phil Williams on Tuesday 8 February 2011  Nottingham Arts Theatre, Nottingham  Producer/Director: Maggie Andrew  Musical Director: Alice Bentham  Choreographer: Alice Bentham It may be the school edition but this was a full blooded stage performance which I am sure would stand up against any edition. Excellent direction from Maggie who as ever seems to inspire her young cast to achieve such high performance standards. There are some difficult musical numbers to sing but Alice had certainly prepared the cast well, achieving very good results not least with some particularly good chorus singing. A strong cast showed good character development and worked well together with very good performances from all, these being - Sam Barson and Georgie Levers as Roger and Mimi, Gizmo Andrew as Mark, Candice Curnow-Newland as Joanne, Amy Pickance as Maureen, Will Rogers as Collins, Paice Lees as Benny and last but certainly not least a memorable performance by Lewis Barlow as Angel –see him on heels! The dancing was nicely performed and well choreographed. A fine set met all the requirements as did wardrobe and props. Some technical problems, particularly with the sound mikes, which was a pity but the cast never hesitated or let it affect them – well done. A great performance showing that there is a lot of talent emerging to ensure the future of our theatres. Nottingham Operatic Society

Disney’s Beauty and the Beast Reviewed by: Phil Williams on Tuesday 9 November 2010  Theatre Royal, Nottingham  Producer/Director: Denise Palin  Musical Director: Stephen Williams  Choreographer: Denise Palin

This was the Disney version and it certainly got the Disney treatment, a truly magical performance from all concerned. With Denise at the helm direction and choreography blended together superbly, producing ever changing pictures which looked effortless. She made full use of the cast abilities and the production was certainly well rehearsed. Likewise Stephen blended the very capable cast and band to provide fine music with good interpretation, capturing the many different moods of the piece, again well rehearsed. No lack of talent on stage with a very strong cast on display. Emma Shute gave a lovely performance as Belle, vocally and dramatically, while Tom Beynon was a dramatic commanding Beast initially, with a well played character change. Dan Armstrong was a splendid “baddy” as Gaston, not least to Graeme Crawford as the very effective fall guy Le Fou, who must have bruises to prove it! Great performances from all the other many contrasting characters, all deserve commendation. The ensemble gave good vocal support and provided many super dance routines. An excellent set and super costumes certainly helped together with good props, fine lighting and efficient stage management. A splendid show, great entertainment, well prepared and well performed. Nottingham West Music & Drama Society

Jack and the Beanstalk Reviewed by: Phil Williams on Tuesday 22 February 2011  Kimberley School, Nottingham  Producer/Director: Rosie Lishman  Musical Director: Lisa Downie  Choreographer: Rosie Lishman To direct and choreograph so well would be work enough for most people but Rosie went a step further and provided a very good traditional rhyming script with some new ideas in character and storyline as well. Take a bow Rosie, you certainly deserve it. There were plenty of modern songs all performed well and enthusiastically by the company and the band, including talented soloists and good backing groups. On stage there was a super performance from Amy Lishman as Jack, a principle boy in every sense, while Kelly Wakefield partnered her well as Marissa the principle girl. Plenty of comedy characters all very well played and interacting with the audience throughout. Steve Clarke made a good Dame supported well by Martin Belcher as her other son Billy, and there was also good comedy teamwork from Haydn Taylor, Adrian Ravenscroft and Tom Bailey as the Baron and his henchmen. I loved the two Fairy characters, Emma Heydon and Gillian Williams, a different take which was very effective. Plenty of good choreography and dancing, with the talented Society dancers backed by the whole company at times. Good costumes, set and lighting all

There were a few variations from the traditional version of Cinderella in this version by Society member David Taylor. This could have added to the daunting task of directing your first full scale production, but it certainly didn’t show – well done Joanne. There was a nice varied selection of music which fitted the story, was well handled and was very well performed by the band and cast. For pantomime you do need a good principal girl and boy and this production certainly had those, with a superb Cinderella, Kristi Chambers and a very assured Prince Charming, Kirsty Hayes - professional performances! Leading the comedy we were in the capable hands of David Egan (Zippers) and the two ugly sisters, David Taylor and Lloyd Hawkins, who interacted with the audience very effectively. There was strong support from the rest of the cast, including the junior members who more than held their own. There were many lovely dance routines from the Society Dancers and the Donna Pressley Dancers, all beautifully choreographed. Good costumes, effective sets and lighting all helped convey the story. The show was overlong but with so much talent and good material it would be difficult to choose cuts. Otherwise excellent entertainment enjoyed by all.

District 4 North Lincolnshire ACTion@Tott Community Theatre

Treasure Island, The Panto Reviewed by: Anne Key-Huckerby on Monday 17 January 2011  The Terry O’Toole Theatre, North Hykeham  Producer/Director: Al Duncombe  Musical Director: Heather Benson  Choreographer: Amy Dalton Written by Peta Duncombe, this was the first pantomime staged by the group which formed in early 2010. For many of the cast this was their first time on stage and a rattling good job was made of it. Emily-Grace JenkinsonBailey (Jim Hawkins) and Amy Proctor as Tilly Trelawny sang well with their voices blending nicely. Moira Barnes-Jones was suitably macabre as Davy Jones while Gina Johnson-Hirt was convincing as Britannia. I liked Jack Stone’s performance as Jolly Roger and Tony Fielding- Raby was irrepressible as the Dame wearing a succession of truly outlandish outfits. The ‘strip’ routine was memorable. Tony Graves (Long John Silver) and Jenny Reeves as Roaring Meg were an interesting twosome with plenty of support from an assortment of scurvy pirates, various seafarers and so forth. The costumes were superb; a real credit to those responsible for them. The set too, with a good lighting plot, was well made with efficient scene-changes from the stage crew throughout. The ‘Bilge Rats’ Panto Band was an integral part of this pantomime. Congratulations to all concerned. It was most entertaining.

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ACTion@Tott Community Theatre

Horncastle Theatre Company

Oleana

Little Miss Muffet, The Pantomime

Reviewed by: Anne Key-Huckerby on Thursday 18 November 2010  Terry O’Toole Theatre, North Hykeham  Producer/Director: Keith Elms

Reviewed by: Anne Key-Huckerby on Wednesday 26 January 2011  Lion Theatre, Horncastle  Producer/Director: Chris Byrne & Wendy Ireland  Musical Director: Chris Hinkins  Choreographer: Nancy Byrne

This powerful play by David Mamet deals with status and sexual politics before culminating in truly dramatic fashion. A two-hander, it featured Simon Harvey as John, a University Professor and one of his students, Carol, played by Emma Taylor. Over the space of about a fortnight the nature of each character alters radically with devastating results. The set, of John’s study at University, was simple but effective. The lighting and sound effects were very pleasing. During one short interval there was a brief visual history of Women’s Suffrage leading to the emergence of Women’s Lib. This was very relevant to the plot. The Props Team worked most efficiently between the Acts. Both the players in this remarkable drama played their parts exceptionally well. This is the first production this new group has staged since being formed last January. An overfull diary meant I saw their Dress Rehearsal. I am confident the audiences will be most appreciative of this thought-provoking play. I look forward to seeing further productions.

Written by Horncastle Theatre Company member, David Ireland, this was a refreshing change. It featured Patience Muffet, daughter of Dr Thomas Muffet; her boyfriend, Peter, and his widowed mother. There was also a wicked stepmother who just happened to be an evil spider; a couple of stepsisters and a henchman who was not very nice. We also met an assortment of village characters and a goodly array of dancers from a cute six year old to delightful teenagers. I liked the choice of musical numbers and really enjoyed the dance routines. All the main characters played their parts really well and the chorus participation was really creditable. I make a special mention of Dominic Hinkins who took over the role of Dr Muffet at very short notice when Chris Liversidge became ill. He performed faultlessly the evening I saw the show. A most entertaining evening. Lindsey Rural Players

Generally G&S

The Yeoman of the Guard Reviewed by: Anne Key-Huckerby on Tuesday 19 October 2010  Majestic Theatre, Retford  Producer/Director: Martin Yates  Musical Director: Martin Yates  An over full diary meant I had to attend the Dress Rehearsal. The set was robustly constructed and painted with steps to vary the height in places. Behind this was a cloth depicting old-style London. The lighting and special effects were fine and the costumes were great. Martin’s orchestra was a delight to hear. All the principal characters were played extremely well. Young Matthew Siveton’s portrayal of Jack Point had all the fun, jollity and pathos this role demands. He moves extremely well. Matthew Cheetham’s singing as Wilfred Shadbolt was strong and confident. The chorus’s participation was very pleasing, too. Frankly, all this group needed was an enthusiastic audience. I am confident this show will be very well received. Horncastle Theatre Company

A Man For All Seasons Reviewed by: Anne Key-Huckerby on Wednesday 24 November 2010  The Lion Theatre, Horncastle  Producer/Director: Wendy Ireland  There were a few prompts, but then, this is a very ‘wordy’ play. In the totally demanding role of Thomas More, Chris Hinkins played a blinder. His portrayal was virtually faultless; it certainly was mesmeric. Vicki Head was memorable as his wife, Alice. Two young chaps (Will Hunter and Will Kinnon) were notable as the devious Richard Rich and William Roper respectively. Chris Liversidge was rustically phlegmatic in his many guises as the Common Man.  The rest of the cast played their parts quite well, but there were times when valuable lines were lost through poor diction or dropping the voice over much. The set design was masterly, being robustly constructed and giving varying heights to add further interest. The lighting was excellent. All in all this production was worthy of the enthusiastic applause it received.

Mother Goose Reviewed by: Anne Key-Huckerby on Thursday 3 February 2011  Broadbent Theatre, Wickenby  Producer/Director: Abigail Wright  Choreographer: Nathan Rounce Written by LRP member, Jan Allen, this was a delightful tale that had all the important facets of traditional pantomime. The costumes were colourful and attractive and the set was very pleasing. Well done to those responsible for these and for the props and the lighting. I did, however, find the sound levels of the music overloud at times. Abigail Wright was very energetic as the Dame and Samantha Talbot played her son, the Principal Boy (Donald) with great aplomb. The other half of the love duo was Hetty (Jodie Smart) the daughter of the dastardly Baron Holdfast. We met three adorable geese named Priscilla, Penelope and Prudence and an equally friendly cow named Esmeralda as well as several villagers and the urbane Coppit Malone. Important to the plot was a travelling musician named Jack (Marcus Holland) and essential comedy was provided by Amy Freeman and Holly McHugh as Smurf and Turf. It was all most exciting with plenty of audience participation and I congratulate all concerned. Louth Playgoers

Clerical Errors Reviewed by: Anne Key-Huckerby on Monday 8 November 2010  Riverhead Theatre, Louth  Producer/Director: Di Flower  As a lifelong Methodist, this was a particularly interesting comedy since it was set in a disused Methodist Chapel. Avoiding eviction from their tied cottage, young Julie Briggs, her Gran and teenage brother Pete sought refuge in the building only to be discovered there by the Minister, his mother and his fiancee. We also encountered Theodore Brown (a chapel steward) and a social worker named Miss Pearson during the play. The social differences between the Rev. James Martin and the Briggs trio were enormous and the ensuing incidents were most amusing. All the characters played their respective roles very well. Sian Webber-Jones was excellent as Julie; her ‘sermon’ from the pulpit was incredibly forthright. Sue Soper’s portrayal of Gran Briggs was priceless and young Morgan Vickers was impressive as the stroppy teenager, Pete while Andy de Renzi played the all-important role of James Martin in pleasantly understated manner.  The lighting was good, the hymns

that accompanied the scene-changes were suitable and the set was good. This was a gently amusing comedy which gave cause for quiet reflection on human frailties. Very well done. Louth Playgoers

Jack and the Beanstalk Reviewed by: Anne Key-Huckerby on Friday 14 January 2011  The Riverhead Theatre, Louth  Producer/Director: Maureen Lill & Shirley Wood  Musical Director: John Hall  Choreographer: Nicky Wright Written by Maureen Lill, this panto told the familiar story well and had all the essential facets for a memorable show. The set was ingeniously devised for ease of scenechanges and giving maximum impact with exciting lighting. The revelation of the ghostly trees was quite magical. Congratulations to the team responsible for the costumes, which were superb. The four-piece band accompanied extremely well. Laura Burns (Jack) and Ceri (Royston-German) both possess pleasant singing voices. Mark Hurst was suitably evil as the Giant’s henchman and Sue Soper’s Fairy Nuff was incredible. Jamie Smith clearly relished his role as the Dame and Adam Barter was most endearing as Simon. Naturally Daisy the Cow was a real star. All the rest of the cast played their parts admirably. Attractive, varied and exciting routines were performed by Studio 2000 Dancers, too. Congratulations on a highly entertaining production. Penfold Players

Peter Pan Reviewed by: Anne Key-Huckerby on Wednesday 12 January 2011  Washingborough Community Hall, Washingborough  Producer/Director: Chris Hayes  Musical Director: Maggie Ashley  Choreographer: George Holliday This group makes all the scenery and costumes for their shows, and once again, their standards remained very high. The make-up, too, was excellent and so was the lighting but there were occasions when the gremlins attacked the sound. The four-piece band accompanied really well and included some original numbers courtesy of the M.D and Marc Hayes. In all, about thirty members took part in this show. In addition to the main characters there were five Lost Boys, nearly a dozen Redskins and a gang of five dastardly pirates and all of these gave excellent support. Christina Banks, Liam Kidd and Amy Turner (Wendy, John and Michael), together with Graham Penn (Capt. Hook) Chris Hayes as Chief Crazy Horse and Kerrie Hoenes (Peter Pan) all played their parts well. Naomi Matheson was a very appealing Tiger Lily and sang very nicely. The musical numbers were well chosen and I really enjoyed the Lost Boys’ Rap and the ‘Crazy Horse’ song. This was a very entertaining production. Retford Little Theatre

Habeas Corpus Reviewed by: Anne Key-Huckerby on Friday 19 November 2010  Retford Little Theatre, Retford  Producer/Director: Simon Cox  This Alan Bennett farce requires plenty of space on stage and ease of access too. A row of brightly painted seaside chalets provided the perfect background for the ensuing action. Any farce needs to be fast moving. This certainly was with each ludicrous situation rapidly following on from one to another. The audience revelled in it all.  In the pivotal role of Dr Wicksteed, Frank Stamp was truly excellent. So, too, was Liz Wood as the voluble daily help, Mrs Swabb. Young Matthew Siveter was memorable as the Dr’s hypochondriac son, Dennis, and Nick Clayton’s portrayal of Canon Throbbing was masterly. All the rest of the cast played their parts extremely well. Co-operation

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between them was of paramount importance and this was very evident in their confidence in each other. It was obvious,too, that the play had been very well rehearsed. All the technical aspects were in capable hands. The props and costumes were fine. This was hilariously entertaining.

clearly and I found the underscored music rather too loud at times. The dance routines, which were well-rehearsed, were interestingly varied and attractive. To sum up: this was a highly entertaining production and it was good to see so many young children in the audience. Well done. Waddington Dramatic Society

Retford Little Theatre

Robinson Crusoe

Uncle Vanya Reviewed by: Anne Key-Huckerby on Friday 28 January 2011  Retford Little Theatre, Retford  Producer/Director: Mike Nixon  A quote in the program states ‘ Chekhov’s art demands a theatre of mood’. Michael Frayn’s translation of this classic is most interesting and provided the audience with plenty of variations in disposition. The director chose to stage it in the round and this ruse worked pretty well on the whole. Just occasionally I found it difficult to hear one character’s lines. The sound effects were good, the lighting was fine and the props were excellent. A bouquet to the stage crew on their scene changing, which was quietly efficient. The cast was more than up to the challenges posed by this worthy play. Robert Warburton was excellent as the conservation-conscious Dr Astrov, Stephen Walker was equally good in the title role and Sabrina Fawcett delivered her lines as Sonya, Vanya’s niece, with quiet conviction. This was excellent theatre.

Reviewed by: Anne Key-Huckerby on Saturday 29 January 2011  Waddington Village Hall, Waddington  Producer/Director: Margery Thompson  Musical Director: Helen Wiles  Choreographer: Rachel France Jim Sperincke’s script is witty and entertaining and the various characters used their lines extremely well to tell the tale. The story involved a number of pirates with Phil Darling playing their leader. His sidekick was the clueless Mr Mate played by Fay Rogers. Hilary Wells was Robinson Crusoe’s erstwhile mother and Maddy Harty was a delightful Rosie. In the title role we had Helen Wiles and Ian Burrows was quietly comical as Cedric. I liked the choice of musical numbers andfound the quartet’s rendition of We’ll Stick Together very pleasing. The rest of the main characters were nicely defined and the chorus gave excellent support vocally and in movement. Adults outnumbered the children, but the audience participation was rousing and noisy. The technical aspects were well cared for and both the set and the costumes were great. Well done!

Saxilby Drama Circle

A Murder is Announced Reviewed by: Anne Key-Huckeerby on Friday 19 November 2010  Saxilby Community Hall, Saxilby  Producer/Director: Mark Stoneham  The set for this Agatha Christie ‘whodunnit’ was most impressive in construction, design and decoration. The costumes were extremely good with notable attention to details and the props were eminently suitable. On the whole, both the lighting and sound effects were good but there were a few ‘gremlins’ afoot, too. All the members of the cast played their parts well. Susan Thorpe’s portrayal of the nervy Miss Bunner was excellent with Pam Burnett as Miss Marple and Alyson Mellor (Mitzi) being equally notable along with Chris Siddall as Letitia Blacklock. Bob Anscombe was strong as Inspector Craddock and David Makepeace made the most of his terse lines as the police sergeant.  The Director moved his cast smoothly about the set and ensured all the clues were mentioned clearly. Occasionally the pace slowed somewhat, but the mystery gradually deepened until the final denouement arrived. This was an exciting production.

Wharfingers Youth Theatre

Wyrd Sisters Reviewed by: Peter Breach on Wednesday 23 February 2011  Riverhead Theatre, Louth Producer/Director: Carole Ashcroft & Helen Appleton  Wyrd Sisters is a parody of Shakespeare’s play ‘Macbeth’; it contains much humour and also some great truths. The more one studies the script the more one learns just how much there is in this play, particularly in relation to the skilful use of words, the stock-in-trade of the playwright. This performance admirably demonstrated how much understanding these young players have acquired from their involvement. Attention to detail in the direction resulted in a very accurate interpretation of the storyline and excellent characterisation from the principals, whose clear diction and projection was commendable. Particularly noteworthy were the performances of the witches, Granny Weatherwax (Kathryn Norton), Nanny Ogg (Heidi Wilson) and Magrat Garlick (Joely Mackenzie). There was also fine acting from Verence (Sam Pelham), Leonal Felmet (Michael Wentworth-Sheilds), Lady Felmet

(Alice Murray) the Fool (James Burgess), Vitoller (Morgan Vickers), Tomjon (Ollie Ewin), Hwel (Sam Tulley); those in supporting roles also gave convincing performances. The costumes were most appropriate and well fitting. The simple set was supplemented by really good props and the clever use of lighting, sound and pyrotechnics greatly enhanced the production. Congratulations to all who were involved in the staging of this play – it was most entertaining.

District 5 South Lincolnshire Boston Childrens Theatre

a) Peggy the Pint Size Pirate. b) Megan and the Golden Key Reviewed by: Peter Breach on Friday 28 January 2011  Blackfriars Theatre, Boston  Producer/Director: a) Clare White b) Frances Sabey  These two delightful one-act plays, specially written for children, provided ideal opportunities for members of this group to demonstrate their acting skills.  ‘Peggy the pint-sized pirate’ was enacted by the 8 – 11 years old members of the group and tells a story about the activities of a gang of pirates. Peggy wants desperately to become a member of the crew but is frequently turned down because of her size. Eventually, through her bravery, she shows that you can make a big difference in the world even though you are small. I was most impressed by efforts of these young actors to get into character. Good use was made of the stage space by all the players and despite some of them having little voices they all made valiant efforts to project and their diction was clear. Kitty Hooper, who played Peggy, deserves special mention for the way she coped with her lines. Well done all! ‘Megan and the golden key’ involved players from this group aged 12 to 16 years. In this comedy play the world is kept turning by an ancient computer powered by clockwork and unfortunately the key has gone missing. A disparate group of characters have to try and find this key before the motor runs down and the world ends. There was much enthusiasm from the players who were attired in a variety of interesting costumes. Sound and lighting were used to good effect, particularly the voice-over announcing the time left to locate the key and save the world, which added to the air of tension and suspense. This was a very good team effort with a commendable performance by Izzy Wilkinson as the cleaner, Mrs Dobbins. Congratulations to all concerned in delivering this entertainment. Keep up the good work.

Skegness Theatre Arts Group Entertainers

Disney’s Beauty and the Beast Reviewed by: Anne Key-Huckerby on Thursday 4 November 2010  The Embassy Centre, Skegness  Producer/Director: David Marcus  Musical Director: Amanda Rivers  Choreographer: Keshia Wilson The costumes for this production were quite stunning. The set was excellent with very efficient scene-changes by the stage crew, but occasionally I felt the lighting could have been more positive. Clare Allen (Belle) sang and moved extremely well. Sam Johnson played his role as the Beast very well and I liked Doug Smith’s attitude as the dastardly Gaston with Kim Sands as the much maligned Lefou. The six characters who had been turned into household objects all played their parts extremely well with a special word for Carl Lawrence who took on the role of the Candelabrum at short notice....and played it admirably. The singing by chorus and principals alike was very pleasing and Amanda’s orchestra accompanied well. However, it’s important that dialogue be heard

Boston Playgoers - ‘Allo ‘Allo

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and quietly; there were a couple of minor glitches with the sound and lighting but these did not seriously detract from the activity on stage. A very good performance that was exceedingly well received by an enthusiastic audience, and for which the Society deserves much credit. Boston Playgoers

Wuthering Heights Reviewed by: Peter Breach on Wednesday 10 November 2010  Blackfriars Theatre & Arts Centre, Boston  Producer/Director: Kate Eglinton & Liz Worsley

Wharfingers Youth Theatre - Wyrd Sisters Boston Operatic Society

Pickwick Reviewed by: Peter Breach on Monday 22 November 2010  Blackfriars Theatre & Arts Centre, Boston  Producer/Director: Tony Smith  Musical Director: Lynne Baker  Choreographer: Natalie Stafford This is a complex musical to stage but the team effort by members of Boston Operatic resulted in the provision of wonderful entertainment that was directed with much attention to detail and carefully interpreted. The show contains a variety of great tunes and the orchestra, under the skilful direction of Lynne Baker, really brought them alive.  The excellent diction of the players and the balanced sound enabled the audience to really appreciate the talent of the lyricist Leslie Bricusse, and the songs were accompanied by cleverly choreographed movements. The many set changes, numerous relocations of furniture and re-siting of props were most efficiently handled by the back stage crew.  This was a well-cast production with fine performances from all 25 members of various ages with some playing two or three parts. Costumes were of the period and most appropriate. The principals were all in good voice, as was the chorus. A sincere thank you to B.O.S. for undertaking this seldom performed musical – it was indeed a great show. My congratulations to all concerned. Spalding Amateur Dramatic & Operatic Society (SADOS)

Aladdin Reviewed by: Peter Breach on Friday 25 February 2011 Spalding Grammar School, Spalding Producers/Directors: Brett Moore & Elaine Deathridge Musical Director: James De Silva Choreographer: Anneka Luffman

Tibbs) was an exuberant dame and her son, Wishee Washee (Zack Colam) was a good foil. Emperor Minge (Ben White) was appropriately cast, as were the two comedy police constables (Nigel and Mark Hancocks). Other players all performed well in their supporting roles. Unfortunately the volume of the accompanying music for some of the songs was, in my opinion, a tad too loud and tended to make it difficult for the vocalists to be heard. Boston Playgoers

‘Allo ‘Allo Reviewed by: Peter Breach on Thursday 17 February 2011  Blackfriars Theatre & Arts Centre, Boston  Producer/Director: Mike Sheridan-Shinn & Marilyn Cobb  This was a highly entertaining performance of the wellknown work of David Croft and Jeremy Lloyd, which was featured on television from 1982 – 1992 and still remains extremely popular today. Skilfully directed and well interpreted, this production contained many examples of precise timing that is so much easier to achieve with the editing processes of television as opposed to a live performance in which immense concentration and swift responses are required. There was really excellent characterisation from the principals who, despite having to adopt accents, delivered their lines with clear diction. The costumes were carefully chosen and appropriate; the make-up well applied. I loved Mimi’s hair style which was as ‘sexy’ as the Colonel’s ‘wiglet’ was comic. Paul Gibson’s set was superb and well dressed, with the stage crew making the many scene changes efficiently

This was a really outstanding production of a classic tale of love so passionate, so obsessive and so consuming that it eventually destroys the parties involved. The set was a masterpiece of both design and construction, and furnished in most realistic fashion, thereby affording the actors ample opportunities to display their skills, which they did to considerable effect. Much attention was given to detail and to assist the cast in their preparations for this play they even made a special trip to Yorkshire to familiarise themselves with the climate and conditions in which it is set. Consequently what we saw on the stage at Blackfriars was the culmination of months of hard work from a dedicated team which resulted in superb performances from every member of the cast.  The costumes were most appropriate and from the period in which the play was set. The backstage crew provided first class support with excellent lighting and sound effects that added those special touches to create atmosphere. The Directors deserve due recognition for their superb efforts that resulted in the large audiences being absolutely enthralled by what they had witnessed. This was undoubtedly a prime example of theatre at its best. Crowland Amateur Dramatic Society

Mother Goose Reviewed by: Peter Breach on Friday 18 February 2011  St. Guthlacs School, Crowland  Producer/Director: Jayne Munton & Dan Boon  Choreographer: Carla Cole, Vikki Allen, Codie Austin & Lissette Austin Unfortunately this Society was unable to produce a panto in 2010 but my goodness they certainly bounced back this year with a real high energy show. The disciplined and enthusiastic chorus of some 40 youngsters got the show off to a lively start and sustained their level of performance through to the final curtain call. All the principals projected their voices well and their clear diction ensured that even those people at the back of the large hall could keep up with the plot. The colourful costumes, all produced by a team of supportive

South Kesteven - The Little Mermaid

“Aladdin” marked the return to pantomime for this company after an absence of 6 years and from ‘curtainup’ they demonstrated their intention to deliver an impressive performance. Every ingredient you would expect to find in a traditional pantomime was included – colourful costumes, lively choreographed routines, pyrotechnics, songs and slapstick. The script was written by two stalwarts of SADOS, Brett Moore and Elaine Deathridge, who also produced and directed the show. Abanazer (Andrew “PJ” Canham) quickly achieved his objective of being so disliked that booing and hissing would accompany every one of his future appearances on stage. In contrast, Slave of the Ring (Jennie Bourne) was well-cast and well-liked by the audience. Aladdin (Sarah Smith) gave a strong performance and her partnering with the sweet and sensitive Princess Jasmine (Abigail Bourne) provided balance. Widow Twankey (Jonathan

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seamstresses, demonstrated an outstanding level of commitment. There was super scenery for the large stage which was greatly enhanced by clever lighting and the judicious use of pyrotechnics added to the excitement. The make-up for such a large cast must have taken ages and there were some really innovative examples; particularly impressive was that for the ‘Mountain Beast’. Congratulations on a magnificent community effort – the return of your pantomime is truly a cause for celebration. Grantham Dramatic Society

Wanted - One Body Reviewed by: Peter Breach on Wednesday 1 December 2010  The Guildhall Arts Centre, Grantham  Producer/Director: Vicky Williamson  This farcical murder-mystery by Charles Dyer was the choice of GDS for their December production. Mr Barraclough has recently passed away and left a sizeable fortune to be dispersed. Solicitor Mr Blundell (Kevin O’Neill), accompanied by his nephew Mr Mickleby (Paul Meakin) attend to read the will only to find that someone has stolen the body. More deaths occur, that of stepdaughters Faith Barraclough (Gail Meakin) and Hope Barraclough (Alison Jackson) with plenty of suspects among the staff, including the maid Mabel Middy (Helen Pack), the secretary Anne Beale (Jo Toomey), the chauffeur Ted Johnson (Simon Rumfitt), the cook Agnes (Allison Allen), the undertaker Mr Sorrell (Mike Toon) and Dr Brown (Paul Dexter). There are several related one-liners, puns and humorous references which make this an entertaining script and good diction on the part of the actors put these across clearly to the audience. The costumes were carefully chosen and the set well designed and constructed. With one exception the scene changes were dealt with very quickly and there were appropriate eerie sounds and lighting effects. Occasional prompts resulted in some loss of pace but overall this team effort provided good entertainment. Well done everyone!

audience. The band provided the benefit of appropriate live music to match the mood of the dramatic activity that was taking place on stage and the sound balance between musicians and vocalists was good. Costumes were excellent, incorporating some very innovative ideas and the make-up ladies deserve special mention for their creative skills and coping with so many players. Clever lighting and sound effects also enhanced the production. This was a dazzling show which contained a really good example of just how innocently sharp-witted young members of a pantomime audience can be: Question (from the stage): Was it the baddy Boris who has taken Marina (the mermaid) away? Young child’s reply: No, it was Daddy!!! Congratulations to all who were involved. Spalding Amateur Dramatic and Operatic Society

Comfort and Joy Reviewed by: Anne Key-Huckerby on Wednesday 17 November 2010  The South Holland Centre, Spalding  Producer/Director: Brett Moore & Elaine Deaathridge  First, congratulations to those responsible for the set but also to the props team. Both these aspects of the play were first rate. So, too were the costumes. Mike Harding’s script is extremely funny and the directors ensured that every nuance of humour was incorporated into the action. As Goff (a curmudgeon of a man if ever there was one) Jon Molson was absolutely priceless. Jane Moss was equally impressive as Margaret while Brett Moore, in addition to directing the comedy, took on the sizeable role of her penny-pinching husband, Martin, at only a fortnight’s notice and did it very well. All the rest of the cast played their respective roles well. Their characters differed greatly and the styles were maintained extremely well throughout. I loved the two little ‘aliens’.  This was exactly the right sort of entertainment just prior to the Christmas season and especially on a night when the weather was decidedly miserable. Well done, everyone. St Nicholas Players

Sleaford Little Theatre

Tom’s Midnight Garden Reviewed by: Peter Breach on Thursday 2 December 2010  The Playhouse, Sleaford  Producer/Director: Hilary Shields  I thought the very commendable interpretation of this charming story was sensitively and skilfully directed. It was performed by a competent cast that included several young persons who demonstrated some fine acting talent. The characterisation and clear diction from the players was impressive, especially from Tom (Oliver Harrod) and Young Hatty (Anna Albuixech). The set was cleverly designed and enhanced by a lighting plan that highlighted different locations without necessitating the movement of props or furniture. The garden scene was particularly attractive and skilfully painted, with the many sound effects adding detail to the storyline. The carefully chosen costumes accurately reflected the fashions of the late Victorian period and the 1950’s. Congratulations to all who were involved in this heart-warming production.

their rapid changes of character were many. In particular I enjoyed Lucky Eric’s thoughtful speeches which were a quiet lull amid all the shouting. Shakers featured four young ladies; Amanda Fisher (Nicky), Jane Webb (Carol), Gemma Page (Adele) and Suzanne Webb as Mel. Here each character revealed her innermost hopes and fears. Each had personal pressures looming large in their lives. The girls moved easily from one persona to another readily achieving (and maintaining) changes in dialect and altering the atmosphere rapidly. The sets for both these plays were excellent; a credit to those responsible for their construction and decoration with props that were well chosen. The familiar tunes and judicious use of lighting added much to the success of the productions which found great favour with the audience. Well done.

Bouncers and Shakers Reviewed by: Anne Key-Huckerby on Wednesday 20 October 2010  South Holland Centre, Spalding  Producer/Director: Nick Fletcher (Bouncers) Jules Jones (Shakers)  Having seen Bouncers several times previously, I have to say I found this production was quite startling in its stridency. The four young men involved were Rob Callaby (Les), Rob Nicholls (Judd), Troy Melvin (Ralph) and Tom Millard (Lucky Eric) and I admired the zest with which they performed the play. Extremely well choreographed,

St Peter’s Hill Players

The Hollow Reviewed by: Peter Breach on Wednesday 10 November 2010  The Guildhall Arts Centre, Grantham  Producer/Director: Poly Lewis  This was a very polished production of a popular Agatha Christie play that generated strong ticket sales, and rightfully so. The play was cleverly directed with much attention to detail and finely interpreted both in style and format, with activity taking place on a well-constructed set that was furnished according to the period. The cast were attired in appropriate costumes and all achieved excellent characterisation.  The pairing of Carlyon Viles as the distinguished Sir Henry and Barbara Hurst as his somewhat eccentric wife, Lady Angkatell, worked extremely well. Becky Steele gave a confident performance as the sculptor Henrietta Angkatell and Beverley Foister played the nice and helpful Midge Harvey very much to form. James Coleman correctly displayed diffidence and aristocratic reserve as Edward Angkatell, a distant cousin of Sir Henry, who has been devoted to Henrietta for years. Martin Olley played the part of Harley Street doctor, John Cristow, displaying the manner and self-confidence expected of such a character while in great contrast Rebecca McDermott was most convincing as his weak and worrying wife, Gerda. Tania Lambley’s performance as the glamorous actress Veronica Craye was extremely entertaining and seductive! Inspector Colquhoun was played competently by Adam Bishop. Stuart Hartley was very much the perfect butler Gudgeon. Lauren Richardson as Doris, Evie Allan as the maid and Hugh Butterworth as Sergeant Penny all executed their supporting roles with distinction. Well done all concerned!

South Kesteven Acting Musical Players

The Little Mermaid Reviewed by: Peter Breach on Sunday 23 January 2011  Casterton Business & Enterprise College, Casterton  Producer/Director: Lisa Hales  This was my first visit to a production by SKAMP who became members of NODA in 2010 and what a great pleasure it was to see such a highly entertaining performance of a family show. There was an abundance of energy and enthusiasm from the large cast, particularly the young members of the chorus who demonstrated discipline and good stage presence. The principal players all delivered very creditable performances; they were quickly into character and related well to the

Ringstone Players - Wizard Of Oz

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The Langtoft Players

Sinbad the Sailor Reviewed by: Peter Breach on Wednesday 8 December 2010  Langtoft Village Hall, Langtoft  Producer/Director: Velma Denniston & Carole Walker  Musical Director: Kate Stokes  Choreographer: Cindy Lee & Danielle Allen We made our way to the village hall at Langtoft along icy roads with an air temperature of -5 degrees C. and were very warmly welcomed to this performance.  The programme stated that the production featured bad jokes, shipwrecks, evil baddies, slapstick, romance and good triumphing over evil – all the necessary ingredients required to produce the great entertainment that is pantomime. This show had pace, very colourful costumes, great songs with some very pleasant harmonies and lively choreography, especially from the team of young dancers; just what was needed to cheer up the loyal and supportive audience that had turned out, despite the harsh weather conditions.  Every member of the team worked extremely hard in delivering their respective contributions to this highly successful show and can be well pleased with the standard they achieved. However, without reproducing the entire cast list Robbie Logue (Ali) and Sam Pickering (Sinbad) impressed me in their support for Brian Branch (Widow O’Mally) and Danielle Allen (Princess Yasmin). A grand effort that resulted in a great show! The Ringstone Players

The Wizard of Oz Reviewed by: Peter Breach on Thursday 6 January 2011  Edenham Village Hall, Edenham  Producer/Director: Nigel Kuhn  Choreographer: Rob Anderson This production attracted a capacity audience that was provided with exceedingly enjoyable entertainment of a high standard. The lead role of Dorothy was played by Millie Henson, aged ten years, who coped exceptionally well with the demands of the part; she remembered her lines, sang and danced well, and demonstrated good stage presence as well as maintaining control of a real live dog, Toto. There was excellent support from Astrid Kuhn as Aunt Em, Andy McGowan as Uncle Henry, Gillian Kendon as Tin Man, Cheryl Anderson as the Scarecrow, Nik Willerton as the Cowardly Lion and the lively young chorus. Clearly defined contrasts were displayed effectively in the performances of Stacey Loveday as the wicked witch and Kelly Willerton as the good witch. This play was well interpreted and skilfully directed. The stage crew carried out the scene changes efficiently and there were several exciting sound and lighting effects that contributed significantly to the production. Comments from adults who had brought children to see the show included their appreciation for a production that did not contain lavatorial humour or sexual innuendo. A superb choice of play very successfully performed. Congratulations!

District 6a North Leicestershire

across the board. A very simple set formed the basis of the show which worked very well with lighting complementing it. The costumes were outstanding as was Michael Gamble’s choreography especially the Bolero number, which featured many smooth lifts. This was a production that John Lewin and his team should be justly proud of. ESNA Players

Singing In The RaIn Reviewed by: Philip Brown on Tuesday 16 November 2010  Town Hall, Loughborough  Producer/Director: Alan Pavis  Musical Director: Jon Orton  Choreographer: Carl Brierley-Edwards A thoroughly enjoyable performance with the right feelgood factor to cheer up the audience on a cold night. The direction music and choreography coupled with accomplished performances from all the cast ensured that all went home happy.  It’s hard to single out any individual performance all the cast deserve praise. Ashley Bright was a confident and convincing as Don Lockwood and he has to be congratulated for showing only the slightest hint of anxiety as he juggled an umbrella on a wet stage under a shower of water. Emma Adcock gave an accomplished and touching performance as Kathy Selden. They were ably supported by good singing and much comedy from Nicola Scoggins as Lina Lamont and Andy Davis as Cosmo Brown. Another outstanding moment was Ollie Thompson’s one solo song “Beautiful Girls” in the role of the impressively named J Cumberland Spendrill III. But congratulations must go to all the performers. The direction was excellent as was the choreography, ensuring that the ensemble numbers all had dash and fun. The special effects were well used; an entertaining, though perhaps overlong, “film” of the leads’ silent performance, and an exciting use of real water for “Singing in the Rain”. The costumes and set were likewise excellent. So, as was to be expected from ESNA, an excellent night out. Kibworth Theatre Company

Season’e Greetings Reviewed by: Christine Clarke on Thursday 25 November 2010  Kibworth School Hall, Kibworth  Producer/Director: Martin Wyburn & Rosanne Lane  This Community Theatre Group always make all their patrons feel very welcome and my visit on the first night was no exception. Season’s Greetings is written by the master play write Sir Alan Ayckbourn. The play is a comedy which is one of the hardest vehicles to portray. It needs pace and timing and without these two ingredients it loses a lot of the masters intentions. On the first night both of these elements were missing and as a consequence the audience were denied many of the nuances of the piece. It was obvious that the players had all worked hard learning their lines. The Puppet Theatre was well conceived and constructed. On a small point perhaps greater attention should have been given to property requirements i.e. there being no liquid in the bottles which formed part of the action. The audience response was as ever enthusiastic.

Christchurch Theatre Club

Copacabana Reviewed by: Christine Clarke on Friday 28 January 2011  Town Hall, Loughborough  Producer/Director: John R Lewin  Musical Director: Vicki Hing  Choreographer: Michael Gamble What a wonderful evenings entertainment was had by all who visited Christchurch’s production of Barry Manilow’s Copacabana. To single out any one person’s performance would be a difficult task as this show was very strong

District 6b South Leicestershire & Leicester Concordia Amateur Operatic Society

GiGi

Well directed production, some good choreography. Well balanced orchestra under the direction of Sarah Bright. Lucy Miller as Gigi was perfect for the part, extremely well acted. James Ashfield was excellent as Gaston Lachailles. Well matched by William Hare as Honore Lachailles. Some excellent cameo parts dancing teacher, Jo Taylor, law clerk Brandon Williams and the telephone installer, Josh Rollins and Jane Bradley gave us a lovely Mamita. All the other parts were well suited. Musical numbers in the show ‘Thank heavens for little girls’, ’The night they invented champagne’ and ‘I remember it well’ were all extremely well performed. The show itself is very thin on big chorus numbers. Originally a film does not have the usual Lerner and Loewe big score and is definitely more of a musical play. One of the best company numbers was the Trouville number ‘I never want to go home again’ which was very well set. The costumes, although excellent, were sometimes not of the correct period and this rather stood out in a couple of the scenes. But all in all this was a nice production and it is nice to see a show that is not done so often. Best wishes with your next production Fame in May. The Pantomime Company

Mother Goose Reviewed by: Nanette Lovell on Friday 4 February 2011  Concordia Theatre, Hinckley  Producer/Director: John Hill  Musical Director: Steve Sanders  Choreographer: Carol Lacey & Christopher Moore This is the first time that I have seen this company and it certainly will not be the last! What a fantastic show from the moment the Swan Queen flew in followed by Queen Raven we knew we were in for a treat. Everyone in this brilliant show played their parts to the hilt and it was obvious that they were all enjoying themselves as much as the audience. It is not easy to single out anyone for special mention but in this great show I must congratulate Mother Goose (Simon Grant) and Billy Goose (Craig Martin) for their outstanding performances - and what about that wonderful goose “Priscilla” played superbly by Sarah Price. The costumes were out of this world as was the set which was constructed locally. The Pantomime Company play for almost 4 weeks and every performance is a sell out as it deserves to be with a production of this standard. John Hill and his team must be very proud of everyone involved. Must mention the stage crew - not many amateur groups feature a real waterfall on stage - but this one did! Brilliant. Thank you for the hospitality and see you all next year!

District 7 North Northamptonshire Kettering Gang Show

Kettering Gang Show 2010 Reviewed by: Nanette Lovell on Wednesday 24 November 2010  Lighthouse Theatre, Kettering  Musical Director: Rob Churchwell  Each year they just get better! Another really great show from Kettering Gang Show. Super costumes, high quality sets and excellent lighting all added to this superb production. Above all there were around 90 youngsters having the time of their lives on that stage. The amount of work that had obviously gone into the show proved that every minute was worth it. Not possible to pick any one member of the gang out - they all played their parts to the hilt. Congratulations to the production team for all their hard work. Well done to everyone. It was a pleasure to meet you all for the gang tea prior to the show and to shake hands with you all afterwards.

Reviewed by: Martin Tailby on Tuesday 2 November 2010  Concordia Theatre, Hinckley  Producer/Director: Nanette Goodman  Musical Director: Saragh Bright  Choreographer: Emma-Jayne Gladman

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LTGnews > LTGnews > LTGnews > LTGnew District 8 South Northamptonshire & Milton Keynes

list Edith Evans, Sybil Thorndike, Peggy Ashcroft, Michael The Hardingstone Players Redgrave, Richard Burton and Alec Guinness – to name Hello Dolly but a few. Reviewed by Nanette Lovell (deputising for Jenny And how can anyone under the age of 50 – or even 60 Chandler) – have any way of judging the theatre work of Olivier – 25th March 2011, Campion School whose last stage performance was in The Party in 1973 Bugbrooke, Northampton. – or Gielgud – whose only performance after 1977 had Director: Wendy Lawrence been in The Best of Friends in 1988 – or Schofield – who Musical Director: Simon Wolfenden in the last 20 years of his life only appeared in Heartbreak Choreographer: Fiona Coles House in 1992 and John Gabriel Borkman in 1996 – or Redgrave – whose last major stage performance was in I have had the pleasure of visiting this group’s A Voyage Round My Father in 1972 – or Ashcroft – who productions for some time now but I can honestly say last appeared on stage as the Countess in All’s Well that that this was the best one I have seen to date. “Dolly” is Ends Well in 1981. not an easy piece to produce but Hardingstone Players They were all great actors of the twentieth century. All rose theinchallenge! was led –byGielgud Karen were toborn the early The yearscompany of that century Lowe as the lady herself (Dolly)in well supported by ina in 1904, Ashcroft and Olivier 1907, Redgrave suitably miserable was Vandergelder (Simon 1908. Richardson born in 1902, Guinness in 1914, Wolfenden). Both And worked well together. two Schofield in 1922. Sybilvery Thorndike was born The in 1882, young couples were playedfor by Schofield Manfred Orschel and Edith Evans in superbly 1888. Except all had (Cornelius), Phillips (Barnaby) Blackwell demonstratedJamie their greatness before theKate Second World (Minnie Fay) and Hayley Manning-Emery Malloy) War in careers which ranged for the most (Irene part from the whose singing down my back” superb.I early thirties to of the“Ribbons mid seventies. Except forwas Thorndike All cameo enough roles were verythem wellallcast and prime. the actors wasthe fortunate to see in their But made theonly most of their time on stage. An enthusiastic then I’m 74!” ensemble of townspeople, customers, waiters etcpoll? added And is anyone really interested in who won the to the success of the show. It really is amazing what can done continues in a schooltohall buttofrom the moment t.he ThebeGuild offer its members advice audience arrived they were greeted by waiters from and guidance on various topics of interest and current the HarmoniaThese Gardens to ‘Grey their tables where importance. takeand theshown form of Papers’, the drinks were ofserved! This been all added the atmosphere most recent which have on thetotopics of Fire Risk and the success the evening. This In is addition a brilliantpapers show Assessment and of Copyright Problems. for actress, singer, dancer Lowe really haveanbeen sent out on PAT Testingand andKaren Computerised Box made most which of her will opportunity anddiscussed took the role of Office the Systems have been at the “Dolly” to her heart. the whole team HUB meetings, to find Congratulations out whether localtoco-operation can involved. to you all. save costsWell anddone improve efficiency. On publicity generally, the following piece appeared in the last Newsletter: Milton Keynes Amateur Operatic Society Some bullet points for publicity/marketing: Robin and details the Babes in the Woodwhich • Send Hood production to local magazines Reviewed by: Jenny on Wednesday 22 contain listings, like Chandler parish magazines, LA publications etc. December 2010  • Link in withCampus local Arts Festivals to widen your contacts Stantonbury Theatre, Milton Keynes  and possibly attractJohn some funding Producer/Director: Dowell  • Make sure that James you areClarke  on your local website Musical Director: • Keep in touch Juliet with local secondary schools direct Choreographer: Ratnage • Cover ALL your local papers with press releases • Usepantomime Local Radio and feed it with stories, This written and directed by Johnhowever Dowell ‘trivial’ with music by James Clark was pretty well a complete

package. There were sterling performances by John Dowell himself (Nanny Noo-Nah) Vicky Annes (Robin Hood) Michelle Johnson (Maid Marion) and a very menacing Sheriff of Nottingham portrayed by Richard Duncombe. Theother Babes were well cast too along with • Link up with local societies, to reciprocate with the comedy duo (Del & Rodney) Stephen Johnson and mutual promotion of future productions interesting this panto Juliet Ratnage. An • Inform national websites and innovation newspaper to listings was totally female of Merry Men but worked. • Useayour email baseband for regular reminders to itmembers, Indeed patrons the etc. whole company blended together with all the required elements in thedatabase script to ofdeliver a mainly • Build up and use your customers to well-paced entertaining show. I feel however that the employ targeting measures – did “know your customers/ introductory sequence of music atmospheric and audience base” and employ CRMwhile facilities well was overlong and to therefore theyounger anticipation • Usesung Facebook, Twitter etc. catch the end began to flag before any action took place. I would also of the market like to have more of the Forest Fairy. However • Make sureseen youra bit brochures, & flyers/posters are well all in all, this a very entertaining distributed by was a dedicated team area byshow area with all the required elements of pantomime, with both read, colourful • Make your Newsletter a good informative and costumes sets. Personally I feel that the sign of a ensure thatand it gets distributed widely good panto whenyour the newsletters children in the are • Make sureis that and audience programmes totally andproductions keen to participate promoteabsorbed your future strongly and after the initial slow start thisthe show actually This was • Strive to improve visual imagedelivered. of your publicity, anda good which is really what pantomime makechild morecatered use of show, photographs • Regularly should be. improve and update your own website • Make contact if possible with an experienced Marketing Manager, and Gilbert get some fresh ideas! Northampton & Sullivan Group Professional opinion would appear to be that no Ruddigore theatre these days can expecton to Monday play to more than 60% Reviewed by: Jenny Chandler 24 January capacity, 2011  but that of course depends on the size of the theatre! LTG theatres on the whole need to play to much Royal Theatre, Northampton  higher averages onTim a regular basis if they are to survive Producer/Director: Hurst Brown  and thrive. WhichDavid makes the work of the publicity and Musical Director: Chambers  marketing teamsLynette even more vital. Choreographer: Turner Parry (Thanks to Nomad Theatre’s Newsletter and to Phil Lunt for prompting enlarging this little piece) Ruddigore is one ofand the less performed of the Gilbert and Sullivan operettas and so it makes a refreshing change links with IATA toThe see Guild it on continues stage. Afterto amaintain smoothlystrong played overture the (The International Amateur Theatre Association) its ladies chorus started the show off strongly with theand many English branch ITE, International Theatre Exchange. The bridesmaids splendidly attired in bright pink stripes. This following newsalways of a new might enough be of interest to beenplay fortunate to attract company has Youth groups:to take on the principal roles and really Theatre good singers The White Stone they by Helle Bærskog translated without exception all sang and Hauger, acted their parts by Line Hauger in true Gilbert and Sullivan spirit. I particularly enjoyed written on the succeeded performance theThis quartet in actplay one. is Thebased Choreographer in devised created bypiece the well young people in the marrying and the mood of the to the attributes of theatre Ribe,was Denmark. The playand hasbuilt 12 the castDRAKOMIR, too. The set,inwhich both designed characters 8 girls and 4 boys aged between and 15. by company–members was well thought out and8provided Simply in afor room a table or have chestliked on which a good staged back drop the with show. I would a bit sits the white stone, the play is set on an island where more light in the second act, for a while accepting the the young people will spend the night. A storm blows up need to create the dark gloomy atmosphere of Ruddigore and events take a dark turn… Castle, I did find it difficult to see the facial expressions Helle Hauger is the Chairman of the Committee for of the performers which distracted somewhat from the Children and Youth of the international group AITA/IATA overall performance. However it was a good performance

staged by a hard working company who come up each and working with standard, young people many years. yearhas withbeen a show of a high Wellfor Done! She invites young people to perform the play without any payment or perhaps to use the play as a basis for one of Wellingborough Pantomime Society their Pussown in devising. Boots But in return she would love to know what youngby:people aboutonthe play. 16 January Reviewed Jennythink Chandler Sunday If you drop me an email, I will email you a copy of the 2011  play along with contact details for Helle. The Castle Theatre, Wellingborough  Anne Gilmour – anne.gilmour@questors.org.uk Producer/Director: Sandra Mead  Musical Director: Keith Green  Within the Guild we continue Choreographer: Emma Trimble to be enormously grateful to our Patron Sir Ian McKellen, whose support whenever his busy work schedule permits is highly valued, and With many panto’s around at this time of year it is great indeed inspirational whenever he visits a member to see one which is performed less often. Puss in Boots theatre. In October he managed to attend the Southern certainly is one of those but in my view the story really Region Conference at the Kelvin Studio, Bristol, and in lends itself to a magical pantomime. The principals, January visited both Royalty Theatre, Sunderland and Kristina Hickman (Princess Iris), Sarah Hollands (Colin), City Theatre, Durham. His support for the ‘campaign’ Tracey Barker (Selina), Shaun Johnson (King Percy) and against the “Vetting & Barring” scheme last year was David Wicks as the formidable Dame Girkin all sang clearly very beneficial, as the outcome covered above their roles well. I particularly enjoyed Jon Baiks frentic clearly demonstrated. Of course, this commitment to performance as Freddy. On the whole this was a fun amateur theatre benefits not just the Guild, but amateur experience, Some of the entrances were a little slow and theatre all over the country. His high profile ensures that at times cues could have been picked up more sharply the media at least now gives amateur work respectful and the chorus singing was a little lacking in volume, coverage. For the Year Book he wrote: but“The I feel Bristol the trueSouthern test of a performance is how much the Region weekend meeting audience enjoyed and were involvedof Edward Bond’s climaxed with a itdaring production The Sea by the Kelvin Players celebrating their 80th anniversary. Although more popular playwrights are the staple of most member theatres, it’s the lesser known plays and new ones which can give a season its focal point. Of course, encouraging audiences to relish the unknown is a constant problem but elsewhere, beyond If yourthere production has been Ayckbourn, is an exciting world reviewed to be explored. This was at the Central Region AGM by amply one ofdemonstrated the East Midlands District when Dolman Theatre, Newport were able to stage 4 representatives and you have a one-act plays in celebration of the Ryder Cop. Bravo.”

high resolution photograph of your

Finally, the Guild is which making you arrangements for its production would like toAnnual Conference and AGM, this yearin at People’s Theatre, accompany the review both Amateur Newcastle over the weekend of 25th/27th March 2011. Stage Magazine and on the NODA People’s Theatre this year is celebrating its Centenary, show reports please and awebsite busy programme of events will beforward taking place, aroundaa copy performance A Midsummer Night’s Dream. to theofNODA East Midlands

Website Editor. stephen.bartram@nodaem.org.uk

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EAST MIDLANDS

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THEATRICAL TRADERS ASSOCIATION The Theatrical Traders Association represents all the affiliated Traders who supply the Amateur Theatre in the UK. Membership of the TTA means a reputable supplier, who maintains the standards set by the Association.

Costumiers:

Scenery, Props etc:

Lighting and Sound:

Ace Theatrical Costumiers Unit G, Crown Business Park, Dukestown, Tredegar Blaenau Gwent NP22 4EF Tel: 01495 350008 email: elande1@tiscali.co.uk

Albemarle Scenic Studio PO Box 240, Rotherfield, TN6 3JU Tel: 0845 644 7021 Fax: 01892 853 104 www.albemarleproductions.com

Northern Light Assembly Street, Edinburgh EH6 7RG Tel: 0131 622 9100 www.northernlight.co.uk

Dress Circle Costumiers Brook House, Maldon Road, Witham, Essex, CM8 3HY Tel: 01376 515500 Fax: 01376 502101 www.dresscirclecostumiers.com Molly Limpet’s Theatrical Emporium Ltd 712 Chesterfield Road Sheffield S8 0SD Tel: 0114 250 0851 www.mollylimpets.com Northern Costume Hire Long Ing Mill, Long Ing Lane, Barnoldswick, Lancashire BB18 6BJ Tel: 01282 817351 www.northerncostumehire.co.uk Perceptions Theatre Costumes Ltd Unit X2, Tollbar Business Park Newchurch Road, Backup Lancashire OL13 0NA Tel/Fax: 01706 879 682 email: perception.costumes@ntlworld.com Stage Costume Unit 2, Victoria Industrial Park Victoria Road, Dartford, Kent DA1 5AJ Tel: 01322 311787 Fax: 01322 311827 www.stagecostume.co.uk Triple C’s Costumes Clarkson Place, Dudley Road, West Midlands, DY9 8EL Tel: 01384 893911 Fax: 01384 892911 www.tripleccostumehire.com Utopia Costumes Utopia House, Academy Street, Forfar, Angus DD8 2HA Tel: 01307 468231 Fax: 01307 468600 www.utopiacostumes.com

The Border Studios Riverside Mill, Level Crossing Road, Selkirk Scottish Borders, TD7 5EQ Tel 01750 20237 Fax 01750 20313 www.borderstudio.com Clifford and Brown Unit E, Weddington Industrial Estate Weddington Terrace, Nuneaton, CV10 0AP Tel/Fax 0247 6346742 www.clifford&brown.co.uk Howorth Wrightson Ltd Cricket Street, Denton, Manchester, M34 3DR Tel 0161 335 0220 Fax 0161 320 3928 www.hwltd.co.uk Prosceneium Ltd Sladen Wood Mill, Todmorden Road Littleborough, Rochdale, OL15 9EW Tel 01706 377226 Fax 01706 371953 www.prosceneium.co.uk Scenic Projects The Studios, London Road, Brampton, Suffolk NR34 8DQ Tel: 01502 575000 Fax: 01502 575840 www.scenicprojects.co.uk Scenery Hire Ltd Scenic & Property Hire, Unit 2, Usk Way Industrial Estate, Newport, NP20 2HZ Tel: 01633 262 728 Fax: 01633 244 104 www.sceneryhire.co.uk Scenechange Studios Ltd Unit 1, The Railway Sidings Commercial Brow Sheffield Road, Newton, SK14 2JW Tel/Fax 0161 368 1467 www.scenechangestudios.co.uk

Tony Atkinson and Associates Lime Kiln House, near Piercebridge Darlington, Co. Durham, DL2 3UJ Tel: 01325 374790 www.atkinsound.co.uk

Ticket Printers: Just Tickets Unit 15, Greys Green Business Centre Rotherfield Greys, Henley on Thames, RG9 4QG Tel: 0845 126 0631 Fax: 0845 833 0646 www.just-tkts.com Ticket Mart Elsecar Workshops, Wath Road Elsecar, Barnsley, S74 8HJ Tel 01226 741 918 Fax 01226 360 581 www.ticket-mart.co.uk

Wigs/Makeup: Bromiley Ltd 166 Edleston Road Crewe, Cheshire CW2 7EZ Tel 01270 255726 Fax 01270 255130 www.bromileyltd.co.uk Dauphine of Bristol 7 Cleeve Road, Downend, Bristol, Avon BS16 6AD Tel: 0117 9566556 Fax: 0117 9560805 www.dauphines.co.uk D.R. Easton Ltd 1 Dorothy Avenue Peacehaven, East Sussex BN10 8LP Tel/Fax 01273 588262 www.wigs@derekeastonwigs.co.uk

Look out for the TTA logo – For help with the supply of anything for your productions contact the TTA help line on 0845 126 0631

NODA East Midlands April 2011.indd 17

28/03/2011 11:40:11

Reach for the stars Youth Academy

NODA Youth Academy for 12 - 17 year olds For full details visit:

www.noda.org.uk or telephone:

01733 865 790 12 - 16 April 2011 Oakham School Rutland

Performance • Technical • Acting • Directing • Dance • Musical Directors

Get the best theatre training of your life

FULL DETAILS AND EASY BOOKING ON OUR WEBSITE www.noda.org.uk

Summer School 2011 Professional training for amateur theatre

NODA East Midlands April 2011.indd 17

30 July - 6 August at University of Warwick

28/03/2011 11:53:20

SOUTH EAST APRIL 2011

BRICK LANE MUSIC HALL BOB HAYWARD SHOW REPORTS

NODA South East April 2011.indd 1

28/03/2011 11:55:20

COUNCILLOR’S NOTES Welcome to this edition of the South East Region magazine in our new venture with Amateur Stage which I am sure you will find interesting and enjoyable; you will continue to receive a print copy of each edition in which we feature. This is something which we all welcome and look forward to a long and successful partnership with Amateur Stage. NODA Website I hope you have all taken the opportunity to look at the new NODA website and you are aware that each and every member of NODA affiliated societies can have access to the Members area. The NODA South East website is now accessed via the national website which makes it much easier for everybody. Information on the Programme and Poster Competition, Fact Sheets, Listing of shows and much more is all there on the website, so please do make use of it. Summer School The new venue for this year’s Summer School is Warwick University at Coventry, and the response has been excellent, but if anyone is still interested do look at pages on the website; in the South East we have awarded 5 National Bursaries and 6 Regional Bursaries and look forward to having reports from the successful applications after their time at Summer School. There is an Events page on Facebook also. Regional Conference: 10 July The Regional Conference will be held at The Mandolay Hotel, Guildford, on Sunday 10 July which I hope will enable members to attend more easily. The notice of the AGM and voting forms for Regional Representative and Regional Councillor are to be found on other pages.

District Meetings Your Regional Representatives arrange District Meetings to facilitate discussion and debate for societies and members within their district; if your Regional Representative invites you to one of these meetings please do make an effort to attend. It is an opportunity for you to meet other society members and discuss problems and difficulties in a relaxed environment. New Societies & Individual Members I want to welcome those new societies and individual members who have joined NODA and take this opportunity to remind them that the members of the Regional Committee and myself are here to assist where we can. Invitations to Productions I would like to thank all those societies that have invited me to see their productions and say how much I have enjoyed meeting members. My sincere apologies to those societies that I have not been able to accept an invitation to, either due to the weather or other engagements. It is helpful to have early notification as possible if you would like me to attend, as it is for the President of NODA who has a busy schedule. Finally, I wish everybody a successful Spring season and know you will look forward to our next edition in August. JOHN W BARNES

Noda South East Magazine Articles of interest, should be sent to Councillor John W Barnes. Show reports to the Hon: Editor at nodamag@supanet.com. CIRCULATION DETAILS ONE FREE COPY OF AMATEUR STAGE WHEN IT INCORPORATES NODA SOUTH EAST NEWS WILL BE SENT TO SOCIETIES AND INDIVIDUAL MEMBERS. INFORMATION NODA OFFICE The Chief Executive is TONY GIBBS. The address of NODA Headquarters is 58-60 Lincoln Road, Peterborough, PE1 2RZ e-mail - everyone@noda.org.uk www.noda.org.uk Office hours are Monday to Friday 9am to 5pm. Enquiries at NODA HQ for Library Services and purchase of play scripts, pantomime scripts, vocal scores and libretti. Closing dates for Programme and Poster Design Competitions is 31st December each year Send your entries to the Regional Councillor. (five copies please) Further information on these competitions, may be obtained from the Noda National Website. NODA COMMENDATION AWARD: The cost of this award is £25.50. Details for this and other Awards application forms are available from: Miss Eileen Dobson, 136 Kingsley Road, Southsea, Hants. PO4 8HN. Tel: 02392 839593 ANNUAL SUBSCRIPTION RATES - From 1st January 2011 agreed at National Conference as follows: Individual Members £25.50 Joint Members £30.60 Societies

40 NODA South East April 2011.indd 2

Band A Takings Band B Taking Band C Takings Band D Takings

£0 - £4,999 £5,000 - £9,000 £10.000 - £19,000 £20,000 + Up

£57.12 £91.80 £126.48 £143.82

SOUTH EAST 28/03/2011 12:14:49

REGIONAL COMMITTEE Regional Councillor John Barnes jonwbarnes@btinternet.com Tel: 01580 830830 Mob:07803 905000

Hon Secretary Miss Priscilla Titford priscilla.titford@yahoo.co.uk Tel: 01892 669719 Hon Treasurer Mr Bob Cousins cousins.annbob@tesco.net Tel: 01276 23130

Hon Membership Secretary Mr Jim Hatley jimhatley@sky.com Tel: 01483 770130 Hon Award Secretary Miss Eileen Dobson edobson156@btinternet.com Tel: 023 92839593 Youth Advisor (East) Cheryl Mumford gingercowtp@hotmail.co.uk Tel: 01227 366846 Hon Editor Mr Gregory Gower Magazine & Adverts nodamag@supanet.com Tel/Fax: 01323 737813 Regional Representative Phillip Hall District 1 sylviahall@dits.org.uk Tel/Fax: 01273 473500 Regional Representative Brenda Gower B.E.M. District 2 brendagower@supanet.com Tel/Fax 01323 737813 Regional Representative Anne Lawson Districts 3 & 4 superjohn.lawson@btinternet.com Tel: 01424 428693 M 07976 801295

Regional Representative Gordon Harris District 5 gordon@starhill.fsnet.co.uk Tel: 01634 402323 Regional Representative Sylvia Blogg District 6 Tel: 01843 861083

Regional Representative Doreen Grierson District 7 doreen.grierson@btinternet.com Tel: 01474 813611 Regional Representative District 8 Mr Lance Milton lance@acttoo.co.uk 07803 898871 Regional Representative Jose Harrison District 9 jose@jsharrison.plus.com Tel: 01903 892248 Regional Representative John E. Thomas District 10 Youth Advisor (West) jethomas@sky.com & jetner@ tiscali.co.uk Tel: 023 92256443

Regional Representative District 14 Mrs Kay Rowan kay@rowanfamily.co.uk 01420 83076

Regional Representative Roy Brown District 15 Tel: 023 9283 9888

Regional Representative Rita Boffin District 16 rita.boffin@peterboffin. force9.co.uk Tel: 01983 731491 Regional Representative Margaret Fields District 17 jsandmfields@hotmail.com Tel: 01962 775438 Regional Representative Betty Haslam District 18 betty.haslam@btinternet.com Tel; 01420 83532 Regional Representative Helen Mills District 19 Email: Handscombe@aol.com 01932 845616

Regional Representative Barbara Fairclough District 11 bbfair2002@yahoo.co.uk Tel: 01489 690140 Regional Representative Gloria Smith District 12 Gloria.smith3@btinternet.com Tel: 01932 866323 Regional Representative & Web Manager Stuart Ardern District 13 stuartardern@lazybeescripts.co.uk Tel: 023 80293120

SOUTH EAST NODA South East April 2011.indd 3

41 28/03/2011 12:15:04

SETTING THE SCENE GREGORY GOWER. EDITOR. NODA SOUTH EAST

GREGORY GOWER Compared with “Bugsy Malone” in Hastings with over SETTING Editor 300 children in the audience. Their behaviour was THE NODA S. E. follows that The adultsproduction should be able set examples on you how to behave impeccable! wastofirst class and SCENE elcome to another issue of the Noda Regional S.E. News REGION could hear every on stage. themselves andword not theuttered other way around!If children can Magazine within Amateur Stage reporting Regionalbehave like first class citizens at a theatre, surely it only WELCOME to another issue of the Noda Regional S.E. Representatives Reviews and featuring other articlesfollows that adults be able to set examples Saucy Jack should and Space Vixens (MusicalonPlay) News Magazine within Amateur Stage reporting how to behave themselves and not the other way interest as well Reviews as giving and out important Regional of Representatives featuring information other Saucy Jack and the Space Vixens was created in 1995 for the andarticles reminders may help Societies from tripping over copyrightaround! of that interest as well as giving out important

information and reminders that may help Societies from problems. tripping over copyright problems.

Saucy Jack and the Space Vixens was created in 1995 Our story unfolds in a sleazy, dim-lit night club managed by an for the Edinburgh Festival in an attempt to produce a eccentric and seedy character named Jack who has Jekyll and different piece of theatre - and mostSaucy successfully Hyde tendencies. succeeded in doing so!

FLY I was only built this morning, but I managed to get a flight out today!

ANYWHERE ALWAYS AIRWAYS

Edinburgh Festival in an attempt to produce a different piece of theatre - and succeeded Saucy Jack and most Spacesuccessfully Vixens (Musical Play)in doing so!

So was I, and the same!

Our story unfolds in a sleazy, dim-lit night club Wildly eccentric than the Clingons in Star Trek and more bizarre than managed by an eccentric and seedy character named Red Dwarf’s crew, this Night Club owner has a possessive nature Saucy Jack who has Jekyll and Hyde tendencies.

and his kindly words lured you to his spider’s web of intrigue and the

Wildly eccentric than the StarbyTrek and promises of success, onlyClingons to be let in down some lame excuse. Jack more bizarre than Red Dwarf's crew, this Night Club took in human strays by kindly words, and they little knowing that owner has a possessive nature and his kindly words once in, there was no way out of his den of iniquity, unless you were lured you to his spider’s web of intrigue and the dead. of success, only to be let down by some lame promises excuse. Jack took in human strays by kindly words, and they knowing that secret once in, no way Saucylittle Jack’s underlying of there being was a serial killer with carnal outpleasured of his denactions of iniquity, unless werewith dead. after killing hisyou victims a high heeled shoe in

Snow and ice-bound Airfields in England in December 2010 - Thousands of passengers stranded!

the Jack’s far away planet of secret Frottageof111, these shoeskiller once worn by his Saucy underlying being a serial former partner whoactions becameafter the leader thevictims space police, who did with carnal pleasured killingofhis with high thing heeled shoe far away thea right in the end in by the executing Jackplanet for his of murderous ways. Frottage 111, these shoes once worn by his former partner became leader of audience the space police, The who interaction withthe some of the who were suitably attired who did the right thing in the end by executing Jack for the same as the cast did not distract from the action in “The round”. his murderous ways. This being a new concept by this Amateur Company, although I

Audiences?

Thesuspect interaction withhow some of the audience who were this was it was presented at the Edinburgh Festival. Of the as the didmusical not distract Whatcan can audiences, As thegivensuitably What youyou say say aboutabout audiences, plenty! plenty! As the interview courseattired this was ansame excellent ideacast as the play included as part the action in “The round”. This being a new given by Martin Shaw year depicted, by interview Martin Shaw last year depicted, thatlast audiences who spokethat during afrom of its scenery a licensed bar where one could purchase wine and other concept by this Amateur Company, although I suspect audiences who spoke during a performance of any kind performance of any kind would not be heard on stage! Wrong! Even if assorted drinks andpresented sundries. at the Edinburgh this was how it was would not be heard on stage! Wrong! Even if you youwhispered, whispered, itit would would be heard and as Martin Shaw stated that the Festival. Of course this was an excellent idea as the be heard and as Martin Shaw stated firstthat word came to that his mind was “Murder”. One play always felt thatas aspart you were so close to what was going musical included of itssitting scenery a licensed thethat first word came to his mind was “Murder”. baron, where one part could wineatmosphere and other assorted you were of purchase the Nightclub’s and especially as this sundries. Whydodosome somepersons persons feel that they looking a TV Why feel that they areare looking at aatTV in theirdrinks was and the case when the final bows had been taken, the audience were in their lounges and make so as to annoy other lounges and make remarks so remarks as to annoy other members of theOneinvited onto the dance floorwere to jigsitting to theso music that always felt that as you close to had been played members thethose audience andtrying also to those who areontrying audience and of also who are concentrate acting onwhat during magnificent production. wasthis going on, you were part of the Nightclub’s to lines! concentrate on acting on their Unfortunately their Unfortunately for Brenda andlines! I, at a production last yearatmosphere and especially as this was the case when for Brenda and I, at a production last year had the bows had been the audience hadmisfortune the misfortune to sit in front of three girls, who thought they werethe final I must admit that this taken, was a production I waswere really looking forward to sit in front of three girls, who thought they invited onto the dance floor to jig to the music that had It is a very sitting at home! Remarks like “Look out”, “Here he comes!”, “Watch to view, having not heard or seen anything of its ilk before. were sitting at home! Remarks like “Look out”, “Here been played during this magnificent production. out!” Oh! What’s going to happen powerful piece of theatre and the company who played the roles were he “Oh! comes!”, “Watch out!” “Oh!next!” Oh! What’s going to I must that wasand a production I was really wordadmit perfect andthis acted sang with expertise and conviction. happen next!” looking forward to view, having not heard or seen Unfortunately I snapped and turned round and told them to “Shut Unfortunately I snapped and turned round and told ilk before. It is a very powerful piece of up!” By that time itup!” was almost interval second half of theanything I was of notitsdisappointed! them to “Shut By that time ittime. wasThe almost interval theatre and the company who played the roles were musical nosecond better ashalf theyofseemed to make an no exerted effort time. was The the musical was better as withword perfect and acted and sang with expertise and screeching and shrieking and effort as thewith production was fromconviction. they seemed to make laughter an exerted screeching Gregory Gower shrieking laughter and as behaviour the production thisand Society “Anything Goes!” Their was onwas par from with that I was not disappointed! this Society “Anything Goes!” Their behaviour was on title. par with that title. Gregory Gower

School Re-union

spoiltour our enjoyment behaviour can be only be ItItspoilt enjoyment andand theirtheir behaviour can only described School Re-union as atrocious! Andand I hope Brenda I do not to An elderly man attended a school re-union but was dismayed to as described atrocious! And I hope Brenda I do not have and the misfortune his surviving classmates wanted to talk about have the misfortune to sit in front of them again. When elderly man attended a simply school re-union but wastheir various sit in front of them again. When as a Noda Representative, you don’tAn find as a Noda Representative, you don’t always get prime dismayed to find his surviving classmates simply ailments heart conditions, liver complaints, kidney stones. When always get prime seating and as you have to concentrate on what you seating and as you have to concentrate on what you are wanted to talk about their various ailments - heart he arrived back home, his wife asked how it went. areviewing viewing so so as to give a true account on the subject in hand, it isconditions, liver complaints, kidney stones. When he as to give a true account on the subject in “It wasn’t much school re-union.” He sighed, “more like an harder, if the on how toisbehave hand, it isaudience harder,isifunsure the audience unsurethemselves! on how to arrived back so home, hisawife asked how it went. Organ Recital!” behave themselves! “It wasn’t so much a school re-union.” He sighed, Compared to “Bugsy Malone” in Hastings with over 300 children“more like an Organ Recital!” in the audience. Their behaviour was impeccable! The production was first class and you could hear every word uttered on stage. If children can behave like first class citizens at a theatre, surely it only

40 NODA South East April 2011.indd 25

SOUTH EAST 28/03/2011 12:15:27

REMEMBERING MAURICE SPILLETT (NODA PAST PRESIDENT) Maurice Spillett was born in Faversham in July 1914 and appeared in his first musical at Faversham Grammar School for Boys in Gilbert & Sullivan’s “Iolanthe” when he played a fairy. In 1950, Maurice was instrumental in the rebirth of Canterbury Amateur Operatic Society after a break of some 16 years; he took part in the society’s first production of “The Mikado” in 1952 and participated in the annual productions of the society, performing all the Gilbert & Sullivan operas with the exception of “The Grand Duke”. In 1974 Maurice was elected North East Kent representative of NODA, serving twice on NODA’s national executive committee, becoming Vice President and elected President in 1988. His last show on stage with Canterbury Operatic Society was in 2000 with “The Mikado”. Without a doubt, Maurice loved the contacts he made with other societies on behalf of NODA. The Maurice Spillett Trophy is awarded by NODA South East Region for the Best Written New Show in the region. His funeral held in Canterbury on 14 February 2011 was attended by NODA representatives, members of Canterbury Operatic Society, as well as his family and friends. John W Barnes, NODA South East Regional Councillor with grateful thanks to David Riceman, Chairman of Canterbury Operatic Society for the use of his address given at the funeral service.

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SOUTH EAST NODA South East April 2011.indd 26

41 28/03/2011 12:15:39

E N A L K BRIC L L A H C I MUS

hen I first clapped eyes on Vincent Hayes, he was standing on a couple of old beer crates at one end of an East End bar cracking jokes. But these weren’t any old beer crates, this wasn’t any old boozer and they weren’t any old jokes. Back in the late 1980s, the Lord Hood was a tiny back-street corner pub just off Vallance Road – a stone’s throw from where East End villains Ronnie and Reggie Kray once lived. I was aware that the Labour MP for Bootle, Allan Roberts, owned the pub. Actor friends who performed music hall turns on the make-shift stage each week told me how show nights were a hoot and how the place would invariably become jam-packed with national and local politicians of all hues rubbing shoulders alongside locals of all persuasions, ranging from gay vicars to cockney geezers. As a show biz addict, I felt drawn to this miniature fun palace in Bethnal Green. So one Friday night I pushed open the front door and just about managed to squeeze through to the gathered throng inside. Talk about the roar of the greasepaint, the smell of the crowd! The atmosphere was so electric it seemed to be powering the National Grid. And a large amount of the wattage came from the Chairman introducing the acts - who appeared to be plugged in to the standing-room-only audience. This, I soon discovered, was Irish-born comic Vincent Hayes. He might have been on a stage made of old beer crates and a slab of old plywood, but it could just as well have been the London Palladium. The first thing that struck me was that Vincent was no carbon copy of the old-fashioned gavel-wielding

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Chairman familiar from television’s long-running The Good Old Days. He still isn’t, as anyone who has seen Vincent on stage at the Brick Lane Music Hall in its various incarnations will attest. But at the Lord Hood, here was a rare talent to behold – his gags were refreshingly topical, his freewheeling repartee was sharper than Reggie Kray’s razor and his sparky ad-libs, delivered with deadpan sobriety, generated lightning rods of laughter. “I’ve always had an in-built radar when I’m on stage,” Vincent explains when we wind back to compare notes on the good old days at the Lord Hood, where he was also the licensee. “It’s a natural talent. It’s difficult to describe, but when I’m standing in front of an audience I seem to know what’s going on out there, no matter what the size of the theatre. I can tell if someone isn’t paying attention, or if they say something out loud and I can’t stop myself coming back with a response. It’s instinctive.” The other instant impression was that Vincent appeared on stage in a traditional Victorian chairman’s white tie and frock coat, yet his comedy was very much up to date. “That’s why so many music hall purists criticised me at that time,” Vincent laughs. “Music hall chairmen always seemed to be actors who were filling in between jobs. It’s how the famous Players Theatre in London started, which was the foundation of The Good Old Days on television, with actors who learned music hall numbers that were probably highly relevant in Victorian times but had no common currency today. To me, it seemed like a pastiche harking back to another era. I was an outsider to all of that. So I thought, why turn the clock back? I’d appear in the style of old time music hall, but all my jokes would be about what was happening here and now – no

reference to Queen Victoria whatsoever!” Because Allan Roberts was in the House of Commons, he made sure he fed Vincent the latest insider tit-bits and hot gossip so that he was able to weave them into his routines. “It meant I was always topical. You can imagine the impact when you had opposition politicians in front like Jack Straw, Jack Cunningham and Clare Short out front. “But the shows at the Lord Hood were never about me,” he emphasises, “it was always about the audience. I just found that I was able to bring people into the fun – pick on a starchy vicar, for example. As a comedian, for the first time in my life I had a licence to say things that in any other environment might have been a bit of a shock and I responded to that like never before.” The Lord Hood experience was clearly a turning point in Vincent’s comedy career, which had previously ranged from street entertaining and running summer season and rep theatres to entertaining as a Pontins Blue Coat, touring with shows, including Sooty and Sweep, and appearing on television with the likes of Spike Milligan. He even toured with the Royal Shakespeare Company. And as a kind of rehearsal for creating his own theatre, he had also turned his hand at interior decoration and running bars and pubs. “As a comic I’d spent half my life on tour and was always more of a solitary figure doing a turn and not so involved with the company. Audiences came and went. But here in an East End pub we created an audience who came every week. There was a real sense of community between performers and the punters. When I look back I realise that I had finally come in from the cold.” Having created fun nights out in a pub that can only be described as no bigger than a sitting room, the logical next step was to find a much larger venue in the same area – and this time, turn it into a proper theatre. “Remember, we couldn’t charge for entry at the Lord Hood because it was a public house so however much fun it was, staging shows with professional artists and a pianist weren’t really economically viable. We needed to get our own place where we could present great shows with good food. Allan sold the pub, I went off looking for premises, but then, sadly, Allan got seriously ill and died in March 1990.” Despite many setbacks, slowly but surely things began to happen and suddenly Vincent found just what he’d been looking for. “One day a lady from the Tower Hamlets tourist office suggested looking at premises in the Old Truman’s Brewery in Brick Lane. She showed me the former canteen. It was piled high with old office furniture. I had to climb up it to have a peek and just about managed to see the entire length of the building, with cast-iron pillars either side, which I later discovered were part of the original brewery horse stables. Straight away I could visualise how the space would work as a theatre, with a stage at one end, a bar on one side, a kitchen for preparing the food – I even knew instinctively where the box office and the loos should go!” Eventually, after a complete refurbishment involving Vincent and his crew spending many late hours clambering up ladders and scaffolding (including signwriting artist and music hall performer Brian Walker, who is still part of the team), the Brick Lane Music Hall opened its doors in February 1992, with audiences enjoying a unique mix of laughter, song and food, plus the now famous Brick Lane Music Hall tea matinees for pensioners. Why, I wonder, has a pre-show menu always been part of the Brick Lane Music Hall ethos? “Well I suppose early music halls were supper clubs, but for me it’s all about Irish hospitality – a hundred thousand welcomes”, Vincent replies. “When I was a kid in Ireland, if someone came to your house the first thing you did was offer hospitality. So I’ve never thought about the food in terms of income: it is just part one of an entire evening. Instead of the curtain going up and spending the first part of the show warming-up the audience, when they sit down here to a slap-up meal they’re already part of the building and have started to switch off from their troubles in the outside world.”

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Long before Brick Lane became as famous as Park Lane and the fashionable magnet it is today, Brick Lane Music Hall was happily drawing audiences from all over the world and attracting rave reviews in the press. And before long, the big stars were not only in the audience watching the shows but appearing on stage alongside Vincent as Chairman, who would introduce regular favourites such as Peter John and Julia Sutton, top artists from the Players Theatre and local drag queen Dockyard Doris - a gaudy East End drag character created by Colin Devereaux, the former cleaner at the Lord Hood. Most notably, audiences flocked to see national treasure Barbara Windsor and the legendary Danny La Rue. “I never intended to have star names appearing at Brick Lane. We were never star-struck. But after a while, things weren’t as easy as I first thought – it was often just a man and a stick trying to keep the wheel spinning! Just when it was getting really tough I had a call out of the blue from Danny La Rue who offered to come and do a show. Of course, he got huge audiences and then Barbara Windsor, who was doing her Marie Lloyd act in music hall shows up and down the country, had a sellout run with us, which not only changed the fortunes of the Music Hall but turned her career in a completely new direction. “At Brick Lane, Barbara’s second half appearance was a question and answer session with the audience. Someone asked, ‘You’ve done so much in show business, is there anything else you’d like to do?’ She replied that she’d love to be on television again, ‘but in a soap like EastEnders’. The entire audience obviously thought it was a good idea and erupted in affirmation - and a BBC casting director was there to hear it. The rest is history!” Dora Bryan, Ted Rogers, Ruby Murray, Su Pollard, Ruth Madoc, Felix Bowness, Rose Marie… the list of stars queuing up to tread the Brick Lane Music Hall boards appeared to be never-ending. “They all loved it because it took them back to their own performing roots,” Vincent recalls. And he reminds me that Allan Roberts’ links with politicians remained alive: “Michael Foot even held is 70th birthday there. I’ll never forget him getting up on stage to sing the ‘Red Flag’.” Inevitably, Vincent’s landlord recognised the sweet smell of success and decided to hike the rent. But instead of laying down and coughing up, in March 1996 Vincent packed up the Music Hall lock, stock and beer barrels and moved to another long-unused industrial premises – a 10,000 square ft former button factory at Curtain Road in Shoreditch – where he did it all again, re-opening just six months later. “So many people wanted to come that we had three opening nights with Danny and Barbara.” Predictably, history repeated itself and the rent soared beyond belief, so in March 2001 Vincent put the entire Music Hall into storage and, undaunted as ever, set about finding Brick Lane Music Hall III. “Both times I had no choice but to move. The bottom line was property values. Because I enhanced the areas we were in, the rents simply rocketed. People were coming along to have a fun night out but greedy landlords never see any of that.” Vincent’s search for new premises ended in 2003, when Newham Council offered him a much more secure tenure at St Mark’s Church in Silvertown, with its gorgeous Gothic brick exterior and glorious interior. For all-round music hall coolness it’s certainly the right building in the right spot – the new East End emerging from the old Royal Docks area. Now a Grade II listed building, St Mark’s was consecrated by the Bishop of London in August 1862 but by the 1970s it had fallen into disrepair after a fire had gutted it. When Vincent took it over, the Council had restored the structure but the first thing he did before any boxes were unpacked and before any paint brushes touched the walls was to stand on an empty chair in the middle of the knave. “It’s my way of working out how an empty space will work best for the performers and the audience. I did exactly the same at the other two theatres. I stand on a chair and imagine the audience – see them in my mind as living, breathing people – and sing out loud. I probably look slightly mad, but when the sound feels right I can tell

where the stage should be and where everything else in the theatre should go. “In a way, St Mark’s being a church, you knew where the stage should go because the architecture all points that way. But I still went through the ritual. It’s my way of tuning in to the place before anyone else sets foot in it. I guess it’s instinctive – like my style of comedy, it feels natural.” Clearly enjoying a new sense of permanence in Silvertown, Vincent reflects that he also feels a real sense of achievement. “We all feel as if we have turned into a new era. But I have to admit that it took me a long time to get over the move to St Mark’s. We transformed the interior and built an entire theatre within the shell and yet it’s only in the last 18 months that it’s really come good and I feel I can sit down and relax. Driving to work the other day I had to stop when I turned into North Woolwich Road and saw all the coaches lined up outside from places as far away as Lincolnshire and Brighton. I just looked and thought ‘well done’. Still, looking back over the years I can always tell myself I was never beaten, I never quit and it’s all been done without any public money – no hand in the public purse, Arts Council grants or Lottery money here!” But, being Vincent Hayes, none of this means that Brick Lane Music Hall is standing still. Under the guidance of director/choreographer Ian Adams, the shows have moved away from the old music hall bill format towards fresh new devised shows with contemporary songs and a title – and they’ve proved to be hugely successful, with bookings stretching into 2013 and groups and coach parties from all points of the compass eagerly looking forward to shows like Give My Regards to Broadway, All At Sea, Roy Hudd’s Big Birthday Bash, Welcome to the London Palladium and Welcome to the Sixties, which sees the return of The Bachelors – the original Irish boy band. The theatre also has a license to hold weddings and civil partnership ceremonies and Vincent is clearly thrilled that BBC Radio 4 recently chose the Music Hall for a live Any Questions? broadcast. “The main thing is to keep reinvesting in the productions, the scenery, costumes, lighting and sound, and the kitchens too – all the enhancements that give the place even more wow factor.

“When you enter any church it stops your breath for a bit because you are outside the turmoil of daily life. Well I think it’s the same entering our theatre – you know you’ve stepped out of every day life and for the next few hours time will stand still. It’s a rarity today when everyone is in such a rush. You see people come in here with lots of angst and go out with a big spring in their step. “Our job is to put people at ease and treat them as our friends. That philosophy seeps all the way through to every member of our staff, some of whom have been with us since the very early days of the original Brick Lane Music Hall. I am appalled when I go to so many other venues where there is a lack of concern, where you’d think they were doing you a favour to let you in.” Vincent is especially proud of the Music Hall’s ever expanding community connections – from the refurbishment of the war memorial in the car park and the schools workshops programme to the outside shows the Music Hall takes to care centres, residential homes and hospices across the country. “What we do in schools makes a real difference to those kids’ lives. When we take shows to residential homes the music involves people in ways that often the spoken word can’t. And when relatives see loved ones actively participating and joining in they witness a transformation – the personality comes back. Music stays in the brain long after the words have gone. Why wouldn’t you want to do something like that? It’s magic.” Finally, I remind Vincent that he has not only brought three theatres into being since the Lord Hood days, he’s also brought up two beautiful daughters, Erin now aged 23, and Lucy, aged 15. Vincent reminds me that Erin was born on a Sunday afternoon in October while lunch was being served at the Lord Hood. “Four days later we had a music hall bill and the entire audience called out to see her,” he recalls. “I went upstairs brought her down and they carefully passed this tiny baby from one to another all around the room then back up to me on stage, where I sang ‘If You Were the Only Girl in the World’. What a night to remember.” Roger Foss is a West End theatre critic and journalist. You can hear him talking theatre every week on The Steve Allen Show on LBC97.3.

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BRICK LANE MUSIC HALL Brick Lane Music Hall was the brainchild of Vincent Hayes, comedian and impresario, who had been inspired by the popularity of music hall when he ran The Lord Hood public house in East London. Audiences flocked to see Vincent and his band of music hall artists performing on an impromptu stage made from beer crates. Vincent resolved to bring music hall-style entertainment to a wider audience and in 1992 opened Brick Lane Music Hall, in the former Truman’s Brewery building in London’s famous Brick Lane, from where it takes its name. After a move to larger premises in Curtain Road, Shoreditch, Brick Lane Music Hall has finally settled in Silvertown, in the Royal Docks area of London, next to City Airport. This is a fast-changing area, where the music hall has been embraced with open arms by the local community. The building where the Music Hall is now housed is the former church of St Mark’s, built in the 1870’s by Samuel Teulon, the acclaimed French architect. The building is of historic interest for its unique gothic brick exterior and the grace of its interior design. Having been deconsecrated in the 1980’s the building could have been destroyed by fire, had it not been for the weight of pigeon-muck on the roof, which fell and quickly extinguished the flames! The building was carefully restored but then remained empty for many years before being offered as a distinguished home for Brick Lane Music Hall. A Grade II listed building, the exterior remains largely unchanged, while the interior has been tastefully refurbished to retain all of its former character, whilst housing a full stage, lighting and sound, a bar, offices and kitchen and all the conveniences of a modern-day theatre. Audiences are seated at tables in a cabaret-style arrangement. Evening audiences are treated to a three-course dinner before the show, afternoon audiences are served a full afternoon tea during the interval. Vincent leads most of the shows, with many of the artists who appeared at The Lord Hood, together with new performers, some from local colleges, and other experienced performers who come to enjoy the special atmosphere of Brick Lane Music Hall, where every show is unique and laughter is always top of the bill. Having appeared at the music hall, now the only dedicated music hall in the country, Roy Hudd held a ‘big bash’ at the theatre for his 70th birthday. He later wrote, “It was the perfect place for my family and friends. You will be guaranteed an electric atmosphere, terrific nosh and a great show.” (Yours, 12.9.2006) Once again, the former St Mark’s church building is serving the community. Many people who were married or christened in the building now come to our shows! Brick Lane Music Hall is involved in workshops for schools, as well as taking shows to community centres, care homes and hospices throughout the East End. The theatre has a licence to hold weddings and civil partnership

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ceremonies, which take place in the full glory of this unique setting. We are also proud to host a memorial event on Remembrance Sunday attended by the local British Legion and friends. Brick Lane Music Hall, 443 North Woolwich Road, Silvertown, E16 2DA www.bricklanemusichall.co.uk

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BOB HAYWARD RETIRES After 30 years of service as Treasurer (and a few more as committee member) of Sway Drama Club, Bob Hayward has retired. John Petroff paid tribute to Bob’s exceptional committment. Bob, we could not let you leave the Committee after so many years of service without saying a few words. Firstly on the behalf of the Committee I would like to thank you for your invaluable service to Sway Drama Club for over 30 years and as Treasurer for exactly 30 years. Bob, you have shown so much support for the Club and its members over these years and one thing I remember in particular, when I first joined the club about 25 years ago, was how you approached me and made me feel so welcome. I have since noticed that you always make a point of speaking to new members to welcome them and this is so much appreciated by them as they instantly feel at home and say what a friendly club Sway Drama Club is! In addition to your role as Treasurer, Bob, you are a very talented actor yourself and your finest hour being your portrayal of Worzel in Worzel Gummidge back in 1988. “Worzel” was probably one of the most successful shows which Sway has ever produced, expertly directed by Barry Rickman. You deserve much credit for always turning up to help with set construction and scene painting for every production, even when you are not actually taking part in a show yourself and you are usually one of the first on the scene the morning after a show finishes to assist with striking the set and the clearing up! Bob, together with Phil (his wife), you have been most generous in allowing club members to use your home for rehearsals and committee meetings on numerous occasions which has assisted in keeping production costs to a minimum. Finally I would also like to thank Bob for keeping past productions at the fore-front of our memories by producing an excellent archive of photographs and past programmes which are fascinating for club members to view. It only remains for me to say a very big thank-you to Bob for everything you have done for Sway Drama Club over the years and we hope we shall continue to see you both on the stage and off in many productions yet to come!

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47 28/03/2011 12:21:32

SHOW REPORTS EAST Phillip Hall. district no. 1 Barcombe Players

Robin Hood and the Crown of England Director & Author: Liz Mills Barcombe Village Hall 10 February 2011 Three years since the last pantomime in Barcombe. It’s too long! Liz Mills, author and director of this lively production overcame, to a very large extent, the limitations of such a small stage. The principals were all well cast, each giving of their very best and endearing themselves to their audience. An excellent Dame in the best traditions of the role, took command of the stage and dazzled with an array of dresses. All of the costumes were excellent; the basic scenery was perfectly adequate and the duet of musicians worked well throughout the performance. A panto without a chorus of children is unusual, but it worked. Adur Theatre Company

Young Sherlock Holmes & the Case of Dick Whittington’s Cat Directors: Julian Batstone & Mark Hall Musical Director: Mark Hall Choreographers: Sarah Frost, Mark Hall & Jenny Milner The Shoreham Centre 14 January 2011 A novel twist to the traditional tale had little effect on the story-line. The strong cast included the young Sherlock Holmes and his trusty assistant Velma Whitsun. All the principals were of the highest quality with some admirable singing. Excellent costumes added colour and the stage effects - particularly during the storm at sea were very good. The music was most efficiently provided by Mark Hall and his band, who joined in with the spirit of the evening. A well drilled and animated chorus were certainly more than just stage-dressing and how the audience loved those ‘Junior Dancers’! Plumpton Pantomime Society

Sleeping Beauty Director: Tom Dubber Music Co-ordinator: Jo Taylor Choreographers: Jo Thomas & Tom Dubber Plumpton Village Hall 21 January 2011 Described by one member of the audience as ‘more a musical than a pantomime’, this was certainly different. All the usual characters were present and all the cast filled their roles admirably. The quality of the singing – notably the chorus numbers – was extremely high and the choreography quite splendid. All the sets were excellent and the costumes remarkably good and colourful. For a first attempt at direction by Tom Dubber, this was little short of a triumph. With a named cast of 10 principals; an adult chorus of 27; 6 tiny dancers and 16 junior dancers, he certainly succeeded in bringing a relatively small village hall stage to life. Wick Theatre Company

Maskerade Director: Anna Quick Barn Theatre, Southwick 11 December 2010 Anna Quick is to be congratulated on a most successful production of this excursion to Terry Pratchett’s ‘Discworld’. The convoluted plot, with a host of characters, was very cleverly directed. The programme notes refer to 31 scenes, 26 actors and over 200 technical cues. This is a challenge only to be accepted by an experienced company with total confidence in their

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Director. The anything-but-straightforward dialogue was very clearly delivered and changes of scene neatly executed. True to the very best performances of Terry Pratchett’s fantasy world, this was fun! Henfield Theatre Company

The Pompeii Panto Director: Kevin Locke Musical Director: Mike Ainscough Choreographer: Susan Locke Henfield Hall 7 January 2011 An evening of fun in the Forum. A non-traditional pantomime, but with all the traditional characters masquerading under pseudo-Roman names. Kevin Locke succeeded in presenting a most entertaining show, calling for all the usual audience involvement. The overall presentation was excellent with good costumes and excellent, manageable scenery. The chorus work was most impressive with the juniors well coached and thoroughly enjoying themselves. The band was splendid and enjoyed the show just as much as the audience. The principals were, without exception, well up to their tasks and Tony Westwood as the Dame played his pivotal role with great confidence and skill. Haywards Heath Operatic Society

The Wizard of Oz Director: Rebecca Dowden Musical Director: Michael Hinton Choreographer: Hannah Pavey Clair Hall, Haywards Heath 29 October 2010 Here we had all that could be desired from this everpopular show. A strong line-up of principals and an army of well coached chorus children in the form of bugs, crows, tough guys, Winkies etc. gave the audience their all. The orchestra was admirably sympathetic to all the soloists. The scenery, augmented by projected effects, worked well and the make-up department can be well pleased with a staggeringly alarming wicked witch. Lizzie Jay, as Dorothy, gave a faultless performance, while Tinman, Lion and Scarecrow succeeded in providing all the customary comedy. The costume team worked miracles!

A much reduced orchestra was superb in its support of an extraordinarily talented cast. The six would-be Chippendales were ideally cast and gave faultless performances. The wives of the three married men were perfectly suited to their roles and Jeanette, the colourful accompanist, was a joy. The singing and choreography were of the highest standard and every ounce of the comedy content was played to maximum effect. What a night out this was! Henfield Theatre Company

My Boy Jack Director: Jane Haines Henfield Hall 15 October 2010 Henfield Theatre Company maintained their usual very high standards with this production of the now wellknown story of the loss of Rudyard Kipling’s son in the Great War. Ken Jones, as Kipling, gave a splendid performance leading a talented cast in an admirable production. The quality of the sets, including the drawing room at Batemans and a western front trench, can only be described as outstanding. So often one sees instances where someone is cast in a role to which they are simply not suited. In this production everyone was perfect for their role and Jane Haines is to be congratulated on both her choices and her direction. Brighton Theatre Group Youth

Footloose Director: Paul Collin Vocal Directors: Wendy & Charlotte Fane Choreographer: Jodie Harrop Roedean School Theatre 27 October 2010

Scenes from a Life

Brighton Theatre Group is a highly competent company and their youth section has a remarkable selection of surprisingly experienced performers, all under twenty years of age. This was a sparkling production, with excellent choreography; admirable characterisation and good quality music. Scenery, lighting and costumes were well up to standard and and the ‘band’ was sympathetic at all times. Considerable credit must be given to the management team of this group, led by Chairman, Keith Shepherd, who assemble, coach and encourage something approaching 60 energetic and talented youngsters from the local community. The results of their dedication are of the highest standard.

Director: Author and Director: Helen Halliday Maresfield Village Hall 30 October 2010

Wick Theatre Company

Maresfield Millenium Players

This is the story – almost the history – of a family, starting with the outbreak of war in 1939. Births, deaths, marriages, separations, stresses, strains and tragedies. Occasionally the narrative flashes back, risking confusion for those in the audience, who may not have read the author’s programme notes. Nonetheless, this form of construction was most effective. The large cast was excellent and handled every change of the family’s fortunes very sensitively. There were no stars; just good performances by all the cast, which was comprised of all ages. I consider it to have been a privilege to have been present at a premier directed by the author.

Don’t Look Now Director: Bob Ryder Barn Theatre, Southwick 30 September 2010 A difficult play to stage, as so much of the atmosphere needs to be created by the set. The two leading characters were particularly well played by Guy Steddon and Hazel Starns, who bore the brunt of the action. The two sisters - one with psychic powers - created the atmosphere of tension and the vision of the deceased daughter of the leading couple was cleverly presented. The lighting of the whole was good, particularly for the final action. The minor roles were well played with well maintained Italian accents.

Brighton Theatre Group

The Full Monty Director: Michael Burnie Musical Director: Jules Porreca Choreographer: Nathan Potter Theatre Royal, Brighton 25 November 2010 Yet another remarkably fine production from BTG. Like all of their shows, this was truly worthy of the venue.

Pied Piper Productions

Footloose Director: Bill Kirwan Musical Director: Michael Hinton Choreographer: Janis McLean The Hawth, Crawley 25 September 2010 This is an entertaining - though predictable – story-line

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and Pied Piper did it so well. A really strong cast was led by Rhys Whiteside and Debbie McLean as Ren and Ariel. This is a company rich in talent and Footloose is a show giving opportunities to many. There were no weaknesses here. A multitude of scene changes were handled with considerable skill. The direction was slick and the choreography good without being over-played, which must be a temptation for the production team in such a show. It was a most enjoyable evening deserving of far better houses. Crawley people don’t know what they’re missing. Newick Youth Theatre

Dracula - The Final Countdown Director: Tom Ware Newick Village Hall 27 August 2010 In their first performance entirely directed and staged as a youth group and their last before becoming completely independent of their parent society, the youngsters gave a splendid performance. The Director, cast, stage crew and all those involved in set design & construction, costumes, make-up, lighting and props were under the age of 21; what a joy! Not faultless, of course, but very, very good! The audience was given plenty of laughs and each scene was warmly applauded. Tom Ware is to be congratulated on pulling together and inspiring a cast with so much potential. Wick Theatre Company

Art Director: John Garland Barn Theatre Southwick 13 August 2010 Yet another excellent production by Wick. A very talented cast of three gave their audiences a most entertaining evening. Performed in the round, all the atmosphere of stress between three long-term friends nearly torn apart by one’s purchase of an exorbitantly expensive piece of modern art was remarkably well conveyed. The piece of art is really not the issue; what matters is the strength of the friendship and all the tensions were splendidly expressed. The Director made excellent use of the arena and the technical aspects could not have been bettered.

Brenda Gower No. 2 Noda South East Willingdon Church Players Treasure Island Directors: Mike Barber & Babs Owen Willingdon Village Hall 27th January 2011 This was a true Church/Village pantomime. Great fun throughout and obvious that the cast were well known to most of the audience which always makes for a good rapport. There were a few occasions of forgotten lines but what better way of getting a prompt than by physically going over to the prompt corner and asking for the line, causing great hilarity amongst the audience! There were lots of good panto characterisations, with Mike Barber playing Long John Silver in typical piratical fashion and directing the show as well. There was great comedy from the duo of Billy Brass and Nicky Knuckles – played extremely well in great knockabout fashion by Liam Avery and Luke Martin and Chris Tucknott was a lovely, slightly dotty, Fairy Godmother. Polly the Parrot was a laconic bird played with all the right movements

by Pam Martin and the whole cast made sure that the evening was Fun with a capital F. Seaford Musical Theatre

Dick Whittington & His Cat Director & Musical Director: Sue Burton Asst Director: Angie James Barn Theatre Seaford 29th January 2011 (Matinee) This was a very enjoyable Panto with all the right ingredients – lots of fun and a cast who were obviously enjoying themselves. All the characters were very well portrayed in true Panto fashion with the good and bad part of the proceedings played by Sharon Turnbell as the jolly Fairy Bow Bells and Sue James as a very elegant Queen Rat. Lee Johnson was every inch the Dame and Steve Llewellyn was Idle Jack (not unlike Del Boy) and the whole cast acted, sang and moved very well indeed on this small stage which never seemed crowded. Excellent scenery and costumes and the programme was well designed and contained some really interesting information about the original Richard Whittington. Many thanks to all concerned for cheering up a miserable winter with their Panto expertise. The Haven Players Mother Goose Director: Carol Noble Stonecross Village Hall 29th January 2011 There were lots of opportunities for over the top panto acting which were taken by everyone in the cast and particular mention must be made of Mother Goose herself, played with riotous good fun by Douglas Dalziel who looked wonderful in all his costumes. The scenery was very well designed and good use was always made of the small acting area. The costumes were lovely – so colourful and all those responsible for set design and wardrobe must have been very pleased with the result of their hard work. The Villagers and Citizens of Gooseland gave great value with their singing and movement and there were some really great dance routines by Amy Baker and Mo Munday. Many thanks to Carol Noble and her team for brightening up the end of January. Seaford Musical Theatre

Come to the Music Hall Director: Graham Tubb Musical Director: Sue Burton 23rd September 2010 Barn Theatre Seaford This was a Music Hall with a difference, travelling from London in the First Act to New York in the second half of the show. The important role of Chairman was carried out very well indeed and the interplay between him and his ?!niece?! in the first half was great fun. The programme gave details of the music hall stars who were portrayed and all those playing the parts entered into all they did with gusto with the chorus as an excellent backing. There was a very attractive stage setting for both countries and thanks to the Wardrobe Team, the whole cast looked just as they should. The Tip Top Tappers added another dimension to the evening and all are to be congratulated in bringing alive the Golden Old Days of the Music Hall. The Haven Players

Accidental Death of an Anarchist Director: Godfrey Forder 25th September 2010 Stonecross Village Hall The true story of the death (suicide or the result of overly harsh police interrogation?) of a railway worker seems an unlikely basis for a hilarious comedy but Dario Fo managed to do just this in his play written in 1970, dealing with police corruption and suspicions regarding the Italian Government’s collusion in this corruption. His use of comedic methods, including that of commedia dell-arte certainly makes for an amazingly comic evening

with underlying thought provocation. A very interesting set in the round was used which worked extremely well and Dario Fo must have known that Nick Moon would be around in 2010 to play Maniac as this part was surely written for him! He was rarely ever still, leaping around in true maniacal style and commanding every situation with his stage presence and comic mastery. The Political Branch Policemen were characterised by four actors who tackled these parts with extreme expertise, as did the rest of the cast in their roles. This was a truly memorable evening. Lewes Operatic Society

The Boyfriend by Sandy Wilson Director: Libby Hannelle Musical Director: Michael Hinton 2nd October 2010 Lewes Town Hall Playing in the round was a first for this Company – I had reservations when I saw the size of the playing area – maybe it could have been a little smaller but it worked well and the cast had obviously adapted to it. The characters in this show have to be played “over the top” and the talented cast certainly managed this with Alison King as Hortense, the very French maid, being pert and pretty and always on hand to help the true course of love. All the Young Ladies looked charming and posed as they should – lovely characterisations from them all. The young men were all in good voice and were very athletic. The rest of the cast added to the charm of the piece and it was enjoyable to watch the faces of the audience who were also thoroughly enjoying themselves – something you can’t do when watching a show performed traditionally on stage. Well done to everyone. Barcombe Players’ Youth Group

Bully – A Musical by Jo Sands & Ruth Kenward Direction & Production: Lisa Phillips & Corinne Holden Choreography: Karen Osborne & members of the cast 23rd October 2010 Barcombe Village Hall This certainly was a musical with a message with a large cast which included some excellent singing voices and good actors who put over the message of how to overcome bullying and what was very often the root cause of it. The whole cast worked very well together and those responsible for the production must be congratulated for putting on such a musical in a short space of time. The inventive set was well designed and I was very impressed by the sound – it was never too loud for the young voices. I understand that this was probably the last production to be put on at the old Village Hall and I wish everyone all the best for future performances in the new Hall. Young EODS

Peter Pan Director: Jade Powers Musical Director: Simon Pickering Devonshire Park Theatre Eastbourne 27th October 2010 This was a truly magical evening, with Young EODS taking us through this musical version by Piers ChaterRobinson of the well known story of Peter Pan and the Lost Boys in excellent fashion, directed so professionally by Jade Powers. There were lovely performances from all the principals with Peter himself (Bethany-Terri Baulcombe) being flown beautifully and she certainly brought out every nuance of this complex character. The teams of Lost Boys and Pirates, all of whom brought to the story their own individual characters, were great fun and the dancers and those in the chorus added greatly to the fun. Just one criticism – the orchestra , who played exceedingly well, were somewhat loud for some of the young voices. All the effects worked well and congratulations to all involved, on stage or behind the scenes.

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The Hastleons Bugsy Malone Director: Shaun Taberer Choreographer: Medhi Hamed Silver Musical Director: Alex Hohenkerk White Rock Pavilion Hastings 13th November 2010 Another excellent production from this Company. Previous Bugsy’s I’ve seen have used really young people, as in the film, but I think the idea of using a slightly older cast for the principal parts really worked. All the characters came over extremely well with the gang members from both sides giving a lot of entertainment. The movement and dancing from everyone was lively and well worth watching. Lots of fun as well with the splurge guns and custard pies! There were lots of lovely little cameo parts and they all added a great deal to the production as did all those involved in the chorus. The orchestra was exceedingly good – never too loud for these young voices. Congratulations to all involved in putting on this challenging production which brought such fun to Hastleon audiences. Eastbourne Operatic & Dramatic Society

Happy as a Sandbag Director: Jackie Osborn Choreographers: Tracy Watton & Val Quanstrom Devonshire Park Theatre Eastbourne 20th November 20210 This review was a good choice for EODS during the 70th anniversary year of the start of the Blitz, the Battle of Britain and the Dunkirk evacuations and the twenty three strong cast took us through the war years in style. The movement and chorus singing were excellent, although some of the soloists were rather quite. There were some excellent imitations of well known wartime characters but I guess that some of the younger audience members may have been rather puzzled by the appearance of the Radio Doctor and particularly “Jane” the wartime spy who always managed to lose her clothes, appearing in her underwear! There were excellent projections on to the screen which told the story in some wonderful pictures. A very innovative ending with the cast holding blocks which spelt wartime slogans and right at the end, their names. The courage and humour of the British folk who lived in those immensely troubled times were well portrayed by those on stage and all was skilfully brought together by Director Jackie Osborn and her team. Underground Productions

Alan Ayckbourn’s Confusions Director: Tracy Fotheringham 27th November 2010 Hampden Park Communiy Centre Eastbourne Initially, I thought I was going to be confused but with a little judicial note taking during the proceedings, I think I managed to work out who was who in each play! There were five playlets altogether and most of the cast were in all of them. The evening started with “Mother Figure” with Dee Sharpe giving a super performance as Lucy, the undisputed mother figure. This was followed by “Drinking Companions” in which Harry (played by Martin Sales) tried to inveigle two young ladies into his room. The next one was “Between Mouthfuls” with two couples having dinner in a restaurant, waited on by Liam Avery who had to put up with quite a lot from these two warring couples. “A Talk in the Park” followed – a fascinating piece with all five characters wanting their own space – a very clever piece of writing. “Gosforth’s Fete” finished the evening off in style, all those involved playing their parts with conviction and causing much hilarity. The simple sets were ideal and the Director and cast must have worked hard to bring the whole thing to fruition.

Uptown Players

Cindyrella 5th December 2009.

Writer & Director: Rob Kemp

Rob Kemp must have been very pleased with the results of all his hard work, together with that of Paula Kemp, Co-Director, in this updating of that well loved fairy tale. All those taking part as pupils and staff of this 1950’s High School worked very well together, the pupils being divided into the T-Bones and the Pink Chickens. This was a very entertaining production and made a change from traditional panto. Well done to all at Uptown, both those on stage and all those working hard behind the scenes.

with props well matched. First class performances came from Richard Bruce as Blackadder, Adam Lewis-Plant a most disgusting Baldrick and Heather Lewis-Plant as Queen Elizabeth. All other members of the cast created great characters. Fast pace was kept up throughout the huge amount of script, with excellent stage direction from Martin Elson. Between Act II and III an enjoyable supper was served - what a wonderful way to enjoy an evening of good theatre. Benenden Players

Disney’s Beauty & The Beast Directed and Choreographed by Victoria Campbell Musical Director Graham Beveridge Benenden Village Hall 5th February 2011

Meeching Amateur Dramatics

Saucy Jack and the Space Vixens Director: Daniel Chandler Meeching Hall Newhaven 22nd January 2011 MAD certainly lived up to their name with this production but in being brave as well, produced something so different that I’m sure Newhaven audiences will be talking about their visit to Meeching Hall in January 2011 for a long time to come. We were transported directly to Saucy Jack’s on Planet Frottage 111 as soon as we entered the hall with its Sleazy Bar and cafe setting and the whole thing started with a provocative solo space dance. After that we knew this was going to be a Space Murder Mystery with almost a touch of panto with both good and evil taking their parts. Great performances from the whole cast with Saucy Jack himself (played by Jim Harvey) giving a wonderful piece of acting – charismatic and alluring as well as being thoroughly evil. The Space Vixens with Josie Hobbs as their leader playing Jubilee Climax with great strength all acted their socks (or do I mean their golden boots?!) off. Interesting recorded music and although this is not a singing group, they all did extremely well to sing with such complicated musical rhythms. Some members of the audience may have been a little shocked at some of the content but I have to say that I thoroughly enjoyed it, to the extent of getting up and dancing at the end!

Anne Lawson. District No 3 Wadhurst Dramatic Club

Blackadder II Producer: Martin Elson Wadhurst Commemoration Hall 4 February 2011 Written and first viewed in 1986 this is a very popular comedy, set between 1558 and 1603, which in all honesty was never one of my favourites. However, WDC proved me totally wrong. The three Acts ‘Head’, ‘Potato’ and ‘Beer’ were the funniest I’ve seen for many a day. Full of fun, frolic and bawdy innuendo. A brilliant Tudor set design from Adam Lewis-Plant, constructed by Colin Head and his team. Just the movement of hinged flats changed the setting from Blackadder’s residence to the Queen’s chamber and on board ship, most effective. Perfect costumes were expertly designed and created,

‘Tale as old as time’ – a magical extravaganza brought to realisation by Beneden Players. A huge project for a village with 100 cast and crew, two sets of children, two Belles, a 14 piece orchestra, 155 costumes not to mention hours of hard work from numerous members. The complicated score was overcome under the baton of Graham Beveridge, being the role of a dream come true. Delightful scenery was designed and constructed with many effects, all commendable. The enchanted objects beautifully made especially for Mrs Potts, who positively glided across the stage. A charming February Belle, Rosie Harvey sang faultlessly. Robert Blundell was an excellent swaggering (Elvis look-alike) Gaston, whilst Eddie Durrant played a convincing Beast. Hugh Clark excelled as Lumiere in ‘Be Our Guest’. The other enchanted objects were perfectly characterised. The little chefs in their reds and big hats, together with their cutlery were well drilled and enjoyed themselves. Special effects together with good sound and lighting culminated in a vision becoming reality. Rye Players

My Three Angels Director: Dilys Mayor 22nd January 2011

Rye Community Centre

The co-writers of this comedy, are better known for the musical Kiss Me Kate. The translation of a French play into a gentle captivating comedy set over Christmas 1910 in a tropical prison colony of Cayenne, French Guiana sets the scene. Timid, ineffectual shopkeeper Felix Dulay, portrayed by Bob Percival, waits anxiously for the arrival of cold-hearted owner Gaston Lemare (Allan Downend) together with his jilting nephew the love of Marie Louise Dulay’s life. Three convicts employed for roof repairs become unexpected guardian angels and together with some cooking of the books and a little help from Adolph the snake, deal with the situation! A great team effort produced a beautiful colonial setting with the cast suitably attired for the era. The contrasting convict trio Andy Godfrey, Paul Lewis and Martin Burke interacted well and kept the audience entertained with their antics. Young newcomer Holly Gurney excelled in her first role as Marie Louise, moving around the stage with ease and together with other strong cameo roles kept up a first class standard I have always seen with this group.

Wadhurst Dramatic Club - Blackadder II

SOUTH EAST

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Frant Pantomime & Dramatic Society

Aladdin the Pantomime by Alan P. Frayn Director: Jackie Manktelow Frant Memorial Hall 15 January 2011 With additional material by Bryan Darby, this was a jolly version of Aladdin with many topical funny lines, good music and plenty of audience participation, led by Mary Barnes, on the piano and ably directed and choreographed by Jackie Manktelow. Back drops and flats were beautifully painted, with a delightful cave scene plus an exciting day-glow magic carpet ride to Egypt. Steve Hemsley (Widow Twankey) excelled in his role, adorning many eye-catching costumes, from Val Dormady’s The Costume Place and together with Naomi Berwick the cast were well turned out. Maggi Baxter gave character to the makeup. Good sound and lighting with well timed special effects. Harriet Berwick (Aladdin) and Lysia Parsons (Princess Mandarin) were perfectly paired giving each other confidence and strength. Supportive throughout was Alan Richardson (Wishee Washee) making a strong connection with the audience. Two outstanding stooges, Richard Pierce (Wong) and Josh Lowe (Pong) the Chinese policemen, kept up a cracking pace and Toby Champneys played a strong Abanazar to boo at. Lively chorus work concluding with a rousing finale. Catsfield Amateur Dramatic Society

The Lost Land of Narkurs – a Pantomime by Tony Bowditch & Kim Byles Director: Vanessa Francis Catsfield Village Hall 21 January 2011 Narkurs is a Cornish village and Knockers live down the mine, guiding miners to the good seams in return for a pasty! The villain of the piece potion maker Linton Laxative, puts the villagers to sleep for ten years at a time in the hopes that the lovely Lizzie Francis (Loveday) will marry him. Vanessa Francis again competently directed, writing some excellent alternative lyrics to popular themes and also partook as a villager. With the help of brilliant Fairy Bright, cheekily played by Rachel Wheeler (and of course the audience) an hilarious adventure with Jim, thigh slapping principal boy Jessie Francis, Dame Lucy Lastic, (George Brunger) full of wickedly wonderful innuendo and son Denzil, convincing dastardly Linton Laxative (John Fowle), two comic cross dressing stooges and Rocky the monster are overcome. The village comes alive, Jim finds his Loveday and with a bit of jiggery pokery all ends happily. CADS again produced an extremely polished, pacy show, with incredibly good scenery, fun effects and excellent costumes. ‘Down the Mine’ with Tracy Hickman and Jane Overall added further amusement and made a lovely pair of Knockers. The back stage boys, sound and lighting team plus those in the kitchen again made for a good happy community occasion. Tenterden ODS

Well, That’s Life A New Comedy Revue compiled and directed by Fabian Worsfield The Sinden Theatre 29th January 2011 Over the years Fabian Worsfield has directed many comedy revues and has collated a library of sketches, from the cradle ‘Christopher Robin’, into old age ‘When I’m 64’. Looking at the various stages of life with a talented cast of fourteen he narrated us through a most amusing evening of pure revue. Stage setting was minimal with static graffiti painted back flats, clever use of lighting, the characters interchanged furniture and a huge collection of perfect props. Occasionally, the pace was a little slow and the number of sketches too many, but overall this was a slick operation. Colourful costumes were well in keeping with the numerous different characters. Excellent accents held throughout which were many and varied. Gillian Davis, Susan Worsfield, Fraser Johnston and Tim Fagg were outstanding, but the

whole team must also take credit. Singing was strong led by newcomer Carla Ovenden on keyboard and Heather Leslie kept the cast on their toes. The Sinden Theatre is a venue to be complimented.

the various princesses was particularly well executed, and although some scene changes and dialogue were laboured at times, BLOGs had a good opening night. South East Opera

Stonegate Amateur Dramatic Society

Pack of Lies by Hugh Whitemore Director: Susan Bowie Producer: Sarah Gibbs Stonegate Village Hall 27th November 2010 An amazing interior designed by Brian Saunders, meticulously furnished, based on a true story. A stranger arrives at the suburban Jackson household to uncover the possibility that their Canadian neighbours are Russian spies! With initial disbelief, tension rises. Mary Alderton who completely mastered Barbara Jackson to breaking point, gave a first class performance, with Graeme Walker sympathetic husband and teenager Julie, naturally played by newcomer Becky Wilkinson. The Krogers, well cast and together with David Chaplin, perfecting government agent Stewart, we discover the truth. Superbly directed, this production had you on the edge of your seat with a touching outcome.

Puccini’s La Boheme sung in English Musical Director: Kenneth Roberts with the Sussex Concert Orchestra White Rock Theatre Hastings 5th November 2010 Arguably the most beautiful opera written, set in 19th century Paris, telling a story of the hand to mouth existence of four impoverished students. In fine voice tenor Ian Parrett, poet Rodolfo, baritones Peter Grevatt, Marcello the painter, Barnaby Beer, Colline the philosopher and Nick George Schaunard the musician. Soprano Fleur Bray, ailing Mimi with Rosie Bell vivacious grisette Musetta blended perfectly and together with the men, perfected sometime fun or great emotion. Ken Roberts led the excellent 35 piece orchestra. Inspired direction, imaginative scenery, beautifully costumed chorus Lautrec caricatures together with colourful street parade made for a perfect night. Bexhill O & D Society

Egerton Players

Funny Girl Director: Elaine Graham Egerton Millennium Hall 26 November 2010 A semi-biographical musical told as a reflective flashback, set in and around New York just prior and following WW1, when Ziegfeld Follies star Fanny Brice awaits the return of gambler husband Nick Arnstein from prison. In the capable hands of director Elaine we were whisked through 21 scene changes accompanied by the first-class seven piece orchestra conducted by Neil Sharp. The huge role of Fanny confidently portrayed by Fiona Murch was supported by Andrew Traill (Nick Arnstien). Well cast cameo parts, including Helen Atkinson (Fanny’s mother) together with good all-round chorus, excellent costumes throughout, ensured a most enjoyable Funny Girl.

Jesus Christ Superstar Director: Bernard Simon Choreographer/Co Director:Sophia Lefevre Musical Director: Lorraine Barry De la Warr Pavilion Bexhill-on-Sea 19 November 2010 The third collaboration of Lloyd Webber and Rice, a rock opera based on the last seven days of Jesus, resigning himself to inevitable death. The large audience, rocked with the sound of an eleven piece band. Pit singers supported chorus and dancers. Very strong individual performances from Kitson Willard (Judas), Kenny Giles (Jesus), Lesley Davis an emotional (Mary), a striking Richard Lock (Pilate), with Rick Baker adding a touch of comedy as Herod scantily attired, with incredible eyemake up. Particularly menacing were the five priests. A static set using a series of steps, well designed effects, lighting and sound throughout.

Tenterden ODS

Hay Fever by Noel Coward Director: Fabian Worsfield Tenterden Town Hall 29th October 2010 Coward’s creation of a totally dysfunctional 1920’s ‘Bliss’ family – ageing actress, novelist husband and their two children each inviting unlikely guests to their county home without prior consultation which leads to a weekend of delightful mayhem. Attractive garden room set designed, built, painted and well dressed by members. Fabian Worsfield successfully directed nine well balanced actors through flowing dialogue incorporating plenty of chaotic business. Outstanding both in appearance and performance was Gillian Davis (Judith Bliss). Credit to newcomers Fraser Johnston and Dominic Boulding with good other performances, together with Barbara Gray in her element as the singing housekeeper Clara. Battle Light Opera Group

Kismet Directors/Choreographers: Natalie Rogers and SherriAnn Fido Musical Director: Jenny Dudgeon Battle Memorial Hall 11th November 2010 Arabian nights, villains, love and deception. Borodin’s music beautifully played. Superb colourful costumed belly-dancers. The penniless poet played by Adrian Collins tricked his way to riches. Keren Keeler-Moore performed a seductive wife of the evil Wazir, Peter Sparkes. Lovely Anya Williams sang superbly interpreting her role of Marsinah perfectly, falling for the attractive Caliph played by Mark Stevens, but the highlight was the quartet singing ‘And this is My Beloved’. Dancing of

Gordon Harris District No.5 GDS Productions

Oklahoma! Director: Gerald Flanagan MD: Brian Skinner Choreographer: Emma Hodge Hazlitt Theatre Maidstone

This Oklahoma was a very nice evenings entertainment at the Hazlitt, Gerry Flanagan’s slick directing and the Cast of young and old. Curly Glen Atkinson was excellent and looked and sang well. Marion Marshall as Aunt Ella got respect from the rest of the cast and Colin Moss’s menacing Jud was perfect. Brain Skinners Orchestra perfectly tuned and Emma Hodges choreography fitted to the period of this Oklahoma. A simplified set built by John Endicott worked for me. Well dome GDS. Woodlands Arts Theatre

I will sing Forever Director Various “I will sing forever” a concept piece by many groups in the Medway area in memoriam of Sahra Moss who was an inspiration to many singers and groups in the area for her singing and music teaching skills, also encouragement to many of her pupils.Medway groups coming together is a rarity these days, but this evening was filled with a variance of music fromOpera,Musical,Choral societies, giving us an entertaining evening of song and dance, dedicated to a talented and lovely lady,and raising money for her charity.

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Sylvia Blogg DISTRICT NO 6 Broadstairs Dickens Players

Love From a Stranger Director: Jane Danes Granville Theatre, Ramsgate 13th-16th October 2010 For their autumn production this talented company presented a psychological thriller by Agatha Christie, for which they were admirably suited. The sets were very good and the curtains opened to show a flat in Bayswater. No year was given in the programme to show when the drama was taking place, but delightful costumes and décor suggested the 1930’s. Hannah Wise, as Cecily Harrington brought out the various nuances of character of this vulnerable young woman who wanted a more interesting life than her present one. She acted the role with great sincerity and understanding. Laura Bolder played Mavis Wilson, Cecily’s friend and flatmate. Her acting was good and she spoke well, but at times she dropped her voice at the end of a sentence and the final word was lost. Chris Murray gave a splendid performance as Louise Garrard (Auntie LooLoo), a garrulous, overbearing female who nevertheless was amusing. The final feminine role Ethel, the maid, played by Sue Laverick was most convincing. Matthew Danes gave a most compelling performance as Bruce Lovell. He fully revealed the many facets of this complex character, from the confident, easy manner of a welltravelled cosmopolitan to the thoughts and actions of a psychological killer. Steven Todd as Nigel Lawrence, displayed convincingly his understandable anger at the attitude of his fiancé but was later shown to be a most sympathetic person. Michael Flagg was excellent in the comic role of Hodgson, the gardener. Peter Such gave a polished portrayal of Dr. Gribble. Throughout the play, pace, diction and projection were generally very good as were the stage-management and sound control. Congratulations to all concerned in this excellent production! Herne Bay Operatic Society

Pieces of Cole Director: Mary Hixson Musical Director: Pete Brown Choreographers: Patricia Ashtari, Alison McKenna and Paul Tracey The Playhouse, Whitstable 26th-30th October 2010 What a joy it was to sit in the comfortable Playhouse and listen to an abundance of wonderful Cole Porter melodies! This presentation was well directed with a variety of chorus entrances and exits. The one set was most attractive and suitably dressed for the period of the music. The company comprised ten ladies and six gentlemen and the groupings were so arranged that the discrepancy in numbers was well disguised and never obvious. Everything about this show, including the beautiful costumes displayed elegance and good taste, qualities greatly appreciated by Cole Porter. The highly accomplished band interpreted the brilliant score with expertise. The chorus sang with enthusiasm but in some of their numbers, the intonation was faulty. It is impossible to comment individually on every item, but there were several highlights. Cheryl Mumford displayed her versatile acting ability in “The Physician” and “I Hate Men”. She teamed up with Patricia Ashtari in an exciting interpretation of “Be a Clown” and with Bernadette Till in “Who Wants to Be a Millionaire”. Patricia Ashtari delighted the audience with her interpretation of “Begin the Beguine”. Ron Bell again showed his versatility in his various offerings, ranging from stylish and mellifluous presentations of “I’ve Got You Under My Skin” and “In the Still of the Night” to the humorous “Brush Up Your Shakespeare” with Paul Weston and “Well Did You Ever” with Paul Green. In a different style again, he sang “Now You Have Jazz”. The chorus number “Blow Gabriel Blow” from “Anything Goes” is always a show stopper and this performance was no exception. The show ended with

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the whole company giving a rousing chorus of “Anything Goes”. A glance at the list of members of the production team makes one realise the number of persons involved in presenting a show of this kind!

Doreen Grierson DISTRICT no. 7 The Sevenoaks Songook.

HY, CY! Director – Keith Neville. Plaza Suite, Stag Community , Arts Centre, Sevenoaks Musical Director – Andy Hall. Sunday, 5th September 2010 (4pm performance) Keith Neville, who devised and directed Hy, Cy! Must have been relieved how everything went as smoothly as it did after the trauma of the power cut and therefore no final rehearsal. The whole purpose of this show was to educate the audience about the life, times shows and music of Cy Coleman. Another remarkably courageously feat was to have put this production on with only four weeks rehearsal. This showed the strengths and dedication of his talented cast. Each and every one of them had to be an individual character which changed with each scene. I, for one, am a little bit wiser about Cy Coleman. So, Keith your ploy must have worked! Stag Theatre Company

LITTLE SHOP OF HORRORS Director – Chris Howland Stag Theatre, Sevenoaks Musical Director – David Grubb Choreography – Jess McEwen Thursday, 14th October 2010 This production would have been better placed in a smaller venue, as staging must have been a nightmare. The direction was simple but effective and the cast were excellent. Jamie Thomas capturing the unfortunate downtrodden Seymour. Lauren-Jean Reeves played the abused Audrey with humour and fragility. Don Short was faultless as Mushnik and Robert Grist squeezed every possible bit of humour from his role as the manic dentist Orin. Mary Whiting (Chiffon) Cathryn Short (Crystal) and Ruth Makepeace (Ronnette) were excellent in their vocal harmonies, adding energy with Jess McEwen’s choreography. David Waller was suitably menacing in Audrey 11’s demands. An enjoyable evening well received by the disappointingly small, but appreciative audience. Local Amateur Musical Players (LAMPS)

The play follows the exploits of three inept thieves who pose as Spanish noblemen in order to steal from an English aristocratic family, only to find that their true identity is known all along. Anouilh ( the writer) uses Carnival disguise as a metaphor for how people hide their true selves to appear something they are not. A lone clarinet is played throughout, reminiscent of silent movies, to connect scenes or bridge the passage of time. Comedy, farce and slapstick are all part of this rarely seen play Sevenoaks Players

HAY FEVER Director – Doreen Pascall Stag Theatre, Sevenoaks Friday, 12th November 2010 This production was perfectly cast bringing out the best in all concerned. Good use was made of the large stage to depict the entrance hall of the Bliss family home. I must congratulate Sandy Patrick for the excellent set dressing. The authentic looking 1920’s era furniture and props drew you into the atmosphere of the family home and made you feel part of it rather than just a spectator. Doreen Pascall’s direction achieved the portrayal of relationships within the family and guests. It was visually a very enjoyable and entertaining evening. Tunbridge Wells Operatic & Dramatic Society (TWODS)

HALF A SIXPENCE Director – Shirley Browning Assembly Hall Theatre, Tunbridge Wells Musical Director – David Grubb Choreography – Elizabeth Witt Wednesday, 24th November 2010 (Matinee) This show mainly revolves round one character, Arthur Kipps, so its success depends almost entirely on the actor playing him. Tom Tapsfield‘s portrayel was nothing short of brilliant. Among the strong supporting cast , Janine Clayden and Sorcha Connell contrasted well as girlfriends Ann and Helen. Without the outrageous actor/ playright Chitterlow, the story wouldn’t start or have quite such a happy ending and David Adams was perfect for the part. Shirley Browning’s direction made the most of this talented young company together with Elizabeth Witt’s superb choreography. Everybody appeared to enjoy themselves on stage. Their smiles were a joy to see.

Lance Milton DISTRICT No.8

BEAUTY AND THE BEAST

Ashdown Pantomimers

Director – Bob Murray The Royal Victoria Hall Theatre, Southborough Musical Director – Steve Rhind Choreography – Daisy Giddings Wednesday, 27th October 2010 (Matinee)

Goody Two Shoes Director: Gwen Pritchitt MD: Nadia Baki Choreographers: Angela Hogman & Georgina Barrett Forrest Row Village Hall Saturday 29th January 2011

Bob Murray has done a class job on this emotional musical with it’s tricky transformations and spectacular production numbers. The leads were outstanding and the chorus work and choreography impressive throughout. Nick Brittain as the Beast, has a fine voice and managed to convey the different emotions from violent, to tender and loving. Kelly White ( Mrs Potts) gave quite a beautiful rendition of the title song ‘Beauty and the Beast’. Jess Roberts stood out as Belle. Her voice exquisite and her acting, confidently flawless. The children in the audience were as entranced as I was for this amazing production.

Road works on the busy A22 caused a slightly late start to the matinee show of the Ashdown Pantomimers’ ‘Goody Two Shoes’ as we waited for audience members who were caught up. However this was professionally and slickly covered by the band comprising, talented MD, Nadia Baki on piano and Pete Caruana on percussion, who gave a lovely extended overture. The heavy plant rumblings of the road works happening right outside the Forrest Theatre coincidentally set the sinister undertones for the first entrance of the baddies Septica [Sharon Oliver], her fabulous Cat [Emmie Van Lieshout] and the very amusing Rolo and Polo [Chris Clarke & John McNamara] who played sidekick/narrator parts with vigour, quickly winning the audience attention and ensuring that the outside noise was soon forgotten. Sondhiem is always a brave panto choice but the chorus generally coped well with the ‘Into the Woods’ theme and further swelled in volume in follow on numbers including ‘Put on a Happy Face’. Tim Walden creatively lit a beautiful and imaginative

Bidborough Dramatic Society)

THIEVES’ CARNIVAL Director – Don Buckland Bidborough Village Hall Assistant Directors – Pam Rose and Maureen Waters Choreography – Jo Eames Thursday, 28th October 2010

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set constructed and painted by the crew and colourful costumes by Lin Smith and Chrissie Elmore. He also ran the sound desk complete with some well timed sound effects. Emily Morrisey was a delightfully spoiled Cissie, played in the style of Violet from the ‘Just William’ TV shows [for those who remember the lisping character]. However it was the demure and relaxed performance from Robin Shergold as Dame, Molly Coddle, and Shane Hannam as her perfectly timed comic son, Teddy, which shone through as traditionally delightful pantomime characters. Michelle Rich’s title role, Goody Coddle, and Samantha Luke’s principal boy, Simon, were equally loveable with some excellent singing performances and vocal harmony work to complement their solid acting delivery. Michelle’s solo song ‘I’m Not That Girl’ from ‘Wicked’ was beautiful. My daughter Emily, however, spent much of the show asking when the Elf would be back - a lovely captivating character performance delivered by Callum Twig as Elf Cobbler. The principal line up was completed by a suitably wicked performance from Chris Rycroft as Titus Tightwad. Oxted Barn Theatre

The Happiest Days of Your Life Director: Guy Hudson Friday 15th October 2010 A wet and windy night in October was transformed into a laugh-a-minute escape from it all when I visited the Oxted Players production of John Dighton’s ‘The Happiest Days of Your Life’. From each characters entrance it was clear that, as well as being a very naturalistic director, Guy Hudson is also adept at selecting just the right players for each role. Every cast member had contrast and character which was unique and interesting but still did not overpower. Even the most extrovertly portrayed role of Miss Gossage was underplayed in all the right places by Ann Lovell, who in keeping with her fellow performers displayed control and craft throughout. I shall not single out any others as the same applies equally to the whole cast who were utterly enchanting with comic timing you just cannot rehearse. Mentions, save that is, for the two juvenile parts played by India Castle-Gibb and Jake Willis who established themselves wonderfully stepping up to the performance standards of the mature cast with panache. Pace, space, light and shade were all just right adding to the realism provided by the wonderful set designed by Mike Sutton painted by Patrick Tricker dressed by Muriel Lister with props by Angela and Ray Dunster, costumes by Pippa Bridges, June Brown and cast and the unobtrusive but appropriate lighting [Richard Grogan] and sound [John Chinnock] technical elements. BODS Iolanthe Director: Virginia King MD: Roger Wilman Betchworth Village Hall Thursday 11th November 2010 It was heartening to see BODS play to a packed house under the distinctive red proscenium arch of the Betchworth Village Hall on the Thursday evening that I attended their production of Iolanthe. Immediately this gave the impression that this is a company with a good reputation and I would be in for a treat. Certainly Virginia King, director, is an avid G&S fan and this came across immediately the expert tones of Ian Stone [accompanist] completed the 15 minute overture to the show. While only a moment previous a lady in the third row had been reading her programme by torchlight, much to the amusement of many of us, even she was transfixed as soon as the first performer hit the stage. From the opening chorus the female cast tripped hither and thither with vocal aplomb, especially the highly gifted altos among them. Further we were treated to wonderful performances from Brenda Judd [Queen of the Fairies] and Linda Slater [Iolanthe] directed by Roger Wilman. The men too, while evidently varied in aptitude particularly in

the tenor range, carried very plausible ensemble work and certainly, costumed by Alison Cooper, looked every bit the part throughout. Terry Mitchell [SM] and Stephen Tickell’s simple but effective set, complete with waterfall in act one and full sized sentry box in act two, was complimented by David Ames subtle lighting. However it was in two leading men that the show found its spark for me. Neil Williams deft vocal and character performance was as lofty as the man himself, with excellent control and subtlety in equal measure. The show stealer was, however, without a doubt [Society Chairman] David Longes with an utterly believable and lovable Lord Chancellor. Expression is everything and here is a performer who is constantly in character whether in the spotlight or not. The particular highlight of an all round first class performance was his patter song in act two complete with red ‘wee willy winky’ hat and nightgown which was the perfect outfit to compliment the comedy. Oxted Operatic Society

Jekyll & Hyde Director: Nigel Kemp Musical Director: Graham Wright Oxted Barn Theatre Thursday 25th November 2010 The dark menacing undertones of Jekyll and Hyde were a perfect reflection of the chill dank night on which I attended to enjoy the Oxted Operatic Society production of the musical based on the classic Robert Louis Stevenson tale of the possessed scientist who tinkers with good and evil. Within the opening company number, Graham Wright’s orchestra and clearly skilled and drilled ensemble set the high musical standard that would be maintained throughout. All of the beautifully written Wildhorn harmonies were covered and balanced nicely and even Bricusse’ sometimes trite lyrics seemed robust when delivered with passion. Nigel Kemp’s production made good use of the limited stage space with imaginative and generally flowing scenes and changes, although some whole company appearances felt a little crowded. The necessarily simple but very effective set, especially Jekyll’s Lab and the use of the rolled delightfully painted London skyline backdrop [by Peter Ramage & Patrick Tricker], were expertly complemented by Richard Grogan’s professional touch on the lighting board. James Klech achieved utterly believable contrasting characters in the title roll, which is no small order. His ‘Confrontation’ was the highlight and completely captured the dramatic crescendo required at that point in the show. Similarly, female principal leads, Katherine Jones very stiff prim and proper Emma Carew and Jane Maisey’s Nancy-esq Lucy Harris, contrasted well and provided some very moving moments. Their vocal performances were expertly underpinned by Graham Wright’s appropriate amendments to the parts to maintain good power and support while not over stretching the performers to the extremities of the written score. Jekyll and Hyde is a demanding sing for the principals and all carried them well, however the stand out vocal performance was from Steve Butler as Sir Danvers, whose lyric voice sat perfectly in the range and was delivered with acute sensitivity. The overall standard of the production was very high indeed, however Monica Mickles must get my gold star for the exquisite period costumes which completed the picture so aptly.

part of Lily Piper brilliantly, keeping the audience spellbound and in fits of laughter with her timing and sense of humour. She was quite remarkable. Vic Moss as D S Baxter proved himself to be a very versatile performer with many changes of tone, volume and personality. All the other principals portrayed their characters well but could have afforded to add a little more strength to their various roles. The set was very well put together, the costumes seemed appropriate and the lighting worked well. HAODS Horsham.

Kiss Me Kate. Capitol Theatre, Horsham. Director: Heather Kemeys. Choreographer: Jackie Shepherd. Musical Director: Brian D Steel. 9 – 13 November 2010 First class directing, good choreography, an excellent orchestra and an enthusiastic and hard working cast, made this a very good show. The crew handled the scene changes quietly and the lighting was interesting, effective and very atmospheric. Lee Power (Petruchio/ Frederick Graham) was quite exceptional in every aspect. He sang superbly, acted with conviction and held the audience’s attention throughout. Debby Field (Katherine/Lilli Vanessi) was equally strong in the acting and singing department and Katy Kinsella (Bianca/Lois Lane) proved herself to be no mean performer in every respect. The other principals and chorus added to an excellent evening’s entertainment. Storrington Dramatic Society

Frankenstein the Panto Sullington Parish Hall. Director: David Chinn.

4th December 2010

I was a little disappointed with this production having expected a higher level of professionalism from such a long standing society. I felt that the cast did not take their roles seriously enough. Only a few characters should be interacting with the audience whilst others sustain the serious side of the pantomime story. All the cast established a character but would have benefited from stronger direction. My star performer in this show was Kelly Smith as Kodak the dog who managed to look busy and acted all the time. Despite this criticism, the ability and enthusiasm of the cast shone through. WMC Society.

Beauty and the Beast The Connaught, Worthing. Director: Mandy Chapman and Tania Newton. Choreographer: Victoria Hampson. Musical Director: Nigel Newman. Autumn 2010 2010. Congratulations to all the technical team for their efforts in lighting, costumes, back stage and sound, but most of all to the production team for such a polished piece of theatre. All the principals sang and performed their various parts to perfection especially Emma Mulkern who gave a brilliant performance as Belle and Wayne Roberts who was ideally cast as The Beast. A first class chorus brought all the musical numbers to life. These hard working performers can make or break a show and this society definitely set out to help make this show memorable. The whole production was a testament to the ability and enthusiasm of the entire company. West Chiltington Dramatic Society.

Jose Harrison DISTRICT No. 9

Round and Round the Garden.

FADS

West Chiltington Village Hall. Director: Caroline Woodley. 25 – 27 November 2010.

Busybody Ferring Village Hall Director: Alan Fryer.

November 2010

I was very impressed with the direction of this production and especially the opening. Linda Fryer performed the

This play was cleverly directed and humour was well sustained by six very talented performers. Julian Hood’s (Norman) larger than life personality dominated the stage every time he appeared, where as Natalie Nelson (Annie) provided the perfect foil for him as the

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spinster longing for adventure. Justin Curtis’s (Tom) facial expressions and body language were classic and Graham Till’s (Reg) changes of mood and temperament were very well performed. Pam Luxton (Ruth) depicted the elegant, sophisticated business woman to perfection whereas Janet Methley (Sarah) provided a total contrast to everyone else. The result was an exceedingly well performed and highly entertaining production.

Taylor (Tom), Liz Mcnally (Stacey Starchy), Clive Curtis (Henry/Ghost) and Sandy Knight (Maggie) for their quite extraordinary level of performance but perhaps most of all Philip Amor for his outstanding direction. Having such a large cast it takes a very special team of hard working, dedicated people to make it work and it certainly did.

COS Musical Theatre.

The Pavilion, Worthing. Director & Choreographer – Jonathan Henwood-Wardle and Joan Edwards. Musical Director – Michael Stephan Wood. 22 – 25 September 2010.

Worthing L. O. C

Carousel.

My Fair Lady. The Hawth, Crawley. Director: John Harries Rees. Choreographer: Beth Bryant. Musical Director: Norman Austin. 20 – 23 October 2010 This show was an exceedingly professional production. The set, the costumes, the lighting and the sound were spot on. The orchestra played brilliantly, the back stage crew worked quietly and efficiently and the props looked authentic. My complements to the production team for compiling such a brilliant show with all its special little touches and exciting but simple choreograph. The chorus sang beautifully and all looked totally involved in their various characters. Michael Spencer (Higgins) and Jo Williams (Eliza) were superb as the leads, the four second leads were equally good in their slightly smaller parts very well supported by the other principals.

This particular version was most enjoyable starting with a beautifully choreographed overture, well costumed and exciting to watch. The orchestra proved the worth and importance of a well chosen team and the singing and dancing by all the principals and chorus was a pleasure to see and hear. I found this production lacked atmosphere at times, so important in this particular show, mainly due to the minimal scenery and unimaginative lighting. Kevin Edwards deserves a mention as lead dancer. Kristen Smith (Carrie), Alison Booker (Julie), Jonathan Henwood-Wardle (Billie) and Anthony Towers (Jigger) acted and sang superbly, well supported by the other principals. Durrington Players Juniors

Stage Door T. C.

Smike

Half a Sixpence. The Windmill Theatre, Littlehampton. Director: Fiona Humphrey. 15 – 18 December 2010. This new version with a number of new songs has a total of 19 scenes. To overcome this problem this society used a white backcloth with a raised area at the back but the result was rather uninteresting sets. The good choice of props. saved the day. The direction was good but perhaps a little ambitious for a first time production. The chorus and dancers performed creditably and the principals were convincing in their parts. The shop boys, Jamie Griffiths (Kipps), and Barry Tinkler (Chitterlow) were all excellent in their parts and “Too far above me” was a real tear jerker. Overall this was a good evening’s entertainment.

The Barn, Field Place. Director: Julie Jordan. Choreographer: Carolyn Bennett. Musical Director: Joe Bunker. September 2010. The costumes, and scenery were great but the music was a little loud drowning out some of the words of the songs. The direction and choreography were excellent. The cast, especially those young people who portrayed persons much older than themselves such as Jack Winrow (Nicholls/Nicholas Nickleby), William Watson (Headmaster/Mr Squeers) and Georgi Daniels (Mrs Squeers) held the audience captive with their general performances and Abigail Farmery (Smike/Smeeton) sang outstandingly. Despite the large number in the cast the stage never looked overcrowded thanks to very clever setting of each scene and musical number.

Littlehampton Players O. S. Durrington Players:

The Baker’s Wife. Windmill Theatre, Littlehampton. Director: Micki Darbyshire. Choreographer: Jill Waller. Musical Director: Clare Wolfe. 13 – 16 October 2010.

Cinderella. The Barn, Field Place. Director: Julie Jordan. Choreographer: Carolyn Bennett. Musical Director: John Woodman. December 2010.

This is a delightful story of a typical French village awaiting the arrival of a new elderly baker who arrives with an exceedingly young and pretty new wife.!!! At the start I thought it was a little slow and the stage slightly crowded but long before the interval I was totally engrossed and loving every minute of the entire production. My complements to Daniel Paine for some really rousing piano playing, Micki for the use of lighting to depict different scenes and the excellent standard of singing and acting from everyone on stage. There were so many really great performances from the principals that I am not going to mention them all individually but must comment on Jimmy Lynch (The Baker) whose singing and acting was unsurpassed.

This society put on a really good pantomime with all the right ingredient, exceptionally well directed and choreographed. The transformation scene with the carriage were not only magical but very well thought out. The curtains opened onto a bright cheerful scene with the chorus, in colourful costumes, singing and dancing with enthusiasm. This standard was maintained throughout with good performances from all the principals. Jack Winrow (Buttons) proved that even the young can hold the stage, Andre Dore and Malcolm Stuart were brilliant as the sisters and Abbe-Jo (trainee fairy) was something else!!! I Could happily have sat through this production again.

The Regis Players:

Anyone4Theatre

Tinsel.

13.

Felpham Village Hall. Director – Philip Amor. 1 – 5 December, 2010.

The Barn Theatre, Southwick. Director, Choreographer and Musical Director: Amelia Regnante. 27-28 October 2010.

This was a superb production written and directed by a husband and wife team. It is almost impossible to pick out the star performers as over 20 cast members, without exception, performed brilliantly, each portraying their character to perfection. I must just mention Bernard

54 NODA South East April 2011.indd 14

well chosen and the supporting chorus complemented them well and all showed signs of being the principals of the future. The timing was very well executed and the pauses just the right length to bring out the humour of the lines. Not an easy achievement for any age but especially remarkable from such a young cast. Sadly it is not possible to mention every good performer by name but my congratulations to everyone. Littlehampton Musical Comedy Society

Jack and the Bean Stalk. Director and choreograher: Carolyn Bennett. Windmill Theatre, Littlehampton. Musical Direction and Keyboard: Luke Marshall & John Woodman, 19 – 23 January, 2011. This was an exceedingly good pantomime, appropriate for all ages, with the right balance between audience participation and story line. The set was well designed, the scene changes were swift and silent which enabled the story line to maintain a good flow. The costumes were beautiful. The chorus looked superb every time they came on stage. Every word could be heard clearly, the lighting was ideal and the orchestra were great keeping the volume at exactly the right level. The dancing was of an exceptionally high standard from a cast ranging in age from approximately 5 to 50. It was refreshing to see some real ballet on pointe. The direction was great. All the principals were ideally cast especially Tim Eade as Dotty the dame. I rate him amongst the best I have seen. All the rest of the principals were excellent being really confident in their various roles. Bury Players

Rebecca Bury Village Hall: Director: Nicol Kinrade. 2 – 4 December, 2010. Being unable to attend an actual performance I went to watch the first of two dress rehearsals. The direction was good and the cast were convincing and gained in confidence as the evening progressed, boding well for a good opening night. Simon Weston (Maxim) and Sarah Carroll (Mrs De Winter) were both totally convincing in their roles and Lynne Gardner did a spine chilling performance as the sinister Mrs Danvers full of smouldering hatred. The fire scene was exceptionally well thought out with Mrs Danvers brandishing a flaming torch. The lights and the smoke made it exceedingly realistic. There were no weak links in the cast who performed remarkably well for a rehearsal. Castaway

Hemail and Shemail & Ring Ring Ashington Community Centre. Director: Kathy Haigh. 23 January, 2011. This society is a ‘not for profit’ drama company which aims to assist fund raisers and other projects through traditional interactive drama. I was totally entertained for an hour by these two productions which depended entirely on the clever use of words, visual reactions and different accents as there was no movement, no set and very little in the way of costumes. Hemail and Shemail consisted of two people sitting at imaginary desks sending emails to each other. This was very cleverly performed by Geoff Goble and Liz McNally who told the story by saying aloud, as they typed, the contents of each email. Their body language and facial expressions were brilliant. Ring Ring consisted entirely of telephone conversations and the problems involved when answer phones seemed to be the only contact between two people. Kathy Haigh, Richard Tyrrell, Liz McNally and Philip Amor were all totally convincing in their parts.

The verve and enthusiasm of the cast was apparent from the first moment the lights went up on stage. Everyone was in character and acting full on with confidence and their diction was excellent. The soloists were

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Gatwick Airport Pantomime Society

Cinderella

Portsmouth Players - Hot Mikado

The Hawth, Crawley. Director: Andy Hudson. Producer: Catherine Lloyd. Choreographer: Jacquie Perry. Musical Director: Graham Howe. 2 – 6 February, 2011. My chief accolades must go to the Director for a really brilliant piece of work and the producer for putting and holding together such a remarkable event not only this year but for so many years past. Once again this society proved that miracles can happen and magic can really appear on stage despite their amateur status. All the principals performed in a confident and polished manner having been well chosen for their parts. Their singing was strong and their voices balanced. The chorus were also a pleasure to watch because the choreography had some simple but very effective movements. The pictures formed at the end of each number were a joy to behold. The finale of Act one with the flying coach was another piece of sheer magic and the setting of the finale gave the whole show a special touch of class.

John E Thomas district No.10 Denmead Operatic Society

‘Allo, ‘Allo Producer, Director and Choreographer: Ian Clark Musical Director: Dennis Mason Horndean Junior School, Horndean 1 October 2010 The audience were seated at tables cleverly positioned around the hall which meant that everyone immediately felt part of the cafe culture. This produced a superb atmosphere from the outset of the performance. Congratulations to Will Donnelly as Rene who masterfully controlled the stage and the action with his clear diction, excellent timing and clever use of innuendo. Kaye LeeWright as Edith proved a superb foil to her husband and her out-of-tune singing was hilarious. Together they generated much humour both through their antics and comic reactions especially in the bedroom scene. The whole cast had superb facial expressions particularly Luke Newey (Lieutenant Gruber) with his mobile eyebrows! Ian Clark (Herr Flick) and Nadine Darnley (Helga) complemented each other beautifully and together had the audience highly amused. Although I understand why extra chorus numbers were added to the show, I found these detracted rather than added to the overall production. However, it was a thoroughly enjoyable evening. Gosport MTP “Juse”

Alice in Wonderland Producer: Karen James Crofton Community Centre Theatre, Stubbington 8 October 2010 It is not easy to sing to taped music but this company did so with verve and enthusiasm. The three girls who made up the Cheshire Cat, Karly Higgs, Charley Sanford and Emma Furnell, were used as narrators throughout. Their diction was clear with good intonation which meant the audience could follow the story-line easily. Gemma Terry as The White Rabbit looked suitably hustled and confused as she muttered “I’m late, I’m late”. The three Alice’s, Abbi-Louise Marlowe, Milly Tanner and Megan Fox, were cleverly interwoven into the action. Both Alice Lockhart, The Caterpillar, and Nathan Cannon, Tweedle Dum, had lots of personality as seen in their rendition of Zippadidoodah!

The Portsmouth Players

Gosport Musical Theatre Productions

Hot Mikado

High Society

Director: James George Production Supervisor: John Bettesworth Musical Director: Valerie Tucker Choreographer: Jacqueline Willis Kings Theatre, Southsea 13 October 2010 The simple sets proved the perfect foil for the colourful 1940’s costumes and great choreography (Jacqueline Willis) of this lively production. Although at times the orchestra seemed intent on drowning the singers and the microphones were then turned up so that the players’ words were distorted i.e “Three Little Maids” the overall presentation was highly successful. The male chorus were impressive and well drilled. I particularly enjoyed the part singing in the quartet “Swing a Merry Madrigal” (Paul Wilkinson, Liz Hubbuck, Charlene Hammer and Alex Gilchrist) which was balanced with clever choreography that did not detract from the vocals. The interaction between Ko-Ko (Tom Wood) and Katisha (Kim Shawyer) in “Tit Willow” with their superb facial expressions and reactions was memorable. However, the highlight of the show for me was Katisha’s soulful interpretation of “Hour of Gladness” which did justice to her superb voice.

Co-Director and choreographer: Joyce Phillips Co-Director and Musical Director: Robin Phillips Ashcroft Arts Centre, Fareham 28 October 2010 The company made excellent use of the limited space in this small theatre. The clever placement of the combo in the conservatory at the back of the stage and the simple sets was very effective. The story of High Society is based on the eternal love triangle. Nicola Matthews as Tracy Lord was superb. She cleverly portrayed, both through her vocal delivery and facial expressions, all the emotional changes that her character undergoes. Naomi Fitzpatrick also gave a good performance as her sulky, bored little sister. Their duet “I Love Paris” was great fun. Daniel Scott as the debonair Mike Connor also gave an excellent rendition of “You’re Sensational.” Joyce Phillips is to be congratulated on her choreography in such a limited area. The cast managed to generate a real party atmosphere in “Well Did You Evah” and their proximity to the audience meant that everybody present felt happily involved.

Hayling Musical Society

Carousel Director: Tony Dart Musical Director: Daniel Orton Choreographer: Lydia Thorne Hayling Island Community Centre 27 October 2010 This was an excellent production, full of energy and enthusiasm, but which also presented us with a complete gamut of emotions. Both Julie (Zoe Fisher) and Carrie (Kerry Lebbern) displayed superb facial expressions and body language with excellent diction so that their characters were truly believable. They both knew how to use silence and stillness for effect. Although Billy (Trevor Thurgood) was not quite as aggressive or belligerent as the stereo-type character in many productions, I felt that the touch of vulnerability he showed, especially when looking down from heaven at his daughter, was very realistic. Both the ladies chorus in “When I marry Mr. Snow” and the men’s chorus in “Blow High, Blow Low” had good harmony and the choreography was excellent, not detracting from the singing. However, the lack of percussion and bass in the orchestral accompaniment meant that some of the rhythmic chorus numbers like “June is Bustin Out all over” and “Clambake” lacked the dynamics and speed changes to provide the contrast and vitality required. Nevertheless, both the cast and the audience had “a real good time.”

South Downe Musical Society

Guys and Dolls Director/choreographer: Audrey Pring Musical Director: Alan Pring Kings Theatre, Southsea 2 November 2010 This was a very enjoyable show with well lit sets and colourful costumes. From the outset the audience was enthralled. The characters were believable and their antics were followed with baited breath. Would Nathan (Alan Jenkins), with his jaunty hat which mimicked his cocky defiance, eventually be entrapped into marriage by his naive fiancé of 14years, Miss Adelaide (Peta Reading)? Would Sky Masterson (Paul Tully) be lucky and get his lady, Sarah Brown (Lauren Kempton)? All the principals had excellent skills in delivery and timing. I thoroughly enjoyed the choreography and mime in “Luck Be a Lady” but felt that there was a definite lack of pace in the Havana Rumba. Throughout the production the chorus sung tunefully to the well-controlled accompaniment of the orchestra, ably conducted by Alan Pring.

SOUTH EAST NODA South East April 2011.indd 15

55 28/03/2011 12:22:55

Hambledon Arts Society Drama Group

There Goes the Bride Director: Teresa Encke Hambledon Village Hall 19 November 2010 This company’s strength is in its ability to portray characters that are believable and this play was no exception. Each principal had excellent timing, good body language and interacted well with one another. The plot revolves around the Westerby family and the preparations for their daughter, Judy’s (Rebecca Foster) elaborate wedding, although she would prefer a quiet registry office ceremony. Timothy (Martyn Kille), the father, falls and in so doing hits his head. This simple mishap leads to him alone being able to see Polly Perkins (Jo Walker) the flapper who, with her great sense of humour, is determined to have fun. Much hilarity ensues as the characters talk at cross purposes as they react to Timothy’s extraordinary behaviour as he converses with this invisible person. Jackie Foster plays Judy Westerby flummoxed by her husband’s behaviour, whilst Paul Foster gives his best performance yet as the bumbling forgetful Dr Gerard Drimmond. Bill Shorter (James Batchelor) is well cast as Timothy’s business partner who tries desperately to support him. Bobbie Tomkins is superb as the arch-type mother-in-law. Portchester Players

The Flint Street Nativity Director: Paul Sumpner Musical Director: Kay Sumpner Ashcroft Arts Centre, Fareham 27 November 2010 This was a really enjoyable evening. I think everyone in the audience could empathise with the problems and personality conflicts encountered when trying to stage a school nativity play. In this production part of the comedy emerged from the fact that all the young children were played by adults. We see the way they interact and change friendships on a whim. There are many comic moments when they misinterpret information. Even at their tender age, the children show jealousy and rivalry. Gabriel (Emma Reid) desperately wanted to be Mary and takes every opportunity to grab Baby Jesus. But Mary (Julie Curry) resists. The facial expressions and habits such as grinning all the time (Geri Blunden) were cleverly portrayed. The Shepherd (Kay Sumpner) had a superb lisp and was quick to tell teacher anything that was untoward. There was teasing and an obvious case of young unrequited love of the Innkeeper (Dave Wiseman) as the children moved from rehearsals to the actual performance. I found the end of the play, in which we meet the parents of these youngsters, quite weak although I realise that the writer was trying to show how the parents’ characteristics, social standing and values were clearly reflected in their children. Horndean Amateur Theatre Society

Where There’s a Will Director: Caroline Rogers Merchistoun Hall, Horndean 26 November 2010 Wills can be the source of resentment and family feuds. This play is all about the inheritance of the late Edie Puddiphat assumed to be worth millions, and the potential heirs, each of whom has a copy of a will naming them as the sole recipient. The mourners conspire and devise cunning plans to get their hands on the money . The housekeeper and loyal retainer, Taxi Driver, (Alex Bell) feel she has a right to the inheritance because of everything she has endured over the years. Fordyce Newton (Ian Tapster) displays cunning and it is obvious he had an eye to his own advancement. Jon Charman and Kellie English are hilarious as the young engaged couple who initially want the money to get married in the Elvis Chapel in Las Vegas but then keep adding to their wish list. But one by one the characters appear to have been killed. The forthright Velma (Rosalie Hatcher) is poisoned; the bumbling vicar (Alan Lockheart) has an accident in the street and Bella (Valerie Gray) is frightened to death. The tension is maintained right to

56 NODA South East April 2011.indd 16

the wonderful twist at the end of the tale. The principals were clear, articulate with a good sense of timing so that the full humour emerged. All the cast maintained their accents throughout and stayed in character even when they were not directly involved in the action. A great night’s entertainment!

Gloria Smith DISTRICT No.12 St. Hilda’s Entertainers

‘Entertaining Life’ Directors – Steve Smith, Laura Allen, Kathryn Harris St. Hilda’s Church Hall To celebrate St. Hilda’s 50th Anniversary the three directors put together a compilation of songs and sketches covering life in all it’s stages from early childhood through to retirement years. They tackled difficult musical numbers very successfully and there were some well-rehearsed, hilarious sketches. There were 18 youngsters on stage, which bodes well for the future of the company, plus 20 adults. Congratulations St. Hilda’s Entertainers for staging such a lively and well presented entertainment to commemorate their Golden Anniversary. Addlestone Community Theatre

Farce and Chips Directors – Linda Neve and Paul Owen Addlestone Community Centre Two one-act plays, a fish and chip supper and a quiz were the format for this production. ‘Up The Garden Path’ was well cast and acted. In order to remonstrate with friends about a wrong answer in a quiz, a couple climb a ladder to look in at their bedroom. The comical situation was most realistically performed with one couple in the bedroom and the other balancing on the ladders outside the window. Latin names of plants and flowers in the dialogue provided plenty of opportunity for innuendo. ‘Dinner For One’ was also strongly acted with just two people, a butler (also the director) and the lady of the house, and had a very unexpected twist at the end. Claygate Dramatic Society

Sense and Sensibility Directors – Sarah Dowd and Elizabeth Lattimore Claygate Village Hall Tackling something as well-known as this play when the audience may have preconceived expectations could be a gamble, but this Society proved how well it could be presented on a small stage in a village hall. From the powerful opening of the funeral procession entering from the back of the hall right through to the final scene it was an excellent production. Staging was simple but effective, A very large framed picture of moors, cliffs and a beach created the backdrop throughout, and the addition of furniture and two reversible truck flats was sufficient to create the different locations. The stage crew were dressed in period costume, chosen music and lighting were perfect; in all a wonderful evening out.

delivery in Northern accents that didn’t falter. There is no stage at the Myers so the actors are literally inches from the front row but they were totally focussed on what they were doing and it was rather like being a fly on the wall. All eight of them gave strong portrayals of their individual characters, the music was well chosen and the lighting good. The Savoy Singers

Chess Director – Sue Sampson Musical Director – Richard Stockton The Camberley Theatre One of my favourite shows and this was a top class production. The stage was set with a minimum of furniture and yet the hotel bedroom appeared luxurious with just a stylishly dressed bed. There were unusual inclusions in some of the numbers such as ‘Pity the Child’ when the parents were on stage silently enacting the story told in the song, and Anatoly was on stage as the two girls sang ‘I know him so well’. Ballet dancers in appropriate black and white tutus graced the stage for the long period during the chess match, and the Embassy scene was most impressive. The vocal ability of the cast was second to none and it would be invidious to pick out any one person. The chorus singing was strong and in downtown ‘Bangkok’ there was every type of tourist and local depicted. ‘Chess’ was directed with imagination and flair and I thoroughly enjoyed it. Hatton Operatic Society

Thoroughly Modern Millie Director – Heather Leggat Musical Director – Howard Chapman Choreographer – Annelly James The Magna Carta Arts Centre The two female leads were splendid in this production. Kimberley Edge playing Millie exuded energy and struck just the right balance between self-confidence and naivety. Aileen Smith, who had stepped in at the last minute because if sickness, was wonderfully over the top as Dorothy Brown. The male leads were a little overshadowed by the girls and the male chorus was very small, but direction was good as was the stylised choreography. The female chorus’ tap routine whilst seated at their office desks was super. Very smart room doors on the hotel corridor were attractively set and supported from behind by the cast, which worked really well, and the set, designed and built by the members was good. Unfortunately on the night I was there the sound system was not functioning properly but hopefully that was sorted out for the rest of the run

Hatton Operatic Thoroughly Modern Millie

Banstead and Nork Operatic Society

Bouncers and Shakers Director – Darren Flick Myer’s Studio EPH Having read on a website that these two plays were depressing I expected a fairly dark evenings entertainment, but what I was treated to were two slick and extremely funny one act plays. The four male bouncers portrayed men at their worst and their best in a series of vignettes, some of which I laughed at more than I’ve laughed for ages! Their acting was first rate. The Shakers were four girls and again the sketches that followed, were set in the bar in which they worked. The women were excellent and had an impressive speed of

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Hinchley Manor Operatic Society

staged at the height of a humid summer with the theatre heating turned-up. A cold October night made it harder work for the cast to convey the sweaty, beery, pressurecooker atmosphere of New Orleans, but they put it over with some very good performances - notably from Sarah Short as Blanche. The set design did a remarkable job of fitting a quart into a pint pot, with the foot of the external staircase just visible beyond the house wall, and receding out-of-view, leaving the audience to imagine the upper floor.

JANE EYRE Director – Lynda Barrett Musical Director – Lee Freeman The Adrian Mann Theatre The director’s imaginative presentation and artistic groupings were absolutely essential for this particular production as visually there was not much else on which to focus, in this dark and brooding classic tale. A minimalist set does little to create an atmosphere, although the single screen used was done so to good effect. Singing and acting were sound and the company undoubtedly gave of their best. Unfortunately the orchestra was too loud in many of the numbers and the underscored dialogue could not be heard --- a pity because it is so much a part of the story telling. Costumes were suitable for the period and sound effects were good, but the mikes weren’t always consistent: lighting was fine and the fire effect was passable. Woking Amateur Operatic Society

SOUTH PACIFIC Director – Martine Young Musical Director – Christopher Peters Choreographer – Lorraine Landon The Rhoda McGaw Theatre This was another well presented and performed musical from WAOS, and the director’s interpretation was slightly different from the standard production of ‘South Pacific’ The emphasis was on romance between Liat and Cable, rather than bought sex, and the chorus were used more appropriately than they often are. The musical director generously shared the overture with action on stage, and his six-piece orchestra was beautifully controlled. Every bit of underscored dialogue could be heard, a rare treat indeed. A completely relaxed performance from Keith Kimnell and a bubbly one from Claire Harvey made for wonderful on stage chemistry between Emile and Nellie. They were both first rate. Choreography was very good with plenty of variation in style, and the company were well rehearsed both in movement and in depicting their many individual characters. A splendid evening out. Camus Productions

HABEUS CORPUS Director – Rob Keys The Camberley Theatre Alan Bennet’s play was first shown in London where no set or furniture was used, apart from a few chairs, and Camus based this, their first ever play, on that one. As a company known for the quality of their musicals it was a brave venture and the size of the audience on the night I was there, in an auditorium that holds up to 400 people, proved that with a loyal following the transition can work well. With the help of a smoke machine, six chairs and an excellent lighting plot the various locations were achieved.. As DoctorWicksteed, Ric Law gave an outstanding performance, and Brian Connelly in the role of Sir Percy delivered flawless dialogue at incredible speed in an angry outburst. The audience were greeted by Mrs. Swabb the cleaning lady played by Mary Keys, who was busying herself about the theatre and adlibbing as she did so. Ottershaw Players

THE RAILWAY CHILDREN

Ottershaw Players The Railway Children involved so did the audience. As Perks, Phil Pile gave star performance in an understated way and his Yorkshire accent and pronunciation were perfect. The children all portrayed their different characters very well and the play was beautifully presented and directed. Some of the dialogue could have been edited as it was quite a long play and although it had a political base it probably went over the heads of the children in the audience. The Byfleet Players

ROBIN HOOD Director – Michael Sands Byfleet Village Hall

THE RISE AND FALL OF LITTLE VOICE Director: Sally White Musical Director: Stuart Darling Ringwood School Theatre October 2010 A remarkable set: I was not expecting the revolve which transformed the domestic scene into its burnt-out shell. Remarkable performances too from the highly contrasted female leads: Sheryle Sketchley as the loud, tarty, drunken, self-obsessed mother and Emily Cotton as her reclusive daughter, LV, who only comes alive when she opens-up her Little Voice to deliver some devastatingly accurate vocal impressions. Good support from the rest of the company, including John West playing a northern club comic in the manner of Bill Oddy. I left the theatre wanting to hear more of Emily’s singing - but then that’s the point.

A really good choice of musical numbers for the players and the magical dancing of the ‘Susan Robinson School of Ballet’ helped this pantomime along. The script left a little to be desired but most of the cast did their best with what they had. The story was brought up to date with the inclusion of a talent contest and judges Simon and Cheryl. Two actors wore cut out faces of the two celebrities and the result was surprisingly effective. Jedward were also in the script and unusually Friar Tuck married the Dame, but the more traditional characters dialogue lacked content. Alan Arlington as Little John sang a particularly entertaining ‘You’ve gotta pick a pocket or two’ and as Nurse Gertrude, Wilf Hashimi gave a strong performance. His costumes were magnificent. There was very little in the way of scenery and more direction was needed in order to have made this a more entertaining pantomime. The Manor Players

MOTHER GOOSE Director/ Choreographer – Gerry de Faoite Musical Director – David Darby Dancers Choreographer – Lynne James Riverside Arts Centre An overture of tunes selected from some of the musical numbers in the production made for an original opening to the pantomime. There was a good amount of music and most of the singing was tuneful although transposition would have helped with a couple of the tunes that were a little out of range of the performers. Some of the characters underplayed the drama in their roles, but a pleasing and polished performance from Kathryn Kimmings as Mother Goose’s son. Scenery was effective, bright and well painted, with a glitter curtain making a realistic waterfall for the Dame to walk through in her search for beauty, and costumes were good. Groupings and use of the space available on stage were effective, plus dancers who smiled constantly and displayed a variety of styles, added much to the entertainment.

Directors – Paul Bungard and Jenny Whitehouse The Rhoda McGaw Theatre I never cease to be amazed by the incredible sets Alan Wakefield designs and builds for this company. They rival any seen in amateur or even professional theatre. This set complete with train, track, telegraph pole, (which is struck by lightening and crashes down), revolving cottage and station office was superb. The play took a little time to get going and some of the dialogue was stilted, due to the style of writing, but as the story became more

Ringwood Musical and Dramatic Society

STUART ARDERN DISTRICT NO.13 Lyndhurst Musical and Dramatic Society

A STREETCAR NAMED DESIRE Director: Edwin Beecroft Vernon Theatre October 2010 In an ideal world, “A Streetcar Named Desire” would be

New Forest Players

RELATIVELY SPEAKING (PHOTO ABOVE) Director: Sonia Collyer Ballard School October 2010 Alan Ayckbourn writes farce with a ‘house of cards’ structure. We are waiting for one of the characters to slip up, bringing the whole edifice of deceit crashing down. In the end, all the protagonists have motives for allowing the naive Greg (Calum Hill) to believe he really has visited his girlfriend’s parents in their country home, with Tony and Sarah Haberfield and Emily Jane Charge delivering plenty of good comedy on the way. Whilst it took rather a long time to make the London flat disappear, the evocation of a country garden on a sunny Sunday morning was lovely. Waterside Musical Society

CAROUSEL Director: Chris Stanway Musical Director: Ian Peters Waterside Theatre, Holbury November 2010 An interesting, thoughtful variation on the opening, with the start of the Carousel Waltz played over a front-ofcurtain sequence, depicting the girls working on a dull production line in Bascombe’s Mill, before bursting into the colourful fairground. The movements from the mill were echoed later in the show. Good performances (vocally and acting) from the leads made the roles come alive (even when Billy was dead), though a more realistic knife would have helped the death scene. Victoria Sarker was wonderfully expressive as Louise. The slightly larger

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orchestra than for recent WMS productions gave balance and colour to the sound. Milton Musical Society

The Hitchhiker’s Guide to the Musical Galaxy Director: Joanne Mansfield Choreographer Ria Butterfield Musical Director: Alastair Hume and Jo Corbin Waterside Theatre, Holbury November 2010

Hartley Arts Group

Kay Rowan DISTRICT No14 Hartley Arts Group

An Inspector Calls Directors: Lesley Parish Victoria Hall, Hartley Wintney 10-12 & 17-19 February 2011

Compilation shows normally have either very little plot or something fragmentary. This was an honourable exception, with the plot - a world tour for two shiny aliens - delivering a coherent framework to the show and sustaining it through the evening. There was also an immense effort on the choreography - again, an integral part of the piece rather than an occasional add-on. The design work to fit the movement into the promenade stage was very effective, as was the execution by a slick dancing team. A wide variety of music, with solos, choral songs and excellent small group pieces.

The play is a three-act drama, which takes place on a single night in 1912 and focuses on the prosperous middle-class Birling family “involved” in the mysterious death of a working-class woman. J.B.Priestley reveals the hypocrisy of English society and expresses his political principles. The director, Lesley Parish, is to be congratulated on her creation of both the characters and the atmosphere. Throughout the play there was great attention to detail in its staging particularly the sound effects. It was pleasing to hear that many teenagers had attended and it would be great if a GCSE set work inspired youngsters to find a future in the amateur theatre!

Minstead Players

Silchester Players

Cider With Rosie Director: Geoff Green Minstead Village Hall November 2010 To preserve Laurie Lee’s poetic writing, much of “Cider” is narrated, with the cast illustrating incidents. Lots of research had gone into the presentation - evident from the props - but I would have liked to see even more! This is a big ask - the small stage was already crowded with furniture which the cast transformed from kitchen into school into charabanc - but I would have liked to see real food being eaten and socks being darned. Good work from the cast, anchored by Rupert Ferder as the young Loll and Ingrid Bond as the flighty, eccentric Mother. Burley Players

Goody Two Shoes Director: Sandy Simpson Burley Village Hall January 2011 An original (Paul Reakes) story, with familiar but distinct pantomime characters. In addition to the malapropisms from the dame (Richard Pratt) we had the form extended into confused proverbs from Teddy, her idiot son (Tim Gaskell). Straight roles for the romantic leads, but various forms of comedy from the other principals. Good costumes, with Sceptica, the sorceress (Janet West) particularly fabulous, and the Elf Cobbler (Veronica Johnstone) as a bearded garden gnome. No opportunity for the sort of chase that has been a highlight of previous Burley pantos, but in its place the search sequence was executed with excellent timing. Lyndhurst Musical and Dramatic Society

Little Red Riding Hood Director: Jenny Green Vernon Theatre January/February 2011 A very young cast; teenage girls playing the romantic leads and the incompetent duo, and younger members playing chorus roles and a flock of sheep. This was a production crying out for a musical director (they are all too rare!) to strengthen the songs - there were some good choruses but some shaky solos, and fading out backing tracks is rarely perfect. Sarah Short delivered good physical comedy, and Neville Green did an excellent dame’s striptease. Beautifully costumed, notably Shawn Condra’s elegant wolf. Finally some words of praise for Daisy the Cow, moving smoothly and comically despite an awkward posture!

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Robinson Crusoe and the Pirates Director: Keith Graham Musical Director: Stephen Oliver Producer: Sarah Oliver Silchester Village Hall 28-29 January & 4-5 February 2011 This production, written by Paul Reakes, had all the ingredients for a good pantomime – a chap playing Ma Crusoe, a girl taking the role of the principal boy Robinson Crusoe, a charming young principal girl Polly Perkins - aka Crimson Hawk - the good pirate, Blackbeard and Patch - the comedy team and all the other contributors to the story. The chorus numbers were admirable not only for the singing but for the varied, well executed choreography. The costumes and staging were spectacular. Holy Ridiculous Group

Dick Whittington Director: Elizabeth Chester Mayhill School Odiham 2-5 February 2011 The audience was treated to a pantomime romp through London. All the principals were well cast and the large supporting cast changed characters with amazing ease and flexibility. The chorus routines were fitting and the young dancers were delightful. A great deal of effort had gone into the costumes and staging for the show with great effect. The rats and, most importantly, Dick Whittington’s cat were exceptional. Overton Dramatic Society

Once Upon A Time Directors: Jenna Clark-Williams & Kayleigh Hale St Mary’s Hall, Overton 23-27 November 2010

A Funny Thing Happened on the Way to the Forum Directors: Lesley Nicholls Victoria Hall, Hartley Wintney 21-23 & 28-30 October 2010 This musical feature both music and lyrics by Stephen Sondheim. The inspiration of ancient Rome was evident throughout - the set and the costumes were very well researched - in particular the Roman street dominated by a very elegant fountain which played throughout. The characters were well cast and each contributed a vital part of the puzzle. The character Pseudolus is the lynch pin of the action and was very well played by Bill Hansell. Farce is a difficult form of theatre to achieve without losing credibility but the cast and director, Lesley Nicholls, had worked very intensely to achieve their success. Silchester Players

Sing On! Director: John Coffin Musical Director: Stephen Oliver Silchester Village Hall 8-9, 15-16 October 2010 This comedy by Rick Abbott and sequel to his “Play On” features a disaster prone amateur society who are in dire financial straits. They accept a substantial grant providing they perform a play by Phyllis Montague about Queen Elizabeth I. Janice Garrard (Phyllis Montague playwright) neatly maintained the momentum through her ‘musical’ whilst Sarah Oliver (Gerry Dunbar director) admirably kept the cast on track and put up with Phyllis’s interruptions.. All the actors and crew are to be congratulated on their performances particularly during the songs which were interesting parodies of American folk songs. Loddon Players

Verdict Director: Maria Hadnett Sherfield On Loddon Village Hall 30 September & 1-2 October 2010 The audience were welcomed into the supper theatre with time to absorb the atmosphere of the Professor Hendryk’s well decorated flat. The attention to detail of the 1950’s props and costumes was significant. Throughout the action the cast of 9 maintained their characters and requisite accents superbly well. Credit must go to the director, Maria Hadnett, who very ably brought all the various aspects together to produce a thoroughly enjoyable ‘whodunnit’ mystery with a touch of melodrama. Congratulations to the Loddon Players as they celebrate their 5th anniversary.

DISTRICT NO 15 The Haslemere Thespians

Once Upon a Time - an exciting journey through pantoland. With two young, innovative directors the 30th Anniversary pantomime was off to a good start. Throughout the evening it was apparent that the Overton Dramatic Society are a team. The whole atmosphere was infectious. Karen Pearn was particularly convincing as the Wicked Queen and Paul Robinson, portraying ‘Gertie’ the cook, had a wig for every day of the week! Whilst two individuals have been mentioned the whole cast made an invaluable contribution to the production. A tremendous evening of first class entertainment enjoyed by all age groups.

Latin Directors: Adam and Will Forde Haslemere Museum Fri 15th Oct 2010 This one act play by Stephen Fry (sub-titled Tobacco and Boys) was set in a public school which was competently directed and acted by Father Adam who played a senior housemaster Herbert Brookshaw while his son, Will played junior housemaster Dominic Clarke. It was acted on a bare stage and the dialogue was delivered at the at the right pace with every ounce of humour extracted from the script. Well done!

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evil, snarling villain, a part he was made for and Lynn Willis was the thigh slapping principal boy, Jack. The scene changes were slick, the costumes well-fitting and colourful and, an added bonus, there weren`t too many solo songs. The whole show was received with enthusiasm by a packed audience who had obviously come out to enjoy their yearly treat. Arreton Community Theatre

A (Farndale) Christmas Carol

Winton Players On Golden Pond Winton Players

On Golden Pond Director: Penny Young Festival Hall Petersfield Sat 16th Oct 2010 This gentle drama by Ernest Thompson containing pathos and humour and made famous on film by Katherine Hepburn and Henry and Jane Fonda was carefully researched and skilfully directed. For example the programme reflected the author’s views on being a writer and director and reprinted an e-mail, received from the author wishing the production success. The programme also gave an explanation of a loon (a large diving bird) which is mentioned in the script. Now to the action. The correct pace was established from the outset and the cast of six interacted well with each other. John Whittaker (Norman Thayer) and Vivien Pike (Ethel Thayer) gave outstanding performances as the retired couple. Finally the set designed by Rod Christensen enhanced the production. Lion and Unicorn Players

The Government Inspector Director: David Francombe Festival Hall Petersfield Sat 13th Nov 2010 Here was a cracking Russian comedy of mistaken identity by Nikolai Gogol (translated into English by the Director and Gill Hancock). The action set in a remote town in Russia moved at a fast pace throughout and the cast of 19 extracted every ounce of humour from the script. Notable performances came from Ben Gander as the clerk from St. Petersburg (Ivan Khalestakov), mistaken for the Government Inspector, Robbie Smith as his servant, Ossie, Eric Parker as the Mayor, Gill Hancock as his wife who provide lavish hospitality for the “guest” and Elsa Donovan as Madam Bobchinsky (Babs) and Madam Dobchinsky (Debs) as the town gossips who assumed that because the man was staying at the nearby hotel he must be the Inspector. The sets designed by the director added to this very enjoyable performance.

Rita Boffin DISTRICT No.16 Shorewell Drams Club

Jack and the Beanstalk Director Jo Brown Choreographer Vicki Pointer Shorwell Village Hall January 20th to 29th 2011 The last of the village pantos, this one was memorable for two rather unusual reasons. Firstly, a chorus whose words could be actually understood - a veritable rarity amongst amateurs and even professionals and secondly, a Greek type dance performed by half a dozen men with green balloons. This was particularly effective, a real show stopper, all the more so as one of the troupe was minus tights, much to the delight of the more observant of the audience who are can now claim to be aware of what Scotsmen wear under their kilts! Mike Snow was a most likeable and personable Dame Eileen; the unrelated Snow family were out in force with Mary Snow, Princess Daisy; Aaron Snow as Mike and Anna-Marie Snow as part of the delightful cow, Daisy. Richard John was the

Director Isabel Favell Methodist Church hall Arreton January 14th and 17th 2011 The Farndale series are always popular with amateurs as they can be played outrageously or strait. This latter approach is risky and like most groups, Arreton Community Theatre chose the former approach. Thus the Chairlady Mrs.Reece, portrayed by Chris Rickard, was a figure of fun, whose costumes defied belief and whose delivery was both comical and patronising. Amanda Gregory, Thelma, made a curvy Ebenezer Scrooge, complete with a silvery grey wig and an almost principal boy characterisation. Poor Linda O`Connor, Mercedes, spent most of her time on stage in an uncomfortable neck brace as Bob Cratchit, amongst other parts. She was most impressive and hilarious when, towards the end, she was constantly attempting to get up of the floor and join in, only to be repeatedly and nonchalantly pushed over again. Jo Holt, Felicity, had the clearest voice of all. She is amongst that dwindling handful of amateurs who know how to project. Ian Watterson, Gordon, the stage manager who is reluctantly drawn into the fray, had a bewildered look about him throughout, which was just right. The whole drama was staged in a Methodist hall, amongst, what I took to be, the choir stalls. Most effective, despite the 20 centimetre wooden parapet across the front of the stage which hid the participants legs from the knee downwards. On reflection, that only added to the bizarre goings on at the Farndale Avenue Housing Estate Townwomen`s Guild Dramatic Society. Long may it live! New Strolling Players

Red Riding Hood Director Kelly Daniel Memorial Hall Freshwater IOW December 16th to 18th 2010 Never having come across Red Riding Hood before, I was surprised that it is so seldom performed. Of course, storyline apart, it kept to the same formula as all the other pantos but it was short - just over two hours including interval - which left those in the audience who loved every minute of it wishing for more, whilst the others heaved a sigh of relief, their duty done! The big advantage of R.R. Hood is the Wolf, which gives every opportunity to be an evil, rapacious monster. Certainly Philip Bovill excelled himself in the role, complete with realistic wolverine mask and snarling voice. Not one to be trifled with. Ventnor TG

Dick Whittington Director Andrew Woodford Musical Director Tony Careless Choreographer Roseanne Curling Winter Gardens Ventnor December 9th to 12th 2010 The first of many island pantos, other productions in the pipeline will have to be exceptional to meet the high standard achieved by VTG`s Dick Whittington. All the solo singers could actually sing - quite a rarity in pantos. The 170 costumes designed and created by Sue Goulding were really beautiful and the scenic artist, Brenda Jackson, devised backcloths that were of a truly professional standard. The sound effects, lighting and the 6 piece band under the direction of Tony Careless were all outstanding. And what of the 50 strong cast? Well, needless to say, how could they fail to please with such an impressive array of non-acting talent to back

them up? Apollo Players

Hay Fever Director Peter Boffin Apollo Theatre Newport IOW December 8th to 18th 2010 The Apollo Players Christmas offering this year was not their usual musical but a light classic comedy from the pen of Noel Coward - Hay Fever. A fortunate choice as it turned out because during the two weeks it played there were at least four other shows on the Island - all pantos - and this sophisticated comedy made a welcome alternative for many of the public. The play was well received with much praise being lavished on the solid ensemble playing of the cast and the dazzling 20s style costumes that were specially created by the Wardrobe Team, led by Peggy Harcourt. Cowes AODS

The Wizard of Oz Directors Tracy Howard and Claire Quilter Choreography Pat Sutton and Amanda Gregory Musical Director Simon Keates Trinity Theatre Cowes December 2nd to Sunday 12th 2010 This was an unusual adaptation of The Wizard of Oz by frank Baum, adapted by John Kane, with lyrics from MGM and a score by Arlen and Harburg. Kathryn Edwards made a winsome Dorothy, ably and abetted by the real star of the show, Toto the dog.. On with Dorothy all the time either on a lead or being carried and at one point even managing to eat a sausage, much to the delight of the younger members of the audience. Also to their delight was the large chorus of children, many of whom played several roles such as Munchkins, Poppies, Talking Trees, Winkies, with everyone of them colourfully garbed by the excellent costume department. The Island Savoyards

H.M.S. Pinafore Producer Sheelah Stephens Musical Director Donna Brihmani Shanklin Theatre November 24th to 27th 2010 For this latest G& S presentation of Pinafore, the trusted and tried Island Savoyard`s stalwarts were again at the helm, with some playing the same parts as before, much to the delight of the audience. Thus, Gaynor Marsden was a flirtatious Hebe; Steven Young the handsome Ralph Rackstraw; Lucy Stevens, the silver voiced and delightful Josephine; Paul Stevens, a tongue-in-cheek Captain Corcoran and the once-seen-never-forgotten John Woodford, Sir Joseph Porter. (See him and Paul next in panto, such is their versatility). However, for me, the star of the show and one to watch, was newcomer Dominic Jones with his rich bass voice and eye-catching stage presence. Bembrudge Little Theatre Club

So What Do We Do About Henry? Director Alain Smith Bembridge Village Hall October 4th to 6th 2010 Billed as a comedy, this 1980 radio play starring Flora Robson and set in a Cornwall, was an ideal choice for such a talented village group. Martie Cain played Henry short for Henrietta - the manipulating yet charming aunt, whilst her nephew Patrick Barry - Dino -made a dashing and believable illustrator and writer. All eight on stage had distinct, identifiable characters. Three actors we seldom see in major roles who deserve special mention; Ann Proudfoot, the daily help, Elsie; Adrian Martienssen, the powerfully voiced Admiral and Graham Neil the Rev. Gane. But, oh, those dreadful programme `photos!

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Newchurch Drama Group

Cowes AODS

Eastleigh Operatic Society

Touch of Danger

Teechers

Patience

Director Phyl Taylor Newchurch Village Hall October 28th to 30th 2010

Directors Wayne Child and Abbie Lemon Trinity Theatre Cowes. September 29th to October 2nd

Director: David Jupp Musical Director: Rob Jones Choreographer: Josephine Arnold-Bouazouzi The Point, Eastleigh November 2010

One of Godber`s better known plays, an ability to convince the audience that the three on stage are able to offer a multiple set of believable characters from pupils to teachers, is essential. This was achieved effortlessly by Fiona Gwinnett - the island`s most over-the-top female comedienne, Peter Stockman, whose forte is to present slightly quirky characters with utter confidence and Joanna Adams, a relatively new member of this extravagant team. When Peter delivered the opening line - Bollocks! - we knew we were in for a riotous, irreverent, evening`s entertainment. We were not disappointed.

Patience is lightweight, but lots of fun! Much of the satire is lost to a modern audience and most of the comedy now comes from the dragoons as they take selfcongratulatory delight in being the brainless officer class. The choreography was neat, with comical capering for Bunthorne and Grosvenor in “When I Go Out of Door”. An excellent orchestra. Musically, I particularly enjoyed the duet (“Long years ago, fourteen maybe”) between Patience (Annie Masters) and Angela (Janet Green), the sextet in the middle of “Let the merry cymbals sound”, and Annie Masters’ vocal cadenzas - typical of Sullivan’s soprano roles. (Stuart Ardern attended the show on behalf of Margaret Fields)

This classic Durbridge thriller never loses its appeal. So, with a distinctive set to capture the mood, Newchurch Drama Group gave us a gripping evening`s entertainment. Terry Pearson, in one of his best performances, starred in the lead role of Max, whose sudden, unexpected appearance following the announcement of his death, sparked off this tortuous tale of spies and counter spies. Steve White as, Digby, the Man from the Ministry, also presented us with an accomplished performance whilst Alan Johnson, as the devious Seago, proved yet again, that he is just as adept in serious roles as he is in comedy. South Wight Youth Theatre

Half a Sixpence Director Isabel Favell Choreography Carol Laidler Musical Director Luke Mulhern Shanklin Theatre October 28th to 30th 2010 A mix of adults and young people made this show memorable. The `old stalwarts` are now either at university or college, so a new contingent has now stepped into their shoes To be commended are; Michael Pearl in his first major role as Kipps; Marlee King as Ann, his real love; Harriet Sibley as a beautiful Helen Walsingham the rejected up-crust lover: Peter Snell as her equally upper-crust, none-the-less engaging brother; Paul Arnold, the flamboyant Harry Chitterlow: Claire Apsey, a real `find` as Mrs. Walsingham; and finally, Steve Apsey, the bullying shop owner Mr.Shalford. The Pepperpot Players

The Big, Bad Mouse Director Peter Farrin Whitwell and Niton Village Halls October 22nd 23rd and 29th 30th The Big, bad Mouse, a farce, proved to be one of the better Pepperpot offerings of late. As with most village groups, belief had to be suspended with regard to the suggested ages of the characters but this did not deter the Pepperpots, who managed to keep the audiences laughing throughout. I suspect this was mainly due to the casting of Mike Santer in the lead role of MrBloome, who, not-with-standing his strapping frame, came over most effectively as the wimp who finds himself the centre of female attention once they learnt of his supposed saucy antics on Wandsworth Common. No place for inhibitions in this play! The Apollo Players

The Herbal Bed Director Cynara Crump Apollo Theatre Newport October 20th to 30th 2010 This play, based on real events involving Shakespeare`s elder daughter and a charge of adultery, caused many casting problems for the Apollo. Once again, too many island groups with overlapping rehearsal days and too few men of the right age group, conspire to make casting plays a director`s nightmare. Fortunately the Herbal Bed was eventually cast and proved to be an unusual play, with a strong female lead, Rebecca Brough and a new young man, Maximilian Steyger taking the part of Jack Lane. Joe Cody made a welcome return and quite an impact, as Barnabas Goche, the relentless interrogator. His young daughter Daisy, an Apollo Junior, made a delightful Elizabeth Hall, a role shared with another Apollo Junior, Kendal Dollery.

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Margaret Fields DISTRICT No.17 RAODS

Be My Baby Director: Janet Courtice Plaza Theatre Greenroom September 2010 The crowded atmosphere of the Greenroom suited this story set in the 1960s. Four young women, all pregnant, stay in a Home for Unmarried Mothers to have their babies - and to give them up for adoption. A tiny stage with furniture and props used to indicate the overlapping locations of Matron’s office, the dormitory and the laundry where the girls worked. For a serious play, there were a lot of good laughs, although many of them were tinged with sadness, for, ultimately, this is a tragedy for all the naïve girls. A good, thought-provoking production of an excellent play. (Stuart Ardern attended the show on behalf of Margaret Fields) Southampton Operatic Society

A Little Night Music Director: David Tatnall Musical Director: Martin Paterson Hanger Farm Arts Centre November 2010 The direction made good use of the studio theatre space, with the “pierrot” quintet lolling around the periphery of the stage, and largely just stage blocks to indicate place. The musicians gave a very good account of Sondheim’s masterclass in writing 3/4, as did the pierrots, with his difficult contrapuntal songs. Good ensemble playing from the principals, though many of their songs were delivered from a seated position, which was in danger of leaving them short of breath. Vicky Wilson stood-out for her portrayal of the conflicting emotions of Countess Charlotte Malcolm, and the difficult feat of convincingly acting drunk. (Stuart Ardern attended the show on behalf of Margaret Fields) Winchester Operatic Society

The Yeomen of the Guard Director: Liam Meggison Musical Director: Derek beck Theatre Royal November 2010 The plot of Yeomen works better than much of Gilbert’s lighter works - probably because, written as a period piece, it does not date. The audience enjoyed the jokes, delivered with aplomb by the cast. In particular, the interplay between the wonderfully expressive Katie Hickson and Peter Barber’s leering Wilfred was delightful. The balance between the pit and the stage was perfect, with every word audible. I really enjoyed the songs, and in particular the pieces for the small groups; the highlight for me was the quartet “Strange Adventure!” The ending tableau made a refreshing change from conventional curtain calls. (Stuart Ardern attended the show on behalf of Margaret Fields)

Southampton Operatic Society

Carmen Director: Shaun Dodimead Musical Director Nigel Finch Nuffield Theatre January 2011 Plenty of spine-tingling moments: from the chorus in a series of climactic chords, from the orchestra in the Act 4 pizzicato prelude and from the acting; when Carmen spat at the lieutenant, the whole audience winced. A new English libretto brought a natural feel to the text. Characterisation and business were good from the start (bullying soldiers, proud Don José, innocent Micaëla, wanton Carmen). The interplay between Dancaïre and Remendado was a treat. The quintet in act two was gorgeous; Carmen followed by four solo lines, then Carmen again followed by two pairs, and so on. Sublime, exquisitely balanced singing. (Stuart Ardern attended the show on behalf of Margaret Fields) RAODS Youth

The Pirates of Penzance (The Evacuees) Director & Musical Director: Shaun Dodimead Choreographer: Mandy Stokes The Plaza Romsey 11th-14th August This version of “Pirates” was transposed to Cornwall during the 1940s and the cast portrayed a gang of evacuees. The pirates were a lively bunch, with Charlie Spargo as a stylish Pirate King and Giles Odling as a dutiful Frederic. Dominic Bolton was a brilliant Major General, delivering his famous patter song very clearly and quickly. His daughters were an enthusiastic group of Girl Guides, and Rose Van Der Schee was a charming Mabel. The Police, with Owen Collick as the Sergeant, were most amusing and Tom Hopgood was hilarious in his cameo role. This was the youth group’s summer project – a show in a week – and the director, cast and crew worked very hard to achieve such a high standard of performance. RAODS

Mindgame Director: Paul Green The Plaza Romsey

21st-25th September

Set in an asylum for the criminally insane, this play can be described as a “psychological” thriller. The cast of three kept us on the edge of our seats with their interpretation of the many twists and turns of the plot. Thrills, shocks and “red herrings” abounded and just when we thought we had worked everything out we realised that we had got it all wrong. The actors, Wayne Ings, Clive Butcher and Kerry Butcher, were brilliant, totally convincing in all their moods and keeping us guessing from minute to minute. The set was very interesting too, with subtle changes to increase our confusion. A very tense and intriguing evening.

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RAODS

mix of the traditional panto and something a bit different.

H.M.S. Pinafore

RAODS

Director: Malcolm Clarke Musical Director: Martin Paterson Choreographer: Anita Pritchard

The Pied Piper

John Earwood and Alison Vincent (Ralph and Josephine) were very attractive young lovers, singing with style and conviction, and Mark Ponsford was Josephine’s noble suitor. His rendition of “And now I am the Ruler of the Queen’s Navy” was hilarious and every word could be clearly heard. Les Allen, Captain Corcoran, was totally bewildered by the mysterious Buttercup, beautifully sung by Carole Lilly. They were assisted by an excellent chorus of sailors, sisters, cousins and aunts. The singing and dancing were excellent, and we could hear every word of both lyrics and dialogue. Chesil Theatre

Bedroom Farce Director: Nicky Pink The Chesil Theatre Winchester

16th-23rd October

I first saw this play at Scarborough a very long time ago and I think it is even funnier now as we look back at the seventies. The cast was most convincing, and Mark Frank and Vara Williams were fantastic as the older couple. The costumes were super – I remember them well! – and the set was amazing – fitting three bedroom sets onto the tiny stage was a real challenge – but with the excellent lighting it worked perfectly. Ayckbourn at his best. RAODS

Noises Off Director: Heather Witham The Plaza Romsey 29th November- 4th December This was an absolute triumph for all involved. The standard of acting was extremely high, with the entire cast seamlessly moving between their characters. I loved Christine English as Mrs Clackett/Dotty and when Jess Connelly was Vicki she seemed to have trained at the School of Coarse Acting. The set was superb, and the production was technically perfect. I can’t remember when I last heard an audience laugh so loudly and for so long. Brilliant!

Director: Bob Heather Choreographer: Becci Ayling Musical Director: Roger Symes The Plaza Romsey 14th-29th January All the familiar panto characters were here including a rather sinister Pied Piper (George Ellison). Colin Pritchard was a perfect Dame. His wardrobe was very stylish and with his height and booming voice he made no attempt at femininity. All the dialogue was well delivered – including the corny jokes – and the music was very enjoyable, a good mix of ballads and more lively tunes. The three piece band was brilliant. This was an excellent example of traditional panto. It was very lively and colourful and not too long – very suitable for children of all ages and a good introduction to live theatre. Westfield Productions

Dick Whittington Directors: Rich Wyeth, Paul Munday, Janice Munday & David Pointer Choreography: Helen Brewster, Michelle Cummins, Mary Gouldsmith & Kayleigh Wright Musical Director: Nicole Cummins This version of Dick Whittington was very traditional in many ways, with a super King Rat (Matt Lock) to hiss and boo at. His delivery of “My Name” was great fun, but all the singing, especially the lively numbers, was great. The dancing, with so many choreographers, was never repetitive and the UV scene was very well done. The costumes, as usual with this group, were outstanding. The Junior Chorus was delightful, stealing every scene that they were in. It was all very noisy, but great fun was had by all. My six year old companion was thrilled with the whole show so the cast obviously reached their target audience! Footlights Youth Theatre

Disney’s Beauty and the Beast Director: David Tatnall Musical Director: Martin Paterson Choreographer: Louise Hodson Theatre Royal Winchester

18th-22nd January

Chesil Theatre

Hedda Gabler Director: Cecily O’Neil The Chesil Theatre Winchester

4th-11th December

There were many good things in this production of the classic drama. The costumes were excellent, and the set and lighting were amazing, really giving the impression of a cold, clear Scandinavian setting. The standard of acting was high, with some very convincing characterisation, but I felt that at times Hedda came across as merely spoilt and peevish, not truly showing the frustrations of an intelligent woman of the period. However altogether it was an interesting production. Performing Arts Company

The Twelve Days of Christmas Director: Barbara Fairclough Choreographer: Rebecca McIntyre Musical Director: Martin Bennetts Eastpoint Centre Southampton 8th-11th December This is a different slant on the Christmas Musical/ pantomime, with the cast searching through six different countries to find the stolen keys. It provided many opportunities for different styles of music and dancing, with costumes to match. The main panto ingredients were there – the good fairy, the wicked wizard, the dame etc. – and the audience could participate too, shouting out “Look Behind You” et al. The cast worked very hard and it was all very bright and colourful. A very enjoyable

Beautiful costumes and scenery added to the success of this show. The singing was super and Katherine Evans looked and sounded just right as Belle. Natalie Thorn was excellent as Mrs Potts and Andrew Morgan was convincing as the Beast and his gradual conversion was very believable. Gaston was well played by Oli Garfield but the entire cast, however large or small the role, was completely committed to the production and contributed to an excellent production.

Chesil Theatre

Wait Until Dark Director: Norma York Chesil Theatre Winchester

The play, set in the late 1960’s, is a bit of a period piece now, but the cast worked very hard, keeping the tension going most of the time. The plot is quite complicated and the audience were kept busy sorting out who the “baddies” were and working out what was going to happen next. Lulu Riley’s portrayal of the blind Susy was superb – totally convincing at all times – and Niamh Phelan was a very confident young Gloria. David Baldwin was suitably evil as the sinister Roat and Steve Cosier and Michael Lewis were the rather incompetent conmen. Stephen Nockolds made the most of his role of Sam, Susy’s husband. The well constructed set and the costumes were very much of the period and the lighting was excellent – the set looked dark but we could see the action.

Betty Haslam DISTRICT No. 18 Farnham Operatic Society

Thoroughly Modern Millie Director & Choreographer Sally Wooding Musical Director Steven Bean Farnham Maltings 25th January 2011 Farnhams latest production started off in a very lively way with Alexandra Yates (Millie) in fine voice giving a very polished performance ably supported by Mick Lang (Jimmy) Hazel Burrows (Miss Dorothy) Lucy Chapman (Muzy) and Katy Hunt (Mrs Flannery). Sue Sampson (Mrs Meers) the hotel owner and leader of the slavery ring was splendid, her Chinese and American accent combined to give the audience both laughter and Horror. Nigel Morley (Trevor Graydon) displayed his many and varied talents as owner of the Insurance Company who employed Millie. The Priscilla Girls, The Ladie’s and Men’s ensemble all provided excellent support with a special mention for Jules Muir (Bun Foo) and Charlie Magowan (Ching Ho). Well directed by Sally Wooding and musically directed by Steven Bean. A production that satisfyed a packed first night audience.

Little Shop of Horrors

Cinderella 2nd-

This was lovely community pantomime, well written, and well suited to the small area available in the theatre/ barn. Scenery was minimal, and moved around quickly and the transformation was well done. The coach, in a small alcove at the back of the stage, was beautifully lit and it all added to the magic of panto. Richard Barnett and Peter Moore were suitably ugly sisters, bringing some of the traditional humour to the show but Cinders, Buttons, the Prince, Dandini and the rest of the cast all added to the general fun and enjoyment.

Director Choreographer Polly King Musical Director Harriet Oughton The Electric Theatre 26th January 2011 Little Shop of Horrors satirises many aspects of theatre, Science Fiction, ‘B’ movies and Musical Comedy. Polly King’s direction complemented by Harriot Oughton’s great rock music provided an evening of fun and entertainment. Douglas McLeod (Mr Mushnik) played his part as the harrassed flower shop owner unhappy with the lack of trade. The two shop assistants Lee Vaughan (Seymour) and Stephanie-Marie Napier (Audrey ) gave very creditable performances as did Natasha Halliwell, CJ Mitchell,Vickie Thompson and Hannah Simpson as the Ronnettes who linked the show. Seymour produces a plant called Audrey 11 that grows into a man eating monster constantly requiring to be fed. To keep it alive it devoured most of the cast.

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5th-12th February

Ghosts

Colbury & Ashurst Theatrical Society Director: Kevin Denson Musical Director: Will Richards Hanger Farm Arts Centre Totton Southampton 29th January

Chesil Theatre Wait Until Dark

61 28/03/2011 12:24:08

her age (Armand) Oliver Trumble. Otto discovers her betrayal but is killed by the resistance, Marguerite’s friends give her a beating which contributes to her poor health and she dies of consumption. All the cast members contributed to a brilliant production helping to make this tragic performance a very memorable evening. Godalming Theatre Group

Sitting Pretty

Ghosts - Little Shop of Horrors Phil Street was excellent as the voice of the monster. Particular mention must go to Jane Bryant and Georgina Clifton as the puppeteers and Paul Rogers Branch as A Voice not unlike God. The support of the cast helped to make this horror show a memorable and entertaining evening. GTG Godalming Theatre Group

Aladdin Director Jenny Mayor Musical Director Bob Good Choreographer Jennifer Baxter Ben Travers Theatre Charterhouse School Godalming 5th January 2011 Jenny Mayor’s direction of Aladdin ensured a very enjoyable evening for the audience. Darren Coppe (Aladdin) played his part well ably supported by Holly Yorston (Princess Yasmine). Colin Richardson (Widow Twankey) was very entertaining and Matthew Curnier (Wishee Washee) kept up the comedy throughout the evening especially during the audience participation and the use of many socks !! Sarah Newey and Mary Gallagher as (Hi & Lo) kept the audience amused. Mal Fisher (Abanazar) was suitably evil. Emma Culley (Jeanie, the Genie) Carol Gallagher (Slave of the ring) and Paul Furlong and Laurie Munn as PC’s 27 & 39 all gave good performances. Bob Good’s musical direction, and the well executed dance routines contributed to a very entertaining evening. PH Productions

Director Denise Hodgkiss Ben Travers Theatre Godalming 27th October 2010 Written by Maureen Lipmans daughter, Amy Rosenthal, this play is about a woman (Nancy) Kate Williams who becomes depressed at being made redundant at the age of 55. She sees an advert for an art class, joins the group which delights her sister (Nina) Sophie Irving who is pleased that she has job and is happy again. The job is to pose naked for the art class, which Kate accomplished with great aplomb. A highly amusing play well directed by Denise Hodgkiss and supported by an excellent cast.

justice. A well rounded chorus in resplendent costumes provided excellent support for the principals. Well done Guildford. Fasten Your Seatbelts

I Love You, Your Perfect, Now Change Director Paul Rogers-Branch Musical Director Ian Reilly Assisted by Vanessa Wheeler The Mill Studio Yvonne Arnaud Theatre Guildford 18 November 2010 This Joe Dipietro (book & lyrics) and Jimmy Roberts (music) musical has a cast of four. The story of two people meeting, courting, getting to know the parents, getting married, having children, getting divorced, and finally growing old. Nate Rogers-Branch and Mary Heath were excellent as the couple well supported by Paul Prebble and Clare Salter. The acting and singing was of the highest standard and overall the musical was up to the company’ normal high standard and well received by the audience.

Farnham Junior OS

The Adventures of Tom Sawyer

Alton ODS

Director Clare Salter Musical Director Lizzie Kirk Choreographer April Timpson Directors Assistant Joy Sampson Frensham Heights Arts Centre 29 October 2010

Director Alison Crow Alton Assembly Rooms 6th November 2010

I fully agree with the programme notes of Chairman Alison Roberts that the energy and enthusiasm of the whole cast showed on stage on this production which was the UK premiere of the Broadway show. Dylan Kirk (Tom Sawyer) is very talented; he gave a superb performance with good delivery of his extensive dialogue. Joe Kirstein (Huck Finn) was a delight to watch, his facial expressions were excellent. Special mention of Bradley Roberts, Caitlin Smith, Phil Blackwood, Tom Curran, and all of the principals and cast who made this a special evening. Well done Farnham Juniors and director Clare Salter.

Marguerite

Guildford Opera

Director Catharine Humphrys Musical Director Alex Parker The Mill Studio 13th January 2011

Lucia Di Lammermoor

Catherine Humphrys excellent direction and Alex Parker’s musical direction brought to life the period of WW 2 German occupation of France and particularly the night life and the collaboration of the citizens. Becky Van-Orden (Marguerite) ably portayed this challenging role of a lady of the night who is not only a night club singer but also the mistress of (Otto) Darren Street who is a Gestapo Officer. The situation is further complicated as Marguerite falls in love with a young frenchman half

Grand Opera at its very best with principal singers who were masters of their art. Suzanne Shakespeare (Lucia) was excellent and received loud applause, especially in the Mad Scene (Act 3), from the packed audience. Kevin John (Edgardo) was superbly cast and played the part well, as did Richard Arundel (Enrico). James Davis (Raimondo) gave a wonderful performance, his singing clear and resonant. Myles Harfield (Normano), Yuri Sabatini (Arturo), and Julia McCullough did their parts

Director Jackie Shearer Musical Director Francis Griffin Electric Light Theatre Guildford 10 November 2010

This Must Be The Place

This farce by Monk Ferris is a case of mistaken identity, with characters posing as someone else and causing misunderstandings among girls, aunts, suitors, and others. Performances of note include Andrew Mackley (Bob Zachary) as the portrait artist who is planning to propose to Susie Dean (April March), Katie Rose (Gloria Desmond) who thinks Bob will propose to her, and Gloria’s aunt Pippa Mills (Pomona Beaument). Well supported by the rest of the cast. The Whips

Gaslight Director Geraldine Guthrie The Electric Theatre Guildford 8th October 2010 Geraldine Guthrie drilled her cast well although at times it was difficult to hear the dialogue. Richard Johnson (Jack Manningham) a good performance occasionally did not domineer his wife enough. Jules McColl (Bella Manningham) played her part well as the harrassed wife. Frances King (Elizabeth) and Kim Searle (Nancy) played their small parts very well. Wally Ross Gower (Rough) the detective some of his speeches were inaudible a problem as it was his job to inform the audience as to why he was on the track of Mannigham. The production was well supported by the rest of the cast. Report on behalf of Helen Mills Cody Farnborough AOS

The Full Monty Director June Thomas Musical Director Paul Tickner Choreographer Sue Grosvenor Princes Hall Aldershot 22nd September 2010-10-05 A well balanced cast ably directed by June Thomas brought out the humour, pathos and agony of unemployment which turned out to be what I would describe as a good old romp. Rob Tickner (Jerry Lukowski) gave a very good performance as the concerned father trying to ensure rights for his son James Schofield (Nathan Lukowski). Paul Tapley (Dave Bukatinsky) worried about stripping with his fuller figure! The Women headed by Siân Thomas (Georgie Bukatinsky) and including a good performance by Giga Phillips (Jeanette Burmeister)), great fans of the Chipperfields , encouraged the boys when they went The Full Monty.

Marguerite - PH Productions

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Ghosts

Woodfield Entertainers

Leatherhead Operatic Society

Nine

Beauty and The Beast - A Pantomime

The Full Monty

Director Paul & Nate Rogers-Branch Musical Director Alex Parker Choreographer Amy Simpson The Electric Theatre, Guildford 30th September 2010

Director Tanya McArthur

Director Jeff Raggett MD Colin Copestake Choreographer Karen Ward Epsom Playhouse

The story of a Film Director ably played by Alex De Courcy (Guido Contini) savouring his recent successes, dreading his 40th birthday, and with a midlife crisis blocking his creative impulse and entangling him in romantic difficulties. His wife a good performance by Emma Culley (Luisa Contini), had watched him with countless other women falling at his feet until she finally had suffered enough and left. A special mention for Vanessa Wheeler (Saraghina). This very complicated musical with seventeen women, minimal scenery (stage blocks) and very clever lighting. The directors produced a creditable production for their first attempt at directing. PH Productions

The Rodgers and Hammerstein Concert Creative Director Polly King Musical Director Alex Parker The Electric Theatre Guildford July 13th 2010 PH Productions is a newly formed company comprising talented young musicians and singers between the ages of early to mid twenties. The MD Alex Parker aged 19 produced an extravaganza of Rodgers & Hammerstein music from a cast of 15. The soliloquy from Carousel superbly sung by Nate Rodgers-Branch who had stepped in at the last moment having had just one rehearsal with the orchestra. The Male Company’s ‘Nothing like a Dame’ was another highlight of the musical.

Due to the snow and weather conditions I could not attend the show. This review therefore is compiled from a DVD, so there’s no ambience of the pantomime atmosphere. I was not clear about the plot line as I did not have a programme, The main actors played well. I missed having tuneable and singable songs. The scenery was well executed and the make up and the costumes were colourful. Some of the male characters seemed to be rather harsh and tended to shout, perhaps there was no amplification. I’m afraid the chorus didn’t smile a lot. The castle scenes were the best mainly due to Belle, Pierre, the Beast and Goody Two-shoes. From the sound of the audience’s reaction it was much appreciated. Fetcham Village hall

The Sorcerer Bookham Light Opera Company 29th &30th October 2010 Director Margaret Parfitt MD Selena Hegarty This is a seldom performed G & S Operetta which was bravely tackled by the company. The principals performed well apart from some occasional lapses. The Sorcerer’s performance brought the production to life. Apart from J S Wells the ‘patter’ songs were sometimes not as clear as I think Gilbert would have liked! With a small stage one doesn’t want a large chorus but there was a paucity of the male gender, the perennial problem. It was good to see the children performing well on stage; we need those up and coming thespians. The scenery, costumes and props were good. Selena’s conducting with a keyboard accompanist was excellent. The Nomads

Helen Mills DISTRICT No 19 Ewhurst Players

‘Allo ‘Allo Director Wendy Davies November 2010 Bringing a TV sit-com to the stage is not easy but Jeremy Croft and David Lloyd managed it and so did this talented cast. The auditorium and stage were all ‘as one’ with a French supper served at the tables. The set was ingenious and authentic. Rene had the hardest job holding it altogether, but all acted well in their different characters. They also sustained their French/ English/German accents throughout and brought out all the humour of the various roles and catch phrases.. Costumes, wigs and make-up could not be faulted. Wendy directed a lively and happy show.

Insignificance Directors Alan Wiseman and Elaine Burns 5th – 9th October A difficult play to tackle with its theme of McCarthyism and the imaginary meeting of a scientist, a glamorous film star, a baseball player and the bullying red-necked Senator in a New York hotel bedroom. Alan playing the scientist about to go before the HUAC played his part well, he was very believable. As the ‘Marilyn’ star, Victoria, one believed in her compassion. Her husband the baseball player, Steve, had to veer from being a sportsman to a loving husband, he brought it off. The Senator, Stephen, was totally obnoxious in the part, the audience hated him, so well acted! Played in an effective but simple set it was a well directed and very thoughtful play.

A really brave show to tackle and all are to be congratulated. The show started slowly but picked up as the auditions commenced. A truly ‘male’ show though two ladies as wife and ex-wife held their own. Jerry the instigator acted and danced well, as did his side-kick Dave. All the men had their idiosyncrasies Horse was a particularly good dancer. Jerry’s son Nathan was believable. The chorus didn’t have a lot to do but performed well. Some of the dialogue was lost when the orchestra was playing which was a pity. The scenery and the costumes were good and of the period even the thongs ! At the end the lit FULL MONTY was most impressive. Jeff directed an excellent show and Karen’ choreography was great. DDOS

The Baker’s Wife Director Louise Fowkes The Green Room Theatre, Dorking MD Debbie Warren Choreographer Andi Narsi 28 September – 2 October 2010 A little known show bravely tackled and performed. An authentic French village café atmosphere with clever use of the set on a small stage. The French inhabitants with all their quirks and rivalries gave a real feeling of this tightly knit rural community. The Baker of course had a key role and played it well, he had to range through all the human emotions, joy, love, loss and despair as well as enthusiasm for his baker’s craft, he was of course the saviour of the ‘breadless’ village until his wife fell for another inhabitant. All actors were believable and played and sang well. Some nice dance routines from Andi, especially with baguettes and the cabaret chairs not easy on a small stage. Louise’s direction was first class as was Debbie as MD. The programme was not very informative, though as the village Newsletter it was an original idea.

DATES FOR YOUR DIARY REACH FOR THE STARS YOUTH ACADEMY NODA Youth Academy for 12 – 17 year olds is being held from 12 – 16 April 2011 at Oakham School, Rutland. For more information and an application form visit: www.noda.org.uk/youth or telephone 01733 865 790

NODA SUMMER SCHOOL 2011 NODA Summer School will be held from 30 July to 6 August 2011 at Warwick University, Coventry. Some courses are already fully booked so please don’t delay in booking a place! NODA NATIONAL CONFERENCE 2011 The National Conference and AGM will be held at The Raddison Hotel, Durham on Saturday 24 September 2011. Ewhurst Players - ‘Allo ‘Allo

FOR DETAILS SEE NODA WEBSITE

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BACKSTAGE

SETTING THE SCENE

have been working here at Scenery Hire Ltd, Newport, South Wales for just less than twelve months now, and what an interesting time it has been. Not only do they speak a different language (I am from Worcester) but they also have some different ways of doing things. It is a fairly relaxed environment. We don’t start until 9.30am and by the time we have settled in, Jill our overworked (so she tells us) Office Administrator has cooked breakfast (no I am not joking). The Scenery Hire dietary requirements are interesting in themselves – cholesterol features highly, as does vinegar, which when poured on toast is a Welsh delicacy. We have an associate, Wayne on Line, who has no relationship with computers whatsoever, hence his name, who prefers spready cheese to butter – but with sausage? Despite Wayne’s sandwich preferences, he does have his uses and is at present trying to find us 20 zimmer frames at a reasonable cost for our new The Producers set. I should point out that Wayne is, legally and legitimately, able to find most things. The Producers set is the latest edition to our stock, and is a challenge for the company to build as it’s a big show, and our target market is the medium size venue. This creates several issues for us, and the Companies who hire the set. Briefly, these are:- How do we portray each scene, cloth, truck, flats or what combination of each? What set parts are critical to the show and what if anything can we leave out? How can we best build it to suit our customers’ venues? The set has to tell the story but also be usable and give our customers a fighting chance of getting it onto their stages. Inevitably, there has to be compromise, but we hope that in all, these are acceptable, and that the set is well received. Certainly the response to the first pictures is very good! We will find how the set works when it has its first outing around the corner from us at The Dolman Theatre, Newport with The New Venture Players. This set has certainly provided me with invaluable experience, given that even at my age I am new to this side of the theatre game. We recently built new Full Monty and Les Miserable School edition sets and whilst very different in their make up, the design and planning followed the same process.

checking to see if they have been damaged and that they are folded correctly and in the right numbered bags. I have come to this from a backstage background, and did not realise how important to the scenery hire companies that the cloths are bagged and folded correctly at the ‘get-outs’. We are thankfully getting a lot of enquiries for both sets and cloths, and another surprise has been the vast difference in the knowledge of the customers we talk to. An enquiry can come from someone who knows exactly what questions to ask, and how the set and venue will work together with their company, whilst another can come from someone who has never spoken to a scenery hire company before, and knows very little about what they want to hire from us and how to use it. This is why at Scenery Hire Ltd we have a message in our Ads-TALK TO US! Whilst I personally may not know the answer, Paul (owner of the company) usually does. We would rather have lots of discussion about what is being hired from us than none, that way we all have more chance of getting it right. This is particularly true with Pantomimes, where our approach is a little different to others. No two pantomimes are the same, so we find that if we have a discussion about the set required we can put it together to suit the synopsis and the directors ideas, rather than offering a set that may not suit the particular version of the pantomime being performed. I think it would be fair to say that Paul (the owner) is a Panto expert as he has seen hundreds, and supplied sets for many years to both the amateur and professional markets. I have become involved with Scenery Hire Ltd somewhat late in life, and I now realise what a pleasure it is to mix your paid employment with your hobby! It is lovely to be able to talk everyday with people who share that hobby. Talk is the important word-even if a lot of it is electronic nowadays – only by talking does this hobby work successfully. There is so much that goes into a show or play at whatever levels it is performed, that only by discussion and communication can a successful production take place. The message from Scenery Hire is TALK TO US! If you are close to Newport, South Wales pop in and see us. If it is breakfast time you can join us (Jill will hate me for that!). We promise not to make you put vinegar on our toast. Steve Cook Scenery Hire Ltd

As we have over one hundred other sets in stock it is a challenge for me to remember what goes with what, and of course its an ongoing task to keep on top of the refurbishments and repairs. This is also true with the one thousand cloths that we have, certain ones of course go with specific show sets, and others are random designs that are used in a variety of show situations. I am surprised how many of these cloths go out weekly, and on their return need

64| www.amateurstagemagazine.co.uk

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TRADITIONAL WE KNOW THE SHOWS!

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pantodames.indd 1

21/02/2011 13:20:10

BACKSTAGE

Know Your Rights

IAN HORNBY New Theatre Publications

Amateur Stage spoke to Ian Hornby, Playwright & Publisher for New Theatre Publications What does your role with New Theatre Publications involve? My role involves all aspects of assessment of plays for publication plus the general running of finances, membership, orders for scripts and licensing for performances, as well as dealing with publicity and promotion. We have two people who deal with newsletters and another who deals with promotion and the day-to-day running in the USA – we have an office in Florida. As far as assessments for publications go, we have six “readers” (experienced in various aspects of theatre for many years) who, on a voluntary basis, read each submission. They are split into two (variable) teams with a nominated “lead reviewer” for each play, whose job it is to collate the views of the rest of the tam into a cohesive collation of all their views. I make the final decision on whether to publish or not. Tell us a bit about your publishing philosophy New Theatre Publications was founded to run with the absolute minimum of overheads. This means that we can often take a chance on offering publication to authors who show promise. Sometimes the gamble pays off and sometimes not, but at least we are giving more up and coming authors a chance in the marketplace. We are open to all genres, all lengths and most content that is legal, non-libellous and not in breach of any copyrights. We publish play scripts in booklet form, but we also offer large print scripts on request at no additional cost (since we always print to order). We have a number of sketches and short plays that are insufficient in length to warrant paper publication (we offer the scripts free of charge by electronic download only, though they are subject to a performing licence) and these need not carry an ISBN or go through the reader assessment process. The facility is available free of charge to anyone who is a member for as long as their membership lasts. We also offer, free of any charges, electronic downloads of any and all plays, since we want to make money for the authors by performing rights, not sales of scripts. These free copies are for evaluation only and we vigorously pursue anyone who makes illegal copies or attempts to stage performances without the proper licences. The assessment received by an author following submission of a play aims to build the skills of the author so as to create a better product. It is as much about providing a play that will fit the intended market and we encourage authors to consider what markets they are aiming for. Almost all our business is with amateur/community theatre, where cast breakdown and ages and the makeup of the audiences must be considered. We have a tagline that we are run by playwrights for playwrights. Whilst not strictly true – we run for the theatre community as well – we believe that playwrights know what playwrights want, and we are not driven by the balance sheet or profit margins. This gives more writers a chance and also keep our performing rights well below thoes of the major publishers. What is the most exciting aspect of your position? The most exciting thing is when authors, especially new authors, have their plays performed. Part of the performing licence agreement is that the performing group must make two tickets available to the author for his or her choice of performances. We then encourage the authors to attend where possible, which has the benefits of forging relationships between authors and theatres, allowing authors to see (or hear) how and where the play could be improved and any difficulties the theatre has had with production. The pinnacle of this is witnessing an author’s very first production, when it takes a few days for them to float back down to earth. How many new scripts do you publish per year? New Theatre Publications publishes about 30-40 plays a year. There are currently over 800 plays in the online catalogue. What were the stand out successes of 2010? The greatest success in the year was when the playwrights’/screenwriters’ demigods Ray Galton and Alan Simpson (creators of “Steptoe and Son” and writers of Tony Hancock scripts) agreed to be Patrons. Whereas they do not get involved in any way with the running of NTP, and have no financial involvement (in or out) either, it underlined what we are trying to achieve ands adds to our credibility in the world of theatre. Otherwise every publication and every performance are successes. Is there anything exciting we can look forward to in 2011? The primary initiative for 2011 is to further develop the vast market of the USA and Canada, as well as continuing to serve and expand the UK market. Other openings, especially in Australia and New Zealand are coming to fruition.

How important is the amateur section for emerging playwrights? The amateur theatre arena is the most important market for emerging playwrights (and many established playwrights too). One only has to look at the plays of the likes of Sir Alan Ayckbourn to see how important the amateur market is; his plays are all over the professional stage but also among the leaders in terms of amateur productions. But for most of us, as I know myself, since I also write plays, the professional market is incredibly hard to penetrate, such that emerging playwrights could quickly lose motivation if they only hold on for “the big break”. This vast, yawning gap between the amateur and professional theatre, especially these days when the professional theatre’s emphasis (in recent years at least) has been almost exclusively on musicals not only hampers the emerging playwright from bridging it, but also demands a different approach. Amateur groups have casts that are usually weighted towards more women than men; they tend to be older; budgets and technical capabilities are often limited, so single set plays are more popular, and so on. The audiences themselves are generally not looking for avant-garde storylines; they want plays that entertain more than they challenge. These are generalities, of course, but worth paying attention to when looking at amateur productions. The bottom line for the emerging playwright means the amateur market is the one. For starters it’s huge – there are far more amateur theatres than professional ones. A good percentage of amateur theatres are more likely to be open to the possibilities of unknown playwrights. They are forgiving: problems with staging and plots are worked around rather than criticised. And most of all, they, like the emerging playwright, are doing it because they are passionate about it, not to pay the grocery bills. There’s an empathy there. If a group is interested in obtaining a license for one of your shows how should they proceed? We have a website that has been carefully designed to give the maximum help to theatre companies. AS well as being able to search for plays by title and author, you can search by type and length and – most importantly – cast breakdown. If you happen to have 2, maybe 3 men and 4, maybe up to 7 women available to cast, you can search for all plays that could be cast, whereas most sites would need you to search for all 2m 4f, 3m 4f, 2m 5f, 3m 5f and all the other possible combinations. Once you find the play you’re looking for you can organise a free downloadable (pdf) evaluation copy (so you don’t part with any cash at all until you’re sure) or can order paper scripts and performing licences. It can all be done on line and, if you wish, you can pay with a debit/ credit card. Or, if you prefer the personal touch, email us on info@plays4theatre.com to tell us what you want. Or if you want to be personal, just call us on 0845 331 3516 and we’ll do it all for you. We love to talk theatre and will happily suggest plays to fit your bill as well as guiding you through the ordering processes. We tend not to worry too much about office hours and weekends too! Can you give any pointers to groups looking to stage one of your plays? Yes. For starters, we are usually in regular touch with our authors. If anything needs to be altered for any reason – this is particularly relevant in pantomimes, where each theatre wants to add a bit of local flavour and topicality. As mentioned above, we encourage playwrights to attend a production – this can have the benefits of local media interest, thereby increasing ticket sales and making everyone happy. As mentioned above, our catalogue is as ADS-friendly as we have been able to make it (but we’re always open to suggestions for improvements). This should make finding a suitable play as painless as possible, but you can always call to ask advice – there’s usually a voice at the end of the phone, not a machine and not overseas. Once found, you can get a free evaluation copy. We can put you in touch, in most cases, with the author should you need it, to resolve any confusion, to discuss sets or special effects or even to sanction changes to script and cast. We have a fairly relaxed attitude to making videos (though permission must be sought beforehand) usually agreeing to it provided the author is sent a copy. If we can make it any easier, let us know! How does a playwright get to have their scripts published by New Theatre Publications? The not-for-profit Playwrights’ Co-operative (and its publishing arm New Theatre Publications) are constituted as a membership organisation, meaning we will only consider submissions from writers who are members (currently £16 per annum). Further than that, each submission must be accompanied by what we call a “reader fee” (currently £11 for a one act play and £22 for a full length play). Yet this is in no way vanity publishing. None of us takes an income from PC?NTP apart from our own hard-earned royalties, and we do need to be able to function, hence these small levies. There are no hidden extras further down the line. We believe membership gives value for money – all members are entitled to a free “author page” on our website where, alongside any NTP publications, they can publicise and other writing work they have, whether published (by any publisher) or unpublished. There are frequent newsletters offering advice on publication, wiring, etc, member news, writing opportunities and so on. In addition, any member qualifies for 15% discount on any and all NTP scripts – not just their own – so the local theatre groups can benefit from even cheaper scripts, or even join themselves if they wish. All submissions are now only accepted in electronic format; in this way we are championing green credential and allowing the scripts to be sent to all three allotted readers simultaneously rather than the old days of paper submissions where we either had to make copies or send them round serially, with resultant delays. Once the reading process is complete, the author will receive a written assessment along with, if accepted, a publishing contract offer. In any event the assessment has suggestions for

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improvement in terms of the play’s content and/or its market potential. Once publication is agreed, the finished play is registered with the UK Legal Deposit System, the author receives a free copy and the play is entered onto our website catalogue. Are their any tips you can give new playwrights about who to write for – eg cast size, age, subject matter etc. A particular soap-box subject for me here. Our ethos is that an author should never give the ADS reader the excuse to put his/her play back on the shelf. If you put yourself in the position of such a reader, assuming he or she has actually found a copy of the play somewhere, the first glance is at the cover. That has the cast size, a guide as to the length (one act/full) and a synopsis/blurb. If someone is looking for a 3m/3f play and yours is 14m/7f then forget it – you don’t match, but if the cover says “14 male roles, 7 female roles – can be done with as few as 3m/3f” you’re still in with a chance. The title is vital. So is the blurb. You need to hook the reader in 100 words or so. A bad blurb gets the play discarded. Put simply, the purpose of the cover is to persuade the reader to open it. Once it’s open, the next thing to look at is the cast list. “Susan, a blonde, 21 years old, 5’11, blue eyes…” Is it really that important? Maybe the ADS doesn’t have such a person available, in which case, bye bye script. But maybe they do have a 25 year old 5’6” green-eyed brunette who could equally well do the job. Many groups have mainly one generation, so casting parents and their offspring isn’t an option. And that police inspector – does he have to be a man? Couldn’t a women just as easily do the job, as in real life? Keep it open; keep it flexible. I’ve been considering wiring a play with “a cast of six, any age, either sex”. Watch this space. Next, if all is well, we get to the stage set. “A swimming pool” (forget it). “a ski slope” (likewise). “Scene 1 - a shop, scene 2 – Lucy’s apartment, scene 3 – an Indian Curry House….” Ummm… not impossible, but a lot of effort… (forget it). Ah, what’s this? “Single set – a living room”? Read on… Now we move to properties, costumes and special effects (all minefields for the unwary) and the body of the script. You’re nearly there; they’re still reading. End of scene 1. “Lucy throws off her robe and runs naked through the auditorium…” Drat, it fell at the last hurdle. Lucy’s bravado may fit the author’s fantasies just fine, but finding such a brave girl in the amateur theatre world is very unlikely, let alone a committee who would risk staging anything like that in from of their audiences. I’ll defend to the hilt an author’s right to include nudity, overt sex, foul language (even, in their characters’ words only, blasphemy and other generally offensive terms). But each time an author includes anything controversial he takes great swathes out of his potential market, and

S K OO B

The Art of Acting……and how to master it.

David Carter Published by Kamera Books www.kamerabooks.com Price £12.99 Kindle edition available from Amazon for £7.99 ISBN 9781842432211 In his introduction the author states, “You cannot learn how to become an actor by reading a book. Many actors would also argue that you cannot, in any case, teach someone how to act.” However, a great deal of information can be found in this book and how much is used is down to the reader. The plain style of writing makes it easy to read and I would recommend it to anyone who wishes to act, already acts and wants to improve or is a theatre goer who desires to know more about acting. Part 1 - is a potted history of acting that details the evolution of styles and practices and the reasoning behind them. Part 2 - contains an abundance of ‘how to’ advice which the author has gathered from interviews with a multitude of well-known actors who have earned recognition for their dramatic skills, subject knowledge and experience. I found this section to be particularly interesting. Part 3 – deals with the decision of ‘going professional’. A substantial amount of really useful information and advice is to be found between the covers of this publication but, having drawn on the experiences of

thereby his market potential.

BACKSTAGE

What are the trends at the moment? Are groups steering away from new works due to the economy or is new writing flourishing If I could anticipate trends I’d be rich, that much I know. There is a definite shift, however (and this is, to an extent, permeating from professional theatre) towards regular plays. My local group had cast Ira Levin’s “Deathtrap” only to be refused a licence because it was due for a season in the West End. Then next chosen play suffered a similar fate. Manchester’s Royal Exchange Theatre has staged a couple of Philip King farces in recent moths. It’s a small beginning, but there’s hope. One of the greatest things about theatre, and this has been repeatedly demonstrated across hundreds of years, is its habit of reinventing itself. Even allowing for the fact that technology dominates society to the extent where anyone under the age of 16 is not interested in anything that doesn’t plug in, there are people who want to be entertained and those who want to entertain. They fall into several vertical niches, for example ADS, Fringe, Festival, Women’s Groups, Young Farmers and so on. Each has its own requirements, far too complex to go into here, so call me and I’ll expand my views! My own particular arena is ADS. We look for full length, single set “safe” plays – many ADS are aligned, albeit sometimes very loosely, with a church of some kind, so the safety of nothing too extreme will be there. That’s OK; I can make people laugh without relying on titters from words more at home coming from the mouth of Gordon Ramsay that amateur actors. Realism, yes; offense, no. (Or, better sill, why? There is, arguably, a new style of theatre emerging. Traditional theatre has actors learning scripted lines which they deliver to one another as per the script. At least, that’s how it’s supposed to work! But we now have a growth of murder, mystery evenings. In these, each actor has a small number of scripted lines that are delivered to the “audience” (usually diners at parties or in hotels and restaurants), who are then encouraged to ask the actors probing (and unscripted) questions. The actors, however, have no idea whatsoever what they will be asked, so need an intimate knowledge of the plot and an ability to think fast and improvise. It’s exhausting and very exciting theatre – I know, because I do it and I write scripts for it. www.scripts4theatre.co.uk www.dying4dinner.co.uk

so many; it should not surprise anyone that some of the advice is contradictory. My overall view of this work - easy to read, informative and most interesting. Peter Breach, East Midlands Regional Editor

ACTING FOR THE BETTER Mary Hasbury Published by Puck Books www.puckbooks.com Price £8.99 ISBN 9780956096036

Acting for the Better is a nifty little tome that aims to give an all round education to anyone entering the world of theatre be it amateur or professional. Terms and concepts are explained simply and effectively making this book a great primer. With illustrations by Jill Fenson, this is no major adacemic text but an entertaining and informative read. The book contains interesting chapters on subjects such as Upstaging, Kissing, Articulation and Nerves amonst many others. Acting For The Better would make for a great gift for anyone entering into their first show. Well worth the read!!!

COMPETITION

Amateur Stage has two copies of ACTING FOR THE BETTER to give away. Simply tell us what you think the letter M should stand for in the acting alphabet. Top marks will be given for creativity and theatricality. Entries by 17th April to editor@ asmagazine.co.uk.

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H T N O M E H T F O PLAY

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BACKSTAGE

David Muncaster reviews the latest playscript offerings.

IMPERIAL FIZZ Brian Parks Josef Weinberger ISBN NO: 9780857633403 CAST: 1M 1F

A 1930s Art Deco apartment. Melodies play from a classic RCA radio whilst a couple straight out of the world of Noel Coward sing, dance and exchange witty banter. His tuxedo, her cocktail dress are just perfect and the slightly tipsy conversation is delightful and clever. They chatter away as they await a special guest, but all is not what it seems. From the off we know something is wrong, but we don’t know what it is. What dark secret lies in sharp contrast to their world of comfortable upholstery? This is the tension that lurks in the background as we enjoy the intelligent bickering. The script is peppered with sophisticated exchanges such as: Woman: I wish I could sing as nicely. Man: It’s a pity no one has yet invented the notes you use. and

Man: You have flirted with men at parties I did not attend. Woman: Absence makes the heart go wander.

As they discuss their lives together they adopt the personae of different characters to give evidence as though they are on trial, taking it in turn to be prosecutor, defendant, judge and jury. Eventually we come to realise that, for this couple, life is over. The special guest? The grim reaper, perhaps, but in the end comes disappointment as it seems that the afterlife, like life, does not quite come up to expectations. Imperial Fizz is a challenging play both for the actors and the audience. As it is a two hander, both actors have a lot of lines but the real difficulty lies in maintaining interest. The introduction of different characters will help but it would be a shame if the audience missed the meaning due to losing concentration. However, done well, this is a play that will be discussed in the bar long after the curtain falls.

Man: You say things behind friends’ backs. Woman: I admire their shoulder blades.

A FLEA IN HER EAR

Georges Feydeau translated by John Mortimer Oberon Books ISBN NO: 9781849430869 CAST: 9M 5F plus extras This classic French farce written around the turn of the last century was translated by John Mortimer for a production at the Old Vic in the mid nineteen-sixties. This edition is published by Oberon Classics following a revival at the New Vic in December 2010. Raymode Chandebise suspects her husband, Victor, of having an affair and sets in motion a plan to entice him to Hotel Coq d’Or where his misdemeanours will be exposed. The wordplay between Ramonde and her best friend Lucienne is a delight as they decide to write a letter to Victor, from an anonymous and non-existent admirer, asking him to rendezvous at the hotel. When Victor receives the letter he believes that it must have been intended for his friend, Tournel, who secretly admires Raymonde. However, the letter has been written by Lucienne and when Victor shows it to her husband he immediately recognises the handwriting. Come the day of the meeting, all the interested parties arrive at the hotel and, as one might expect chaos ensues. Modern audiences will be uncomfortable at finding humour in a character’s speech impediment but the script does offer scope for playing that down and all the classic elements of farce are here for ambitious companies with the budget for the necessarily elaborate set.

LYSISTRATA – THE SEX STRIKE Germaine Greer and Phil Wilmott adapted from Aristophanes Samuel French ISBN NO: 9780573112591 CAST: 8M 11F

Athens is at war with Sparta. It seems as though the futile conflict will drag on until everything is destroyed, but one woman is not prepared to allow that to happen. Lysistrata calls on the women from both sides to take matters into their own hands: they will go on a sex

strike until peace is declared. The women gather in the bathhouse, a place that is strictly men only, and Lysistrata reveals her plan. Much of the language is very bawdy, and the humour quite basic, but one does get rather swept along by it and I can imagine an audience enjoying carry-on-esque lines like ‘I need a stiff one’. Being convinced of the need to take such drastic action, the society women leave the bathhouse to be replaced by the Senators and Secret Police. Now is the opportunity for the cleaning women to come into their own, provoking the men into a state of anger before Lysistrata and her clan return to flaunt their bodies and tease the men until they are, well, “overcome”. The tables are turned and it is now the women who will sit in judgement as Lysistrata reflects that peace, at every level, is less damaging than war, and it is men’s insistence to revel in the glory of war that causes the most damage. The action becomes even more earthy in act two, probably making the play unsuitable for many amateur groups, but despite all this raunchiness the best features of the script are the moments of poignancy and Greer has not shied away from reminding us of the tragedy of war. It is debatable whether Aristophanes himself would have approved of the pacifist message contained in this adaptation but much Greek theatre is very relevant in today’s world and this is a perfectly (in)decent adaptation.

THE VIEW FROM THE GUTTER Douglas Fulthorpe New Theatre Publications ISBN NO: 9781840947311 CAST: 5M 3F with doubling.

The View From The Gutter consists of three plays introduced by a compère. The impression the audience should have is that they are witnessing a revival of a fifties radio series, something akin to The Twilight Zone, and that these three plays are a celebration of classic radio drama, all be it with a big dollop of satire. The first is Afternoon Tea in which Fred has obtained a quantity of Kwik-Kill; a pesticide so deadly that the authorities are on the point of banning it. A practical joke goes horribly wrong when Fred realises that the new puppy is in the potting shed where the poison is kept. The second is Orange Gin, an American cop drama featuring an Inspector Broccoli, a character very reminiscent of (Lieutenant) Columbo. Whilst Afternoon Tea finished before it really got started and is more of a sketch than a play, Orange Gin is much more rewarding. Inspector Broccoli is convinced that Waldo’s death was homicide, not suicide, and he conducts a number of rambling interviews before

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following convention and arresting the butler. There is some pretty amusing and, at times, risqué word play and when the explanation of the crime comes it is clever and satisfying. The third play is Count Your Chickens and we are back in England. All is not well in the village of Little Slaughter. Nor are things very good in Middle Slaughter or Great Slaughter for that matter. In these sleepy villages, where crime is virtually unknown, someone is stealing chickens! But, as the deliberately heavy-handed clues reveal, something much more sinister than poultry theft is afoot. The author clearly had a lot of fun with The View From The Gutter and this comes through in the writing. Douglas Fulthorpe has crafted this play with great skill and I imagine that it will do well for a lot of amateur theatre groups.

CRANFORD

Elizabeth Gaskell adapted by Campbell Kay The Phoenix Press ISBN NO: 9780956630803 CAST: 6M 16F or 2M 8F with doubling Cranford was originally published in serial form in Household Words when Elizabeth Gaskell was approached by Charles Dickens to make a contribution to the periodical. It was published as a novel in 1853 and, after the author’s death three years later, its popularity has meant it has never been out of print, the recent BBC production bringing the story to a whole new audience. Campbell Kay’s adaptation was first produced by Nottingham Arts Theatre in 2009. In a society dominated by an older generation of somewhat snobbish women the philosophy of living to a moral code, with an emphasis on humanity and kindness, is put to the test with the onset of the industrial revolution, rising crime and economic crisis. As our story begins the ladies of Cranford neatly set the scene and we are immersed into their rather quaint world where anything at odds with the moral code is considered ‘vulgar’. But we are immediately made aware that things are changing: the arrival of the railway into the town has offended their sensibilities. As Miss Pole points out, “If God has meant us to travel by steam locomotive he would have given us furnaces instead of bellies and stove pipes instead of heads.” There is a good deal of humour in the script but the underlying theme is that of change. The ladies are struggling to come to terms with the way society is evolving and there are many priceless moments, for example Miss Pole’s gentle remark when complimenting a friend on her connections “Of course, I am not related to anyone in trade myself”. To condense the whole of Cranford into a couple of hour’s entertainment is quite an achievement but Campbell Kay has pulled it off by concentrating on the essential elements of the story. As a result, whilst the script has pace, it does not feel rushed or incomplete. It is well known that Cranford is modelled on Knutsford in Cheshire and my own associations with that town sparked in me a natural interest in this new adaptation but, with a script as well crafted as this one, Campbell Kay’s play should have universal appeal.

OH, TO BE IN ENGLAND David Pinner Oberon Books ISBN NO: 9781849430562 CAST: 3M 2F

Oh, To Be In England was written in 1975 but did not receive its première until Mel Cook produced it at London’s Finborough Theatre in 2011. David Pinner’s reputation for provocative, emotive writing was established when he wrote the novel, Ritual, whilst appearing as the lead in The Mousetrap in the West End. The novel was later made into the cult film, The Wicker Man, starring Edward Woodward. His plays include The Teddy Bears Picnic: another that was written

BACKSTAGE www.amateurstagemagazine.co.uk

CoMEdIES BY IAn hoRnBY nEWLY PUBLIShEd

ThE Ex FACToR CoMEdY 3M 4F, SInGLE SET

(No, nothing to do with the game show!) Imagine it - you and your wife-to-be are struggling to open your bed and breakfast. The B&B inspector is due any moment. So it is for Phil and Jane. Except the imminent inspector is Phil’s ex-wife Felicity, and there never was any love lost between the two women. And there’s a rumour that Felicity’s latest beau used to be a Chippendale - not good when your first guests - two matronly women - are also due to arrive. And the place is almost - but not quite - finished, the rising wind threatening to blow the roof off the barn. The stage is set for misunderstandings, jealousy, women at war and even a burglary. That all-pervading scent of the farmyard doesn’t help either.

ConFEREnCE PAIRS CoMEdY 2M 5F, SInGLE SET

Each and every year, the members of the national sales team of JW Roberts Ltd. meet in a hotel for their sales conference. And each and every year they continue their “liaisons” with other members of the sales team. Afterwards they will go back to their everyday lives, but this weekend they’re out to enjoy each other. Peter and Eve have conveniently-opposite rooms in the hotel, but just about anything that can prevent their continued relationship actually does prevent it, including fire alarms, falls, difficult hotel staff, visiting bosses, lost keys, two pairs of handcuffs and a surprise visit from Peter’s wife. And not forgetting the very popular favourite

hELLo, IS ThERE AnY BodY ThERE? FARCE 4M 5F, SInGLE SET

All is dull and peaceful at Squire Grange. Lady Amelia searches for new ideas for her latest mystery novel as Sir Malcolm sleeps off the excesses of another idle day. Family friend Freddy is persuaded to try and think of new ideas. Meanwhile the hapless Vic Tim arrives and is promptly dispatched by an unknown assailant. Everyone tries really hard to discover the murderer, but not in time to prevent the Producer being murdered. And someone else. This hilarious farce steadfastly refuses to take itself (or anything else) seriously.

www.scripts4theatre.com Free evaluation copies on request. Visit our for details of these and the rest of Ian Hornby’s 36 published plays.

Contact ian@scripts4theatre.co.uk tel: 01925 485605 Or write to Ian at 2 Hereford Close, Warrington, Cheshire WA1 4HR www.amateurstagemagazine.co.uk | 69

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CAST 7M 8F Lucy Kirkwood excels in strong imagery. Even her description of the set is powerful: an angry barbed wire fence – we know exactly what she means. Bloody Wimmin is about the legacy of the Greenham Common protests and as the action begins it is

BACKSTAGE

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in the nineteen-seventies but was not performed until decades later. It was considered unproducible when it was first written due to its uncompromising view of Stalinist politics and, if the notes on the back page of the script are to believed, Oh, To Be In England was lost due to the play’s representation of nineteen-seventies political extremism. It occurred to me that, with the current economic client and with the British (THE WIG National Party winning seats on councils and CENTRE) in the European Parliament, this could be a play that with a disturbingly contemporary feel. With Britain in economical meltdown, stockbroker George Hampton’s behaviour has become increasingly erratic until his predilection for speaking his mind earns him the sack. His wife, Kay, is desperately trying to keep the family together as George has a Over 25 years experience - personal apflirtation? with neighbour Antonia; one that is jealously observed by teenage son Rob. pointments required In order to help make ends meet Kay takes in if a lodger, Florian, who is a handsome and successful German businessman and, in the resulting sexually charge atmosphere, Kay finally tells George to just get on with consummating his relationship with the neighbour. Unable to go through with it George slashes his wrists in an act that was probably more about seeking attention than a deliberate attempt to end his life. Leichner & Kryolan What we have, Full then, is range a play about-relationships. George ends up alone, his neighbour having taken up with his son, and his wife with the lodger. The politics, the miners’ strike and the rise of Thatcher, provide the backdrop to George’s disintegration but are not the essential part of the story that one might expect. Whilst Oh, To Be In England is diverting enough, not the lost masterpiece that the back page notes would have Hats,it isfans, boas, glasses, gloves, etc. us believe.

THEATRICAL MAKE-UP ACCESSORIES

PINEAPPLE JEWELLERY Robert Messik Samuel French ISBN NO: 9780573121982 CAST: 1M 1F

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SHOW CARDS

Now then! Either there is an error in this script or, when this play was first presented at Arundel Festival in 2006, theEdleston character of Peter wasCrewe played by an actress, whilst his 166 Road, wife, Jill, was played by an actor. No matter; regardless of any unintentional gender Cheshire CW2 7EZ reversal, our couple live in a comfortable, Ikea furnished flat in North West London. As Tel: 01270 255726 01270 Peter arrives home he is on his mobile phoneFax: ordering a pizza.255130 He carefully establishes the exact time with the person on the other end of the phone, as he plans to take Email: bromileyltd@btconnect.com advantage of the fast foodwww.bromileywigs.co.uk establishment’s half hour rule. Not delivered in half an hour – the pizza comes free. Pregnant Jill is surprised by Peter’s arrival which is earlier than usual. She has packed her suitcases, written her farewell note and was just about to walk out the door. The naive Peter mistakes the reason for her having her coat on and goes to turn up the heating. When Jill finally manages to get through to him that she is leaving we realise AMATEUR STAGE | SEPTEMBER 2010 that he knows this, but is in denial.

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The dialogue that follows is a kind of verbal ping-pong as they discuss their relationship, her playscriptsSEPT10.indd 4 pregnancy, pizzas and the traffic on the A1. Just when we feel that there may be reconciliation in the air, the pizza arrives (two minutes late) and everything is turned on its head.

13/09/2010 15:04:16

aisr engaging, Pineapple is an excellent play for a one act festival. It keeps it simple, but se e m and has the kind of ending that will give theT haudience something to ponder in the bar e s u t olu os tion to your c after the show.

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www.amateurstagemagazine.co.uk | 63

70| www.amateurstagemagazine.co.uk 15/04/2010 18:07:07

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playscriptsapr11.indd 5

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia 39 Steps, The

An Inspector Calls

Boogie Nights

26 - 28 May 2011 Cosmopolitan Players The Carriageworks Leeds, West Yorkshire 01132 243801 www.thecosmopolitanplayers.btck.co.uk

Annie

Brigadoon

11 - 18 June 2011 Bolton Little Theatre Bolton Manchester, 01204 334 400 www.boltonlittletheatre.co.uk

18 - 21 May 2011 Old Fallings Players AOS Moreton School Wolverhampton, West Midlands 01785 712537

17 - 21 May 2011 Swan Theatre Amateur Company Swan Theatre Worcester 01905 611 427

42nd Street

16 - 18 June 2011 Loughton Amateur Dramatic Society Lopping Hall Loughton, Essex 0208 502 5843

18 - 21 May 2011 Henfield Theatre Company Henfield Hall Henfield, West Sussex 01273 492204

Annie Get Your Gun

25 - 28 May 2011 Southampton Musical Society Theatre Royal Winchester Winchester, Hampshire 07525 371253

19 - 21 May 2011 Southminster Operatic & Choral Society St Peter’s High School Burnham on Crouch, Essex 01621 740787

Browning Version, The 07 - 14 May 2011 Bolton Little Theatre Bolton, Manchester 01204 334 400 www.boltonlittletheatre.co.uk

08 - 11 June 2011 Walkerville Musical Society Walkerville Communtiy Hall Newcastle Upon Tyne, Tyne and Wear 01670 707884

12 - 16 April 2011 Godalming Theatre Group Ben Travers Theatre Godalming, Surrey 01483 719097 www.gtguk.com

Bugsy Malone

63rd Annual Play Festival

Anything Goes

Cabaret

08 - 13 May 2011 Skegness Playgoers The Embassy Theatre Skegness, Lincolnshire 08456 740505

90 Years Young

09 - 11 June 2011 Alton Operatic & Dramatic Society Alton Assembly Rooms Alton, Hampshire 01420 477856

Abigail’s Party

03 - 07 May 2011 Ecclesall theatre Company Ecclesall Parish Hall Sheffield, South Yorkshire 0114 2308842 www.ecclesalltheatre.co.uk

Absent Friends

05 - 07 May 2011 Dringhouses Dramatic Society Friargate Theatre York, Yorkshire 01904 613000

Acorn Antiques - The Musical! 09 - 14 May 2011 Mossley AOS George Lawton Hall Mossley, Lancashire 0161 633 3062

18 - 21 May 2011 Spot On Musical Theatre Moldgreen United Reformed Church Huddersfield, West Yorkshire 01484 305421 31 May - 04 June 2011 CADDAM Musicals Lowther Pavilion Lytham St Annes, Lancashire 01253 658666 14 - 18 June 2011 Dryburn Theatrical Workshop Park View Theatre Complex Chester-le-street, County Durham 0191 388 3362 27 June - 02 July 2011 The ESNA Players Loughborough Town Hall Loughborough, Leicestershire 07989 787888

All Things In Time 21 June 2011 Barn Theatre Oxted Barn Theatre Oxted, Surrey 01959 561811 www.barntheatreoxted.co.uk

05 - 07 May 2011 Battle Light Opera Group Memorial Hall Battle, East Sussex 01424 211140

17 - 18 June 2011 KYDS Youth Drama Society Thurstable School Colchester, Essex 07954 229869

03 - 07 May 2011 Keswick Amateur Operatic Society Theatre by the Lake Keswick, Cumbria 01768 774411

06 - 14 May 2011 Witham Amateur Operatic Society Witham Public Hall Witham, Essex 08454 750420

08 - 11 June 2011 Sidmouth Musical Comedy Store Manor Pavilion Sidmouth, Devon 01395 514413

12 - 14 May 2011 Aldridge Musical Comedy Society Prince of Wales Theatre Cannock, Staffordshire 01543 480626

14 - 18 June 2011 Bournemouth & Boscombe Light Opera Co The Regent Centre Christchurch, Dorset 01202 499199

16 - 23 May 2011 Walton & Weybridge Amateur Operatic Soc The Playhouse Walton on Thames, Surey 01483 770130

Calamity Jane

19 - 21 May 2011 Basildon Operatic Society The Towngate Theatre Basildon, Essex 01245 222267

Bad Girls The Musical 30 May - 04 June 2011 Arran Music & Drama Club Brodick Village Hall Brodick, North Ayrshire 01770 302820 07 - 11 June 2011 LIDOS The Carriageworks Leeds, West Yorkshire 01132 474746

Below Stairs

17 - 21 May 2011 Mytholmroyd St Michaels Amateurs St Michael’s Parish Hall Mytholmroyd, West Yorkshire 01422 886831

Best Little Whorehouse In Texas, The

14 - 18 June 2011 Springers Amateur Operatic & Dramatic Soc Civic Theatre, Chelmsford, Essex 01245 606505

Billy

09 - 14 May 2011 Caprian Theatre Company Gateshead Little Theatre Gateshead, Tyne and Wear 01207 270596

Blue Room, The

04 - 07 May 2011 New Stagers Theatre Company Colour House Theatre London, 07814 611239

04 - 07 May 2011 New Earswick Musical Society The Joseph Rowntree Theatre York, Yorkshire 01904 768182 10 - 14 May 2011 Harrow Light Opera Company Watersmeet Theatre Rickmansworth, Hertfordshire 01923 711063 18 - 28 May 2011 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507600350 www.louthplaygoers.co.uk

Carrie’s War

02 - 07 May 2011 Keighley Playhouse Keighley, West Yorkshire 08451 267859 www.keighleyplayhouse.co.uk

Cat’s Moew, The

11 - 16 May 2011 Upstage Theatre Company The Cornerhouse Community Arts Centre Surbiton, Surrey 0208 390 9113

Cloud Bursting

09 May 2011 Easy Street Theatre Company Crucible Theatre Sheffield, South Yorkshire 07788 594133

Confusions

06 - 08 May 2011 The Regis Players Felpham Village Hall, Felpham, West Sussex 01243 584843

Copacabana

08 - 11 June 2011 Lochgelly & District A.M.A. Carnegie Hall, Dunfermline, Fife 01383 721785

Cranford

17 - 21 May 2011 Nomad Theatre Nomad Theatre, East Horley, Surrey 01483 284747 www.nomadtheatre.com

Curtain Up On Murder

23 - 25 June 2011 Curtain Up Amateur Dramatic Society Totland Village Hall, Totland, Isle of Wight 01983 754654

Dangerous Corner

01 - 04 June 2011 Southside Players Chestnut grove School, Balham, London 0791 4657524 www.soutsideplayers.org.uk

Diary of Anne Frank, The 04 - 07 May 2011 Woodford Community Players Woodford Community Centre Stockport, Cheshire 0161 439 7535

Disney’s Beauty and the Beast 02 - 07 May 2011 Christchurch Theatre Club Loughborough Town Hall Loughborough, Leicestershire 01509 231914

10 - 14 May 2011 Ebbw Vale & District Operatic & Dramatic Soc Beaufort Theatre & Ballroom Ebbw Vale, Blaenau Gwent 01495 350179 11 - 15 May 2011 Kettering Operatic Society Lighthouse Theatre, Kettering, Northamptonshire 01536 414141 17 - 21 May 2011 Brownhills & Bloxwich Musical Theatre Co The Lichfield Garrick, Lichfield, Staffordshire 01785 715368

Dracula Spectacula

16 - 18 June 2011 Billboard Ensemble Paget Rooms, Penarth, Vale of Glamorgan 01446 733625

Elixir of Love, The

16 - 18 June 2011 Southgate Opera Wyllyotts Theatre, Potters Bar, Hertfordshire 01707 645005

Fallen Angels

14 - 21 May 2011 Wilmslow Green Room Society Chapel Lane, 01625 540933

Fame

10 - 21 May 2011 Hinckley Concordia Operatic Society Concordia Theatre, Hinckley, Leicestershire 07855 746520

Cludeo on Broadway 12 - 14 May 2011 Crigglestone Theatre Company Hornbury High School Wakefield, West Yorkshire 07813 407017

Come On Jeeves

18 - 21 May 2011 Quarndon Amateur Dramatic Society Quarndon Village Hall 01332 840007

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Fiddler on the Roof 21 - 25 June 2011 Pheos Musical Players Watersmeet Theatre Rickmansworth, Hertfordshire 01923 711063

Flipside Carnival Remix, The 10 - 11 June 2011 Nomad Theatre East Horley, Surrey 01483 284747 www.nomadtheatre.com

Footloose

31 May - 04 June 2011 Scarborough & District Light Opera Society YMCA Theatre Scarborough, North Yorkshire 01723 506750 07 - 12 June 2011 Milton Keynes Amateur Operatic Society Stantonbury Campus Theatre Milton Keynes, Buckinghamshire 07765 084193

Full Monty, The 09 - 14 May 2011 Watford Operatic Society Watford Palace Theatre Watford, Hertfordshire 01923 225671 25 - 28 May 2011 The Hastleons White Rock Theatre Hastings, East Sussex 01424 462288

15 - 18 June 2011 New Mills Amateur Operatic & Dramatic Soc The Art Theatre New Mills, Derbyshire 01298 25750

Funny Thing Happened on the Way to the Forum, A 09 - 14 May 2011 Abergavenny Amateur Operatic & Dramatic Society (AAODS) The Borough Theatre Abergavenny, Monmouthshire 01873 850805 16 - 21 May 2011 Manifest Thetare Group The Manifest Theatre Manningtree, Essex 01206 391309

Golden Moments

08 - 11 June 2011 Market Drayton Amateur Operatic & Dramatic Society Festival Drayton Centre Market Drayton, Shropshire 01630 654444

Gondoliers, The

Guys and Dolls

Half A Sixpence

04 - 07 May 2011 West Kirby Light Opera Society Floral Pavilion Theatre New Brighton, Wirral 0151 666 0000

14 - 21 May 2011 Birkdale Orpheus Society Little Theatre Southport, Lancashire 01704 564042

10 - 14 May 2011 Whitby Area Musical Theatre Company Pavilion Theatre Whitby, North Yorkshire 01947 604855

28 May - 04 June 2011 Cromer & Sheringham Amateur Operatic & Dramatic Society Cromer Pier Pavillion Theatre Cromer, Norfolk 01263 512495

03 - 07 May 2011 Port Talbot & District Amateur Operatic Soc The Princess Royal Theatre Port Talbot, Neath 01639 896228

16 - 21 May 2011 Cirencester Operatic Society The Barn Theatre Cirencester, Gloucestershire 01285 657110 24 - 28 May 2011 Crowthorne Musical Players Wilde Theatre South Hill Park Bracknell, Berkshire 01344 762380

11 - 14 May 2011 Salisbury Amateur Operatic Society The City Hall Malthouse Lane Salisbury, Wiltshire 01722 434434

08 - 11 June 2011 Maghull Musical Theatre Company Little Theatre Southport, Lancashire 01695 632372

Grand Night for Singing, A

14 - 18 June 2011 Sunderland Amateur Operatic Society Sunderland Empire Sunderland, Tyne and Wear 08706 021130

22 - 25 June 2011 Appeal Theatre Group The New Wolsey Theatre Ipswich, Suffolk 01473 295900

10 - 14 May 2011 East Berkshire Operatic Society Wilde Theatre Bracknell, Berkshire 08454 505301

21 - 25 June 2011 Handsworth & Hallam Theatre Company The Unversity of Sheffield Drama Studio Sheffield, South Yorkshire 01709 377611

Hello, Dolly!

10 - 14 May 2011 Solihull Theatre Company Solihull Arts Complex Solihull, West Midlands 0121 704 6962

Hi-De-Hi

15 - 18 June 2011 Pendle Hippodrome Theatre Company Pendle Hippodrome Theatre Colne , Lancashire 01282 612402

High School Muiscal 30 June - 01 July 2011 Glow Theatre Group Barn Theatre, Oxted 01883 720167

Guys and Dolls, Whitefield ADOS

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia

Honk - Mossley AODS High School Musical

Iolanthe

Kiss Me Kate

Likes of Us, The

Hot Mikado

Jack the Ripper

05 - 07 May 2011 NEOS Productions The Centre New Eltham Methodist Church, New Eltham 020 8851 9881 www.neosproductions.co.uk

Linden Tree, The

10 - 14 May 2011 Larbert Amateur Operatic Society Dobbie Hall Larbert, Stirlingshire 01324 626140

La Cage Aux Folles

Little Night Music, A

04 - 07 May 2011 Youth Onstage The Old Rep Theatre Birmingham, West Midlands 0121 474 2104

01 - 04 June 2011 Norfolk & Norwich Threshold Theatre Group Norwich Playhouse, Norwich, Norfolk 01603 598598 21 - 25 June 2011 Southampton Operatic Society Nuffield Theatre Southampton, Hampshire 02380 671771

How to Succeed in Business Without Really Trying 18 - 20 May 2011 Briton Ferry Musical Theatre Company Community Hall Briton Ferry, Neath 01639 768819

Importance of Being Earnest, The 18 - 21 May 2011 The Oxted Players The Barn Theatre Oxted , Surrey 01883 724852 www.barntheatreoxted.co.uk

Inspector Calls, An

16 - 18 June 2011 Loughton Amateur Dramatic Society Lopping Hall Loughton, Essex 0208 5025 843 www.lads.org.uk

09 - 14 May 2011 Bromsgrove Operatic Society Artrix Arts Centre Bromsgrove, Worcestershire 01527 871426

04 - 07 May 2011 Loughton Operatic Society Lopping Hall Loughton, Essex 01992 575502

Jesus Christ Superstar

26 May - 04 June 2011 Hartley Arts Group Victoria Hall Hartley Wintney, Hampshire 07956 412826

24 - 28 May 2011 Preston Musical Comedy Society The Charter Theatre Preston, Lancashire 08453 442026

10 - 14 May 2011 Herne Bay Operatic Society The Gulbenkian Theatre Canterbury, Kent 01227 769075

31 May - 04 June 2011 Eastbourne Operatic & Dramatic Society Devonshire Park Theatre Eastbourne, East Sussex 01323 412000

17 - 21 May 2011 Poole & Parkstone Productions Lighthouse Poole, Dorset 07947 061839

15 - 18 June 2011 The Waterloo & Crosby Theatre Company Little Theatre, Southport, Lancashire 0151 924 0231

25 - 28 May 2011 Wyspas Wycombe Community Arts Centre High Wycombe, Buckinghamshire 01494 565425

14 - 18 June 2011 Halifax Thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998 www.halifaxplayhouse.org.uk

King and I, The

03 - 07 May 2011 Hartlepool Stage Society Town Hall Theatre Hartlepool, Cleveland 01429 890000

Ladies Down Under

Likely Lads, The

23 - 28 May 2011 Tynemouth Priory Theatre Tynemouth Priory Theatre North Shields, Tyne and Wear 0191 292 9292

01 - 04 June 2011 Cowbridge Amateur Operatic Society Llantwit Major School Llantwit Major, Vale of Glamorgan 01446 772330

18 - 21 May 2011 Belmont TC Pump House Theatre Watford, Hertfordshire 08455 213453

09 - 14 May 2011 Walmsley Church Amateur Operatic and Dramatic Society Walmsley Parish Hall Theatre Bolton, Greater Manchester 01204 305812

Little Shop of Horrors 12 - 14 May 2011 Rayleigh A O & D S Mill Arts and Events Centre Rayleigh, Essex 01268 771751

21 - 25 June 2011 York Light Opera Company The Joseph Rowntree Theatre York, Yorkshire 01904 623568

MacPhersonâ&#x20AC;&#x2122;s Rant 24 - 28 May 2011 The Livingston Players The Brian Duguid Auditorium Livingston, West Lothian 01506 777666

74| www.amateurstagemagazine.co.uk

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Matchgirls, The

10 - 14 May 2011 Avalon Theatre Company Cryer Studio Theatre Carshalton , Surrey 020 8770 6990 www.avalontheatrecompany.co.uk

Me and My Girl

09 - 14 May 2011 Kinver Light Operatic Society Edgecliff High School Theatre Kinver, South Staffordshire 01384 836963 10 - 14 May 2011 Lyme Regis Operatic Society The Marine Theatre Lyme Regis, Dorset 01297 443382 30 May - 04 June 2011 Saundersfoot Footlights Amateur Music Theatre The Regency Hall Saundersfoot, Pembrokeshire 01834 813128 21 - 25 June 2011 Morecambe Amateur Operatic & Dramatic Soc Grand Theatre Lancaster, Lancashire 01524 64695

Merry Widow, The

06 - 11 June 2011 Petersfield Theatre Group Number 8 Community Arts Centre Pershore, Worcestershire 01386 555488

Mikado, The

Noises Off

10 - 14 May 2011 Ramsgate Operatic Society Granville Theatre Ramsgate, Kent 01843 591750

Of Mice and Men

03 - 07 May 2011 Eastbourne G & S Society Devonshire Park Theatre Eastbourne, East Sussex 01323 41200

30 March - 02 April 2011 Chinnor Musical Theatre Chinnor Village Hall Chinnor, Oxon www.chinnormusicaltheatre.org.uk

My Boy Jack

10 - 14 May 2011 Halifax Thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998 www.halifaxplayhouse.org.uk

My Fair Lady

03 - 11 June 2011 Exmouth Players The Blackmore Theatre Exmouth, Devon 07905 761485

26 - 28 May 2011 Bonkers Theatrical The Masque Theatre Kettering, Northamptonshire 07857 186005

Oh, To be in England 11 June 2011 Godalming Operatic Society The Electric Theatre Guidlford, Surrey 01252 703376

Oklahoma!

17 - 21 May 2011 Haverhill & District Operatic Society Haverhill Arts Cerntre Haverhill, Suffolk 01440 714140

24 - 28 May 2011 Chester Operatic society William Aston Hall Theatre Wrexham, North Wales 01978 293293

24 - 28 May 2011 The Sainsbury Singers The Hexagon Theatre Reading, Berkshire 01189 882510

30 May - 04 June 2011 Beeston Musical Theatre Group Duchess Theatre Long Eaton, Derbyshire 01159 280980

25 - 28 May 2011 Petersfield Theatre Group Festival Hall Petersfield, Hampshire 01730 893328

23 - 25 June 2011 Coventry Musical Theatre Society Belgrade Theatre Coventry, West Midlands 02476 553055

15 - 18 June 2011 Rock Ferry AOS Gladstone Theatre Port Sunlight, Merseyside 0151 645 1369 16 - 18 June 2011 Nuneaton Pantomime & Revue Society The Civic Hall Bedworth, Warwickshire 07900 452306

Oliver!

10 - 14 May 2011 West Bromwich Operatic Society Grand Theatre Wolverhampton, West Midlands 0121 550 3667 18 - 21 May 2011 The Elizabethans Amateur Operatic Society Town Hall Ossett, West Yorkshire 01924 263618 18 - 21 May 2011 Richmond Operatic Society The Georgian Theatre Royal Richmond, North Yorkshire 01748 825252

Outside Edge 15 - 18 June 2011 The Watson Players Derby Studio Theatre Derby, Derbyshire 01332 343649

Pajama Game, The

03 - 07 May 2011 Woking Amateur Operatic Society Rhoda McGaw Theatre Woking, Surrey 01483 725779 www.waos.info

Half a Sixpence, Stockport Operatic Society

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia Pajama Game, The

18 - 21 May 2011 Maidenhead Operatic Society Norden Farm Centre for the Arts Maidenhead, Berkshire 01628 671589 15 - 18 June 2011 St Annes on Sea Amateur Operatic & Dramatic Society Lowther Pavilion Lytham St Annes, Lancashire 01253 658666

Past & Present

05 - 07 May 2011 Vane Tempest Theatre Group Seaham Youth Centre Seaham, County Durham 0191 581 9631

Pirates of Penzance, The 03 - 07 May 2011 Stafford & District Operatic Society The Gatehouse Theatre Stafford, Staffordshire 01785 222834

24 - 26 June 2011 Hemel Hempstead Theatre Company The Boxmoor Playhouse Hemel Hempstead, Hertfordshire 01442 234004 30 June - 02 July 2011 Hemel Hempstead Theatre Company The Boxmoor Playhouse Hemel Hempstead, Hertfordshire 01442 234004 Pirates Of Penzance, The 03 - 07 May 2011 Lancaster Amateur Dramatic & Operatic Society (LADOS) Grand Theatre Lancaster, Lancashire 01524 64695

Plazza Suite

11 - 14 May 2011 Marsden Parish Church AODS Parochial Hall Marsden, West Yorkshire 01484 845311

Producers, The 17 - 21 May 2011 Brassneck Theatre Yeadon Town Hall Yeadon, West Yorkshire 01132 505011

Proof

08 - 11 June 2011 Shinfield Players Theatre Reading, Berkshire 01189 758880

Pull the Other One 09 - 11 June 2011 Bramrocks Margaret Mack Hall Norwich, Norfolk 01508 538622

Quartermaine’s Terms 10 - 14 May 2011 Stafford Players Malcolm Edwards Theatre Stafford’s Gatehouse, 01785 254653 www.staffordplayers.co.uk

Road

12 - 14 May 2011 Tenterden O & D S Tenterden Town Hall Tenterden, Kent 01580 241966 www.tods.me.uk

Rodgers and Hammerstein Concert, The 25 - 28 May 2011 Blackpool & Fylde Light Opera Company Lowther Pavilion Lytham St Annes, Lancashire 01253 658666

Ruddigore

10 - 14 May 2011 Trinity Methodist Music & Drama Civic Theatre Chelmsford, Essex 01245 606505 10 - 14 May 2011 Radlett Light Opera Society The Radlett Centre Radlett, Hertfordshire 01923 859291

Scarlet Pimpernel, The

She Stoops to Conquer 16 - 25 June 2011 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245 606505

Silly Cow

12 - 14 May 2011 Kingston Bagpuize Drama Group Southmoor Village Hall Abingdon, Oxon 01865 820375 www.kbdgshow.biz

Singin’ In The Rain 03 - 07 May 2011 Kelty Musical Association Carnegie Hall Dunfermline, Fife 01383 725480

18 - 21 May 2011 Milton Musical Society The Regent Centre Christchurch, Dorset 01202 499199

04 - 07 May 2011 Broxbourne Theatre Company Broxbourne Civic Theatre Hoddesdon, Hertfordshire 01992 441946

Seven Brides For Seven Brothers

18 - 21 May 2011 Wimbledon Light Opera Society London Oratory School Theatre Fulham, London 0208 679 2492

31 May - 04 June 2011 Sutton Coldfield Musical Theatre Company Lichfield Garrick Lichfield, Staffordshire 01543 412121

Shake, Rattle and Run 05 - 07 May 2011 Arrow Players St Edmund’s Hall Northwood Hills, Middlesex 0208 868 7785

Small Hours, The

11 - 14 May 2011 Tovey Hall Central United Reform Church, Bath 01225 858112

Something’s Afoot 19 - 21 May 2011 The Little Theatre Donnington Telford, Shropshire 01952 407959

Half a Sixpence, Stockport Operatic Society

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary

Mack & Mabel, Alderley and Wilmslow OS Sorcerer, The

10 - 14 May 2011 The Three Towns Operatic Society St Joseph’s Hall, Leigh, Lancashire 01942 883722 19 - 20 May 2011 Haverfordwest Operatic Society Torch Theatre Milford Haven, Pembrokeshire 01646 695267

South Pacific

01 - 04 June 2011 The Over Players Over Community Centre Over, Cambridgeshire 07521 099146

Spygame

01 - 04 June 2011 New Forest Players Performing Arts Centre Ballard School, New Milton 0845 166 8775 www.newforestplayers.com

St Trinians

18 - 21 May 2011 HDOS Young Idea Hertford Theatre, Hertford, Herts 01992 531 500 www.hdos.org.uk

State Fair

24 - 28 May 2011 STC Musical Society Dolman Theatre, Newport , Gwent 07854 848749

Sweet Charity

10 - 14 May 2011 Frome Amateur Operatic Society Memorial Theatre, Frome, Somerset 01373 462795

There Goes the Bride

08 - 11 June 2011 Knutsford Little Theatre, Knutsford, Cheshire 01565 873515

Travesties

05 - 14 May 2011 Chelmsford Theatre Workshop The Old Court Theatre, Chelmsford, Essex 01245 606505

Trial By Jury

19 - 21 June 2011 Leatherhead Operatic Society The Playhouse, Epsom, Surrey 0208 393 7248

Troy Boy

04 June 2011 Merry Opera Company Barn Theatre, Oxted 01892 871377 www.barntheatreoxted.co.uk

Under Milk Wood

19 - 21 May 2011 West Chiltington Dramatic Society West Chiltington Village Hall West Chiltington, West Sussex 01798 815122 06 - 14 May 2011 Lane End Players Lane End Village Hall High Wycombe, Buckinghamshire 07706 426320

Wedding Singer, The

04 - 07 May 2011 Corby Amateur Theatre Society The Core Theatre, Corby, Northamptonshire 01536 470470 11 - 14 May 2011 Croydon Stagers Ashcroft Theatre, Croydon, Surrey 0208 651 0527

We’ll Meet Again

13 - 14 May 2011 Haworth West Lane Baptist Am Operatic Soc West Lane Baptist Church Keighley, West Yorkshire 01535 643425

When The Lights Go On Again

17 - 21 May 2011 Abertillery Amateur Dramatic & Musical Soc Metropole Theatre, Abertillery, Gwent 01495 322510 21 - 26 June 2011 Jersey Amateur Dramatic Club Jersey Arts Centre, Jersey, CI 01534511115

Who is Pilgrim?

22 - 24 June 2011 Side by Side Theatre Company Stourbridge Town Hall Theatre Stourbridge, West Midlands 01384 376330

Wildest Dreams

18 - 21 May 2011 Guildonian Players Little Theatre, Harold Wood, Essex 01708 762822

Wizard of Oz, The

10 - 14 May 2011 Garstang Theatre Group, Arts Theatre Garstang, Lancashire 01995 603551 31 May - 04 June 2011 Ariel Theatre Co The Hawth, Crawley 01293 553636

05 - 07 May 2011 Retford & District Amateur Operatic Society Majestic Theatre, Retford, Nottinghamshire 01777 706866 24 - 28 May 2011 Melody Makers Benllech Community Hall, Benllech, Anglesey 01248 853263

04 - 07 May 2011 Wembley Operatic Society Winston Churchill Theatre Ruislip, Middlesex 07983 103444

Whistle Down The Wind

Wizard of Oz, The (RSC Version)

30 June - 02 July 2011 Tipton Arts The Mill Theatre, Sedgley, West Midlands 0121 502 3601

Woman In Mind

25 - 28 May 2011 Hull Playgoer’s Society Hull Truck Studios Theatre 01482 323638

COSTUMES COSTUME HIRE, SHOWS KING & I, PHANTOM, LES MIZ, OLIVER, FIDDLER, KISS ME KATE, FOLLIES, PINAFORE, ANNIE, ALL PANTO SUBJECTS, ORIENTAL COSTUMES www.bpdcostumes.co.uk P: 01273 481004 www.amateurstagemagazine.co.uk | 77

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the last word

CURTAIN CALL

Wisteria Cottage Garrick Lane

Dear Hearts, I cannot tell you how delighted I am to see that Mr AS Editor and NODA have joined forces! NODA are in my good books since their insurance arm saved Campton Royal Amateur Players from ruin after the Cemetery Club debacle. Unfortunately, it took a little while for the money to come through, and that, coupled with my lack of cast, as explained last time, has meant that our production schedule is all behind like a cow’s tail. I had hoped to do something in June, but in my experience, it takes at least two dozen rehearsals to sort out moves, and then a further three weeks for the actors to learn their lines. I was bemoaning this fact to Nikki who I encountered as she left the hairdresser sporting a bright pink streak over one eye. (Nikki, not the hairdresser). As luck would have it, we spotted Jeff and Vera coming towards us. Since Jeff’s arm was about her waist, I assumed she was in need of support after some mishap and enquired as to the severity of the injury. She said it was an errant paving slab, he said it was a pothole. Whatever had happened, it could not have been too serious because she removed his arm and appeared to walking perfectly normally as we headed for the tea shop. Tea shop is a misnomer since it sells a bewildering array of coffee, served by young people, who I understand, are ‘barristers’. Why a legal qualification is needed to work behind a counter is beyond me. Suggestions for the next production came thick and fast. Jeff had ambitions to do ‘The Madness of George III’ until I pointed out we were more than twenty men short. Vera’s suggested a Greek tragedy on the grounds that the authors were long dead and there would be no royalties. Nikki came up with ‘Calendar Girls’, but Jeff remarked it would take more than pumpkins to preserve Marjorie’s modesty. After a pause, Nikki leapt to her feet shouting ‘Festivals!’ This was not a title that I knew and expressed my unfamiliarity. It turned out, she meant us to enter a one act play competition, a concept that I understood from the pages of AS. Short play, small cast would work for us, but I expressed my concern that such a prestigious group as ours might intimidate other entries. Vera said that Ellingworth Forest Festival was on next week, according to a poster in the library, so why did we not go along? Jeff muttered to Nikki, thinking I could not hear, that it was affectionately known as the ‘Effing event’. She exploded, spraying coffee all over Vera and putting an end to all serious conversation. My dears, we went. I have to say, I totally disagreed with the adjudicator, including his tartan waistcoat. We saw something called ‘The Dumb Waiter’, more silence than words; an excerpt from ‘A Midsummer Night’s Dream’, magnificent set, probably half a garden centre with beautifully ennunciated dialogue and an original piece set in a nursing home called ‘Chair’. In the latter, the cast had been, in my view, well directed, they stood up when they spoke and sat when they finished, but the adjudicator went on about ‘more motivated movement’. The stilted ‘Waiter’ was praised for discipline and control of pauses- pauses my foot, I thought they should have known their lines better. The ‘Dream’ team, who I really enjoyed, were told to give more thought to pitch and pace! If we get an adjudicator like that, I shall give him the benefit of my experience. But we have decided to venture into the festival world. All that remains is to choose a play. I shall report on our progress next month. Keep treading those boards. Yours

Doris Richardson-Hall 78| www.amateurstagemagazine.co.uk

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