asmagazine maga DECEMBER 2008 £2.40
THE INDEPENDENT MAGAZINE FOR COMMUNITY THEATRE
LES LIAISONS DANGEREUSES NEWS CHAOS CENTENARY LES MISERABLES HITS NOTTS WEST END REVIEWS THE MONTH IN PICTURES Dec1-11.indd 1
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AS MAGAZINE | DECEMBER 2008
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asmagazine dec08 from the EditorIAL TEAM Seasons Greetings To All!! This month’s issue of AS contains a few more developments in our plans to modernise the magazine. We hope you like the attempt to brighten up the diary and showcase some of your hard work. Each month we will feature production photos from the month before so get snapping and show us what you’ve been up to. Don’t forget to ask you press officers to send us information and diary listings. We’d love to feature more information and news but to a large degree its reliant on information being sent to us. We were lucky enough to talk this month to Hugh Durrant about his career in design and how he started in the industry. It’s an amazing tale which we hope you will enjoy.
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Happy Pantoing this month. The Editorial Team
THIS MONTH 3
NEWS
The latest news from around the country.
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100 Years of CHAOS
Cradley Heath Amateur Operatic Society celebrates its centenary.
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LES LIAISONS DANGEREUSES
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The Play Produced. Helen Sharman discusses a recent production of Christopher Hampton’s play by Beaconsfield Theatre Group.
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NOTTINGHAM’S GOT TALENT
Maggie Andrew talked about an upcoming production of Les Miserables Schools edition in Nottingham.
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HUGH DURRANT
AS talks to professional theatre designer Hugh Durrant about his career and work with the RSC and Cher!
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FIRST NIGHT INSURANCE
Robert Israel discusses the latest insurance issues.
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TECH TALK
Ian Hornby discusses using computers for sound effects in your next production.
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A BUNCH OF AMATEURS
A preview of a great new film starring Derek Jacobi.
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WEST END REVIEWS
AS looks at new productions of La Cage Aux Folles, La Clique and Imagine This.
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DIARY / PRODUCTION PHOTOS
Your guide to upcoming shows and pics of recent productions.
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Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0870 233 2040 www.asmagazine.co.uk Editor : editor@asmagazine.co.uk Advertising : sales@asmagazine.co.uk Subscriptions/ Diary Listings : Paul Webster diary@asmagazine.co.uk All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of AS Magazine. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of AS Magazine. (c) 2008 Next Phase Media Ltd
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THE PLAY’S THE THING STOCKSFIELD Player Alex Swan is a man of many talents. A teacher by day, he has not only written the Players’ latest offering but is also directing the production. And, as if that weren’t enough, he is playing the lead role too. Multi-tasking Alex, who has previously written for the BBC, wrote Sow Tears, Reap Joy especially for the Stocksfield Players. Alex says: “I really wanted to do something for the Players and help raise their profile”. “Amateur dramatics gets a lot of bad press and I wanted to give something back to the community.” Sow Tears, Reap Joy revolves around the disintegrating marriage of Ben and Lucy as they try to get through Ben’s birthday celebrations with minimal aggravation. But events conspire against them and the facade they try to present to the world begins to wear away, exposing their true feelings. If it all sounds a bit miserable, Alex guarantees there’s plenty of humour along the way. “The funny thing is, I wanted to get away from comedy and write a serious play but I kept ending up with funny bits that I didn’t intend to, and it’s accidentally turned into a
comedy. The play is trying to explore how the choices we make can have unexpected results.” Alex plans to offer the script to other amateur theatre groups for a smaller fee than is normally charged. Helen Morris, who plays Ben’s wife, Lucy, says: “This is quite a daring departure for a village amateur group, as we rely on ticket money to fund next year’s performances. A debut production from an unknown playwright is a gamble, but one that the group was willing to take.” Tamzin Lewis
CULTURE QUARTER GETS NATIONAL BACKING Whitley Bay’s Culture Quarter has received national backing after the National Operatic and Dramatic Association (NODA) stepped in this week to offer its support to the regeneration project. Following recent debate between the local authority and directors of the Culture Quarter, NODA has stepped in to support the project which is battling to obtain ownership of the local theatre. Claiming that Culture Quarter will enrich the local community by driving the renaissance of culture and the arts in Whitley Bay, NODA has openly opposed North Tyneside Council’s choice of American venue operating giant SMG. Tony Gibbs, chief executive of NODA said: “The Culture Quarter is a dedicated project established by the locals, for the locals. NODA fully support their attempts to rejuvenate the arts in Whitley Bay, particularly for those amateur groups using the facilities at the Playhouse. “We are deeply concerned by the local authority’s selection of SMG as the preferred operator for the Playhouse. The theatre offers invaluable benefits to locals which we fear will disappear should SMG take over the contract. SMG have experience of running big sports and entertainment venues, however running a small, community-based theatre such as the Playhouse is a totally different game.” Toby Bridges, director of the Culture Quarter added: “We are pleased to have NODA on board with Culture Quarter. It’s important to us to see a national organisation specialising in theatre getting behind us.” NODA, who act as an advisory body for amateur groups, entered the debate earlier this week after being approached by the Culture Quarter.
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The organisations are now working together to challenge the Council’s choice. Gibbs said: “Culture Quarter is a combination of interests and ambitions. Their plan has always been to bring the significant number of amateur groups in the area together under one banner, to create a hub of creativity that the locals can benefit from. The Council can not deny this to the people of Whitley Bay.” Bridges added: “We want to bring Whitley Bay together and give it one voice, making it stronger and tying in other lasting elements such as education. By giving Culture Quarter a chance, the Council would reassure local people that they have their best interest at heart and that they’re committed to lasting regeneration of Whitley Bay.” The real sticking point, according to both Culture Quarter and NODA, is the prospect of SMG forcing out the dedicated local groups who currently use the Playhouse in favour of larger touring productions who can afford the facilities. Bridges said: “That’s where all this started. We believe that if the big boys got hold of our theatre they will push up their theatre hire costs. It’s difficult to judge of course because everyone’s staying very tight-lipped about all this but we’re expecting costs to double, if not triple. The costs would likely far exceed what amateur users could ever afford.” Culture Quarter are set to meet with Council bosses later this week to determine the fate of the Playhouse. Bridges said: “With NODA on board I hope we have a chance of persuading all involved that Culture Quarter are the best option for the people of Whitley Bay.”
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ROUND ONE BUDDING actors and actresses are invited to try out for a prestigious national competition. The Georgian Theatre Royal in Richmond will host the annual One Act Drama Festival - a preliminary round of the All England Theatre Festival. The One Act event, to be held next spring, is open to amateur groups of all levels. The competition starts the week beginning February 2 and an awards night for the winners will take place on Saturday, February 7. Interested groups should contact the Georgian Theatre on 01748 825252 as soon as possible or email alice.johnson@georgiantheatreroyal.co.uk
V & A SCRAPS BLACKPOOL AS SITE FOR THEATRE MUSEUM It has been announced that the proposed relocation of the Covent Garden Theatre Museum to Blackpool has been scrapped following a report into the financial viability of the relocation. The V & A has stated that the new Theatre and Performance Galleries which are due to open in March 2009 will allow the same degree of access that was possible at the Covent Garden Site. At the time of writing there are no plans for a stand alone exhibit.
STAG THEATRE SAVED FROM DEMOLITION Sevenoaks Town Council has taken over Kent’s Stag Theatre following a July administration order saving the theatre from demolition. It will re-open on a short term lease in january for a Pantomime season whilst a new operating trust and management team are appointed. It will fund the Stag, which will become a community arts venue under the new plan with an annual grant of £100,000 per year for the first five years.
BLESSED MEMORIES When I was 11 I played the part of Rumpelstiltskin and my teacher told me I would make a great actor. But I was the son of a coal miner and I had to leave school when I was 14 because my father had an accident. I became a plasterer and I did amateur theatre at night. It was there I met Harry Dobson. He got a hold of me and guided me from then on. He was the best director and teacher I ever met; he was of the same stature as Peter Hall and Trevor Nunn, or at least would have done as well as them had he not stayed in amateur theatre and helped people like me. Harry was a great bull of a man: he had a huge physique with sausage fingers and a penetrating gaze. He rode a motorbike and wore leathers and said things like: “Give yourself the luxury of making a fool of yourself!” He thought the greatest risk in life was not going for the adventure and told me often that my determination was getting in my way and that I should lighten up and ease up on myself. He taught me not to try too hard, and that I needed to get out and have fun. I went through a phase when I became uncaring, the way teenagers do. I was horrible to my parents and to everyone around me and Harry was appalled. One evening I was talking to him in an offhand way and he slapped me straight across the face. It stung, it was powerful and it almost unbalanced me. “You uncaring bastard - you’re forgetting everyone who has done so much for you, you’re big-headed and egotistical!” he roared. “You can bugger off; I don’t want to talk to you!” I got a fever that night that lasted a couple of weeks. I apologised to my parents for my behaviour and then I went to see Harry and told him I was back to myself and apologised profusely. He hugged me and said, “Come here, you great ape!” I kept in touch with Harry. When I was in Z-Cars I got a message that he was in hospital with cancer. I rushed to his bedside and there was this bull of a man now about five stone with wires coming out of his nose. I was crying my eyes out, but he reassured me. “Oh Brian, I’m having the most wonderful dreams. You go for it and don’t let the bastards grind you down.” A few hours later he was dead. I always feel when I play parts that he’s watching over me, saying: “Give, you bugger, give!” and as a result in rehearsals I always make a fool of myself and throw myself into it, trying new things out.
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HE’S BEHIND YOU SCOT’S STYLE An exhibition celebrating decades of Scottish pantomime will make its way to Inverness next month, as part of its nationwide tour. Pantomime in Scotland: Your Other National Theatre will visit Eden Court Theatre, Inverness, between December 31 and January 27. The exhibition, which is run by the University of Glasgow’s department of theatre, film and television studies, launches today in Edinburgh’s King’s Theatre. It covers all aspects of pantomime, from its narrative to its sets and costumes, and features photographs, playbills and rarely seen archive footage of Scottish pantomimes from the 1930s, 1940s and 1950s, courtesy of the National Library of Scotland. The free exhibition begins just in time for the pantomime season, and its launch is being helped by comedian Allan Stewart, TV and radio presenter Grant Stott, and former Miss Scotland Nieve Jennings, all stars of this year’s pantomime Aladdin at the King’s Theatre. It is part of a three-year academic research project, funded by the Arts and Humanities Research Council, aimed at examining all facets of pantomime in Scotland.
As part of the exhibition, visitors will be invited to contribute their own memories and experiences of seeing and making amateur pantomime in Scotland. After its launch in Edinburgh, the exhibition will move to Perth Theatre and Perth Concert Hall next Monday, before going to the Byre Theatre in St Andrews on December 15. The exhibition will be at HM Theatre, Aberdeen between December 23 and December 29, before going to Inverness, and will begin its tour of the west, starting in Glasgow, later next year.
SPELTHORNE & RUNNYMEDE DRAMA FESTIVAL 08 THE spotlight fell on amateur dramatic groups across Spelthorne and Runnymede as actors and back-stage workers were recognised for their efforts at the boroughs’ annual drama festival. Spelthorne and Runnymede Drama Festival awarded 14 trophies to talented players by the Mayor of Spelthorne, Cllr Simon Bhadye, and his opposite number at Runnymede, Cllr Jim Broadhead. Ten amateur drama groups from the two boroughs battled it out on stage, performing plays at the Riverside Arts Centre, in Lower Sunbury, before adjudicator Mike Kaiser, a member of the Guild of Drama Adjudicators. Member of the Drama Association Committee, Kevin Welling, said: “There was a really good atmosphere, and the drama was of a very high quality this year.” Winner of the Spelthorne Cup for overall best of festival was Lighted Fools Theatre Company, a group of experienced performers from Surrey and West Sussex. Under the artistic direction of Richard Parish, it took to the stage for the first time in March 2002 with a festival production of Kathy Mead’s award winning play, Reckoning, and reached the divisional final of the All England Theatre Festival. Seven trophies, including runnersup for best of festival, were won by Runnymede Drama Group. It holds at least five productions each year, including drama festival entries, and are based at the RDG Studio in Ford Road, Chertsey. Its entry for the drama festival, But Yesterday, also won Woking Drama Festival earlier this month.
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On Saturday it won awards for stage and technical merit, acting, and youth drama. Chairman of the Drama Festival Association, Sheila Ritchie, said they were already planning for next year’s festival, which will be held from October 20 - 24 at the same venue. Anyone interested in entering can call 01784 452675. SPELTHORNE AND RUNNYMEDE DRAMA FESTIVAL WINNERS Overall Best of Festival (Spelthorne Cup): Lighted Fools Theatre Company Runners Up: Runnymede Drama Group Youth Award (under 16): Arabian Nights by ECH Actors Youth Award (16-21): Runnymede Youth Drama Group Workshop Actor’s Award: Richard Parish (Lighted Fools Theatre Company) Actress’s Award: Julia Stevens (Ottershaw Players) Mary FitzHugh award for comedy: Ottershaw Players Stage Presentation: Runnymede Drama Group Technical Merit Award: Runnymede Drama Group Adjudicator’s Award: Arabian Nights by ECH Actors Best Supporting Player: Anna Beuden (Runnymede Drama Group) Jean Augur Memorial Cup for the most promising youth player: Sarah Evans (Runnymede Drama Group Youth Workshop) Best New Play Award: As We Forgive Those (Brooklands Theatre Company) Mayor’s Backstage Award: Runnymede Drama Group
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Also a Rock Musical THE FRANKENSTEIN MONSTER SHOW By JOHN CROCKER and TIM HAMPTON Music by KEN BOLAM Lyrics by LES SCOTT All obtainable from SAMUEL FRENCH LIMITED 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
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NODA LAUNCHES £100,000 FUNDING PLAN Amateur performers have received a boost following the announcement they are to receive an unprecedented level of funding throughout 2009, despite fears of an impending recession. The plans, outlined by the National Operatic and Drama Association (NODA), look set to offer amateur theatre enthusiasts £100,000 worth of support in training, marketing, market research and the implementation of youth development strategies across the UK. Tony Gibbs, chief executive of NODA said “Funds will go towards marketing support packs to enable members to promote their productions better than ever before, piloting a youth academy offering workshops for young people, and a whole range of projects including advice on fundraising and business planning.” “Members have told us that their top priorities are attracting an audience, encouraging more young people and overall financial sustainability. That’s why we are looking at projects that will support
them in those areas”.
“We have also recently launched a public relations advice line which is available free of charge to members. We are trying to tap into the various strands of support on a more effective basis. Many groups don’t have the resources and expertise, so we hope we can put services in place that can be accessed by even the smallest of societies.” “I believe it is time for all those who participate in amateur theatre to stop apologising for their amateur status. Really, if you look at it, what is the difference between amateurs and professionals these days? The line is not as clear as it once was – and we hope that this level of support from NODA will cloud that line even further. Effectively our slogan now for NODA is professional support for amateur theatre. We recognise that for lots of groups its a hobby and voluntary activity but now there is an increased recognition that it is now also a serious business given the size of some of the budgets involved.” The new plans to be completed over the
next five years, will ensure that amateurs will receive consistent services and products, including theatrical performance, backstage skills and society administration training. NODA will also offer opportunities for partnerships with other organisations and advisory services such as media and legal help lines.
SOUTHERN COUNTIES DRAMA FESTIVAL AT OXTED’S BARN THEATRE The All England Theatre Festival has a history dating back to 1919 when the British Drama League was formed. It is the only national competitive one act drama festival in the UK and organises an eliminating series of festivals which lead ultimately to the British final. The Southern Counties Drama Festival, (previously The Betchworth Festival), a preliminary round of this festival has been an important part of local amateur dramatics in Surrey and Kent for over 50 years. The result is the return of an exciting week of festival drama in 2008 from 24th – 28th February, at the Barn Theatre in Oxted, with 14 groups competing against each other and Jill O’Hare, a member of The Guild of Drama Adjudicators, pressed with the difficult task of deciding who should be declared winner to go forward to the next round of festival. With a mixture of youth and adult teams during the week, most entrants are experienced in festival and St Pauls Drama Group and the Young Oxted Players all have recent experience of success in the further rounds that lead to the English and British finals. Tenacity and perseverance has ensured that this festival endures and you can support the endeavour by ordering your tickets by telephoning 01959 561811. General enquiries can be answered by telephoning 01959 561811 or by email at sc.df@btinternet.com. More information is also available at www.barntheatreoxted.co.uk/scdf.html This year’s selection of plays is an eclectic and interesting mix of comedy, tragedy and drama and a week not to be missed.
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THEATRE TOKEN COMPETITION WINNERS Congratulations to our winners of Theatre Tokens from last months issue. Mr P Collett & Mr D Gibbs We hope you enjoy your prize. Our thanks to the Society of London Theatres for their generous contribution.
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Wishing you a very
Merry Christmas from everyone at
Samuel French Ltd The play publisher
NEW RELEASES!
Going Dutch a full length play by John Godber CAST M3 F2 or M2 F2 with doubling. SCENE Various simple settings. Mark and Sally are going to Amsterdam to celebrate Mark’s fiftieth birthday. Mark feels unsuccessful, Sally feels neglected, and the journey makes them feel worse as they travel with Gill and her boyfriend, Karl, who knows a little too much about Amsterdam’s seedier side. Price £8.50.
A Small Family Murder a one act play by Simon Brett CAST M3, M1 voice or M1 with doubling. SCENE An interview room. An elderly woman has been murdered in her nursing home and the two key suspects are her sons, who both had motive and oppourtunity. However, as the family are interviewed it comes to light that something more sinister is at work. This can be played with three actors and a male voice-over or as a male monologue. Price £4.75.
No Dinner For Sinners a full length play by Edward Taylor CAST M2 F4 SCENE A living-room.
Jim is hosting dinner for his boss and his wife, members of the anti-permissive society group. They don’t approve of Jim’s lifestyle, so he asks his girlfriend, Helen, to pose as his wife. Helen walks out and Jim has to pay his eccentric cleaner, Edna, to be his wife for the evening. Disaster reigns as Edna cooks and entertains, and Helen and Jim’s assistant turn up to help him once his guests have already arrived! Price £8.50
French’s Theatre Bookshop 52 Fitzroy St London W1T 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 Email: theatre@samuelfrench-london.co.uk
www.samuelfrench-london.co.uk
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NEWS
Quality assuring drama participation in the informal sector Hilary Strong talks to AS about new initiatives from the National Council for Drama Training. About NCDT The National Council for Drama Training inspects and accredits full-time drama courses and has established the criteria for both acting and stage management training. NCDT has, for thirty years, provided a professional kite mark for vocational drama courses through its direct links with the industry, including BBC, ITV, Equity, the UK Film Council and the Theatrical Management Association. The UK creative industries are expanding rapidly and government investment in training and quality assurance has increased. Organisations like Skillset and the Creative and Cultural Skills Council are developing national occupational standards and introducing apprenticeship programmes. The new Creative and Media diploma is now being piloted in 63 areas across England and may replace the BTEC/A Level options in the future. Schools are encouraged to extend their drama and dance provision and widening participation programmes such as Aim Higher, Find your Talent and Young, Gifted and Talented highlight ways in which young people can gain transferable skills and experience in the performing arts. There is a general aim to extend opportunity to the least advantaged so that they can enjoy more of the choices, chances and power that the rest of society takes for granted However, it is still the case that the majority of students achieving places on NCDT accredited full-time courses are likely to come from more socio-economically advantaged homes, compared with the national data for entrants to higher education. The numbers of black and minority ethnic and disabled students remain relatively low overall. This in turn leads to a performing industry dominated by white, middle-class people and employers (both in theatre and television) find it difficult to cast actors from minority sectors. In response, NCDT is currently broadening its remit and developing a widening participation strategy to try to improve the diversity of entrants to the performing industries. We’ve recognised that for some people, it’s simply too late at 17 or 18 years old to try to acquire the skills, experience and confidence to compete for
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a place at drama school. The scarcity of places creates a climate where ‘getting into drama school’ is close to securing a place at medical school; one of the toughest and therefore most prized achievements for the aspiring middle-classes. If we are going to change the landscape we need to tackle the problem at a much earlier stage and look at the provision for children aged 11+. However, whilst there is a vital need to signpost good practice, it is also important to recognise the limited professional opportunities on offer and the uncertain nature of a performing career. We want to promote the benefits of participation and the transferable skills that can be achieved by taking part in youth theatre or other drama projects. Young people should be encouraged to participate in ‘theatre making’ and be introduced to a full range of career pathways. The range of options can be bewildering and there is a significant lack of expertise guiding participants and their parents. So why quality assure voluntary groups? There are hundreds, perhaps thousands of very good youth theatre and amateur companies in this country including the well-known national companies, groups attached to regional theatres and many fantastic outfits operating from village halls run by volunteers. Some receive funding from local authorities, charitable trusts or even the arts council – others simply reply on subscriptions. If I’m a 12 year old looking to join a youth company, (or more realistically the parent of a 12 year old) how do I know if the personnel are all CRB checked, the sessions take place in a proper space, someone has a first aid qualification and there is insurance in place in case of accidents? That’s before we even talk about the quality of the artistic experience. Without quality assurance, it’s difficult for any formal organisation such as the Arts Council to recommend a group as they simply don’t know if these basic elements are in place. More importantly, a new enterprise will not gain from more established companies passing on enquiries if they are full. Plenty of the successful groups have hundreds of children on their waiting lists and yet still can’t recommend an alternative group in the area as they can’t be confident about the quality. NCDT believes that there is a need for a form of accreditation that would provide
national recognition of good practice and reassure participants that basic standards of provision are in place. ‘Recognised’ groups could then be offered a range of services including advice on appropriate accredited learning and access to formal learning networks. We want to make this opportunity available to any voluntary group, however small in scale, that provides drama workshops or projects to young people and would value the connection with NCDT. It’s obviously entirely optional and we are not seeking to replicate existing schemes. This project is still being piloted and will be rolled out fully in 2009. We’re keen to develop the scheme in consultation with umbrella bodies such as NAYT, the Little Theatre Guild etc and will be continuing to consult over the coming months. The new scheme will also highlight existing quality marks and accredited learning that helps to identify good practice (for example the Arts Award) and as a result, support young people make good choices in progressing their chosen careers. The process coincides with NCDT’s move to new premises and the development of an unique advice and guidance resource centre which will specifically help young people gain information about drama training and participation. NCDT wants to shine a light on inspirational teachers, directors and youth leaders around the country and encourage young people to get involved in their local groups whilst remaining confident that the activity is safe and worthwhile. For further information contact: Hilary Strong - Director National Council for Drama Training 249 Tooley Street, London SE1 2JX. Tel: 020 7407 3686. Email: h.strong@ncdt.co.uk
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100 YEARS OF changing rooms, the Dudley Hippodrome and the Windsor Theatre, Bearwood.
In 1964 CHAOS moved to Brierley Hill Civic Hall for Bob’s Your Uncle, which has been its home ever since, and in 1989 set up CHAOS Youth, the only group of its kind in the Dudley area which offered the chance for Black Country youngsters to appear in classic musicals. A more recent highlight came in 2003 when the society’s show Fiddler on the Roof won the National Operatic and Dramatic Association’s inaugural Midland Regional Best Production Award. Sadly, long-standing president Margaret Brockway died last year and Summer Holiday was dedicated to her memory. Her niece society choreographer Elizabeth Broadway took her place, giving support to Hilda Faulkner, the society’s first female chairman who this year is also celebrating 20 years in the post. Further information can be found at the groups website www.chaosoperatics.co.uk A century of hitting the high notes is being celebrated by Cradley Heath Amateur Operatic Society this year - making it the oldest group of its kind in the Black Country. Its milestone anniversary has been marked in a variety of ways including a gala dinner dance, a thanksgiving service at St Luke’s Church and a highly-acclaimed exhibition of 100 Years of CHAOS at Haden Hill House. Despite the scores of shows the society has performed, it managed to find a Rodgers and Hammerstein classic which it had not brought to the stage before and the curtain rose on its successful centenary production, South Pacific, earlier this month. “We not only had some enchanted evening - but an enchanted celebratory year,” said leading man and publicity officer Paul Murdock, who played Emile de Becque. Show week also saw £1,000 cheques handed out to Action Heart and the physiotherapy department at Russells
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Hall Hospital, County Air Ambulance, Mary Stevens Hospice and Sandwell Diabetes Support Group. The £5,000 had been raised from the society’s rock ‘n’ rolling Summer Holiday last year - taking it back to its roots of raising money for good causes. The Cradley Heath, Old Hill and District Amateur Operatic Society was formed on May 21 1908 at a meeting in the Band Room, Meredith Street and it was not until 1964 that the name was slimmed down, resulting in its humorous acronym - CHAOS. The first show, HMS Pinafore, was launched on Cradley Heath audiences in spring 1909 at the Empire Theatre - now part of Tesco’s. Two world wars and the depression of the 1930s took their toll on the society, but it survived and flourished and has performed at venues including Old Hill’s Grand Theatre, Cradley Heath’s Royal Theatre, the town’s Majestic Cinema, which boasted superb seating, but no
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OF C.H.A.O.S
This Page: The cast of “Summer Holiday”, 2007/ Chairman, Hilda Faulkner, Exhibition Organiser, John Murdock and President, Elizabeth Broadway at the Centenary Exhibition “100 Years of CHAOS”, Haden Hill House, Cradley Heath. / Ernest Webb as Leopold and Cynthis Moseley as Josepha in “White Horse Inn”, 1960. Opposite Page: The cast of “HMS Pinafore” 1909, CHAOS’s first Production/ Poster for “The Marriage Market”, 1928.
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THE PLAY PRODUCED
Les Liaisons Dangereuses
The Group
Beaconsfield Theatre Group was established in 1951 and aims to produce at least three shows a year. Our current ‘home’, The Beacon Centre in Holtspur is a converted school and though primarily designed as a sports centre, boasts retractable raked seating, a reasonable sized stage and a basic lighting rig. The group has tackled a wide range of plays from Shakespeare to Ayckbourn and has had some success in local one-act festivals. Competition for actors and technicians in the area is fierce and this factor, coupled with the age profile of the town, led to the unprecedented cancellation of our May show this year. If the group was to continue to exist, this production had to both excite existing members and attract new ones – Les Liaisons Dangereuses ticked all the boxes.
The Play Christopher
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Hampton’s
masterly
adaptation of the original 1782 epistolary novel is full of incident and subtlety. It tells the story of the Marquise de Merteuil and the Vicomte de Valmont, once lovers, now co-conspirators who compete to prey upon the vulnerable and innocent for their own amusement. Both disdain emotion, yet it is their own repressed feelings that ultimately lead to their destruction.
Casting In a new departure for the group, we ran a taster evening prior to auditions to provide an opportunity for potential new recruits to find out more about the play, the director and the group in a relaxed atmosphere. We hung 18th costumes around the walls, played Handel in the background and, most important, offered a free glass of wine! I presented the play and my vision of how we could bring it to the stage. There was then time for people to meet informally, before reading excerpts from the script. The evening was a success
and we had an excellent turn out at the auditions proper. The play requires at least two young players, Danceny and Cécile. Whilst Cécile must be a credible fifteen, the sensual nature of the play demands that she be at least eighteen! Both roles were filled by past and present members of Young Theatre (at Beaconsfield), an organisation I have been closely associated with for many years. The same source provided Azolan, Valmont’s valet. So, with deceptive ease, the play was cast with the exception of Rosemunde, the dowager aunt. I say deceptive, because over the summer things went horribly wrong! Health issues and work commitments caused three actors to drop out. Two girls were replaced, but a Valmont was nowhere to be found – no Valmont, no Liaisons. Charismatic and experienced actors with a playing age of around 40 are a rare breed. I was within a whisker of substituting an entirely different script, when after many emails and phone
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THE PLAY PRODUCED calls, we found an actor who was well qualified for the role. As for Rosemunde, she was under my nose the whole time in the form of my Fight Director!
Staging The play has eighteen scenes, including a forest, so the set must be multi-purpose and convey a feeling of 18th century France. Three scenes require a bed, which because of the size of our stage would have to move on and off each time. My designer conceived the idea of using three pairs of four foot flats to create doors – wide enough for the bed – and setting a slightly smaller pair of dummy doors on either side of the stage to mask the pros arch. The ‘real’ doors would open toward the back of the stage for the duel, revealing a cyc to give the impression of outdoors. Set design and lighting design were one and the same man, so the pillars supporting the doors were constructed from ply, led lights were placed top and bottom and the front faced with gauze. Our aim was that the set should be subservient to the cast, so the base colour was a warm, but anonymous cream and a talented artist created the suggestion of panelling. For me, the contest between the Marquise and the Vicomte is a sensual chess game and from first reading, I wanted a chess board effect on the floor. We constructed a floor of mdf and my
magic artist created the marble effect.
Furniture Furniture was kept to a minimum to avoid interminable set changes. We used a narrow desk, bought for £5 from the local tip, a stool, three chairs, hired from a local catering company, a small table, a chaise longue which we built from scratch, and, of course, a bed. Normally, I would aim for a set change to be around 15 seconds and certainly no longer than 30, but for this show they stretched to around 45 seconds. These changes were carefully rehearsed and executed as a quasi-dance routine by Azolan, the Major Domo and Adele, the maid and became an intrinsic part of the play.
Lighting The led pillar lights provided an atmospheric glow for set changes. Different locations were indicated by subtle changes of colour, from both pillars and main lights. The bed(s) were softly lit, leaving the surroundings dark. A window gobo was used for Cécile’s seduction, casting the shape onto the covers as she slept and a second window gobo was used centre back for Valmont’s house. The forest was also created with gobos, starting dim and gradually brightening to allow the fight to proceed safely. We chose not to use the final image of the guillotine as indicated in
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THE PLAY PRODUCED
the script, but used a slow fade on the final tableau.
Sound Period music was a must, so Handel’s Firework music was used for the beginning and end of the show and a selection from Telemann’s Paris Quartets was used for set changes. The duel scene began with the song of a lone bird and a tolling bell covered the removal of Valmont’s body. A ticking clock was used to indicate passage of time in one scene and played throughout the last scene to increase the tension of the atmosphere. As the lights faded for the last time, the volume of the tick was increased to give the impression that the game would be interminable and that contrary to the Marquise’s brave words, there was nothing to look forward to.
Costumes The wardrobe mistress sourced a dazzling array of period costume from local companies. She and her team managed incredibly fast and difficult costume changes with total efficiency. The fastest change, Cécile from nightdress to gown and bonnet, was effected by rapid over dressing – a little warm for the actress, but fast! Wigs were hired for Valmont and Danceny, one dark and one brown, to distinguish them from the white-wigged footman/Major Domo.
Rehearsals
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Twice weekly rehearsals were supplemented by several Sunday afternoons for more intensive exploration of the text. The script is elegant, but complex and a character’s intentions often change phrase by phrase. We worked on the journey of the Marquise / Vicomte relationship and on Vicomte / Tourvel prior to blocking. The insight gained from these sessions proved invaluable, allowing us to agree the essential purpose of each scene and to decide if characters would be physically close or distant and antagonistic. Once on the floor, I allowed the actors to ‘play’ and the moves developed naturally. For example, Merteuil and Valmont are first seen sitting close together, smiling, flirting and with easy physical contact. In contrast, in their last conversation, they were often on opposite sides of the stage. This scene sprang to life in the last couple of weeks. I asked Valmont to throw off his coat as he declares that he has come to spend the night and this action triggered the decision to play the end section as a potential rape, thus providing clear motivation for her declaration of ‘War!’ Rehearsals provoked some interesting initiatives. We decided that Danceny should be reading poetry to the Marquise and he delivered a few translated lines of a contemporary work to set the mood at the beginning of the scene. We also felt that it would be helpful for the audience’s understanding of the plot, if, as he was dying, Valmont indicated to Azolan to give
Danceny a bundle of incriminating letters. To add weight and poignancy to Madam de Tourvel’s breakdown, Valmont became increasingly desperate with flashes of physical brutality and the scene ended with a heart-rending animal howl from the actress that sent shivers down the spine. Bedroom scenes are difficult to choreograph so a mattress was provided to facilitate rehearsals! The cast were totally professional and the intimacy demanded was never an issue. The duel must be precise, safe and dramatic, so we obtained the services of a professional fight arranger. The protagonists were taught basic skills and the fight was blocked very early on taking careful note of the playwright’s explicit stage directions. They practised at least once a week, even in the car park during the performances. Pockets were sewn into Valmont’s shirt, at the shoulder and above the waist to take the blood packets. After much experiment, small ‘bombs’ made from cling film and rubber bands proved the most reliable, the actor simply clapped his hand to the ‘wound’ and the blood flowed. His ‘body’ was dragged off the stage on a dark blanket by Azolan and the footman, leaving a devastated Danceny free to leave in the opposite direction. The card game was a theatrical version of piquet which the girls were playing as the audience entered. We chose a two-player version so that Cécile could doze at the start and in the final scene Merteuil was
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THE PLAY PRODUCED excluded, casting an ironic twist on her final line – ‘our best course is to continue with the game.’
Conclusion
This is a difficult play, requiring a sensitive, experienced cast with no weak
links and a committed technical team. I was blessed with both and the production received much praise from the four hundred strong audience. The group felt a real sense of achievement and was re-energised. I would commend ‘Liaisons’ to any company up for a challenge, but
beware this piece is dangerous by name and dangerous by nature. Helen E Sharman (GoDA) Photography Tony Sendall.
.%7 $6$
3UCCESS WITH 7IGS
%DUCATION AND 4RAINING
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FEATURE
NOTTINGHAM’S GOT TALENT Nottingham Arts Theatre, a reincarnation of the Co-operative Arts Theatre on George Street in the heart of the old Lacemarket area of the city, recently held auditions for their forthcoming youth production of Les Misérables School Edition to be performed on February 9th-14th 2009. Over ninety young people from all parts of Nottinghamshire attended the auditions in the auditorium of the theatre, all vying for a coveted role in this well known production. The auditions were well supported by a team of volunteers from the theatre, who were there to ensure all the youngsters were given an equal opportunity to been heard and seen. The auditioning panel comprising the director, Maggie Andrew, the Musical director, Nathan Truesdale, and a representative of the artistic team, David Supper, sat entranced listening to the extraordinary ability of these youngsters who sang, danced and acted their hearts out, hoping to be selected as a member of the cast. It took two meetings, burning the midnight oil, and an evening of recalls to finally sort out the principal roles and then further discussions to select the various chorus members required. In all over fifty young people were chosen to be in the cast. Rehearsals began in early October and
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although the production is not scheduled until the beginning of February, both Nathan and Maggie are determined that the show will be memorable for both the audience and the cast, a memory to take forward with them for the rest of their lives. Early rehearsals are going well and plans are being made for the hiring of costumes, altering these to fit, the set design and the use of lighting to create an authentic atmosphere of the student revolution of 1832. The most striking piece of the set is of course the barricade, which in the West End production is made to lower down from the wings, this is not possible at the Arts Theatre so alternative designs are being worked on, and the director hopes that the solution will be equally effective, and dramatic. The Theatre is actively seeking sponsorship for this production, which it sees as an integral part of its remit to provide high quality education (in the broader sense) for those young people who are interested in all aspects of theatre arts. The Theatre currently runs two youth groups on a Tuesday evening and both groups are over-subscribed. It is planned to start a third group on Thursday evenings to meet the demand and it is hoped that this will start some time in 2009. The current group leader Faye Morrell says “I
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FEATURE
the Board have decided to raise funds to convert the lower rehearsal room into a fully equipped studio theatre, seating 52, which will be dedicated for the use of the youth groups. This will enable them to showcase small scale productions of an experimental nature, and produce work that is not suited to the larger auditorium. The appeal was launched at the start of the Theatre’s Diamond Jubilee season, this September and has already raised nearly £10,000. Match funding from the local authority means that the target is now nearly halfway. The Youth Group members are always an active part of our fund raising efforts, from bag-packing at local supermarkets, to roaming the streets of the city centre in costume to advertise the Theatre’s activities and of course provide young actors for the in-house season of plays, musicals and other fund raising productions. For further details about the theatre, the youth groups and all the activities that are available please visit our website at www. artstheatre.org.uk The box office is open and tickets may be purchased by phone on 0115 947 6096 or online at our website. Photographs kindly supplied by Jessica Nicklin, an active youth member of the Nottingham Arts Theatre. have only been recently appointed, but I am so excited about the opportunities that the Arts Theatre offers youngsters from all walks of life. We have plans to make this the best youth group in Nottinghamshire and the East Midlands”. The Arts Theatre is recovering from a
financial crisis which in July 2007 almost saw it close for good. This 318 seater community theatre complex, has a vital role to play in the life of the city, and thanks to some very generous donations the Board was able to mount a rescue plan, securing the future of the theatre for generations to come. To mark this
Maggie Andrew Director Les Misérables School Edition.
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SETS AND PROPERTIES
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SETS AND PROPERTIES
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SETS AND PROPERTIES
LARGER THAN LIFE Hugh Durrant is one of the UK’s foremost theatrical designers. From Panto to Vegas spectaculars, Hugh has worked in all facets of the entertainment industry earning an Emmy award on the way. AS took time to chat to Hugh about his career and his work process. AS: Tell us how you got into design. Hugh: When I was at school I wanted to be an actor like everyone else. I realised in my early teens though, that I wasn’t very good. I didn’t help that I was at school with Alan Rickman who got all the parts that I wanted. It then dawned on me that there was a reason for this and that really I should be looking to do something else. At the age of 13 I discovered that there was such a things as a designer who did sets and costumes. I’d always been very good at art at school (I may not be very good at it now though!!) so I thought that’s what I could do. We had to write and essay about “my job” writing it as if you were already doing it and I remember saying ‘I’m a theatre designer at the Old Vic!’. My school (Lattimer) was very drama oriented and produced people like Mel Smith and Hugh Grant, so I was lucky it had such a theatre base. They let me design the school play twice (not sure I did I great job of it) and that was my first foray. Whilst I was still at school I joined an amateur dramatics group called Court Drama which I think later became Stanhope Drama Group which Alan Rickman also belonged to along with teachers from my school. I designed Romeo & Juliet for
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Hugh wins an Emmy
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SETS AND PROPERTIES them in which Alan played Romeo.
Shakespeare, Shaw and Ibsen.
My school had a strong affiliation (although I never knew why) with the Royal Shakespeare Company and they got me into the RSC Wardrobe department when they were at the Aldwych Theatre so between school and university I was a dresser for the RSC and I dressed the likes of Patrick McKee, Ian Richardson and people like that. I learned a lot about costumes from that side as a dresser. You fast learn the practicalities of design. I had to dress 4 people in Henry V with full plate armour in under 5 minutes. Somebody I had been at school with became big at Bermans, the theatrical costumiers, so during vacations I went to work there in the production department working on big West End shows and films. This was right at the end of the 60’s when there was loads of money going around so I learnt how do things with no expense spared.
I did all these classic shows as head of design at Nottingham and I directed there as well. Then I got asked to do panto. I changed how people saw panto. Until then a designer called Tony Parsons had been the major designer of the time. His style was very graphic and flat, drawn with lots of glitter. I started doing panto as audition for doing Swan Lake. It was very painted with false perspective, very romantic looking. I’m not sure you could do that now, there aren’t the painters. A lot of skills are disappearing. Nobody in Europe wants to earn so little money and a lot of skills now only exist in India and China.
asking me to do musicals. I did Copacabana in the West End and my career trajectory changed completely. I started getting asked to do Cher and Barry Manilow and cruise shows. AS: So tell us a bit about the process when someone approaches you to design a show. Hugh: I read he script as quickly as possible so I get an overview, then I wont think about it too long til I meet the director to see what their views are so I don’t end up going down the wrong path. Then it’s very much a collaborative process to find staging solutions.
As a result of doing Panto people started
I worked with Cecil Beaton (designer of My Fair Lady) and he would have bolts of fabric flown in from Paris to look at as he said he couldn’t make up his mind from a small sample. He always knew what he wanted. I worked with him on Lady Windemere’s Fan and On A Clear Day You Can See Forever. I was also at Cambridge doing shows for the Marlowe Society and the Footlights. I learnt how to work on a shoestring. I didn’t really know what I was doing but I learnt as I went along. Then I got an Arts Council bursary and went to Nottingham Playhouse for a year. I got into doing rep and freelancing and ended up doing
Babes In Arms - The Model Aladdin
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SETS AND PROPERTIES
Half A Sixpence
AS: Are there any shows that you wouldn’t do?
to be sensible about how much I spend but I’m not cheap!!
Hugh: There are some shows I just wouldn’t do as they just aren’t me. The Producers is one of those shows. I just couldn’t see a way to do it apart from the way it was done.
www.hughdurrant.co.uk
AS: You’ve designed sets for Amateur productions. Are there any significant differences in the way you approach designs for amateurs?
Cruise Time
Hugh: The interesting thing about doing design for amateurs as against professional productions is that with pro shows you usually don’t want to make it look like it did before but with amateurs they will want something that they recognise as that show. I did the first production of A Little Night Music outside the West End. I thought the West End production was overdesigned so I spoke with the director and we changed the concept and did something different, in most cases you couldn’t do that with the amateurs. AS: Do you have a particular style – architectural, minimal, traditional? Hugh: I think its really different project to project. You really are only known for what you have done recently and for me that’s not all that minimal. Let’s face it nowadays you are looking at budgets of £750,000 to £1 million for a West End musical and about £250,000 for a play. I’m known for grand and opulent things, I try
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SETS AND PROPERTIES Cher In Vegas Costume Designs
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FIRST NIGHT INSURANCE
FIRST NIGHT INSURANCE - THE CHANGING FACE OF LEGISLATION By Robert Israel ACII Just when you think you have educated all your clients into the right and proper way to behave along comes a new piece of legislation, which completely turns around what you have been trying to achieve for the last number of years. For those happy band of readers that also happen to be clients of First Night I am sure they will be sick and tired of the letter that we have been issuing accompanying their renewal notice which tells them that they must on pain of I don’t know what make sure that they retain their Employers’ Liability Insurance Certificate for the next 40 years. The reason for this was because there was a change in legislation a few years ago which dictated that you indeed had to keep your certificate for the stated period of time. I gave up along time ago trying to defend this situation when clients rang up saying that 40 years night be a little bit beyond their own sell by date! Well low and behold the Department of Work and Pensions (DWP) have now brought in new legislation effective from 1st October this year under the exciting heading of Employers’ Liability (Compulsory Insurance) (amendment) regulations 2008: this new piece of legislation has deemed sufficient for employers to make an electronic copy of their Insurance Certificate available to employees. At the same time the DWP has also done away with the need for companies to retain their previous certificates for the full 40 years. Whilst this is very good news the DWP is also telling firms that it would be foolish to throw the certificates away and that they should keep them! So on the one hand they are saying you don’t need to keep the certificates but on the other they are saying that you do.
and fail to do so then you can be liable to a £1,000 fine. It is interesting to note that those without the appropriate cover in place can be fined £2,500 per day thereafter. You will be aware that over the years I have been writing articles for Amateur Stage I have on occasions referred to the reasons why Employers Liability cover is included within the standard First Night package. This is in response to the number of people who have asked why it is necessary for such cover to be incorporated within an “Amateur” Theatrical package where you do not employ people. The problem is that you maybe “employing” people within the Act of Parliament and not realise it. For instance, you may pay a musician to assist with your production. You may employ a cleaner to clean the stage after the performance. There are any number of possibilities as to where you might “employ somebody” and not realise that you are in contravention of the Statuary Act. If you then add the potential financial penalty into the mix that I have referred to above then you can see why we have included the cover within the package. It is there as a protection for you and is catered for within the overall premium. The cost of this cover is negligible because Underwriters appreciate the chances of a claim under this section are remote. However, in my opinion it would be imprudent for you not to have this cover. So whilst it may not be legally necessary for you to keep the certificates I would strongly suggest that you do. On behalf of all my staff, I take this opportunity of wishing you a happy and prosperous New Year!
This whole problem can be traced back to all the asbestos claims that have been submitted in some cases many years after the original event. The issue has always been trying to find the Insurer who was on risk at the time the incident originally took place. Because this type of disease takes many years to come to the fore it has been difficult, in some cases, to find the right Insurance Company. So someone came up with the brilliant idea of making all clients keep their Employers’ Liability Certificates for 40 years. But at the end of the day I don’t think this was really a great success for a number of reasons. Firstly, lots of companies have gone into liquidation and tracing the records prior to computer intervention is not easy. Secondly, lots of small companies would destroy their records after a number of years especially if they were to move premises or on the death or retirement of the Business Owner. However, on the other side of the fence this is a really serious problem for anyone who has contracted such an appalling disease because they would need to know which Insurance company to make a claim against in order that they would be able to submit an Employers’ Liability claim. The Association of British Insurers acknowledge this to be a problem and for some time have operated a tracing service but this service only operates in certain circumstances, such as if a former employer has ceased trading. There are also independent companies who specialise in Insurance Archaeology. But of course neither of these options are that acceptable especially when an employer is faced with a Solicitors letter that usually demands an answer within 21 days. So with all of this in mind whilst it may not b the law anymore, I would strongly suggest that all societies continue to keep their Employers’ Liability Certificate on file just in case they are ever needed in the future. It should of course always be born in mind that if you are asked to supply an Employers’ Liability Certificate
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TECHNICAL
computers in the theatre pART 1 Everywhere you look in large or professional theatres, as with most other walks of life, you will find computers, and generally you’ll love them or hate them. But surely there’s no place for such high technology for the average amateur theatre group. Well, think again. Maybe there are opportunities here too. Over the next few months we aim to give you a small insight into how these high-tech and often scary machines actually can help, without frightening off your cast or backstage volunteers. This first article deals with a product called Cue Player, designed specifically for small theatre companies. It can happily handle a complete set of music and effects from many sources, from your own CDs through to effects available on the Internet. It can mix, overlay, cross-fade and do just about anything you’ll want, with a user interface so simple it can be used by the most inexperienced person. Effects are played instantly, with no need for headphones and winding a mini-disk to exactly the right spot. For any of you involved in a local theatre group, it might be worth you taking a look at http://www.baxeldata.com/ The owner of that site, David Baxter, has produced a product called Cue Player for use in theatres large and small. There are 3 versions:Cue Player Free – (yes FREE) is the basic product that anyone can download and use without any limitations. Cue Player PRO – contains more features and costs a one time fee of $24.95 Cue Player Premium is the top of the range version and David has yet to specify a price, but it is likely to be extremely reasonable. All three products allow you to cue sound effects files and play them through the speakers of your personal computer (or through an external sound system via the audio output or headphone socket). Unlike systems that use some kind of mechanism, there is no delay between pressing the play button and the sound actually playing, so cues are absolutely precise without any lag like your mini disk, CD or cassette systems. Each cue can be loaded from a CD, downloaded from the Internet or imported from another audio source, so you can still use your old sound effects disks, CDs and tapes. The picture that follows is the basic screen. Each cue can have a 2 line text added to it, so you can specify page number, associated spoken line or whatever you choose. When you want to play it, just double click or press the play
button. You can fade the whole cue or even cross fade, so the sound effect can “move” from one stereo channel to the other. The more advanced versions have the ability to have background cues, for example a rainstorm and foreground cues, such as a thunderclap, so you could have your actors talking over a rain effect and the thunderclaps appearing exactly at the right dramatic moment. The Premium version has an additional independent category so that cues can be played at any time, regardless of what else is playing, and you can assign each of the 12 function keys on your keyboard to them so that, for example, you get a gunshot each time you press the F1 key. The above screen is the cue edit popup that allows you to set the initial and final volume of a cue (different on L and R channels if you wish), fade time, cross fade, and even a 5 band graphic
equaliser. I should point out that Amateur Stage has no financial interests in Cue Player – we just think it’s a great product. What’s more, if you use it and have ideas how it could be improved, David Baxter is always open to suggestions – I’m proud to say that the function key cues (amongst others) was my suggestion. Give it a try – the basic version will cost you nothing. I’m currently directing one of my own plays with a local group – the cues are very complex at one point – ghostly whispers overlaid with a music box and a television – yet Cue Player Premium takes it all in its stride. The next feature will be on another free product called Audacity – it allows you to take your sound effects and edit them in terms of pitch, fade, echo, speed and all manner of other ways. Ian Hornby
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NEWS
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05/12/2008 29/10/08 14:20:55 11:20:50
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FILM
A BUNCH OF AMATEURS This December a real gem of a British Film comes to the screen. A Bunch Of Amateurs is a hilarious comedy that features some of Britains finest actors playing against Burt Reynolds vanity striken Hollywood persona. Jefferson Steel (Burt Reynolds) is an ageing Hollywood action hero. He’s out of work, vain insecure and is desperate to revive his flagging career. Under pressure from his client, Jefferson’s incompetent LA agent Charlie (Charles Durning) is forced to go through his trash in a final attempt to find Jefferson work… and stumbles upon the perfect role: a prestige run in the British theatre playing King Lear at Stratford. Jefferson believes he has landed the role of a lifetime and arrives in the UK only to discover the reality. Instead of a leading role in a Royal Shakespeare
Company Production at Stratford upon Avon, Jefferson has committed to star as King Lear for an amateur dramatic society in Stratford St John in Suffolk. Samantha Bond, Sir Derek Jacobi and Imelda Staunton bring down the house as the amateur actors in Stratford St John. Sir Derek has confessed he enjoyed playing a terrible actor in the film. The legendary Shakespearean actor plays a solicitor who believes himself to be the star of the show and is furious when Burt Reynold’s character a huge Hollywood star - is given the title role. Asked if he enjoyed sending up amateur dramatics Sir Derek said “Oh yes! It’s wonderful to be, and strangely quite easy, to be a bad Shakespearean actor!”
old enough but revealed he has plans to in the near future. Sir Derek said: “I think if you have any aspirations to be a classical actor, when you’re young you go through the Hamlet hoop and you’re judged by the quality of your Hamlet, whether you’re allowed into the classical club. The you get older and you have to go through the King Lear hoop - not have to but want to. I mean they are both great parts for any actor. “So, I will play Lear in a few years time. I want to do it. I will do it somewhere, somehow”. A Bunch Of Amateurs is released nationally on the 19th December.
The 70 year old actor has never played King lear on stage yet as he didn’t feel
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WEST END
AS IF SHE NEVER SAID GOODBYE Following the success of it’s intimate staging at the Watermill Playhouse, Andrew Lloyd Webber’s Sunset Boulevard is transferring to the West End for a strictly limited season. Eleven years after its West End Run, this intimate production will grace the stage of the Comedy Theatre. It follows in the innovative and emotionally direct tradition of intimate productions using actor/musicians that has resulted in previous enormously successful transfers from the Watermill, including John Doyle’s multi-award winning “Sweeney Todd”.
Imagine This Photos: Tristram Kenton
BEAUTIFULLY IMAGINED IMAGINE THIS - NEW LONDON THEATRE A new musical has opened in the West End and it’s not one with recycled pop songs, nor a stage adaptation of a film, this is a genuine new musical complete with original score and story concept. Yet judging from some of the responses from fellow critics I have to wonder if we were watching the same show on the same night. Imagine This is no light musical comedy, it has taken as its subject matter the plight of a handful of Jews in the Warsaw Ghetto and the historical story of Masada and the Jews who took their own lives rather than surrender to the Romans. The twin stories are played out in a show within a show format (think Kiss Me Kate) and you kind of get the idea by the Warshowsky family troupe. This is no musicalisation of plight of every Jewish man and woman in World War II, it is the story of a group of people who decided to resist repression in the only way they could. This is no easy subject matter on which to base a musical but the creative team of Glenn Berenbeim (Book), Shuki Levy (Music) and David Goldsmith (Lyrics) have succeeded in crafting a touching, emotional and respectful piece of theatre which I hope will grace the stage of the New London for a long while to come. Levy and Goldsmith’s score is sweeping and highly memorable, with some great ensemble vocal moments including the shows title song.
Daniel Warshowsky, a man who is high on optimism and humour in the face of crushing repression, is a tour de force. He is a consistent moral voice often working against easier options in favour of what is right. Simon Gleeson (Adam), a relative newcomer to West End musicals has certainly made his mark on the medium, his incredible vocals were a highlight, even more so when matched against Leila Benn Harris as Rebecca. If there was a weak link for me in Imagine This it came with the comedy associated with Izzy (played by Michael Matus). The insertion of light comedy into the story seemed to jar but I am the first to admit that without it the show would be so much heavier. It is a tribute to Matus that can take these awkward moments and make them work. A lot of people have been quick to dismiss Imagine This (many without having even seen it). I’ve now seen the show twice and intend to see it again. It entertained me, it moved me! This is a solid piece of musical theatre, brilliantly conceived and executed by a talented team and cast. I urge you to go and see it for yourself and make up your own mind.
Taking on the part of ‘Norma Desmond’, one of the greatest female roles in musical theatre, will be Kathryn Evans, with Dave Willetts as ‘Max Von Meyerling’ and Ben Goddard as ‘Joe Gillis’. The score includes a number of hits including With One Look, As If I Never Said Goodbye and the title song Sunset Boulevard. This production directed by Craig Revel Horwood, played to sell out houses at the Watermill and is sure to do the same in London. “SUNSET BOULEVARD” originally premiered in London at the Adelphi Theatre in 1993, where it ran for almost four years and played to nearly two million people. Based on Billy Wilder’s classic film, Sunset’s book and lyrics are by Don Black and Christopher Hampton. Box Office on 0870 060 6637 or at www.sunsetlondon.com.
This is an ensemble piece, skilfully created by director Timothy Sheader that correctly assumes the intelligence of it’s audience. It’s no easy feat to create a show from scratch but Sheader has succeeded aided by the inventive choreography of Liam Steele and Eugene Lee’s impressive yet simple set. This cast work and work hard, each member adding to a palette of characters which ultimate leave you moved beyond expectations. Peter Polycarpou’s performance as patriarch
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Photo: Robert Day
AS MAGAZINE | DECEMBER 2008
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WEST END
LA CAGE RETURNS TRIUMPHANT Nearly twenty years after the ill fated Palladium production London finally gets a first class revival of Jerry Herman’s La Cage Aux Folles. Set in a bohemian drag club in St Tropez, we are introduced to George (the clubs host) and Albin (his drag artiste partner). Trouble begins when George’s son turns up to announce that he is to marry the daughter of a local political figure who just happens to be ultra right wing. You can guess the farcical situations that follow. Douglas Hodge sparkles as Albin, camp doesn’t quite cover this knockout performance. Partnered with the incredibly suave and sensuously voiced Dennis Lawson, this couple are a force to be reckoned with. The fun in La Cage comes from the “notorious and dangerous” Cagelle. These six long legged beauties have huge fun driving some hilarious backstage scenes and looking incredibly glamourous. There are fast changes a plenty in this outrageous comedy. The functional set takes us front of house, backstage, and to locales in St Tropez with ease. Harvey Fierstein’s book is timeless and still holds true years after its original production. Ultimately though it is the genius of Jerry Herman that makes La Cage a delight. This is a lyrical, tuneful and rousing score. Albin’s anthem I Am What I Am, which has been covered by the likes Of Shirley Bassey is pure Broadway. Go get a ticket to La Cage and immerse yourself in this classic musical. It’s zany, fun and ultimately will have you singing all the
SHEER ENTERTAINMENT For the first time in many years London’s Hippodrome is packing the crowds in with a show that takes the historic venue back to its roots. La Clique is an entertainment developed by David Bates and Brett Haylock which has been presented to acclaim in Australia, Canada, New York and in Edinburgh. Now it’s London’s turn to experience this brilliant night out. Think Cirque Du Soleil without the massive staging and you get close to an evening with La Clique. This is a show driven entirely by talent. Acts have been gathered from around the world to create a show that is part cabaret, part circus, a smidgeon of burlesque and a dash of variety. Ultimately this mix gives the audience two hours of solid entertainment that had the auditorium on its feet cheering for more. Highlights for me included Captain Frodo, Norway’s rubber man, the incredible English Gentlemen, Bath Boy David O’Mer and the UK’s own Miss Behave. La Clique is not a show for children, indeed due to licensing requirements its only open to over 18’s. The show is fast paced and skillfully moves from the almost balletic gymnastics of O’Mer one minute to the bawdy antics of Miss Behave the next. La Clique will have you wincing one minute and screaming with delight the next. Brilliantly staged in the Hippodrome, La Clique reaches right out into the audience, you are part of the show from the first minute. It’s a masterclass in using a venue to its full extent. This is one show that really shouldn’t be missed. It’s unique and thoroughly brilliant. www.lacliquelondon.com
Photo: Perou
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DIARY
DIARY
DECEMBER 2008 - FEBRUARY 2009 42ND STREET 10 - 21 February 2009 York Light Opera Company Ltd. Theatre Royal York, N Yorks 01904 623568
19 - 22 February 2009 Wetherby Musical Theatre Group Wetherby High School Wetherby, 0113 216 7410
ANYTHING GOES 17 - 21 February 2009 Belper Musical Theatre Belper School Belper, Derbyshire 01773 822730
ALI BABA 18 - 21 February 2009 Seaham Youth Theatre Seaham School of Technology Seaham, Co Durham
A KICK IN THE BAUBLES 07 - 10 January 2009 East Essex Players The Dixon Studio, Palace Theatre Westcliff, Essex 01702 351135
A SLICE OF SATURDAY NIGHT 18 - 21 February 2009 Epsom Light Opera Company Myers Studio, Epsom Playhouse Epsom, Surrey 01372 742555
ADVENTURES OF MR PICKWICK, THE 29 - 31 January 2009 Hoghton Players Hoghton Village Hall Hoghton, Preston, Lancashire 01254 852258
ALADDIN 22 December 2008 - 03 January 2009 Paignton Pantomime Productions Palace Theatre Paignton, Devon 01803 290371 28 December 2008 - 03 January 2009 Bedford Pantomine Company The Corn Exchange Bedford, Beds 01234 269519 02 - 04 January 2009 Kettering & District Youth Theatre Group Lighthouse Theatre Kettering, Northants 01536 414414 08 - 11 January 2009 Cheshire Youth Pantomime Society (CHYPS) The Woodford Centre Woodford, Cheshire 01625 529774 09 - 17 January 2009 Sale Nomads Theatre Club Waterside Theatre Sale, Cheshire 0161 912 5616 21 - 24 January 2009 Priory Players Ossett Town Hall Ossett, W Yorks 23 - 31 January 2009 Dinnington Operatic Society Lyric Theatre Dinnington, S Yorks 01909 569340 09 - 14 February 2009 Jarrow Musical Theatre Company Jarrow Community Association Jarrow, Tyne & Wear 0191 420 5726
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09 - 17 January 2009 Arrow Players St Edmund’s Hall Northwood Hills, Middx 020 8868 7785
19 - 21 February 2009 Stage One STC Youth Theatre Group Ferneham hall Fareham, Hants 01329 231942
09 - 18 January 2009 Burnley Pantomime Society Burnley Mechanics Theatre Burnley, Lancs 01282 664400
BABES IN THE WOOD
17 - 17 January 2009 Heath Players Ditton Community Centre Ditton, Kent 01622 717491 24 January - 01 February 2009 Lowestoft Players The Marina Theatre Lowestoft, Suffolk 01502 533200
BOMBED OUT
ALI BABA AND THE FORTY THIEVES 17 - 20 December 2008 The New Strolling Players The Memorial Hall Freshwater, Isle of Wight 01983 752956 09 - 18 January 2009 Burnley Pantomime Society Burnley Mechanics Burnley, Lancashire 01282 664400
20 - 30 December 2008 (not 22-26) Deben Players Seckford Theatre Woodbridge, Suffolk 01394 615015
BOOGIE NIGHTS 27 December 2008 - 03 January 2009 Stowmarket Operatic & Dramatic Society Regal Theatre Stowmarket, Suffolk 01449 612825
10 - 14 February 2009 Wilton Productions Plowright Theatre, Laneham St Scunthorpe, N Lincs 01724 277733
13 - 18 January 2009 Spittal Variety Group The Maltings Art Centre Berwick upon Tweed, Northumberland 01289 330999
BOYFRIEND, THE
14 - 17 January 2009 Ripon Charity Pantomime Group Leisure Centre, Dallamires Lane Ripon, N Yorks 01765 601262
22 - 24 January 2009 Waterbeach Community Players Waterbeach School Waterbeach, Cambs 01223 570109 www.wcponline.org.uk
22 - 24 January 2009 Clevedon Comedy Club Princes Hall, Princes Road Clevedon, N Somerset 01275 879250
23-25, 30, 31 January & 01 February 2009 Phoenix Players St. Peter’s Theatre Southsea, Hants 0845 293 9350
22 - 24 January 2009 Clevedon Comedy Club Princes Hall, Princes Rd Clevedon, N Somerset 01275 873405
17 - 21 February 2009 Burton Amateur Stage Entertainers Burton Brewhouse Arts Centre Burton-on-Trent, Staffordshire 01283 508100
25 - 31 January 2009 Northallerton Amateur Variety Company Hambleton Forum Northallerton, N Yorks 01609 770936
21 February 2009 St. Mary’s Panto Players St. Peter’s Theatre Southsea, Hampshire 023 9282 2990
AND A LITTLE LOVE BESIDES
BEAUTY AND THE BEAST
15 - 17 January 2009 Loughton Amateur Dramatic Society Lopping Hall Loughton, Essex 020 8502 5843
ANNIE 23 - 28 February 2009 Wickersley Amateur Operatic Society Rotherham Civic Theatre Rotherham, 01709 823621 25 - 28 February 2009 Carnegie Youth Theatre Carnegie Hall Dunfermline, Fife 01383 602302 15 - 25 January 2009 Nomad Theatre Group Nomad Theatre East Horsley, Surrey 01483 284717
01 - 03 January 2009 Dynamo Youth Theatre New Theatre Royal Portsmouth, Hants 023 9264 9000
18 - 21 February 2009 New Forest Players The Performing Arts Centre, Ballard School New Milton, Hampshire 0845 166 8775
BRAY ONE-ACT FESTIVAL: 32ND YEAR 27 - 31 January 2009 Mermaid Arts Centre Bray Co.Wicklow, dhp1@eircom.net
BREAKING THE CODE 21 - 24 January 2009 The Adel Players Adel Memorial Hall Adel, Leeds 0113 2300312
BY JEEVES 14 - 17 January 2009 Theydon Bois Drama Society Theydon Bois Village Hall Theydon Bois, Essex 01992 812250
10 - 21 December 2008 Harlow Theatre Company Victoria Hall Theatre Old Harlow, Essex 01279 420062 www.harlowtheatrecompany.co.uk
CARMEN - THE MUSICAL
16 - 31 December 2008 The Angles Theatre The Angles Theatre Wisbech, Cambs 01945 585587
CAROUSEL
17 - 20 December 2008 Burnley Youth Theatre Burnley Mechanics Theatre Burnley, Lancs 01282 664400 08 - 11 January 2009 The Chameleons The Paul Daisley Hall, Brent Town Hall Wembley, Middx 0208 123 6443
28 - 31 January 2009 Cecilian Society - University of Glasgow The Mitchell Theatre Glasgow, 07858 167843
02 - 07 February 2009 Cupar Amateur Musical Society Corn Exchange Cupar, Fife 01344 654187 23 - 28 February 2009 East Renfrewshire Operatic Society Eastwood Park Theatre Glasgow, 0141 577 4970
CHESS 14 - 21 February 2009 Clitheroe Parish Church AO & DS St Mary’s Centre, Church Street Clitheroe, Lancs 01200 424545
AS MAGAZINE | DECEMBER 2008
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DIARY CHORUS OF DISAPPROVAL 24 - 28 February 2009 Ponteland Repertory Society Memorial Hall Ponteland, Northumberland 01661 822985
CHRISTMAS CONCERT 20 - 20 December 2008 Harrogate G & S Society Harrogate International Centre Harrogate, N Yorks 01423 537230
CHRISTMAS SPECTACULAR 11 - 21 December 2008 Ipswich Co-Op Juniors Snape Maltings Concert Hall Snape, Suffolk 01728 687110 27 - 28 December 2008 Ipswich Co-Op Juniors Charter Hall, Colchester Leisure World Colchester, Essex 01206 282020
29 - 30 December 2008 HEOS Musical Theatre Greenford Hall, Ruislip Road Greenford, Middlesex 01784 255164 07 - 31 January 2009 The Pantomime Company Concordia Theatre Hinckley, Leics 07956 543369 14 - 18 January 2009 Littlehampton Musical Comedy Society Windmill Theatre, The Green Littlehampton, W Sussex 01903 722224 14 - 17 January 2009 Farnworth Performing Arts Company Astley Bridge Theatre Church Bolton, Lancs 0750 726 9090
CINDERELLA
15 - 18 January 2009 Portchester Players Porchester Community Centre Porchester, Hants 023 9237 7175
18 - 21 December 2008 Act One Pantomimes Eric Morecambe Theatre, Harpenden Public Halls Harpenden, Herts 0870 774 3638
15 - 31 January 2009 Loddon Players Lecture Hall, George Lane Loddon, Norfolk 01508 520162
19 - 21 December 2008 Rosehill Youth Theatre Rosehill Theatre Whitehaven, Cumbria 01946 692422
20 - 24 January 2009 Dewsbury Collegians Amateur Operatic & Dramatic Society The Town Hall Dewsbury, W Yorks 01924 324501
20 December 2008 - 03 January 2009 GADOC Beau Sejour Theatre Guernsey, Channel Islands 01481 747200 www.guernseytickets.gg
25 - 31 January 2009 Reydon & Southwold Panto Group St Edmunds Hall Southwold, Suffolk 01502 724539
CHESS.
CINDERELLA, THE RETURN OF THE FAIRIES
DICK BARTON, SPECIAL AGENT
22 - 24 January 2009 Axminster Drama Club The Guildhall Axminster, Devon 01297 33595
09 - 17 January 2009 Meeching Amateur Dramatics Meeching Hall Newhaven, East Sussex 01323 896813
COPACABANA
DICK WHITTINGTON
21 - 24 January 2009 Sunderland Amateur Operatic Society Sunderland Empire Sunderland, Tyne & Wear 0844 847 2499
19 December 2008 - 04 January 2009 OTFM Productions Bridge House Theatre Warwick, Warks 01926 776438
CRAZY FOR YOU
08 - 10 January 2009 Ringstone Players Edenham Village Hall Nr Bourne, Lincs 01778 571937
17 - 20 February 2009 Fatfield Musical Stage Society Washington School Washington, Tyne and Wear 0191 388 5425
DAZZLE 16 - 21 February 2009 Tiverton Junior Operatic Club The New Hall Tiverton, Devon 01884 253672
DEAD MAN’S HAND 16 - 17 January 2009 Colwyn Abbey Players Theatr Colwyn Colwyn Bay, Conwy 01492 872000
DEAR EDWINA 29 - 31 January 2009 The Lamproom Youth Theatre Ensemble Lamproom Theatre Barnsley, South Yorkshire 01226 200075
DEATH TRAP
09 - 18 January 2009 Rugby Theatre Society Rugby Theatre, Henry St Rugby, Warks 01788 541234 10 - 17 January 2009 Brierley Hill Musical Theatre Company Brierley Hill Civic Hall Brierley Hill, W Midlands 0845 658 8195 15 - 17 January 2009 Killin Drama Club McLaren Hall Killin, 01567 820424 killin-drama-club@zoom.co.uk 22 - 24 January 2009 Weymouth Drama Club The Pavilion Theatre Weymouth, Dorset 01305 783225
07 - 14 February 2009 Rugby Theatre Society Rugby Theatre, Henry St Rugby, Warks 01788 541234
OXFORD OPERATIC SOCIETY. Photos: Ian Bateman AS MAGAZINE | DECEMBER 2008
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DIARY
ROLEPLAY - Ravenshead Theatre Group, Nottinhamshire. Photo by Smiffy
18 - 21 February 2009 Brixham OD&CS Brixham Theatre Brixham, Devon 01803 857654 08 - 11 January 2009 Walkerville Musical Society Walkerville Community Hall Newcastle upon Tyne, 0191 2362647
DIPLOMATIC BAGGAGE 04 - 07 February 2009 Falcon Players Cope Auditorium, Epinal Way Loughborough, Leics 01509 231914
DON’T DRESS FOR DINNER 19 - 24 January 2009 Rotherham Phoenix Players Rotherham Civic Centre Rotherham, South Yorkshire 01709 823640
FIDDLER ON THE ROOF 21 January - 07 February 2009 Ballywillan Drama Group The Riverside Theatre Coleraine, Co Londonderry 07798 930308 28 January - 07 February 2009 Colchester Operatic Society Mercury Theatre Colchester, Essex 01206 573948
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FOLLOW THE STAR - A CHRISTMAS MUSICAL 20 - 21 December 2008 Victory-Land Theatre School St. Peter’s Church Southsea, Hants 023 9273 2785
FRANKENSTEIN - THE PANTO 17 - 24 January 2009 Dursley Operatic & Dramatic Society Lister Hall, Long Street Dursley, Glos 07890 203318
FULL MONTY, THE 29 - 31 January 2009 Downfield Musical Society Whitehall Theatre Dundee, 01382 322537 17 - 21 February 2009 Erewash Musical Society Trent College (May Hall) Long Eaton, Notts 0115 930 1603
FUNNY THING HAPPENED ON THE WAY TO THE FORUM, A 20 - 24 January 2009 Brentwood Operatic Society Brentwood Theatre Brentwood, Essex 01277 223710
GEISHA, THE 11 - 14 February 2009 Southgate College Opera Wyllyotts Theatre, Darkes Lane Potters Bar, Herts 01707 645005
GIGI
GUYS AND DOLLS
22 - 24 January 2009 Harrogate Phoenix Players Harrogate Theatre Harrogate, N Yorks 01423 502116
02 - 07 February 2009 CAOS Musical Productions Minerva Theatre Chichester, West Sussex 01243 781312
GOLDILOCKS & THE THREE BEARS
HAIR
01 - 04 January 2009 Clacton Amateur Dramatic Society West Cliff Theatre Clacton on Sea, Essex 01255 433344 03 - 18 January 2009 Jersey Amateur Dramatic Club Jersey Arts Centre Jersey, Channel Islands 01534 700444 05 - 11 January 2009 Whitley Bay Pantomime Society The People’s Theatre, Stephenson Road Heaton, Newcastle-upon-Tyne 0191 252 3681 21 - 24 January 2009 Christchurch Music Society - Newport Church Hall, Christchurch Newport, Monmouthshire 01633 881320
GONDOLIERS 10 - 14 February 2009 Basingstoke AOS The Haymarket Theatre Basingstoke, Hampshire 01256 844244
24 - 28 February 2009 Edinburgh Music Theatre Company Ltd. Church Hill Theatre Edinburgh, Midlothian 0131 332 6558
HANSEL AND GRETEL 16 - 21 February 2009 Abergavenny Pantomime Company Abergavenny Borough Theatre Abergavenny, Monmouthshire 01873 890683
HEIDI 27 - 31 January 2009 Western College Players The Drum, Theatre Royal Plymouth, Devon 01752 267222
HI-DE-HI 12 - 14 February 2009 Thurrock Courts Players Thameside Theatre Grays, Essex 0845 300 5264
HICKORY DICKORY DOCK 23 December 2008 - 03 January 2009 Highbury Players Highbury Theatre Centre, Sheffield Rd Sutton Coldfield, W Midlands 0121 373 2761
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DIARY HIGH SCHOOL MUSICAL 30 December 2008 - 03 January 2009 Wisbech Amateur Operatic & Dramatic Society (WAODS) Thomas Clarkson Community College Wisbech, Cambs 07776 318309 or 01945 870393
HIGH SOCIETY 20 - 24 January 2009 Farnham Amateur Operatic Society The Maltings Farnham, Surrey 01252 722233
HMS PINAFORE 17 - 21 February 2009 Godalming Operatic Society The Borough Hall Godalming, Surrey 01252 703376 27 - 28 February 2009 Godalming Operatic Society The Leatherhead Theatre Leatherhead, Surrey 01252 713376
HONK 28 - 31 January 2009 GHosTs Electric Theatre Guildford, Surrey 01483 444789 17 - 21 February 2009 Cary Amateur Theatrical Society Ansford School Castle Cary, Somerset 01458 273472
HOT MIKADO 18 - 21 February 2009 Zenith Youth Theatre Company Kingswood Theatre Bath, BANES 01225 835301
HUMPTY DUMPTY 09 - 17 January 2009 Otterbourne Village Hall Committee Otterbourne Village Hall, Otterbourne, Winchester, Hants 023 8036 3205
IOLANTHE 03 - 07 February 2009 Crosby G & S Society Crosby Civic Hall Waterloo, Liverpool 0151 934 2140 16 - 21 February 2009 Melrose Amateur Operatic Society The Corn Exchange Melrose, Roxburghshire 01835 822425
JACK & JILL 17 - 21 February 2009 Lyme Regis Pantomime Society Marine Theatre Lyme Regis, Dorset 01297 443986
JACK AND THE BEANSTALK 12 - 23 December 2008 Downfield Musical Society Whitehall Theatre Dundee, 01382 322537 19 - 21 Dec 08 and 04 - 06 Jan 09 Bridlington Amateur Operatic & Dramatic Society Spotlight Theatre Bridlington, E Yorks 01262 604751
30 December 2008 - 03 January 2009 Swaffham Players Hamonds High School Theatre Swaffham, Norfokl 01760 721899
24 - 28 February 2009 South Shields G & S Operatic Society Customs House South Shields, Tyne and Wear 0191 454 1234
12 - 17 January 2009 Whitby’s Apollo Players Whitby Pavilion Theatre Whitby, North Yorkshire 7817778126
03 - 10 January 2009 Huddersfield Light Opera Company The Lawrence Batley Theatre, Queen Street Huddersfield, West Yorkshire 01484 430528
KISS ME, KATE
16 - 25 January 2009 South Shields Westovian Theatre Society Pier Pavilion South Shields, Tyne and Wear 0191 456 0980
12 - 17 January 2009 Totnes Operatic & Dramatic Society Totnes Civic Hall Totnes, Devon 07912 142053
LES MISERABLES
13 - 24 January 2009 Kays Theatre Group The Swan Theatre Worcester, Worcs 01905 420083 14 - 18 January 2009 Carlinghow Theatre Company Batley Town Hall Batley, West Yorkshire 01924 491905 21 - 24 January 2009 NOMADS The Masque Barton Seagrave, Northants 07857 186005 23 - 25 January 2009 Encore Theatre Company Aspley Guise Village Hall Aspley Guise, Bedfordshire 01908 583640 24 - 31 January 2009 Keighley Amateur Operatic & Dramatic Society Victoria Hall Keighley, W Yorks 08450 170718 27 - 31 January 2009 St Austell Players St Austell Arts Theatre St Austell, Cornwall 01726 879500 16 - 21 February 2009 Coliseum Operatic & Dramatic Society Aberdare Coliseum Theatre Aberdare, Rhondda Cynon Taff 01685 882685 25 - 28 February 2009 Polden Productions Edington Village Hall Bridgwater, Somerset 01278 723095
JUKEBOX - A MUSICAL PANTO 19 - 24 January 2009 Padiham Pantomime Society Padiham Town Hall Burnley, Lancs 07831 250539
JUNGLE BOOK 17 - 21 February 2009 Shavington Village Festival Committee Shavington Leisure Centre nr Crewe, Cheshire 01270 661592
KIND HEARTS AND CORONETS 10 - 20 December 2008 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245 606505
KING AND I 27 December 2008 - 10 January 2009 Manor Operatic Society City Hall Sheffield, S Yorks 01709 365108
18 - 21 February 2009 Community of Hungerford John O’Gaunt Community & Technology College Hungerford, Berks 01488 684011
16 - 21 February 2009 Hinckley Comm Guild AOS Concordia Theatre Hinckley, Leciestershire 01455 847676
03 - 14 February 2009 Douglas Choral Union Amatuer Operatic and Dramatic Society Gaiety Theatre Douglas, Isle of Man 01624 694555 18 - 21 February 2009 Spennymoor Youth Theatre Group Gala Theatre Durham, Durham 0191 332 4041
LET’S GO TO THE MOVIES III 15 - 16 February 2009 Havering Music Makers Queens Theatre Hornchurch, Essex 01708 762256
LION, THE WITCH AND THE WARDROBE, THE 30 January - 07 February 2009 Harleston Players Archbishop Sandcroft High School Harleston, Norfolk 01379 588043
LITTLE RED RIDING HOOD 15 - 17 January 2009 Twyford & Ruscombe Theatre Group Loddon Hall Twyford, Berkshire 0845 450 1308
LITTLE TOMMY TUCKER 24 - 28 February 2009 Market Drayton Amateur Operatic & Dramatic Society The Grove School Market Drayton, Shrops 01630 652454
MACK AND MABEL 20 - 24 January 2009 Shenfield Operatic Society Queen’s Theatre Hornchurch, Essex 01708 700625
MANSFIELD PARK 29 - 31 January 2009 Lyndhurst Drama and Musical Society Vernon Theatre Lyndhurst, Hampshire 023 80282729
MIKADO, THE 19 - 24 January 2009 Abbots Langley G & S Society Watford Palace Theatre Watford, Herts 01923 225671
MOTHER GOOSE 30 December 2008 - 03 January 2009 Frome Amateur Operatic Society Memorial Theatre Frome, Somerset 01373 462795 01 - 10 January 2009 Digswell Players Digswell Village Hall Digswell, Herts 01438 715489 10 - 17 January 2009 Pickering Musical Society The Kirk Theatre Pickering, N Yorks 01751 471553
20 - 24 January 2009 Kippax Amateur Operatic Society (KAOS) Castleford Civic Centre Castleford, W Yorks 0113 287 4564
OKLAHOMA! 16 - 21 February 2009 Bridgnorth Musical Theatre Company Bridgnorth Leisure Centre Bridgnorth, Shropshire 01746 763510 23 - 28 February 2009 Guiseley Amateur Operatic Society Guiseley Theatre Leeds, W Yorks 08453 705045
OLD MOTHER HUBBARD 16 - 24 January 2009 Addlestone Community Theatre Addlestone Community Theatre Addlestone, Surrey 01932 844653
OLD TIME MUSIC HALL 15 - 17, 22 - 24 January 2009 Stevenage Lytton Players The Lytton Theatre, Vardon Rd Stevenage, Herts 0870 777 7619
OLIVER! 13 - 17 January 2009 Tread the Boards Theatre Group Whitehall Theatre Dundee, Tayside 07803 521700 15 - 17 January 2009 Compton Little Theatre Compton Village Hall Guildford, Surrey tickets@comptonlittletheatre.org.uk 04 - 07 February 2009 Stage Productions Regent Theatre Stoke, Staffs 0870 060 6649 18 - 21 February 2009 Ruthin Musical Theatre Theatr John Ambrose, Ysgol Brynhyfryd Ruthin, Denbigh 01824 703748 19 - 21 February 2009 Tipton Amateur Repertory Theatre Society Mill Theatre Sedgley, W Midlands 01902 679682 21 - 28 February 2009 Southport Amateur Operatic Society Southport Arts Centre Southport, Merseyside 01704 228936
ONCE A KNIGHT 08 - 11 January 2009 Chellaston Players Guildhall Theatre , Derbyshire 01332 703828 22 - 24 January 2009 Chellaston Players St. Peter’s Church Hall Chellaston , Derbyshire 01332 700821
AS MAGAZINE | DECEMBER 2008
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DIARY ORPHEUS IN THE UNDERWORLD
PIRATES OF PENZANCE (BROADWAY VERSION)
17 - 21 February 2009 Rugby Operatic Society Rugby Theatre Rugby, Warks 01788 541234
27 - 31 January 2009 Buttershaw St Pauls Church Amateur Operatic Society St George’s Hall Bradford, W Yorks 01274 676047
OUTSIDE EDGE 29 - 31 January 2009 BreakaLeg Productions Unicorn Theatre Abingdon, Oxon 01235 821351
PANTO OF THE OPERA, THE 29 - 31 January 2009 Adur Theatre Company The Shoreham Centre Shoreham-by-Sea, West Sussex 01273 591933
PETER PAN 09 - 25 January 2009 All Souls Dramatic Club Southport Arts Centre Southport, Merseyside 01704 540011 16 - 31 January 2009 Lane End Players Lane End Village Hall Lane End, Bucks 01494 881981 29 January - 01 February 2009 Felixstowe Musical Theatre Spa Pavilion Felixstowe, Suffolk 01394 282126
PHIL BARNETT AND FRIENDS 21 December 2008 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007 Pinocchio 08 - 17 January 2009 Folkestone & Hythe Operatic & Dramatic Society Tower Theatre Folkestone, Kent 01303 223925
PINOCCHIO 15 - 24 January 2009 Wayfarers Pantomime Society (Taunton) The Brewhouse Theatre Taunton, Somerset 01823 283244 24, 26 - 31 January 2009 HIADS Station Theatre Hayling Island, Hants 023 9246 6363
17 - 21 February 2009 Heanor Operatic Society Heanor Gate Science College Heanor, Derbyshire 01773 712296 24 - 28 February 2009 Chelmsford Amateur Operatic & Dramatic Society Civic Theatre Chelmsford, Essex 01245 606505
PULL THE OTHER ONE 12 - 18 January 2009 Arundel Players Priory Playhouse Arundel, West Sussex 01243 782976
PUSS IN BOOTS 12 January 2009 - 17 January 2008 St Giles Marys Panto/TS Pontefract Town Hall Pontefract, West Yorkshire 01977 677980 23 - 24 January 2009 Little Hadham PG Little Hadham Village Hall Little Hadham, Herts 01279 842160 29 - 31 January 2009 Wootton Bassett Light Operatic Society Memorial Hall Wootton Bassett, Wilts 01793 855473 30 - 31 January 2009 Little Hadham PG Little Hadham Village Hall Little Hadham, Herts 01279 842160 Puss In Boots 11 - 14 February 2009 Irchester Players Parsons Hall Irchester, Northants 01933 624310
RAILWAY CHILDREN, THE 24 - 31 January 2009 Cheltenham Operatic & Dramatic Society The Playhouse Theatre Cheltenham, Glos 01684 293346
17 - 21 February 2009 Rosehill Youth Theatre Rosehill Theatre Whitehaven, Cumbria 01946 692422
10 - 14 February 2009 St Andrews Operatic Society St Andrew’s Roker Sunderland, Tyne and Wear 0191 548 4621
REVUE 2008
18 - 21 February 2009 Intake Methodist Musical Society Intake Methodist Church, Foxwood Rd Sheffield, 0114 287 2093
15 - 17 January 2009 Musselburgh Amateur Musical Assoc Brunton Theatre Musselburgh, East Lothian 01368 869611
SCRIMSHAW! ROBIN HOOD AND HIS MERRY MEN 09 - 17 January 2009 The Oxted Players The Barn Theatre Oxten, Surrey 01883 724852
ROBIN HOOD AND THE BABES IN THE WOOD 04 - 20 December 2008 Attic Theatre Aberdeen Arts Centre Aberdeen, 01224 641122 28 - 31 January 2009 Sway Drama Club Sway Village Hall, MiddleRoad Sway, Lymington, Hants 01590 683683 02 - 07 February 2009 Whitestone Players Whitestone Parish Hall nr Exeter, Devon 01392 433997
ROBIN PRINCE OF SHERWOOD 26 - 28 February 2009 Sosage Factory Solihull Arts Complex Solihull, W Midlands 0121 704 6962
ROBINSON CRUSOE 27 December 2008 - 03 January 2009 Strode Productions Strode Theatre, Church Road Street, Somerset 01458 442846 22 - 24 January 2009 Criccieth Starlight Players Memorial Hall Criccieth, Gwynedd 01766 522249
ROBINSON CRUSOE AND THE PIRATES
REBECCA
27 - 31 January 2009 Bolsover Drama Group Moorfield School, Bolsover Chesterfield, Derbyshire 01246 850402
17 - 21 February 2009 St Andrews Youth Fellowship Sandon Sandon Village Hall Sandon, Essex 01245 477872
18 - 21 February 2009 Festival Players (Loughborough) Ltd Loughborough Town Hall Loughborough, Leics 01509 231914
28 - 31 January 2009 St Blane’s Drama Group Dunblane Primary School 01786 823716
PIRATES OF PENZANCE
RED RIDING HOOD
13 - 21 February 2009 Court Players The Memorial Hall Rangeworthy, S Glos 01454 321149
18 - 21 February 2009 Walsall G & S Society Brownhills Community Theatre Brownhills, W Midlands 01922 645378
16 - 17 January 2009 Briston Players The Copeman Centre Briston, Melton Constable, Norfolk 01263 861340
23 - 28 February 2009 Barrow Savoyards Forum 28, Duke Street Barrow in Furness, Cumbria 01229 820000
23 - 31 January 2009 Haverhill & District Operatic Society Haverhill Arts Centre Haverhill, Suffolk 01440 714140
29 - 31 January 2009 The Centralian Players Henderson Hall Abbots Langley, Hertfordshire 01923 227392 www.thecentralians.co.uk
26 - 28 February 2009 Girton Operatic Society Girton Glebe School Cambridge, Cambs 01223 556766
RETURN TO THE FORBIDDEN PLANET
RUDDIGORE
38 Dec4.indd 8
13 - 17 January 2009 The Mellow Dramatics Brewhouse Arts Centre Burton on Trent, Staffs 01283 508100
ROLEPLAY
03 - 07 February 2009 Aireborough G & S Society Yeadon Town Hall Yeadon, Leeds, W Yorks 0113 250 3519
15 - 24 January 2009 Pump House Children and Youth Theatre Pump House Theatre Watford, Herts 07903 411150
SEASONS GREETINGS 29 - 30 January 2009 Innuendo Theatre Group Thorngate Halls Gosport, Hants 01329 310473
SHE STOOPS TO CONQUER 10 - 14 February 2009 Ecclesall Theatre Company Ecclesall Parish Hall , Sheffield 0114 2308842 www.ecclesalltheatre.com
SINBAD 19 - 22 February 2009 Morley Amateur Operatic Society Morley Town Hall Morley, W Yorks 07960 766 334 22 - 25 January 2009 Phoenix Players Stratford Civic Hall Straford-upon-Avon, Warks 01789 207100
SINBAD THE SAILOR 07 - 10 January 2009 Woodlands Theatrical Society Woodlands Hall, Woodlands Park Newcastle upon Tyne, Tyne & Wear 0191 236 3060 27 - 31 January 2009 Bridport Pantomime Players Electric Palace Bridport, Dorset 01308 423366 16 - 21 February 2009 Circle Light Opera Company Highbury Theatre Centre Sutton Coldfield, West Midlands 07876 190519
SLEEPING BEAUTY 13 - 20 December 2008 Wells Operatic Society Ltd The Little Theatre Wells, Somerset 01749 672611 15 - 21 December 2008 Retford & District Amateur Operatic Society Retford Little Theatre Retford, Nottinghamshire 01777 702002 23 December 2008 - 10 January 2009 Talisman Theatre Company Talisman Theatre, Barrow Road Kenilworth, Warks 01926 856548 27 December 2008 - 03 January 2009 Dereham Operatic Society The Memorial Hall Dereham, Norfolk 01362 851919 03 - 04 January 2009 Elstree Productions St Michael and All Angels Church, Brook Road Borehamwood, Herts 0208 953 6560
AS MAGAZINE | DECEMBER 2008
05/12/2008 15:51:10
DIARY
Waterbeach Community Players production of Teechers Nov 12th - 15th with Kattreya Smith & Cath Perkins Photographer Christine Easterfield 11 - 17 January 2009 Wombwell & District Amateur Operatic Society Operatic Centre Wombwell, S Yorks 01226 758375
27 - 31 January 2009 Ellesmere Port Original Pantomime Company Ellesmere Port Civic Hall Ellesmere Port, Cheshire 0151 355 9310
SNOW WHITE
15 - 18 January 2009 Argosy Players Winston Churchill Hall Ruislip, Middlesex 0845 838 9058
30 - 31 January 2009 Chapel Players Chapel Playhouse Chapel-en-le-Frith, Derbyshire 01298 813176
17 - 21 December 2008 Billboard Ensemble Barry Memorial Hall Theatre Barry, Vale of Glamorgan 01446 733625
17 - 24 January 2009 North Ormesby Minstrels The Trinity Centre North Ormesby, Teeside 01642 272241
30 - 31 January 2009 Newton Amateur Dramatic & Operatic Society Newton Community High School Newton-le-Willows, Merseyside 01942 741835
27 December 2008 - 01 January 2009 Kings Lynn Operatic & Dramatic Society King’s Lynn Arts Centre King’s Lynn, Norfolk 01553 764864
17 - 24 January 2009 The Young Ones Netherton Arts Centre Netherton Dudley, W Midlands 01384 895266 23 - 24 January 2009 Newton Amateur Dramatic & Operatic Society Newton Community High School Newton-le-Willows, Merseyside 01942 741835 24 - 31 January 2009 Stourbridge Pantomime Co Ltd Stourbridge Town Hall Theatre Stourbridge, W Midlands 01384 560653 24 - 31 January 2009 Highcliffe Charity Players Regent Centre Christchurch, Dorset 01202 499199
05 - 07 February 2009 Chapel Players Chapel Playhouse Chapel-en-le-Frith, Derbyshire 01298 813176 05 - 07 February 2009 Edenbridge Forge Singers WI Hall Edenbridge, Kent 01732 864471
SLEEPI 17 - 21 February 2009 Caldicot Musical Theatre Society Caldicot School Caldicot, Monmouthshire 01291 422207
SLEEPING BEAUTY 18 - 21 February 2009 Bradfordians Dramatic Society Trinity Hall St Laurence School Bradford-on-Avon, Wiltshire 01225 761720
12 - 20 December 2008 Starburst Theatre Company Harlington Centre Fleet, Hants 07793 816750
23 January - 07 February 2009 Lindsey Rural Players The Broadbent Theatre Wickenby, Lincs 01673 885500 23 January - 07 February 2009 St Nicholas Players St Nicholas Church Hall Allestree, Derby 01332 556228
SNOW WHITE & THE SEVEN DWARFS 03 - 10 January 2009 The Southwick Players The Barn Theatre Southwick, W Sussex 01273 597094 09 - 10 January 2009 Felling & District Music, Arts & Drama (FADMAD) Felling Methodist Church Hall, Coldwell St Gateshead, Tyne and Wear 0191 420 6632
09 - 17 January 2009 Louth Playgoers Riverhead Theatre Louth, Lincolnshire 01507 600350 14 - 17 January 2009 Handsworth & Hallam Theatre Company University of Sheffield Drama Studio Sheffield, S Yorks 01709 377611 21 - 24 January 2009 Barnton Variety Theatre Workshop Northwich Memorial Hall Northwich, Cheshire 01606 782442 30 January - 07 February 2009 New Mills Amateur Operatic & Dramatic Society Art Theatre, Jodrell Street New Mills, Derbyshire 0161 427 5317
SOUTH PACIFIC 16 - 20 February 2009 Carmarthen & Dist Youth Opera The Lyric Theatre Carmarthen, Wales 01267 232632 17 - 21 February 2009 Rosehill Youth Theatre Rosehill Theatre Whitehaven, Cumbria 01946 692422
SOUTHERN COUNTIES DRAMA FESTIVAL First round of the All England Theatre Festival 23 - 28 February 2009 Barn Theatre Bluehouse Lane, Oxted 01959 561811
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DIARY ST ALBANS SCOUNT & GUIDE GANG SHOW 11 - 14 February 2009 St Albans Scout & Guide Gang Show Alban Arena St Albans, Hertfordshire 01727 830397
STEPPING OUT 30 - 31 January 2009 East Grinstead Operatic Society Chequer Head Community Arts Centre East Grinstead, W Sussex 01342 302000
STRANGERS ON A TRAIN 21 - 28 February 2009 Natwich Players Players’ Theatre Natwich, Cheshire 01270 537359 www.nantwichplayers.com
SUNSHINE BOYS, THE 25 - 28 February 2009 Preston Drama Club Preston Playhouse Preston, Lancs 01772 744771
SWEENEY TODD 27 - 31 January 2009 Leatherhead Operatic Society Epsom Playhouse Epsom, Surrey 07787 870012 10 - 14 February 2009 Lindley Church Amateur Operatic Society Lawrence Batley Theatre Huddersfield, W Yorks 01484 430528 10 - 14 February 2009 Xtreme Theatre Company Llwynypia Community Theatre, Coleg Morgannnwg Llwynypia, Rhonddda Cynon Taff 01443 774167 18 - 21 February 2009 Stampede Theatre Company Yeadon Town Hall Yeadon, W Yorks 0113 202 9524
SWEET CHARITY 23 - 24 January 2009 Present Company Buxton Opera House , Derbyshire 0845 127 2190 26 - 28 February 2009 Spotlight Musical Theatre Company Compass Theatre Ickenham, Middlesex 01895 673200
SWEET REVENGE 18 - 21 February 2009 Belmont Theatre Company The Pump House Theatre Watford, Herts 0845 521 3453
TALK BY JOHN OWEN EDWARDS, MD D’OYLE CARTE & BUXTON GS FESTIVAL 11 - 11 January 2009 Gilbert & Sullivan Society Manchester Cross Street Chapel Manchester, Lancs 0161 973 9965
TELL ME ON A SUNDAY 25 - 28 February 2009 CCADS Central Library - 3rd Fl. Arts Centre Portsmouth, Hampshire 023 9268 8070
THE FULL MONTY 10 - 14 February 2009 Portsmouth Players Kings Theatre Southsea, Hampshire 023 9266 0880
THE GRINCH - THE PANTO 05 - 07 February 2009 Threemilestone Amateur Dramatic Society Threemilestone Community Hall Truro, Cornwall 01872 275237
THE OLD WOMAN WHO LIVED IN A SHOE
Dec4.indd 10
THE WOMAN WHO COOKED HER HUSBAND 23 - 28 February 2009 Highbury Players Highbury Theatre Centre, Sheffield Road Sutton Coldfield, W Midlands 0121 373 2761
TOSCA 03 - 07 February 2009 Windsor & Eton Operatic Society Norden Farm Centre for the Arts Maidenhead, Berks 01753 863719
TREASURE ISLAND 29 - 31 January 2009 The Magpies Drama Group Matfield Village Hall Matfield, Kent 01892 834365 11 - 19 February 2009 The Oxted Players Barn Theatre Bluehouse Lane, Oxted 01883 712241 www.barntheatreoxted.co.uk 18 - 21 February 2009 Maesteg Amateur Operatic Society Maesteg Town Hall Maesteg, Bridgend 07989 439629
TWELTH NIGHT 24 -28 February 2009 Derby Shakespeare Theatre Company The Guildhall Theatre , Derby 01332 255800 www.derbyshakespeare.org.uk
WEST SIDE STORY 26 - 31 January 2009 Norfolk & Norwich Operatic Society Theatre Royal Norwich, Norfolk 01603 630000
WINNIE THE POOH 08 - 18 January 2009 Crescent Theatre Limited The Crescent Theatre Birmingham, W Mids 0121 643 5858
WIZARD OF OZ 08 - 10 January 2009 Orchard Players Capel St Mary Village Hall Ipswich, Suffolk 07761 782456 23 - 31 January 2009 Watson Players Guildhall Theatre Derby, Derbyshire 01332 343649 17 - 21 February 2009 Letchworth Arcadians Plinston Hall Letchworth Garden City, Herts 01462 453801
THE PIED PIPER
WONDERFUL STORY OF MOTHER GOOSE, THE
THE SLEEPING BEAUTY
40
17 - 24 January 2009 Chesham Bois Catholic Players The Elgiva Theatre, St Mary’s Way Chesham, Bucks 01494 582900 www.elgiva.com
06 - 10 January 2009 From The Top Theatre Company Highbury Little Theatre Sutton Coldfield, W Mids 07974 894542
21 - 28 February 2009 Burton Bradstock Players Burton Bradstock Village Hall Burton Bradstock, Dorset 01308 897415
LAYING THE GHOST - Greasley Players Notts Photos by Smiffy
THE SORCERER’S APPRENTICE
24 - 31 January 2009 Stourbridge Pantomime Co Ltd Stourbridge Town Hall Theatre Stourbridge, West Midlands 01384 812959
13 - 17 January 2009 Storth & District Entertainers Society Storth Village Hall Storth, 01524 761903
YEOMAN OF THE GUARD 18 - 21 February 2009 Dunfermline G & S Society Carnegie Hall Dunfermline, Fife 0845 241 2187
AS MAGAZINE | DECEMBER 2008
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NEWS
Love grows in the most unexpected places
Poland 1942. Where freedom was found through imagination. Where hope and laughter could conquer fear. Where love knew no boundaries.
NEW LONDON THEATRE A REALLY USEFUL GROUP THEATRE
THREE WAYS TO BOOK WITH NO BOOKING FEE
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2008
43 05/12/2008 15:52:02
NEWS
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