LETTERS I am happy to participate in a forum on this subject…. On or off line.
Hi Doug, That is actually a very interesting issue that we were struggling with.
Kindest regards, Edo Avraham, Chairman The RBS Theatre Company, www.rbstheatrecompany.co.uk
letters
IT’S A SURE FIRE HIT BUT IS IT??? Presponse to online article
First, there are many factors that play into the revenue issue, which includes also location of theatre (central of out in the bush; this is quite a factor in London), time of the year (summer holidays, Xmas time), and of course all that has to do with marketing/sales. I would not suggest asking other companies to publish their gross income, but I would definitely would like to know occupancy (% of seats sold). This will not offset the impact of the hall size itself (i.e. if someone is selling an unknown show in a small theatre of 50 seats and sell out, vs someone doing Fiddler in a theatre of 300 and barely gets 50% sales). So the data that best captures should be % of sold tickets and a note of hall size. For example: Lucky Stiff – 58%, 134 seats. The % should reflect the total tickets sold vs. available across whatever number of shows as in the end we are after the average occupancy achieved, We are now in some financial difficulties so are looking for a hit show. To do this we “harvested” all of the London area amateur companies’ websites looking for their lists of shows produced in the last few years. We then simply looked for the ones most performed. The sample wasn’t in the end comprehensive as not all sites but on a list of past productions, and some post just recent history and some go way back in time. But it did provide an indication. We had an issue with Lucky Stiff. We staged it in June, and managed to see a production of it in late May somewhere else in the London area. Both productions suffered from low occupancy, theirs were in Harrow area, ours in Central London and so sold better, but below our threshold for solvency of 80%. We lost money on it… A show like Little Shop of Horrors (2008) sold out completely, and a show named “Jack The Ripper, The Musical” also sold out (during Halloween weekend which must have helped that). So we have our theory regarding name recognition, which probably impacts revenues. In other words, we tend to assume that if someone creates a musical for a material people know from other sources/media they would be more successful from a musical which is unknown – even if we market it better than the known source one. Hence why Lucky Stiff, which very few know, did not do well. For our next show we are trying to see if shows that infer recognition to some people – and in that we are trying to check this with the general public, not the musical-buffs – would be a better choice for us. And so – would Kiss Me Kate, with whatever that springs into mind to people – would do better than a shows like Urinetown or Bat Boy (which are totally unknown to people who do not follow musicals). We think Sweeny Todd would therefore sell better AFTER the film than before the film came out. It is a very important issue for all amateur companies at these times of economic difficulties. We have to guess what would signal the public enough familiarity without necessarily doing a show everyone knows (say like Fiddler). In the end the number of musicals that truly everyone knows is not high, and the people that drive box office success for us are not always the musical experts but rather the audience that may not always go to see musicals. And final note: This issue is doubly important to musicals due to their high costs (bigger sets and costumes, rights cost, band cost and sound equipment costs). The risk companies take on plays is a lot smaller for a play, but revenues tend to also be lower.
Ed:- Thanks Edo, it’s encouraging to get such a comprehensive letter. For many years a veil of secrecy seems to have prevailed where amateur groups are concerned. It’s apparent though that by sharing information groups nationwide could be stronger. Any other thoughts??
FLASH, BANG, WALLOP - WHAT A PICTURE! Dear Sir, I am writing to warn of the perils of using apparently public images from the internet to advertise an amateur show. Our society recently had a nasty shock when we used an image which we had gleaned from the internet to advertise a production of a Lesley Bricusse musical. The image had been brought to us in all innocence, by a society member who suggested it for our posters, etc. A week after the show finished, we were contacted by an eminent graphical artist, who lives in the USA, and has done design work for clients such as Marvel Comics, Walt Disney, and Sony. He had performed a routine trawl of the internet for examples of his work, and had discovered our website with his copyrighted image upon it. He threatened us with legal action for using his property. Fortunately for us, he relented when he learned that we are an amateur company with meagre resources, and actually said that if we had contacted him beforehand, he would have come to an arrangement with us. However, we passed a very worrying day or two, wondering whether, for example, if it came to court, the committee members were personally liable in such a case. I hope you can publish this letter as a cautionary tale to other societies who might be tempted and think they can get away with it - the lesson is that you probably won’t. Big companies now regularly trawl the internet, using very sophisticated search engines which can identify examples of their copyrighted material being used without permission. Not everyone will be as forgiving as the man whom we wronged. Yours sincerely, Stuart Bull Chairman BOS Musical Theatre Group Ed: Unfortunately Stuart, I’ve heard many stories like yours over the past year or so. The development of websites like Google makes finding stunning images so easy but using them without the appropriate permission is fraught with potential danger. Thanks for alerting others about your experiences. Has anyone else had the same problem?
WHAT DO YOU THINK?
We’re all about getting people talking. Do you have an opinion on anything in the magazine or about a hot issue affecting your group? Email us your thoughts enquiring minds want to know. editor@asmagazine. co.uk. We’ll endeavout to publish as many as we can.
12| www.amateurstagemagazine.co.uk
lettersfeb12.indd 9
29/01/2012 22:55
pantodames.indd 1
21/02/2011 13:32:48
OPEN STAGES
Open Stages update Ian Wainwright from the RSC updates us on the Open Stages project. The first stage of the project is nearly completed with the Open Stages Skills Exchanges element of the project coming to a close. The RSC’s Open Stages team have travelled 5054 miles between April and September running 22 days skills exchange days, delivering 638 hours of workshops, meeting and working with almost 3000 amateur theatre makers in London, Belfast, Ipswich, Newcastle, Truro, Cardiff, Manchester, Southampton, Glasgow and Stratford-Upon- Avon. Each Open Stages Skills Exchange has included workshops on voice, text, movement, acting, directing and design as well as workshops on stage management, and lighting. These workshops ensure that not only does Open Stages leave a legacy of skills development for amateur theatre, but that each Open Stages production carries an element of genuine RSC DNA. We have also run workshops at NODA and DAW summer schools at the and at the NDFA festival on Guernsey
were possible. A lifetime of greater involvement is before me!’ ‘The practical and physical approach to Shakespeare text made it all seem ‘do-able’, whereas previously I have been somewhat intimidated by the reputation of, and scholarly-approach to, the man.’ ‘Hand on heart this is the most exciting workshop I have ever taken. I relished the intensity of it and just wanted more and more!’
We always expected to find a lot of talented individuals but it has been the genuine openness to new ideas, and the quality of work achieved in the workshops in response to the exercise and techniques, that has been truly impressive. We have also enjoyed the honesty, warmth and good humour which seem to characterise the amateur sector. Most rewardingly the workshops have triggered small epiphanies on both sides, with Michael Corbidge (a particular favourite with participants) discovering a wealth of mature female voice talent and many amateur theatre makers making transformative leaps in their approach to Shakespeare and theatre in general.
‘Watching professionals at work – comparing the similarities and differences between amateur and professionals. The way the actors contribute to the direction’
‘I enjoyed the content of all the workshops immensely and they were very relevant to what we do. As an amateur who has never had any formal training but loves drama and performs a lot in amateur productions and Eisteddfods and festivals, it was incredible to suddenly have access to teaching at this level.’ ‘All brilliant, fun and informative. Always think outside the box!’
‘Watching how a RSC Director and a voice/text coach approach the rehearsal process was really valuable’ ‘The fun and enjoyment that can be had in creating an exciting piece of theatre’
‘I went back to my work in the second hand bookshop this morning with a strange sensation that I was physically still ‘in Shakespeare’s text!’ Yes, the weekend has had an utterly transformative effect on my whole approach to Shakespeare.
To be fair there was also lots for us to learn - smaller groups, longer sessions, more subjects covered including Theatre Costume being one popular request. Also people were keen to go further beyond these first introductory sessions and open up the process to more than just the few places available to each group, as well as more opportunities to discuss as well as workshop. All this and more we have taken onboard for future planning
‘Superb. It will considerably increase my ability (whether or not I direct) to engender enthusiasm for Shakespeare in my fellow amateurs, and also stimulate their desire for self-improvement in their acting skills. It certainly did for me.’ ‘My delight in Shakespeare has become even more pronounced, if that
Open Stages Performances We’ve also had a fantastic summer of Open Stages productions with 117 companies having performed their Open Stages Production so far, with 573 performances to date, performing everywhere from castles to community centres. For some companies this was their
Participants gave us some incredibly generous and encouraging feedback:
14| www.amateurstagemagazine.co.uk
openstagesupdate.indd 2
29/01/2012 17:05
OPEN STAGES latest Shakespeare production in a distinguished history, now with the recognition and input of the RSC, for others this was their first Shakespeare daring to take it on with the support and encouragement of the RSC. Productions will continue to reach performance right through to the end of 2012 when over 7200 people from all walks of life will have performed in their own RSC Open Stages Shakespeare production. Our lasting regret is we (the RSC) cannot see all the productions. Our thanks to those companies who we have seen, for giving us some truly memorable evenings and some magical moments. To those companies we haven’t seen congratulations on your productions we continue to receive press cuttings, DVD’s and photos’ attesting to some incredible productions. Please do keep sending us DVD’s etc of your productions. Open Stages Productions When we issued our challenge/invitation to amateur groups to produce their own RSC Open Stages production we set a cautious target of 50 amateur companies, as it was we received over 300 ‘pitches’ of which 263 fitted our criteria of being a genuine amateur company – run and participated in by volunteers and the production being a Shakespeare or Shakespeare themed production. The 263 Open Stages Productions, included: 174 works by, or excerpts of, Shakespeare including o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
19 Macbeths 18 Midsummer Night’s Dreams, 13 Tempests, 12 Romeo and Juliets, 12 Twelfth Nights, 8 Hamlets, 8 Much Ado About Nothings, 8 Merry Wives of Windsor, 6 Taming of the Shrews 6 As You Like Its. 6 Winters Tales 6 Measure for Measures 4 King Lears 4 Richard IIIs 4 Pericles 4 Titus Andronicus 3 Antony and Cleopatras 3 Comedy of Errors 3 Coriolanus 3 Cymbelines 3 Julius Caesars 3 Merchant of Venices 2 All’s Well That Ends Well 2 Love’s Labour’s Lost 1 Henry IV Part 1 1 Henry V 1 King John 1 Troilus and Cressida 2 complete works Marathons 10 collections of various extracts
umbrella organizations The venues for performance of Open Stages productions include: 99 Theatres (of which 31 are owned by the company) 32 Parks or gardens 31 Community or church halls 19 Schools or universities 18 Arts centres 13 Churches or abbeys 11 Castles 6 Beaches 6 Pubs 5 Amphitheatres or outdoor theatres 5 Stately homes or hotels 2 Festivals 2 Forests 2 Warehouses 38 are ‘other’ or yet to be decided Overall we were surprised and impressed with the ambition, energy and imagination of pitched productions, from the company in the mMidlands producing an English/Polish Romeo and Juliet dividing English Montagues and Polish Capulets, to the all female Hamlet in Milton Keynes, a cheerleader version of Richard III, and Twelfth Night meets Star Wars in a new interpretation of the play in Huddersfield. Other notable productions pitched include: A Festival of Shakespeare including a flash mob Romeo and Juliet and a Tempest performed on the beach in Whitely Bay on Tyneside Much Ado About Nothing performed by the Royal Navy’s own theatre society with serving sailors, officers, and marines, many of whom recently returned from Afghanistan, performing at HMS Excellent the Naval base in Portsmouth harbour. The Forbidden Planet performed by the Royal Air forces Theatre Association A Splash of Shakespeare, Shakespeare performed in the Jubilee Pool an Art Deco listed Swimming Pool in Penzance Spirit of Place. Theatre piece inspired by Shakespeare performed in a theatre made entirely of living willow trees, and powered by green energy produced by solar panels and wind turbines The Tempest at Tesco Set at the local supermarket, a checkout assistant uses Shakespeare to persuade her colleagues, “life is better lived as a player, not just watching from the side-lines”. The First and Last Performance of the Titanic Shakespeare Society An Edwardian concert party set on the Titanic’s voyage, using original writing combined with appropriate extracts from Shakespeare. Tempest in a Teacup – exerts of Shakespeare performed in a village hall in Bridgnorth The Stories that Shakespeare Knew told by story tellers from Mosley, and performed in Newman Brothers coffin works Macbeth performed in Coventry cathedral by torchlight Shakespeare’s Small Parts a tribute to all the spear carriers, messengers and one line characters in Shakespeare’s plays Return to the Forbidden Planet performed by the Royal Air Force theatrical association teched by an Army Officer. A modern musical retelling of Shakespeare’s Winter’s Tale and performed in the great Hall at Leicester Guild Hall where Shakespeare himself is said to have performed as a young player And many, many more
36 Newly written plays and musicals (30 plays, 6 musicals) 26 Devised works 36 Shakespeare related existing works (27 plays, 9 musicals) This gave us an approximate total number of participants of 7200 With the oldest participant listed as 90 years old and the youngest participant being 6 years old The amateur groups participating in Open Stages include: 121 General Amateur dramatic groups with mixed age range 24 Adult specific groups 26 Youth/student groups 15 University groups 18 Village- or community-specific groups 6 Musical theatre groups 31 Groups that own theatre space 7 Registered charities 2 Religious groups The Oldest group (as far as we know) was formed in 1910 and 4 groups where created specifically for Open Stages. Only 123 groups belong to
www.amateurstagemagazine.co.uk | 15
openstagesupdate.indd 3
29/01/2012 17:05
OPEN STAGES The RSC Website and Open Stages Facebook The RSC Website was invaluable during the application process as a place perspective groups could learn about the project and down load an application form. The Home page also gave the project a profile beyond those targeted. However the second phase involved the establishment of a ‘listing page’, giving details of all productions involved and a map showing their location, took somewhat longer than we anticipated and fairly cumbersome to update. This proved frustrating to both us and some of the groups performing earlier in the project. The website now, however gives a comprehensive list of all productions though we still hope to do more work on this area. More successful has been the Open Stages Facebook where companies have been able to share photos, poster, video trailers, give casting calls, update on how rehearsals are going, ask questions and generally share the experience of Open Stages with each other. For the RSC it has allowed us to get a sense of what is going on at a grassroots level with the project. From the 263 amateur companies involved we have 854 individual members. Check it out on the Link below http://www.facebook.com/home.php#!/pages/RSC-OpenStages/207015752660340 So What Next? The 2nd Regional Skills Exchange The final Skills Exchange for Open Stages groups in the RSC’s region will take place on the 11th and 12th February this event is for those Midlands groups performing in 2012 or those who weren’t able to attend the first one back in May. The Regional Showcase The next stage of the project for each region across the country will consist of a series of showcase events at each of the 10 Open Stages Regional Partner Theatres. The format of these events will vary from region to region as some have large numbers of groups such as Contact Theatre in Manchester and Questors, whereasothers have large geographical areas to cover and no permanent venue such as Scotland. You should already have heard from your Regional Partner Theatre regarding the arrangements for this. The RSC will be hosting two showcase weekends for the groups in the Midlands on 17th and 18th March and 24th and 25th March in the Courtyard Theatre. The World Shakespeare Festival National Open Stages Showcase at the RSC. The RSC will be inviting one company from each of the 10 regions to the World Shakespeare Festival to perform their production on the stage of the Royal Shakespeare Theatre, the Swan, the Courtyard, or in the case of outdoor productions in our own outdoor space in the grounds of the theatre. This is not intended to feel like the finals of some great national competition rather to showcase the work of a diverse cross section of companies from across the UK, giving those attending the festival a genuine feel for the breadth, ambition, and exciting nature of amateur Shakespeare, as well as of course its quality. The dates of the World Shakespeare Festival Open Stages performances are 13th, 14th 15th 21st and 22nd of July using the Courtyard, Swan and Royal Shakespeare Theatres. How will selection/programming for the WSF Showcase work? We will look at 4 factors: a) We will talk to the regional partner theatre about which productions would suitably to represent the work in their region b) We will look at the initial pitch companies made to us when applying. c) We will look at any DVD’s of the productions plus any other materials sent to us d) We will then think about the festival as a whole to create a programme of productions that represent the variety of groups taking part in Open Stages, the diversity of Open Stages productions and of course the quality of work. Professional and Amateur Collaborations In 2012 the 10 Partner Theatres are each producing a collaborative performance project which will see amateur and professional theatre makers coming together. These are yet to be announced but the RSC can confirm it’s collaboration will be Pericles – see below.
RSC Amateur Ensemble Pericles This is a new and exciting collaboration between amateur theatre makers and the RSC’s professional creative and production teams. The RSC Amateur Ensemble will then produce a full RSC production – Pericles. This will see a cast of amateur performers working with RSC directors, designers, stage managers, technicians to create a exhilarating new production of Shakespeare’s tragic romance Pericles, for performance in the Courtyard Theatre from 5th to 7th October 2012. The artistic process will be led by the RSC’s Artistic Director Michael Boyd and, given the large amateur cast, their availability, as well as the episodic nature of the play, a team of directors including Ian Wainwright as Community Director (RSC Open Stages), and Directors James Farrell and Jamie Rocha Allen (current RSC Assistant Directors). The Designer will be two of the RSC’s current Assistant Designers. The production will also seek to draw on the expertise of other RSC resident practitioners such as the voice and movement departments in the RSC’s tradition of artist development. Auditions will be held in late spring early summer 2012 for the Amateur Ensemble with rehearsals beginning on the 20th August. There may also be opportunities for amateur technicians and stage managers to work alongside the RSC’s own professionals during the process. The production process aims to share skills, practise and resources between amateur and professional theatre makers. The production itself looks to be a beacon of collaboration and to celebrate the idea that Shakespeare belongs to everyone to perform as well as to watch. The production forms part of the RSC’s Open Stages project which aims to-re engage professional and amateur theatre. It is also forms part of the RSC’s ‘What Country Friends is This’ season. This production of Pericles will be sponsored by LOCOG as part of the world Shakespeare Festival. We look forward to seeing and hearing about more productions and working with more of you in the New Year. Ian Wainwright Producer RSC Open Stages
16| www.amateurstagemagazine.co.uk
openstagesupdate.indd 4
29/01/2012 17:05
PANTO
Panto - South African Style Port Elizabeth in Nelson Mandela Bay, is on the eastern coast of Southern Africa and boasts a proud tradition of amateur theatre. Athol Fugard comes from Port Elizabeth and many of his plays are set in this very location. The Port Elizabeth Musical and Dramatic Society (Pemads) operates from a quaint 250 seater theatre in the heart of the city and produces an average of three productions per year. The annual tradition of producing a pantomime fell away for a few years whilst the society focused on producing musicals such as “Annie” and “Thoroughly Modern Millie”. However, in 2011, it was decided to return to pantomime as the end of year production and Sharon Rother was appointed as the Director of the project. Sharon happened to stumble upon the scripts of Ben Crocker during her internet research and “Jack and the Beanstalk” was selected. Together with Musical Director, Bronwyn Maree, and Choreographer, Jerry Fortuin, the trio set about auditioning potential talent. A cast of 35 were selected ranging from 6 year olds to 65 year olds, and together this enthusiastic bunch set about getting their act together to stage a fun production which would appeal to all ages. The cast was headed by Candice Millar (Jack), Amy Annear (Princess Demelza), Selwyn Wiggill (Dame Trott), Emily Bradley (Fixit), Cameron Robertson (Slimeball), Dennis Slattery (Simple Simon) Sean Louw (Giant Blunderbore) and Natanja Greeff (Edena, the Eco Fairy) The cast were very privileged to rehearse in the newly refurbished “Athenaeum Building” where they had access to quite a few rehearsal spaces. The building is also an art gallery - and so performance art and visual art got to share a space for a while. After seven weeks of rehearsals, the production opened on 3 December and ran for 16 performances until 17 December. A wide range of music was selected - from Sondheim to Elvis - and this ensured that there was never a dull moment on stage. Sondheim’s “Comedy Tonight” was adapted as the opening number, and this was followed by “On a wonderful day like today” for the opening chorus scene. “It Must Be Love” caused a giggle or two as the Principal Boy (Jack) and Princess Demelza declared their undying love for one another. Dame Trott (Selwyn Wiggill) delighted audiences with his “I will Survive” together with his doowah girls (Cameron Robertson and Sean Louw in drag!) Before this there was cause for “Cool and the Gang” and “Celebration”
when the Villagers believe they had defeated the evil Slimeball and the Giant. Probably one of the funniest moments in the show were provided by Sean Louw as the Giant. Sean characterised the Giant in a very “Pulcinello” Commedia dell Arte style, and did his version of Elvis Presley’s “I Can’t Help Falling in Love with You”. Another highlight was provided by Cameron Robertson as Slimeball, who, together with his evil goblins, did their rendition of “Bad” (Jackson) whilst up in the clouds - thanks to the effective dry ice machine and loads of dry ice! The production was well supported by local theatre goers as well as many holiday makers who flock down to the coast to soak up the summer sun on the beautiful beaches in the bay. The reviews were wonderful and the audiences loved the show. After the show, the main characters got to mingle with the little audience members - who got their fair share of audience participation throughout the performance by booing and hissing and giving the villains false directions at every opportunity. Jimmy Maurin designed and created a very effective set and props on a very low budget. The theatre has a “raked” stage - so sets can be a challenge. The theatre does not have a fly gallery, and so “sliders” were adapted to create scene changes. Princess Demelza’s cage was a brilliant creation with elasticised cage bars. Demelza’s solo “All by Myself” had a touch of Bridget Jones to it, and her slow graceful moves deteriorated into an ice cream eating frenzy by the end of the number, much to the delight of the audiences. A pantomime is not traditional without a sing song, and it was here that Set Designer Jimmy Maurin got to get onstage to lead the audience with a local South African song that was popular in the 1970’s - called “Ag Please Daddy!” whilst the badly behaved “Angel Giant” galloped around the audience causing havoc much to the horror of the Eco Fairy. Labelled “ a perfect Christmas pantomime” by critics, there was no doubt that audiences who visited the Little Theatre left with a smile on their faces and a skip in their step! At the recent Pemads Twelfth Night awards, “Jack and the Beanstalk” won the Phyllis Davidson Trophy for Production of the Year. Sharon Rother
18| www.amateurstagemagazine.co.uk
pantofeature2012.indd 10
29/01/2012 17:06
PANTO
So, whether you’re looking for a less well known title like Ali Baba, or Ben’s brand new Camelot the Panto - or one of the old favourites like, Cinderella, Aladdin, Dick Whittington & His Cat, Beauty & the Beast, Jack & the Beanstalk or Sleeping Beauty, Ben will have the perfect panto for you, beautifully written and full of surprises – like this ludicrous rhyming section in Dick Whittington & His Cat: KING R. Must you always be so thick! You plant them on your rival Dick! JACK. I plant them on my rival Dick? KING R. You plant them on your rival Dick! JACK. But that’s a mean and shabby trick. KING R. Of course it is, now listen, quick! (Pointing) Who do you see? JACK. (Looking.) My rival -. KING R. Dick! JACK. There with Alice – KING R. Alice and Dick! JACK. Dick, that Dick, he gets on my wick! KING R. Side by side with your favourite chick! Chittity chat, look at them click! JACK. Oh stop it please, I’m feeling sick! KING R. Then pay attention to my shtick! To read lots more and to get free reading copies emailed by return, go to Ben’s website. You’ll discover a topsy-turvy world where traditional pantomime has been lovingly re-invented by the wittiest and most original writer working in pantomime today. For more information please visit www.bencrockerpantomimes.com or contact 01271 815856. Pantomime Scripts from TLC Creative TLC Creative is a trio of writers (Damian Trasler, David Lovesy and Steve Clark), who’ve been writing pantomimes since 2002 (and
performing in them for even longer!). We have an ever growing catalogue of titles, many of the traditional names (Cinderella, Aladdin, Jack and the Beanstalk etc.), as well as a number of alternatives which offer something a little different (our wild west take on Snow White Snow White and the Magnificent Seven Dwarfs, our spooky panto - Pantostein, our updated plot in Goldilocks and the Three Bears or the Arthurian magic of Knight Fever!). We are currently working on our interpretation of the popular Mother Goose story. We are true believers that pantomime is a great family tradition but should also morph and adapt to fit the expectations of modern audiences, and to that end we enjoy mixing modern material and set pieces alongside all the traditional elements – so all ages have something to enjoy! We also supply rewritten lyrics to popular songs that fit the storyline (with professional backing tracks available from www.sound-board.com). In fact, read on to find out about our fairytale parodies you can download and use for free! We are proud that over 3000 performances of our titles have been performed worldwide with many groups returning year on year. We like to build a working relationship with customers and will happily advise on staging, localisation and customisation to make the script work for you. Complementing our scripts, we offer extras to enhance the theatre experience. Our site, www.lazybeescripts.co.uk, publisher’s also offers downloadable Kids’ Fun Packs and spoof fairytale adverts to include in your show programme, regardless of whose script you are using, designed to get people in the mood to
have fun before the curtain even rises. We get great feedback from groups and individuals performing our scripts, and welcome suggestions or requests for titles to look at. Find out more at www.tlc-creative.co.uk/as.htm where as an extra incentive (and in exchange for your email address), Amateur Stage readers can download a set of free spoof fairy tale audio adverts! CHRIS LANE An exciting year: two panto books both reaching the Top 10 on Amazon: “HOW TO WRITE or CHOOSE the PERFECT PANTO” and “CHRIS LANE: PANTO SCRIPTS” (just search for ‘chris lane’ in Amazon books), three comedy novels published – one of them becoming the bestselling number one comedy novel in the UK in just four days, and on top of these dozens of performances of my scripts on every continent except Antarctica! Scripts have also been asked for by very famous national charities, to help their fundraising, and to an up-market hotel chain for their entertainment team to perform. Interested in seeing a script? Download all of them at Amazon UK or USA, or, if in another country, email me via www.pantoscripts.me.uk (still the most-hit panto website not paying to be at the top!) (Avoid copycat sites trying to rip-off my success). Why use my scripts? (1) They have ALL been rewritten recently (no cheesy old TV references from the 1970s in these!) (2) Performance right are just £20 per show and NOTHING ELSE – no printed scripts to buy, no video rights, etc.
www.amateurstagemagazine.co.uk | 23
pantofeature2012.indd 5
29/01/2012 17:09
PANTO (Totalling less than half or one quarter the cost of other scripts yet far superior!) (3) They are genuinely funny all the way through and easy to stage (avoid those ridiculous scripts with 18 different scenes!), and (4) I will rewrite them to fit your exact needs at no extra cost! (No Dame? No chorus? No problem!) (I already have several specially adapted for schools, small clubs, officeparties, etc.)
Alistair and Alan’s scripts have had nothing but praise from groups - “We started a read-through last evening but didn’t get past Scene 5 due to the laughter!” - their audiences - “That was the silliest, funniest Panto I’ve ever seen” - and from the local press - “This Panto had the lot and sent the audience away with a smile on their lips and a song in their hearts”. More details of their scripts (including sample scenes) can be found on their website at www.aapantos.co.uk
I look forward to hearing from you! AA PANTOS “AA Pantos” launched their website just over eleven years ago, but co-authors Alan Richardson and Alistair Ferguson actually started collaborating on Pantomime Scripts back in 1973 with their version of Sinbad. Drawing from over eighty years of amateur stage experience (yes, it’s that winning combo of octogenarian and child prodigy!) they have scripted, either jointly or individually, eighteen Pantomimes and Children’s Plays. Their titles include a Cinderella inspired by Celtic myths, a Little Red Riding Hood steeped in legend and folk tales, a Sinbad inspired by tales in the Arabian Nights and a Robinson Crusoe with a distinctly green and environmentally friendly feel-good factor. New offerings for 2012 are Puss in Boots with a Neapolitan flavour and The Emperor’s New Clothes - based on the famous Hans Christian Anderson tale. All their scripts have a very strong storyline, a few cheeky plot twists, packed with daft comedy, appalling puns, convoluted rhyming couplets, tried and tested Panto Routines and a chance for groups to get their teeth into a bit of “straight” acting. As Alistair always says, “Make ‘em laugh and make ‘em cry”. Regularly performed from the South of England to the North of Scotland,
Paul Tate. Paul Tate is one of the UK’s leading Pantomime performers/scriptwriters playing Dame up and down the country since the mid 1980’s as well as numerous West End and Musical Theatre Tours. Should your Group be looking for a Traditional but with a modern feel Pantomime Script Paul can tailor any of his pantomimes to your Society. He has written many professional and amateur scripts, and is happy to rewrite for any number of characters, abilities, costs etc. Subjects already in stock include Aladdin, Beauty and the Beast, Cinderella, Jack and the Beanstalk, Dick Whittington, Goldilocks and the Three Bears, Jack and the Beanstalk, Robin Hood and the Babes in the Wood, Sleeping Beauty and this year he will make a start on pantomime versions of Alice in Wonderland, Pinocchio, Snow White, indeed any Fairy Story you so wish. Media quotes have included “A clever contemporary script that paved the way for a smash hit panto! An up to date take on a classic!” (Worcester Standard) “Pantomimes don’t get more traditional than this! A constant titter!” (Hereford Times) Perusal copies available. More info can be found on the Panto Script page of his website www.paultateproductions.co.uk
ALAN P FRAYN Alan Frayn is firmly established as one of the most popular present day writers and his scripts continue to go from strength to strength, with 150 productions choosing one of his pantomimes again this season. As former Director of Entertainment at Alton Towers, Alan has a well-earned reputation in family entertainment and with many years’ experience writing and directing professional pantomime, it’s not surprising his new series of fun-filled scripts are in such demand! Whilst traditional in style, Alan’s pantomimes are aimed firmly at audiences of today, being refreshingly original, fast-moving and packed with present day comedy. They are also amazingly flexible, being suited to straightforward staging but offering plenty of opportunities for the more ambitious. All aspects are well explained in extensive production notes and each script is revised and updated every year. Available from Stage Right Creative Ltd, this new generation of pantomime scripts includes Cinderella, Jack & the Beanstalk, Aladdin, Dick Whittington, Sleeping Beauty, Snow White & the Seven Dwarfs, Sinbad the Sailor, Mother Goose and Humpty Dumpty, together with true pantomime adaptations of Treasure Island and Ali Baba & the Forty Thieves, not to mention Alan’s acclaimed version of Robinson Crusoe & the Pirates with a vibrant South American opening and finale. Released last summer, a new panto version of Beauty & the Beast is already proving extremely popular, or for something a little different, why not try The Twelve Days
24| www.amateurstagemagazine.co.uk
pantofeature2012.indd 6
29/01/2012 17:09
pantofeature2012.indd 9
29/01/2012 17:10
INSURANCE
FIRST NIGHT INSURANCE
AN UNPREDICTABLE WORLD Robert Israel ACII talks about insurance updates relating to amateur theatre. For those of you who are extremely suspicious, 2012 is the year the World is supposed to end, but when I think about this time last year it seemed that this gloomy prediction had come true a year early. The series of natural disasters that occurred at the start of 2011 made a rather traumatic start to the New Year - what with the Australian floods in January, New Zealand’s Earthquake in February, shortly followed by the Japanese Earthquake and Tsunami in March.
It is therefore crucial that you not only read the question in the proposal form carefully, but also provide insurers with the correct sum insured since Underwriters base their calculations on the total costs figure - so if you don’t declare the correct amount, the premium calculation figure will be wrong and this could result in serious problems in the event of a claim.
These three events not only made shocking headlines the World over, but they also struck fear into the heart of the Insurance market. In May last year, Lloyds, the World’s specialist Insurance market, reported that the disasters had cost the industry $44bn and this was only an initial figure. It is this cost that has seen an attempt at a global rise in Insurance premiums, as Insurers partially base their rates on losses - there are of course other contributing factors such as prevailing interest rates and competition. But in this case, the losses have been particularly damaging to the Insurance industry since these catastrophes were just weeks apart. This is highly unusual considering that these types of events are statistically spread out over years not weeks. Faced with such significant losses, one would expect a dramatic increase in Premium levels. However, there appears to be quite a lot of new players who are anxious for business and who do not need to pay for losses that have occurred in the past and so their Premiums remain low. The result of this poses a dilemma for some established Insurers, since a rise in rates could mean a loss of business. Whether this has any direct result on the premium levels for amateur theatre business is unclear at the moment. Added to this factor are the unexpected claims amounting from the riots last August which had a direct effect on Property Insurance results for 2011 (theatre business is regretfully the responsibility of the property Insurance account.) It is unclear at the moment what, if any, recovery Insurers will make from the result of claims made against the police under the Riots Damages Act. Insurers factor into their rates the fact that riots statistically erupt every thirty years. These riots were therefore a few years early! Motor Insurance premiums are of course at the forefront of rate increase. This year, rate rises of 25% are not out of the ordinary. One of the main contributing factors to the increase is the dramatic rise in Personal Injury claims and until this is brought under control I can see no let-up in the spiralling cost. Over the last couple of weeks I have had the same enquiry from two different societies, asking why they need to declare their total costs involved in any one production year. The reason is that the Cancellation Insurance element of the First Night Policy is based on the total costs incurred by the society during their period of Insurance. It is not the costs that the society thinks they will be liable for; it is the total cost as we have to assume that the event is cancelled 10 minutes before curtain up and all costs have been incurred with no possibility of recovery.
28| www.amateurstagemagazine.co.uk
insurancEFEB12.indd 6
29/01/2012 17:12
training
The Whispers of “Interest” Signing with an agent is the final piece in the ‘actor training’ jigsaw, but should it ever be a rushed decision? The third year has barely kicked off and drama school cafés and rehearsal rooms are consumed with talk of who has ‘interest’. Not tattle about the latest flings and Friday night snogs, oh no – those conversations are long since gone. There is a different sort of hearsay sweeping through the school corridors. It has the air of desperation and fear. “Have you heard? Jermaine has interest from Independent.” The blood in many a student runs cold. No matter how thrilled they are for their peers with ‘interest’, there’s no getting away from it. Time is running out. As the graduation clock ticks, showcase after play, agents are waving magic wands and turning drama students, one by one, into actors. Or so it seems. Nevertheless, the pressure is real. Sebastian Harcombe (pictured right) understands only too well the burden drama students have in their third year. The Director of BA Acting at the Royal Academy of Dramatic Art sees it year after year. Not only are students focused intently on consolidating their three years of training, they are acutely aware flying the nest and security of drama school is profoundly imminent, and the thought of not signing with an agent – chilling. When hopefully a call does come, it is not surprising how an agent’s hand can be ripped off at the arm within hours. Media tales of arts cuts, the fact that there are more graduate actors now than ever before – would we be surprised if, at the first sign of interest, ‘Jermaine’ signed with a tin pot agency specialising in look-a-likes? Lord retrieve ‘Jermaine’ off the corridor floor if Independent, one of the largest agencies in the industry, truly did pick up the phone then. But wait – does big always mean better? “Most people would assume so, but that’s not always the case,” explains Harcombe. “Often they have a big client base, sometimes it can feel very impersonal, because you haven’t got such a strong relationship with your agent.” We’ve all heard the horror stories of actors becoming ‘lost’
in the high-flying commercial agencies. Some of those agents perhaps focus on the word ‘business’ more than ‘show’. But surely if an actor is steadfast in building a good relationship with their agent, isn’t it also true they can open some remarkable doors? “Of course they can get you seen often for things that other agents can’t,” says Harcombe, “because they’ve got all kinds of clients working for them, they make connections. In terms of film and television, that’s certainly true.” For many actors, a more personal relationship is better suited, opting for one of the many boutique agencies that keep their books modest, explains Harcombe. “I think the advantage of that is you’re going to get a more personal involvement from your agent, because they have less clients, they perhaps choose them over a longer period and are very individual.” But what if you want to have more control over your career, not content with letting the grass grow under your feet and determined to work hard at it? What options are open then? “The Co-op,” says Harcombe, and he doesn’t mean the local supermarket chain. He is referring to an agency that is run by the actors it represents. Essentially each client on the books does a set amount of hours in the office, going through casting breakdowns and suggesting their peers, and of course themselves. “They are useful to some actors on another level as you get all of the information that your agent normally sees,” he explains. “You get to see what’s being cast, what kind of things are coming up. But at the same time, the bigger agents have a better chance of getting their clients seen for the jobs.” It is clear there are advantages and disadvantages for every type of agency. What is right for one budding actor can be entirely alien to another. Harcombe is clear in his advice. “It very much depends on a meeting, asking them to talk about their agency and how you think as an actor you would fit in,” he says. “What actors
need to be reminded of, is essentially they are employing the agent, not that that should ever be emphasised or spoken about.” Harcombe also believes that most agents would say it is “very important” their clients are active and keeping in touch. It is all about maintaining and encouraging “a creative and professional dialogue, because that’s all the agent can work with. A passionate engagement is very attractive.” Harcombe contemplates a final piece of valuable advice. “A career is for a lifetime,” he explains. “The three years you get at drama school, you never get to repeat. It’s never quite the same again. You have all kinds of wonderful learning experiences in the work that you do as an actor. “But there’s something about the current climate of agents that are very hungry for new people coming out,” he continues, emphasising a greater pressure on the graduating actor. “My advice to my students is to try as much as possible to hang on as long as you can in drama school because you learn so much in that final year. It’s where people really try to put all of the training that they’ve had into action.” Harcombe is far from naïve and appreciates “it’s very hard for actors, especially young actors, to resist a big agent”. It is at this point the RADA Director sends out an appeal. “If an actor signs in that third year, it is a fantastic opportunity for the agent to bring lots of industry people to see them at work in drama school. There’s a lot to be gained from that.”
www.amateurstagemagazine.co.uk | 37
drama training feb 12.indd 3
30/01/2012 00:11
TRAINING
Get the skills moving You have your heart set on training at drama school as an actor. What happens if it doesn’t work out? There are now a wide range of alternative performing arts courses on offer by Conservatoires and Colleges across the UK specifically designed for those trying to boost their skills levels as working theatre professionals, or for students looking to get into full time training at drama school. If you weren’t successful getting into drama school this year, it means that for whatever reason, those who auditioned you didn’t feel that you were either ready or skilled enough for full-time training. Perhaps you already know that there is an area of your skills that is weaker than the rest. If you are determined, you are going to re-apply, so why not use the intervening time to improve your abilities, acquire new ones and increase your confidence at the same time? Schools such as Arts Educational run Evening Courses in all sorts of Performing Arts subjects from Acting, Scriptwriting and Song and Dance, to Audition Technique, Musical Theatre technique, Voice and Stage Combat. Many of these courses run for just one evening a week for a term, or a year, allowing students to choose classes that suit their needs and interests.
and are specifically designed to help those considering applying to drama school. They’re still part-time courses, but often take place over two or three evenings or at weekends. Arts Educational’s Foundation Course in Performance in Acting or Musical Theatre focuses on continuously developing those core abilities that full time courses demand through weekly classes, as well as improving performance technique via regular termly showings.
that whether your interest is as a hobby, or whether your focus is full-time drama training, there is something out there for you. www.artsed.co.uk
For some looking to deepen their existing professional career as a performer, say as a teacher, there are ‘conversion’ courses, programmes that offer those with drama school diplomas the chance to convert them into Bachelor of Arts degrees. Arts Educational’s PDBA is very popular and taken by a high proportion of working actors.
These courses are taught by professionals working in the industry, so they have an additional relevance.
On the other hand, not everyone wants to train full time, and the Conservatoire environment doesn’t suit every student. Alternative courses offer a way to build performance skills incrementally built over a year or a number of years. At Arts Educational, as at other drama schools, courses are offered at differing levels, from beginners to advanced, and programmed so that across a year a beginner can gradually develop their abilities up to the point they’re comfortable with.
Foundation Courses require more commitment
Such a vast array of alternative courses means
38 | www.amateurstagemagazine.co.uk
drama training feb 12.indd 4
30/01/2012 00:53
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Dick Barton Special Agent
Eurobeat
Female of the Species
Footloose
15 - 19 April 2012 Woodford Community Players WOODFORD COMMUNITY CENTRE Stockport., Cheshire 0161 439 5735
21 - 24 March 2012 Harlequin - Eastwood Theatre for Youth Eastwood Park Theatre Giffnock, East Renfrewshire 07593 093028 www.harlequinyouth.co.uk
Die Fledermaus
Fame
07 - 10 March 2012 CODYS Productions Brindley Theatre Runcorn, Cheshire 0151 907 8360 www.thebrindley.org.uk
Fiddler On The Roof
Frankenstein
20 - 24 March 2012 The Three Towns Operatic Society St Joseph’s Hall Leigh, Lancashire 01942 883722 www.thethreetowns.net
Disney’s Aladdin Jr
Fame
23 - 28 April 2012 Walmsley Church AODS Walmsley Parish Hall Theatre Bolton, Lancashire 01204-305812
Full Monty, The
03 March 2012 Long Eaton Operatic Society Junior Group Duchess Theatre Long Eaton, Nottingham 0115 9254709 www.longeatonoperatic.co.uk 07 - 10 March 2012 Eyemouth Variety Group Eyemouth (old) High School Eyemouth, Berwickshire 01890750585
Drowning On Dry Land 08 - 10 March 2012 Kings Langley Players Kings Langley Community Centre Kings Langley, Hertfordshire 07906 695959 www.klp.org.uk
Entertaining Angels 25 - 28 April 2012 Hayes Players Hayes Village Hall Hayes, Kent 07905 210718 www.hayesplayers.org.uk
04 - 07 April 2012 Why Not? Musical Theatre Company Carnegie Hall Dunfermline, Fife 01383 737188
Far From The Madding Crowd The Musical 20 - 28 April 2012 Shinfield Players Theatre Shinfield Players Theatre Reading, Berks 0118 975 8880 www.shinfieldplayers.co.uk
Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of Macbeth 28 - 31 March 2012 Riding Mill Drama Club Riding MIll Parish Hall Riding Mill, Northumberland 07796767589 www.ridingmilldramaclub.com
22 - 24 March 2012 Billingshurst Dramatic Society Women’s Hall Billingshurst, West Sussex 01403 784684 www.billingshurstdramaticsociety.webs.com
06 - 10 March 2012 New Theatre Players Concordia Theatre Main Stage Hinckley, Leicestershire 01455 615005 www.concordiatheatre.co.uk
03 - 17 March 2012 Maltby Musical Theatre Group The Civic Theatre Rotherham, South Yorkshire 01709 544148 www.maltby-mtg.org.uk
23 - 28 April 2012 Taunton Amateur Operatic Society Tacchi Morris Arts Centre Taunton, Somerset 01823 414141 www.tauntonoperaticsociety.co.uk
24 - 28 April 2012 Kettering Operatic Society Lighthouse Theatre Kettering, Northants 01536 414141 www.lighthousetheatre.co.uk
Godspell
Flicks, Hits and Broadway 18 - 21 April 2012 Tamworth Arts Club Tamworth Assembly Rooms Tamworth, Staffordshire 01827 709581 www.tamworthartsclub.org.uk
Follies
28 - 31 March 2012 HEOS Musical Theatre The Questors Theatre Ealing, Middlesex 07758841523 www.heos.org.uk
02 - 07 April 2012 Rutland Musical Theatre Uppingham Theatre Uppingham, Rutland 01572 822702 rutlandmusicaltheatre.co.uk
27 - 31 March 2012 Brynmawr Amateur Operatic Society The Market Hall Brynmawr, Ebbw Vale 01495 310989 www.brynmawr-operatic.btck.co.uk 25 - 28 April 2012 Littlehampton Players Operatic Society The Windmill Littlehampton, West Sussex 01903 721860 www.lpos.org
Gondoliers, The
21 - 24 March 2012 Melbourne Operatic Society The Duchess Theatre Long Eaton, Derbyshire 01332863030 www.melbourneoperaticsociety.com
Kibworth Theatre Co - Cabaret. Photos - www.vpvphotography.com www.amateurstagemagazine.co.uk | 75 diaryfeb12.indd 5
29/01/2012 19:50
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary
Herne Bay Musical Theatre Socities - Jesus Christ Superstar Pygmalion
08 - 10 March 2012 Arena Theatre Regent Centre Christchurch, Dorset 01202 499199 www.regentcentre.co.uk
Ragtime The Musical
Return to the Forbidden Planet 28 - 31 March 2012 Murton & ED Musical Theatre Group East Durham College Peterlee, Co.Durham 0191 5262532 www.medmtg.co.uk
12 - 14 April 2012 Weston super Mare Operatic Society Playhouse Theatre Weston super Mare, Somerset 01934 645544 www.westonoperatic.org.uk
Role Play
Razzledazzle 2012
Ruddigore
27 - 31 March 2012 Kings Langley Light Opera Company Kings Langley Community Centre Kings Langley, Herts 01442 268839
Red Hot & Cole
21 - 24 March 2012 Ruislip Operatic Society (ROS) The Great Barn Ruislip , Middlesex 07905 932366 www.ruislipos.org
Rent
25 - 28 April 2012 The Hastleons The Stables Theatre and Arts Centre Hastings, East Sussex 01424 423221 www.stables-theatre.co.uk
Return to the Forbidden Planet 07 - 10 March 2012 Alloa Musical Players Alloa Town Hall Alloa, Clackmannanshire 01259 214962 www.alloa-musical-players.org.uk
05 - 10 March 2012 Keighley Playhouse Keighley, West Yorkshire 08451 267 859 www.keighleyplayhouse.co.uk 21 - 24 March 2012 Hornby Occasionals Hornby, Lancashire 015242 22227 www.hornbyoccasionals.org.uk
Seasons Greetings 22 - 24 March 2012 Theatre 282 Blakedown Parish Rooms Blakedown, Worcestershire 01562 67581 www.theatre282.com
Seven Brides For Seven Brothers 03 - 07 April 2012 The Lyric Club The Kings Theatre Glasgow, Scotland 0141 889 0177 www.lyricclub.net
Shooting Truth & Copperfield
29 - 31 March 2012 The Talisman Youth Group Talisman Theatre Kenilworth, Warwickshire 01926 856548 www.talismantheatre.co.uk/youthprod.html
Show Boat in Concert
Sound of Music, The
Someone Who’ll Watch Over Me
13 - 17 March 2012 Croft House Theatre Company The Lyceum Theatre Sheffield, Sth Yorks 0114 249 6000 www.crofthouse.info
17 - 21 April 2012 ShowCo Bedford The Place Bedford , Beds 01234 567890 www.showcobedford.com
06 - 17 March 2012 York Light Opera Company Limited York Theatre Royal YORK, North Yorkshire 01904623568 www.yorklight.com
13 - 17 March 2012 Barnes Charity Players OSO Arts Centre by Barnes Pond London, London 0800 612 5227 www.barnescharityplayers.com
18 - 24 March 2012 Pirton Players Pirton Village Hall Hitchin, Herts 01462 711959 www.pirtonplayers.org
Something’s Afoot 25 - 28 April 2012 Grayshott Stagers Grayshott Village Hall Grayshott, Hampshire 01428 605464 www.grayshottstagers.co.uk
20 - 24 March 2012 Rock Ferry Operatic Society The Gladstone Theatre Bebington, Wirral 0151 645 1369 www.rockferryoperatic.co.uk
Sorcerer, The
07 - 10 March 2012 The Savoy Singers The Camberley Theatre Camberley, Surrey 01276 707600 www.savoysingers.org.uk
20 - 24 March 2012 Pendle Hippodrome Theatre Company Colne, Lancs 01282 612402 www.phtheatre.co.uk
Sound of Music, The
21 - 24 March 2012 Harrogate Operatic Players Harrogate Theatre Harrogate, North Yorkshire 01423 502116
05 - 10 March 2012 Blyth Music & Theatre Company Ltd. Phoenix Theatre Blyth, Northumberland 01670 367228 05 - 10 March 2012 Stirling and Bridge of Allan Operatic Society macrobert Theatre Stirling, Stirling District 01786 821677
28 - 31 March 2012 Beaconsfield Operatic Society The Curzon Centre Beaconsfield, Bucks 01494 813518 www.bosopera.com
www.amateurstagemagazine.co.uk | 79
diaryfeb12.indd 9
29/01/2012 19:52
SHOWdiary>>SHOWdiary>>SHOWdiary>> Sound of Music, The
South Pacific
Sweeney Todd
18 - 21 April 2012 Southend Operatic and Dramatic Society Cliffs Pavilion Southend-on-Sea, Essex 01702 351135 thecliffspavilion.co.uk
16 - 21 April 2012 St Austell AOS The Keay St Austell, Cornwall 01726 70210
Sweet Charity
02 - 07 April 2012 Exeter Musical Society Exeter Northcott Theatre Exeter, Devon 01392 493493 www.exetermusicalsociety.com
23 - 28 April 2012 Abergavenny AODS The Borough Theatre Abergavenny, Monmouthshire 01873 850805 23 - 29 April 2012 Barnsley Amateurs Musical Theatre Group Lamproom Theatre Barnsley, South Yorkshire 01226 200075 24 - 28 April 2012 Hereford M T C The Courtyard Hereford 01432 340555 www.courtyard.org.uk 26 - 28 April 2012 Johnstone Phoenix Theatre Group Johnstone Town Hall Johnstone, Renfrewshire 07564 919189 www.johnstonephoenix.moonfruit.com/ 26 - 28 April 2012 Porthcawl Amateur Operatic & Dramatic Soc Porthcawl, Mid Glamorgan 01656 788148
13 - 24 March 2012 Yeovil Amateur Operatic Society Octagon Theatre Yeovil, Somerset 01935 422884 www.yaos.org.uk
Spring & Port Wine
14 - 17 March 2012 Tottington Amateur Dramatic Society Tottington Primary School Bury, Lancashire 0161 761 3916
27 - 31 March 2012 Edinburgh Musical Theatre Co Church Hill Theatre Edinburgh, Scotland 07853352741 www.edinburghtheatre.co.uk
13 - 17 March 2012 Yeadon Amateur Operatic and Dramatic Society Yeadon Town Hall Leeds, West Yorkshire 01132503032 www.yaods.org.uk
Steel Magnolias
17 - 24 March 2012 Wilmslow Green Room Society Wilmslow, Cheshire (01625) 540933 www.wgrsoc.co.uk
Stepping Out
29 - 31 March 2012 Poole & Parkstone Players Barrington Theatre Ferndown, Dorset 07947 061839 www.pandp.org.uk
Sweeney Todd
17 - 21 April 2012 Long eaton Operatic Society May Hall, Trent College Long Eaton, Notts 013320874352 www.longeatonoperatic.co.uk
THE WOODFORD PANTOMIME - ALADDIN
Advertise your show here for just ÂŁ25 Book your ad NOW 020 3006 2845
Take 17
05 - 10 March 2012 Ups and Downs Theatre roup Hamilton Town House Hamilton, South Lanarkshire 01698 296292
Terra Nova 24 - 28 April 2012 Bawds ADC Theatre Cambridge, Cambs 01223 300085 www.bawds.org
There Goes the Bride
16 - 17 March 2012 New Eltham Community Players New Eltham Methodist Church and Community Centre New Eltham, London 01322 613128 www.thecommunityplayers.co.uk
Three Sisters
25 - 31 March 2012 Northenden Players Theatre Club Victoria Road Methodist Church Hall Northenden, Greater Manchester 01614456868
Time Of My Life
27 February - 03 March 2012 West Bridgford Dramatic Society The Studio Theatre West Bridgford, Nottingham 07592 675898 www.wbds.org.uk
Lane End Players. Oh What A Lovely War!
80 | www.amateurstagemagazine.co.uk
diaryfeb12.indd 10
29/01/2012 19:52