Amateur Stage Magazine January 2012 by Amateur Stage Limited

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

JANUARY 2012

£2.95

HAPPY NEW SEASONS YEAR 2012 GREETINGS!

Incorporating

NEWS Sth East, Sth West

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THE E-SCRIPT DEBATE DRAMA TRAINING WEST END REVIEWS CHRISTMAS GIFT GUIDE FESTIVAL DIARY 2012 FESTIVAL NEWS NEW LOOK NODA NEWS PLAYSCRIPT HOW AMATEUR STAGE CAN HELP YOURREVIEWS GROUP NATIONAL PRODUCTION DIARY

NEWS * TRAINING * COMMENT NATIONAL DIARY * INTERVIEWS 01/01/2012 19:52

UKP AS Full Page Jan_Layout 1 28/12/2011 13:41 Page 1

Time to start planning the next one As one of the country’s largest producers of professional pantomimes we have an extensive catalogue of high quality sets, costumes and props available for hire to amateur companies, including stocks from our professional touring musical productions. Our experienced design team can also produce bespoke items just for you from our comprehensive workshop facilities – from a one-off costume to a full stage set. We also have other equipment for hire including wigs and wardrobe equipment, music stands, communications, glaciator/low smoke machines and pyrotechnic equipment. Find out how we can help your production to be a success – call us now on 01483 423600 or email rentals@ukproductions.co.uk

Our traditional family pantomimes include: • Jack and the Beanstalk • Dick Whittington • Sleeping Beauty • Cinderella • Aladdin • Snow White and the Seven Dwarfs • Peter Pan • Mother Goose • Robin Hood & the Babes in the Wood Our touring musical productions: • Disney’s Beauty and the Beast • Fiddler on the Roof • 42nd Street • Carousel • South Pacific • Jekyll and Hyde • Seven Brides for Seven Brothers • Oklahoma! • Singin’ in the Rain

Churchmill House, Ockford Road, Godalming, Surrey GU7 1QY www.ukproductions.co.uk

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amateurstagejan12 FROM THE EDITOR 2012 looks set to be a great year. With celebrations for Shakespeare and Dickens we are also holding the first ever Expo for amateur theatre in the UK. This issue sees the inclusion of a revamped NODA news section. We received a lot of feedback from readers in 2011 and we’ve taken your comments on board and worked with NODA on a new format which we hope you will find of interest. Here at Amateur Stage we aim to make this year a year of enterprise with articles and features that encourage thought and development in the world of amateur theatre. We want you to take part in the debate so let us know your thoughts on some of the topics in this months magazine.

Enjoy! Doug

THIS MONTH 4

OVERTURE

News from across the country

HOW CAN WE HELP?

Get your group mentioned in a future issue of Amateur Stage

WEST END

Mark Ludmon reviews the latest West End offerings

FESTIVAL NEWS

News from the AETF and NDFA

PLAYWRITING SPECIAL FEATURE

PUBLISHER NEWS

PLAYSCRIPT REVIEWS

DRAMA TRAINING

NODA NEWS

PRODUCTION DIARY

National show listings

MY TOP 5

credits Published monthly by Amateur Stage Limited ISSN 00026867 3rd Floor, 207 Regent Street, London W1B 3HH P: 0203 0062845 www.amateurstagemagazine.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk SUBSCRIBE NOW UK Rates - 1 Year £24. 2 Years £40 Subscribe online or by sending a cheque payable to Amateur Stage to the address shown above.

All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of Amateur Stage. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of Amateur Stage. (c) 2011 Amatuer Stage Limited

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OVERTURE ONSTAGE crime has failed to assuage their personal failures, but finally they come together in the Texas Book Depository to implore Lee Harvey Oswald to assassinate JFK. They believe that this terrible act will serve to make them all immortal. The show’s ensemble serve as commentators and bystanders to the various assassination attempts & at the end of the show, during the beautiful song, Something Just Broke, we see the impact of the deaths of the murdered presidents on the American people.

CASTING Casting this show was very challenging, because it demanded a group of actors whose singing & acting abilities were nothing short of excellent, as well as an ensemble who could confidently deliver solo singing lines as well as nail a number of cameo roles. There are nine principal male roles and three principal female roles. Some roles, such as Sara Jane Moore & Charles Guiteau are darkly comic, while others, such as John Wilkes Booth & Leon Czolcosz require great dramatic authority. Squeaky Fromme, a disciple of Charles Manson, was completely unhinged while John Hinckley had an obsessive infatuation with Jodie Foster. Giuseppe Zangara has to have a superb tenor voice as well as be able to speak convincing Italian. Sam Byck is required to deliver two long but intensely dramatic monologues. Not exactly your classical musical theatre characters! The creative team was immensely lucky to be able to draw on an enormous pool of talent from both existing members of the company and new members who wanted to audition to be a part of this fantastic show. Some of the roles were not cast from the first round of auditions, but after a number of phone calls to various contacts whom the director knew from other companies, the show was fully cast within a few weeks. The show ended up with a full cast of 25 people.

Assassins

REHEARSALS As all member of the production also had full time day jobs, it was important to schedule rehearsals around cast members’ other commitments. Early rehearsals were generally two evenings a week and every Sunday. There was an intensely collaborative relationship between Director Maria Waters & Musical Director Ryan Macaulay which insured that the music & dramatic scenes blended well. The choreographer, Ruth Sullivan, worked with the ensemble more, but there was overlap between all the roles in the creative team to ensure that the scenes ran together smoothly.

Assassins is a one act musical pagent featuring successful and would-be Presidential assassins. As a muiscal it’s a challenge for theatre companies in the States let alone in the UK. We spoke to SEDOS who recently staged the production in London. INTRODUCTION

THE MUSICAL

Assassins is a one-act musical by Stephen Sondheim and John Weidman that examines the nine real-life would be killers of the President of the United States. It is arguably one of Sondheim’s greatest works and won five Tony Awards and an Olivier for the Donmar production in 1992, but unfortunately, owing to its dark subject matter, it has been rather over-looked in comparison to other Sondheim works.

Even though ostensibly Assassins is a historical play, the plot is far from being a linear American history lesson. The lives of the prospective killers are interwoven and embellished with poetic license, allowing the characters to interact with and even encourage each other in the pursuit of their murderous endeavors. This gives the whole piece a surrealist feel, like flashes of half remembered real-life events intertwined within a dream.

Assassins is not a very long show, running for about 100 minutes without an interval, but it attempts to pack in an awful lot of American history, from 1865 to 1974, taking as its milestones the various assassination attempts on US presidents. It uses the premise of a murderous carnival game to produce a revue-style portrayal of the various men & women who attempted, successfully or otherwise, to assassinate presidents of the United States. The rules of time & space are bent, taking the audience on a nightmarish rollercoaster ride in which the assassins from different historical periods meet & interact, and in an intense final scene, inspire one of the most infamous acts in modern history, the assassination of President John F Kennedy, all in the name of the American Dream. The music varies to reflect the popular music of the eras depicted & its genius is that it celebrates musically the America that it attacks politically. Sondheim’s score amounts to a dazzling anthology of national styles, including folk ballads, Sousaesque marches, Copland-style anthems & in one extreme case, a cakewalk.

ONSTAGE

The production team also wanted to ensure the authenticity of the show’s American identity, as this is so fundamental to the themes that the plot explores. Therefore, the

The show’s setting is a faded American fairground, where in the opening number, the Proprietor introduces the Assassins, a collection of social misfits. Some audience members may recognize a few of the individuals represented, but on the whole, if the title of the piece had not already forewarned us, we could be forgiven for wondering what this disparate group of eccentrics could possibly have in common with each other. The story goes on to examine each character’s motivation for wanting to kill their President. Underlying them all is a feeling that in one way or another, the American Dream has been denied to them, that somehow they haven’t been granted the “prize” that they were apparently promised. Each individual is encouraged by the Balladeer, a commentator who leads us through the story, to confront the fact that committing their

ONSTAGE MAODS were fortunate to have the help of John Henshaw, a professional actor who lives locally, who took part in the filming of ‘The Living Will,’ a vital part of the show. The set was built at MAODS studios and moved to the theatre prior to set up. This allowed a technical run through and full dress rehearsal on the Sunday prior to opening on the Monday. The stage crew and props team have to transform all the shops during the interval.

Scenic designer, John Buckley said, ”I must give a special thank you to all the stage staff who built and painted this set which is now the property of Scenic Hire South Wales and many thanks to Acorn Stairlifts for sponsoring the production and providing the stairlift.”

However, there is so much more to Assassins than just American history. Like all good Sondheim musicals, you need to delve a little deeper to find its heart. Its rich score and perfectly balanced book investigates the darker side of the human condition, our desires for fame, success, revenge and love. It is these themes, that are portrayed with a great deal of humour as well as drama, which is what makes Assassins such an enthralling show. Never afraid of a challenge, Sedos, the self-styled “City of London’s premier amateur theatre company”, decided to put on their own production of the show this summer.

MAKE-UP AND WARDROBE

Some essential costumes such as the tweed suits for Miss Babs and Miss Berta, the Guilty Bean uniforms and the sparkly ‘Chorus Line’ type outfits for the ‘Mrs O’ number were hired from Costume House, Denton our local costumier but many of the costumes worn by the shopkeepers and browsers were provided by the cast. Wardrobe co-ordinator Jean Ryder said, “It was great what the cast came up with when asked to source their own costumes.”

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Hilary Winters, who was in charge of the make-up said, “MAODS do invest in the highest quality, professional, real hair lace wigs which give the students (from Oldham College) invaluable experience in their application and care.” The wigs, worn by Miss Babs and Miss Berta, looked fantastic and were essential to recreate these characters. Another challenge was to create Mrs Overall’s varicose veins, this was achieved using pipe cleaners!

Mossley Amateur Operatic and Dramatic Society discuss their recent production of Acorn Antiques - the Musical! INTRODUCTION

Mossley is a small town approximately 10 miles east of Manchester. The operatic and dramatic society is based in its own studio which has rehearsal facilities, a small performance space and a fully equipped workshop. The society stages three productions a year alongside showcases given by their youth group Next Generation. Never afraid of producing something different this award winning society is the first in the area to tackle Victoria Wood’s ‘Acorn Antiques The Musical!’

THE SHOW

The show revolves around some of the characters who appeared in the television version of ‘Acorn Antiques’. Mrs Overall, Miss Babs, Miss Berta and Mr Clifford are all there in the antique shop. The story follows the fortunes of a number of shops along the high street in Manchesterford. The owner of the shops has sold out to a property developer and the traditional shops are being taken over by “faceless chains”. The other principals are Miss Bonnie (the third sister) and Tony (a loan shark). The cast is completed with two young people, several shopkeepers, a postman and assorted browsers all of whom have some amusing dialogue.

The short scene at the railway station was played in subdued lighting with a station clock and smoke. Within the design special consideration had to be given to the cast to allow freedom of movement on this extremely cluttered set and to ensure sufficient space for the choreographer to weave her magic spell. Property co-ordinator Janet Hinchcliffe said, “This show is a fantastic opportunity to rummage around in charity shops for antique items and knick-knacks. Also, it gives you a chance to be creative, making the set look like a genuine antique shop. One essential prop for this show is macaroons, which I have to say were delightful!” According to lighting technician Richard Ryder Jnr there were 170 lighting cues, the only special effect being the brief use of strobe lighting during the station scene. Some important sound effects are needed, the most challenging ones for sound technicians Lea Royse and Elodie Perrier were the tunes needed for the ring tones of Mr Clifford’s phone -‘The Girl With The Flaxen Hair’ and ‘Daisy, Daisy’. Another tricky section for the technical crew is when the cast are taking part in a word game and the various letters have to light up in the correct order along with appropriate sound effects.

STAGING

Mossley AODS perform the majority of their shows at the George Lawton Centre Mossley and consequently know the space inside and out. This is, however, to no avail when you have very little wing space and no flying facilities.

This is more of a “play with music” rather than a conventional musical. Operatic societies should seriously consider this before choosing to do it. The characters have to be strongly drawn throughout; even the “small parts”, of which there are really none! Asking your average singer / actor to take on a role which, in some cases, is not really open to very much interpretation because of the public perception of that part is not easy. On top of that there is the problem of ‘Tip Top Tap’ and ‘Mrs. O’ numbers. These are two big production numbers which should be led by the same characters and not covered by introducing dancers. From a musical point of view I don’t think there is anything particularly difficult. One thing that Musical Directors should be aware of is that the reduced scoring does present a few problems particularly in relation to the 2 keyboard parts, which have so many changes happening in quick succession that even professional players found it difficult to manage. I considered losing the violin part, thinking it would probably be covered by the keyboards. On reflection I’m glad that I kept it in.

We are constantly asked for archive copies of these articles and such has been the demand that we are now pleased to announce that the archive will be available online in its entirety. As you can imagine the task of digitising such a large number of articles is immense but we’ve made a start and the first 200 articles are available online via our website.

We hope that this archive will prove to be of use to groups everywhere when considering your next show.

Finally I have heard that a lot of societies will be taking this on and one of their main problems will be to get a working set, which is more complicated than at first seems. Having experience of very many different musicals I initially thought this would be quite straightforward. It isn’t!

DIRECTOR – CRAIG WRIGHT

The challenge was to try not to make it too much like the TV show (wobbly sets, missed cues etc.) as some of the audience may not know ‘AA’ and will therefore think it to be poor. It was great fun to direct but only really comes alive with an audience.

CONCLUSION

Of course with so many new musicals and plays being released we are always looking for contributors wanting to take part.

Choreographer Janice Hughes commented, “It has been fun and hard work. Look out for the hats!!”. This really is an ensemble show, in all there was a cast of just 21 who worked together in the all singing, all dancing production numbers. Many of the cast had to tap dance for the first time ever, even after treading the boards for many, many years!

The opening scene to Act 1 consists of five shop windows and doors which when struck reveal the interior of Acorn Antiques. The opening of Act 2 has the same shop doorways now transformed into four different shops and the interior of Acorn Antiques is now a coffee shop. The production requires a full set for the Acorn Antiques shop which incorporates a moving staircase with stairlift, a huge television for the reading of the living will and a wall safe that is actually a safe with-in a safe. This may sound mad but yes we are in the world of Victoria Wood. With clever use of two trucks, folding wings and interchangeable windows, doors and shop signs the problems with the opening scenes of both acts were solved. The main problem with the shop was the sight lines so that the audience had a good view of the safe, stairs and stairlift. The view of the stairs was vastly improved by the main body of the shop being built on two levels of rostra, and the problems of the safe with-in a safe were overcome by the use of back projection.

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One of the most popular features in Amateur Stage continues to be our Play/Musical Produced series. For the past 65 years groups have taken time out to talk about their productions in detail and reveal the highs and lows of staging particular productions from their own experiences.

We are working hard to get the rest digitised and we’ll be adding these in the coming months.

MUSICAL DIRECTOR - PAUL FIRTH

ACORN ANTIQUES

The Play Produced Archive Online

Special thanks to Martin Ogden for production photos

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If a show that you are producing isn’t on the list and you are interested in putting pen to paper get in touch. We’d love to hear from you.

overture

Sends your article with some great high resolution pictures and who knows you may even end up on our cover.

national news * events * products * competitions * stuff

THE SHOW GOES ON FOR LAMPS A leading amateur dramatics society has vowed to fight another day after rave reviews and generous support of people from across the borough kept it from the brink of collapse. LAMPS - the Local Amateur Musical Players - feared that after 80 years it was set for the final curtain after the gloomy economic situation saw audience numbers slump. In October, the group feared for its future if ticket sales for The Producers at Southborough’s Royal Victoria Hall were not strong. But courtesy of a surge of interest and support, the group says it is set to live to fight another day. Leila Di Domenico, from the Tonbridge and Tunbridge Wells-based group, said: “The Producers received really great reviews and the ticket sales were definitely better than some of our recent shows have seen. “Although I think we may have made a loss, it was smaller than expected and LAMPS will live to fight another day. This is largely to do with the trademark tenacity of LAMPS’ members who have stomped their feet and are refusing to let their beloved society go under without a really good fight.” The society has been staging musicals since the 1920s - putting on its first production in 1926 to raise money for the Judd School Rugby Club. It now has more than 100 members - aged between nine and 90 - and puts on performances mainly at the Southborough theatre.

future, but I believe that, while we won’t be putting on our traditional springtime show, we are hoping to stage a fundraising gala over a few nights in the summer of 2012 to coincide with the Diamond Jubilee celebrations; to be followed by our traditional autumn show.”

WE NEED YOUR NEWS

Please send news about your shows, important celebrations and issues that effect you to editor@asmagazine.co.uk

“At the moment we are discussing the direction our shows will take in

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OVERTURE

What’s in a name?? In the first of a series of articles, Douglas Mayo looks at some of the marketing and branding issues facing amateur theatre companies across the UK. Over the past few months we have been privy to some interesting debate from a number of sources about the future of amateur theatre. More and more we are being told about groups struggling with declining audiences and a lack of younger participants willing to take on committee and organisational responsibilities. Whilst this may be true for some groups others are thriving with interesting and varied programmes that are capturing new audiences. I am fast coming to the conclusion that we need to step outside ourselves and look at how others perceive us. It’s very easy (and I say this from my own experiences) to become inwardly focused without realising that the world around us is changing and their perception of amateur theatre is changing too. It was suggested to me some months ago that part of the problem facing some groups was their name. A quick scan through the diary listings in this magazine made me wonder what a potential younger participant might make of us. If you were a 16 year-old would you go anywhere near something labelled “Operatic”? How many 16 year-olds would know what a Savoyard was? In a society were corporate branding and marketing is everything, are we rising to the challenges? Corby Amateur Theatrical Society (Cats) started as Corby Operatic Society in 1962, changing its name in 1980. Des Glen, who has been involved since the late 1960s, explained why: “When the group started there were a lot of young members but they were getting older and we were having difficulty attracting younger members. “We did a survey of local clubs and found people were put off by the

word operatic so we changed our name and got an influx of younger members.” The group now has a nucleus of 70 regular performers. There are many more companies like Corby, but take time to look at how the potential ticket buying audience sees us. Raymond Langford Jones discussed public perception in a recent article and he makes the point that perhaps the word Operatic on a poster for The Wedding Singer gives potential audiences the wrong impression. There is no doubt that many groups are getting more and more professional in the way that their posters and flyers look (why else do you think that we are being forced to label ourselves as amateurs in the billing?), perhaps a key factor is in the name of the producing group. Many groups work on shortened versions of their names. But once again from a branding perspective are we just creating confusion and a lack of understanding in the community? It’s amazing how many groups end up with the same acronyms and you have to wonder what people think when they see a poster for a show by a group called PMS! In an age when most people get information from the internet try Googling the acronym for your group and see what you get. If we become known by an acronym we are potentially digging our own grave when it comes to finding information online. If you were a potential theatre-goer looking to see a production of say Jesus Christ Superstar locally would you Google the term “Operatic” or “Musical”? I’m not advocating a wholesale change in the names of all groups but I wonder what groups might discover if we looked outside our confines and asked the general public what they thought. Don’t just ask your existing patrons, seek out potential audiences and find out what they think. Setting up an online survey is an easy process, email as many friends and colleagues as you can and start asking questions. You might just be surprised by the responses you get back.

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OVERTURE

s g n i s u M Jane’s There are times in my life when I feel that I’m a sitcom character. A sitcom character goes through all sorts of significant events and at the end of the episode they are exactly where they started and haven’t learnt anything from the experience. A few years ago I got involved in a production at a fairly late stage and ended up soaking wet on stage asking myself if I will ever learn. What the group had failed to tell me when convincing me to take over the role was that the character has a complete vase of water thrown over her! The following year I found myself involved with Theatre in the Parks in Norwich for the first time, asking the same question. At the time this seemed like a reasonably thing to do, my own group had decided to “rest” that summer and I was looking for something to do. A group advertised on the amdram.co.uk web site and I went for an audition. All started well, I got a decent part, a baddie no less (I love being the baddie in panto), albeit a man. However, with about six weeks to go we lost 4 actors, who just uped and left. At this point I think I should have been asking myself what they knew that I didn’t, but no, we decided to battle on and still produce the panto. Lines were changed or cut, people started doubling and one complete character disappeared. Perhaps we should have looked at the venues before making such major changes? But no, in true theatrical style the show had to go on. A week before the production we started full dress rehearsals at the four different parks - four parks five nights, or rather four nights and one Sunday afternoon. Arriving at the first park we were all rather shocked. Spoilt by having used a stage, lighting, dressing rooms etc in previous productions we were faced with a piece of grass. Wensum Park in Norwich had no “theatre”. We were not even sure we carried out the rehearsal at the right place. Suddenly we had no where to change and severe difficulty in getting from one side of the stage to the other, without being seen by the audience. Suddenly character doubling that had seemed like a good idea at the time didn’t have enough time to change costume, entrances and props were on the wrong side, and as for the rain …

Not making a drama out of a crisis since 1997 Did you know that: -

amdram.co.uk is free to use? You can list your group? You can list your productions? You can list your auditions? You can search for props, sets, etc? You can sell items after productions? You can read reviews of playscripts? You can chat in the forum?

Why not visit today? jane@amdram.co.uk The free online place for the amateur theatre community

The second park improved slightly - at least we knew we were in the right place, there were vague markings representing a stage! The third park was luxury! We had a dressing room, a “stage” and even seats for the audience, but we still had the problem of getting from one side of the stage to the other and we still had to hide behind hastily erected windbreakers. The final park returned to the non existent stage and the feeling that we were acting in the middle of a field. But by far and away the scariest thing about the whole experience was working without a prompt, suddenly my safety net had been withdrawn. Not that I use a prompt that much - in ten years I have asked for a prompt twice, the first time I had stepped into a part with two weeks notice and it wasn’t even my line. The second time, an actress had failed to arrive on stage and something was very obviously wrong. Someone had to do something and it was me. However, the thought of performing without somone following the text is frightening, especially with a rather large monologue and no-one else on stage to help. It reminds me of the definition I once heard of the word monologue - “That shining moment when all eyes are focused on a single actor who is desperately aware that if he forgets a line no one can save him.” Since then I have performed several times without a prompt, and I still hate it. As it was most of the park productions went better than expected. There were the usual hitches, missed lines unnoticed by the audience, the threat of rain, but actually quite fun. Would I do it again? You bet, the experience of taking part in theatre without a theatre is an opportunity not to be missed. At dress rehearsals I missed a theatre, at the performance I loved the grass, the closeness of the audience and the whole unpredictability of it all ... and guess what dear reader … I signed up the following year!

Jane

www.amdram.co.uk If you want to write to Jane you can do it care of this magazine or via email – jane@amdram.co.uk. She would be delighted to hear from you and who knows she might even muse about your comments.

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MARKETING

HOW

amateurstage CAN HELP YOU! With a huge influx of new subscribers in 2011, we thought this issue was a good opportunity to outline how Amateur Stage can help you and your group. As a magazine for amateur theatre we’d love to help you publicise your show but more often than not the material we receive is either unsuitable for publication or too late for publication. Therefore, we offer this feature as guide for your publicity teams to try to get as many of you as possible into the magazine and on our website. Most of what is offered to groups is FREE.

DIARY ENTRIES

We aim to publish every diary entry that is submitted to us. Submitting a diary entry has now been made very easy with our new online submission system. Some important points to remember though:• Diary entries are published two months in advance.This magazine January contains listings for February and March 2012. The deadline for diary issues is the 15th of the month prior to publication. Submissions after this date will not be published. • You can publish your listings as far in advance as you like. We have no problems with you listing until the end of 2020 if you are that organised! • We can no longer accept postal listings or bulk email listings. Every listing must be entered by you online.

A great example of a dramatic, high quality picture that was so great it ended up on the front cover of our December issue. Mossley ADOS present High School Musical. Photo: Martin Ogden.

publicity or in unusual contexts are only published if space permits. We want to see what your productions look like so get snapping.

• Please do not assume that your listing will come in from another source. If you do not enter your listing with us chances are it won’t be in the magazine.

• When submitting your photos please ensure you send us a photographer credit if applicable along with the name of your group and the name of the show.

• If you have a website please enter its URL. You’d be surprised how many people seek further information online.

THE PLAY / MUSICAL PRODUCED

A diary entry usually looks like this:BABES IN THE WOOD 13 - 21 January 2012 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507 600350 www.louthplaygoers.co.uk

This is a great way to promote your group if you have staged a really great show be it a play or a musical. This series of articles has been running since the magazines inception and we are always looking for groups interested in writing an article. Once again, those with great quality pictures usually move to the front of the queue and sometimes land the front cover. We’ve just started uploading the archive of articles to our website for groups everywhere to see. If you want to discuss your groups experiences with staging a show then get writing. Contact us for information about submission guidelines. ONSTAGE

In early 2012 we will be introducing a new online feed that will stream the diary listings you submit to a number of different websites and electronic applications giving your listing even greater coverage.

crime has failed to assuage their personal failures, but finally they come together in the Texas Book Depository to implore Lee Harvey Oswald to assassinate JFK. They believe that this terrible act will serve to make them all immortal. The show’s ensemble serve as commentators and bystanders to the various assassination attempts & at the end of the show, during the beautiful song, Something Just Broke, we see the impact of the deaths of the murdered presidents on the American people.

PRODUCTION PHOTOS

In each issue of Amateur Stage we endeavour to publish photos of productions from Amateur productions across the UK. We endeavour to publish all photos and offer the following guidelines for submission:• Photos must of high resolution. Ideally 300dpi (dots per inch) or more. If in doubt go to your local camera shop and ask them to set your digital camera on a suitable high resolution setting. Magazine printing is very different to putting your pictures online and we need the best definition possible. We get lots of pictures sent to us that are smaller than postage stamps because the resolution isn’t high enough. Make sure your camera is on the right setting. • We give preference to actual show photos. Photos that are staged for

The creative team was immensely lucky to be able to draw on an enormous pool of talent from both existing members of the company and new members who wanted to audition to be a part of this fantastic show. Some of the roles were not cast from the first round of auditions, but after a number of phone calls to various contacts whom the director knew from other companies, the show was fully cast within a few weeks.

Assassins

THE MUSICAL

The show ended up with a full cast of 25 people.

As an audience member, if you have a passing knowledge of American history, you may be familiar with some of the historical characters portrayed in the show, such as John Wilkes Booth who shot President Lincoln or Lee Harvey Oswald who killed John F. Kennedy. But many of the other Assassins are little known to Americans, let alone a British audience! However, there is so much more to Assassins than just American history. Like all good Sondheim musicals, you need to delve a little deeper to find its heart. Its rich score and perfectly balanced book investigates the darker side of the human condition, our desires for fame, success, revenge and love. It is these themes, that are portrayed with a great deal of humour as well as drama, which is what makes Assassins such an enthralling show. Never afraid of a challenge, Sedos, the self-styled “City of London’s premier amateur theatre company”, decided to put on their own production of the show this summer.

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eceits sang (Mikewith Chamberlain) two very well out characters both vocally tivesand tosubterfuges, activate he thealsoMary him us, andwere experience histhought enthusiasm for, and love keyboard and three recorders. andamateur physically, theatre Frances Chattoire (AimeeWe Bateman) was suitably theatrical orat the perhaps because of all of first hand. celebrate 25 years of elching conspirator and Sir Andrew using every event to her advantage to create her next film script and garry Glen Ross, and then The City Theatre this year, and it was a dream come true elist another conspirator along with Gervase Epicure (Toby Carter) used his serious expression to his advantage out the content. Howinfectious dull it to have him visit. vious, coquettish and with as a Russian body guard to Theodore Shimmer (Liam Keirnan) the Texan MARKETING squeaky asley) neededclean.” more gravitas; Viola cruise host. This was a real ensemble piece and the projection and diction of NEWS FACEBOOK AND TWITTER utl but to could say that can atcompany Royaltywas Theatre, have audiences been feistier. Olivia theAnd entire excellent.Sunderland: However, I must applaud Inspector Credit We’d to publish as much news from groups around the UK as possible. We would like to encourage everyone to join our Facebook and Twitter ess performed Thelike minor (Tom to role projection excellent. With he and season is aswell. clean as a OnWare) thewhose 25thcommitment of January thisandyear we, were at the Royalty We aren’tandclairvoyant though, so make sure your publicity committee is groups. dattheir Costumes real shades were of Robbie Coltrane his understanding of character and comic tworoles of suitably. the plays are by Theatre, lucky enough to be visited by Sir Ian sending us information. Things we’d like to know about include:was excellent with all the various timing are mature beyond his years. young man is to watch in the ritans. It was the• Are Puritans, He up? visited our This production ofoneMacbeth, a you a newMcKellen. group starting On Facebook. Altogether an enjoyable production, future. This was a well rounded and enjoyable evening’s entertainment from • Is the a significant milestone? Look up Amateur Stage Magazine and LIKE us. Christmas and closed all group the celebrating production which thebirthday theatreor was staging for the first gratulated. a youth group that definitely has plenty to offer. I’m looking forward to their • Premieres of new shows; Post info about your shows on our wall so others t there is no testamentary time in years. Directed by a senior theatre member and production already. • Issues affectingnext amateur theatre in your area; can see and comment. ghed and so there was no combining a youth and senior cast the production was to laugh, let alone enjoy focused strongthat acting and stark staging create ANYONE4THEATRE The list is endless but its on important you consider a few thingstobefore On Twitter despond and iniquity. I am the magical tension atmosphere the piece needed. SEUSSIcAL THEhigh MUSIcAL sending your information:Look up Amateur Stage and join us. Saturday • Make send allApril the2011 information; Tales will contain a lotsure of youOn firstus21hearing that a Shakespearean legend would be • Make sure youwatching sendPavillion us us contact details so if there we need Venue: Theatre, that that is what led the do Shakespeare wasmore moreinformation than a little Over the next few months we’ll be running tutorials on making the most of we can reach you; social media in the magazine and joining these groups will give you a better Producer/Director: Amelia Regnante lay). Then The Merry Wives boost in nerves, the with relatively young cast were excited understanding of what we are talking about and help you promote your • Make sure youFrom sendthegreat to go your news; very pics opening I was transported into the wonderful world of the al quota of Shakespearean terrified inof equal measure. But,of as our director • As daft as thisand sounds make sure you tell us the the effective group, the beloved characters Doctor Seuss with name a simple but set andshows in the meantime. etorical to listen carefully in order reminded us, he was coming to see a show, we needed of the and dates original of any costuming. events. You’d be surprised often fact onstage? name This was the show some brilliantly This show was a feasthow of Technicolor. this is by leftNeil out; to rheOne contains couple of one on. play Talking WithaAngels Theput excellent ensemble worked with enthusiasm, energy and panacheONLINE NEWSLETTER • Aim for the twofew sentences isn’t quiteRegnante. enough and ten pages experimental scope itextreme gives the middle fthethe character’s Ingroup, the last years by ourAmelia audience figures have been with some inventive staging It was obvious thatEach month we email a newsletter to over 7000 registered recipients. If is too much. Aim for three or four concise paragraphs and if we need more ood effect here; by Wendy Barr and Alison every member of we the company from age 3 toin20need worked as a team andyou want to publicise your events on this email it costs £45 plus VAT. You solation I wish I hadn’t dropping and were desperately of a publicity we can let you know. deas used to enable the audience to thoroughly enjoyed the show. TheIan’s show willingness as a whole was to magicalcan submit an image and 150 words together with a website link. Deadline This wasperforming Thanks Sir • Make sure youboost. give us plenty ofit.notice. Wetoare a monthly magazine sobe Joan of Arc. The use of freeze frame, with some solid and professional choral singing but I especially enjoyedis 15th Month with the email sent on the 20th. Join the mailing list on our involved in the publicity we weremeans able toit probably whip up awon’t storm sending it a week before your event or anniversary the cast were most effective and the creative effort that went into the musical number It’s Possible withwebsite to receive this email each month. be published in time. sunDerLanD around his visit. We contacted radio, press and TV all was no set present and for this I was fluorescent costumes, rhythmic ribbons, hats disguised as fish and an m City Theatre, Durham: of whom jumped to be thischoreography massive event. d the actors concentrate fully on the ample amount of bubbles! Thereinvolved was someinclever and theMAGAZINE ADVERTISING PUBLICITY TEAMS yndexciting Every paper openedBrothers in thewas runvery upwell to observed! the show haswere a We do offer some special rates for groups who want to advertise in the desperationday werefor alsoDurham enhanced movement of theyou Wickersham There Make sure your PR person or publicity team has joined our online mailing list magazine. Contact us for further details. (Ben Mummery) positioned erummer expecting a visit from our piece it and buzz about our little theatre grew. a coupleabout of sound issuesthe at the performance I attended but they certainly under the Publicity Section. In circumstances where we need information swhist of costume over “blacks” didn’t detract from the enjoyment of the show. Hakeem Haidar (Horton the he was inthis ourisenabled area. Typical headline – “Royalty has a Knight at the Theatre”. the first set of people we contact. If your group isn’t on this list you each aother. Theare cast worked out. Rehearsals Elephant) excelled himself and gave a sympathetic portrayal of hisHOW TO REACH US srom given ‘Prince Bishop’s’ continued. missing Join the vocally list via our website. ry professional way. It would take character while Becky Buxton (Mayzie LaBird) excelled herself both vocally In the first instance send enquiries or your material to press, being shown around When the night of show arrived, we’d got the opening ally but I must applaud Blue Soldier and with her comedic timing. Rosie Shaw (The Cat in the Hat) kept the editor@asmagazine.co.uk. OURofWEBSITE nd watching a snatch our night under our belts and we were ready for the sell out o role and projection were excellent pace of the piece going with her two versatile sidekicks Emma Hartfield (www.amateurstagemagazine.co.uk) audience and (Thinks) special guest...and the TV crews...and the PLEASE NOTE: eth Evans) whose understanding of Stage and website Jorge Latter were constantly involved in the action The Amateur works just who like Facebook. We’ve designed it to in Please submit all of your information by email. We are unable to accept radio teams...not to mention the press photographers. beyond her years. Verity Game and someway supporting the fact that Sammie Minchell’s (JoJo) thoughts make it as easy as possible to use and allow our members a chance to chatwere used effectively throughout the play Sir IanAlmost arrived hepeople madeprinciple it very easy to relax in ahis large submissions which are not in an electronic format. Scans of large always important. All the900 supporting performers gave confident and link up withWhen each other. have now signed up for volumes of text cannot be accepted. l rounded production FREE and a suitably performances but special mention should go the to both Douglas Wood making time forin.every performer audience profile andcompany, we’d like all of ayou to join To make siteand function at (Mr p stretching yourselves its really Mayor) Branch-Tarry (Sour personally, Kangaroo) whose and singing itsasbest you should setand upPoppy a profile for yourself then establish a member, but always singing the praises ofdiction the LTG and voices were exceptional. A well rounded andpeople polished production. A real group for your society or special interest soa that can join theatres like ours. After briefother chat with cast andin.press shame that there weren’t more in the audience. he took his seat in the auditorium and we were ready The website allows you to:to go. The show passed in a blur to be honest, one of • Submit your diary listings theof best blurs of my performing nights. The audience • Read old issues Amateur Stage online • Subscribe or purchase single issues their enjoyment, and he was kind and Sir Ian expressed • Read news items of interest enough to give us feed back on our performance, which ChatJuggler online with other members transported onto the •Smug made my He stayed sharing food with the cast and • Submit photos and videosday. for others to see

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westend

ONSTAGE

Mark Ludmon looks at the latest West End offerings.

Driving Miss Daisy Wyndham’s

It is often forgotten that the award-winning 1989 film Driving Miss Daisy started life as a successful offBroadway play by Alfred Uhry. It was revived on Broadway in 2010, gaining a Tony nomination for Vanessa Redgrave, and she and her co-stars James Earl Jones and Boyd Gaines transferred with the production to London’s West End. It is a beautifully constructed play, telling the story of ageing widow Daisy Werthan’s friendship with Hoke Coleburn in Georgia from 1948 to 1973. As well as being a study in character and the nuances of personal relationships, it is set against the backdrop of the civil rights movement. The play provides great roles for the two leads who bring both subtlety and humour. Redgrave skilfully portrays Miss Daisy’s decline over the 25 years alongside her growing understanding of life for black people like Hoke in post-war Georgia. Jones is masterful as Hoke, combining dignity and a repressed anger at the humiliations brought about by racism. Gaines completes the trio of fine actors as Miss Daisy’s son Boolie. Well directed by David Esbjornson, Driving Miss Daisy has a simple but effective set design by John Lee Beatty. There is a bare minimum of furniture, and the cars are represented by wooden chairs and a steering wheel on a stand. Projections, designed by Wendall K Harrington, transform the stage from scene to scene and provide images of events in the outside world. This may be a light play but it is an entertaining and touching piece that provides opportunities for the actors to shine.

other media, providing an alternative for a population concerned about a Tory-led government taking Britain to war with Iran. The action coalesces into a three-way debate involving John, the Conservative prime minister Ruth and her close friend Stephen, an outspoken atheist academic. Despite the appeal of John’s evangelical ideas, his preachings turn out to have a dark side and are no match for the reality of modern politics. As part of an excellent ensemble cast directed by Thea Sharrock, Trystan Gravelle is excellent as the quietly charismatic John, and strong performances by Geraldine James and Danny Webb as the PM and the academic save the play from descending into polemic. While the characters’ nightmares are never really explained, the play explores people’s search for something to believe in when times are filled with anxiety and confusion.

Death and the Maiden Harold Pinter Theatre

The issues tackled in Ariel Dorfman’s Death and the Maiden are as relevant today as they were when the play was first produced over 20 years ago. It is an unsettling exploration of the effects of torture on ordinary people and the vicious circle of violence that comes from it. It is set in an unnamed Latin American country that is being rebuilt after the fall of a military dictatorship. The lives of Paulina and her lawyer husband Gerardo are unexpectedly blown apart by the arrival of a stranger whom she believes to be the man who once tortured her. With the victim turned torturer, the play is kept taut with threats of violence and uncertainty about the truth. Sadly, the production at London’s Harold Pinter Theatre is let down by a disappointing performance by film star Thandie Newton as Paulina, who tears into the role with passion but little subtlety or changes in tone. Fortunately, director Jeremy Herrin creates plenty of tension and excitement, with strong performances by Tom Goodman-Hill as Gerardo and Anthony Calf as the stranger, Roberto Miranda. Nearly all the action takes place in the claustrophobic setting of the couple’s beach house kitchen, designed by Peter McKintosh, adding to the sense of Paulina’s psychological imprisonment after the trauma of torture. This is a powerful thriller dealing with moral questions that continue to resonate.

Olivier Theatre, National Theatre The premise of Mike Bartlett’s latest play, 13, is to present a group of disparate, apparently unconnected people across London who are troubled by an identical terrifying nightmare, but it evolves into an exploration of politics and belief in a secular technological age. The first half presents a multiplicity of characters, from a disenchanted solicitor and a cleaner to an American diplomat and his wife, all literally revolving around a giant black cube that ominously rises and falls in the centre of the large Olivier stage, designed by Tom Scutt. Slowly, one character starts to unite them – a young political activist, John, who appears from nowhere to preach a secular doctrine of grassroots change. His simple message spreads through Facebook, Twitter and

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ONSTAGE Sylvia, played by Tara Fitzgerald, languishes in her “hysterical paralysis”. This production, which transferred from London’s Tricycle Theatre, is an intelligent staging of a thought-provoking play that finds wider meaning in the suffering and endurance of ordinary people.

MATILDA THE MUSICAL Cambridge Theatre Reviewed by Douglas Mayo

The Veil

Lyttelton Theatre, National Theatre Conor McPherson is best known for his plays about Irish life such as The Weir but, for The Veil, he has gone back to 1822 for a story of social decline and spiritualism. Young British widow Lady Madeleine Lambroke is trying to run a decaying house in rural Ireland and preparing to send her teenage daughter Hannah off to England to marry a marquis. A family friend, Reverend Berkeley, and his laudanum-addicted travelling companion Audelle arrive to chaperone her but end up tapping into Hannah’s latent powers as a medium and lifting the veil between the material and spiritual worlds. The play entertains with its ghostly thrills and sharp writing but is at times baffling. Recalling aspects of Chekhov’s The Cherry Orchard, it depicts the slow decline of the Protestant landowning classes and uncertainty about Ireland’s future, reflected in the audience’s uncertainty at the end of the play. Directed by the author, the production at the Lyttelton is absorbing and entertaining with strong performances all round, including Brid Brennan as the housekeeper, Peter McDonald as a feckless, violent steward and Fenella Woolgar as Lady Lambroke, desperately trying to hold everything together amid the chaos around her. Jim Norton is an avuncular Rev Berkeley, dangerous in his thoughtless encouragement of young Hannah’s ghost-summoning abilities. All the action takes place in the drawing room of Lady Lambroke’s house, designed by Rae Smith, with peeling wallpaper and crumbling plaster, overshadowed by tree branches that appear to have already pushed through the roof into the room below. While the play lacks clarity, it captivates with its fantastic cast, the lyrical and often-funny dialogue and moments of chilling tension.

Every so often you get the honour of watching sheer brilliance on stage in the West End. Such is the case with the RSC’s musical adaptation of Roald Dahl’s Matilda which has just opened in the West End. I attended a matinee where children and adults alike sat squealing with delight with tears in their eyes as this magical tale unfolded on stage. Matthew Warchus has once again shown himself to be a director of vision, taking the incredibly difficult task of developing and staging a musical and making it all look so effortless. There are so many things to like about Matilda but it’s necessary to sing the praises of a few key elements. Bertie Carvels wonderous Trunchbull – pure venom and disdain is sure to be an award winner. Likewise the fabulous quartet of young actors playing Matilda (Cleo Demetriou at our matinee performance). So good are these young actors and indeed all of the 8 other young actors playing the children in the show, that you have to wonder how the producers will be able to sustain the incredible talent required. The staging of Matilda is so polished and incredibly inventive. The shows creators Dennis Kelly and Tim Minchin have perfectly captured Dahl’s ability to see the world through a child’s eyes with all of its distortions and honesty. The score is quirky, emotive and incredibly funny. Adults sitting around me had tears in their eyes watching children on swings singing an anthemic balled called When I Grow Up! Matilda deserves to stay in the West End for a long time where it can be enjoyed by adults and children alike. It’s one of those shows which will demand multiple viewings. Indeed some of the audience seated around us were on their second and third viewings having seen the show in Startford. If there is one downside to Matilda it lies in the sound design which often results in the incredible lyrics of Tim Minchin being drowned out by the enthusiastic musicians. Grab a ticket for Matilda as soon as you can. Be prepared to marvel, laugh, cry and reveal in the joys of childhood as this incredible musical weaves its magical spell.

Broken Glass Vaudeville Theatre

Broken Glass was one of Arthur Miller’s last plays, completed in 1994 when he was in his late 70s, but he went back to 1938 and Brooklyn to examine notions of identity at a time when the US was troubled by everyday anti-semitism. Phillip Gellburg is a man burdened by his sense of exclusion for being Jewish, insistent that his “Norwegian” surname should not be mistaken for Goldberg. This anxiety is thrown into sharp focus when his wife Sylvia mysteriously loses the use of her legs after hearing reports of Kristallnacht – or the “night of broken glass” – in Germany when Jewish homes and synagogues were destroyed. Dr Harry Hyman comes in to find a cause for Sylvia’s condition, leading to a friendship that threatens to go further. Broken Glass provides a powerful portrait of Gellburg, a man dislocated within society and within his own marriage, superbly played by Antony Sher. Directed by Iqbal Khan, the play lacks pace at times but is pulled along by strong performances including Stanley Townsend as Dr Hyman and Caroline Loncq as his practical garrulous wife. The anguish of the characters is heart-wrenchingly echoed in the expressive cello music played by Laura Moody which separates all of the scenes. There is also a stark expressionistic set, designed by Mike Britton, mostly dominated by the large bed where

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festivalnews

FESTIVALS

All England Theatre Festival Diary 2012 holds another exciting challenge. The AETF have been working in close partnership with the Royal Shakespeare Company in promoting the RSC OPEN STAGES - NATIONAL SHAKESPEARE COMPETITION. Companies can enter through an AETF preliminary round, progress through our subsequent rounds to The RSC Open Stages English Final, run in conjunction with the AETF English Final over the weekend of June 9 and 10, 2012 at The Swan Theatre Worcester. The winner will then have the honour to perform in Stratford in July 2012. Details of all AETF preliminary round festivals, the AETF rules, which will apply to Open Stages entries as well, and criteria for Open Stages entries can be found at www aetf.org.uk. An important rule for Open Stages one is that they must be ‘an excerpt or adaptation of one or more of Shakespeare’s (or Shakespeare attributed) works. The majority of the production should consist of the original text although narration etc can be added’. If you have any questions or requests for help please do contact me on: 01454 228243 or aplinironacton@gmail.com. To post and enjoy or not, that is the question It’s a once in a lifetime chance to enjoy Shakespeare, starting from a festival near you and ending up on the stage at Stratford! Ann Aplin

NORTHERN AREA North West Division Preliminary Rounds Cumbria District March 10th Victoria Hall Grange –Over –Sands Adjudicator: Andrew Rawlinson GODA Contact: John Larkham P: 01946 728242 E: John@jolola.plus.com West Pennine District Date tba Contact: Jeff Brailsford P: 01772 611706 E: Jeffbrailsford@iandowae.freeserve.co.uk Leverhulme Drama Festival Youth Festival – April 17- 21 Open Festival – April 24 – 28 Gladstone Theatre Port Sunlight Adjudicator: Richard Woodward GODA Contact: Phyllis Driscoll P: 0151 348 4688 E: driscoll284@btinternet.com Manx Amateur Drama Federation One Act Play Festival February 9 – 12 Erin Arts Centre Port Erin Adjudicator: Ben Humphrey GODA Contact: Lynda Parr E: Madf@manx.net

North Central Division – Preliminary Rounds Nidderdale and District Drama March 15 – 17 The Frazer Theatre Knaresborough Adjudicator: Robert Meadows GODA Contact: Elizabeth Clarke P: 01423 712240 E: elizclarke77@waitrose.com

Richmond Festival February 7 – 11 Georgian Theatre Royal Richmond Contact: Suzy Brown P: 01748 823710 E: suzy.brown@georgiantheatreroyal.co.uk

North East Division – Preliminary Rounds Hull & East Riding District March 29-31 The Village Hall North Ferriby Adjudicator: Paul Fowler GODA Contact: Barbara Prince 01482 650952 Saltburn Drama Festival March 19-23 Saltburn Community Theatre Saltburn Adjudicator: Julie McCloughlin Ass GODA Contact: Sheenah Taylor sheenahtaylor@hotmail.co.uk

CENTRAL AREA Western Division – Preliminary Round Hereford County Drama Festival March 10-12 The Courtyard, Hereford Adjudicator: Alan Hayes GODA Contact : Lucy Zammit P: 01568 616150 Worcestershire Theatre Festival March 9-11 The Swan Theatre Worchester Adjudicator: Marie O’Sullivan GODA Contact : Roger Seabury P: 01562 885578 E: rseabury@liscombe.co.uk Birmingham FAME February 27 – March 3 Dovehouse Theatre Solihull Adjudicator: Marie O’Sullivan GODA Contact: Jean Cinnington P: 0121 707 6684 E: bdtg@btinternet.com

The Shropshire One Act Drama Festival March 21 – 24 The Belfry Theatre Wellington Adjudicator: Chris Jaeger GODA Contact: Brian Hughes P: 07731 575616 E: bhughes@blueyonder.co.uk

Central Division – Preliminary Round Leicester & Rutland Festival March 22 – 24 Countesthorpe College Leicester Adjudicator: Paul Fowler GODA Contact: Jackie Sellwood P: 01572 723 274 E: jgsellwood@hotmail.com Tamworth Hastilow Festival March 19 – 24 The Assembly Rooms Tamworth Adjudicator: Arthur Alridge GODA Contact: Sue Fortune P: 07970 913057 E: sue.fortune@hotmail.co.uk Stoke On Trent Annual Drama Festival March 5 – 14 Mitchell memorial Arts Centre Stoke On Trent Adjudictor: Arthur Aldridge GODA Contact: Alan Hill P: 07973 668993 E: hilldepanto@ntlworld.com Warwickshire One Act Play Festival March 29 – 31 Abbey Theatre Nuneaton Adjudicator: Chris Jaegger GODA Contact: Dave Sedgwick P: 07956 909369 E: info@orchardpm.co.uk

Eastern Division – Preliminary Round Nottingham Festival March 23 – 24 Chilwell Olympia Theatre Nottingham Adjudicator: Di Richards Contact: Bob Wildgust P: 01159 291077 E: rwildgust@hotmail.co.uk

WESTERN AREA Wessex Division – Preliminary Rounds Avon Festival February 23 – 25 Blakehay Theatre Weston Super Mare Adjudicator: Ben Humphrey GODA Contact: Janet Adams P: 0117 963 8347 E: aad.oneact@virgin.net

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FESTIVALS Bristol Festival February 9 – 11 The Olympus Theatre Filton College Adjudicator: Robert Meadows GODA Contact: Jill Gill P: 0117 924 7266 E: jillgill47@yahoo.co.uk Somerset County Drama Festival March 31 – April 1 Princess Theatre Burnham On Sea Adjudicator: Ben Humphrey GODA Contact: Phillip De Glanvilla E: pmdeglanille@btinternet.com Mercia Division – Preliminary Rounds Harold Joliffe One Act Play Festival April 12 – 14 The Arts Centre Swindon Adjudicator: Robert Meadows GODA Contact: Ashley Heath P: 07899 967157 E: swindononeact@googlemail.com The Woolstore Country Theatre One Act Play Festival The Woolstore Theatre Codford Contact: Maureen Marshall P: 01985 850414 E: brima@ruislip26freeserve.co.uk

The Teignmouth Drama Festival March 19 – 24 Carlton theatre Teignmouth Adjudicator: Michael Patterson GODA Contact: Freda Welton P: 01626 775140

EASTERN AREA

North West Division May 12 Contact: Jeff Brailsford P: 01772 611706

Bedford Festival Haynes Village Hall Contact: Debbie Bosher P: 01234 381 295 E: Debbie.bosher@tiscali.co.uk Cambridge Festival April 17 – 21 The Mumford Theatre Cambridge Adjudicator: Jan Palmer-Sayer GODA Contact: Rosemary Eason P: 01223 893859 E: rosemary.eason@talktalk.net

North East Division April 14 Saltburn Community Theatre Saltburn Adjudicator: Mary Mckeown GODA Contact: Sheenah Taylor P: 01642 481638 E: sheenahtaylor@hotmail.co.uk

South Division – Preliminary Rounds

Southern Division – Preliminary Rounds The Totton Drama Festival March 26 – 31 Hanger Farm Arts Centre Totton Adjudicator: Louise Manders Ass. GODA Contact: Michael Farleigh P: 023 8086 2882 E: tottondrama@ntlworld.com

Southern Counties Drama Festival February 20 -25 The Barn Theatre Oxted Adjudicator: Mike Tilbury GODA Contact: Bruce Reed P: 01959 561811 E: sc.df@btinternet.com

Dorset Drama league March 1 – 3 The Arts Centre Shaftesbury Adjudicator: Louise Manders Ass GODA Contact: Simon Hunt P: 01747 830242 E: simon.hunt3@btinternet.com

East Division – Preliminary Rounds

Western Division – Preliminary Rounds

Waltham Forest Festival of Theatre March 19 – 24 Chingford Assembly Hall Chingford Adjudicator: Colin Dolly GODA Contact: Elaine Elliott P: 0208 527 4690

Exmouth Festival April 16 – 21 Blackmore Theatre Exmouth Adjudicator: Alan Hayes GODA Contact: Norman Warne P: 01395 266069

Northern Area

North Central Division April 14 North Stainley Village Hall Ripon Adjudicator: Andrew Rawlinson GODA Contact: Ian Clarke P: 01423 712240 E: Ian.clarke33@btinternet.com

North Division – Preliminary Rounds

Elmbridge Drama Festival March 5 – 10 Cecil Hepworth Playhouse Walton On Thames Adjudicator: Helen E Sharman GODA Contact: Margaret Watford P: 01932 228525 E: Margaret.watford@btinternet.com

Cornwall Festival March 30 – 31 Arts Theatre St Austell Adjudicator: Tony Rushforth GODA Contact: Freddie Rowe P: 07817 639 389 E: steve@staps.co.uk

QUARTER FINALS

Southend On Sea Theatre Festival March 26 – 31 Eastwood Studio Theatre Leigh On Sea Contact: Jay Banning P: 01268 752239

West Division – Preliminary Rounds Maidenhead Drama Festival May 1 – 5 Norden Farm Centre for the Arts Maidenhead Contact: Carolyn Morley P: 01628 828463 E: carolynmorley@tiscali.co.uk

Central Area Western Division April 18th The Little Theatre Donnington Adjudicator: Paul Fowler GODA Contact: Jean Cunnington P: 0121 707 6684 E: cunnington@talk21.com Central Division April 21 Mitchell Memorial Arts Centre Hanley Adjudicator: Russell Whiteley GODA Contact: Sue Fortune P: 07970913057 E: sue.fortune@hotmail.co.uk

Western Area Wessex Division April 14 The Olympus Theatre Filton College Contact: Mark Graves P: 01454 238384 E: mark@normark.eclipse.co.uk Mercia Division April 28 Bouverie Hall Contact: Martin Clifton P: 01672 810436 E: martin.clifton@lineone.net Southern Division April 21 The Atheneaum Warminster Adjudicator: marie O’Sullivan GODA Contact: Dennis Dunsford P: 01305 776151 E: cathrin@dadunford.plus.com Western Division April 28 Carlton Theatre Teignmouth Adjudicator: Jane Levan GODA Contact: Freda Welton P: 01626 775140

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BACKSTAGE AETF SEMI FINALS Northern Area May 26 Bishop Monkton Village Hall Ripon Adjudicator: Russell Whiteley GODA Contact: Ian Clarke P: 01423 712240 E: ian.clarke33@btinternet.com Central Area May 12 Swan Theatre Worcester Adjudicator: Mike Kaiser GODA Contact: Jean Cunnington P: 0121 707 6684 E: cunnington@talk21.com Western Area May 5 The Redgrave Theatre Bristol Adjudicator: Chris Jaeger GODA Contact : Ann Aplin P: 01454 228243 E: aplinironacton@gmail.com Eastern Area May 26-27 Barn Theatre Oxted Adjudicator: Jill Colby GODA Contact: Martin Patrick P: 01883 625651 E: martindpatrick@btinternet.com

FINAL ENGLISH FINAL RSC OPEN STAGES FINAL June 9-10 Swan Theatre Worcester Adjudicator: Scott Marshall GODA Contact: Jean Cunnington P: 0121 707 6684 E: cunnington@talk21.com

National Drama Festivals Association What is NDFA?

The National Drama Festivals Association (NDFA) was formed in 1964 to encourage and support amateur theatre in all its forms and in particular through the organisation of drama festivals. There are now 45 member festivals throughout the UK who between them organise 17 Full Length and 40 One Act festivals. Each year, NDFA organise the British All Winners Festival where the very best of British amateur theatre take part in a week-long celebration of theatre. The winners of all NDFA member festivals are eligible to be invited. The 39th British All Winners Festival will be held at the Thwaites Empire Theatre in Blackburn, Lancashire from 1 - 7 July 2012. NDFA also sponsors a Playwriting Competition - the George Taylor Memorial Award. The objective of this competition is to promote new writing for the theatre. Adjudication is carried out by a panel of judges and the winners receive a certificate and a cash prize. Membership of NDFA is open to all Drama Festival Organisations and also to Theatre groups and individuals who are interested in taking part and supporting drama festivals throughout UK. Members receive an annual directory giving details of all member festivals and also a quarterly newsletter providing the latest information about festivals and other relevant news. For more information about NDFA, please e-mail secretary@ndfa.org.uk

What can you expect at the NODA/NDFA British All Winners Festival? The British All Winners Drama Festival runs over a week each year in July and brings together a number of groups who have all previously won a Drama Festival in the UK. They put their names forward as ‘winners’ to take part in the competition to win the All Winners prizes. A selection process then takes place taking into account marks, adjudicator comments, recommendations etc in selecting who will go forward. The British All Winners Festival has a programme of both full length and one act plays with a youth night and, in 2012, a Shakespeare themed evening (this will depend on Shakespeare themed plays coming through for selection of course). The Festival has an adjudicator for the week, a member of GoDA (Guild of Drama Adjudicators) who uses the GoDA marking system to award points in several categories. At the end of the evening the adjudicator gives his feedback on the plays seen, this is in some depth and covers all aspects. At the end of the week there is a presentation of prizes – including an audience prize for their considered best play, a prize awarded for the best technical team and a play for the best new play (NDFA run a new playwriting competition alongside the Festival). The Festival always tries to include a special needs element. A sincere wish from NDFA Council to involve wider aspects of theatre in the event encouraged a group of young people with

Downs Syndrome to form to present a showcase – there is no element of competition in this case - on the Isle of Man a few years ago. They remain an established group and are still performing together. In 2011 the British All Winners Festival brought Chickenshed Theatre to the event to provide a number of workshops and to give a performance of their own play. In 2012 the hope is to have a showcase from a school in Colne and one of the NDFA Councillors will be working with the school to develop a piece. NDFA has been involved with the RSC in their project for the Cultural Olympiad - ‘Open Stages’. At the British All Winners Festival in 2011, the RSC put on three workshops during the Festival, spent time talking to and encouraging the teams and were very supportive of the whole event. It is hoped that RSC will also have a representation at the festival in 2012. NDFA is constantly looking to develop the Festival and this year the event is being supported by the National Dramatic and Operatic Association (NODA). Local NODA members will be working as part of the events team, the planning committee and providing some of the pre-show entertainment. Before each evening, there is a range of entertainment provided for the incoming audience giving an opportunity for other groups to take part in the event and raise their profile. 2012 is the first time the event has been put on in Blackburn and NDFA would like to include as many local people as possible. For example, it may be that the British All Winners Festival provides an opportunity for local students to come along and work on the event. It could be that their course work would benefit from some of the following: • Performance – there will be opportunities throughout the week. • Be part of the volunteer team – working front of house. Back stage if interested. • Making a documentary of the event. • Develop some of the publicity, design the tickets. • Assist at the civic reception. • Opportunity to take part in RSC workshops (if available – dates and details under discussion currently). If you consider that taking part in the event would be useful to students you know, and would meet some of their curriculum criteria, then NDFA would be very happy to talk to you about any possibilities. Any participating school/ college would of course be included in publicity and marketing wherever possible both before and after the event.

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Where your dreams are shattered A magical new musical from the creators of A Christmas Carol

hen Alice notices

Book & Lyrics:

something strange

Chris Blackwood

about the looking

Music:

glass in the parlour,

Piers Chater Robinson

little does she know

From the novel by Lewis Carroll

that she is about to become

H 12 stunning musical numbers *

a pawn in the Looking Glass

H Arrangements for solo keyboard, 4-piece, 5-piece or 8-piece band

War. In a world of grinning identical twins, cracked nursery

H Digital delivery of scripts, scores and band parts

rhyme characters, gallantry and madness, Alice is about to see things

H Top-quality backing track CD also available

are seldom what they seem.

We haven’t had a reaction to a new show like this before, the membership are very taken with it

Keith Badham, Barton Players (about A Christmas Carol)

I want to thank you at IT&M for such personal and excelLent atTention

Deborah Dehart, St Edmond’s Academy

Listen to the songs now at : www.it-m.co.uk/alice

THROUGH THE LOOKING GLASS World amateur and professional rights controlled by International Theatre & Music Ltd Garden Studios, Betterton St, London WC2H 9BP · Tel 020 7470 8786 · Email info@it-m.co.uk

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off the shelf

Don’t Stop the Music

New books and recordings for theatre lovers.

The Phantom of the Opera is an international theatre phenomenon which shows no sign of stopping its incredible international juggernaut. So it was expected that it would celebrate its 25th birthday in style. We just didn’t expect that the celebration would include one of the most lavish concerts ever staged. The double CD The Phantom Of the Opera in celebration of 25 years contains every note of the show with a dream cast that will have Phantom lovers salivating. Headed by West End rising star Ramin Karimloo and Sierra Boggess, this is a terrific recording of the show. Karimloo is a powerful phantom with a rich deep voice that does justice to the shows score. Worth noting that Wendy Ferguson as Carlotta on this recording brings the opera diva to life with comic flare that I have rarely seen or heard in this part before. It’s a must for show lovers. The smash hit of the 2011 musical calendar Matilda also comes to CD with its beautiful score by Tim Minchin. Luckily the CD capture the jaunty lyrics that got a bit lost in the staging of the show. Bertie Cavell’s Trunchbull near leaps from the speakers with his manic intensity. I must admit to running this one through the player a few times and smiling with delight at Minchin’s beautiful score. Get to see the show but make a point of listening to this great recording. Take the time to really listen to the shows opening Miracle - this 10 minute number is comic genius!

audition, physical and mental fitness for actors and loads of other tips which could easily be applied to the amateur marketplace. At 486 pages it’s well worth the £14.99 RRP. Methuen Drama. Jim Volzs’ How To Run A Theatre – A Witty, Practical and Fun Guide to Arts Management is exactly what it says on the tin. Whilst it is written from an American standpoint much of what is discussed can be easily adapted for a UK audience. For our many friends in the Little Theatre Guild this is a recommended read. Volz profers some great practical advice in all aspects of management based on 30 years of experience. Chapters include information on financial management, marketing, personnel management and budgeting. A handy starting out guide for anyone sitting on a theatre company committee. Metheun Drama. Publications, dvds and recordings for review should be sent to Amateur Stage Limited 3rd Floor 207 Regent Street London W1B 3HH

Nick Hern Books continues its excellent How To Series with So You Want to Do A Solo Show? Performer Gareth Armstrong imparts a wealth of knowledge drawn from his own experiences staging one man shows across the world. This is a methodical step by step book that really gives thought to the problems and solutions that might arise when going solo. There’s even a section dealing with the Edinburgh Fringe which would be particularly relevant to many. I found that this section even contained some relevant tips which could easily translate for amateur groups heading up North with a show. RRP £10.99, Nick Hern Books. While there’s no doubt that the Actors’ Yearbook 2012 is primarily aimed at professional practitioners it’s also a great reference guide for amateurs. This annual tome has some great sections on drama schools, preparing and presenting your

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SO MUCH HAPPENED BEFORE DOROTHY DROPPED IN...

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Watch the trailer at WickedTheMusical.co.uk WickedLondon

APOLLO VICTORIA THEATRE LONDON SW1V 1LG

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www.weaponsuk.co.uk See the huge collection of Weapons to hire for Theatre, Film and Television Productions

View the full collection online at:

www.weaponsuk.co.uk HWL GROUP OF COMPANIES Tel: 0845 607 4867 Fax: 0161 320 3928 Email: guns@weaponsuk.co.uk expoadteaser.indd 5

20/04/2011 15:28:45

PLAYWRITING FEATURE

Could developing new work help finance amateur theatre? More authors are looking to amateur theatre to help develop their latest shows. Can groups benefit as a result of helping such development? Amateur Stage poses some questions. It was refreshing and quite amazing during 2011 to see just how many new works – both plays and musicals – were being presented by amateur theatre groups across the UK. Whilst this should be welcomed by authors and composers alike, there are certain financial risks associated with staging any show, and perhaps amateur groups could end up gaining financially from helping with such development. How many times have you noticed on professional theatre posters the billing “Originally produced by….”? Whilst sometimes this credit simply highlights the original contribution of a theatre company or producer it can also sometimes have a financial basis. Producers like Cameron Mackintosh benefit financially every time one of the shows they originated is performed either professionally or by amateurs. Whether it is Les Miserables, Miss Saigon or any one of a number of others, they receive a financial royalty. Consider some of the following options the next time you look at an original unproduced work:1. Royalty free Discuss the possibility of presenting the work royalty free. If the composer/playwright wants his work to be seen by others it would not be unreasonable for him to assist the group

presenting it for the first time with a view to getting other potential companies to see it and produce the show. Don’t be fooled by what amateurs pay for production royalties either. Whilst most amateurs pay anywhere up to 18% of gross box office for musicals sometimes royalties for professional shows can be significantly less; 2. Production credit Whilst giving the theatre company no financial credit it could provide your group with huge credit if your name is linked to an original work by the next Alan Bennett or Andrew Lloyd Webber. Negotiate with the author to include a line in published scripts or maybe even on future billing credits saying “Originally produced by……” If you happen to stumble on a commercial success it would make for a great press story and give your group some much needed kudos. 3. Production royalty This might be particularly applicable with bigger musicals. Why not negotiate a small percentage of any future productions. It’s not as absurd as it sounds. Think about the potential royalty pool you would receive if you got even 1/2 percent from all future productions of a show you helped to develop. This format might be particularly relevant if a group has assisted with workshops, development and a full scale production.

It’s not as far fetched as it may sound. Amateur groups that take risk with their programming should be entrepreneurial with their approach to staging new work. Getting a professional production by a new author produced is very nearly impossible at a time when professional production costs are spiralling. Across the country professional companies stage workshops of new works but the costs of these can be prohibitive. Amateur groups can offer one thing that most professional companies can’t - free manpower! It’s a vital resource that we often take for granted. As a community we can offer this resource to help develop new and interesting product, and potentially benefit from doing so. It would not be unreasonable to see the future development of amateur groups whose raison d’etre is purely to develop and stage new work. Who knows there might even be government funding and sponsorship that could be raised by doing just that. Part of our challenge going forward is to look at all aspects of what we do and examining what possibilities those activities create. Keep an open mind when staging that next new show – it might just be to your benefit!

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PLAYWRITING FEATURE

The e-script challenge Christmas 2011 saw a phenomenal rise in the number of e-readers sold as Christmas gifts. The uptake of this technology is posing challenges to publishers around the world as questions relating to the future of paper scripts start to be asked. Amateur Stage spoke to some of the UK’s major publishers to get their thoughts on the future of e-scripts. Douglas Mayo investigates. “ I believe the debate is urgent and unavoidable” says playwright and publisher Ian Hornby from New Theatre Publications, “as much as the electronic document revolution is urgent and avoidable. For books, it is here and it is now, their only potential saviour being that people (readers and writers) like the feel of a physical book in their hands”. “The debate” was a series of conversations which Amateur Stage held with play publishers in 2011 where we asked some of the UK’s biggest publishers their opinions relating to the use of e-readers to purchase playscripts. This conversation was driven by signs from the USA that the use of e-readers such as Amazon’s Kindle were fast encroaching into the world of play script publishing at what some considered to be an alarming rate. Publishing scripts for e-readers posed a series of interesting questions ranging from copyright issues through to the practicality of rehearsing from an electronic script. Debate and discussion in the USA on this issue has been running hot for a while now with many interesting questions being posed, including whether or not publishers automatically have the right to make an authors work available electronically?

WHAT MIGHT BE AVAILABLE AND HOW QUICKLY COULD WE ACCESS IT? In 2010 -11 Amazon sold more electronic books than hard copies and it’s a trend that is catching hold here in the UK. One of the obvious advantages of the e-script would revolve around instant access to a potential immediate library of scripts, or would it?. Vivien Goodwin, Managing Director of Samuel French said “Our backlist of titles is so vast and many were acquired way before anyone had given any thought to pdf’s, so it would not be possible to make all our titles available electronically. The possibility of having plays available for download as part of a perusal service is being looked at for future publications”. For publishers though it would certainly have cost implications of a positive nature eliminating the need for costly printing and storage expenses. There’s no doubt that the modern consumer is developing an “I want it now” mentality and are getting more and more used to getting what they want instantly. If demand for e-plays starts taking off it won’t just be a case of flipping a switch to make millions of plays instantly available. Consider the vast back catalogue if plays and then think about how that

content might be made available electronically. It obvious more popular titles might make their way into the electronic ether more quickly than others. Publishers like Nick Hern Books have been sending non-printable pdf perusal scripts to clients for a while now and this electronic perusal service certainly represents a significant benefit for theatre companies and production teams. Then there compatibility issues. Like the early days of home video different e-readers use different format files. Although these are becoming standardised compatibility is still a future development. PIRACY & COPYRIGHT Some US based publishers are already leading the way on e-scripts. Wanting limitations on e-scripts that could be purchased but not printed or emailed, one company we have found has even developed a system whereby you can download a script and share it before the file automatically locks itself after a set time. David Waters from Stagescripts commented “we cannot be ‘Canutes’ in the face of technological change unless our customers

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PLAYWRITING FEATURE demand that we are. Copiers, PDFs and printers, well we’ve coped with these for years and are used to the occasional person who thinks that the Copyright Act doesn’t apply to them, or are ideologically opposed to it for some reason”. Stuart Arden from Lazy Bee Scripts was in agreement “I don’t think the advent of e-book readers makes piracy a much bigger issue than it is now. It can, for example, be argued that the photocopier created a significant incentive to piracy (and before that, even the printing press). Most playwrights we spoke to are initially nervous about the e-script proposition when it comes to copyright but ultimately positive that such a move might lead to their work being more readily available to a wider audience. It was also pointed out that the cost benefits of e-publishing meant many more plays may be available from a variety of previously unpublished playwrights. It’s an interesting construct that as with blogging on the internet might open up a wide range of new voices although quality may be overwhelmed by quantity in such a scenario. REHEARSALS Whilst publishers and writers can discuss the ramifications from their side perhaps the making or breaking of the e-script will come from the actors and production teams who potentially might use them. The premise that the actor needs to hold the script, highlight lines and make notes on blocking seems ingrained in the process of rehearsing.

Different e-readers allow varying forms of highlighting and annotation but again compatibility between different brands of reader still remains an issue. But will it transform the art form. The e-script may have some interesting side benefits as Amateur Stage’s in-house script reviewer David Muncaster commented, “I will say that my own experience of trying to read scripts on a Sony e-reader was frustrating as there is much less text on a page than in a standard book and I was wearing my thumb out turning the page all the time, but the Kindle’s built in text to speech ability could be a boon to actors learning lines. If I’m in a play myself I use some software called “text aloud” to convert the file to MP3. Perhaps this is a new service publishers could offer? Scripts available in paper, PDF or MP3 format???”. Proponents of e-scripts also point out the adjustable text size facility could be helpful to older actors or the visually impaired. There will no doubt be traditional thinkers who proclaim that paper scripts will never die but we’re encouraging everyone out there to be part of the discussion. Let’s face it we’d all be better contributing to the argument in the hope of having a system developed that works rather than being lumbered with a system we hate and see paper scripts go anyway. In talking to publishers and playwrights in preparation for this article the one thing that became abundantly clear is that the publishers are open to suggestions and feedback from the amateur theatre community.

Let us know your thoughts or take our e-survey on e-scripts on our website. OUR VERY OWN DORIS RICHARDSONHALL COMMENTS:Dear Mr AS, Thank you for bringing the fact that my name has been used in relation to some device known as an ‘E reader’. To set the record straight, whatever this may be, I do not have one. As far as I am concerned, ‘E reader’ is either an expletive used in the North when the gas man comes round, or a description of some illiterate personage. The other term that is being bandied about is ‘kindle’. Again, unless this is a luminary device as pronounced by a Russian, of which I have several (vanilla scented), I do not have one. I paused in composing this missive to seek advice from young Nikki and now have some vague comprehension of the items in question. From my perspective, the printed script is sacrosanct. As you may remember, I interleave my book with plain paper to receive my tried and tested method of marking moves, emotions etc in coloured pens. Unless I am much mistaken, hand held electronic devices are as yet unlikely to accept any notation other than black and white, rendering them entirely useless for my purposes. My loyal readers, who have no doubt adopted my methods, will also find them an irrelevance. I trust you will find my opinion of some value Yours Doris Richardson-Hall

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

One Act Bedlam (2f, 2f) 45 mins : Comedy

A middle aged couple, George and Suzie, struggle with an ordinary, everyday event - buying a new mattress. The ordering and paying last week was easy … now comes the hard part, waiting at home for the delivery man to arrive. When George finds out they’ve delivered it next door, his blood pressure takes a turn for the worse as he alternates between frustration and rage in his dealings with the supplier to get it re-delivered. A common problem, experienced by most of us!

Sharks In The Custard (3f, 4m/f) 45 mins : Comedy

The cleaning ladies in the municipal art gallery enjoy their work, but rumours of government cutbacks threaten to upset their cosy regime. In the face of adversity they come up with a solution that not only secures their futures and helps to save the gallery, but also ensures that their lives will never be quite the same again.

Honeymoon Suite (4m, 3f) 45 mins each : Drama

Three linked plays that explore why three couples have booked into the honeymoon suite at a country hotel. Two of the three are just married - for one it's barely six weeks since they met, the other couple though have known each other for twenty years. Why so soon? Why so long? The third couple are not married, at least, not to each other. This and a secret discovered, casts a shadow over their weekend. Francis, the genial, Irish hotel porter links all three plays with his homespun philosophy and his 'see nothing', 'get you anything' attitude to his valued guests.

Stagescripts Ltd Lantern House 84 Littlehaven Lane Horsham, West Sussex RH12 4JB

Full Length The Essence of Love (3m, 2f) : Comedy

A new play by Philip Ayckbourn

A mother and her daughter and a father and his son find themselves on adjacent hotel terraces in Marrakech. There’s anything but love in the air for the four British holiday makers … but when the gift of a magical elixir gets into the water, unlikely passions take root. This promises to be no ordinary spell in the sun! Overbearing Diana with her need for drama; her anaemic, idealist daughter, Gemma; the aloof, young artist, Tom and his embarrassing, skirt-chasing father, Martin, are in for a holiday they won’t forget! ‘The Essence of Love’ looks at the longings of the heart and what remains when passion has run its course.

Charade (7m, 7f, 1jun/f) : Comedy

Kate is about to marry Steven on a romantic Greek Island. Their families haven’t met before arriving and now do so with a clash of style and temperament. Felicity, Kate’s genteel and refined mother is confronted with Steven’s mother, Rene, a loud and brash ‘rough diamond’ and immediately the sparks begin to fly! Their arguing leads to a rift between the nearly newlyweds who call off the wedding. Kate’s Aunt arrives and reveals that Kate and Steven both have the same father which cements a new uneasy relationship between Felicity and Rene. Humour and pathos abound in this hilarious play.

www.stagescripts.com sales@stagescripts.com 0700 581 0581 www.amateurstagemagazine.co.uk | 23

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PLAYWRITING FEATURE The Hindoo Man on stage at Darwen Library Theatre.

The Making of Hindoo Man From conception to staging Tom Hardy discusses the development of his play Hindoo Man. In the summer of 2008 I began work on a play about Mahatma Gandhi’s 1931 visit to Darwen, Lancashire. Gandhi was invited up to see the effect his boycott of imported cotton to India was having on the local textile trade and the visit remains one of the town’s proudest historic moments. Gandhi’s visit lasted a weekend. It took me nearly two years to finish the play – now titled Hindoo Man. And it ended up being a piece about truth, deceit, recession and the aftereffects of war: Not quite what I had in mind when I started! By now I was left wondering what to do with it. Budget cuts had started hitting professional theatres and I wasn’t sure what the market was for untested work from an unknown writer. The play was starting to bed in nicely in my bottom drawer until a friend said: “Why not try the local am dram lot?” The ‘local am dram lot’ happened to be Nailsea Theatre Club in North Somerset. I hadn’t even thought about it, but I went along one night and met the chairman, Barrie Walker. His wife, Connie, was directing rehearsals for that autumn’s production. “Oh,” she said, “we might have a part for you in this play.” Three months later, after making my stage debut as a Polish builder in A Foot In The Door, my play was being read by theatre club members who decided it was suitable for production. A fair trade off. In the meantime I’d made contact with Eric Nolan, from Blackburn Drama Club. I wanted to hear Hindoo Man read in the ‘proper’ Lancashire accent and Eric kindly arranged a reading at the Thwaites Empire Theatre in early 2011. Around 20 people turned up and read the play

wonderfully. But they also sounded a word of warning: “It’s not bad, mate,” said one reader, “but it’s not finished yet. Go away and write some more.” These were extremely experienced actors and I took them seriously. In three months I’d written a new draft which fleshed out many of the characters and added dimensionality to the plot. Eric was keen to produce and direct the play through his own production company, A+E Productions, and the Library Theatre in Darwen was booked for three nights in October. Cut to Nailsea: A week’s run was also booked in October, coinciding with the Darwen production. I could barely believe my luck – two theatres keen to take it on at the same time, and both around the 80th anniversary of Gandhi’s visit up north. With Connie Walker I would co-direct Hindoo Man and after picking the cast, rehearsals settled down comfortably – until one of them pulled put due to family illness. There was only one person in the building with an authentic Lancashire accent, even if his acting was shaky, and so I pulled on my braces and collarless shirt to take the role of Jack, a war-damaged, hen-pecked husband with a terrible secret. I received the occasional email update from Eric up in Lancashire, but because of Nailsea rehearsals I was unable to see Hindoo Man (Darwen version) as rehearsals progressed. Never mind, I trusted Eric to do a great job and I booked a ticket for the final night. October 2011 – Hindoo Man begins, first in Nailsea and then in Darwen. That week we performed every night, and each night the show got better and better. I wondered whether anyone would take to a play set among the grimy mill towns of Lancashire in the 1930s, but I needn’t have worried.

The Nailsea cast and crew did a superb job and the praise we got was extremely heart-warming and encouraging. Our run finished on the Friday; the following morning I was up early to make the journey to Darwen for the final night. Again, it was a terrific show and I was overwhelmed by the effort both cast and crew had made – and not a single person earning a penny from it. Among the audience that night were a group of Hindus who were interested in the Gandhi element of the play. They loved the whole thing, and were the first on their feet for a standing ovation. You can’t get higher praise than that. At the start of this process I hadn’t even considered the amateur stage, but now I’m extremely glad that I did. It was a challenge for all concerned and it paid off handsomely. Amateur theatre in this country is a superb resource for new writing, and yet it remains largely untapped. Perhaps some theatres are unwilling to risk alienating their audiences with new material, and are happier sticking to the tried and tested. I understand that, particularly in difficult economic times, but judging by the reception we got audiences are more openminded than we perhaps think. So if you’re a theatre secretary or chairman and you’re approached by a herbert like me with a badly-stapled script, don’t dismiss him or her straight away. You might find there’s something very interesting lurking between those pages, something your members can feel truly proud to help bring to life. The Hindoo Man on stage at Darwen Library Theatre.

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PLAYWRITING FEATURE

2012 - The year of the Bard 2012 will see over 260 amateur societies around the UK taking part in the Royal Shakespeare Company’s Open Stages Project as part of the World Shakespeare Festival. The project encourages groups to produce their own RSC branded Shakespeare-themed production. Each company involved is invited to take part in a regional skills exchange at one of ten regional partner theatres, when they have the opportunity to workshop with local drama schools and to meet other societies involved in the project. To mark the event Samuel French Ltd will be publishing Michael Green’s new comedy, Umlaut, Prince of Düsseldorf, a hilarious spoof of Hamlet featuring a courtier called Anthrax and spies named Rosenstern and Guildencranz. Green, author of the Coarse Acting plays including Shakespeare send-ups All’s Well that Ends as You Like It and Henry the Tenth (Part Seven), writes “Taking liberties with Shakespeare has a long and distinguished history. In the 18th Century some plays were rewritten to have a happy ending and the custom of revising them has continued to the present day.” Also inspired by Hamlet is Michael Lesslie’s one-act play Prince of Denmark. Lesslie has written a prequel to the tragedy, imagining Hamlet, Ophelia, Laertes and the young courtiers as brooding teenagers. Lesslie writes that he was excited to have been commissioned by

the National Theatre Discover Programme “to approach a play many think of as oppressively serious in an irreverent, fast-paced, fresh way.” Perry Pontac’s Codpieces, published by Oberon Books, is a collection of three short plays first heard on BBC radio: Fatal Loins, inspired by Romeo and Juliet, Hamlet Part II and Prince Lear. In his foreword to the collection Alan Bennet describes them as “So skilful and silly they are a gift to actors and a tonic for audiences.” Societies looking for alternative tributes to Shakespeare might find a source in Tom Stoppard: Rosencrantz and Guildenstern Are Dead, recently directed by Trevor Nunn at the Theatre Royal Haymarket, sees the two minor players in Hamlet waiting for their moment on stage. The Fifteen Minute Hamlet condenses the best-loved lines from Shakespeare’s play into thirteen hilarious minutes, followed by an encore which consists of a two-minute version of the play. Dogg’s Hamlet is an exercise in nonsensical language, which leads to The Dogg’s Troupe Fifteen Minute Hamlet while at the core of Cahoot’s Macbeth is a performance of Macbeth taking place in a private home.

John-Christopher Wood. The list goes on: Charlotte Jones’s Humble Boy, a re-imagining of Hamlet, Berkoff’s The Secret Love Life of Ophelia, Graham Holliday’s The Scottish Play and Simon Brett’s A Bad Dream, depicting an amateur dramatic society rehearsing A Midsummer Night’s Dream in 1902. 400 years after he lived, Shakespeare’s influence continues to be felt throughout the world, providing inspiration to contemporary playwrights, actors and directors.

Macbeth gets the comic treatment again in The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of Macbeth by the ever-popular David McGillivray and Walter Zerlin Jr and in Elsie and Norm’s Macbeth by

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PLAYSCRIPTS

Publisher news NEWS FROM SAMUEL FRENCH Samuel French Ltd are pleased to announce several new publications. The first is THE SOCIABLE PLOVER by Tim Whitnall, a quirky two hander about bird watching and a tall, dark handsome stranger. Also just published; THRILL ME by Stephen Dolginoff. Based on a true story, the musical focuses less on the murder itself than the relationship between Leopold and Loeb as they strive to commit the perfect crime. With simple staging requirements this tense, two- character musical drama explores the unusual love story behind the ‘crime of the century.’ THE PRINCE OF DENMARK by Michael Lesslie is the prelude to Shakespeare’s most famous tragedy. Hamlet is seen as a restless teenager, frustrated by the limits of his role and furious at his father’s warmongering ways. Michael Lesslie’s play provides a fascinating look at Hamlet’s back-story and is ideal for all ages. THE PRINCE OF DENMARK premiered at The National Theatre in 2010. FALSE PRETENCES is Eric Chappell’s new madcap comedy. Estate Agent Kevin and his wife Valerie are to be subjected to a prolonged visit from her brother Victor, an unsuccessful con artist just released from prison. Samuel French Ltd are also very proud to be sponsoring the BEST PLAY REVIVAL AWARD in the 2012 WHATSONSTAGE.COM AWARDS. Titles nominated for the award include FLARE PATH at the Theatre Royal Haymarket, ECSTACY at Hampstead and The Duchess and SAVED at the Lyric Hammersmith. To vote go online at http://awards.whatsonstage. com/ Stagescripts Ltd (www.stagescripts.com) A BIT OF DIALOGUE FROM DAVID : Last month I said I’d take a look at some of our musicals for young casts from our ‘Middle’ age range (10-14 years old) and for the ‘Senior’ age range (12-18 years old). Many youth theatres choose from the titles in the adult catalogue, but if you’ve got a youth cast with more at the lower end of the age range than the upper, the titles below may be of interest … ttfn!

‘Robyn Hood, outlaw princess’ (Principals : 7m/f Support : 19m/f with Chorus). A two act musical ideal for a predominantly female cast, it’s a lively, fun, ‘pop’ musical, based loosely on the traditional tales of 12th Century English folk hero, Robin Hood. In what is essentially a fantasy tale, Robyn is a schoolgirl who dreams of being a famous heroine. Her dream becomes a reality in which she re-emerges as Robyn Hood, an outlaw Princess, leading a female band of followers. The characters can be played by actors from any ethnic or cultural group and is written for unlimited cast numbers. … and here are two full length musicals from Adam Forde and David Perkins, the writing and production team behind the Yvonne Arnaud Youth Theatre in Guildford … ‘Arabian Nights’ (Main Principals : 2m, 2f Other Principals : 16m, 7f, 11m/f plus flexible Chorus. It’s the story of the beautiful queen Sheherezade, and her ability to tell captivating stories to her cruel husband, King Sharyar. Five stories are played out in song and dance, and, in their telling Sheherezade neatly leads the King’s mind away from his reason for being heartless and cruel, ensuring her own future as queen is secure. Large cast, superb music ... great fun. ‘The Wind In The Willows’ (Principals : 7m, 1f, 2m/f Support : 5m, 8f, 17m/f plus Chorus). A new adaptation of this popular classic. When Mole pops up into the open air, a wonderful new world full of exhilarating adventures and new friends is revealed; boating with the gentle Ratty, feasting with the noble Badger and a series of mad-cap escapades with the reckless Toad. The audacious Mr Toad leads the friends from one adventure to another, upturned caravans, stolen motorcars, train chases ... But after Toad’s daring prison escape can they all join together and beat the sinister inhabitants lurking within the Wild Wood, save Toad Hall and restore order on the River Bank?

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BACKSTAGE The characterisation is excellent. Alan and his wife can barely stand each other but they loved each once and the author hasn’t forgotten that. Laura’s parents have a much more stable relationship but, at times like these when the cracks begin to show, this is subtly done. Driving Force is an opportunity for actors to show us what they can do and I am particularly pleased to see a strong role for a teenager in an adult play.

PLAYSCRIPTS

AreMiLLer you paying over £200 for your Organisation’s Insurance? Luise Nick Hern Books ISBNHowever, NO: 9781848421479 it is Reagan that introduces the first note of conflict. His invasion of Grenada CAST: 3F over7M concerns that Russia and Cuba were planning to use the island as a re-fuelling stopFull were highly criticised by the British monarch, Head of State of the island, and TYPE: Length

His mind is as empty as the first page of the play he is supposed to be writing. Then Then, in the midst of the horror, comes humour. Two protesters, Margaret and Lorraine, he has an idea. How about a stage direction discuss the problems of trying to keep everyone happy: the difficulties in arranging the tocooking get himroster, going?how Thunder andupsetting lightning? A to avoid delicate emotions and how to remain ‘politically Circus? Let’s start the withterm the had characters, correct’No? years before even been invented. Within the first few pages the then. thispresented point ausman woman authorAthas with and the both big picture and the practicalities of organising a appear the Helen stage,iscompletely protest.onWhen the victim ofwooden an attack by local residents, angry at the notoriety because playwright hasn’t brought caused the by the campaign, she yet returns home to a confrontation with her husband. For them toweeks life. she has been away ‘registering her protest’ leaving him feeling inadequate seven unableWriter’s to cope with running the house Soandbegins Block, a subject that on his own. In an allusion to the cold war the leadstothem bothDunlop’s to threatening isarguments perhaps dear Lauren heart to unleash their weapons, the power to hurt oneone another, unless the other backs down. and that has certainly produced a very They don’t want to use these weapons, they just want thelittle otherplay. sideThe to know that theyinhave them. entertaining playwright Make-up Hair Prosthetics Ai our story makes the mistake of deciding it is 2009. protest but now the participants are slick, choreographed for Fashion / TV / Film / Theatr thatSuddenly his woman shouldAnother have ‘an attitude’ and as breathtakingly efficient. responsible for talking to the press, to and, a result, things soon They spiralhave out people of Short courses the police even, and the arguments are not about who is going to cook, but whointensive is going his control. Things don’t quite go the way to appear on Newsnight. The child Helen was carrying in 1984 is James, a product of the heroine had imagined, however, as her Greenham Common and very much his mother’s son who is dismayed at how things dreams are spoiltbut byitthe villain of the piece have changed, is Lillian, a woman already in her fifties at Greenham, who brings being, info@greasepaint.co.uk homewell, whyvillainous. it is important that ordinary people continue to stand up for what they www.grease Writer’s clever andisfunny and something that will be enjoyed by cast and believe Block in, andiswhy protest still relevant. audience alike. With the villain being the only British character it should do well in the American but of there no reason work why itbefore shouldn’t also betoenjoyed on theWimmin British Having market read some LucyisKirkword’s I expected enjoy Bloody stage. and I was not disappointed. This is another fine play from a remarkably gifted writer.

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her government. However, it was Mrs Thatcher that Reagan chose to apologise to by

telephone. “Why he ringMiller. me?”He asks Ferdinand is in lovedidn’t with Luise is Queen Elizabeth. the son of a Chancellor: the chief minister thisprince episode between the two women begins to break down. to a After German andthetherelationship most powerful The monarch’s concern the daughter commonwealth conflicted with Mrs Thatcher’s desire statesman in the land. Shefor is the do what court was best, in herand opinion, for Britain and Britain alone. Disagreements over of to a humble musician marrying sanctions against South Africa, the government’s handling of the miner’s strike and an outside of one’s class just isn’t done in 18th agreement with the USA to allow missiles to be launched against Libya from our shores Century Germany. A further complication is led to newspapers carrying stories that the Queen was dismayed with her government’s thatpolicies. Luise is pursued by another man; the appropriately named Wurm, who Luise’s father sumstheupQueen’s rather well It was Pressdescribing Secretary,him Michael Shea, who paid the price for the public as squabble a “civil-servile, rat faced, writ scribbling and the House of Windsor and his fate was between the elected government poxsealed blister”. lives words up to his reputation withWurm just three from Mrs Thatcher as he sought to apologise for the trouble by hetelling the Chancellor of were Ferdinand’s had caused. These words “Never mind, dear”. affection and intentions towards Luise. This is proves a very absorbing fascinating period in recent history and another Ferdinand himself toplay be aabout fool.aHe piece quality drama frombya Wurm, highly acclaimed writer. falls for of a scheme, hatched that forces Luise to write a love letter to another man in order to free her father from prison where he has been locked up for defending his daughter. Ferdinand seems destined to marry instead Lady Milford but although her ladyship herself declares that ‘a play must have a happy ending’, it is not to be. In a Plays for review should be submitted to: sense I was quite satisfied that Ferdinand paid the price for his lack of faith in his young Amateur Stage Limited Lucy Kirkwood love but it is8F impossible not to be moved by the sad fact that the innocent must suffer 3rd Floor, 207 Regent Street, London W1B 3HH CAST 7M along with the guilty. Whilst all efforts will be made to review scripts received the publisher cannot A tale seductionexcels and inpolitical manipulation, Mike Poulton’sof adaptation is, at guarrantee reviews. We regret that scripts cannot be returned.The opinions LucyofKirkwood strong imagery. Even her description the set is powerful: times, quite barbed wordy by feels what as contemporary as the television an angry wiremodern fence –standards we knowbut exactly she means. Bloody Wimmin is of our reviewers do not reflect the views and opinions of the publisher. Please programme The ThickofBrokers OftheIt. Greenham Despite in House, fiveprotests acts,14-16 theand overall running time will suit Bridge Limited.being Cobac Charlotte Street, Manchester, 4FL. Authorised and Regulated by the Financial Services Authority. Members of the up to 3 months for publication of review. about theInsurance legacy Common as the action begins it is M1allow British Insurance Brokers Association. modern audiences and the story certainly packs a punch.

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and understanding to the dialogue. The first meeting between the newly elected Mrs 1984 and Helen, a heavily pregnant young mother, describes the effects of radiation Thatcher and her Queen is awkward until they find common ground: their mutual on human beings. The imagery continues as a young child decorates the fence with A playwright stares blankly at his laptop. Friedrich Schiller adaptedReagan. by Mike Poulton admiration for Ronald ribbons before turning to the audience to reveal her bleeding gums.

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H T N O M E H T F O PLAY

Nightwatchman Prasanna Puwanarajah Nick Hern Books ISBN NO: 9781848422209 CAST: 1F TYPE: One Act

Nightwatchman is the first play in the second volume of Double Feature which publishes four plays by young playwrights who made their débuts at the National Theatre in 2011. Abirami is a cricketer:. A young British Sri Lankan who is about to play the innings of her life. Playing for England against Sri Lanka she takes to the nets to practice against a bowling machine. Set inside a sports hall we hear, but do not see, the balls being delivered as Abirami uses the batting practice to exorcise her frustrations, fears and dreams. She starts with her nickname: the Tamil Tiger. OK, she is a Tamil, but she isn’t a tiger. She’s from Eccles. Not that she believes that the person who gave her the nickname is racist; just an idiot;. Tthough she uses a stronger word than that. Then, as she begins to hit the balls more sweetly, she begins to imagine what it would be like to score a century at Lords on her début;. Pperhaps with Mike Atherton commentating as she does so. Atherton, who held out for two days in 1995 against an onslaught from Allan Donald. What a hero!

Future Shock Richard Stockwell Drama Association of Wales ISBN NO: 9781898740995 CAST: 1M 2F TYPE: One Act

Laura wakes up feeling nauseous. She sits on the side of her bed as Nicoletta enters wearing clothes that suggest she is a medical practitioner. She doesn’t have much of a bedside manner, however, and coldly refuses to answer most of Laura’s questions. Gradually we become aware that Laura hasn’t just woken up but has, in fact, been revived following a long period of suspension. She was considered worthy of preservation in ‘her time’ but now, centuries later, standards have changed, her slightly bruised toe being a blemish considered unacceptable in this day and age.

David Muncaster reviews the latest playscript offerings.

We find that Laura has been revived early, before the planned re-union with her partner (who is away on a mission) because the trust that was paying for her suspension has run out of funds. Now she will have to live out the rest of her life and be long dead by the time her partner returns. There is an alternative. Laura’s legal representative suggests creating a digital image that records everything there is of Laura, right down to her bruised toe. From this, she can be re-created for her partner at the appropriate time. There is just one condition. To avoid any possibility of two Laura’s existing at the same time, if she is to accept this proposal she must also accept her immediate death. I have to be honest and say that science fiction is not really my bag. I tend to be distracted by what I see as inconsistencies in the author’s vision of the future. For example, in this story Nicoletta has a telephone implanted

Next, her thoughts turn to politics and terrorism two words that are eternally linked for Tamils. The ethnic cleansing that drove her family from their country and the hatred for what is happening in his homeland lead Abirami’s father into saying to her, “If you’re going to play cricket, you had better bloody well play for England.” There was a lack of a verb, other than that in quotes, in the last sentence so this is just a suggestion around that. The tension rises, the bowling machine sends down ever more aggressive deliveries as Abirami gets ever more angry:. aAngry at the racism she suffers from every day, yet she would rather live in England than Sri Lanka. She would rather call herself English than Sri Lankan, so disgusted is she at the terrorism being perpetrated by her own people. What a first play from Prasanna Puwanarajah: there is passion, rapture and rage in abundance; the concept of the drama unfolding in the practice nets brilliantly emphasising the powerful text. I would love to hear of this play being performed again. I, for one, would travel the length of the country to see it.

in her head which she controls with her eyes. Fair enough, but why then does she have to cart around a cumbersome electronic notebook? Surely she would be able to consult some futuristic version of Wikipedia by wiggling her ears. But I am being flippant; Future Shock could make an interesting piece of theatre. The tension between the nurse type character and the legal representative keeps us interested and Laura’s decision to make the ultimate sacrifice due to that old fashioned concept – love – give the script a nice sense of humanity in an alien world.

Home Death

Nell Dunn Nick Hern Books ISBN NO: 9781848421950 CAST: 5M 6F TYPE: Full Length Research predicts that by 2013, 90% of us will die in a hospital ward, whilst the majority of us would wish to end our lives in our own homes. In Home Death Null Dunn explores how people cope with the death of their loved ones in the kind of circumstances for which few of us feel prepared. In keeping with her most famous works, she uses stories from real life, including her own, to cast a critical eye over palatial care in the UK and question society’s responsibility for looking after their own. The characters take it in turn to tell us their stories that carry a common theme of helplessness. The author reserves the strongest sense of regret for her own tale. “I was shocked at some of the things I said”, she explains, “I can’t wash your feet today, I haven’t time”, and “no you can’t have a stairlift because it would spoil the carpet”.

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SCRIPT REVIEWS But the overwhelming theme is the different levels of care that people experience – or perhaps it is just their own perception of that care. However, there can be no excuse for the doctor who is called out on a Sunday morning, argues with the nurse, consults his notebook, writes a prescription and leaves without once speaking, or even looking at, the patient. “Thank you for coming” says Nell. His response is that she shouldn’t worry – he gets paid very well for call outs. It is impossible to read this play without becoming emotionally involved. It is nearly forty years since my own mother died, at home as it happens, but I immediately identified with the anguish felt by the characters in this thought provoking and deeply moving play.

Intervals

Eleanor Fossey J Garnett Miller ISBN NO: 9780853436836 CAST: Min 1M 2F + 1 extra TYPE: One Act Intervals comprises three sketches that can be performed on their own or all together. Set during performances of Goldilocks and the Three Bears, the first sketch features Bernice and Deirdre who, to their dismay, are playing Mummy and Daddy Bear. This is the eleventh performance and Bernice has been driven to drink. Sitting alone in her dressing room she knocks back the vodka before being joined by Deirdre who shares both the dressing room and the vodka. As they vent their frustrations at being cast in such lowly positions, they work their way through cast and crew with hardly a kind word for anyone. Amongst the bitterness there are some nice teddy jokes. Bernice sums up the situation nicely with her line, “Please don’t stroke the bears, ‘cos they bite.” The second sketch finds us in the dressing room of Sophie. Although as Principle Boy she has the luxury of a room that she shares with just one other, Goldilocks, she is currently on her own and she allows her friend from the chorus, Gina, to come in and escape from the irritating Baby Bear who is showing off with her iPod and mobile. It is Sophie, however, who is in real trouble. She has heard that the men at the theatre are planning to amuse themselves with a screening of a mucky video after the show tonight, this particular one being one of a series starring none other than Sophie herself. Explaining to Gina that she made the films when she was just starting out in the business and desperate for money, she is mortified that her past has caught up with her and flees from the theatre having persuaded Gina to squeeze into her costume and go on in her place. This sketch seemed a little flat after the shenanigans of the first one. The jokes seemed a bit forced and I had difficulty believing that Sophie would throw everything away over something that she must have known would come to light if she ever became famous. On to the last sketch which finds us in the company of Betty and Doris who are manning the sweet counter during the interval of the final performance of this pantomime. The gossiping pair mull over rumours about Sophie’s departure and, between serving customers, give us their opinions about everyone involved in the production. Again, the jokes are a bit awkward, as though they have been inserted to bring a few laughs but without really fitting in with the dialogue. However, put it all together and you have an entertaining, if not particularly demanding, glimpse behind the scenes of regional theatre at panto time.

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SCRIPT REVIEWS No Naughty Bits Steve Thompson Nick Hern Books ISBN NO: 9781848422056 CAST: 6M 2F TYPE: Full Length

In 1975 Monty Python’s Flying Circus was broadcast across America for the first time; but the censor cut out all the naughty bits. Steve Thompson’s play tells the story of when Michael Palin and Terry Gilliam flew to New York and found themselves at the centre of a court case about freedom of expression and artistic integrity. At first Palin is unwilling to go, his bitterness over the decision by John Cleese to leave the show and begin work on Faulty Towers very evident, citing this for the reason why the BBC had cancelled the programme and claiming that, with no money coming in, he would be better spending his time looking for work. He is persuaded, however, when he learns that, at a time when America is just latching on to Python humour, the network has cut out a quarter of the laughs. Gilliam, an American who came to work in Britain due to the over-zealous censorship so abundant in his own country, is smarting for a fight and, when the pair arrive at JFK Airport, they find that the press have already picked up on the story. The American promoter boasts that this is going to be a landmark court case but Palin is confused. He thought that they had flown out to have a conversation with the network; not take them to court. But that isn’t how things work in America. Their lawyers had already taken out an injunction against the next episode being broadcast. As the case begins it seems simple. The network had signed an agreement that they would not make any changes to the script. But is gets complicated when the network argue that they didn’t change the script: they changed the video. They say that they had to make the cuts in order to fit in the adverts, standard practice in America, but Gilliam points out that it is a remarkable coincidence that the number of minutes that they had to cut corresponds exactly to what he terms ‘the naughty bits’ from a scene where these were the very words cut by the network. The arguments around artistic integrity are no match for dollars. The network claims they would lose revenue if they were unable to broadcast the advertised programme and, as a result, they win the case. This is not the end of the story however. Palin appeals and, with the appeal being heard after the programme had been broadcast, and therefore the loss of revenue argument no being applicable, he eventually wins his case. It is not easy to be funny when writing about a factual event, even when the participants themselves are comedians, but No Naughty Bits, whilst it might not be something completely different, is an entertaining play which will appeal to an audience of a certain age to whom Monty Python’s Flying Circus was a breath of fresh air.

Quotations in the Margin

professional footballer, Johnson is determined to get answers to his questions. With so much of what we see on TV and in the cinema being heavily reliant on action it is good to read a clever and engaging play like Quotations in the Margin that makes such good use of language.

There is a War Tom Basden Nick Hern Books ISBN NO: 9781848422209 CAST: 18M 6F TYPE: Long One Act

The second play in the second volume of Double Feature is described as a miniature epic. In There is a War, Tom Basden unleashes his sense of the absurd as Non Combat Personnel are parachuted into a war zone to assist The Blues in their battle against The Greys. After their dramatic entrance the newcomers are subjected to bureaucracy as they are challenged over having the correct paperwork and, as the story develops, the humour continues much in the same vein. There is a torturer who complains of RSI, soldiers in the battlefield who stop for lunch and a ‘friendly firing squad’ who deal with matters of insubordination. Eventually a civil servant arrives to announce that the war is over and hands everyone a certificate. That is not quite the end though; we de-camp to a hospital where the wounded from both sides are being treated but a shortage of supplies leads to conflict and soon two sides emerge: The Reds and The Oranges. There is another war. There are some nice moments in Tom Basden’s script but nothing is dramatically original which makes for an entertaining but not terribly memorable play.

Tuesday at Tesco’s

Emmanuel Darley with English text by Matthew Hurt and Sarah Vermande Nick Hern Books ISBN NO: 9781848422254 CAST: 1M TYPE: One Act Pauline spends every Tuesday with her father. After tidying up and doing his ironing she gets the shopping trolley out and takes her father to Tesco. This has been the routine ever since her mother died; going round every Tuesday to do the things her father can’t or won’t do for himself. When she arrives her father calls out a greeting. “Hello Paul”, he will say. “Pauline, now”, she will reply. “Pauline, Okay.”

Scott Marshall J Garnett Miller ISBN NO: 9780853436812 CAST: 2M 1F TYPE: One Act

They go to Tesco and people stare. Unlike at her local branch, she is known here. People remember her when she was Paul. Her father keeps his distance. He reads the labels on tins and pretends they are not together. She calls him and he comes close to her and tells her that he can see his stubble; that she looks nothing like a woman – too broad shouldered. Then he moves away.

Duffy and Johnson are two men engaged in some kind of role playing game. Why, we are not certain, but we get the impression that this is something that they have done many times. As they play they will come across a word that they find attractive and, with echoes of Waiting for Godot, search their mental thesauruses for alternatives. This helps establish an intimacy between them, as if they are two old friends passing the time together.

There is a good deal of repetition in Pauline’s speech whilst she describes the experience in the supermarket, emphasising the repetitive nature of the routine, but they break the habit later and stop for a drink on the way home. After this they bump into a friend of Pauline’s father, a woman that Pauline doesn’t know, and through her remarks we get the first hint that maybe Pauline’s father is not quite as hostile as his behaviour towards her might suggest.

But there is more to it than that. After a while it becomes clear that Johnson is subtlety using the word play to question Duffy, with particular reference to the current whereabouts of Duffy’s wife. When it becomes too much, Duffy insists that he want to end the interview. “Interview?”, exclaims Johnson. “We’re just having a friendly chat.” But it is an interview and, despite the odd amusing diversion, such as when Duffy assumes the persona of a

But then, just when we think there may be a reconciliation, there is a dramatic twist. Pauline works on the street and, when she is attacked, her names, both Paul and Pauline are printed in the newspaper. Here, the story ends abruptly. Pauline’s story is a complex tale, simply told, resulting in a moving piece of theatre.

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Samuel Adamson Alan Ayckbourn J.M. Barrie Samuel Beckett Alan Bennett Don Boucicault Harold Brighouse Eric Chappell Anton Chekhov Agatha Christie Caryl Churchill April De Angelis Nicholas de Jongh Tim Firth Michael Frayn Brian Friel Christopher Fry John Godber Oliver Goldsmith Simon Gray Patrick Hamilton Christopher Hampton David Hare Richard Harris Henrik Ibsen W.W. Jacobs Bryony Lavery Hugh Leonard Mike Leigh Patrick Marber W. Somerset Maugham Kay Mellor Ade Morris Ivor Novello Arthur W Pinero Harold Pinter Stephen Poliakoff Philip Ridley Amy Rosenthal Peter Shaffer William Shakespeare Richard Brinsley Sheridan N.F. Simpson Tom Stoppard Sue Townsend Ben Travers Emlyn Williams Peter Whelan David Wood Fay Weldon Hugh Whitemore Oscar Wilde David McGiliray & Walter Zerlin Jr...

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NEWS * NEWS * NEWS * NEWS * NEWS * NEWS * NEWS * NEWS PERFORM RETURNS FOR A SECOND YEAR PERFORM 2012 returns with an incredible line-up of exhibitors and speakers from 9 - 11 March at Olympia, London.

MANCHESTER 24:7 THEATRE FESTIVAL Manchester is known as a ‘city of firsts’. They rightly pride themselves on original thinking and ‘can do’ attitude and the 24:7 Theatre Festival, held 20-27 July 2012, fits firmly into this tradition.

continue to grow and provide even more opportunities for those involved.”

By nurturing new talent in both writing, directing, performing and producing, the festival can help to maintain the cultural buzz of the region and give the people who live and work in the North West the chance to experience something different from the norm.

The 24:7 Theatre Festival isn’t just for playwrights and thespians – it’s for everyone.

The festival encourages people to get involved as an audience member, volunteer or sponsor.

Visit www.247theatrefestival.co.uk for more details.

PERFORM is the show for anyone working, teaching or looking for a future in acting, singing, performing arts, stage management and technical theatre. The event will host a range of 50 seminars and practical workshops that offer you the chance to gather the latest techniques, expert advice, career inspiration and tricks of the trade. Each session has a £3 booking fee to guarantee entry. You could also showcase your talents in front of an audience. Platform 5 is the place to show off your perfected monologue, present your comedy duo or blow the crowd away with your new writing. It’s the ultimate open mic for performers. Visit www.moveitdance.co.uk for more details.

David Slack, founder says: “I’m obviously passionate about what we’ve created over the past seven years and want our Festival to

ARTS ED RECEIVES DONATION FROM LLOYD WEBBER FOUNDATION The Andrew Lloyd Webber Foundation is giving £3,544,200 to Arts Educational Schools, London (ArtsEd) to fund a major refurbishment project. The main theatre will be transformed into a state-of-the-art 21st century theatre that will bridge the gap between the School’s teaching and the reality of the West End stage. The donation will fund a complete overhaul of the auditorium, a more flexible and increased stage space, new control room, rehearsal studios and a new ventilation system.

London (ArtsEd), says: “We are obviously delighted to receive this grant from the Andrew Lloyd Webber Foundation and would like to thank everyone who has been involved in the process. This award is a powerful endorsement of the quality of our training. It will enable us to invest in the fabric of our building, and bring our facilities up to the same high standard as our teaching for both current and future students.” www.artsed.co.uk

Jane Harrison, Principal of the Arts Educational Schools

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training

A flawless accent How important is it to get the pronunciation perfect? Odile Rault considers how far the rules can be bent before we realise it’s just another actor doing a dodgy accent. Prince John (Richard Lewis): “Why should the people listen to you?” Robin Hood (Cary Ewles): “Because, unlike some other Robin Hoods, I can speak with an English accent.” from Robin Hood: Men in Tights. Mel Brooks’ witty dig at Kevin Costner’s hide-n-seek English accent in Robin Hood: Prince of Thieves has helped to make Costner’s performance in the film top of many ‘Worst Accents in Movies’ lists. He’s joined by Dick van Dyke’s attempt at a Cockney accent in Mary Poppins and Demi Moore’s on-again-off-again English accent in Flawless. So, how important is it to get an accent right? Does it have to be perfect, or does the odd mispronunciation here and there not matter? Does a dodgy accent distract from a great performance? I remember being surprised that the obvious errors in accent (for example in Demi Moore’s performance in Flawless) weren’t picked up on in production, and corrected. This would surely have avoided the field- day the press had comparing the title of the film to Ms. Moore’s rendition of an English accent. Presumably there are (expensive) dialogue coaches available for these productions, and one can’t help but wonder what went wrong. The interesting thing is, in “real life” many of us have mixed accents. There are a wide variety of influences on our natural accents. Spending time in different cultures even within the same country can change certain vowels and phrasing, as well as having friends who have accents different to our own. Most of us will pick up at least a couple of habits – unconsciously – if we spend enough time with the person. However, when it comes to accents in performance on stage, screen or radio, we

tend to become intolerant of this. It jars to hear a character who is supposed to have a particular accent, delivering it with tinges of a different dialect. Audiences become particularly critical when hearing their own native accent mispronounced. Despite the fact that my own native accent is a mix of South African and R.P. – and I’m a perfectly real person – I’m well aware that if I don’t pull off an accent accurately in performance or during an audition, it’s more likely my audience will see it as incompetence rather than assume my character has spent time in South Africa or London. I’m therefore extremely careful when using a dialect that isn’t my own, to make sure that the accent doesn’t upstage me. In many cases – especially with an accent that’s almost accurate – the odd word here and there breaks the illusion and the audience is reminded “it’s only an actor”. An excellent example of one word “giving an actor away” without their even realising it, is the word “adult” pronounced in an American accent (any American accent). Most of us who’ve not lived in the U.S. and don’t have friends or family who are American (and even some who do!) when asked to pronounce “adult” in an American accent, will keep the emphasis of the syllables the same, and simply accentuate the “a” and possibly shorten the “u”. And indeed I recently witnessed an audition by an English actor who did just that. He was auditioning for an American director, who later pointed out that his accent was excellent, but that his pronunciation of the word “adult” gave him away. Americans in fact, when pronouncing “adult” shorten the “a” and put full emphasis and stress on the “u” (rhyming with “assault”,

but if you hadn’t heard it spoken by an American, or you hadn’t heard it recently, you would quite naturally assume the former. For this reason I thought it would make sense to have a native speaker read my lines onto an mp3 file when using an accent that isn’t my own – knowing that there may be words I’m unaware I’m mispronouncing. This led me to the website usemyaccent.com where actors are able to find native speakers of the accents they need for performance, auditions, show-reels and voice reels. They are then able to email the script to the “reader”, and receive in return, an mp3 with the actual words they’ll be using, spoken in the authentic accent. I attribute a recent job to the confidence I gained in using this service for correcting the pronunciation of a few words using an East Coast American accent. Actors are also able to register their own accents and read for others. Membership of the site is free, and readers arrange a fee for the reading directly with the actor. Many are even offering to read lines in their accent free of charge. If only this site were around when Dick van Dyke and Kevin Costner needed it! www.usemyaccent.com

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TRAINING

So you want to go to drama school? Why do you want to be an actor? What is acting? What do you have to offer? What is the profession like? You’ve decided on becoming an actor and you’ve also decided on going to drama school. Now is the time to prepare for your audition, writes helen Freeman. Ask yourself: ‘Where do I see myself in five years’ time? How do I want my qualifications and training to work for me?’ While you are still at school is the time to take singing lessons that help all actors support the voice and develop a system that will translate into a strong, good technique. I would also strongly advise all potential students to find some way of incorporating dance training into their weekly schedule and outside your school term-time there are holiday courses in acting and musical theatre, often at the drama schools you will be considering later. This can be a good way to judge the feel of a drama school prior to attending an audition or to see the facilities they have and the approach they favour. Your goal is that after three years of training, you will leave drama school proficient and confident, an actor at home in him/herself, a force to be reckoned with. So visit the websites and find out about any open days your shortlisted drama schools run. Another very useful way in which you can learn about a school is by seeing their graduates in their final productions, about to enter the profession. See if there are any student curriculum vitae which will give you a good idea of work during their training. A photograph may also be included so you can see what you should be thinking about when considering your own headshots. See how many of them actually have pink hair or multiple body piercings, for example! When applying to drama school always check that you have included all the right

documentation and are applying in good time. Keep referring to the school’s application guidelines - it can be easy to muddle requirements if you are applying to several schools in the same audition season. Prepare exactly what you are asked to prepare with regards to numbers and types of speeches. Do not exceed the time limits on the pieces or the panel may well stop you in mid-flow. Ideally, by the time you are applying to drama schools, you will have a choice of speeches (and songs for musical-theatre applicants), and will have enough knowledge to be able to choose which is the right combination to perform for each audition. Put together a programme of good pieces and songs which you are strongly connected to. Select your material with regard to what is appropriate for you – would you be cast as that character? Now you can really begin to work on your pieces, to prepare in depth, to familiarise yourself with your own voice and speech patterns and work on the areas that need development. The day has finally dawned and you have arrived at the audition. You should not try to make a strong connection between fashion and your personality – it’s you they want to see not a department store. For the same reason, leave any rattling and distracting jewellery at home and avoid teetering in on skyscraper heels. These are all weapons of mass distraction and

will not help you in the audition room. You are being auditioned from the moment you set foot into the room, making the impression of a focused, professional person who takes the audition seriously. You are at home here. Listen carefully to what is being said to you. This is your audition. Arrive early, enter assuredly, interview intelligently and perform professionally. No one who knows anything at all about acting or the profession would tell you it’s easy. But if you do your preparation work, you can vastly enhance your chances of success. If it’s not such good news at a preliminary audition, keep your eyes and ears open – and work, work, work on your skills base. Aim for the best, be tough and honest when you have to be, but also patient and caring towards yourself as you would be with a good friend. Then next year.....? It’s all to play for. Edited extract from Helen Freeman’s book, So You Want To Go To Drama School?, published by Nick hern Books. Helen is an audition panellist and a student-performance assessor at the Guildford school of acting. www. nickhernbooks.co.uk

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NODA Comment

NODA priorities for 2012 As the New Year gets underway, the same three priorities continue to challenge all NODA affiliated societies – • How to keep existing audiences (and get new ones) • The importance of attracting young people to amateur theatre • Overall financial sustainability The review of NODA’s products and services to support committees running societies, groups and clubs, which began in 2008, has these three priorities at the forefront of all its’ plans to improve membership services. “As we all know, there is a link between these three priorities” says Tony Gibbs, Chief Executive of NODA, “If a society can get it right in terms of attracting audiences as well as younger members, then financial sustainability will inevitably follow. Unfortunately, there are lots of external factors that have a big impact as well.” “For example, attracting audiences has never been easy, “ says Tony, “With the impact of the financial climate hitting all of us, the truth is that amateur theatre is having to compete more than ever

before with other activities. Watching TV, playing computer games, or going to the cinema, are all competitors to amateur theatre, along with lots of other pastimes and different types of entertainment. More than ever before, all of us with a passion for amateur theatre need to work hard to promote it and encourage people to go and see their local amateurs.” NODA has been running training workshops for members on the topic of ‘The Business of Amateur Theatre’ which has a focus on financial planning and marketing. These workshops have already made a difference to hundreds of committee members around Britain and the hope is to offer more of this type of support to NODA members. However, the main success of these workshops has come from the sharing of what works (and doesn’t work) for individual societies.

TONY GIBBS, NODA Chief Executive

If your society has had a particular success (or failure) in trying to attract audiences, would you like to share your experience with others? If so, please email tony@ noda.org.uk who would love to highlight good practice among NODA members.

Getting young people really involved

FRED PIGGFORD NODA President

Since taking up the position of National President in September I have been taken by the number of younger people who are getting involved in Amateur Theatre, which is very pleasing to me, but I have also noticed that not many are actually stepping forward to take an active role in the running of the society,i.e. becoming members of the committee, working backstage or front of house etc. I am therefore going to make my theme for the year; getting younger members involved in the operations of the society. Without this involvement this wonderful hobby of ours will die because the older of us cannot keep going forever so I would urge all you youngsters to consider

a greater involvement and I know that there are several societies which have got younger members taking active parts but not enough. WE NEED MORE !! I must say that I have seen some excellent performances since September so please keep up all of the good work and remember I am available to come to see your productions if you invite me. I know that by the time you read this we will have had Christmas and New Year but I would like to wish you all a very Happy New Year and every success for 2012 and I hope to see as many of you as possible during this next year.

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NODA Ensuring Box Office Success

When is a success not a success? TONY GIBBS questions how we define success?

Picture the scene – the NODA affiliated society in question has been established for many years with a loyal local following and has a track record of putting on musicals of a high standard. Sadly, audiences have been dwindling over recent years and so last year a bold decision was taken to produce a lesser known (but more contemporary) musical, with a view to hopefully attracting a new audience. After carrying out open auditions (as in previous years) and embarking on a promotional campaign including radio interviews and making full use of social media, opening night loomed large and it became clear that the trend seen elsewhere of audiences buying tickets at the last minute, closer and closer to the performance was continuing. A nervous time, but even so the opening night attracted around a 50% house, followed by 60%, then a further dip, with 90% for the Friday evening, 35% Saturday matinee, and back up to around 80% for Saturday evening. Overall audiences for the run of around 60% which resulted in a financial loss. On the plus side: amazing production standards with a tightly knit band at the top of their game every night, innovative direction and choreography, really creative

Rising Costs

One of the biggest impacts on most NODA affiliated societies during 2011 was the rising cost of theatre hire, which seems to be continuing a pace. There have been various reports of massive price rises during the past twelve months, with one theatre, The Marina Theatre in Lowestoft, now charging 150% more than a year ago. In terms of overall financial sustainability, NODA figures show that between two thirds and three quarters of societies incurred a deficit last year, with theatre hire charges accounting for around one third of the total production budget. Clearly the need to balance the budget has never been greater, but for those groups without the luxury of their own theatre, theatre hire costs are clearly going to continue to be a major problem.

What can be done?

Chairman of Trustees, Chris Ingram, says, “There is no single solution, otherwise

set design and lighting, state of the art front and back projections, superb quality sound, a supremely competent and confident cast supported by an experienced crew, with friendly and welcoming front of house… all in all, a huge success from a creative point of view, which was recognised by reviews in local media. Financially? A loss which the society can bear on this occasion, but inevitably planning for next year’s show will bring the committee back to the idea of producing an ‘old favourite’ in the hope that the box office will be better. Who knows? Was the loss this year due to the choice of show? Or the financial climate? Ticket prices too low? Ticket prices too high? These are the questions being addressed by all of us in amateur theatre right now. There are no easy solutions, other than recognising the scale of the problems and trying to address them all in turn. These days more than ever, the balance between quality of production and box office receipts is getting harder to maintain, but one thing is for sure – maintaining the quality of productions at the very least provides a sound foundation to build on. Surely successful productions should lead to box office success?

everybody would be doing it. NODA wants to focus on the main issues for its’ members, but as always, we also need information and feedback from our members. For example, if the Association is to try and raise awareness and concerns among theatre owners of the damage that rising theatre hire costs are doing, then we need facts and figures from around the UK. Then we can get a clearer idea of the bigger picture and work out how best to support our members. It’s not easy, but the starting point has to be for NODA to gather information from members.” If you are involved in running a society and have any concerns, or specific details, about theatre hire costs, then please email either Chris Ingram on chris.ingram@noda. org.uk or NODA Chief Executive, Tony Gibbs at tony@noda.org.uk who will be pleased to hear from you.

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NODA News

NODA on the move After ten years at NODA House in Peterborough, NODA is on the move with the professional staff relocating to new Peterborough offices around the time this magazine is due to be distributed. NODA House was sold because it will soon require major, and expensive, repairs to the roof and general fabric of the building. It was also too large and unsuitable as an office base for the professional staff. Other premises are being bought which will result in more productive working practices as well as reducing running costs. The new address for NODA is now – 15 The Metro Centre Peterborough PE2 7UH Phone details will be published soon on www.noa.org.uk

NODA AGM The NODA Annual General Meeting was held on 25th September at Durham at which – • Fred Piggford (former Councillor for NODA North) was confirmed in office as NODA National President for 2011/2012, as was Derek Grattidge (NODA Wales and Ireland) as Vice President. • Chris Ingram (NODA North East) was elected Chairman of Trustees. • John Warburton retired as Councillor for NODA East • Gary Winn and Jim Farr were confirmed as Councillors for NODA North and NODA East respectively. • Life members (essentially Past Presidents of the Association) elected to Council were Bert Lumsden and Margaret Coltman. • It was agreed after the AGM at which Chris Ingram (Councillor NODA North East) was appointed Chairman of Trustees that NODA North East has now appointed Reg Vinnicombe as temporary Councillor to serve until the NODA North East AGM in April 2012, when, following a full nomination and ballot process, a new Councillor will be elected and confirmed in office from that meeting

WHO’S WHO AT NODA National operatic and dramatic association 15 The Metro Centre Peterborough PE2 7UH email: info@noda.org.uk www.noda.org.uk Patron: The Lord Lloyd Webber Chief Executive Tony Gibbs email: tony@noda.org.uk EXECUTIVE PA BRONWEN STANWAY email: bronwen@noda.org.uk FINANCE MANAGER graham wilcock email: graham@noda.org.uk FINANCE & ADMINISTRATIVE ASSISTANT BEVERLY CLARKE email: beverly@noda.org.uk Membership SERVICES MANAGER DALE FREEMAN email: dale@noda.org.uk MEMBERSHIP SERVICES ANTONIA GRAY email: antonia@noda.org.uk Marketing & development manager julia mason email: julia@noda.org.uk

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NODA Summer School 2012

NODA Summer School 2012 What’s in it for you? Do you have a leading lady who has always shown a flair for direction? A dance captain who would make a great choreographer? A stage manager who wants to light your next show but doesn’t know where to start? Or do you need a sketch written for your panto, or someone passionate about youth theatre to take your youth section forward? What about that shy retiring chorus member with the fabulous voice who lacks the confidence to take a lead role. Maybe a singing course is what they need, or to discover their hidden acting depths? If you’re thinking of that person, then NODA Summer School can help you! Over the years that Summer School has taken place, NODA has heard success story after success story about society members who have returned from a Summer School week with new found skills and enthusiasm and taken on roles within the society that they never thought they would be capable of? Calum Campbell from LAMP in Linlithgow, a small town in Scotland, is just such a student “After being approached to direct Linlithgow Amateur Musical Production’s youth show, I was very apprehensive about accepting. My society wanted to bring through a younger member of the

adult company to become stronger in their chosen field and were taking a big risk on me. I was promised that on the strength of the training I would receive at Summer School, that I would gain a huge understanding of directing youth theatre and what was involved. The week was a huge learning curve for me and was everything I thought it would be. Without it, I would never have had the confidence to direct.” Has your society ever considered supporting one of your members, young or old, to attend Summer School? Perhaps they need a bit of help with travel expenses, or a contribution towards the fee? It’s an investment in the personal development of your society members that will pay you back in ways you have never imagined? One society in NODA East has recently put in place a fabulous new incentive scheme. The top ticket seller for their next two next productions, will be rewarded with a fully funded place at the 2013 school. Or take a leaf out of Dinnington Operatic’s book. They have sent a student to Summer school every single year who has since returned to direct, offer technical support and take their society forward with skill and confidence.

NODA Youth Academy 2012 will see a pilot of a new nonresidential format for the NODA Youth Academy (still essentially a four day school). The pilots will be in NODA East and NODA South West and, assuming that the new format is successful, it will be rolled out within other NODA regions each subsequent year. For details email info@ noda.org.uk

To find out more about NODA Summer School and what it can offer you, visit the website at www.noda.org.uk NODA Summer School 2012 runs from 4th - 11th August 2012 at Warwick University. Check it out, you won’t regret it!

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NODA Drama

NODA and RSC NODA worked with the Royal Shakespeare Company during 2011 on the RSC Open Stages programme which saw over 250 amateur groups produce Shakespeare themed work, with the direct support of RSC.

The music will remain faithful to the original score and will be performed by Northern Sinfonia conducted by Musical Director for West Side Story John Wilson.

NODA also offers drama training at the residential NODA Summer School every year, as well as the NODA Youth Academy which has been running since 2009.

Performances will take place in Hall One at The Sage Gateshead from 4th-7th July 2012, with an open dress rehearsal on 3rd July. 3rd July @ 2.30pm - Open Dress 4th July @ 7.30pm 5th July @ 2.30pm 6th July @ 7.30pm 7th July @ 7.30pm

RSC Open Stages update West Side Story is at The Sage Gateshead production in association with the RSC’s Open Stages programme. It is part of the World Shakespeare Festival for the London 2012 Festival. A new, full-scale production of Bernstein’s West Side Story is being created. This will be a sparkling, visceral reading of an extraordinary work. The production will be directed and choreographed by Will Tuckett who will create brand new choreography for the show. The performances will feature a cast of emerging artists. The cast will be drawn from performers who show exceptional talent and who are either at the start of their professional career, performing arts students or amateurs with a desire and the talent to develop their professional career.

Location and Dates

• A singing audition. For this, applicants are asked to prepare 2 or 3 songs that demonstrate their ability and vocal range. If applicants wish to be accompanied on piano, applicants must bring the accompaniment part for these songs. We will select 1 or 2 songs from your selection. We may also ask applicants to sight-sing a song from West Side Story. • Rehearsals for the production will commence on Monday 14th May 2012 and applicants must be available for all rehearsals (which will be 10am-6pm Monday-Friday) and the performance dates indicated above. For specific auditions enquiries, please use the wssauditions@thesagegateshead. org address.

If NODA members are interested in auditioning for West Side Story, please send a CV (which should reflect any dancing and singing experience) and a headshot to wssauditions@ thesagegateshead.org. Auditions will take place in London from 23-27th January. Applicants must be available in London on these dates. For the audition, applicants will be asked to take part in: • A 60-minute group workshop in ballet, contemporary and improvised dance. This will be lead by assistant choreographer Emma Brunton.

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NODA Drama

Drama available from NODA Did you know that your drama club or group can get a licence to perform great British drama from NODA? For details of the full catalogue either visit www.noda. org.uk or contact Dale Freeman, NODA Membership Services and Licensing Manager on dale@noda.org.uk Here we profile two of the writers, whose work is available for licensing from NODA –

Bev Clark Bev Clark studied at Lamda & Guildhall and has been involved with Amateur Theatre for many years as an actress and director. Bev started adapting scripts for youth theatres with which she worked over the years but didn’t really start writing again seriously until she attended a part time scripting writing course at Liverpool University. She has now written 6 one act plays and is working on a couple of full length plays. Bev worked in the professional theatre in Press and Marketing and as a youth theatre director at Bristol Old Vic, Palace Theatre (Westcliff) Colchester Hippodrome and in TIE for Action Transport Theatre. In 2008 she formed Hand in Hand Theatre - a community group which has been able to premiere her work and the work of others over the past few years and has received a good deal of success at festivals

with both Remembrance Day and Bentley: Road to Justice. Previously, another play by Bev called Stealing Me, brought festival success to another local company. As a director Bev likes her scripts to evolve and quite often re-writes them as rehearsals develop. Bev’s highlight of 2011 was being presented to Her Majesty The Queen at Buckingham Palace. She has recently become an Associate of GoDA and will be adjudicating festivals so may not have as much time to direct. She hopes to have more time to keep writing as there are quite a few first drafts piling up! Bev’s next project is for RSC Open Stages - a modern sequel to A Midsummer Night’s Dream which will be produced in June 2012.

Remembrance Day by Bev Clark Remembrance Day was first conceived after Bev had been researching her own family history: her great uncle George had died at The Somme. He had been a bachelor but Bev then asked the question what if he had had a child who grew up never knowing him? What if every generation that followed had a son in some way effected by other wars? The Watson family are fictitious but could be any family. Young Darren is a teenager who has lost his way and has little respect for his own father Stephen who has returned from active service in The Gulf War and is unable to cope with his experiences and find decent employment. The family breaks up and father and son live with grandfather Ron - a man who still holds old fashioned values. When Darren is bullied by his “mates” into spraying the war memorial with graffiti, he is visited by the ghost of George his great, great grandfather and is transported to the trenches of WW1.

Remembrance Day has also been recorded as a radio play and Bev only had to change two or three lines. The audio version features a brilliant soundtrack by Andy Taylor of Darkscape and this will be available for groups considering Remembrance Day, if they wish. This one act play (5 males) would suit schools as well as theatre groups as an ensemble can be added as Darren’s friends and soldiers.

Running Out of Time by Bev Clark Running Out of Time is a light-hearted look at one family’s attempt to make a conscious effort to help the environment but find the value of just sharing time. It was written in 2009 and already technology has moved on in leaps and bounds, nevertheless the family, stressed by modern-life, come across a little Idyll in the west country which take them back to a time where no one relied on computers and mobile phones . After learning new values about their own lives, a twist in the tale reveals they have indeed “stepped back in time”. Obviously Bev likes the idea of time and how we can twist it dramatically, but this is a very different play from Remembrance Day which is quite a powerful drama. Running Out of Time is whimsical and light. A cast of 6 made up of 3 male and 3 female (one male plays two small parts) plus a couple of walk on’s so will suit companies wanting to enter one-act play festivals. It is modern dress and only has one set - the hotel (1950’s style).... and a car ( which may be a challenge?) Chris Denys

Bev wanted this to be a supernatural tale - by introducing this element it allowed her to move the action from the present to the past and back into the present. When produced for the All England Theatre Festival in 2009 a variety of special effects and lighting to create the battle scenes were used, but it is not necessary for a production team to take this path. The play can be done very simply with little set and effects.

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01/01/2012 16:57

NODA Drama

Christopher Denys Christopher Denys has been a professional director and writer for theatre, radio and TV for fifty years. Having been Artistic Director of a number of regional theatres during that time and, latterly, Principal of Bristol Old Vic Theatre School, he was awarded an OBE in 2008 for services to drama. “Knowing that time is a serious consideration for busy people with the day-job to sustain, I’m offering these as ‘acting edition packages’ complete with suggested moves, production notes, ground plans, lighting, sound and props plots” explains Christopher. “You can, of course, present the plays in any way you want but all the information (based on numerous previous productions) is there if you want it. Incidental music and sound effects are available on CD and, wherever there are songs, orchestral backing tracks on CD together with vocal/piano scores are part of the package. Additionally, NODA has my email address if you run into any problems.”

Work by Christopher Denys Maria Marten – the Murder in the Red Barn (Melodrama - adapted from traditional ‘barn-storming’ versions with Victorian parlour ballads) A Christmas Carol (Adapted from Charles Dickens – with carols) The Pickwick Papers (Comedy - adapted from Charles Dickens) The Mysteries (Powerful Drama laced with Comedy - The Creation to the Ascension - adapted from the Wakefield, York and Chester cycles of mystery plays) The Vicar of Wakefield (Comedy Melodrama - adapted from Oliver Goldsmith)

By Christopher Denys and Neil Rhoden:

Marla Marten - the Murder in the Red Barn.

Alice in Wonderland (Musical with original orchestral score by Neil Rhoden)

DID YOU KNOW?

Alice Through the Looking Glass (Musical with original orchestral score by Neil Rhoden)

The NODA online shop as it was originally set up has been temporarily closed

Pinocchio (Musical with original orchestral score by Neil Rhoden)

NODA online shop

and it’s products are currently being offered on eBay (link from www.noda.org.uk) The Association was advised by the NODA Legal Helpline that the original online shop was not compliant with DTI Best Practice Guidelines. Additional safeguards are being incorporated with the updated online shop to be available shortly.

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01/01/2012 16:58

NODA Drama

Still putting the ‘D’ back into NODA Two recent initiatives reinforce NODA’s commitment to the drama community: working with the National Drama Festivals Association and Royal Shakespeare Company. There has been a formal link between NODA and NDFA (the National Drama Festivals Association) since 2008, and this year, NODA and NDFA are co-hosting the British All-Winners Drama Festival at the Thwaites Theatre, Blackburn between 1 - 7 July 2012. (see the NDFA feature on page 16 of this magazine) The article reproduced here by Brian Carter from NODA News in 1983, is a reminder that NODA has always responded to the needs of amateurs involved in drama as well as musical theatre, Gilbert and Sullivan and panto.

THE JULY ‘D’ IN NODA

K. C. Bowler, Secretary of the New Venturers, thank you for providing me with the opening words of this article. Mr Bowler wrote to NODA NEWS recently commenting on the lack of coverage of ‘Dramatics’ within NODA. As Principal of the July 1982 NODA Theatre Seminar, and its follow-up the Theatre Course ’83, I feel I can make a little contribution to achieving a ‘dramatic balance’ to this NODA NEWS. I have been connected with this one-week NODA Drama Course – held in Bristol in July – every year since 1978, first heading the Director’s Course, then becoming Vice Principal to Lynn Britt and, following Lynn’s move to the States, succeeding her as Principal of the Course. For those who have never been, perhaps you’d like to know a little more about it? TOP NOTCH TUITION Each year we endeavour to extend skills already learnt, introduce new areas and new ways of working, and consolidate on the disciplines of the theatre. The course is hard work, the time-table is full, but what’s the point of spending valuable money if you don’t receive top-notch tuition and a comprehensive time-table? The course has been found to be very friendly, and deliberate but unobtrusive methods are employed to ensure a constant exchange of views and to question, question, question all ways of working. Since my connection with the Course I have witnessed a greater appreciation

of these two dual roles – flexibility of approach, coupled with the discipline required of the actor, dancer and director. I’ve also witnessed the rather shattering experience, for some, when confronted with classes on Shakespeare or eventually, with their newly acquired knowledge, they find acting even more exciting than before. That is the purpose of any vocational course, whether we earn our living by our art or just do it to learn, improve and find a greater level of enjoyment. BUILD ON TALENT The course is not designed to shatter or defeat confidence but to build upon natural talent and to learn technique in order to forget it – just like walking. The course has a highly professional approach worthy of the high ‘professional’ standards of the amateur theatre. July ’82 had classes on ‘Shaw and Melodrama, Pantomime and Greek Theatre: July ’83 plans to feature – in addition to the usual voice and speech classes – Historic, Dance and classes in Modern Dance for those who wish, and the main text study will be Alan Ayckbourn’s Comedy. Time is set aside for socialising and last year, following the screening of the third episode of the T.V. comedy series ‘REP’, in which I played the ‘leading man’, we all trooped off to Cadbury Court country club near Bristol for dancing and swimming.

WIDE AGE RANGE The course attracts and intake with an age range from 16 to 70+; there is of course a welcome regular contingent. I have an adopted Mother in the person of Julian Ackland who is connected with a small Dramatic Society in Cumbria. Julian, I hope she won’t mind, belongs to the “mature” category of students and has displayed an infinite capacity for compassion, tenderness and truth in her work. On a Drama Course one essentially learns a lot about people as well as lines. This regular contingent is in no way divisive and hopefully will never become so – to learn our craft, the emotions of the character as seen through the words of the playwright, demands that we be open and accessible to all. In hope July ’83 will benefit from more members of NODA who wish to learn about the ‘Dramatic’ part of the Association, but beware …I’m about to depart for the USA with two of my productions, travelling via the QE2, so don’t be surprised if I tell a few nautical stories in Bristol next July! Looking forward to seeing as many of the membership as possible! Brian Carter

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01/01/2012 17:00

NODA Insurance

Abandonment: Feeling the effect of extreme weather NODA Insurance examines the impact of heavy snow and ice on the abandonment of productions Picture the scene A society has spent the last few months planning, preparing and rehearsing for its next production. Opening night is a few days away, and Britain is gripped by yet another big freeze with heavy snowfall threatening to throw all of the hard work out of the window, not to mention the financial implications of having to abandon performances or even the whole production. Cast and crew may struggle to get to the theatre, but as stakeholders in the production you may find a way of soldiering on. However, the paying public may not take quite the same view and think better of making the trip. With all this in mind what are the implications for the production but also the financial position of the society?

important to remember that abandonment is based on actual costs incurred and not anticipated income, such as ticket sales or other peripheral sales you may generate during a production. All May Not Be Lost Whilst extreme winter weather is one example of where abandonment may be the only option, NODA Insurance will do its utmost to help you avoid abandoning a performance or production. In the event that you would need to cancel as a result of the absence of a principal performer, musical director, choreographer or producer being unable to appear, then as an alternative to abandonment, we will pay for a replacement, up to a maximum of £400 per person.

Lessons learnt The more extreme winter weather we have witnessed in recent years has increased the potential for claims, which once again highlights the importance of having adequate insurance cover for your society. In this instance it is the abandonment section that comes under scrutiny, and while the standard policy includes up to £1,000 for each production, it is important that you understand the total cost of any one production and how this translates into obtaining the correct level of cover for your society’s particular requirements.

In time of need It is gratifying to know that in time of need NODA Insurance is on hand to help and assist NODA members, which is the point of insurance. However, it is the experience, knowledge and strength in numbers that enables NODA Insurance to do this on behalf of members, and this is not to be taken for granted. If you are not insured through NODA Insurance it is important to check the extent of your policy and make sure that it provides the cover you need. Not all policies offer a comprehensive package as standard, which may only come to light when you need it most. For more information on abandonment, any other aspect of cover or NODA Insurance in general, then please do not hesitate to contact us on: 0845 130 1368.

Don’t abandon Abandonment As mentioned above the abandonment section provides £1,000 as standard but can be increased to suit your needs. The sum insured needs to relate to the total costs of the production, not just an individual performance within a production. As an example, if the production is running for 10 nights at a cost of £1,000 and two performances had to be abandoned then you would only be able to claim £200. If the entire production had to be abandoned then you would be entitled to claim the full amount. If, as a society, you embark on multiple productions throughout the year you need to consider the cost for the most expensive production and select accurate sums insured accordingly. It is also

NODA Insurance Arranged through:Lloyd & Whyte Ltd, Affinity House, Bindon Road, Taunton, Somerset TA2 6AA Tel: 0845 130 1368 Fax:01823 271 668 Email: noda@lloydwhyte.com Web: www.nodainsurance.co.uk NODA Insurance is a trading style of Lloyd & Whyte Ltd, used under licence from the National Operatic and Dramatic Association. Lloyd & Whyte Ltd are authorised and regulated by the Financial Services Authority. An alternative telephone number is available: 01823 250700. Calls may be recorded for use in quality management, training and customer support.

Abandonment at a glance • £1,000 as standard The NODA Insurance package includes £1,000 as standard, but remember to calculate the actual cover you need accurately. • Production not performance The sums insured you select for abandonment must cover an entire production not just one performance. If you are looking at multiple productions throughout the year, base your sums insured on the most expensive. • Actual costs not anticipated sales Abandonment only covers actual costs incurred and will not cover anticipated ticket sales or other revenue you may have generated from a production. • Terrorism included Terrorism has been a real threat in recent years and Abandonment as a result of this is included under the policy. • Open air performance Abandonment is available as standard for open air performances. However, abandonment due to weather is not covered in this instance. • Up to £400 additional expenses To help make abandonment a last resort NODA Insurance can offer up to £400 per person to replace individuals unable to fulfil their role, such as principal performer, musical director, choreographer or producer. For full details please view your policywording or speak to NODA Insurance 0845 130 1368.

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01/01/2012 17:01

NODA North

Tip Top Tappers Stepping Out For Charity and World Record Attempt With tap-dancing at the centre of their November 2011 drama production Of Richard Harris’ “Stepping Out”, Seaham Amateur Operatic and Dramatic Society decided to cram in as much practice as possible and attempt to secure a world record in the process. SAODS members participated in a national Tap-a-Thon event to raise money for Children in Need, which was organised locally by Noveau Fitness, and was held on Sunday 16th October at Easington Welfare Hall. The aim was to get 10,000 tappers from all across the UK dancing the same routine together in order to break the world record for the greatest number of people tap dancing at the same time. SAODS jumped at the chance to be involved, and the cast donned their tap shoes and danced in sync with the rest of the country to James Brown’s “I Feel Good”. The local world record attempt event raised £1166 for Children in Need, and the publicity generated for the society helped to ensure that “Stepping Out” was a sell-out show. Some group members had never tap-danced before, and society choreographer Irene Smith did a fantastic job in getting the whole ensemble ‘tapping’ in the tight rehearsal schedule, whilst also

Seaham AODS attempting world record ‘tapping’. Photo: Graeme Smith taking an acting role in the production. SAODS would like to thank local NODA representative Gordon Richardson for making them aware of the event, and also Bethany, from Nouveau Fitness, for

enabling them to take part in the Tap-aThon and enjoy the day. At the time of going to print, it has not been confirmed whether the world record attempt was successful.

Alnwick Stage Musical Society plans its 25th Anniversary Production It will be a case of déjà vu for Alnwick Stage Musical Society in May 2012 when it celebrates its 25th anniversary. The co-founders of the Society, local solicitor Norman Luke and civil servant Paul Toward, will be directing and musically directing respectively the show which was the first performed by the Society 25 years ago. Back then, Norman and Paul called a meeting at a local café in Alnwick to see what interest there was in forming a Stage Musical Society, and opted for ‘The Sound of Music’ as its first production. It was felt that men might be in short supply, but women plentiful! The first meeting was very well attended, and the show turned out to be a great success. The Society has since produced at

least one major musical each year and transferred from the Drama Centre at Lindsifarne Middle School in the town to the Alnwick Playhouse in 1991. Some of the original Sound of Music cast remain members of the Society, including its secretary Teresa McQuillen who played the part of Maria 25 years ago. A number of the postulants and novices will doubtless be dusting down their habits ready to take to the stage as more experienced members of Nonnberg Abbey. The Society marked its tenth anniversary with a lavish production of ‘Me and My Girl’, and year 20 was marked with a colourful staging of the circus musical ‘Barnum’. There was clearly a gap in the market in 1987. The town did not, at that

time, have a musical theatre group for adults. Alnwick Stage Musical Society has now produced most of the mainstream shows as well as some lesser-known musicals such as “Wonderful Town” and “Wild, Wild Women”. It is anticipated that a repeat of ‘The Sound of Music’ in May, buoyed by national TV coverage in the search for Maria, will attract large audiences. The show opens on Friday 18th May followed by performances on Saturday 19th May. The run then continues from Tuesday 22nd until Saturday 26th May. It will be a great way to celebrate the Society’s 25th birthday. Parties are planned for both opening and closing nights!

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01/01/2012 17:04

NODA North

Tees Valley Gilbert & Sullivan Society – 40th Anniversary Celebrations

FORTY YEARS ON, WHEN AFAR AND ASUNDER PARTED ARE THOSE WHO ARE SINGING TODAY, WHEN YOU LOOK BACK, AND FORGETFULLY WONDER WHAT YOU WERE LIKE IN YOUR WORK AND YOUR PLAY, THEN, IT MAY BE, THERE WILL OFTEN COME O’ER YOU, GLIMPSES OF NOTES LIKE THE CATCH OF A SONG – HOW WILL IT SEEM TO YOU, FORTY YEARS ON These lines, taken from the Harrow School song, were quoted by our President, Ron Galloway, in the programme for our 40th Anniversary show “The Gondoliers”. This show was specifically chosen in celebration of the fact that it was the very first of the G&S canon to be performed by what is now known by the name “Tees Valley Gilbert & Sullivan Society”. “New Society Sails to Success With Gondoliers” was the headline in the theatre section of the Middlesbrough Evening Gazette on Tuesday 6”` September 1971. Interestingly, just over the page an article referred to the antics of a rogue canoeist off the coast of Hartlepool – some things never change.

brain child of the late Greta Cook, a local music teacher & choir mistress renowned for her use of a knitting needle in place of the more normal conductor’s baton. In conjunction with ex-Savoyard Beryl Dixon (our first producer) they successfully presented the first of our five versions of this comic masterpiece of the Victorian era. In an echo of the Gazette’s report, we feel proud to report that this year’s production was received with equally effulgent praise – some were kind enough to say that it was the best yet! In March we celebrated our anniversary with a dinner at the Thistle Hotel in Middlesbrough and it was a great success and much enjoyed by all who were there. Here’s to the next 40 years. And next year’s production – “Princess Ida”, which we are greatly looking forward to since this will be only the third time in our history that we have attempted it. Gordon Smyrell

Above left: Picture of Gala night of the Gondoliers, 40th anniversary production, on Friday 7th October 2011. Back row: Alistair Bolton, Eilleen Whittingham, Sam Holden, Margaret Jones, Jorgen Palm, Frances Cook, Fred Piggford, Gary Winn Front row:Anne-Maria Jackson, Margaret Seaman (founder member) (copyright TV G&S Society). Top right: Gretta Cook (first MD) (copyright TV G&S Society). Below right: Beryl Dixon (first Director) (copyright TV G&S Society)

The new society referred to was the Rosedale Gilbert and Sullivan Society, the

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NODA North

100th Birthday for Whitley Bay Operatic Society When people reach their 100th birthday they normally receive a letter from the Queen. But when Whitley Bay Operatic Society celebrated its centenary they got a letter from a different world-famous Brit – Lord Andrew Lloyd Webber. The music maestro personally wrote to Whitley Bay Operatic Society congratulating them on their anniversary. Lord Webber, who is the patron of the National Operatic and Dramatic Association, wrote to the group last month. Society chairman Stephen Mason said: “It was a real surprise to get the letter but it is a credit to all the hard work that everybody has done over the years. It’s quite an achievement really; Whitley Ops have been such a big part of the community for such a long time. They have brought joy and entertainment to thousands of people over the last century.” The society – which began life in the Livingston Hall in Whitley Bay – has survived two world wars, 20 prime ministers and several economic depressions. Betty Higgins, 81, who is a life member of the society and joined in 1945, said: “I think it’s wonderful we have kept going for this long. It takes a lot of hard work to put on a show, and to do this for as long as the society has is fantastic. So much has changed since I joined, but it’s lovely to see so many young and older people keeping the society going.”

One of the reasons behind the success of the society is the family mentality, with many of the cast having up to four generations involved in each production. Former chairman and secretary Grenville Jones, 73, said: “It is all about the family here, and when one joins, others follow. There are strong family links running through the society and I think this is part of the reason why this society is surviving when others aren’t.” Mr Jones – who joined the society in 1960 – had his son, daughter-in-law and three grandchildren all appearing at their centenary production of Carousel at the Whitley Bay Playhouse in November 2011.

Diary Dates NODA North Regional Weekend 16th – 18th MARCH 2012 This year the northern Regional NODA Weekend will be held in a new venue Ramside Hall Hotel Just off the A1M outside Durham. Friday 16th March Inter-Society Quiz Get your Society to form a team (or teams) together and come along and have some fun. Register your entry with Regional Secretary Pauline at pauline@nodanorth.org.uk Saturday 17th March Workshops ‘A Funny Thing Happened on the Way to the Forum’ All-day workshop on this fabulous show led by Marjorie Bolam Children in Theatre. Morning seminar on involving children in productions and keeping within the law. Presented by Margot Bland of the Durham County Children and Young People’s Services.

Caption: Whitley Bay’s ‘Jones family’ (Photo: Jim Graham) By permission of Evening Chronicle

Facebook and the NODA Website Afternoon session on all you need to know about IT, including browsing, what’s available, advertising your production and more, led by Gordon Richardson, Regional Webmaster. Dinner Dance Dinner with dancing to the ever-popular UTOPIA. Announcement of winners and presentation of trophies for the NODA North Programme and Poster Competition 2011 Sunday 18th March NODA North Annual General Meeting

Fred Piggford - NODA National President meeting with Whitley Bay’s secretary and director (from left to right) Chantal Cadle and Kathy Scott (Photo: Jim Graham)

Launch of the NODA North “ACADEMY AWARDS” A new concept to encourage and promote excellence, bring societies together, recognise outstanding performances and principally to enjoy an evening of presentations every year.

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NODA North

Making the transition from amateur to professional Laura Jane Matthewson became a member of Seaham Youth Theatre Group in 2001 at the age of 11 when a family friend who was involved with the society invited her and her older sister to join the ensemble of their upcoming production, ‘Joseph and the Amazing Technicolor Dreamcoat’. Her passion for performing became clear immediately, but it wasn’t until 2004 that she began to flourish as a principal performer, when a young director noticed her potential during one of SYTG’s Summer School projects. Never fully confident in her own ability, Laura Jane had always been content to remain in the chorus line, but with the support and encouragement of the group she took centre stage in the variety show ‘There’s No Business Like Show Business’ and has never looked back!

Laura Jane as Fairy Pureheart (Photo: Jim Graham)

She went on to play parts such as ‘Lady Jacqueline’ in ‘Me and My Girl’ and ‘Sharpay Evans’ in ‘High School Musical’; a show which she also choreographed. Laura felt the society played a big part in shaping her as a performer. “My family were a big influence on me musically from a young age” she says, “my Grandad in particular- we always used to sing songs from the shows, and watch Rodgers and Hammerstein videos together- but without Seaham Youth Theatre Group I would never have gained the confidence and experience to pursue a career in theatre. It was an amazing part of my childhood and I will always be grateful for the time I spent there and the lifelong friends I made.” In 2007, Laura Jane auditioned for The Royal Academy of Music in London and became the youngest student to ever be accepted onto the Musical Theatre course when she gained a place at just 17. Previous graduates of the school have included Sir Elton John, Katherine Jenkins and Mylene Klass. Upon graduating in 2009 she took on the professional name

Laura Jane as ‘Sharpay’ in Seaham Youth Theatre Group’s 2007 production of High School Musical (Photo: Gordon Richardson)

Laura Jane Matthewson in honour of her late Grandfather, James Alexander Matthewson, and began auditioning for work. She explained “I had a tough couple of years when I left drama school because this is a notoriously hard industry to break into and it can be disheartening at times. I played a few roles in fringe productions, cabarets and workshops whilst auditioning for professional work, but it seemed that every time I came close to landing a part I would get to the final few then not make the cut. It’s important to learn to use knockbacks to make you into a stronger, better performer but that’s not always easy to do.” Laura Jane’s first break came this year when she auditioned for ‘The Panto Factor 2011’, an X Factor style search to find a ‘Fairy Pureheart’ for Sevenoaks’ Pantomime ‘Mother Goose’ starring Lesley Grantham. Competing as one of nearly 200 hopefuls on the internet television series, she was chosen as one of 8 finalists to perform in a live finale at the Stag Theatre

in September, where she was announced as the winner onstage at the end of the show. Laura told us “I’m so excited to have the opportunity to work with such an amazing cast and production company on my first big job. The whole Panto Factor experience was a really positive one as it’s restored a lot of my confidence. I’m so grateful that I’m going to be playing a Fairy onstage for thousands of people this Christmas; singing and doing what I love instead of waitressing or spraying perfume in a department store! Hopefully this is just the beginning!” PANTO WEBSITE: www.sevenoakspanto.com where episodes of the Panto Factor can be found on the Panto Factor page, along with photographs and more information about the show, it’s cast and creative team. Fairy Pureheart photograph by Simon Cossons, copyright of Made With Magic Beans Productions

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NODA West Midlands

West Midlands - Councillor’s Notes Welcome to 2012! Since our last magazine in September the West Midlands Societies have been busy, the performance by the Societies I have visited continues to impress me and I am very appreciative of the invitations received. I have had the pleasure of three non-show visits, the first to Tudor Musical Comedy Society of Sutton Coldfield to the Dinner Dance celebrating their first 50 years, one of my predecessors as Regional councillor, John Richards, reminded me that he had attended that first production of No No Nanett. The dinner was attended by several members who had appeared in that first production and it was my added pleasure to be able to present Doreen Marlow with her 50 years gold bar. Nigel Gaunt, the chair of the Society and whose parents were founder members received the life membership of his society, it was totally unexpected and briefly he was rendered speechless. The second was to the AGM of the Coventry Musical Theatre Consortium

where I presented awards to the outgoing chairman, Alan Biddle and Treasurer Sandra Woods, both having independently deciding that after some 15-16 years now was the time to step down. Both received glowing tributes from the members present and personal mementos, a handmade baton for Alan and an inscribed crystal plinth for Sandra. The Consortium could well be a template for Amateur Theatre Groups elsewhere whether they be Music or Drama based. It allows them to work together for their common good and on occasions present a combined production whilst retaining their own unique persona. The big item on their agenda has been finding suitable and sustainable acting space for Amateur and small groups following the closure of the Theatre at the Technical College in 2008. During the meeting David Meredith and Claudia Temple gave a presentation on the Albany Theatre Trust which is being formed to reopen and run the Theatre, there is a longer piece about this elsewhere.

My third was to the first district meeting for societies and members in Worcestershire East (District 12), convened by Ian Cox and hosted by and held at Norbury Theatre, Droitwich. Some 15 members were present representing some 5 societies. The subjects raised were Challenges, opportunities, best practice, audiences and building for the future, matters which concern every society in these difficult times. There was a discussion on ticket pricing and the incentives used by some societies and the rates of subscription charged and the variations adopted. An interesting and useful forum which looks like being repeated. Michael Hastilow Regional Councillor NODA West Midlands

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

Costumiers:

Ace Theatrical Costumiers Unit G, Crown Business Park, Dukestown, Tredegar Blaenau Gwent NP22 4EF Tel: 01495 350008 email: elande1@tiscali.co.uk Dress Circle Costumiers Brook House, Maldon Road, Witham, Essex, CM8 3HY Tel: 01376 515500 Fax: 01376 502101 www.dresscirclecostumiers.com Molly Limpet’s Theatrical Emporium Ltd 712 Chesterfield Road Sheffield S8 0SD Tel: 0114 250 0851 www.mollylimpets.com Northern Costume Hire Long Ing Mill, Long Ing Lane, Barnoldswick, Lancashire BB18 6BJ Tel: 01282 817351 www.northerncostumehire.co.uk Stage Costume Unit 2, Victoria Industrial Park Victoria Road, Dartford, Kent DA1 5AJ Tel: 01322 311787 Fax: 01322 311827 www.stagecostume.co.uk Triple C’s Costumes Clarkson Place, Dudley Road, West Midlands, DY9 8EL Tel: 01384 893911 Fax: 01384 892911 www.tripleccostumehire.com Utopia Costumes Utopia House, Academy Street, Forfar, Angus DD8 2HA Tel: 01307 468231 Fax: 01307 468600 www.utopiacostumes.com

Military Costumes

Scenery, Props etc: Albemarle Scenic Studio Unit C1, Prees Industrial Estate, Prees, Nr Whitchurch, Shropshire SY13 2DJ Tel: 0845 6447021 www.albemarleproductions.com The Border Studios Riverside Mill, Level Crossing Road, Selkirk Scottish Borders, TD7 5EQ Tel 01750 20237 Fax 01750 20313 www.borderstudio.com Clifford and Brown Unit E, Weddington Industrial Estate Weddington Terrace, Nuneaton, CV10 0AP Tel/Fax 0247 6346742 www.clifford&brown.co.uk Howorth Wrightson Ltd Cricket Street, Denton, Manchester, M34 3DR Tel 0161 335 0220 Fax 0161 320 3928 www.hwltd.co.uk Prosceneium Ltd Sladen Wood Mill, Todmorden Road Littleborough, Rochdale, OL15 9EW Tel 01706 377226 Fax 01706 371953 www.prosceneium.co.uk Scenic Projects The Studios, London Road, Brampton, Suffolk NR34 8DQ Tel: 01502 575000 Fax: 01502 575840 www.scenicprojects.co.uk Scenery Hire Ltd Scenic & Property Hire, Unit 2, Usk Way Industrial Estate, Newport, NP20 2HZ Tel: 01633 262 728 Fax: 01633 244 104 www.sceneryhire.co.uk Scenechange Studios Ltd Unit D4 & 5 Palmers Brook Farm Park Road Wooton, PO33 4NS Tel: 09183 883930 www.scenechangestudios.co.uk

The History Bunker Ltd 263A Whitehall Road Leeds, West Yorkshire LS12 6ER Tel: 0113 220 5881 www.thehistorybunker.com

Lighting and Sound: Northern Light Assembly Street, Edinburgh EH6 7RG Tel: 0131 622 9100 www.northernlight.co.uk Tony Atkinson and Associates Lime Kiln House, near Piercebridge Darlington, Co. Durham, DL2 3UJ Tel: 01325 374790 www.atkinsound.co.uk

Ticket Printers: Just Tickets Unit 15, Greys Green Business Centre Rotherfield Greys, Henley on Thames, RG9 4QG Tel: 0845 126 0631 Fax: 0845 833 0646 www.just-tkts.com

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

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

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01/01/2012 17:21

NODA West Midlands

‘A Furnaceman’s Dream’ – The Journey to Performance! storm became an historical event from 1801 which flooded the furnace and caused it to explode, Puck and Ariel were the best of friends and the Mechanicals became industrial workers with Black Country accents! Songs from the shows were specially arranged with choral harmonies and used to reflect the moods as the Dream developed. Visits were made to working iron foundries and visual sequences filmed for backdrop projection. Costumes were designed, bought and made to represent the regency period in flame colours as befitted a Furnaceman’s dream.

Last weekend, 12th & 13th November, TADLOP (Telford And District Light Operatic Players) performed ‘A Furnaceman’s Dream’ in the Engine House at Enginuity, one of the Ironbridge Gorge Heritage Museums as part of the RSC Open Stages project. This unusual theatrical experience brought together dialogue from three Shakespeare plays, songs from musical theatre and the rich local heritage of Abraham Darby’s blast furnace and Ironworks.

the inclusion of musical numbers.

It all began in March 2011 when I happened to visit the NODA website and casually caught site of an article about the RSC Open Stages project. Interesting! Challenging! These were just some of the thoughts that sprang to mind! At the same time and unknown to me the TADLOP committee, through their NODA affiliation, received more detailed information from the Royal Shakespeare Company about the same project and had similar thoughts. And so the seeds were sown!!

“Productions should be ambitious, not necessarily in size but ideas. Performances maybe site specific e.g. outdoors, in the crypt of a church, a castle or a disused factory.”

I consulted with Lydia Chapman, a potential Musical Director with a great knowledge of the Musical Theatre genre and at her suggestion started to look for interesting dialogue and themes related to the Immortal Ethereal Beings of Shakespeare. Oberon, Titania, Puck, Fairies, Witches, Ariel and the wizardry of Prospero all presented themselves but we needed a plot, something to link these beings together and provide themes for

From A Midsummer Night’s Dream comes the observation that “the course of true love never did run smooth!” – a concept which transcends time, place and peoples and lends itself to illustrating the interference of the supernatural, as in the basic plot of that play. We had a skeleton plot to work with! And so back to the original RSC Open Stages inspiration:

This prompted thoughts about our own local heritage – Ironbridge Gorge and our links to the birthplace of the Industrial Revolution. We sought help and advice from the Museums Trust and came up with a venue large enough for 200 people – the Engine House. It was a large empty space with its original walls, beams and open roof space. It had an interesting balcony and staircase but probably the worst acoustics in the town for unamplified speech. Quite a challenge!

As the cast assembled it was obvious that they were all newcomers to performing Shakespeare. Together we all took the plunge and benefitted greatly from the approaches learnt by some key members at the Open Stages Regional workshops and shared at our own rehearsals. Gradually, by playing games and having fun, fear of the text was removed. The whole project has been a great piece of in-house teamwork from producing script, arranging music, designing and making props and costumes to owning and developing individual character portrayals. All of which could not have been achieved without the support of the RSC Project, our local community and the Ironbridge Heritage Museums. A truly unique and memorable experience for all of TADLOP and, we trust, our two capacity audiences. Sue Pointon Production Director

The script came together by layering and over-laying the original dialogue for our characters from A Midsummer Night’s Dream, The Tempest and Macbeth with only a few minor ‘tweakings’, Prospero’s

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NODA West Midlands

Albany arises in Coventry When Coventry Technical College closed its doors in 2008, the College Theatre, home to amateur groups in Coventry and neighbourhood for over 70 years was lost to the community. That left just the City’s Belgrade Theatre, too large for many and too expensive for others. But the 1930’s Art Deco style theatre is not lost forever, in an enlightened move Coventry City Council entered into a section 106 agreement, the provision in planning law that allows councils to require developers not only develop for their advantage but to do something for the benefit of the community, in many instances resulting in landscaping, creating parks or public art and in this case for the developers to restore the Theatre to working condition. Work has already commenced on the Albany Theatre , as it will be known, which sits at the hub of a development to include a Premier Inn, food and other retail outlets. At the Annual General Meeting of the Coventry Musical Theatre Consortium David Meredith a founder member of the Albany Theatre Trust presented the vision describing The Albany as “the theatre for the community we create, he outlined the organisation and actions necessary to translate the dream into practical reality. Despite the closure , the Theatre is in a fundamentally sound condition with much of the former seating and

backstage equipment still in place . A new air-handling system has been installed but much work needs to be done and everything will need to be checked. When the 650 seat capacity Albany Theatre reopens, the challenge for the Trust is to run a sustainable operational theatre that not only acts as a venue for comedy, drama, music, educational, multicultural and musical theatre, opera,

and youth theatre, the whole panoply of the performing arts. – but also acts as a sponsor and patron of community arts projects. To achieve these aims the Trust is looking to build a network of support: anyone interested in contributing to this ambitious project is invited to an open meeting planned for Sunday January 22nd. The trust will publish further information on their new website www. albanytheatre.co.uk.

DID YOU KNOW? NODA Subscription rates 2012

New rates were agreed at the NODA AGM in September and are on the NODA web site (www.noda.org. uk). NODA has introduced a new category of membership for Schools and Colleges and two additional bands for society members. Band AA for societies which will not be performing (and thus no box office) in 2012 and Band E for societies whose box office exceeds £50k pa.

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NODA South West

Kidz R US - Boys Leaping from ‘Footloose’, April and August 2011 (Photo: Phil Barnett)

And a few words from South West’s Editor After a packed section in December, we don’t have quite as much to present from the South West for the new magazine format this month. In keeping with the ‘Amateur Stage’ focus on Drama and the RSC Open Stages Project, we have a big article on Holt Dramatic Society and their entry ‘Three in a Bard’ which was created by the cast themselves through a series of improvisation workshops. We also have our ‘Report of the Month’ on the Gadzooks Theatre Company’s production of ‘Doctor Faustus’

Society may be considering to do. Please, please do continue to send me your top society stories, photos, posters and news so that we can present a greater real flavour of what’s going on in the South West. This is very much your magazine! Matt Heaton NODA South West Regional Editor (email: heatons@btinternet.com)

We aim to have more articles and pictures from all over the South West region for February, including our regular features profiles of your district representatives and societies, ‘top tips’ on parts of Amateur performing that affect us all and a section on popular shows at the moment that your

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NODA South West

‘Three in a Bard’ Or... Doing Shakespeare Yourself We talk to John Palmer of Holt Dramatic Society, writer and director of ‘Three In A Bard’ who describes how they put together their own characterisations and their own script for the RSC Open Stages Programme, as well as their ‘top tips’ are for anyone else considering such a project. Who are Holt Dramatic Society? Holt is a small village in Wiltshire, with a population of around 1700, 10 miles south east of Bath. The Dramatic Society has been going for over forty years and is a key part of village events and village life. It has a strong local reputation and over 80 members from the village and surrounding area. It performs a wide variety of plays - light-hearted, serious, and sometimes controversial and in a variety of venues, including the Village Hall. It performed its first-open air Shakespeare production in 1979, which has carried on every other year until the present day. What is ‘Three In A Bard’? ‘Three in a Bard’ is a new comedy, written for 19 characters with interweaving plot lines from A Midsummer Night’s Dream, Twelfth Night and Measure for Measure. Set in the present day, the action takes place over a working week in the offices of the fictitious ‘Mizbec International’, culminating in its 35th Anniversary Party. It is a tale of office politics and office loves, with a ‘play within the play’ thrown in too. Though the language is mainly present day, the style and the characterisations are all quite clearly Shakespearian in origin. How did the Project come about? John Palmer trained in improvised drama in the late 1960’s and ran his own drama workshops before developing a play collaboratively (entitled Amo, Amas a Marriage) through improvisation, character development and, finally scripting. Having long wanted to have another go at this approach, the opportunity presented itself at Holt when John set up a series of drama workshops in March 2011. The working title at this stage was ‘Swonk Dog’ (reading it backwards will explain!) because he had no idea where it was heading as he wanted to write a play around the characters developed by the players. The announcement of the RSC’s Open Stages programme a couple of weeks into this process was a happy

coincidence and with John’s lifelong affair with Shakespeare, it was an excellent opportunity to meld the project with Shakespearean text and plot lines, once the pitch was accepted. This has also given them the huge benefit of ongoing support and ‘skill share’ workshops from the Nuffield Theatre, Southampton. How did the Players develop their own characters? John started with some group improvisation exercises over 10 weeks, using an ‘Audition for a Panto’ and an ‘Art Student Exhibition’ as scenarios to allow the players to develop their characters, drawn from their own experiences and styles. Some found the time commitment involved difficult, whilst some others found the need to reveal features about themselves in this type of activity a little threatening. However, by the end of the spring, John had 19 sharply drawn characters (15 women and 4 men) all of whom had to be incorporated (no more, no less) into a play that met the Open Stages criterion of having a strong and

innovative Shakespearean theme. How was the Script written? This was the most difficult and even frightening moment in the whole process, though the challenge was an intellectual one. John focussed entirely on writing a detailed synopsis and during a three-week period of intensive reading and musing came upon the idea of using the Measure for Measure plot line as the stabilising structure for the whole piece. He had already identified that he wanted to use a group of actors putting on the ‘Pyramus and Thisbe’ scene from A Midsummer Night’s Dream and this quickly fell into place, along with the Oberon/Titania/ Bottom/Puck sub-plots and the Belch/ Auguecheek/Feste/Malvolio sub-plots from Twelfth Night. With this, the next two months was engaged in the far less stressful task of writing and, despite the initially problematic imbalance in the sex of his players, it all came together quite agreeably. It was important to celebrate the language of Shakespeare, whilst not trivialising or overdoing it. What were the biggest challenges in putting this production on? The nature of the piece made it very technical, with over 20 scene changes and 40 sound and lighting cues. The need to retain the ‘truth’ of each character whilst serving the demand for pace was difficult and on a small village hall stage required a backstage technical team a large as the cast itself. What was the high-point? The way the first night premier went and the reaction of the audience – made up of an eclectic mix of seasoned Shakespeare watchers and the completely un-initiated and curious! For John as a writer, it was wonderful to see such enthusiastic enjoyment of the piece as a contemporary comedy in its own right and the frisson

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NODA South West

3. Take care. Do take care with improvisation as an approach and handle it sensitively. It can take performers on a wonderful journey, but when people bring a part of themselves to a role and open up it can make them a little more emotionally involved at times. If you’ve not used to running such workshops, then please do get some trained help to get it right.

Georgie Parkin (as Roxie Robbins playing ‘The Moon’). Photo: John Palmer

of recognition by many in the audience as the many plot and character parallels emerged. All three evening performances sold out - and the matinee had a decent house too.

What’s next for ‘Three in a Bard? The performance was assessed on 19th November by the Participation Director at the Nuffield Theatre and the details have gone up to the RSC. Holt are waiting to hear whether or not they are chosen to represent the South West region at the RSC’s World Theatre Festival being held in Stratford upon Avon to coincide with the London 2012 Olympics. They will also be performing a 20 minute extract at the Open Stages Regional Festival at the Nuffield Theatre in June 2012. Even if nothing else happens, the whole seven month experience has been both

thrilling and fulfilling and none of the cast and crew would have wanted to have missed it. What does Holt as a Dramatic Society get out of being in NODA? John believes Holt benefit from the constructively critical reporting on their productions by qualified and fair-minded representatives. They have the opportunity to network with other groups in their area also have access to the workshops run under NODA’s auspices which are very useful in building the skills sets of our members - whether on stage or behind it. What more can NODA do, to get more Dramatic Societies involved? John believes the best way for NODA to do this is to engage more Dramatic Societies ‘on the ground’. Holt is covered by District 10 in the South West and feels that the direct support and involvement from their District Representative has made a big impact upon their desire to be part of NODA.

How have the Cast responded to it? Because of the nature of ‘Three in a Bard’, this was the cast’s play - from bottom- up as it were! They have had a blast! Would John do it again? Not until he’s had a little lie down…. What are the Do’s and Don’ts for other groups thinking of writing and delivering such a production? 1. Give it time. There are three phases: improvisation and drama workshops to weld the group, build trust and technique and create characters and ideas for plotting; conceiving and writing the resultant play; rehearsing and putting on the play - which as a phase in itself takes as much time as any other production. The long term commitment of all those taking part is essential. 2. Make no promises. If you’ve never worked in this way before, take the pressure off yourself by making yourself no promises! Run a series of improvisation workshops with someone with some experience of the relevant techniques and see where it takes you. The journey is as valuable as any product. If a performance piece - even a sketch or two - is the product then so be it.

Cally Smart (as Josie Martins – Malvolio/Titania) and John Fletcher (as Simon Auberon – Oberon/Belch). Photo: John Palmer

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NODA London

London Councillor’s Comment Hello and a Happy New Year to all our members, both Societies and Individual Members. 2012 promises to be a oncein-a-lifetime year for us in London. In the world of amateur theatre, of course, there is always something new and exciting going on but this year we have the added thrill of the Olympic Games. I wonder how many of you will take the opportunity to perform something relevant to the Games – a little Greek drama, a touch of open air theatre, a smattering of Greek tragedy – whilst not running into a heap of Greek debt!! Maybe arrange a fundraising Greek evening with a meze supper! There are all sorts of possibilities to reflect the historic elements of the event. Can you imagine what a challenge it would be? I hope that when I read the reports that are sent to you by your Regional Reps, there will be a few groups who have taken up the

challenge to really do something different, even if only in a studio production to test the water – I await with interest. I feel sure that if this is too big a risk there will be lots of references to all things Greek (or sporty) in the numerous pantomimes which will have been performed since the beginning of December, an opportunity not to be missed! At this year’s NODA Summer School there will be a course ‘Greek Theatre for the Modern Actor’ which will be for players and directors alike, so please check the NODA website for more information. Maybe we’ll meet up there! Jacquie Stedman, Region Councillor: 020 8529 3318 m: 07941 854164

From the London Editor A New Year and a new format magazine! As I’m sure you will read elsewhere in the magazine, as from January 2012 Amateur Stage will have a completely different look. Instead of featuring two NODA regions each month and your particular region three times a year, each region will get two exclusive pages each month, as well as the opportunity to feature articles elsewhere in the NODA section. As I’m sure you will appreciate, this will make life far more complicated for the printers, who now have to chase not two but twelve editors each month, and be equally challenging for editors who will now have to panic on a monthly basis, rather than once every three months. Therefore the deadline for all articles will be the 22nd of each month, for inclusion in the magazine six weeks later. So if you want something specifically in, say, the March edition, I need to have this by the 22nd January. The days of emailing an article the night before it goes to print are gone!

magazine, but all this information is still available on either the NODA London website, or the NODA national website. So the New Year’s Resolution is: think ahead! If you would like your society featured in the magazine, or would like to flag up a workshop/fundraiser you are organising, please let me know in good time. Photographs are always welcome, but must be high resolution in order to reprint – at least 300kb. And please, keep the articles coming in. I have been really impressed and proud of the standard of writing and the variety of interesting articles we have had. Please don’t think because there is less space we don’t still need them. May the New Year see successful productions, full houses and money in the coffers. Rosemary Roberts, Editor: Roberts.noda@btconnect.com; 01628 636984

Some of the features you are used to seeing, such as the London Regional Committee contact information and Show Reports will no longer be featured in the

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NODA London

Group Profiles. District 1 the City & Central London Tony Sweeney, Area Representative for District 1 profiles London groups from his district.

For the past three years I have been fortunate and privileged to be the NODA regional representative for District 1 – the City and Central London. The role is an interesting and diverse one. The most visible aspect is that I attend performances and write a constructively critical review which hopefully gives the group an unbiased and dispassionate assessment of their work and how it is perceived, at least by me. However, I see the role as much broader than that in that I want to support the groups in any way I can and we have been working together on this aspect to develop ideas, hopefully this makes it more useful for all. The area covers what you would expect but extends west to Ladbrooke Grove and south to Balham and Wandsworth. It is unique since it is the only part of our region that includes the capital’s congestion zone area, as well as having the considerable riches of the West End as competition on the doorstep. For the last year I have also been covering for vacancies in other areas which has also helped me gain a wider view and understanding of NODA in London.

I would like to take this opportunity to tell you briefly about the groups that make up my home ‘beat’, the work they do and the background they work within. Firstly the area, central London, is also unusual in that potential audience members will not always be resident in the area. The majority of inhabitants of the city commute from the suburbs, and so the groups need to engage a wide range of individuals most of whom will be travelling at least after the shows. As well as the draw of the West End with its ability to offer discounted tickets there is also a strong fringe and student element within the area. Yet even against this background the groups continue to attract substantial audience numbers from loyal and discerning individuals mainly due to the consistently high quality of work they produce. Indeed audience numbers seem to be not only holding up but actually growing. The use of innovative marketing and booking arrangements has helped in what is a highly competitive environment. However, from the moment you arrive at the door and are made to feel both

welcomed and valued till the final curtain falls the pleasure these amateur players give is second to none. Centre Stage (formally BT Centre Stage) Founded in 1966 Centre Stage has been entertaining London audiences for well over forty years. They tend to stage musicals and cabarets, ranging from the less well known examples such as ‘Bat Boy’ or ‘The Fix’ to classics such as ‘Calamity Jane’ and ‘Anything Goes’. The shows are always performed with enthusiasm and draw on a considerable bank of talented individuals both performers and technical crew. The group perform mainly at The Bridewell Theatre Blackfriars and other locations in the central area. Website www.centrestagelondon.co.uk: Booking centrestagelondon@yahoo.co.uk Geoids Again this group specialise in musicals and draw on a wide variety of different types from the Hollywood blockbusters to ‘Lust’ to meet the demands of their audiences. The post show audience reactions are always positive and you can judge a lot from the buzz when leaving the theatre. They perform at a number of locations in the central area, including The Winterflood Theatre Blackfriars and the London Oratory. The repertoire also includes a number of extremely entertaining concerts. Formed in 1930 the group has a strong tradition and demands high standards from its members both on and off stage. Website www.geoids.org.uk: Booking geoids@mogranch.demon.co.uk Southside Players Southside Players were formed in 1987 and have been providing superb entertainment ever since. Specialising in drama ranging from to traditional to modern this group maintain a high standard and consistently enthral their audiences. They perform at Chestnut Grove School in Balham close to the station and hence having access to a geographically diverse audience. The school has an excellent theatre with all the facilities needed. Indeed many central London schools were built with such facilities which are unfortunately not always made available to groups. Strongly community based as shown by the number of local shops that display flyers as well as audience members who seem to return again and again. Website www.southsideplayers.org.uk

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New Stagers Formed in 1967 this group specialise in drama. Based in Wandsworth, SW18 at St Anne’s Hall these are one of south west London’s longest established amateur theatre groups, producing four shows a year, including a seasonal pantomime. They also perform at various venues in the area. Their repertoire is a wide one ranging across both mainstream and more experimental offerings and always performed with great passion as well as great acting talent. The group is strongly community based which is evidenced by the annual panto which is heavily supported by the local schools, scout and other community groups. Website: www.newstagers.co.uk: Booking NSTCbusiness@yahoo.co.uk Opera Integra Opera Integra was founded in 1971 by Brian Galloway who continues to provide his considerable musical skills and drive to the group. Originally known as the Addison Opera Workshop it continues now

as a self-financing group rehearsing on Thursdays 6.30pm to 9.30pm during term time at Colville School, Kensington, W11 The group perform grand opera mainly in St John’s Church near Ladbrooke Grove benefiting from some amazing acoustics and making it accessible to a wide and growing number of appreciative people. The group grows from strength to strength attracting a wide spectrum of individuals both as members of the audience and as performers. They also perform concerts in a range of settings which are well supported. Website www.operaintegra.org.ok Stock Exchange Dramatic and Operatic Society (Sedos) Specialise in both drama and musicals. The Society was founded in 1905 by a group of senior members of the Stock Exchange; they perform at the Bridewell Theatre Blackfriars and other locations in the central area. With a membership of over 200, a programme of around 8 to 10 challenging fringe theatre productions every year. Website www.sedos.co.uk

The recession has also seen a number of groups within the area drop out either completely, or from NODA membership and this is the sad reality of the times we live in. Rising costs and falling ticket sales have made life difficult for many in pursuit of this fabulous hobby. However, those groups who have coped with these problems continue to provide valuable and interesting entertainment to a very high standard as can be seen by the number and variety of awards and recognition they have won. I consider myself lucky to have such a varied and talented spectrum of performers and only hope my efforts can help them in some way.

St John’s (Sidcup) Amatur Operatic Society celebrates 60 years 1951 was a momentous year; the first ‘X’rated film was released in the UK, it was the year of the Festival of Britain, Kenny Dalglish and Kevin Keegan were born, and it also saw the first performance by St John’s (Sidcup) Amateur Operatic Society. The society originally grew out of the choir and congregation of St John’s Church, and we still have a few of our founding members as patrons. We currently produce two shows each year. Our main show in October is always a well-known musical or operetta, performed with a full orchestra, original sets, costumes and theatre-style seating. Each March we put on a revue-style show, devised by ourselves, giving all our members a chance to perform in a more relaxed atmosphere. St John’s started out as a Gilbert and Sullivan society, but in recent years we have successfully performed a number of other popular musicals, such as ‘My Fair Lady’, ‘Calamity Jane’ and ‘Fiddler on the Roof’. For our 60th anniversary show,

however, we returned to our roots, with our sixth production of ‘The Pirates of Penzance’. We are always on the lookout for new members, so if you would like to find out more about the Society, please visit our website: www.ssjaos.co.uk, or email us on mail@ssjaos.co.uk. Giles Cordwell Above left: Celebrating the 60th anniversary: Left to right are Thomas Kemp-Gee, Doris Taylor, Joan Tree and Kasey Smith, Top right: HMS Pinafore 2006 (photo: Francesca Harding), Mid right: My Fair Lady 2008 (Photo: SSJAOS), Below right: The Pirates Of Penzance 2011 (Photo: SSJAOS)

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NODA South East

Councillor’s Newsletter John W Barnes wish to talk to someone who has been before just let me know and I will put you in touch with one of our “ambassadors”. I am aware that some societies are worried about whether or not they will be able to continue due to the costs of putting on a production. It is a fact that majority of the patrons and members of societies are unaware of the finance that has to be found before the curtain rises, therefore putting something into the programme with facts and figures is, I feel, one way of drawing this to their attention. A Happy New Year to everyone in the South East Region! I hope everybody is aware that application forms for NODA Summer School and Bursaries are now available on the NODA website; if you have never been to Summer School before I recommend you look at courses available at Warwick University with its excellent accommodation and facilities. Should you

Reviews undertaken by your Regional Representatives are sent direct to the society for the benefit of all to read. The shorter reviews which were appearing in the magazine are now only on the Regional website, but if any member without access to the internet wants to have a printed copy, they should let me

Muses and memories Recalling past memories of one’s youth is not always in the best interest to others, because we can all do the same and bore the pants off of the reader. My earliest recollection of Gilbert and Sullivan was at the age of thirteen when my parents took me to Lewisham Hippodrome to see the D’Oyly Carte perform all the G & S Operas and The Carl Rosa Company perform all what I would judge to be the serious side of opera! This probably put me in good stead for what was to come later on in my life! Opera is not the easiest of the arts to follow. Music tends to illustrate more than the words in telling a story, as with the serious side of opera where words are usually sung in German or Italian which somehow gives a more romantic feel than when sung in English. Nevertheless we can thank Gilbert and Sullivan whose works are sung in English in England and we can follow their nonsensical stories from beginning to the end without undue hesitation. La Boheme is one of my favourite operas of all time with that haunting aria “Your Tiny Hand Is Frozen” which has me in tears

every time I hear it. Equally at the end of Gilbert and Sullivan’s Yeomen of the Guard – Jack Point’s dying of a broken heart, with that dramatic finale music, especially as portrayed by Alistair Donkin (ex member of the D’Oyly Carte Opera Company) whose performance at Devonshire Park Theatre with Eastbourne Gilbert & Sullivan Society in 2003 was overwhelmingly a real tear-jerker and when the final curtain came down – there lay Jack Point! Say what you like, but to me music from yesteryear’s operas will never be surpassed by any future composer however talented and I believe that Puccini’s music had cornered the market! Rummaging through the Archives of Gilbert and Sullivan Operas had me wondering how such a short list of operas could be so widely entertaining! It does not matter whether you see ‘The Mikado’ by several companies over a period of a year because every one of them is different - the music and words stay basically the same. The choreography can be changed to match the period whether it was performed at the original date or from the twenties to the present

know and I will arrange that for them. The Programme and Poster Competition now runs from 1 January to 31 December each year, so programmes or posters received from the beginning of this year will be judged early in 2013 and the winners in each category go forward to the NODA National Competition. In 2011, GDS Production from Gillingham, Kent, was Runner-up in the National Poster Competition! Judging of entries received during 2011 will soon commence with the winners and runners-up being notified later in the year. Remember this is your magazine so do let us have news items, photographs or articles of interest for publication. I look forward to meeting you and seeing your productions during the coming months. My sincere good wishes for 2012. day. The scenery is another burden on the pocket! Whether amateur societies can afford to hire scenery in this era due to the recession and rocketing prices is another matter. With our own company you have to imagine you are in a Courtyard in front of a Palace! You can, however paint the stage and hang different artifacts to give an appearance that you are in a Courtyard in front of a Palace! The costumes can be made by a very clever Wardrobe person, which luckily the Eastbourne G & S Society do have and each year as one production closes, this clever person is planning the costumes for next year’s show. The hire of the theatre is another problem and a recent report was received from NODA HQ about a Council who thought they could levy a cost of £17,000 to an Amateur society who had performed at that venue for many years and had even campaigned against its closure to some entrepreneur who wanted to build either a car park or more office space which nobody wanted. The Council in question denied the amount stated – of course they would! The company in question was putting on a Pantomime – sounds like the Council were putting on one, too! Gregory Gower

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NODA South East

Officials’ Badges

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National Operatic & Dramatic Association, 58-60 Lincoln Road, Peterborough PE1 2RZ NODA Jan 12.indd WALES JULY26 2010.indd 13

01/01/2012 17:23 17/07/2011 22:40:33

2:40:33

NODA South East

Rye Players Production of Up Pompeii the scheduled tour was finished. And so it was that, in October 2011, “Up Pompeii” would receive its non-professional debut in the beautiful East Sussex port of Rye.

Saluté! Choosing a suitable production is never easy for an amateur dramatic group. So it was for the Rye Players in late 2010, particularly as we had to follow a couple of popular and successful shows in “’Allo ‘Allo” and “Dad’s Army”. What could we possibly choose that would be fun for the cast, crew and audience, whilst continuing the genre of TV classics? “How about Up Pompeii?” somebody cried, and so the ball started rolling. To our delight we found that a stage adaptation did exist. But hope faded quickly as we discovered that, by coincidence, a professional production with Bruce James Productions was about to begin a UK tour. Ironically, the script had sat, unused for the last 25 years, since Miles Tredinnick had written it for Frankie Howerd. The planned West End run never materialised, due to Frankie Howerd’s untimely death. Nonetheless, we obtained an email address for his agent, Tessa la Bars, who kindly granted us a licence to perform the show once

We were even more delighted when we received an email from the author, Miles Tredinnick, wishing us well and asking if he could promote our production on his website. Of course we agreed and he even wrote some programme notes specifically for our production. Then he threw us a curve ball by asking if he would be able to attend a performance. So, there we were - the World non-professional premiere and the author in attendance. No pressure then! All the more unlikely then, that rehearsals turned out to be riotous fun with a script, already hilarious, that got even funnier as the characters and situations developed. Of course there were challenges, but positive directing and a strong cast made for a truly memorable show. All too soon, closing night was upon us and we were pleasantly surprised to be joined, during our pre show fish and chips, by Miles himself. We talked about the production and the fascinating story of how the show came to be written for, but never performed by, Howerd himself. We were overwhelmed by the responsive audience and positive feedback from many who saw the show, including Miles, who stayed behind after the curtain fell, to chat with all involved. He left us all with the abiding memory of a genuinely interested author, passionate about his work and keen to support a group of amateurs in bringing it alive.

DID YOU KNOW? NODA Limited

NODA has a trading company called NODA Limited, through which various services are provided to members including NODA Insurance, long service awards, licences to perform work which is exclusively available from NODA (panto’s, musicals, drama, and comedy) along with other products. The board of NODA Limited is: Melanie Troiano (Chairman) with other Directors, Chris Ingram (ex officio as Chairman of Trustees) Fred Piggford and Derek Grattidge (ex officio as President and Vice President respectively) Michael Hastilow (Councillor for the West Midlands) and Tony Gibbs (ex officio as CEO). Non-NODA directors are Michael Lees, Eric Smart and Del Dervish.

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NODA Scotland

Falkirk Operatic Society - Singathon! A novel way to raise much needed funds was the aim of Falkirk Operatic Society when the committee embarked on the annual exercise of fund raising. The 24 hour “Singathon” proved to be a popular venture with individuals attracting a healthy amount in sponsorship from family, friends, colleagues and acquaintances. The writer of this report ventured along approximately half way through the schedule and had the pleasure of hearing some well delivered music and in fact joined in and had a good sing! The participants had made themselves comfortable in the Church Hall with some make shift beds in place and were well placed for the long night ahead! Not to check that they did in fact earn the sponsorship, but to check out the impact of the marathon session on the singers, the writer also dropped by at 8 a.m. the following morning. Yes - the singing was going on, albeit not with the volume of the previous evening, and the somewhat worn out singers kept it going until the 9 a.m. completion time! Well done to all involved in this event which, as far as the writer is concerned, is a first for Scottish Area District 3. Jim Allardyce

DID YOU KNOW? NODA Summer School The new format and venue for NODA Summer School at the University of Warwick was very well received by students last year. Details of the 2012 NODA Summer School are now on the NODA web site at www.noda.org.uk NODA Summer School offers a week long residential experience from 4th 11th August 2012.

Editor’s Comments Welcome to NODA Scotland News within Amateur Stage. From this edition onwards NODA Scotland News will appear each month, instead of only the three months originally planned. Amateur Stage is an ideal platform for your regular marketing and publicity campaigns. Please send me at any time news, photographs, requests, events or celebrations that you would like to share or you think will be of general interest or application to the UK amateur theatre movement. Alan C Jones - alan@nodascotland.co.uk

Sounding the wrong note! Perth City Opera Group was performing its latest production of Carousel in the North Inch Community Campus, Perth, when an unwelcome “musical note” sounded out, causing mayhem to the performance. With just five minutes to go to the finale, the cast was about to launch into a stirring rendition of “You’ll Never Walk Alone” to close the show when, at that climactic moment . . . the scene was shattered by the sound of the campus’s full fire alarm system! Forced out into the cold night air, the cast, stage crew, orchestra, and audience, all assembled in the campus car park where, completely undaunted and in true “show must go on” spirit, the company completed the finale and even took their bows for the appreciative crowd!

The curse of College alarm systems continues to strike, and haunt, societies in District No. 2. Thomson Leng Youth Music Theatre was another victim of this fire alarm “curse” - they had just finished the first act of Little Shop of Horrors at the Gardyne Theatre, Dundee, when, during the interval, off went the sirens, sending the entire theatre and college staff and students out into the open air. After 10 minutes, the “all clear” was given and the college and show all returned to normal. However, this time it wasn’t a false alarm, it was a college student having a fly smoke in the gents’ toilets on the college’s topmost floor!! Silly fool! Roger Buist

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NODA Scotland

Programme and poster competition

Iain Hughes, Leven Musical Association, collecting a programme award at the National Conference at Durham.

Gill Brown, President, Downfield Musical Society, collecting the Thomson Leng Trophy for the Best Overall Poster at the National Conference at Durham.

NODA Scotland Annual Conference 2011

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NODA Long Service

The Following members have had their years of service to the amateur stage recognised by their Societies with the presentation of NODA Long Service Awards. Congratulations and thanks to them all.

NODA NORTH 70 Year Pin Oates, Miss K - Ferryhill Stage Society 65 Year Pin Sanderson, Mrs. G. - Darlington O. S. Diamond Bar (60 Years) Carr, Mrs. I. - Chester-le-Street A.O.S. Robson, Miss D. - Chester-le-Street A.O.S. Wells, Mr. I. M. - Durham M.T.C.

During their run of Jesus Christ Superstar, National President Fred Piggford presents long service awards to members of Felling Stage society for a combined 175 years of service. From left to right - Trevor Hopper, Moira Dunlop, Fred Piggford, Bea Atkinson, Beverly Brennan and Michael Green.

55 Year Pin Carr, Mrs. M. - Chester-le-Street A.O.S. Mewett, Mrs. E. W. - Tynemouth A.O.S. Fourth Silver Bar (45 Years) Atkinson, Mrs. B. A. - Felling Stage Society Burton, Mr. A. - Tynemouth A.O.S. Green, Mr. M. F. - Felling Stage Society Holt, Mrs. J. - Blyth Beaconsfield O. S. Redford, Mrs. H. - Blyth Beaconsfield O. S. Robertson, Mr. P. D. - Blyth Beaconsfield O. S. Rutherford, Miss A. - Ferryhill Stage Society Stephenson, Mrs. B. - Sunderland A.O.S. Watson, Mrs. A. - Hexham Stage Society Third Silver Bar (40 Years) Hartley, Mr. P. - St. Andrew’s G&S Society Polkingham, Mrs. J. - St. Andrew’s G&S Society Rae, Mrs. D. - Felling Stage Society Second Silver Bar (35 Years) Fawcett, Mrs. B. M. Holroyd, Mrs. K. - Blyth Beaconsfield O. S. Laws, Mrs. S. - Blyth Beaconsfield O. S. Sadler, Mrs. K. - Blyth Beaconsfield O. S. Simpson, Mrs. A. - Hexham Stage Society

Members of Murton & East Durham MTG receive their medals from President Fred Piggford (including Sixty year bar to Joan Brown) - as new Councillor Gary Winn looks on

First Silver Bar (30 Years) Dunlop, Mrs. M. - Felling Stage Society Hopper, Mr. M. - Felling Stage Society Newman, Mr. C. - Hexham Stage Society Swindells, Mrs. S. - Tynemouth A.O.S. Long Service Medal (25 Years) Brennan, Mrs. B. - Felling Stage Society Brown, Mrs. S. - Blyth Beaconsfield O. S. Stephenson, Mrs. N. - Tynemouth A.O.S. 20 Year Badge Ealy, Mr. T. - Blyth Beaconsfield O. S. Todd, Mrs. J. - Chester-le-Street A.O.S. 15 Year Badge Swirles, Mrs. K. - Chester-le-Street A.O.S. 10 Year Badge Maving, Mrs. I. - Chester-le-Street A.O.S.

St Andrew’s G & S Society organised a coffee morning as part of the publicity for their production of ‘The Grand Duke’. Jim Graham, NODA North Regional Rep for District No.1 was invited along to present medals to long-serving members of the Society. Jim is pictured after presenting (on his right) Paul Hartley, President and Musical Director, and Joan Polkinghorn, Membership Secretary, Silver Bars to their existing Long Service Awards, reflecting 40 years of service to their Society. Also in the photo is Ray Hammond, Chairman of the society.

WEST MIDLANDS 55 Year Year Pin Valerie Eaddell – North Staffs Operatic Society

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NODA Long Service

50 Year Gold Bar Dennis Price – Cradley Heath AOS George Dyke – Sutton Arts Theatre 45 Year Silver Bar Pat Perry – Quarry Bank Operatic Society 40 Year Silver Bar Kathryn Doody – Brownhills Musical theatre Company Pamela Maskerry – North Staffs Operatic Society Kathleen Dyke – Sutton Arts Theatre 35 Year Silver Bar Joan Perks – Cradley Heath AOS Kay Woodhouse – Cradley Heath AOS Phillipa Hickinbottom – Kinver Light Operatic Society Sue Atkins – Sutton Arts Theatre 30 Year Silver Bar Stephen Goddard – Astwood Bank Operatic Society Sarah Phillips – Hereford Musical Theatre Company Barbara Double – Hereford Musical theatre Company Beverley Rogerson – Hereford Musical theatre Company Julia O’Rourke – North Staffs Operatic Society Ian Crohill – Worcester Operatic & Dramatic Society 25 Year Silver Bar Audrey Taylor – Astwood Bank Operatic Society Colin Coleman – Brownhills Musical Theatre Company Jean Edge – Brownhills Musical Theatre Company Kathryn James – Brownhills Musical Theatre Company Richard Saunders – Centre Stage of Shirley Community Assoc Doug Steane – Hereford Musical Theatre Company Barbara Alliband – Kinver Light Operatic Society Joanne Probert – Quarry Bank Operatic Society Liane Hughes – St Augustine’s Musical theatre Company Anna Hough – Stourbridge AOS Lorraine Lovett – Stourbridge AOS Emma Mitchell – Stourbridge AOS Kathryn Trigg – West Bromwich Operatic Society Patricia Small – Willenhall OS Eileen Southall – Willenhall OS 20 Year Badge Elizabeth Broadway – Cradley Heath AOS Richard Cope – Quarry Bank Operatic Society Gillian Homer – Quarry Bank Operatic Society Sarak Clark – Sutton Coldfield Musical Theatre Company 15 Year Badge Stewart Vick – Astwood Bank Operatic Society Jean Geddes – Brownhills Musical Theatre Company Vicky Grice – Brownhills Musical Theatre Company Emma Newton – 15 Year Badge Victoria Cook – Kinver Light Operatic Society Tim McGuire – Kinver Light Operatic Society Andrea Spaull – Kinver Light Operatic Society Brian Spaull – Kinver Light Operatic Society Alexandra Detheridge – Quarry Bank Operatic Society Richard Ganner – Quarry Bank Operatic Society 10 Year Badge Paul Bailey – Brownhills Musical Theatre Company June Barry – Brownhills Musical Theatre Company

Richard Haines – Brownhills Musical theatre Company Norman Humphres – Brownhill Musical Theatre Company Kate Rock – Brownhill Musical Theatre Company Elisabeth Woodhouse – Cradley Heath AOS Pat Woolard – Kinver Light Operatic Society Terry Wheddon – Solihull Theatre Company 8 Year Youth Award Jacob Weller – Hagley Theatre Group Youth Section 7 Year Youth Award Becky McWalter – Hagley Theatre Group Youth Section Grant McWalter – Hagley Theatre Group Youth Section Beth Smith – Hagley Theatre Group Youth Section 6 Year Youth Award Hollie Jones – Hagley Theatre Group Youth Section Emma Knowlton – Hagley Theatre Group Youth Section 4 Year Youth Award Shaun Dodd – Hagley Theatre Group Youth Section 3 Year Youth Award Alex Talbot – Hagley Theatre Group Youth Section Matthew Evans – Kinver Light Operatic Society Joe Brown – Kinver Light Operatic Society Molly Wherton – Kinver Light Operatic Society

SCOTLAND 50 YEAR GOLDEN BAR Ayrshire Philharmonic Opera Society - T Davies Brock Glenrothes Amateur Musical Association - Margaret Dalgliesh 45 YEAR SILVER BAR Ayrshire Philharmonic Opera Society - Andrew Miller 40 YEAR SILVER BAR Angus Minstrels - Sheena M Seaton Johnstone Phoenix Theatre Group - Anna MacDougall 35 YEAR SILVER BAR Anstruther & District Amateur Operatic Society - Brodie Smith Ayrshire Philharmonic Opera Society - Isobel Miller Glenrothes Amateur Musical Association - Andrew Butchart Glenrothes Amateur Musical Association - Margaret Goldie Glenrothes Amateur Musical Association - Agnes Kirk May Glenrothes Amateur Musical Association - Janet Morton 30 YEAR SILVER BAR Downfield Musical Society - Lynn MacFarlane Johnstone Phoenix Theatre Group - Carol Thomson Kirriemuir Panto Group - Ian Taylor 25 YEAR LONG SERVICE MEDAL Ayrshire Philharmonic Opera Society - Michael Gibb Ayrshire Philharmonic Opera Society - Alison Smith Mummers Theatre Group - Anne Jo Gammon Mummers Theatre Group - David Russell COMMENDATION AWARD Johnstone Phoenix Theatre Group - Michael McCormick

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NODA Long Service

Long service awards (cont.) WEST MIDLANDS 50 Years Gold Bar Joe Dyke - Sutton Arts Theatre 40 Year Silver Bar Joyce Dyke - Sutton Arts Theatre 35 Years Silver Bar Joe Ellis - Sutton Arts Theatre Sue Atlkins - Sutton Arts Theatre

Paul Douglass, NODA Regional representative with medal recipients from Sutton Arts Theatre

15 Years Alan Berks - Trinity Operatic Society Nick Poole - Trinity Operatic Society

Michael Hastilow making a presentation to Sandra Woods and Alan Biddle on their retirement from Coventry Musical theatre Consortium

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Each month weâ&#x20AC;&#x2122;ll go digging through the archives to find something of interest.

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nostalgia

01/01/2012 17:32

NODA Obituaries

Mike Hinks Many of you knew Mike and several of you have shared your memories of him: It is a sad duty is to recall the death of Mike Hinks, for many years a district rep and Regional Councillor in the Midland Area before we split . He went on to become National President, we shall miss him and our love goes out to Wyn, his wife. By Michael Hastilow

NODA Past-President Mike Hinks It is with great sadness that we report the death of Michael Hinks after suffering a serious stroke. Mike Hinks became NODA Midland Area Councillor in 1998, the year that Newcastle Players joined the association, and he remained in that position until 2006 when the Midland area was split into East and West Midlands. Mike, from Derby, became the East Midlands Regional Councillor and the same year he was elected NODA’s National Vice-President, becoming National President the following year, at which point he relinquished the Regional Councillor’s post. Our prayers and sympathy are with Wyn at this difficult time. By Buffie Rowley The funeral of Mike Hinks took place at St Albans RC Church, Chaddesden, a suburb of Derby, on Tuesday 8th November. Robert and Janet Vaughan were there and this is Rob’s report:

The church was packed. It was an absolutely beautiful service. I have never heard a church sound so full of song. And there was a beautiful eulogy from Mike’s daughter Liz. It was just full of fun. It was a personal piece of course, but it was appreciated by everybody who was there.

Operatic Society for many years, many of them as Treasurer. He appeared on stage once in “Bob’s Your Uncle” and assisted “Front of House”. Dennis is sadly missed by all his family and friends.

I have never been to such a good funeral. On top of the order of service it said A CELEBRATION. And it was a celebration. It was a fitting tribute to a great man and we were glad to be there for it

Whitley Bay Pantomime Society

The man himself was a total gentleman. He and his wife Wyn were just a joy to speak to. We met them in Derby once and it was like we’d known them for 300 years the way they greeted us. We chatted to them for a good half hour. That’s the sort of people they are.We were the only ones from the Newcastle Players there but, if more people had gone, there would have been nowhere for them to sit. There were people standing as it was. It was lovely.

Jim Ward November was a bad month as we also have to record the death of Jim Ward a stalwart of Newcastle Players (Staffordshire) very active for nearly 40 years, his talents were wider than his society as he was a JP until age made him retire. The Catholic Church , of which he was a member, had in July awarded him the Papal Benemerenti Medal in recognition of his services to both Church and community. He will be missed by many but none more so than by his wife Christine , daughters Sarah and Helen and Granddaughter Emma. Our prayers and sympathy are with them all.

Geoff Thornton Whitley Bay Operatic Society Whitley Bay Operatic Society is sad to report the passing of past member Geoff Thornton in January 2011. Geoff was an active member for many years, both on stage and off, who served on the Committee as Secretary. He was a keen family man and is survived by his wife Jean and family Christine, Alison, John and Malcolm. He will be sadly missed.

Dennis Forster Whitley Bay Operatic Society Dennis was a loyal member of Whitley Bay

Joan Walton

Although Joan had not been in the best of health recently, and had been in hospital for a few weeks, it was still a shock to learn of her death on 17th October 2011. A Life Member of the Society, holder of a 40 year N.O.D.A. Long Service Award and, until this year Vice President, Joan was much loved and held in high regard by all our members, not only for her theatrical skills but also her wonderful smile and cheerful disposition. She first joined the society in the autumn of 1969 as Accompanist and Rehearsal Pianist for “Puss in Boots”, and continued to arrange the music and play for us until 1981 when she took over as Musical Director. In this capacity she chose, arranged and played all the music for our pantomimes, and continued to do so until just recently. In 1992 Joan began co-directing with Rowland Maughan, combining her wonderful music with production skills. The work and effort she put into this ensured that the Society’s productions maintained a high professional standard of traditional pantomime. After “Cinderella” Joan decided to step down, having given the Society over 42 years of dedicated voluntary work. We shall all miss her very much, but the legacy she has left us is invaluable. Our thoughts and condolences are with Di, Lou and all the family.

Kathleen Oates Ferryhill Stage Society It was with a mixture of sadness and joy that Ferryhill Stage Society bade farewell to its president at a moving and beautiful funeral service on Friday, 29th October, at St. Aidan’s Church, Chilton. The sadness was at losing our President and friend but there was joy in celebrating a life well lived. Kathleen Oates, resident of Chilton and member of the ‘Oates Garage’ family, died on Thursday 20th October after suffering a short period of ill health. She had been a member of the Society for a remarkable 70 years joining at the tender age of 14 along with her father, Bob. Thus began a love of stage and performance, which saw her undertake many comedy roles

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NODA Obituaries

and become a firm favourite with cast and audiences alike. She was the Society’s President for 20 years, during which she gave unstinting time and commitment. She was made an Honorary Member of the National Operatic and Dramatic Society, having served as Regional Representative for 25 years, and to mark her service to amateur theatre she was to have been presented with a 70-year Pin to her NODA Long Service Award at the NODA Annual General Meeting held in Durham last September, but ill health unfortunately prevented her from attending. Along with her dedication to the Society, Kathleen was a devout Christian and active member of St. Aidan’s Church. The packed congregation was a tribute to her and a measure of the esteem in which all who were present held her. She was a gracious, kind and wise person who lived her life to the full and will be remembered at FSS with the greatest pride and affection. May she rest in peace. (Elsie McGowan - Chairman of FSS)

Eleanor Barker Eleanor joined the Southern Light Opera Company in 1960 and took part in 23 shows. She was a strong chorus member but also danced and played minor roles. Unfortunately due to ill health she had to give up performing on stage but often came along to rehearsals and attended meetings to keep up with the company and its members. Laterally Eleanor was a regular at the Saturday matinees where she always came back stage bearing gifts and to meet her friends. It was with great sadness that we learned of her sudden death on 10 November. She was a lovely lady who will be missed by many.

As Musical Director for Kelso Amateur Operatic Society, he was still conducting rehearsals until it was physically impossible for him to carry on during his illness, although he kept in regular contact and determinedly attended two performances despite his ill health, wishing to thank his orchestra in person. Sadly at the age of 52 Andrew lost his fight with cancer still holding tightly to the conductor’s baton for Kelso AOS, enjoying his music to the last. The large attendance to Andrew’s funeral paid tribute to a very well loved and courageous man. He will be greatly missed by family, friends, colleagues and all whose life he touched. Deborah Lyon

Dorothy Johnstone

Andrew Bruce Andrew Bruce was a well known musician who played his trumpet for a great many Borders operatic societies for many years. He was a well loved character whose love of music brought much enjoyment and gave him a wide circle of friends.

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> 42nd Street

27 - 31 March 2012 The ‘tab’ Operatic Society Brierley Hill Civic Hall Brierley Hill, West Midlands 07722417962 www.taboperatic.com

Acorn Antiques The Musical

Annie Get Your Gun

12 - 17 March 2012 Hawick Amateur Operatic Society Hawick Town Hall Hawick 01450373363

21 - 24 March 2012 Eldorado Musical Productions Bob Hope Theatre Eltham, London 0208 850 3702 www.eldoradomusicalproductions.co.uk

Aladdin

13 - 18 February 2012 Luxulyan Amateur Dramatic Society Luxulyan Village Hall Luxulyan, Cornwall 01726 850515

Annie

14 - 18 February 2012 Tynemouth Amateur Operatic Society Playhouse Whitley Bay, Tyne & Wear 0844 277 2771 05 - 10 March 2012 Scunthorpe Amateur Operatic Society Plowright Theatre Scunthorpe, North Lincolnshire 01724277733 13 - 17 March 2012 Ashton-Under-Lyne Operatic Society George Lawton Hall Mossley, Lancashire 0161 456 6560

28 February - 03 March 2012 Wickersley Musical Theatre Company Rotherham Civic Theatre Rotherham, South Yorkshire 01709 823640 www.wickersleymusicaltheatre.org.uk

Annie Junior

15 - 18 February 2012 That’s Entertainment Haslingden Primary School Theatre Rossendale, Lancs 01706 214474

Babes in the Wood

08 - 11 March 2012 Bingley Amateur Operatic Society Bingley Arts Centre Bingley, West Yorkshire 01274 562988 www.bingleyamateuroperaticsociety.org.uk

Best Little Whorehouse In Texas, The 14 - 18 February 2012 Burton and District Operatic Society de Ferrers Acadmey Burton upon Trent, Staffordshire 01283 541552 www.burtonopsoc.co.uk

13 - 17 March 2012 Loughborough Amatuer Operatic Society Loughborough Town Hall Loughborough, Leicestershire 01509 231914 www.loughboroughamateurs.com

Blitz!

05 - 10 March 2012 Wombwell & District Amateur Operatic Society The Operatic Centre Barnsley, South Yorkshire 07905 764693 wwww.wombwelloperatic.com

Blue Hills Remembered

06 - 10 March 2012 Bohemians Lyric Opera Company Church Hill Theatre Edinburgh, Midlothian 07751282710

22 - 24 March 2012 The Dunmow Players Foakes Hall Dunmow, Essex 01371 874073 www.dunmowplayers.org.uk

22 - 25 February 2012 Weymouth Drama Club Warehouse Theatre Weymouth, Dorset 01305750050 www.weymouthdramaclub.co.uk

Brassed Off

13 - 18 February 2012 Little Theatre Gateshead Little Theatre Gateshead, Tyne & Wear 0191 4781499

Brigadoon

26 - 31 March 2012 Innerleithen and District Amateur Operatic Society Innerleithen Memorial Hall Innerleithen, Peeblesshire www.idaos.org.uk

Carousel

28 February - 03 March 2012 Selkirk Amateur Operatic Society Victoria Halls Selkirk, Scottish Borders 01750 21719 04 - 10 March 2012 Knowle Operatic Society Solihull Arts Complex Solihull, West Midlands 0121 704 6962 www.kosweb.co.uk

11 - 17 March 2012 Maidstone Amateur Operatic Society Hazlitt Theatre Maidstone, Kent 01622 758611 www.maidstoneoperatic.com

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

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Whitefield ADOS - Little Women. Photos: Martin Ogden Copacabana

06 - 11 February 2012 Cupar Amateur Musical Society Corn Exchange Cupar, Fife 01334 654187 www.cuparams.org.uk 28 February - 03 March 2012 Chelmsford Amateur Operatic Society The Civic Theatre Chelmsford, Essex 01245 606505

Crazy For You

13 - 17 March 2012 Carnoustie Musical Society Carnoustie High Scholl Theatre Carnoustie 01241 852715 www.carnoustiemuscial.co.uk

Curtains

13 - 17 March 2012 Hessle Theatre Company Hull New Theatre Hull, East Yorkshire 01482 300300 www.hessletheatre.co.uk

David Copperfield 21 - 25 February 2012 York Stage Musicals Joseph Rowntree Theatre York, North Yorkshire 01904 623568 www.yorkstagemusicals.co.uk

Dazzle

23 - 25 February 2012 SOSage Factory Solihull Arts Complex Solihull, West Midlands 0121 704 6962 www.solihullonstage.co.uk

Dick Whittington

07 - 11 February 2012 Circle Light Opera Company Highbury Theatre Centre Sutton Coldfield, West Midlands 0121 308 5522

28 February - 03 March 2012 Aberdeen Opera Company Aberdeen Arts Centre Aberdeen, Scotland 01224 704050 www.aberdeen-operacompany.com

Die Fledermaus

Eurobeat

20 - 24 March 2012 The Three Towns Operatic Society St Joseph’s Hall Leigh, Lancashire 01942 883722 www.thethreetowns.net

Disney’s Beauty and the Beast

14 - 18 February 2012 Bridgnorth Musical Theatre Company Bridgnorth Leisure Centre Bridgnorth, Shropshire 01746 763257 www.bridgnorthmusicaltheatrecompany.co.uk 07 - 10 March 2012 Eyemouth Variety Group Eyemouth (old) High School Eyemouth, Berwickshire 01890750585

Drowsy Chaperone, The 08 - 11 February 2012 Good Company Barn Theatre Oxted, Surrey www.barntheatreoxted.co.uk

22 - 25 February 2012 Fasten Your Seatbelts The Electric Theatre Guildford, Surrey 01483 444789 www.fastenyourseatbelts.co.uk

21 - 24 March 2012 Harlequin - Eastwood Theatre for Youth Eastwood Park Theatre Giffnock, East Renfrewshire 07593 093028 www.harlequinyouth.co.uk

Farndale Avenue Housing EstateTownswomen’s Guild Dramatic Society Murder Mystery

Footloose

13 - 18 February 2012 WOW (subsidiary of Witham Amateur Operatic Society) The Public Hall Witham, Essex 01376 512902 www.wow.org.uk

Full Monty, The

27 February - 03 March 2012 Melyncrythan Amateur Operatic Society The Gwyn Hall Theatre Neath, Neath Port Talbot 01639 635302 www.melyncrythanamateurosociety.weebly. com

Glass Menagerie, The

22 - 25 February 2012 Cromer and Sheringham ODS Sheringham Little Theatre Sheringham, Norfolk 01263 822347

02 - 04 February 2012 Writtle CARDS Writtle Village Hall Writtle, Essex 07742 301367 www.writtlecards.webs.com

Fiddler On The Roof

Godspell

12 - 17 March 2012 Maltby Musical Theatre Group The Civic Theatre Rotherham, South Yorkshire 01709 544148 www.maltby-mtg.org.uk

Follies

28 - 31 March 2012 HEOS Musical Theatre The Questors Theatre Ealing, Middlesex 07758841523 www.heos.org.uk

13 - 18 February 2012 Tiverton Junior Operatic Club The New Hall Tiverton, Devon 01884 253672 19 - 20 February 2012 Havering Music Makers Queen’s Theatre Hornchurch, Essex 01708 762256 www.haveringmusicmakers.co.uk 27 - 31 March 2012 Brynmawr Amateur Operatic Society The Market Hall Brynmawr, Ebbw Vale 01495 310989 www.brynmawr-operatic.btck.co.uk

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21 - 24 March 2012 Melbourne Operatic Society The Duchess Theatre Long Eaton 01332863030 www.melbourneoperaticsociety.com 29 - 31 March 2012 Gosforth Musical Society Jubilee Theatre Newcastle upon Tyne, 01912846615 gtms.pwp.blueyonder.co.uk

Gotta Sing! Gotta Dance! 29 February - 03 March 2012 Quarry Bank Opeartic Sopciety The Cornbow Hall Halesowen, West Midlands 01384 820902 www.qbos.org.uk

Groovy

23 - 24 March 2012 Glow Theatre Group Barn theatre, Oxted, Surrey 01883 720167 www.barntheatreoxted.co.uk

GUYS AND DOLLS

22 - 24 March 2012 Hillingdon MS Beck Theatre HAYES, Middlesex 0208 561 8371 www.hillingdonmusicalsociety.co.uk

Half a Sixpence (new version) 15 - 18 February 2012 Pendle Hippodrome Youth Theatre Pendle Hippodrome Theatre Colne, Lancashire 01282 699779 www.phtheatre.co.uk

Hello Dolly

11 - 18 February 2012 Clitheroe St. Mary’s Centre Clitheroe 07974 323832 www.thopera.co.uk 06 - 10 March 2012 Lancaster Red Rose AOD Society The Grand Theatre Lancaster, Lancashire 01524 64695 www.redrose.uk.net

Hi-De-Hi

13 - 17 March 2012 Halifax Thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998 www.halifaxplayhouse.org.uk

High Fidelity

14 - 18 February 2012 Theatreworx Olympus Theatre Bristol, South Gloucestershire 01454 773673 www.theatreworx.net

HMS Pinafore

Jack & the Beanstalk

26 - 31 March 2012 Melrose Amateur Operatic Society The Corn Exchange Melrose, Roxburghshire 01835 822425 www.melroseopera.com

Jekyll & Hyde

13 - 17 March 2012 Wakefield Gilbert & Sullivan society Theatre Royal Wakefield Wakefield, West Yorkshire 01924 211 311 www.wakefieldgilbertandsullivan.org.uk

Hot Mikado

15 - 18 February 2012 Cheadle Amateur Theatrical Society (CATS) Cheadle Community Theatre Cheadle, Staffordshire Moorlands 01538751173 www.cheadle-cats.org.uk

06 - 11 February 2012 Walton & Weybridge Amateur Operatic Soc Cecil Hepworth Playhouse Walton on Thames, Surrey 01483 770130 www.wwaos.org.uk

26 - 31 March 2012 Peterborough Operatic and Dramatic Society The Cresset Peterborough, Cambridgeshire 01733 265705 www.cresset.ticketsolve.com

19 - 24 March 2012 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507600350 www.louthplaygoers.co.uk

27 - 31 March 2012 Burnley Light Opera Society Mechanics Theatre Burnely, Lancs 01282 664400 www.burnleylightopera.org

Julius Caesar

Independent Means 21 - 25 February 2012 St Mary’s ADS St Mary’s Church Hall Preston, Lancashire 0370 770 5945 www.stmarys-ads.co.uk

INTO THE WOODS Jr

15 - 18 February 2012 Southside Players Chesnut Grove Theatre Balham 07914 657524 www.southsideplayers.co.uk

La Cage Aux Folles 26 - 31 March 2012 Hyde Musical Society Festival Theatre Hyde, Cheshire 0161 301 2253 www.hydemusicalsociety.co.uk

29 - 31 March 2012 Toppers School Of Dance and Drama The Beaufort Theatre EBBW VALE, Gwent 01495 304269

Keighley Playhouse. The Flint Street Nativity www.amateurstagemagazine.co.uk | 73 diarydec11.indd 7

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My Fair Lady

20 - 24 March 2012 Birmingham Savoyards The Old Rep Birmingham, West Midlands 0121 242 2791 www.birminghamsavoyards.org.uk

Small Hours, The

27 - 31 March 2012 Market Harborough Musical Theatre Octagonal Theatre Market Harborough, Leicestershire 07967 252823

Songwriters Album, The

La Vie Parisienne

27 - 31 March 2012 Plymouth Gilbert and Sullivan Fellowship Devonport Playhouse PLYMOUTH, Devon 01752 404971 www.plymouthgilbertandsullivan.com

Nightmare

07 - 11 March 2012 Heywood AODS Heywood Civic Hall Heywood, Lancs 01706 368904 www.heywoodaods.co.uk

14 - 17 March 2012 Callander Amateur Operatic Society McLaren High School Callander 01877 339760 www.callander-amateur-operatic-society. webs.com/

08 - 11 February 2012 Southgate Opera Wyllyotts Theatre Potters Bar, Herts 01707 645005 www.southgateopera.co.uk

Land Of Smiles, The 09 - 11 February 2012 The Operetta Company Trinity Church Bolton 01204 706531

Lights! Camera! Action! 22 - 24 March 2012 Tudorm Musical Comedy Society Streetly Community Centre Sutton Coldfield, West Midlands 07842 241631 www.tmcs.yolasite.com

Lord Arthur Savile’s Crime 29 - 31 March 2012 Blaby Drama Group Blaby Social Centre Blaby, Leicestershire 0116 277 1157

Man For All Seasons, A 29 - 31 March 2012 Loughton Amateur Dramatic Society Lopping Hall Loughton, London 0208 502 5843 www.lads.org.uk

Me and My Girl

19 - 24 March 2012 Milford Haven Amateur Operatic Society Torch Theatre Milford Haven, Pembrokeshire 01646 695267 www.mhaos.co.uk 20 - 24 March 2012 Peterbrook Players Solihull Arts Complex Solihull, west Midlands 0121 704 6962 www.peterbrookplayers.co.uk

Memory of Water, The 22 - 24 March 2012 Theatrecraft Playhouse Theatre Whitstable Whitstable, Kent 01227 272042 www.theatrecraft.org.uk

Merry Widow from Blue Gum Creek, The 20 - 24 March 2012 Markinch Amateur Operatic Society Markinch Town Hall Markinch, Fife 01592 754537 www.maos.org.uk

Mother Goose

16 - 18 February 2012 Rutland Arts Theatre Society The Victoria Hall Oakham, Rutland 01572 723000 www.ratstheatregroup.btck.co.uk

Murder by Misadventure 06 - 11 February 2012 Ecclesall theatre Company Ecclesall Parish Hall Sheffield, South Yorkshire 07763 153842 www.ecclesalltheatre.com

27 - 31 March 2012 All Souls’ Amateur Operatic Society Halifax Playhouse Halifax, West Yorkshire 01484 721617

19 - 24 March 2012 South Shields Westovian Theatre Society Pier Pavilion South Shields, Tyne and Wear 0191 456 0980 www.westovians.co.uk/whatson

Oklahoma!

21 - 24 March 2012 Worthing Light Opera Company Pavilion Theatre Worthing, West Sussex 01903 206206 www.wloc.co.uk

Old Time Music Hall 24 - 25 March 2012 Aycliffe Musical Theatre St. Clare’s Church Hall Newton Aycliffe, Co. Durham 01325 316328

Oliver!

13 - 17 March 2012 KLOS Musical Theatre Winston Churchill Theatre Ruislip, Middlesex 020 8868 4096 www.klos.art.officelive.com 19 - 24 March 2012 BAOS (Basingstoke Amateur Operatic Soc) The Haymarket Basingstoke, Hampshire 01256 844244 www.baos.org 27 - 31 March 2012 Stamford AMS Corn Exchnage Theatre Stamford Stamford, Lincolnshire 01780 766 455 www.stamfordams.co.uk

Patience

07 - 11 February 2012 St. Andrew’s Operatic Society Priestman Hall Sunderland, Tyne & Wear 0191 5484621

Pirates of Penzance (Broadway Version) 06 - 10 March 2012 Astwood Bank Operatic Society The Palace Theatre Redditch, Worcs 01527 546569 www.astwoodbankoperatic.co.uk 26 - 31 March 2012 Lewes Operatic Society Lewes Town Hall Lewes, East Sussex 01273 480127 www.lewesoperatic.co.uk

Pirates of Penzance, The 14 - 18 February 2012 Godalming Operatic Society The Borough Hall Godalming, Surrey 01252 703376 www.godalmingoperatic.org 23 - 25 February 2012 Godalming Operatic Society The Leatherhead Theatre Leatherhead, Surrey 01252 703376 www.godalmingoperatic.org

Producers, The

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

Robin Hood and the Babes in the wood 15 - 18 February 2012 Hereford Amateur Pantomime Society The Courtyard Hereford, Herefordshire 01432 340555 www.courtyard.org.uk

ADVERTISE YOUR SHOW HERE IN A DISPLAY BOX THIS SIZE FOR JUST £25 Call 0203 006 2845 to book your ad Robinson Crusoe & The Pirates 15 - 18 February 2012 boads Brixham theatre Brixham, Devon 01803 857654

Role Play

15 - 18 February 2012 Hayes Players Hayes Village Hall Bromley, Kent 07905 210718 www.hayesplayers.org.uk 05 - 10 March 2012 Keighley Playhouse Keighley West Yorkshire 08451267859 www.keighleyplayhouse.co.uk

Ruddigore

21 - 25 February 2012 Rose Hill Musical Society The Guildhall Theatre Derby, Derbyshire 0115 925 8717 www.rosehill.org.uk 21 - 24 March 2012 Hornby Occasionals Hornby, Lancashire 015242 22227 www.hornbyoccasionals.org.uk

15 - 18 February 2012 Belmont TC Pump House Theatre Watford, Herts. 0845 521 3453

28 February - 03 March 2012 Good Companion Stage Society Guildhall Theatre Derby, Derbyshire 01332 515696

Sorcerer, The

19 - 24 February 2012 Barrow Savoyards The Forum Barrow-in-Furness, Cumbria 01229 820000 www.barrowsavoyards.co.uk

Sound of Music, The

14 - 18 February 2012 Rochdale Amateur Operatic Society Gracie Fields Theatre Rochdale, Lancs 01706716689 www.rochdaleaos.co.uk 15 - 18 February 2012 Leatherhead Operatic Society The Theatre, Leatherhead Leatherhead, Surrey 01372 365141 leatherheadoperaticsociety.co.uk 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 06 - 17 March 2012 York Light Opera Company Limited York Theatre Royal YORK, North Yorkshire 01904623568 www.yorklight.com 13 - 17 March 2012 Croft House Theatre Company The Lyceum Theatre Sheffield, Sth Yorks 0114 249 6000 www.crofthouse.info 20 - 24 March 2012 Rock Ferry Operatic Society The Gladstone Theatre Bebington, Wirral 0151 645 1369 www.rockferryoperatic.co.uk 20 - 24 March 2012 Pendle Hippodrome Theatre Company Pendle Hippodrome Theatre Company Colne, Lancs 01282 612402 www.phtheatre.co.uk 21 - 24 March 2012 Harrogate Operatic Players Harrogate Theatre Harrogate, North Yorkshire 01423 502116 28 - 31 March 2012 Beaconsfield Operatic Society The Curzon Centre Beaconsfield, Bucks 01494 813518 www.bosopera.com

South Pacific

27 February - 03 March 2012 Guiseley Amateur Operatic Society Guiseley Theatre Leeds, West Yorkshire 08453 705045 www.gaos.co.uk

74| www.amateurstagemagazine.co.uk

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary

Basingstoke Amateur Operatic Society Calamity Jane South Pacific

13 - 24 March 2012 Yeovil Amateur Operatic Society Octagon Theatre Yeovil, Somerset 01935 422884 www.yaos.org.uk

Southern Counties Drama Festival 20 - 25 February 2012 Southern Counties Drama Festival Barn Theatre Oxted, Surrey 01959 561811 www.barntheatreoxted.co.uk

This Happy Breed

07 - 11 February 2012 Stafford Players Malcolm Edwards Theatre Stafford, Staffordshire 01785 254653 www.staffordgatehousetheatre.co.uk

Thoroughly Modern Millie 07 - 11 February 2012 Paisley Musical & Operatic Society Kings Theatre Glasgow, Scotland 01418873025 www.pmos.org.uk

Spring and Port Wine

Tiptoe Through the Tombstones

Stepping Out

Titanic the Musical

Sweet Charity

14 - 17 March 2012 Shrewsbury Amateur Operatic Society Theatre Severn Shrewsbury, Shropshire 01743 236855 www.shrewsburyoperaticsociety.dsnet.info/

22 - 25 February 2012 St Ambrose Players St Ambrose Church Hall Leyland, Lancashire 01257 270112 www.stambroseplayers.co.uk

15 - 18 February 2012 CADOS Chingford Mornington Hall N Chingford, London 020 8524 4380 www.ticketsource.co.uk/cadoschingford

13 - 17 March 2012 Yeadon Amateur Operatic and Dramatic Soc Yeadon Town Hall Leeds, West Yorkshire 01132503032 www.yaods.org.uk

Take 17

05 - 10 March 2012 Ups and Downs Theatre roup Hamilton Town House Hamilton, South Lanarkshire 01698 296292

07 - 10 March 2012 Shinfield Players Theatre Shinfield Players Theatre Reading, Berks 0118 975 8880 www.shinfieldplayers.co.uk

28 February - 03 March 2012 Ware Operatic Hertford Theatre Hertford, Hertfordshire 01992 531500 www.wareoperatic.org.uk

TREASURE ISLAND

08 - 10 March 2012 BCMCS (Bolton Catholic Musical & Choral Society) Theatre Church Bolton, Lancashire 01204 856977 www.bcmcs.co.uk

ADVERTISE YOUR SHOW HERE IN A DISPLAY BOX THIS SIZE FOR JUST ÂŁ65 LIMITED PLACES EACH MONTH CALL 020 3006 2845 TO BOOK YOUR AD www.amateurstagemagazine.co.uk | 75

diarydec11.indd 9

01/01/2012 21:54

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27 - 31 March 2012 Kingsbridge Amateur Theatrical Society Malborough Village Hall Kingsbridge, Devon 01548 531227

West End Tonight, The

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20 - 25 February 2012 Tynemouth Priory Theatre Tynemouth Priory Theatre North Shields, Tyne & Wear 0191 2929292 www.tynemouth-priory-theatre.com

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29 February - 03 March 2012 Doncaster Amateur Operatic Society Doncaster Civic Theatre Doncaster, South Yorkshire 01302 342349 www.doncasteramateurs.com

Wizard of Oz, The

When We Are Married

06 - 10 March 2012 The Wisbech Players The Angles Theatre Wisbech, Cambridgeshire 01945474447 www.wisbechplayers.org.uk.

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15 - 18 February 2012 New Forest Players Ballard School New Milton, Hampshire 08451668775 www.newforestplayers.com

Where The Rainbow Ends 16 - 17 March 2012 Young Oxted Players Barn theatre Oxted, Surrey 01883 724852 www.barntheatreoxted.co.uk

Whoâ&#x20AC;&#x2122;s Afraid of Virginia Woolf? 06 - 10 March 2012 Huddersfield Thespians Lawrence Batley Theatre Huddersfield, West Yorkshire 01484 430528 www.huddersfieldthespians.co.uk/

16 - 18 February 2012 Bolney Players Rawson Hall Haywards Heath, West Sussex

Woman In White, The

29 - 31 March 2012 Amateur Players of Sherborne Digby Hall Sherborne, Dorset 01963 210548 www.aps-sherborne.co.uk

13 - 17 March 2012 New Rosemere Amateur Operatic Society Albert Halls Bolton, Lancashire 01204 334433 www.newrosemere.com

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76| www.amateurstagemagazine.co.uk

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09/10/2011 20:22 28/7/11 10:33

CURTAIN CALL

Top

In this new feature we’d like to invite you to contribute your ultimate list of plays and musicals. Tell us what you like about them and why they hold a place on your Ultimate Show list.

This month’s Top 5 list comes courtesy of DOUGLAS MAYO. Douglas is editor of Amateur Stage Magazine, and is madly busy helping to co-ordinate this years innaugural Amateur Stage Expo.

LES MISERABLES

I was lucky enough in Australia to be involved with a group who got one of the world’s first amateur licenses for Les Miserables. It was a special show before I worked on it, but the experience of staging and promoting it was something else altogether. An incredible creative team and cast made this amazing experience. Two seasons of 43 performances in total saw over 42,000 come through the door. It doesn’t get better than this.

Death Of A Salesman

1 3

One of my favourite dramas. It was also the first play I ever saw on stage with a cast that included Warren Mitchell and a young Mel Gibson. Willy Loman is such a powerful character and perhaps one who is even more relevant in a time where austerity makes such characters all the more poignant.

King Lear

In this Shakespeare Festival year it would be remiss not include my favourite work by the Bard. Betrayal, madness and one great big storm make this a compelling few hours in the theatre.

The Life & Adventures Of Nicholas Nickleby

An epic re-telling of Dickens’ classic tale. I sat through an all day 12 hr marathon performance of this work and could safely have turned around and done it all again. This adaptation, combined with staging by Trevor Nunn and John Caird, was theatrical storytelling at its best.

Next To Normal

One of the newer Broadway musicals. This award winning show saw mental health deterioration arising from the death of a infant hit the Broadway stage for the first time. With a pop style score, Next To Normal is moving, and has some great twists and turns. No traditional Broadway happy ending here, but the score still manages to raise the hairs on the back of my neck with its raw emotion. Looking at my list I probably tend to favour shows with great ‘real’ characters. Each of my favoured shows contains classic characters that have audiences flocking back for more.

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We’d like to hear about your Top 5. Send your selection and why you like them to editor@asmagazine.co.uk

01/01/2012 19:09

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21/02/2011 13:20:10

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