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WWW.ASMAGAZINE.CO.UK JUNE 2009 £2.40
News * Play Produced * Musical Produced Sponsorship * West End Reviews * UK Show Diary Mar09_1-11.indd 1
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NEWS
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AS MAGAZINE | DECEMBER 2008
11/06/2009 01:31:56
asmagazine jun09 from the EditorIAL TEAM Welcome to the June issue of AS. The re-development of AS continues apace and we really appreciate the feedback that is coming in from all quarters. We are specifically trying to create a magazine which will appeal to the organisers of amateur theatre but also the multitudes of you who are treading the boards and working tirelessly backstage. So if you think we are missing certain subjects or not covering things that interest you please let us know. This issue has a bit more content that is musical oriented. We’re not abandoning drama but trying to present a balanced coverage of both musicals and drama during the course of a year. We hope you enjoy this issue, make a point of telling us what you like. Kind regards The Editorial Team
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THIS MONTH 5
NEWS
News from around the country.
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OPEN AIR SHAKESPEARE
We look at the Stamford Shakespeare Company in their unique venue.
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MURDER, SHE WROTE
Staging a murder mystery can be a fun way of fund raising.
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FIRST NIGHT INSURANCE
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THE MUSICAL PRODUCED
Evita at The Minack Theatre
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SPONSORSHIP
Part Two of our guide to raising funds through sponsorship.
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WEST END
Sister Act explodes onto the West End stage.
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THE PLAY PRODUCED
Some Of My Best Friends Are Women.
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DIARY
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HELLO MY LUVVIES
Our new monthly correspondent diarises her current production.
COVER PHOTO: Darlington O.S - Anything Goes
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18 credits
Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0870 233 2040 www.asmagazine.co.uk Editor : editor@asmagazine.co.uk Advertising :sales@asmagazine.co.uk Subscriptions/ Diary Listings : diary@asmagazine.co.uk All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of AS Magazine. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of AS Magazine. (c) 2009 Next Phase Media Ltd
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NEWS
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FELIXSTOWE FESTIVAL RESULTS
BRITISH ALL WINNERS RESULTS
The 59th Felixstowe Drama Festival of full length plays was held from 23 – 30 May. The festival was adjudicated by Michael Kaiser GODA. The Festival winner was Deben Players production of Roses of Eyam by Don Taylor which also scooped awards for Audience Winner, Best Dressed and Best Director Anna Beaney. Runner Up was In Yer Space; Teechers by John Godber which also won Audience Runner Up. Best Actor went to Brian Paterson as Edward and Best Team Acting in Tryst Theatre production of Someone Who’ll Watch Over Me by Frank McGuiness. Best Actress went to Ruth DugdallMarshall as Beatie in Rushmere Players production of Roots by Arnold Wesker. Best Supporting Role was awarded to Stella Day as Mrs Bryant Rushmere Players production of Roots by Arnold Wesker. Best Set was awarded to Parkside Players for Absurd Person Singular by Alan Aykbourn. The Adjudicator’s Award for innovative sound effects was awarded to Cardiff Players production of Audience with Murder by Roger Leach & Colin Wakefield
The 36th Britsh All-Winners Drama Festival will be held at the Rhoda McGaw Theatre, Woking, on 19th to 25th July, 2009. The festival is hosted this year by the Woking Drama Association. The adjudicator is Mike Kaiser, GODA. Each year the National Drama Festivals Association invite selected winners of over 50 member festivals to submit their productions for the week-long All Winner’s festival. From these entries, the best nine one-act, three full-length and three one-act youth productions are selected to compete. At the time of going to press, the selection committee were still meeting to decide this year’s entries, to take into account all recent drama festivals. The Festival is hosted at a different venue each year and was last hosted by Woking Drama Association in 2006. Last year’s Festival was held at the Gaiety Theatre, Douglas, Isle of Man. The OneAct Play winners were local drama group Send ADS, with their production of The Island, by Athol Fugard (pictured). The Full-Length Play winners were Everyman Productions of Co. Sligo with Juno & The Paycock. Tickets for each night of the festvial are £5. A great value, 7-day season ticket is available at only £20.
For tickets, please ring the WDA Box Office on 01932 702091. For more information on the festival, including a list of competitors, as it becomes available, please visit the festival webste at
www.wokingallwinners.co.uk. Photo: Matt Kinsell and Peter Heath of Send Amateur Drama Society, winners of the one-act play section of the 2008 British All-Winners Drama Festival.
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NEWS
ALL ENGLAND THEATRE FESTIVAL ENGLISH FINALS The All England Theatre Festival English Final was held on Saturday, 6 June at the Strode Theatre, Street in Somerset. Adjudictor Tony Rushforth, GoDA praised the high standards of this level of the competition. Participating were Northern Area Winners Dewsbury Arts Group with Pam Valentine’s ‘A Dogs Life’; Eastern Area winnwers Marist Senior School from Sunnibghill with David Foxton’s ‘Memory of Lizzie’; Central Area winners Total Arts Community Theatre of
Tamworth with ‘Moll Flanders’ by Peter Machen and Western Area winners Whole Hog Productions from Swindon with ‘Directions’ by Chris Scott. The Paul Dyson Trophy, the adjudicator’s discretionary award, went to Whole Hog for their “exercise in semantics, carried out with amazing attack”. The day’s honours were won by TACT’s ‘Moll’, gaining the Irene Gartside Award for their overall visual presentation but also the John Maude Trophy as the overall
winners for their “ensemble playing of a high standard, enabling a dense play to be brought believably to life”. Above Left: Jubilant TACT ensemble outside the Strode Theatre, Street.Above Right: TACT director Rebekah Fortune receives the John Maude Trophy from AETF Committee Member Jeff Brailsford. Photos: Ron Roberts
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AETF WESTERN SEMI FINALS Winners of the AETF Western SemiFinal were Swindon-based Whole Hog Productions of Mercia Division. They staged a very funny, surreal original play Directions written by Chris Scott. Adjudicator Mike Kaiser, GoDA was full of praise for the high standard of the competition. Pictured (l to r) Matthew Clift (Colonel), Steve Sprosson (Bertram), director Phil Regan, playwright Chris Scott, Ryan Gilks (Albert).
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AS MAGAZINE | JUNE 2009
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The Right Honourable Lady a one-act play by Francis Beckett
CAST M2 F3 SCENE Various simple settings In this highly topical new play, Flavia, a journalist, exposes the Secretary of State Nicola Macdonald’s affair with a younger man, Stephen. She hopes this scoop will qualify her to investigate the more serious corruption taking place within government, but her editor Miranda and chief whip Griff have other ideas. Price £4.75
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a one-act play by Heather Dunmore
CAST M1-3 F4-6 SCENE Various simple settings Leo, a doctor, is suffering from depression and finds it hard to come to terms with his illness. Weaving through his memories, Leo re-lives his suspicions, panic attacks and emotions as he tries everything to beat the blues. Further insight is offered by his mother, sister and wife, who each have their own experiences with depression and how it affects those you love. Price £4.75
Rock ‘n’ Roll a play by Tom Stoppard
CAST M11 or 6 F7. SCENE Various interior and exterior settings Rock ‘n’ Roll spans the years from 1968 to 1990 from the double perspective of Prague, where a rock ‘n’ roll band comes to symbolise resistance to the Communist regime and of Cambridge, where the verities of love and death are shaping the lives of three generations in the family of a Marxist philosopher. Price £8.99 The 93rd Edition of The Guide to Selecting Plays for Performance is expected in July 2009. Please note the 92nd Edition and its supplements are available for £8.50.
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NEWS
DARLINGTON O.S CASTS A WIDE NET It was an ambitious choice - in the truly naked sense - when DarlingtonOS decided to stage The Full Monty. Given the full-frontal nudity involved, the group expected a struggle with bashful actors, and maybe some opposition from prudish members of the public. To their surprise however, the issue that is proving most difficult to overcome is not the raunchy scenes - but finding an actor of the right colour. After several weeks of searching, DarlingtonOS may have to resort to bringing in a professional actor to fill the role of Horse, the retired steel worker who has to be played by a mature black actor. Society Chairman, Ian Whitfield said: “We chose The Full Monty as it will be a real challenge to the Society and we also hope to attract a younger audience to enjoy a night out at the theatre. “Rehearsals began in early May but we have been putting the feelers out for a black actor since February. We thought our problem would be finding actors willing to go nude but we have had
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an influx of young men willing to be in the show. We would dearly love to have a local amateur actor to play the role of Horse.” The musical is based on the 1997 Oscar-nominated film about unemployed steel workers in Sheffield who form a male striptease act to raise money. In the movie, Horse is played by Paul Barber, best known as Denzil in Only Fools and Horses. Mr Whitfield said: “The part of Horse is integral to the entire show. It is a wonderful role to play that requires someone with excellent comic timing, a great voice and who is not afraid to bare all for their art. We would welcome anyone who fits the bill to get in touch with us, to come along to a rehearsal and take it from there, with such a specific role to fill, we are wanting to find someone soon. If you have a huge talent and think you fit the bill, contact the membership secretary, Greta Sanderson, on 01325 720556.
YOUNG ACTOR WINS NEW MEMORIAL PRIZE Nadia O’Neill, 17, from Swansea, has been awarded the inaugural James Westaway Award for Young Actors Studio Most Promising Young Actor 2008/9, sponsored by Parthian Books. Awarded to the Young Actors Studio Acting Course Student who has shown the most progress and improvement in their creative growth and development, the recipient is nominated and chosen by the Young Actors Studio tutors and wins a set of new Parthian Welsh drama titles and a cash prize. The award will be presented to Nadia at the Royal Welsh College Graduation ceremony on July 3 2009. Parthian, Wales’ foremost publisher of contemporary fiction, poetry and drama have sponsored this new annual prize in honour of James Westaway, a promising young actor, who died tragically young in 2000 and who trained as a Post-Graduate Acting Student at the Royal Welsh College. ‘To be a good actor requires talent, a lot of hard work and real commitment, James
had it in bucket-loads and I’m sure he would have been delighted to know that Nadia is doing so well on that road with the Young Actors Studio especially as he trained at the Royal Welsh College of Music & Drama himself,.’ said Lewis Davies, Writer & Publisher, Parthian Books
Erica Eirian, Course Leader, Young Actors Studio adds, ‘In choosing the recipient of this award, I asked our tutors to select the student who they consider to have made the longest journey since joining us and, for those of us who had the pleasure and honour of knowing and working with James, the person we believe he might himself have chosen. Whilst we are proud of all our students and every one of them deserves recognition for their talent and work throughout our pilot year, Nadia is a most deserving recipient - totally dedicated, hard-working, a team player and a generous young performer.” Launched last September, Young Actors Studio is dedicated to providing topquality training to young people aged 15 to 19. Young
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NEWS
www.asmagazine.co.uk Actors Studio Evening Theatre Workshop is for any young person with a keen interest in drama and theatre. Young Actors Studio Sunday Acting Courses provide classes in essential acting skills for aspiring young actors considering training for a career in the theatre.
‘Barefoot in the Park’ is being presented from July 29th 1st August 2009 at 8.00 pm at Riverhouse Arts Centre, Walton-on-Thames
Applications are now being welcomed for both Young Actors Studio Theatre Workshops and Acting Courses starting in September 2009. Please contact 029 20391394 for information or register your interest online at rwcmd.ac.uk/ YAS
www.riverhousebarn.co.uk www.stainesplayers.com
BAREFOOT IN STAINES Staines Players are taking part in the ‘Riverhouse Festival of Theatre’ which is taking place during the month of July 2009. This to be held at the Riverhouse Arts Centre, Manor Road, Walton-on Thames. This is Staines Players second year appearing at Walton, having performed ‘Pygmalion’ last year. Staines Players were formed in the early nineteen fifties, and since that time have performed contrasts in theatre, ranging from Ayckbourn to Pinter and Shakespeare to Shaw, together with Pantomimes, Murder Mysteries, Supper Evenings etc. In ‘Barefoot in the Park’, newly weds Paul and Corrie, set up house in the tiny fifth-floor apartment in Greenwich Village, and have to contend with a leaking skylight, a bizarre neighbour, and Corries, interfering, but well meaning mother. The inspiration for many modern romantic comedies, Neil Simon’s ‘Barefoot in the Park’ brims with zippy oneliners and snappy dialogue.
The Box Office telephone number is 01932 253354 and tickets are priced at £10.00 with £8.00 concessions
PENELOPE KEITH CELEBRATES WITH TEDDINGTON THEATRE CLUB Teddington Theatre Club is celebrating the 10th anniversary of the opening of the Hampton Hill Playhouse with a Gala evening performance of Noel Coward’s Relative Values at 6pm.and champagne reception hosted by Penelope Keith at 4.30pm on Sunday July 5th. TTC raised the money to build the shell of the theatre and the foundation stone was laid by Princess Alexandra in 1995. We obtained a lottery grant for the kitting out and also received a grant from the estate of Sir Noel Coward, hence our link with the Noel Coward Society which is also joining us on July 5th to celebrate their own 10th anniversary in the Coward Room at the playhouse. A premier production of Jimmie Chinn’s The Garden Party formally inaugurated the theatre on June 15th 1999. Run almost entirely by volunteers, the playhouse is a huge asset to the community. It is hired by other drama groups, music societies, dance schools and during the day it is used for business meetings, wedding and birthday parties as well as other important events.
The perfect summer treat for any and all true romantics.
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NEWS
BILLY TRIUMPHS AT TONYS
The Tony Awards, Broadway’s ultimate theatrical award show were presented on June 7 at Radio City Musical Hall. It was truly a night for the Brits, especially for the team behind Billy Elliot which swept the boards. The British production came close to matching the record 12 awards won by The Producers, winning honours for its director, Stephen Daldry and writer, Lee Hall, in Broadway’s answer to the Oscars. However, its composer, Sir Elton John, surprisingly missed out on the best original score award at the ceremony in New York on Sunday night. The award went instead to Next To Normal, a musical about a family coping with mental illness. Angela Lansbury won best performance by a featured actress in a play for a revival of Noel Coward’s Blythe Spirit. The 83-year-old British actress was given a standing ovation as she collected her fifth Tony, matching the record for awards in acting categories. David Alvarez, Trent Kowalik and Kiril Kulish, who share the role of Billy Elliot the aspiring ballet dancer growing up in a tough northern England mining town - together won best performance by a leading actor in a musical. God of Carnage, the French playwright Yasmina Reza’s tragi-comedy about war-
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ring couples, was named best play. The production, which stars The Sopranos star James Gandolfini, provided its British director, Matthew Warchus, with the best director of a play award. It was a good night for British performers and productions. Alan Ayckbourn’s The Norman Conquests trilogy – also directed by Warchus - was named best revival of a play. Two other London transfers, Equus and Mary Stuart, also picked up awards. Billy Elliot The Musical was based on Daldry and Hall’s acclaimed screen version. “I have been blessed in my life to spend the majority of last 10 years of my life working on the story of Billy Elliot,” said Daldry, who called it “a long, extraordinary journey”. He said the award belonged to everyone connected to the show and especially to “three great gifts of Broadway, our three little Billys.” Hall said he wanted to thank Sir Elton, who joined performers from the musical contenders on stage at the awards.
“It was his idea to make this a musical in the first place. He insisted we start with the music,” he said. An emotional Liza Minnelli accepted the prize for special theatrical event for her show Liza’s at the Palace. “This is exquisite,” she said, asking for a list of people to thank because she hadn’t thought she was going to win. Eric Fellner of Working Title who produced both the film version and the Billy Elliot play said: “We are delighted and honored by the amazing recognition the Tony voters have shown us tonight. “Bringing Billy Elliot to the stage has been one of the most creatively satisfying experiences Working Title has ever had the pleasure of being involved with. Elton and Lee and Stephen are clearly among the finest creative minds in the world and we look forward to working with them again. To have been embraced by the Broadway community so warmly has been brilliant and you can be certain we will be back.”
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PANTOMIMES By JOHN CROCKER
The Smaller Cast Versions ALADDIN “PEAK OF PANTO PERFECTION” Exeter Express & Echo MOTHER GOOSE “FUN FILLED SCRIPT” Western Morning News SLEEPING BEAUTY “ A RIP-ROARING SUCCESS” Exmouth Herald CINDERELLA “TRADITIONAL PANTO AT IT’S BEST” Hampshire Gazette DICK WHITTINGTON “A CRACKER OF A PANTO” Evening Herald, Plymouth BABES IN THE WOOD “WONDERFUL NEW CHRISTMAS PANTO” Herald Express and the latest JACK AND THE BEANSTALK “GIANT CHRISTMAS TREAT” Tiverton Crediton, Culm Valley Gazette PLUS the much loved favourites with music and lyrics by ERIC GILDER CINDERELLA, PUSS IN BOOTS, DICK WHITTINGTON, ALADDIN, BABES IN THE WOOD, SINBAD THE SAILOR, MOTHER GOOSE, ROBINSON CRUSOE, SLEEPING BEAUTY, HUMPTY DUMPTY, QUEEN OF HEARTS, RED RIDING HOOD, JACK AND THE BEANSTALK And a zany potted panto sketch POTTY PANTOMIME Also a Rock Musical THE FRANKENSTEIN MONSTER SHOW By JOHN CROCKER and TIM HAMPTON Music by KEN BOLAM Lyrics by LES SCOTT All obtainable from SAMUEL FRENCH LIMITED 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
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FEATURE
OPEN AIR SHAKESPEARE A summer evening at the Rutland Open Air Theatre to see a production by the members of the Stamford Shakespeare Company is a magical experience. Join the thousands of people who attend the annual Stamford Shakespeare Season in the delightful grounds of Tolethorpe Hall. The Season attracts more than 33,000 people each year throughout the Midlands, East Anglia and from other parts of the UK and overseas. The fabulous garden overlooking classic English parkland is the perfect setting for the Rutland Open Air Theatre nestling in the grounds of the Elizabethan Tolethorpe Hall, just a few minutes off the A1 near Stamford. Throughout the summer months, the company will be offering two Shakespeare plays “A Midsummer Night’s Dream”, the spiteful antics of the fairies thwart and confound the two
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pairs of lovers and lead the band of inept Mechanicals into total disarray and “The Tempest”, a magical mystical tale of a remote island, of shipwrecks and lost kingdoms of spirits and monsters and at its centre is the towering figure of Prospero, the rightful Duke Of Milan. The third play is Jeremy Brock’s stage adaptation of Charles Dicken’s classic novel “Oliver Twist”; this play combines all the richness of Dickens’s story, which will delight older children and adults alike.
of rain.
The open air stage is set against an idyllic woodland glade. The raked 600 seat auditorium with comfortable seating is protected from summer showers by a unique permanent canopy, making it the only theatre of its kind in Europe. No performance is ever cancelled because
Opposite Pages: Images from the forthcoming season.
Excellent facilities include an on-site car park, a popular picnic area on the lawn, in the hall, a theatre bar adjacent to a spacious orangery, and a 90 seat restaurant enjoyed by theatregoers every summer. For further details visit www.stamfordshakespeare.co.uk or call 01780 756 133
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FEATURE
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FEATURE
MURDER, SHE WROTE! Holding a murder mystery evening can be great fun and an unusual way of raising funds. Fiona Phillips looks at some of the reasons for staging an evening of murder! If your theatre group is looking for an inexpensive way to raise extra funds, holding a murder mystery evening can be an excellent idea. Here’s why. 1. A murder mystery evening can be put on very cheaply using blacks as backdrop (rather than going to the time and expense of creating a set) and many of the available plays are written to keep costume and props costs down. In essence, they can be excellent fundraisers to hold without incurring a massive outlay of costs or resources. 2. Group members left over from the main productions can be involved in murder mystery evenings. That way the group won’t run the risk of losing them. 3. It’s something different, which can be appealing in itself. 4. It can also be used as a way to stay in touch with your audience in between major productions. 5. It could provide an opportunity for group members to direct, produce, help with sound and lighting, who don’t normally get the chance. 6. It can provide a way to interact with your local community in the form of sponsorship or perhaps bar licence and supplies. 7. A successful murder mystery evening can become a regular, eagerly anticipated event in the am dram diary. 8. The evening can be themed around Hallowe’en, Christmas, a ladies’ night or something else that would interest your audience
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or utilise your supply of props and costumes. 9. Extra money can also be made from organising a licensed bar, in addition to the cost of tickets, or a raffle. Refreshments can also raise additional funds. 10. Many of the companies who supply these plays are willing to create custom-written scripts to match your group’s resources. 11. There is a wide range of plays available from companies like the aptly named Murder Mystery Plays (www.murdermysteryplays.co.uk), Murdering The Text (www.murderingthetext.co.uk) and Murder Plays (www.murderplays.com). Purley Players have worked with Murdering The Text on several occassions. The players are a group of people based in Purley on Thames, near Reading, who get together to stage amateur dramatic productions for the mutual enjoyment of the members and the entertainment of their audiences. Their productions take place in a very atmospheric old barn within Purley. Thus far they have performed A Show To Die For and A Tangled Web. The group are proud to have raised over £6500 since 2002 for local charitable organisations. (www.purleyplayers.co.uk)
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THE PLAY PRODUCED
‘A BIG HIT MUSICAL’ Evening Standard
‘THE BEST FEEL-GOOD SHOW SINCE MAMMA MIA!’ Sundayy Express p
���� Daily Telegraph, The Times, Evening Standard, Sunday Express, The London Paper, London Lite
‘ENERGY, FUN ‘WILDLY CONTAGIOUS
WISECRACKS GALORE’
INSANELY EUPHORIC’
The Times
The Daily Telegraph
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NEWS
Celebulite 45 mins 1M 3F We live in a celebrity-obsessed society. So when C-list celebs Victoria and Russell realise that, overnight, they have aged 20 years and put on 5 stone in weight respectively they are devastated. Is something sinister happening, or is this reality TV gone mad? “Thought-provoking and very funny.� Swansea Evening Post
TWO GREAT ONE ACT COMEDIES BY DEREK WEBB Man's View 45 mins 1M 3F After a reunion in a wine bar Carol, Ann and Judy are the worse for drink. So, when Carol suggests a sort of truth game, secrets they have kept hidden for years emerge with disastrous consequences.
Both plays are available, with free evaluation copies, from New Theatre Publications
www.plays4theatre.com
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DODGY DEALINGS A couple of months ago, my article for Amateur Stage tried to explain the reasons behind insurers’ increased premium demands. One of the reasons given was the significant rise in fraudulent claims during recessionary times. I thought this month I would try and explore this particular comment in greater detail. Fraud is, of course, a problem in all walks of life, not just in the insurance industry. It can take many guises, from an exaggeration in a claim to a fictitious claim and, in motor insurance, staged accidents are becoming a real problem to insurers. There are many examples that I could draw on, but a selection is as follows: A legitimate claim can be submitted by a client who obtains an estimate for the work from a friend. They then produce another, higher, estimate from a fictitious contractor, thereby proving that the original estimate from the friend is reasonable. Unfortunately for the claimant, insurers do check the estimates and can usually trace a fictitious estimate because the VAT number on the estimate will normally be checked and found to be bogus.
FIRST NIGHT INSURANCE
Robert Israel ACII
and makes a claim under each policy. The chances of such a claim succeeding now are severely diminished by the use of the various exchange and on-line detection tools available. Another type of travel claim that certainly used to be prevalent is where an insured again loses their suitcase and inflates the amount of property contained in the suitcase itself. One particular individual attempted this fraud but was caught out when the suitcase was recovered and the insurers opened the case to find that significant amount of items claimed were in fact not in the case. I have always said that the shop window of an insurance company is their claims department. How they deal with a claim is better PR than all the advertising for new business. However, they have to be on their guard to make sure that only legitimate claims are paid because, at the end of the day, premiums will have to rise to cover the cost of the fraudulent claims, thereby hitting the honourable client where it hurts most, in the pocket.
Fictitious claims are also on the increase. A claim could be submitted for a lost piece of equipment. If the amount is small, it may be below the level at which insurers appoint a loss adjuster to investigate. There are checks and balances in place to try and wheedle out such claims, more of which later in the article. Staged accidents are also on the increase and it is in this particular area that insurers are struggling to keep up with the claims which are being submitted. However, due to the significant rise in this class of claim, special investigators are appointed and insurers are now using a wide range of investigative methods. The Claims and Underwriting Exchange is the UK insurance industry’s shared data base of claims information. It helps insurers identify non-disclosure, concurrent claims activity and prevent fraud. I understand that they hold information of up to 15 million household claims, 13 million motor claims and 4.7 million personal injury claims. In addition, there are specialist on-line fraud investigation and detection tools. New methods are being developed all the time and include special equipment attached to telephone lines, whereby the claims department can detect changes in people’s tone of voice. The data bases of claims can also spot regular claimants who have been caught before. When estimates are submitted to insurers, they also have the facility to check to make sure that the figures on an estimate have not been changed. One of the main types of fraud, certainly in the past, has been aimed at travel insurance, where multiple policies are effected by the traveller, who then unfortunately loses their suitcase
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THE MUSICAL PRODUCED
EVITA - MINACK STYLE
Staging an outdoor production of any kind can be fraught with difficulties. BROS Theatre Company discuss their recent open air production of Evita at the Minack Theatre. INTRODUCTION
There can’t be many amateur companies fortunate enough to secure the rights to perform this iconic classic of musical theatre. Likewise there are few who are lucky to be able to play at the prestigious if challenging out door Cornish theatre at The Minack. BROS Theatre Company is doubly blessed therefore to have been able to do both in one hit. SHOW SELECTION The process began after a successful run of Man of La Mancha at the Minack in May 2007. Sitting over a cup of tea in the café there, after most of the company had gone back to London, the theatre manager and a small group of BROS members bandied around ideas of possible shows for two years hence. Somewhere the word Evita dropped into the mix. It was like a light bulb going on!
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SECURING the RIGHTS
Initial contact with The Really Useful Group Ltd. elicited a polite but emphatic “Sorry, No. We have no plans to issue amateur rights for the foreseeable future.” So do we let it go then? We have a good case: Stunning and unique venue about as far away from any major theatre as one can get in the UK, and, the chosen production would be the first of the company’s second century of performance. The next step was the personal approach. By strange co-incidence Sir Tim Rice has his London home a stone’s throw from one of our rehearsal venues and we knew he was a regular visitor to The Minack. Letter duly hand delivered. Dialogue begins. A draft contract arrives and stipulations include use of a full orchestra, at that time 21 players, plus a delay in public announcement. All accepted. At our Centenary Gala in October 2008 at Richmond Theatre
our Patron and long time member Alan Titchmarsh announced the project formally and we were under way.
AUDITIONS & CASTING
Inevitably as the word spread the audition list lengthened and in due course included two Argentineans who had found our website in searches. A surfeit of riches resulted in the agonising choices of who and how many. Many amateur companies would have been delighted to have had any one of the many superb auditionees we saw for Eva and Che but clear winners emerged. Second auditions for Peron were called and again we could have cast any one of several. Perhaps the most difficult choice was where to limit the ensemble. Minack is a large but irregularly shaped stage and lends itself to bigger casts, so the decision was made to cast numbers and create smaller groups within the bigger chorus. So after countless hours
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THE MUSICAL PRODUCED
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of auditions our final numbers were 52 adults including 22 men and a pool of a dozen children with 3 licensed for all 7 half term performances.
STAGING for MINACK
There are numerous complexities and differences in staging at The Minack but fortunately for BROS the production team selected were all seasoned veterans of the venue. In many respects Minack is a reversal of ‘normal’ proscenium arch theatres. Yes, it has a rake, but sloped away from the audience (useful when it rains!) which plays havoc with dancers’ legs I’m told. Principals are encouraged to work and position further away from the audience to create better sight lines for the steeply raked seating. Choreography is all viewed from above so patterns replace lines to best advantage. To accommodate the larger cast the full chorus was split into four base groups by gender. The men were either rejected lovers or officers & oligarchy, while the women were either workers or posh! Across and within these groupings were
11 dancer pairs, and of course everyone was in the full company numbers. Initially this gave rise to a few moans about who was singing what, but as the 18 week rehearsal period unfolded it became clear that with costume changes and no dialogue to give time, it had been a wise decision. The only scenery we constructed was a simple, permanently sited, wooden balcony to represent the Casa Rosada. The remainder of the action was played using hand props and easily carried furniture all moved by cast to create swift flowing seamless scene changes.
COSTUMES, WIGS & MAKE-UP
We hired the base set from our favoured suppliers The Costume Workshop on the Isle of Wight (we believe only the third time this set has been used) and augmented these with numerous accessories and additional hats to ring the changes. Eva had a personal off stage dresser for the week and two on stage dressers for the many ‘hidden’ changes directed into the action. For example during the opening Requiem our Evita was an anonymous member of the
chorus only revealed in the final bars as her black headscarf & coat were removed to view the teenage Eva Duarte beneath. Many of the women needed wigs to create a better 40s/50s look and several of the men grew moustaches and hair for a more period style. Eva had 3 wigs to show the changes from dark haired youth, to 40s styled blonde, to the recognised swept-back bun of later years. We were able to secure the services of two delightful newly qualified makeup artists from the world renowned Greasepaint school of make-up to assist with hair & wig styling and make-up for the run.
TECHNICALS
Our lighting designer is an experienced Minack veteran and ex chief electrician from a major London theatre so we knew we would be in good hands. Three follow spots were hired and position strategically to cover the whole playing space. Additional balcony up-lighters were hidden within the theatre structure and colour washes created for mood. He also designed Flambeaux from copper tubing to allow the cast to carry flaming
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THE MUSICAL PRODUCED
torches on stage for the final vigil and extinguish them as Evita’s spirit moved among them during the Lament. Our sound designer, while new to Minack, is also a seasoned professional and a master of radio mic technology (useful in windy conditions!). 11 mics were used with Evita having two to cover for any problems with the first. One of our Argentineans recorded the voice over for the opening scene giving it an emotional authenticity. The theatre’s float system worked as efficiently as ever and the band/player balance and reciprocal foldback systems proved very effective giving confidence to performers and musicians alike. Our stage management team was a combination of Minack vets and virgins and included six men press-ganged & drilled into being our pall-bearers for the funeral procession. This resulted in an on stage cast of 70 for the opening sequence, making for a startling and attention grabbing impact at the onset of
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the piece.
MUSIC & BAND
In January we were delighted to learn from the RUG that we were to be permitted to use the 2006 revision which includes the additional song You Must Love Me written for Madonna in the film, and has a slightly reduced orchestration of 18. Using two local fixers our MD booked 14 local players who were sent their pads a couple of months beforehand to aid familiarisation. These were augmented by 4 London players all of whom are regulars in West End pits as players or MDs in their own right. Two hours worth of sung through rock opera required a five hour band-call to gel the players into a cohesive unit, but from that point on the pit became a joyous place to sit in as the players revelled in the delights of a fantastic score that they may never have another chance to play again. The company has a reputation for its quality of choral work and this piece gave
it every opportunity to shine vocally. This opportunity was grasped with both lungs, and with an assistant MD conducting from the tech balcony within the audience a truly memorable sound was created.
CONCLUSION
Unlike previous visits to this wonderful venue, this piece sold rapidly from the day the box office opened and resulted in a complete sell out one week prior to opening night. Word of mouth after the dress rehearsal meant that we had up to 100 people queuing for returns at each performance - a testament to the public perception of the piece itself and an acknowledgment of the quality of our final production on-site. Rave reviews followed which further lifted a highly motivated cast, and with the blessing of fine weather an exhausting but undeniably wonderful week eventually came to a close. Financially this was an expensive project to tour and required an investment by the Society even with the hoped for sell-
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THE MUSICAL PRODUCED
out run. The specific License granted precluded us from performing beforehand in London to spread the rehearsal and production costs all of which were therefore to be balanced by income from Cornwall. We raised some sponsorship to offset a band double our normal Minack pit size and the additional costs of transport and lodgings for the London players. The company can now feel proud and extremely fortunate to have been given a rare opportunity to perform this extraordinary piece of theatre and to have enhanced its reputation both at home in SW London and in Cornwall.
CONTACT INFO:
For more information on BROS TC visit www.brostheatrecompany.org For more information on The RUG visit www.reallyuseful.com For more information on Minack visit www.minack.com Photos: Lynn Batten
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SPONSORSHIP
SPONSORSHIP PART TWO OF THREE
Ok, so last month we looked at the preparation work needed to make your sponsorship efforts really bare fruit. Hopefully, you have sat down and gone through all of the process we discussed and are now ready to proceed to the next step - The Written Proposal.
certain number of tickets to your show. eg. TEN FREE A RESERVE TICKETS to our opening night on 4th August valued at £200. Select a reasonable number and then offer extra tickets for a reduced rate. This could help increase your sales and get new people to see your show.
LETS GET STARTED The first rule of sponsorship proposals is that each proposal should be individually written and structured towards its recipient. Of course, there are some basics that can be duplicated, but in 99% of cases the proposal will succeed or fail based on the individual approach and the customised offer.
Programme Advertising - Advertising in your show programme can be a great way to mass promote your sponsor.
Ideally, a written approach should be no longer than 3 - 4 pages, anything longer and you risk being filed for future reference or binned. Use this basic guide for your written proposal:INTRODUCTION This should be a maximum of two paragraphs explaining who you are (some information about your group) and what you are seeking sponsorship for. Keep the information crisp and to the point, don’t embelish!! THE PROJECT Put together two - three reasonably detailed paragraphs about the project expanding on your introduction. Discuss important factors such as the size of your audience, the participants in the project, and your geographic catchment area amongst other things. SPONSORSHIP BENEFITS This can be an exhaustive list but its generally best to select and quantify say 10-15 things that you can offer sponsors. Most importantly each item should have a value attached to it. Things you could include are:Tickets - you can offer your sponsor a
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Venue Signage - Can you place a banner or signage for your sponsor in the venue in a prominent place. Logo on Advertising - Place your sponsors corporate logo on EVERY item you distribute advertising your show. This can include newspaper ads, flyers, posters, press releases, banner on your website, to name just a few. This type of promotion gets your sponsors name out to a lot of people. Under this point it is worth breaking up the type of promotion you intend to do and don’t be afraid to mention quantities for your print and possible readership if you are placing ads in papers. Lastly don’t forget the value attached to each item. Don’t go crazy but a realistic value helps a sponsor assess the impact of their involvement. This can also be a great way to improve the quality of your advertising. You may find a sponsor who will be interested in upgrading your print to a professinal colour brochure in exchange for putting a panel advertising their company on the brochure. The more professional look could then rub off in how others perceive your group. Meet & Greet - Do you hold launch events for your shows, or could you have a meet the cast function after a show one night for your sponsor and his guests. The list of benefits is endless. Just have a good think about which items you think might be of most use to your potential sponsor.
THE DEAL This is the most important part of the proposal. You have discussed your project and what you can give a sponsor, now you need to ask the sponsor for remuneration in return. Ideally this should be a short paragraph outlining clearly what you would like the sponsor to provide whether it be in cash or kind. The bottom line offer is probably one of the most important parts of the proposal. THE CONCLUSION Write a brief paragraph telling the sponsor how to reach you and take up your offer if they are interested. SOME IMPORTANT STUFF This aforementioned list may sound like basic common sense but it’s amazing how many times groups will supply so much superfluous information that a sponsor won’t ever get past the first page. Just remember to keep it simple and honest. You are approaching a business to take part in a business deal so act professionally. Present your proposal in a neat clean precise way. Keep information in bullet points for easy perusal. Make sure your proposal is accompanied by a covering letter personally addressed to the decision maker you are approaching. You don’t need to go to the expense of folders and expensive report covers, just keep it simple and effective. One final thing you need to consider is that some large companies need planning time to effect a sponsorship relationship. You will have more success if you approach a sponsor months ahead, so forward plan. Next month we will talk about follow up, the sponsorship contract and the follow through to keep your sponsors coming back for more.
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SUMMER COURSES for Adults & Young People in
ACTING MUSICAL THEATRE AUDITION TECHNIQUE LIGHTING DESIGN & TECHNOLOGY
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Mountview is commited to equal opportunities 22-25.indd
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THE MUSICAL PRODUCED
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WEST END
Photo: Catherine Ashmore
SIZZLING SISTERS! Having just played host to The Sound of Music for three years, one would be forgiven for thinking that the London Palladium has been overun by even more golden voiced nuns. Yet, takeover they have as Sister Act, a musical based on the successful Whoopi Goldberg film, has opened in all its dazzling disco glory. For those of you who missed the film, Sister Act follows Vegas lounge singer Delores Van Cartier who, having witnessed a mob murder takes refuge as a protected witness in a run down convent. Though very much the fish out of water, she manages to transform the choir and the fortunes of the convent through music. With a few minor scripting changes bought about by Cheri and Bill Steinkellner, the writing team behind TV sitcom Cheers, the film’s plot remains largely intact. However, it is with the shows score that most changes have been made. Academy Award Winner and Disney musical supremo Alan Menken, together with Lyricist Glenn Slater have presented an entirely new score rich in theatrical sensitivity but firmly rooted in
disco. It’s great to see Alan Menken back in the theatre. His is an amazing talent that can deliver tender ballads, comic showstoppers and ensemble numbers that lift the roof off the theatre. LIke the film, the show takes a little while to warm up, but with the arrival of the nun’s choir, it changes gear, revving up into a frantic pace that continues through to a glitzy showstopping finale. Sister Act sees the UK debut (and what a debut!) of Patina Miller as Delores. Miller’s incredible range and soulful voice are a force to be reckoned with. It is also a delight to see Sheila Hancock back on stage as Mother Superior. Her vocals are emotional and tender, her comedy timing perfect. But, in my opinion high praise must go to twenty of the hardest working actresses in the West End. The “sisters” of Sister Act bring this show to a standstill on more than one occassion as they bump, grind and raise their diva like voices to the heavens. These sisters truly sizzle!! Whilst nuns such as Mary Lazarus, Mary
Robert and Mary Patrick have distinct and hugely comedic moments, each of the nuns brings gusto and character to this incredibly joyous ensemble. Director, Peter Schneider, Choreography, Anthony Van Laast and Designer Klara Zieglerova have delivered a slick, fluid production that whirls like a dervish but retains the heart of the story and the lovely quiet moments which make it irresistable. Grab your group and get your tickets now. As word of mouth gets out it sure to become one of London’s hottest tickets. You will leave your troubles at the door and leave smiling, singing and dancing your way down Argyle Street as we did. Sister Act The Musical London Palladium www.sisteractthemusical.com Box Office 0844 412 2704
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THE PLAY PRODUCED
SOME OF MY BEST FRIENDS ARE WOMEN Alan Tricker discusses his production of the new comedy Some Of My Best Friends Are Women by the St Andrews Play Club. THE GROUP
The St. Andrews Play Club was founded in 1933 and took over an old cow byre which they turned into a small theatre. They had great local support and started to employ professional actors and directors, raising the money to pay for their first month’s wages by putting on their own productions. This original ‘Byre Theatre’ was so successful that when the Byre was knocked down in 1970 the Club, together with the local council and Scottish Arts Council built a new theatre next to the original. This small, rather basic theatre, continued as a professional repertory theatre until 2000 when the directors secured a lottery grant and built a new state of the art theatre. It is the
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only theatre in Scotland that has gained 5 stars from Visit Scotland. The present theatre has a fly tower, studio theatre and a very popular restaurant. The Byre Theatre has come along way from its humble origins. The Play Club still perform in the theatre twice a year, taking the main stage for two weeks in October and a further two weeks in May. They perform a mixture of comedies and dramas, they range from The Dresser to Stepping Out and The Diary of Anne Frank (with the young KT Tunstall in the title role!) to Seasons Greetings. The group also have a history of performing new plays by emerging playwrights. Since 2004 they have
presented three UK premieres. (See the club website at www.standrewsplayclub. org.uk)
THE PLAY
Some of My Best friends are Women is the second play that the author, Carole Tricker has had published. Her first, Losers, was produced by the Play Club in 1996 and sold well, so we were confident that this new play would appeal to our audiences. The play is a comedy that takes a humorous look at the way woman operate in a group. The five women featured are the remnants of a crumbling book-reading group. Lynn is determined
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www.asmagazine.co.uk to keep the group together but it appears to be a lost cause. Bossy Dorothy is convinced that if the group would only stick to the rules and actually read the books then all would be well. Amanda likes nothing better that to wind the others up. Her extra alcohol loosens tongues and much is said during the course of the evening that would be better unsaid. Dorothy storms off, gets lost and has to be rescued by Steve - a young, handsome, book reading firefighter. He brings Dorothy back and sets pulses racing in Jill and Helen – the two youngest members of the group. As the evening stumbles from one crisis to another these two form an unexpected alliance. By the end of the evening everybody has learnt something about the others and it looks as if the group will carry on after all, with a new member, Chris, who only came to give Dorothy a lift. The play is essentially about friendship .
THE PLAY PRODUCED CASTING
Auditions were held well in advance of the start of rehearsals so that those given parts had time to get to think about their characters. Dorothy was an ideal part for one of the older actresses in the group who has excellent comic timing. She could also play drunk very effectively. Lynn and Amanda are more straightforward parts and went to two experienced actresses who brought their own take on the parts and developed them very well. Helen and Jill are younger and they had to be able to work well together to develop the comedy aspect of their relationship. They also have quite a heartfelt scene so the actors for these parts had to have a wide acting range. Two of the youngest members of the club took on these parts and, as they became more confident in their characters they were able to develop some good comic business. The two parts for men are very small.
The part of Steve, the fire-fighter, was taken by a new member who had not acted before. Steve is a very straightforward character that must be played absolutely straight, so it suited a novice. Chris is an older man who must appear to be a typical wimp but must also be likeable, not an easy task but one of our more experienced members was given the part.
REHEARSALS
Rehearsals took place on three nights a week in the Play Club’s rehearsal room. The director produced a very detailed rehearsal schedule and broke the play up into small units so that actors only attended when they were required. Each unit was worked on in detail so that the actors became confident in the role before moving on. We were lucky to have the writer in many rehearsals and she and the actors were able to discuss the writing and many improvements were made to the script as rehearsals
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THE PLAY PRODUCED we had no room to store the furniture after the production we advertised it free for uplift in the programme and it was collected 10 minutes after the curtain came down on the last night!
PROPS.
The props were straightforward, on the whole, and we were very lucky to have a stage manager who found a way to make the opening of two bottles of champagne on stage very much easier for the actor involved. He bought bottles of sparkling elderflower cordial, opened it. Filed the cork down a little and than replaced cork, foil and wire. This meant that the cork popped easily on stage. He also produced 5 copies of a fictional book Of Oaks and Orchids. He did this by creating his own front and back covers and gluing them to 5 paperbacks bought from a charity shop. One book is torn up during the play so he also had to make replacements for each performance.
LIGHTING, SOUND, COSTUMES
The action is continuous with no special lighting and the only sound effects are the door bell, which was done by the actors, and the phone ringing. The play is set in the present day so costuming is straightforward. A few trips to the charity shops were all that was necessary.
CONCLUSION
Putting on a new play is always a risk but we marketed this play focusing on the fact that it is a comedy. As it turned out audiences were good and included lots of book groups who made a night of it, having a meal in the restaurant first. It was a fun play to do and all the actors enjoyed being the first people to do the play and develop the characters.
progressed. The actors all developed their individual characters to such an extent that Carole rewrote some lines to take on board what they were doing. The final scene was discussed and rewritten several times before the final version was agreed on. There was never any friction in rehearsals between the director, the writer and the actors as the group had worked together on many plays and knew each other very well. As I am married to the writer, this did mean that we could have many of discussions at home. We did rather ’live’ this play for the 10 weeks of the rehearsal period! There is quite a lot of ‘business’ during the action of this play - wine pouring, champagne opening, bottle hiding and book ripping to mention but a few. This was introduced and worked on very early on in rehearsals so that it became
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second nature and fitted in perfectly with the dialogue.
Alan Tricker Director.
SET
Photos of the original production by Peter Adamson.
The play is set in the living room of Lynn’s home. As there is a lot of action in the hallway, including an important phone calls, the designer decided to use an open plan design so that there were no problems with sightlines. The room had to reflect Lynn’s character and circumstances so it was homely, warm and welcoming. The designer used different coloured carpets to designate the different areas of the house and used a variety of warm colours on the walls. The designer wanted some Ikea type paintings but these proved to be rather expensive so a club member, who is also an artist, painted some for us. The furniture was bought though the £50and-under column of the local paper. As
SOME OF MY BEST FRIENDS ARE WOMEN - A COMEDY BY CAROLE TRICKER Published By Jasper Publishing Ltd. ISBN 978 1 905993 92 5
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THE PLAY PRODUCED
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DIARY
DIARY JULY - AUGUST 2009 42nD STreeT 12 - 15 August 2009 Kenley Holiday Workshop Barn Theatre Oxted, Surrey 01883 331400 www.barntheatreoxted.co.uk
BAreFooT in The pArk 29 July - 01 August 2009 Staines Players Riverhouse Arts Centre Walton-on-Thames, Surrey 01932 253354 www.stainesplayers.com
A ChoruS Line 18 - 22 August 2009 Wayward Theatre Company Aberdeen Arts Centre Aberdeen 01224 641122
BeAuTy AnD The BeAST 17 - 18 July 2009 Purbrook Amateur Theatre Deverell Hall Purbrook 023 9261 0856
A MAn oF no iMporTAnCe 23 - 25 July 2009 St Peter Players Chalfont St Peter Community Centre Chalfont St Peter, Bucks 01753 892310
Big Top unDerworLD 18 - 22 August 2009 NOMADS Nomad Theatre East Horsley, Surrey 01483 284747
A MiDSuMMer nighT’S DreAM 14 - 25 July 2009 Bournemouth Players Priory House Gardens Christchurch, Dorest 01202 534776 A MonTh in The CounTry 01 - 04 July 2009 The Chichester Players The Theatre - New Park Centre Chichester, West Sussex 01243 786650 Annie 04 - 08 August 2009 Falmouth Young Generation The Poly, Church Street Falmouth, Cornwall 01326 212300 BACk To FronT 15 - 18 July 2009 Thornton Cleveleys Youth Theatre The Little Theatre Thornton, Lancs 01253 860856 BACk To The 80S 01 - 04 July 2009 Thurrock Thameside Musical Society Thameside Theatre Grays, Essex 01245 471675 15 - 18 July 2009 Performing Arts Company The Point Eastleigh, Hampshire 02380 652333
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BLeSS The BriDe 26 - 29 August 2009 Present Company Buxton Opera House Derbyshire 0845 1272190 www.derbyartsandtheatre.org.uk BLiThe SpiriT 01 - 04 July 2009 Shawbury Village Players Acton Reynald Hall Shrewsbury, Shropshire 01743 281281 BLooD BroTherS 10 - 12 July 2009 Littleport Players Littleport Village Hall Littleport, Cambs 07799 604209 Boogie nighTS 01 - 04 July 2009 Southport Amateur Operatic Soc Southport Little Theatre Southport, Merseyside 01704 228936 BounCerS AnD ShAkerS 29 July - 08 August 2009 Richmond Amateur Dramatic Soc The Georgian Theatre Royal Richmond, N Yorks 01748 825252 BugSy MALone 08 - 11 July 2009 Walmsley Church AODS Walmsley Parish Hall Egerton Bolton, Greater Manchester 01204 305812
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Burke AnD hAre - A MuSiCAL pLAy 11 - 15 August 2009 Lochaber Onstage! 231 Greenside, Edinburgh Fringe Festival Edinburgh, Scotland 0131 557 2124 BuSyBoDy 29 June - 4 July 2009 Droylsden Little Theatre Droylsden, Manchester 0161 370 7713 By JeeVeS 30 July 2009 Just Good Friends Mynydd y Garreg Hall Mynydd Y Garreg, Camarthenshire 01267 237386 31 July 2009 Just Good Friends Llangain Hall Llangain, Carmarthenshire 01267 237386 01 August 2009 Just Good Friends St Peter’s Civic Hall Carmarthen, Carmarthenshire 01267 237386 CALAMiTy JAne 12 - 15 August 2009 Littlehampton Mus Comedy Soc Windmill Theatre Littlehampton, West Sussex 01903 722224 CArouSeL 01 - 07 July 2009 Swanage Musical Theatre Co The Mowlem Theatre Swanage, Dorset 01929 422239 08 - 11 July 2009 Promenade Productions The Bacon Theatre Cheltenham, Glos 01242 224144 CAughT in The neT 28 July - 27 August 2009 Exmouth Players Blackmore Theatre Exmouth, Devon 01395 269013
www.asmagazine.co.uk CopACABAnA 15 - 18 July 2009 Friends of Abbeydale Picture House Abbeydale Picture House Sheffield, S Yorks 07775 966106 CruiSin’ 01 - 04 July 2009 Highbury Little Theatre Highbury Theatre Centre Sheffield Road Sutton Coldfield, W Midlands 0121 373 2761 DAD’S ArMy 13 - 18 July 2009 South Shields Westovian Theatre Society Pier Pavilion South Shields, Tyne and Wear 0191 456 0980 DAiSy puLLS iT oFF 23 - 25 July 2009 Beaufort Players Church of the Ascension Hall Beaufort Road Ealing, London 020 8893 2532 DArLing BuDS oF MAy 28 July - 01 August 2009 Western College Players Drum Theatre, Theatre Royal Plymouth, Devon 01752 267222 DiSCo inFerno 15 - 18 July 2009 Kingston Vale Operatic & Dramatic Society Performing Arts Centre, Kingston Grammar School London Road, Kingston Upon Thames, Surrey 07789 344063 DrACuLA SpeCTACuLA 16 - 18 July 2009 Beverley Musical Theatre Beverley Memorial Hall Beverley, E Yorks 01482 215303 eLegieS For AngeLS, punkS & rAging QueenS 03 - 05 August 2009 Centrestage Productions Youth Theatre The Point Eastleigh, Hants 023 8065 2333 eLTon John’S gLASSeS 22 - 25 July 2009 New Stagers Theatre Company St Anne’s Church Hall Wandsworth, London 07814 611239 FAMe 16 - 18 July 2009 Footloose Musicals Civic Hall Ellesmere Port, Cheshire 07841 230921
DIARY
www.asmagazine.co.uk FAme 06 - 08 August 2009 Centrestage Productions Youth Theatre, The Point Eastleigh, Hants 023 8065 2333
Follies 14 - 18 July 2009 Gallery Players The New Wolsey Theatre Ipswich, Suffolk 01473 295900
21 - 22 August 2009 Biz Productions (Youth Theatre) Leatherhead Theatre Leatherhead, Surrey 01372 365141
FooTloose 28 - 29 August 2009 Bullfrog Productions The Stage Theatre Sevenoaks, Kent 01732 450175
FAme ForeVer 27 July - 01 August 2009 Newmarket Operatic Musical & Dramatic Society (NOMADS) Kings Theatre Newmarket, Suffolk 01638 663337 FiDDler on The rooF 15 - 18 July 2009 Bradford Youth Players Dixons City Academy, Ripley St Bradford, W Yorks 07504 745220 FiVe ChilDren AnD A PsAmmeAD 20 - 24 July 2009 GADOC Beau Sejour Theatre, Guernsey 01481 747200 www.gadoc.org
From BroADwAy To hollywooD 01 - 04 July 2009 Bolsover Drama Group Moorfield Hall, The Bolsover School Bolsover, Derbyshire 01246 850402 Fur CoAT AnD no KniCKers 01 - 04 July 2009 Kibworth Theatre Company Kibworth Grammar School Hall Kibworth, Leics 07730 955159
GlAmorous niGhT - A sPArKlinG eVeninG oF oPereTTA 09 - 10 July 2009 Southgate Opera Palmers Green, London 020 8441 5309 GoDFATher’s GonDoliers 09 - 11 July 2009 Sunningdale Savoy Chorus The Cordes Hall Sunninghill Ascot, Berks 01344 626591 Guys AnD Dolls & JunGle BooK 10 - 11 July 2009 Riverside Theatre Company Hinchingbrooke Performing Arts Centre Huntingdon, Cambs 07928 947479 hello Dolly! 14 - 18 July 2009 Torbay Operatic & Dramatic Society Princess Theatre Torquay, Devon 01803 290371
hiGh sChool musiCAl 13 - 17 July 2009 Tenbury Amateur Operatic Society Tenbury High School Tenbury Wells, Worcs 01584 810304 26 - 29 August 2009 Dundee Schools Music Theatre The Space, Dundee College Dundee, Angus 01382 834934 hiGh sChool musiCAl 2 07 - 11 July 2009 Coventry Youth Operetta Group Heart of England School Balsall Common, Nr Coventry, West Midlands 02476 490939 08 - 11 July 2009 Class Act Youth Theatre Pen-yr-heol Theatre Gorseinon, Swansea 01792 422349 14 - 15 August 2009 Bullfrog Productions Michael Hall Theatre East Grinstead, W Sussex 01342 322411
Dollar Drama Club’s recent production of “The Visitors” by Alistair Faulkner
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DIARY
www.asmagazine.co.uk
BOSCATS production of Junior Broadway Guys & Dolls
High Society 08 - 11 July 2009 College Amateur Operatic Society Kenneth More Theatre Ilford, Essex 020 8553 4466
It’s Another Swing Thing 29 July - 01 August 2009 Stage Door Theatre Company Windmill Entertainment Centre Littlehampton, W Sussex 01903 722224
Little Shop of Horrors 24 July - 02 September 2009 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007
Honk! 16 - 18 July 2009 Shooting Stars Youth Theatre Co Chipping Sodbury Town Hall Chipping Sodbury, S Gloucs 01454 883445
Jekyll & Hyde 16 - 18 July 2009 South Downe Musical Society Ferneham Hall Fareham, Hampshire 01329 231942
19 - 22 August 2009 Dundee Schools Music Theatre Dundee Rep Dundee, Angus 01382 203882
Humble Boy 04 - 11 July 2009 Rugby Theatre Society Rugby Theatre Rugby, Warks 01788 541234
Jungle Book for Kids/Into the Woods Jnr 02 - 11 July 2009 Pump House Children and Youth Theatre Pump House Theatre and Arts Centre Watford, Herts 07903 411150
Into The Woods 15 - 18 July 2009 Clevedon Light Opera Club Princes Hall Clevedon, N Somerset 01275 880688 Iolanthe 02 - 03 August 2009 South Anglia Savoy Players Witham Public Hall Witham, Essex 01376 583223
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L’Elisir d’Amore (The Elixir of Love) - Donizetti 14 - 18 July 2009 Somerset Opera King’s College Taunton, Somerset 01823 336344
Little Women 03 - 08 August 2009 GADOC Beau Sejour Theatre Guernsey, CI 01481 747200 www.gadoc.org London Calling 27 - 29 August 2009 Younger Generation Theatre Group Ashcroft Theatre Croydon, Surrey 020 8688 9291 Man of La Mancha 19 - 22 August 2009 Theatre Ingestre Ingestre Stables Stafford, Staffs 01889 271165
Murdered to Death 07 - 11 July 2009 Marlowe Players Darley Abbey Village Hall Derbyshire 07961 607372 www.derbyartsandtheatre.org.uk Music Man 24 - 28 August 2009 Redruth Amateur Operatic Society Trust (RAOST) The Minack Theatre Porthcurno, Penzance, Cornwall 01736 810181 No Dinner for Sinners 23 - 28 August 2009 GADOC Beau Sejour Theatre, Guernsey, 01481 747200 www.gadoc.org No Sex Please, We’re British 02 - 04 July 2009 Leighton Buzzard Drama Group Leighton Buzzard Theatre Leighton Buzzard, Beds 01582 818801 16 - 18 July 2009 Leighton Buzzard Drama Group Chrysalis Theatre Milton Keynes, Bucks 01582 818801
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DIARY
www.asmagazine.co.uk Oklahoma! 09 - 11 July 2009 Havering Music Makers Queens Theatre Hornchurch, Essex 01708 762256 29 July - 01 August 2009 Billboard Ensemble Barry Memorial Hall Barry, Vale of Glamorgan 01446 733625 Oliver 22 - 25 July 2009 Centre Stage Theatre Arts Landau Forte College Derbyshire 01332 754449 www.derbyartsandtheatre.org.uk
Dolls
21 - 25 July 2009 Nogal Pear Tree Players Lowther Pavilion Lytham St Annes Lancs 01253 658666 Opera Concert 08 August 2009 Una Voce Opera Company Old Christ Church, Waterpool Liverpool 22, Merseyside 0151 924 8972
Outside Edge 02 - 11 July 2009 Cowes Amateur Operatic & Dramatic Society Trinity Theatre Cowes, Isle of Wight 01983 295229 Pack of Lies 22 - 25 July 2009 New Forest Players Performing Arts Centre, Ballard School New Milton, Hants 0845 166 8775 Pandemonium 03 - 05 July 2009 NOMADS The Nomad Theatre Bishopsmead Parade East Horsley, Surrey 01483 284717 Pirates Of Penzance 03 July 2009 Livewire Opera Company Queen Hall Watton, Norfolk 01953 851543 04 July 2009 Livewire Opera Company Public Hall Beccles, Suffolk 01953 851543
10 - 11 July 2009 Livewire Opera Company Corn Hall Diss, Norfolk 01953 851543 17 - 18 July 2009 Livewire Opera Company Norwich Playhouse Norwich, Norfolk 01953 851543 Present Laughter 29 June - 4 July 2009 Bingley Litte Theatre Arts Centre Bingley, West Yorkshire 01274 432000 Princess Ida 09 - 11 July 2009 Southampton Operatic Society Hanger Farm Arts Centre Aikman Lane Totton, Hants 023 8066 7683 Relative Values 05 - 11 July 2009 Teddington Theatre Club Hampton Hill Playhouse Hampton Hill 0845 838 7529 www.ttc-boxoffice.org.uk
Role Play 15 - 18 July 2009 Runnymede Drama Group Riverhouse Barn Theatre Walton-on-Thames, Surrey 01932 253354 Romeo and Juliet 15 - 18 July 2009 Priory Players Gardens of Marshall Legal Colchester, Essex 01206 282920 Ruddigore 01 - 04 July 2009 Havant Light Opera Havant Arts Centre Havant 023 9247 2700 Sandcastles 08 - 11 July 2009 Harlow Theatre Company Victoria Hall Theatre Old Harlow, Essex 01279 420062 www.harlowtheatrecompany.co.uk See How They Run 16 - 18 July 2009 Oundle Amateur Theatrical Society Stahl Theatre Oundle, Northants 01832 274333
Ariel Theatre Company - RENT Photos: Steven Candy
AS MAGAZINE | JUNE 2009
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Shirley Valentine 08 - 11 July 2009 Lighted Fools Theatre Co. Riverhouse Arts Centre Walton-on-Thames 01932 253354 http://lighted-fools.co.uk
The Beaux Stratagem 15 - 18 July 2009 Second Thoughts Drama Group The Shakespeare Institute Church Street Stratford-upon-Avon, Warks 01789 207100
Showcase 22 -25 July 2009 Ranger Productions The Mowlem Theatre Swanage, Dorset 01929 422239
The Best Little Whorehouse In Texas 07 - 11 July 2009 Birmingham & Midland Operatic Society (BMOS) The Old Rep Birmingham, West Midlands 0121 303 2323
Smokey Joe’s Cafe 25 - 29 August 2009 Downfield Musical Society DMS Clubrooms Dundee 01382 322537 Taking Steps 06 - 11 July 2009 Little Theatre Gateshead Saltwel View Gateshead, Tyne & Wear 0191 478 1499 The A-Z of Musicals 01 - 04 July 2009 Nuneaton Amateur Operatic & Dramatic Society Abbey Theatre and Arts Centre Nuneaton, Warks 02476 738007
The Boyfriend 26 - 29 August 2009 The Grantham Youth Theatre Society The King’s School Grantham 0121 643 5858 The Day They Kidnapped The Pope 25 - 29 August 2009 Swansea Little Theatre Ltd Dylan Thomas Theatre Swansea 01792 473238
The Demon Headmaster 09 - 11 July 2009 KYDZ (Keighley’s Youth Theatre) Christchurch Oakworth, Keighley 01535 219705
The Grand Duke 12 August 209 Savoynet Performing Group Buxton Opera House Buxton, Derbyshire 0845 127 2190
The Fifth Elephant 14 - 18 July 2009 Collingwood RSC New Theatre Royal Portsmouth 023 9264 9000
The Happiest Days of your Life 01 - 04 July 2009 Chellaston Players St Peter’s Church Hall Chellaston, Derbyshire 01332 702693 www.derbyartsandtheatre.org.uk
The Full Monty 28 July - 01 August 2009 Overtures Productions Wyllyotts Centre Potters Bar, Herts 0208 360 1957 05 - 08 August 2009 Ellesmere Port Musical Theatre Company The Floral Pavilion Theatre New Brighton, Wirral 0151 666 0000 The Gondoliers 13 August 2009 Derby Gilbert & Sullivan Co. Buxton Opera House Derbyshire 01298 72190 www.derbyartsandtheatre.org.uk
The Likes of Us 06 - 10 July 2009 Weston-Super-Mare Operatic Society Playhouse Theatre Weston-super-Mare, N Somerset 01934 645544 14 - 18 July 2009 St Annes Parish Church Amateur Operatic & Dramatic Society Lowther Pavilion Lytham St Annes, Lancs 01253 658666 19 - 22 August 2009 Centre Stage Theatre Buccleuch Centre Langholm, Dumfrieshire 01387 388196
Droylsden Little Theatre - 3-for-1 Photos: Tony Birch. www.droylsdenlittletheatre.com
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AS MAGAZINE | JUNE 2009
11/06/2009 00:58:02
DIARY
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Allo Allo - Street Theatre The Likes of Us 23 - 25 July 2009 Llandudno Youth Music Theatre Venue Cymru Llandudno, Wales 01492 872000
The Tempest 08 - 11 July 2009 Castle Players Grounds of the Bowes Museum Barnard Castle, Durham 0800 074 7080
The Matchgirls 02 - 04 July 2009 Orchard Players Capel St Mary Village Hall Capel, Ipswich, Suffolk 07761 782456
The Thwarting of Baron Bolligrew 06 - 08 August 2009 Young Wick Theatre Co. Barn Theatre Southwick, West Sussex 01273 597094 www.wicktheatre.co.uk
The Merchant of Venice 17 - 22 August 2009 Samares Players St James’s / Samares Manor Jersey 01534 700444 The Permanent Way 22 - 25 July 2009 Stage 2 Youth Theatre Company The Crescent Theatre Birmingham, W Mids 0121 643 5858 The Taming of the Shrew 07 - 11 July 2009 Kelvin Players Theatre Company The Diary Garden at Blaise Castle Bristol 0117 959 3636 www.kelvinplayers.co.uk
The Wizard of Oz 26 - 29 August 2009 Dionysis Theatre Company Gala Theatre Durham 0191 332 4041
Thoroughly Modern Millie 06 - 11 July 2009 Appeal Theatre Group The New Wolsey Theatre Ipswich, Suffolk 01473 295900
Twelfth Night 21 - 24 July 2009 Romsey Amateur Operatic & Dramatic Society Romsey Abbey Grounds Romsey, Hants 01794 512987
08 - 11 July 2009 Centre Stage (Pinner) The Steiner Theatre London 07722 323221
Weekend Breaks and Dinner Plans 31 July - 01 August 2009 KATS Upper Bucklebury Memorial Hall Upper Bucklebury, Berkshire 0870 285 5287 www.kats.org.uk
Three Ps Suite 27 July - 01 August 2009 Ringwood Musical & Dramatic Society Greyfriars Community Centre Ringwood, Hants 01425 470837
22 - 23 July 2009 Centre Stage North East Sunderland Empire Sunderland 08448 472499
Tomfoolery 18 - 22 August 2009 Nomad Theatre Group Nomad Theatre East Horsley, Surrey 01483 284717
13 - 18 July 2009 Tynemouth Amateur Operatic Society Priory Theatre Tynemouth, Tyne & Wear 0191 2521827
Treasure Island 22 - 25 July 2009 Swansea Little Theatre Ltd Dylan Thomas Theatre Swansea 01792 473238
West Side Story 07 - 11 July 2009 Stampede Theatre Company Yeadon Town Hall Yeadon, Leeds 07947 535536 08 - 11 July 2009 Retford & District Amateur Op Soc The Majestic Theatre Retford, Nottinghamshire 01777 706866 15 - 18 July 2009 Frome Community College & Merline Theatre Co. Merlin Theatre Frome, Somerset 01373 465949
AS MAGAZINE | JUNE 2009
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AS MAGAZINE | JUNE 2009
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THE LAST WORD
Wisteria Cottage Garrick Road Campton Royal
Greetings dear hearts, I am pleased to report that Campton Royal Amateur Players have made real progress since my last missive. Despite the continuing lack of a doctor, we have set all the moves for Act 1. I say all, obviously I have spent no unnecessary time on the scenes with Madame Arcati, played, of course, by my good self. I was born to play her, have done so on three previous occasions and know every move like the back of my hand, so need very little rehearsal. Nikki seems to have appointed herself as prompter, which will be remarkably useful during the performance itself and the week before when the cast should know most of their lines. On the other hand, I have concerns that she sees herself as my assistant and I brook no challenge to my authority, particularly from a flibbertigibbet of a hairdresser. My concerns arise from one night last week, when she took it upon herself to point out that, Jim, Charles Condomine, was in completely the wrong position. I explained, patiently I thought, that my script was carefully marked and the reason for his placement would be made clear in a move or two. And would she be told? She would not. By this time, Jim also began to quibble, so I thrust my script in front of his nose and pointed at the letters SL, (to the uninitiated this stands for Stage Left in theatrical parlance.) To crown it all, Kath joined in, had the temerity to take the book from my hands, stared at the marking and told Nikki that she was totally correct. I could not believe my ears, but before I could protest, Kath took me to one side and hissed ‘Simon Latimer.’ It took a few moments to realise what she was saying and then, in the words of Madame Arcati ‘it came to me in a blinding flash.’ Simon was my second Charles, almost twenty years ago. The poor soul is now I believe, in a home for the memoryimpaired, which does not surprise me in the slightest if his abysmal performance was any indication of his power of recall. But ‘memory impaired’? I ask you, was the sign writer a political correctness fanatic, or so dyslexic that he couldn’t spell Alzheimer’s? Back to the rehearsal; since SL, on this occasion, appeared to represent an actor’s initials I made a mental note to check through the script to avoid similar confusion in future. Thinking rapidly, I made the best of the situation and magnanimously told the cast that in the interest of harmony I would eliminate the offending move. This seemed to settle the matter and I called a break for coffee. I lingered to scan the next few pages for other Latimer pitfalls, naturally, there were none to be found. My notation, though personal, might be of use to the less experienced, so I shall take this opportunity to clarify my system. The areas of the stage SR, US and DSR etc, are marked in red; instructions to the actor such as laughing, angry, distressed, are in blue; one asterisk, green denotes an essential prop, two indicate a costume issue and three asterisks require a piece of furniture to be relocated. Simple, effective and pleasingly colourful, I believe it to be unique, although, now that I have told you, not for long since I’m sure there will be many who choose to emulate my example. As I was saying, I was engrossed in the pages of the master when an unseemly burst of laughter erupted from the kitchen. When I demanded to know what was so amusing, Jim began babbling about the weather, so I could only conclude that he had been recounting some risqué anecdote. I admonished him, saying that smutty or distasteful humour would not be tolerated in my rehearsals. I trust he will respect my wishes. Must dash, I’m out of cocoa. Fondest Regards
Doris Richardson-Hall
Hello
After Pure discre of am almos
Well, anyw pictur
So, th Blithe but m say au who y arrive
She’d about than a there’ two k
Rehea straig copy move was d small perfo squee
There
More
Yours
Dor
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AS MAGAZINE | MAY 2009
11/06/2009 02:32:43
Wisteria Cottage Garrick Road Campton Royal
Hello my luvvies! After many years of writing to Amateur Stage, sorry, AS magazine – why does everybody use initials these days? Pure laziness if you ask me. As I was saying, after more letters to the editor that I care to count, pointing out little discrepancies, all of them unpublished, this darling man has finally invited me to share my extensive experience of amateur dramatics with you. And it is extensive, I have been responsible for every production in our village for almost thirty years, so there’s not much that I don’t know. Well, there are some things, anything that has a plug attached is a mystery and my stage manager refuses to let me anywhere near his tool box. How was I to know that his hand was on the other side of the flat when I nailed in a picture hook? So, that’s me. My little group, Campton Royal Amateur Players are about to embark on a delicious production of Blithe Spirit. Auditions were held in my living room last week, over tea and cakes. Shop bought I’m ashamed to say, but my life is so taken up with my art that my mixing bowl has not seen the light of day for a very long time. When I say auditions, it was more of a read through, you don’t have to be Madame Arcarte to know well in advance exactly who you are going to cast, now do you? It all went relatively smoothly, then this twenty something blonde creature arrived on my doorstep. She’d ‘done acting’ at some central school, presumably in the Midlands, and a man in the Post office had told her about our group. I have to say I was not best pleased, who needs a newcomer who says she feels more like an Elvira than a Ruth? Not that it matters, Marjorie will play Ruth and Kath will take Elvira, Kath won’t see 50 again, but there’s nothing that a good layer of 5 and 9 won’t hide. Anyway, Miss Enthusiastic, who likes to be call Nikki, with two k’s, turned out to be useful and I cast her as the maid. Rehearsals start next week and should be quite straightforward, particularly since I still have my copy from eighteen years ago, complete with all the moves. Slight problem when I realised that it was designed for the Junior School hall, not the smaller community centre stage where we now perform, but I’m sure the Stage manager can squeeze the French windows in somehow. There you have it – onwards and upwards. More soon. Yours Doris Richardson-Hall
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