Amateur Stage May 2011 by Amateur Stage Limited

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

MAY 2011

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amateurstage | May 2011

HELENA BLACKMAN

TALKS RODGERS AND HAMMERSTEIN

UP IN ARMS A NEW THEATRE ARMOURY SERVICE

INCORPORATING

AMERICAN ACADEMY WE LOOK AT TRAINING STATESIDE

REGIONAL NEWS COVERNOV11.indd 3

NEWS * REVIEWS * INSURANCE NATIONAL DIARY * INTERVIEWS 19/04/2011 21:15:34

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

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

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

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

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

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

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

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www.stagescripts.com sales@stagescripts.com 0700 581 0581

21/02/2011 13:35:11

amateurstagemay11 FROM THE EDITOR This month Amateur Stage is proud to be launching some of our new initiatives which we hope you will enjoy. To go alongside our TV programme which will begin in the next month, we have started work on our very first live expo to be held in London in September. We are also pleased to be re-instating the Amateur Stage Theatre Club which was enormously popular many years ago. We’ve selected two of the hottest upcoming shows (Ghost and South Pacific) as our first two outings and hope to see you there. We’ll be adding more events to the club calendar so keep an eye out for further details. We’d like to welcome NODA North and North West to the magazine this month. We continue to recieve great feedback about the new larger edition of the magazine and that feedback and any suggestions are always welcome. More great news next month.

Enjoy! Doug

THIS MONTH 5

OVERTURE News from across the UK

HELENA BLACKMAN Helena talks to us about Rodgers & Hammerstein.

AMERICAN ACADEMY We profile a course of study Stateside.

THE MUSICAL PRODUCED We look at Nomad Theatre’s production of The Likes Of Us.

NODA NORTH

NODA NORTH WEST

PANTO WRITING PART 2 So you want to write your own panto???

KNOW YOUR RIGHTS We talk to David Waters from Stagescripts.

SOUND KNOWLEDGE Ian Herbert looks at digital mixers.

PLAYSCRIPT REVIEWS David Muncaster reviews the latest playscripts

THE LAST WORD Doris returns!!

Cover: HONK!! Mossley AODS. Photo: Martin Ogden

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

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20/04/2011 15:23:16

THE ONLY EVENT IN THE UK EXCLUSIVELY FOR AMATEUR THEATRE

COMING SOON

The amateurstage Expo SPONSOR | EXHIBIT | PERFORM

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THIS SPECIAL EVENT WILL SEE AMATEUR THEATRE ENTHUSIASTS AND TRADERS CONVERGING ON LONDON TO CELEBRATE. THE AMATEUR STAGE EXPO WILL FEATURE WORKSHOPS, PERFORMANCES, THEATRICAL SUPPLIERS, AND MUCH MORE....

Presented in association with www.amdram.co.uk expoadteaser.indd 1

19/04/2011 21:27:45

The Award-winning Broadway production of Rodgers and Hammerstein’s South Pacific is headed to London. Paulo Szot and Loretta Ables Sayre will reprise their Broadway roles when the classic musical opens at the Barbican Theatre in August. See details about our theatre outing on Page 8

overture national news * events * products * competitions * stuff

A LOVELY DAY

Why is our incarceration in a village hall the signal for the sun to blaze outside? This was certainly the case on April 9th when four as opposed to five teams and their supporters packed into The Memorial Hall, Rangeworthy, South Glos., for The Five Counties Youth Drama Festival - hosted by The Court Players and with Graham Bill Ass. GODA adjudicating. Fortunately being a village the Hall opened out onto a country lane and a playground opposite which was filled with young people, eating their packed lunches, swinging, socialising ........ A very varied programme, one English play ‘Ernie’s Amazing Illucinations’ by Alan Ayckbourn presented by SPYS (Sodbury Players Youth Section) where an ingenious use of costume rails formed the setting, changed by a ‘chorus’ of young actors in brightlycoloured t-shirts who took multiple parts and produced sound effects. SPYS second cast gave us a taste of their versatility with a moving production of the Amercan writer, Celeste Raspanti’s ‘I Never Saw Another Butterfly’ set in Terezin Concentration Camp. Another American script was Michael Soetaert’s ‘The Meadow’ presented by Pewsey Vale Amateur Dramatic Youth Section which set most of a young cast the unenviable task of standing still - they were plants! - which they performed with the aid of stunning costumes and excellent choral speaking. The winning performance came once again from St Gregory Youth Theatre with another American script ‘Aesop’s (Oh So Slightly Updated) Fables’ by Kim Esop Wylie. A slightly clunky title which hides an amusing set of variations on the ancient fables and some witty and crisp dialogue. A seamless production where the actors changed the set with blocks painted as children’s bricks which gave a different picture on each side, whilst they sang a simple refrain. An enormous amount of discipline needed for this from any company - but it was a discipline that freed up the young actors for performances of great variety, energy - and fun.

KNUTSFORD NAME CHANGE

Knutsford Musical Theatre Company has been launched this month after Knutsford Amateur Operatic Society decided on the new name to reflect the style of the company. A competition to design a new logo was won by Ben Cashmore, the grandson of a company member. To celebrate the new name the company offered a toast with glasses of bubbly and a cake-cutting by chairman, Lesley Reed and president, Ken Webb. Ken has been a member of the group since 1957, when he started as musical director. He recently retired as north west regional councillor for the National Operatic and Dramatic Association, and has shared his wisdom and experience with the Knutsford group over the years. As well as a new name and logo, the company has a new rehearsal venue. The Shaw Heath Social Club has welcomed the company, and Wednesday night rehearsals have become a social event as well as the hard work of learning songs, dances and scripts. Current rehearsals are for a memorial concert for Anne Hooker, a member of the society who died last year. The Magic of Musicals concert will consist of music from the shows that Anne produced in the past, and is a collaboration with Mid Cheshire Amateur Operatic Society and Zodiacs. The concert is on May 27 at Northwich Memorial Hall. Rehearsals will soon be starting for the autumn show. Everyone is welcome to join, and there is always plenty to do on and off stage. For more details about the group visit its website at knutsfordaos.org.

The sun may have been shining outside but inside we all relished the warmth generated by the vitality and enthusiasm displayed both on stage and in the audience. Ann Aplin

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19/04/2011 21:29:32

OVERTURE

CALENDAR GIRLS

Over the past month complaints have been raised by groups across the country who have realised that licensing of the hit play Calendar Girls may not have been as geographically exclusive as they had thought. Samuel French have issued this statement in response:-

Cyril Livingstone: Tributes to Leeds theatre director and critic

Tributes have been paid to Cyril Livingstone, who died on March 31 aged 90, who was perhaps best known for his association with Leeds amateur drama group The Proscenium Players. He had the enviable distinction of introducing the world to Frankie Vaughan, who went on to become a world-wide singing sensation and famously fell out with actor Peter O’Toole. As a founder member of the Players in 1948, he became the group’s leading actor but his hankering for direction, which he did clandestinely from the sidelines in other directors’ productions, later blossomed in productions of his own. Cyril, born March 28, 1921, was the youngest of three sons born to Bertha and Joseph Livingstone. Long-term friend and colleague John Fisher joined the Players in 1952 and is author of An Audience Of Curious People: The Story of the Proscenium Players (published by Scratching Shed Publications, 2010). He was kind enough to share details of his career. He said: “In the 1950s, he appeared in numerous plays for Harry Hanson’s famous repertory company the Court Players, staged at the now defunct Leeds Theatre Royal. He was nearly always chosen to play sinister and menacing characters, which he relished. “He was invited to act in the York Festival’s 1960 production of the York Cycle of Mystery Plays where he was cast as Caiaphas, and directed by the late David Giles. “He was a prime mover in the annual rag revues at Leeds University during the late 1940s and early 1950s, both as a member of the cast and author of many witty sketches and monologues. “In fact he was one of a team of writers who first introduced the world to Frankie Vaughan in a 1949 Leeds University Rag Revue at Leeds Empire. “His performance as the Chief of Police in Dostoevsky’s Crime and Punishment had one critic describe his slinky walk as ‘like a sleek cat approaching a saucer of cream’. “But it is as a man of the theatre and an indefatigable director of outstanding merit he will be best remembered. “Cyril, a blend of chic and cheek, was a hard task master and as director developed a forthright and blunt tone which brought the best out of his actors. “Those who could not swallow his gallows humour fell by the wayside. “Cyril’s love of design spilled over from his family fashion business, which he joined just before the Second World War and brought such panache to the Leeds fashion scenario. “The salon, which he fronted with his mother in North Street and later Albion Place, was a landmark for the stylish. “The fashion conscious would flock there to choose the latest haute couture and to Cyril’s opinion of what suited them best. “In the 1950s Cyril began writing snappy theatrical appraisals and often reviewed the Leeds Civic Theatre drama season at the Proscenium Players’ Sunday Club meetings held at the Griffin Hotel in Leeds. “He was at his most critical when reviewing a production of A Month in the Country which starred Peter O’Toole and which Cyril found ‘interminably boring’. “His scathing critique ended: ‘More like a year in the theatre than a month in the country.’ “O’Toole never spoke to him again.” Neil Hudson. (Courtesy of Yorkshire Evening Post)

“The amateur release of CALENDAR GIRLS for a 12 month period commencing September 2012 has been widely advertised and Samuel French has received an unprecedented number of licence applications. We are of course delighted about this, not only as it is such an excellent play for amateur groups and but also because a percentage of the royalty fees is being donated to Leukaemia Research. However, an inevitable result of this popularity is that there will sometimes be a number of amateur groups planning productions within the same area and several instances of this situation have been drawn to our attention. All companies who are preparing to present CALENDAR GIRLS should therefore be aware that there may be other productions locally and may wish to liaise with any drama groups who operate in their vicinity in order to avoid a potential clash. Unlike the licences for musicals, which can often include a degree of protection, all play licences are non-exclusive. As a general rule amateur societies are aware of this and it poses no problem. This situation has, however, been highlighted by the demand for CALENDAR GIRLS and the short time span during which rights will be released. It is not administratively feasible for us to monitor the play licences that we issue, nor is it desirable as one of our primary concerns is to generate income for our clients who in this case include Leukaemia Research. As a consequence of this there is no guarantee that your production will be the only one being mounted in your area and it is in the best interests of amateur groups that they investigate the situation in order to avoid any possible future disappointment or inconvenience. Problems arising from conflicting productions may be resolved by changing the dates of performance or even by presenting co-productions with other companies. As amateur rights are not actually released for another 18 months there should be sufficient time to find a solution to any potential difficulties and to ensure that your production of this enormously entertaining play is a great success for all concerned.” Paul Taylor Performing Rights Director Samuel French Ltd.

Results of Leicestershire & Rutland One Act Play Festival Preliminary Round of The AllEngland Theatre Festival Winner: Oadby Drama Last of the Vamps by John Reason Other Awards: Best All-Women’s Play Best Actress: Helen Adam Best Director: Linda Daniel Runner Up: Little Acorn Production Company Jump Off by John Waterhouse Other Awards: Best Stage Presentation Best Actor; John Perkins Best Original Play: Kirby Muxloe Junior Player Festival by Julie Willson Other Awards: Best Team Spirit Best Young Player: Ben Bull (12 Years Old) Adjudicator’s Award: Market Harborough Drama Society Perfect Partners by Alan Richardson The Adjudicator was Cherry Stephenson, GoDA Associate The winner goes forward to the Central Division Quarter Final On the 9th April, 2011 at Two Rivers High School Theatre, Tamworth Adjudicator: Michael Patterson, GoDA

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19/04/2011 21:29:57

OVERTURE

TRINITY THEATRE IN COWES GETS £10,000 FROM BIG LOTTERY FUND

The Trinity theatre in Cowes on the Isle of Wight has been awarded a £10,000 grant from the Big Lottery Fund. The theatre, run by the Cowes Amateur Operatic and Dramatic Society, plans to use the money on refurbishing toilet facilities. Work is expected to start during the summer and be completed by March 2012. John Plumbly, the President of CAODS, said: “We are constantly trying to improve the environment for our members, audiences and other users of the theatre. “This is a very challenging task in the current economic climate but funding like the Awards for All grant mean we can make major steps forward in our refurbishment project.”

SITTING COMFORTABLY FOR NEWTHEATRE DRAMA GROUP ON A WINNING STREAK LOOK A £200,000 refit will take centre stage when Stafford Gatehouse Theatre opens its

An amateur theatre group in Barton won six awards this month, including a national honour for an Oscar Wilde play. The Barton Players’ production of The Importance Of Being Earnest won Best Drama in the 2011 National Operatic and Dramatic Association (NODA) awards and five prizes at the Bedfordshire One Act Play Festival. As a result of the Beds festival success they are now through to the semi-finals of the All England Finals Theatre Festival in May. Chairman Ketih Badham said: “It’s all quite exciting. We have tried to really up the standard of our productions this year and winning these feels like a recognition of that. “We are all quite big Oscar Wilde fans so we wanted to stay true to the text and follow the original script.” For the production, which Mr Badham directed, the audience were seated around tables rather than in rows of seats, and were served cucumber sandwiches and tea which feature in the play. Mr Badham said: “We tried to give the audience an experience, and ensure they had a good time. Amateur drama has a bad reputation but we worked hard to put on a high standard of show. “We haven’t won any awards in years so to win six in a month has blown us all away. We have got a taste for it now and hopefully we will only get better.” The group, who have been performing together since 1984, are made up of local people of all ages, professions and backgrounds. Mr Badham said: “It’s one of the only hobbies where you will get people of all ages working together. It’s really sociable and it’s about more than just acting, it’s about friendship.”

LINTHWAITE PLAYERS ARE DETERMINED THE SHOW WILL GO ON

A lot of amateur groups continue to work under the assumption that they are immune from disaster. With recent inclement weather, and other factors surfacing across the UK we thought we’d highlight another case of near disaster. In their case the expression ‘the show must go on’ was extremely apt for the Linthwaite Players. Most productions, both amateur and professional, are often riddled with problems, but the Players’ recent production of Sandcastles by Bob Larbey was threatened with cancellation a few day before opening. A car crash involving two cast members halted rehearsals and cast the show into doubt. Producer Donald Sykes and wife Bobbie were involved in a road crash in Milnsbridge and Bobbie, who plays one of the show’s principals, was in hospital with a broken leg. There seemed like no hope of continuing with the production – as it seemed highly unlikely anybody could be found who could learn lines and movements in the six remaining rehearsals before opening night. But, thankfully, the show went on thanks to Pat Clifton. Pat belongs to the Phoenix Players in Shelley and she played the same part as Bobbie in their February production of the same play. Donald contacted Pat and explained the situation and Pat was delighted to help out and worked tirelessly to re-learn lines and choreographed moves. Donald said: “I was all set to cancel the show, but Bobbie insisted that if it could go ahead then it should. The moral to this tale – make sure you are insured or ensure you have a second cast to hand just in case!!

doors tomorrow. Comedian Alan Carr plays the first show - a sell-out - in the improved auditorium. New seating has been installed and the acoustics in the venue’s main room have also been improved. As well as the fixed seating, the project also included new house lighting. The old seating had been in place for nearly 30 years and in that time had been used by some three million people at more than 6,000 shows. The venue has been closed since work began in January. Along with the big-name acts and shows the new-look theatre will also play host to local amateur dramatics groups including Stafford Operatic Society’s production of The Pirates of Penzance in May and the Mayor’s charity gala night. Programme manager Derrick Gask said: “The look and feel of the theatre is now fantastic. Audiences will certainly feel the difference with both comfort and the improved acoustics. “We are grateful to all the groups and our customers who were really understanding while this important work was carried out but I am sure this is something we can be really proud of.” For details of forthcoming shows and tickets visit www.staffordgatehouse theatre.co.uk or call 01785 254653.

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

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19/04/2011 21:30:17

OVERTURE

amateur stage theatre club We are pleased to announce the return of the Amateur Stage Theatre Club. Every month we will be arranging outings to West End and Regional productions for our readers at reduced prices. To book your seat for any of these events call us on 020 3006 2845 For a complete list of planned events visit our website.

SOUTH PACIFIC Winner of 7 Tony Awards, this critically acclaimed Broadway production is headed to London’s Barbican Theatre compelete with Broadway leads Paulo Szot and Loretta Ables Sayre. With a cast of 40 and a 25 piece orchestra this incredible revival will be a hot ticket so don’t miss out. Wednesday 24th August Barbican Theatre, London £75 - Save £10 on normal prices

If the word from out of town is correct, Ghost is set to be one of the biggest openings in the West End this summer. We have secured some great tickets for this musicalisation of the classic film which featured Demi Moore, Patrick Swayze and Whoopi Goldberg. Ghost stars Richard Fleeshman, Caissie Levi and Sharon D Clarke with a score by Dave Stewart of Eurythmics fame. Monday 27th June Piccadilly Theatre, London £52 including interval drink and programme

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20/04/2011 14:40:10

OVERTURE

s g n i s u M Jane’s

ver the years I have memorised more lines than I ever thought I had room for in my brain. But it appears that there is one word that I have never learnt to use: the simple word no. Let me explain. The most recent occasion of not using the word was sitting in London having lunch with The Editor of this magazine. He thought it would be great if I had a regular column in this magazine, musing on the world in general and theatre in particular. At the time it seemed like an excellent idea, if Doris can do it then so can I. But, of course, here I am sitting in front of a blank computer screen wondering what on earth I’m going to write about. I can’t even think of a title for this column, perhaps you, dear reader, can help there. If only I had used the no word! I’d better start by introducing myself. I have been running the amdram.co.uk website for fourteen years and have been involved in amateur theatre since my first appearance on stage at the tender age of five. It was a school nativity and I played the innkeeper’s wife. Out of the whole class I was the only child with lines, well one line which I can still remember - “There’s no room in the inn.” Those that know me will not be surprised at this, I’m not the quietest person they’ve met. Since that first appearance in the limelight I have performed in everything from pantomime to Shakespeare, from scripted to adlibbing. I’ve played principal boys (despite the inability to sing), wicked stepmothers (despite my obvious good looks), Cardinals (despite the lack of natural facial hair) and cats (despite the lack of fur) and everything inbetween. Finally in 2004 I signed up for a Drama Degree at my local University. I graduated in 2007 swearing never to perform ever again, but then there’s that lack of being able to say the no word. A few years ago I decided not to audition for my group’s latest production. I had planned to spend several weeks travelling around Europe on a bus which coincided with the production dates. Unfortunately I had to cancel my travel plans and volunteered to prompt the play. Two weeks before curtain up, a main character lost her voice and I was asked to learn her lines, just in case. I had two rehearsals, two dress rehearsals and then two performances; she didn’t regain her voice in time. I had post-it notes everywhere with line reminders and the rest of the cast had to work around me as I couldn’t remember any of the blocking. If only I had said no. But then the play wouldn’t have gone ahead. Interestingly that was the only play my late parents ever came and saw me in, and even then I had to beg. Not that my parents weren’t supportive, quite the opposite. My mother used to spend hour upon hour going through lines with me and she herself spent many happy hours under stage lighting. My father was the local clown in their sheltered housing complex, organising singalongs and pantomimes, amazing everyone with his wonderful singing voice and the ability to pick up any musical instrument and play it by ear. He was well known for his hat collection, all of which he had made himself. They just weren’t “theatre people”. I’m the exact opposite, I love theatre. I love the immediacy and intimacy of the whole experience. I love the fact that things can go wrong or deviate from the script. I love being involved both on stage and off stage. I love having to think on my feet and totally imerse myself in the play of the moment. I even love the sleepless nights and the emptiness after the production has finished. However, at the moment I don’t need to use the no word. No amateur theatre group would currently have me however desperate they were. I was hit by a 4x4 on a zebra crossing last summer and have walked with a limp ever since (it will go eventually). I recently had an operation on my left shoulder which involves my arm being in a sling for several weeks. I can’t think of many characters that call for these particular bodily defects. I can’t even help move furniture, design sets or make costumes. But I’m not worried, my body will eventually repair itself and then I will have to start thinking about using the no word again.

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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19/04/2011 21:31:57

OVERTURE

UP IN ARMS Major changes are underway at Howorth Wrightson in their theatre armoury division. Many new productions require groups to consider arms to give a show authenticity and theatrical force. The provision of arms for a show has never been easy. Always up to date with legislation, and in constant communication with both Police and Home Office advisers. Howorth Wrightson have been advised to separate all weapons and to deal with them in a separate way to Props and Stage Furniture. As a direct result of this advice they have set up a separate system to cover Guns, Firearms, Edged Weapons, Swords, Daggers, etc. They have also taken the opportunity to include all the other Props which they are advised will become included in the next round of legislation, this to cover hand cuffs, truncheons, straight jackets, and more. The new firm will trade as www.weaponsuk.co.uk. The website is a fascinating glimpse of the wide range of weapons available. The opportunity has been taken to include on the website sections on the legislation as it currently effects theatre performances. The rules covering Film, TV, Video are also included, and show how much more stringent these Companies

Shows including Les Miserables (Above, Assassins and Zorro (Below) highlight the increasing demands on the theatre armoury. have to be. HOWEVER, This is only part of the problem as new rules have been implemented on the transport of both Guns and Blanks. The new website contains detailed information about transport rules and regulations relating to theatrical arms. For updated information and guidance visit www. weaponsuk.co.uk, and see their latest advert in this magazine

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19/04/2011 21:35:02

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19/04/2011 21:37:37

ONSTAGE

BENJAMIN PERDIDO’S UNPLANNED ADVENTURE

outh theatre can be good theatre. It doesn’t have to be average and it shouldn’t mean Dads are dragged kicking and screaming to watch the annual school play. When it comes in the shape of new musical ‘Benjamin Perdido’s Unplanned Adventure’ it can be quite brilliant. This original show written by the team at Lucky Bucket Productions premiered in a professional theatre in August 2009. The writers did not shy away from tackling challenging issues just because they were writing for children and neither did they underestimate the young performers. Too often we are forced to sit through productions that do not challenge students, do not acknowledge their strengths or appeal to their humour. That is where Lucky Bucket Productions come in, they are so in touch with what inspires young performers and so capable of writing material to get the best out of them you would think they were children themselves. They are not, they are a husband and wife team who have one aim; to have make their website the first port of call for teachers of performing arts. With shows like ‘Benjamin Perdido’s Unplanned Adventure’ they are breaking moulds, the two act musical is heavily narrated and relies on physical theatre for the storytelling. Benjamin Perdido is lost, he is desperately trying to find his way back home to his Mother who is frantically missing him. As he travels her encounters strange and interesting creatures, all lost in their own way; Confusion, Fear, Madness and Tired, each has a story to tell and most have a highly memorable song to sing. Perhaps the most enchanting and moment is Benjamin’s underwater adventure with the mermaid chorus singing a thoroughly haunting 5 part harmony. Not your usual kids show but the cast that premiered the musical really pulled it off to great effect. It may not appear to be the most original idea on the surface it is maybe a ‘Wizard of OZ’ for the modern age but the way in which the story is handled is entirely original and unique to the style of Lucky Bucket Productions. It sounds all doom and gloom and it will undoubtedly have a large proportion of the audience in tears but it is also inspiring and humorous and the ideal choice for the director who wants a challenge. Visit www.luckybucket.co.uk for more information.

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

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

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* Travel Angels are agents for ATOL holders. All offers subject to availability at the time of booking and can change without notice. All Bookings are subject to the standard terms and Conditions of Celebrity Cruises as shown in the 2012 Celebrity Cruises Brochure. All Show Cruise events are exclusive to Travel Angels Show Cruise passengers and are subject to availability in the venues on board and change without notice. Travel Angels reserve the right to vary the events on board. All performers will be appearing subject to their availability on the date of the cruise and can change without notice. LUCKYBUCKET.indd 5

19/04/2011 21:42:43

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20/04/2011 15:28:45

ONSTAGE

The Sound of Her Music

Helena Blackman talks to Mark Ludmon about her new Rodgers & Hammerstein album and how the amateur stage prepared her for her professional career.

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ONSTAGE

Helena Blackman

hen Helena Blackman burst onto our screens five years ago in the BBC’s search for a Maria in The Sound of Music, she was already a veteran stage performer. She had her first ballet class at the age of 18 months and made her public debut while still a toddler as a fairy in The Nutcracker at the Nuffield Theatre, Southampton. Despite coming a close second to Connie Fisher in How Do You Solve a Problem Like Maria, Helena has gone on to have a successful professional career in musical theatre. She not only starred in the West End premiere of Stephen Sondheim’s first musical Saturday Night but also toured as Nellie Forbush in Rodgers & Hammerstein’s South Pacific, which gained her a nomination for best supporting actress in the TMA awards. She says that her years of performing in amateur school productions and competing in festivals were “massively important” to her future career. It provided her with useful experience of performing in front of an audience alongside her drama, singing and dancing lessons, culminating in her gaining a scholarship for the three-year musical theatre course at Guildford School of Acting. “The more you can get out there and perform with other people, the better – you get to put everything into action,” she says.”Courses are very academic, so where else are you going to do that? You need to eat, sleep and breathe theatre.” She particularly recommends that amateur and aspiring performers take part in drama, singing and dancing competitions as she did. “When you are performing with an amateur society, it is difficult to gauge who good you are,” she explains. “But when you start competing in drama and singing competitions with other people in your age group, you can learn how to be better. You can’t get that just from doing show after show. It makes you a more creative and rounded person.” She continues to support the development of young talent through coaching, workshops and judging competitions and also sits on the audition panel for Guildford School of Acting. Her experience in South Pacific and How Do You Solve a Problem Like Maria was one of the reasons she chose to record songs by Rodgers & Hammerstein for her debut album which was released this year. But her love of their music goes way back. “Like for most children, Rodgers & Hammerstein musicals were always on the telly,” she recalls. “They were the ideal of the musical.” As an amateur performer, she was involved in Rodgers & Hammerstein productions at Swanmore Secondary School in Hampshire, including Maria in The Sound of Music and Anna in The King and I. “They had fantastic amateur drama there,” she adds, recalling how she played Dorothy in a school production of The Wizard of Oz at the Kings Theatre in Southsea, Portsmouth, in front of nearly 1,000 people when she was only 12. Along with the album’s producers Speckulation Entertainment, Helena also felt it was time to look at Rodgers & Hammerstein’s music anew. “People haven’t recorded their songs for a while and it’s been the older performers who have done most of the recordings. There have been a lot of people bringing out new writing but this meant there was a little hole in the market for the traditional stuff that we all know and love.

So many of the songs are about love and it’s still very relevant today.” New orchestrations by Michael Bruce, Simon Hale, Tom Kelly and Chris Walker have given a new spin on many of the familiar hits. “All the songs have been reinvented but that wasn’t necessarily what we set out to do – we just looked at each song and how we saw it,” Helena explains. “We still wanted them to sound like Rodgers & Hammerstein and pay attention to the words. We didn’t just want to be different for the sake of it. We were trying to be truthful to the songs. We didn’t want to lose the purity of them.” The album features plenty of well-known tunes from musicals including The Sound of Music and South Pacific but also pulls out some less familiar songs such as The Gentleman Is a Dope from Allegro which has never even been produced in London. Helena also duets with Jonathan Ansell, formerly of pop-opera group G4, and Daniel Boys, who has also gone on to a successful stage and recording career after being a contestant in the BBC’s search for a Joseph. Helena hopes the album brings Rodgers & Hammerstein to a new and younger audiences who maybe think their music is old-fashioned. “We have made it more accessible,” she says. “People are saying it is so fresh and vibrant and that they didn’t expect it to sound like that.” The album has certainly gained great reviews, such as The Times which said: “Helena Blackman’s voice soars to the yearning high notes, and yet she is not afraid to sing in the softest whisper. Every word is clear and cuts to the heart.” When I meet Helena over a mocha coffee in south London, she is about to head up to perform at The Sage in Gateshead in a Singalongashow with Daniel Boys and the 50-piece Northern Sinfonia. Her next gig will be a solo acoustic session at The Pheasantry in Kings Road, Chelsea, London on Sunday June 12 where she will perform a few Rodgers & Hammerstein songs plus some other favourites. But she is keen to be back in a stage show and, after we say our goodbyes, she is off home to prepare for three auditions over the coming days. She says it is exciting to see so much new musical theatre coming through, albeit mainly at smaller London fringe theatres. Her most recent production was a year ago in Tim Sutton’s new “play with music”, The Secret Garden, at West Yorkshire Playhouse in Leeds. She also performed in the show A Spoonful of Stiles & Drewe, which was released on CD by Speckulation and featured songs now being heard in the West End production of George Stiles and Anthony Drewe’s Betty Blue Eyes. Helena is also a fan of young composers Michael Bruce, Steven Luke Walker and Denise Wright and believes the time is right for a return to “epic musical theatre” on the scale of Andrew Lloyd Webber or Rodgers & Hammerstein. “We definitely have the space for big English musical theatre.” Helena’s album “The Sound of Rodgers & Hammerstein is available through Amazon.co.uk or iTunes.

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19/04/2011 21:57:31

ONSTAGE

AN AMERICAN EDUCATION Founded in 1884, the Academy celebrated its 125th Anniversary in 2009. From its inception, it has attracted talented and committed students from around the world to its acting school in New York, and, since 1974, to its acting school in Los Angeles. Throughout its history, Academy faculty and administrators have been among the most progressive theatrical theorists and visionaries of their day, and today are actively influencing the field of actor training and theatre practice. The Academy alumni list is an impressive one, with prominent names from all aspects of the entertainment industry, past and present. As a group, AADA alumni hold a total of more than 95 Oscar®, 236 Emmy®, and 83 Tony® nominations plus 5 Kennedy Center Honorees. The numbers grow every year. In New York and California, the Academy offers two years of conservatory training with performance opportunities, a third year of advanced performance training (Academy Company), bachelor’s degree options, and summer programs.

to always be working on scenes on their feet. The vocal production class is very popular. Style is a great class run by Karen Hensel, who has been here for over 35 years and is also the director of South Coast Rep. Between her no nonsence sensibilities of the business, calling it as she sees it, she injects great humour into the course. Students love her and she really makes the classes come to live. People have been going crazy lately over our improv /physical acting class which is taught by a teacher who is Steppenwolf based from Chicago. People love the programme, they grow every day, it sometimes scares them to death. They have to see things about themselves they may not even have noticed were there but it’s a process. Do you get actors coming to you who have set ideas about working exclusively Stage Or Screen? There are a few people who only want to be a film actor but when we explain to them that its really important to get the firm foundation of their acting down and that great acting is terrific whether it is on film or stage, then, those who are medium specific tend to change their minds. I believe that most people entering the Academy really just want to be a great actor. You don’t tend to get those people who come because they want to be a star, you get a group of dedicated people who are interested in building a solid career.

Tell me about the history of the American Academy? The interesting thing is that we really started when everything was happening in Russia with Stanislavsky, that’s when the American Academy was starting in 1884. So a lot of the philosophies that were being implemented in Russia also began happening here in the United States. We were just a small school that was started for people who wanted to learn more about acting and it has truly evolved over that time period from one particular style of acting into a myriad of acting styles, from Stanislavsky through Miesner to Bogart. They are all being taught here, so when an actor comes to us we aren’t pushing a particular style of acting on them. They are getting a view of several styles to see what best fits them. We really strive to educate not only the mind but the body. We emphasise studying human beings, how they move, why their behaviour is such, researching people’s lives, etc. It’s evolved into an interesting programme that evolves each year to see what new techniques we can use.

How you been getting much interest from the UK? I was just in the UK for 5 days of auditions and our schedule was full from 9.30 – 5.30 each day. A lot of people have been flying over from London, South Africa and Australia, we’ve also had people submitting DVDS from all over the world because they simply couldn’t physically make the audition process and that encouraging. I was blown away by the level of talent coming out of places like the Bristol Old Vic. Truly inspiring.

What does the course entail? We have a set curriculum. Everyone loves their acting classes. It gives actors a chance

How many students do you take on every year? It varies year by year. One year we admitted 110 but another only 80. It really depends

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ONSTAGE

on the particular year. It’s kind of like when you watch your favourite sporting team and sometimes they have a good year and sometimes they have a bad year. There are some amazing people that come through some years. We aren’t really a numbers type of institution. We are really looking for quality and we are looking for people who really have great potential. Should UK based students be concerned about the cost of a US based education? We offer a variety of scholarships. The first one offered is usually based upon your audition and is purely merit based. We do have an enormous scholarship programme which can take an enormous chunk off the cost of education. There are merit and need based scholarships. What is the length of the Length of the Course? The full course runs to 30 weeks of instruction each year for the first two years. The final year is all about the company where students do show after show. There are workshops and guest lectures but it’s really all about performance. We have four series of four plays each so students move from one production to another. It all culminates into a final showcase where they can invite managers and casting directors. They are also able to work in their third year which gives them real world experience. Is there a significant difference in the UK’s training offerings vs American Academy? People get a chance to do productions here all the time. The Academy stages over 120 productions per year. So often times, people will go through their entire education at a university and only be cast in a major production once or twice. This way they are always on their feet. Acting is very much a ‘doing business’. The practical work is so very important. Our class sizes are very much based on individual attention. Every single teacher in this school know every single student. We know their weaknesses and their strengths because we have meetings about them constantly. Everyone is working

to better each student everyday. American Academy have had some significant Success stories. It’s a bit like a who’s who! It’s so exciting when I look at the people that have passed through our doors. You look at people like Anne Bancroft, Robert Redford, Lauren Bacall, Spencer Tracey and Grace Kelly.We even go back to people like Cecil B DeMille and William Powell as well as modern actors like Paul Rudd or Kim Catrall. We also have some acting families who have come to us over the generations. What’s the difference between your New York and LA Campuses? We have campuses in both New York and LA but location is very much down the preference of the individual student. We are about as different as New York and LA are, so if you like the hustle and bustle of New York or if you like the more spread out feel then Los Angeles would be for you. The training is the same but the atmosphere of the locations is different. Would you care to give any potential students some tips for their audition with American Academy? We ask for two contrasting monologues and for people to be prepared to do a cold reading. The number one thing is preparation. You need to know your character inside and out. It’s a basic thing but a lot of people seem to get the preparation wrong. It’s so important to have done preparation work. Be authentic, truthful, giving yourself over to the moment in order to tell the story. Don’t worry about being nervous, we do take that into account. Let your personality shine through, be 100% yourself, and let the character tell the story. At the time of this interview, the Academy had just admitted 5 people from the UK. Further auditions were scheduled for London in June 2011. For further information visit www.aada.edu

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ONSTAGE

LAURENCE BOSWELL Laurence Boswell is a well known director, whose adaptation of Beauty and the Beast was originally produced at the Young Vic Theatre in London in 1996, and then toured nationally and internationally; he then directed a revival of the play at the RSC in Stratford in 2003. Boswell’s Beauty and the Beast has had phenomenal ongoing success with amateur drama groups across the world. What do you think makes it so attractive to these groups? Beauty and the Beast is a famous tale and my version is drawn from the old French sources and so has more substance than the saccharine Disney version. The play tells a universal story in a poetic way; a story about how a young girl grows up, discovers her identity, her creativity and her passion. Beauty’s brave journey is framed by a funny family, with a doting dad, jealous sisters and fighting-farting brothers, which makes it great fun to perform and to watch. Another factor is of course that it can be performed with eight people or eighty.

What was your inspiration to write the play in the first place? My daughter, Lottie, now twenty-two and just sitting her finals at Bristol Uni. When she was five I took her to see a show for young people. She was not impressed, looked at me with some scepticism and asked ‘Is this what you do?’ to which I said sheepishly, ‘Yes, kind of.’ So then I asked Tim Supple, Artistic Director of the Young Vic at the time, if I could do a Christmas show at the Young Vic. He gave me a list of titles and I read them through with Lottie. When I asked her which I should do, “Beauty and the Beast” was her reply,

“because it has a girl as a main character and all the others are about boys fighting.” So the inspiration was really to please Lottie and having been a father to a strong and independent daughter I had all the raw material I needed to inspire me to create the character of Beauty in the play. The more recent RSC version is substantially different from the Young Vic version. In which way does it differ from the original one, and why did you change the script so much? The script kind of grew up with me and I with the script. The more I experienced being a dad and saw my daughter grow and change, the more I wanted to rewrite. Also, each new cast bought new actors and new minds to the project and so the script kind of grew along with all of us.

Which version is your personal favourite? I can’t say which I prefer, as they all reflect a certain moment in time. There is a third script which is based on the RSC experience which groups can read in pdf form if they ask for it from NHB. In a way that’s my favourite because it’s the last.

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Is there any advice you have for groups interested in staging the play with limited resources (in terms of budget, cast size or musical accompaniment)?

ONSTAGE

Use your imagination. It is about what you can achieve through play, not how much you can buy or make. The less you do it with, the better. Make it live in the performer’s imagination and use all your human skills to set fire to the audience’s imagination. You need a minimum of eight actors, who play the members of the family, and who can all double as the Beast and the palace and its inhabitants. You need two sets of chairs, one for the Parisienne home, one for the country house and two pairs of candelabra for Beast’s palace. That’s it. What you need is the freedom to ask, ‘What if?’

Can you tell me something about the music in the play? In which way does it help to underline the action? Where did the inspiration for the music come from? Mick Sands worked on all the incarnations of Beauty and the Beast I have done. In London, Stratford and New Zealand [the play was re-created at the New Zealand International Festival 2006], he used a great variety of musical influences, which reflect our mutual passion for music. In the Paris setting, we have smart courtly music, old French folk tunes take us to the country, as we hit the palace we open up to the East and we employed the sacred sounds and instruments of India, Tibet and Indonesia. The score is beautiful, well worth using.

You have directed many famous actors, such as Jake Gyllenhal, Matt Damon and Anna Paquin, as well as Madonna, in stage plays. Writing a children’s play seems like a parallel life – how do you combine the two? To me it is all the same thing. I am a storyteller. I endeavour to animate and inspire a group of people to share a story with another group of people. It is a very old and important task. Perhaps some casts are more open to the selflessness and dedication of storytelling than others.

You are also a father. Has this brought the importance of good theatre for children more to the forefront of your thinking? Or has this always been an ambition of yours? Having kids made me want to produce really good family entertainment. My kids often hear that Daddy won’t be around because he’s off working. Unsociable hours, lots of travelling, working abroad – theatre takes up a lot of Daddy’s time. So when they see theatre I need them to be proud, I need them to see I have not been wasting my time and that their sacrifices have not been in vain.

From your vast experience in directing professional theatre, can you pass on some useful tips to directors who work in amateur theatre? Realise that it’s not about you but about how you free the actors to serve the text. Read the greats, read Stanislavski, read Meyerhold, go and watch good theatre. The most useful, practical and inspiring read is Different Every Night by Mike Alfreds. He knows more about directing actors than anyone I ever met.

What does the future hold for you as a writer– are you working on anything new at the moment? I am working on a new translation of a Calderon comedy, which I might call The Phoenix of Madrid, which will be on this autumn at the Theatre Royal Bath, where I have just been appointed as Artistic Director of the Ustinov Studio. My next work for the family is a musical reworking of Pinocchio. If Beauty and The Beast was about a little girl growing up and what it was to be a father to a feisty young girl, Pinocchio is about the journey of a little boy. My second child is a boy called Zinny, and he’s my inspiration this time. I am also looking back at my own boyhood and to my dad, and thinking about what it is to be a playwright and director, and the relative importance of being an artist and a father.

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19/04/2011 23:49:45

ONSTAGE

The Likes Of Us

Stephen Whittock from Nomad Theatre thinks back about the highs and lows of staging a book musical without a book. A TASTE OF THINGS TO COME

The Likes of Us is the first musical written by the winning team of Andrew LloydWebber and Tim Rice. It is a strange cocktail of the traditional musical form with some chorus numbers reminiscent of Half a Sixpence, Charlie Girl and other successes from the ‘60’s and glimpses of the route they would finally take down the road of through written musicals many, at least in the beginning with solid rock themes.

THE MUSICAL

The piece has a certain naivety which is actually quite charming however the lack of a useable book does pose some sizeable problems. For many a narration, no matter how witty, really cannot make up for good dialogue. As some of the Narrators lines are literally a handful of words it also causes immense problems for scene changes if you are to be adventurous as opposed to lacklustre with the staging. However there are some truly wonderful songs and because of a lack of sung recitative the concentration on pure melody is far more noticeable. The story charts the beginnings of the Barnardos children’s homes and follows very loosely, the life of Thomas Barnardo on his arrival in London from Ireland. The show has a large cast including children and is scattered with poignant solos, some showstopping chorus numbers and a truly beautiful, children’s “anthem”.

REHEARSALS

In common with most companies early rehearsals were twice a week stepping up to 3 or 4 as the show got closer. This was until December when we were brought to a grinding halt by the weather and in total lost 4 rehearsals no small number in the amateur world. We also suffered 1 week before opening with 7 (that was a third) of the adult chorus off sick with the various bugs that infested the country in January and one of the kids breaking an ankle. All in all now was the time for endless sleepless nights for the production team, Wendy Denny (choreographer), Steven Geraghty (musical director) and Stephen Whittock (director) and the inevitable thoughts of “why do we bother?” At this point I would like to make note of the stunning choreography by, Wendy Denny as a Director/Choreographer it can be difficult to release the complete control of the production but her routines were perfectly conceived and executed and were wonderfully exhilarating to watch.

THE THEATRE, SET and CREW

The Nomads are blessed to have as their home the wonderful Nomad Theatre in East Horsley, Surrey. Equipped with revolving stage and fully functional fly tower staging musicals especially this one is made a little easier (oh no it’s not) I hear the crew cry. I had said from the first meeting with our building team and crew that I wanted a park bandstand that would magically “transform” onto the rooftops of London with smoking

CASTING

Never an easy task for most amateur companies these days, we were however lucky to get a very strong principal line up. Emile Maurice-Toussaint as the irascible but driven Barnardo gave the part a very personal touch as he spent much of his childhood in a Barnardo home. Wendy Denny as Syrie, Barnardo’s wife to be was warm and charming. Annabelle Farrell as the tart with a heart, Rose was powerful and suitably alluring. Nathan Farrell who as a first time song and dance man brought the part of, Johnny the juvenile lead to life with a wonderfully melodic and physical interpretation of, “Love is Here” was more than enough to soften any heart especially that of his charming and talented ingénue, Bronwyn Elliott as Jenny. Last but by no means least, Francis Pindar, as the auctioneer. His song was truly memorable in all respects and one of the undoubted highlights of the show. A solid chorus who gave the showstoppers everything they needed to actually stop the show The gentleman of the chorus deserve to be highlighted for their stirring interpretation of the rousing “Lion Hearted Land”. Very much a number to be “commended to the house”!!! Two teams of “kids” who were just mesmerising.and brought a tear to the eye every performance with their “anthem”. At this point special note should be made of Jordan Farrell (14), Ellie Eves (15) and Ellie Silvey (15) as the unnamed “Lead Boy and Girls” who at their very tender age have the unenviable task of leading the entire company in one of the many showstoppers, “Man of the World”. They did it with great panache.

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ONSTAGE chimneys and back and then be able to revolve. As always with this exceptional team my wildest ramblings were fully realised and to such effect that every performance this “transformation” received spontaneous applause from the audience. I must also thank here our scenic artist, Anne Thomas who masterminded and executed some of the very tricky paintwork involved with the set. The biggest problem in staging a musical at The Nomad Theatre, is where to put the band as the theatre was never designed with musicals in mind. The 9 strong band (some players quadrupling on instruments were banished to the studio behind the stage. Special mention must be made about one of the youngest and without doubt one of the best Musical Directors in the business, Steven Geraghty for his talent, imagination and technical expertise. Another strong feature of the theatre is superb sound and lighting and as always the standard was kept very high. I wish I had the space here to list the entire “crew” including builders etc but I don’t. They all know who they are and over the years have earned my respect and thanks for just doing what they do and being so brilliant at it!!!!

MARKETING

Unlike most of the companies that perform this show, The Nomads decided not to take up the, NODA and RUG marketing.package but to design our own. With the cooperation of Jordan Farrell and his family a poster was designed based around an image of him as a shirtless starving orphan. The poster was very successful and conveyed the distress and squalor of the era. A successful radio campaign was undertaken including slots on local radio and the inevitable mention on the “Break a Leg” slot on BBC Radio 2’s Elaine Page on Sunday show. Numerous press releases including a large piece in a magazine aimed at schools with ideas for their Christmas trips all the usual local advertising and the army of handbill distributors to put the bills through the letterboxes. Obviously numerous mentions in the monthly newsletter help to get the message home.

albeit written by a truly world renowned team. It has no book instead a narration that is not all it might be and by virtue of no dialogue or recitative to build character the cast have an uphill task to win the audience and engender any kind of empathy. They are fairly big mountains but they can be climbed as long as production team, cast and crew have imagination and are prepared to look “outside the box” and approach it with no preconceptions. I suggest it is treated for what it is, an oddity!! I tried to make it a series of postcards or snapshots of a time when lurking not far beneath the surface was a lot of unpleasantness. Be imaginative with the staging don’t rely on an “Oliver” based set it won’t be enough. If you decide to do the show I hope you would find as we did that Really Useful Group are fantastic to work with (some others could learn from them). Having talked to other companies about the show they are always ready to listen if you want to do something new with it. One group I know actually wrote a script instead of using the narration. All in all I am very fond of the show and am particularly proud of our production of it and hope The Lord and Sir Tim would be too. I would recommend it to any group but just say beware of some fairly large pitfalls get over them and enjoy it. Certainly the audiences that came to our production were almost unanimously delighted with the show and had a great evening at the theatre.

COSTUMES/MAKE UP

Most costumes came from the theatres own wardrobe supply. With a cast of 20 adults and 20 kids this is no mean feat but as always the wardrobe department under the guidance of Jill Asher came up trumps. I had said from early on that although the show is a very “rose tinted” view of the Barnardo story I wanted to make it a little harder and to that end decided to uniformly make up the cast so they looked more Victorian London and sickly and less Surrey, bouncy and healthy. Generally this worked and the effect was almost “ghostlike”..

CONCLUSION

Every production throws up challenges musicals more than most and these challenges can often seem like mountains. This one is no exception. It is unknown,

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COUNCILLOR’S CHAT REGIONAL COMMITTEE AMATEUR STAGE MAGAZINE Welcome to this, our very first exciting issue of Amateur Stage, featuring news of NODA North in this brand new format as part of what I hope you will agree is an excellent publication, and I would like to thank Doug Mayo, Editor of Amateur Stage, for that. NODA North will be featured in the magazine three times a year in May, September and January, and each Society and Individual /Joint Individual Member will receive a free copy of each of the three issues in which we are featured. For those who wish to receive the other nine issues of this monthly magazine, Amateur Stage has a preferential subscription rate of £16.00, an offer which I hope you will take up. As you can see, there is much more content than used to feature in NODA North News. This means that we will require a greater input from you, the members, to keep it exciting. Anything of interest that you have will be gratefully accepted, and if possible please include photographs in the highest resolution you can get. Please submit them to the editor Ian Wells. You will see a report in this issue on Whitley Bay Operatic Society’s Centenary, and mention of Seaham Youth Group’s 20th Anniversary, and I offer them sincere congratulations on their achievements.

NEW REGIONAL COUNCILLOR Following the recent election, I am pleased to tell you that the Region now has a new Councillor Elect in the person of Gary Winn from Richmond. Gary will take up his post of Councillor for NODA North in September, when I become National President in Durham. I would like to congratulate Gary on his election, and I am sure that you will join me in wishing him and his wife Julie every success and happiness in their new role. I am sure that you will extend to them the same number of invitations that I have received during my term in office. I would also like to offer my grateful thanks to Peter Denton for his interest in the association by allowing his name to go forward to the ballot, and wish him every success in the future. .

REGIONAL ANNUAL GENERAL MEETING We held our Regional AGM at Chester-le-Street in March, and I was pleased with the numbers who attended but we could have still had many more. As I have said in the past, this is for you, the members, and not just the members of the Committee, and it gives you the opportunity to hear first hand what is happening both nationally and regionally.

NODA SUMMER SCHOOL 2011 I was quite disappointed to only receive one application for a bursary for Summer School at Warwick University this year. It has been awarded to Lyndsey Harrison, and I hope that Lyndsey has a great week, and that she enjoys it. As I write there are still some vacancies on some of the courses, so if there is anyone who wishes to attend, then please contact me and we may be able to offer some financial support.

REGIONAL PROGRAMME & POSTER COMPETITION 2010 Congratulations to the winners and runners-up in the competition (details elsewhere) to whom the trophies were presented by President Mrs. Gerry Branton after the A.G.M. New criteria for the competition are now available on the website, which will hold for the next three years, so I would suggest that programme compilers consult it to avoid disappointment when the wrong information is included.

REGIONAL YOUTH ADVISER. I am sorry to report that we still do not have a Youth Adviser in the Region. I have had several enquiries for information but as yet I have not had anyone apply for the position, so I would appeal to anyone who may be interested in this important post to please contact me.

NODA WEBSITE The exciting new NODA Website is now up and running at www.noda.org.uk and I urge everyone to have a look, and browse through the many contents. To get into the member’s area as an Individual Member or Joint IM, and all the information it contains, you will need to use your Unique Reference Number as user name and password for the first visit, but then you can change your password to suit yourselves. To obtain access to the members area as an official or member of an affiliated society you will need to click on the ‘Sign Up’ link once on the website. Follow the instructions online using the URN(s) of any affiliated society you are a member of. The URN can be found on your Subscription Invoice, or obtained from Membership Secretary Ian Wells at ian@nodanorth.org.uk All members of your group are entitled to do this also, so please encourage everyone to give it a try.

Regional Councillor

Mr. Fred Piggford Phone: 0191 385 3433 Email: fred@nodanorth.org.uk

Councillor Elect: Mr Gary Winn Phone: 07896 577040 Email: gary@nodanorth.org.uk Regional Secretary: Miss Pauline Swann Phone: 0191 584 7706 Email: pauline@nodanorth.org.uk Regional Treasurer: Mrs. Dorothy Rae Phone: 0191 410 9291 Email: dorothy@nodanorth.org.uk Regional Membership: Mr. Ian Wells (Past President) Secretary & Editor Phone: 0191 487 7564 Email: ian@nodanorth.org.uk Regional Rep. 1: Mr. Jim Graham Phone: 0191 252 3681 Email: jim@nodanorth.org.uk Regional Rep. 2: Mrs. Gwyneth Hunter Phone: 0191 519 3889 Email: gwyneth@nodanorth.org.uk Regional Rep. 3: Miss Pauline Swann Phone: 0191 584 7706 Email: pauline@nodanorth.org.uk Regional Rep. 4: Mr. Gordon Richardson Phone: 0191 581 0340 Email: gordon@nodanorth.org.uk Regional Rep. 5: Mr. Derek Coleman Phone: 0191 267 0890 Email: derek@nodanorth.org.uk Regional Rep. 6: Mr. Peter Parlour Phone: 01677 422367 Email: peter@nodanorth.org.uk Regional Rep. 8: Mrs. Margaret Jones Phone: 01642 882993 Email: margaret@nodanorth.org.uk Regional Rep. 9: Mr. David Richardson Phone: 01669 622856 Email: david@nodanorth.org.uk “President and VicePresident - Fred Piggford, Councillor for NODA North, pictured with President Gerry Branton at the Regional Annual General Meeting in Chester-le-Street on 12 March 2011”

I will close now by wishing you all every success in your productions, and I hope to see as many of you as possible in the next few months. COVER IMAGE: Adrian Jackson as “Keno” in The Full Monty.

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NODA Long Service Awards January – April 2011 The following members have had their years of service to the amateur stage recognised by their societies by the presentation of NODA Long Service Awards. Congratulations and thanks to them all. Gold Bar and Ribbon (50 years) Allison, Mrs. L. - Fatfield M.S.S Graham, Mrs. I. - Fatfield M.S.S. Gregory, Mrs. N. - Fatfield M.S.S. Weeks, Mrs. J. - Bishop Auckland A.O.S. Newton, Mrs. B - Whitley Bay O.S. Hall, Miss. I. - Cestria T.C. Fourth Silver Bar (45 years) Nesbitt, Mrs.M. - Fatfield M.S.S. Fish, Mrs L. - Whitley Bay O.S. Polkinghorn, Miss. J. - St Andrews G & S Soc Hartley, Mr P.W.S. - St Andrews G & S Soc Third Silver Bar (40 years) Cunningham, Mrs. S. - Bishop Auckland A.O.S. Treddenick, Mr. L. - Bishop Auckland A.O.S. Second Silver Bar (35 years ) Ferry, Mr. D.M. - Northallerton M.T.C. First Silver Bar (30 years) Waller,.Mrs. L. - Fatfield M.S.S. Lawson, Mrs. L. - Bishop Auckland A.O.S. Swann, Miss.,P. - Cestria T.C. Long Service Medal (25years) Younger, Mr. R. J. - West End O.S Armstrong, A. - Whitley Bay O.S. Smith, A. - Whitley Bay O.S. 20 year Badge Monaghan, Mr. R.M. - Fatfield M.S.S. Walton, Mrs. C. - Bishop Auckland A.O.S. 15 year Badge Monaghan, Mrs P.J. - Fatfield M.S.S. 10 year Badge Bell, Mr. B. - Whitley Bay Panto Soc Clark, Mrs. M. - Bishop Auckland A.O.S. Junior Award Certificate (Minimum 3 Years Service) Nichol Martin - Rainbow Youth Theatre Shelley Jean Nicholson - Rainbow Youth Theatre Niamh Isabella Charles - Murton & E.Durham M.T.G. Tom Mc Kinney - Murton & E.Durham M.T.G. Adam Peter James Bell - Murton & E.Durham M.T.G. Gabrielle Sadie Joan Stoker - Murton & E.Durham M.T.G. Neryce Rodgers - Murton & E.Durham M.T.G. Youth Award Badge (Minimum 3 Years Service) Nadene Frost - Murton & E.Durham M.T.G. Sam David Forster - Murton & E.Durham M.T.G.

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NODA National Conference 23rd – 25th September 2011 NODA North is proud to announce that it is to host the National Conference Weekend of the National Operatic and Dramatic Association at the Radisson Blu Hotel in the Cathedral City of Durham on Friday 23rd to Sunday 25th September 2011. This annual event brings together the NODA family from across the country, with a range of events for guests and officials including the Welcome Dinner on the Friday evening, Annual General Meeting of NODA, the highlight of the weekend being the Gala Dinner on Saturday evening. As part of this weekend we are keen to enable our much valued partners in the theatre world, to share this prestigious event with us. There are a number of ways in which you can be involved. You can sponsor a specific item which is necessary to enable to weekend to live up to our expectations, for example:The performing stage (sponsored by XXXXX) The official Gala Dinner (sponsored by XXXXX) The Welcome Dinner (sponsored by XXXXX) The official weekend delegate pack (sponsored by XXXXX) The Event table flower centre pieces (sponsored by XXXXX) The Official weekend entertainment (sponsored by XXXXX) You may wish to be an Associate through the Official Photo wall, which is the location at which all official photographs are to be taken, the photographs of which will be published in the Amateur Stage magazine, the NODA National website as well as regional sites. By being a contributor to our event your organisations name and logo will feature prominently on this wall. If you wish to share in this weekend please contact the organising committee and discuss with us how you would wish to be associated with the National Conference Weekend.

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Regional Representative Gordon Richardson receives the Bill Richardson Trophy on behalf of Murton and East Durham Musical Theatre Group, winners of the Basic Class Programme

Dorothy Coleman, retiring publicity officer, receives the Bob Robson Trophy on behalf of West End O.S. Ltd as Winner in the De Luxe class with their programme for ‘La Cage Aux Folles’.

Maureen Willoughby, Secretary of Northallerton A.O.S. receives the Bell Trophy as runner-up in the De Luxe class with their programme for ‘My Fair Lady’.

Mark Clegg receives the I. M. Wells Trophy on behalf of Centre Stage North East as runner-up in the Poster class with their poster for ‘Disney’s Alice In Wonderland’.

Barbara Simpson receives the K. & F. Piggford Trophy on behalf of Sunderland A.O.S. as runner-up in the Standard Class programme with their programme for ‘The Likes Of Us’.

Hilary Reynolds, Chairman of Tynemouth Operatic Society receives the Nellie Brown Salver as winner of the Standard Class programme for ‘Disney’s Beauty and the Beast’.

Programme & Poster Competition 2010 results The winners and runners up of the Programme and Poster Competition were announced at the North’s AGM and awards day held on the 12th March 2011 at Chester-le-Street Riverside Cricket Ground. Congratulations to all winners and runners up as well as to all societies that took part in the competition this year.

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Greta Sanderson, President of Darlington O.S. receives the George Todd Trophy as winner in the Poster class with their poster for ‘Jesus Christ Superstar’.

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Centenary Celebrations for Whitley Bay Operatic Society

hitley Bay Operatic Society is one of the oldest societies in the area surviving to this day. Formed by a small group of enthusiasts in October 1911, it was originally named “The Whitley Bay, Monkseaton & District Operatic Society”, and has always sought to promote the highest standards of production. Between 1911 and 1914 operettas by Gilbert and Sullivan were performed and staged in the Empress Ballroom (famous for its white dome) including Trial by Jury and HMS Pinafore, culminating in the 1914 production of The Gondoliers. Some of the cast are seen in the accompanying photograph, some of whose relatives are still living in Whitley Bay. In 1913 the first mention was made of what has become a significant feature of the Society – support to charity. During the First World War productions were suspended, but by January 1920 the members had reformed, with the first show being The Mikado, which was performed at the “Kursaal” now the Playhouse Whitley Bay. Further Gilbert and Sullivan productions ensued during the 1920’s and in 1928 a new operetta called Knight of the Highway, written by members of the society, was staged. It was also during this year that a Ballet Master was appointed, as a result of which a high standard of dancing has been nurtured and developed over the years, a standard which has been maintained to the present day. The 1930’s saw a variety of productions, and in 1932 a performance of The Merry Widow was staged for the society’s 21st Anniversary. In 1934 a dramatic section was formed, and this continued throughout the 1930’s and 1940’s with a wide selection of very successful plays which not only received awards, but were praised by appreciative audiences. 1935 saw four performances of “The Desert Song” followed by three of “Show Boat”. In 1936 the society celebrated 25 years existence with its Silver Jubilee, and this year saw the name change to “Whitley Bay Operatic Society” At the outbreak of World War 2 in 1939, the society went on “active service” by forming a concert party known as “The Blackout Gang”, and they assisted ENSA (The Entertainments National Service Association) by providing entertainment for locally based troops. At the end of the hostilities, the society revived a concert version of The Merry Widow, first shown in the Empress Theatre in June 1945. Whitley Bay Operatic Society was now back in business. The first post-war full production was The Vagabond King, which generated excellent profits and allowed a generous donation to local

charities by the society. Many other successful productions saw the society prosper through the 1940s and 1950s, including a world première of “Love and Learning” at the Essoldo Theatre, Newcastle. In 1954, Whitley Bay achieved Borough status, for which the society donated the livery for the town’s Mace bearer. Although now part of North Tyneside, the Mayor is still traditionally an honoured guest at all productions. The final production of the 1950s was The Merry Widow, and throughout the “flower power” era of the 1960s many interesting shows were staged including Goodnight Vienna, Wild Violets, South Pacific, and Carousel. The society prospered throughout the 1970s taking us up to the present day with many shows staged at the Playhouse, Whitley Bay, save for a brief period when the Playhouse was closed for refurbishment. The original Kursaal is pictured together with a photograph of the new Playhouse. The success story continues into 2011 as the society celebrates a landmark 100 years of existence with its performance of Oliver! Words: Charlie Steel. Assistance with this article is gratefully acknowledged to “Roundabout Monkseaton”, Stephen Smith, Tony Jones and Philip Dixon.

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Dorothy Coleman - 25 Years as Publicity Manager with West End Operatic Society In 1985 the question was asked “Why did West End Operatic Society not have a Publicity Manager, especially someone to co-ordinate photo calls?” Nothing could be further removed from nursing, but Dorothy, undeterred, decided to take up the challenge, and found it was a case of being thrown in at the deep end to sink or swim! In 1997 Dorothy was asked if she would produce a souvenir programme for the Society’s 50th Anniversary. With the help of her contacts in graphic design and photography she produced programmes which resulted in the Society winning the Owen Peacock Trophy in the NODA National Souvenir Programme competition for three consecutive years - no mean feat. Her programmes and posters have since won further NODA awards, and she wishes to thank the many people who assisted her over the years. After 25 years Dorothy still vividly recalls her memories of the many interesting locations that were used for photo calls, and the unforgettable times she experienced through her publicity work which led to occasions which were the ’icing on the cake’ for a Publicist. Some examples are the surprise visit of Gert Gersedorfer, owner of Dommayer’s Restaurant in Vienna, for The Great Waltz, the photo call for Camelot at Alnwick Castle, where The Duchess of Northumberland and the late Duke introduced themselves and mingled with the cast, when Stephen Normand, the great nephew of Hollywood movie star Mabel Normand, attended a performance of Mack & Mabel, the surprise meeting with Gary Wilmot at the Theatre Royal due to his interest in Me and My Girl, which the Society were performing at the time, to mention but a few. Her funniest, and her favourite, photo call had to be for Paint Your Wagon, portraying the heat and sunshine of the Californian Gold Rush in the reality of deep snow in February at Richmond in Yorkshire! This really tested the acting skills of the cast members who had to get dressed in some quite flimsy costumes in a barn with a howling gale blowing through it in the freezing cold weather. Later that day, dressed in red coms, the leading man put life and limb at risk whilst ‘panning for gold’ at Aysgarth Falls, which happened to be in spate at the time, all in the name of Art. Now, in the 21st century, the exciting photo call days are, sadly, a thing of the past. Technology has moved on, with cast members being photoshopped onto exotic

backgrounds. Look no further than a recent South Pacific photo call as a demonstration. A studio session with figures later imposed on background picture of the Pacific Ocean with palm trees is much better than the cast developing goose pimples on a beach in the North East on a wet and windy day in January! Dorothy’s final programme for La Cage aux Folles was a fantastic photo call to end with! There were wonderful costumes and wigs, some belonging to the late Danny La Rue, and it was a treat to be working with professional Director Martyn Knight and professional Make-up Artist/Wig Master Steven Metcalfe, who knew La Cage aux Folles so well. It is a fitting farewell for Dorothy to be the North Region winner of the NODA De Luxe Class Programme Competition for 2010, a tribute to the amount of work and dedication she has given to the Society of which she has been a member for 47 years, and still continues in her role as Secretary.

Quandary over Buttons Whitley Bay Pantomime Society had a problem with finding “Buttons” for its recent production of “Cinderella”. No one had been cast at auditions, and it was not until the local NODA Regional Representative put together a long list of potential candidates that a Buttons was found. The auditioning committee asked a local up-and-coming young person to play Buttons. This was Jamie Moore, who saw it as an excellent steppingstone in his blossoming career. Unfortunately for Whitley Bay Pantomime Society the BBC spotted Jamie and cajoled him into some filming playing along side David Tennant. Who could resist the chance? It left the company with a problem, however. Where could they get another Buttons? A friend of Maegan Hearons, who was playing Cinderella, found a replacement, but guess what, at the last minute he was unable to take the part. So, on the Thursday before opening night switches were made. Rob Smith, originally cast as Duffo took on the role of Buttons and Producer/Director Roland Maughan played Duffo. As in all good fairy tales, the show must go on and it did. The very successful pantomime was enjoyed immensely by all who were in the audience. Jim Graham (District 1)

One-Act Drama Festival at the Georgian Theatre Royal, Richmond. The preliminary round of this popular Festival was organised by Suzy Brown, a member of the Richmond Amateur Dramatic Society. Weather conditions and illness prevented as many groups entering as in previous years, but there was still a goodly number, and the entries were of a high standard. Societies from District No.6 participating included Leyburn Amateur Dramatic Society and The Allertonshire Players. The Richmond Amateur Dramatic Society was unable to partake due to illness in the cast. The Leyburn group presented “Mediocrity”, by Anton Robert Krueger, and Adjudicator Chris Jaeger awarded them three trophies for Best Production, Best Actor (Martin Crowson), and Best Set Design. They also won the People’s Award, voted on by the audience, for Best Production. The next round of the festival is to be held at Bishop Monkton Village Hall on April 9th.

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Couple find love at St.Andrews

A couple from St.Andrews OS in Sunderland have double reason to celebrate this year. Both Nick Antcliff and Susan Urwin enjoyed success in the chorus during the society’s production of ‘Iolanthe’ in February of this year. Once the show finished it was into full preparations for the next reason to celebrate - their marriage on May 7th. The couple met when Susan joined St.Andrews OS ten years ago after previously being a member of South Shields AOS. Nick (who was already a St.Andrews member) and Susan quickly became part of the same circle of friends and found lots of common interests such as wildlife, environment, food and wine and local theatre groups. As their friendship developed Nick proposed to Susan during a romantic holiday in Egypt last year in the shadow of the Sphinx on the last day of their trip. The couple are pictured together in costume during their society’s production of ‘Iolanthe.’ We wish them well for the future.

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p u o r G e r t a e h T Seaham Youth ary 20th Annivers

eaham & District Youth Theatre Group (now Seaham Youth Theatre Group) was formed in 1990 by several members of the town of Seaham’s Vane Tempest Amateur Operatic Society (now Vane Tempest Theatre Group), some of whom are still very much involved, even though the group is now fully independent. The aim of the group was to encourage youngsters into the world of Musical Theatre, and to give younger members within the adult societies their own society where they would have greater opportunities to play principal roles. At that time youngsters were sadly often overlooked by casting committees in favour of older, more experienced members, or else, due to the choice of shows, it was not always desirable to cast teenagers in adult character parts. By having a society specifically intended for youth, it became possible to stage contemporary musicals that adult societies would not attempt, and better suited to the interests and musical tastes of the younger generation. It was also hoped that the group would be a springboard for youngsters without any previous knowledge of stage work to gain confidence and valuable experience amongst their peers, in order that they might progress into the adult societies, thereby ensuring their membership in the future. Since those early days hundreds of youngsters have come through the society’s door, many of whom arrived as shy and self-conscious children, but who blossomed into confident, talented and extremely professional actors and actresses. The society is proud and privileged to have watched the youngsters, through their amazing talent and sheer dedication, produce some fabulous shows such as “West Side Story”, “Fame”, “Copacabana”, “Joseph and the Amazing Technicolor Dreamcoat”, “Footloose” and most recently “Les Misérables SE” over the years. Such is the talent of these young performers that several have gone on to prestigious drama colleges such as RADA and RAM, and enjoy successful theatrical careers, some appearing in the West End, Over the last few years they have performed in ‘Summer Schools’, performing a concert for two nights after ten days of intensive rehearsals. These summer schools allow members who have, up until that time, never taken major roles or sung a solo to enable them to’shine’ - and shine they have, proving the society’s future is assured. As well as producing a major annual production, members have also staged several concerts, the most recent being for “Save the Children” an organisation close to the group’s heart, and particularly to its former treasurer, Jeanette Smith, to whose memory the concert was dedicated, following her death after a long illness. The society currently has around 50 members who work under the guidance and expertise of their wonderful director (and now chairperson), Gillian Biffetti. Gillian has over 25 years stage experience, taking the role of leading lady in many musicals, and is an accomplished actress, singer and dancer in her own right. Supporting the production team is an experienced technical crew and a network of parents and adult committee members without whom the group would not exist. In 2011, the group’s 20th anniversary production was the classic “Les Misérables, Schools Edition” as it looks forward to the next 20 years.

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Diners who had planned a romantic meal at one of the city’s newest and most popular restaurants got a little more romance than they expected on Valentine’s Day this year. Centre Stage North East members of the cast of Disney’s Beauty and the Beast visited Signatures Restaurant in West Sunniside, Sunderland. The beautiful Belle, in her famous golden gown (played by 17-year-old Annie Guy) and her prince (Nathan Elwick who actually plays Lumiere the candlestick, also 17) added an extra sparkle of romance by presenting couples with red roses and one lucky pair with two free tickets to see the musical. “The couple we chose were so lovely. They had found love later in life and have been together 20 years now, they will be bringing their grandchildren to see the show and are really excited to see it” says Fiona Clegg, the director. “Being such a romantic tale made Valentine’s Day seemed the perfect opportunity to let people know the production was arriving at the Empire in the summer” explains Fiona. “The response was phenomenal and we were a little late arriving at Signatures due to so many people stopping us in the street for photographs with the characters!” Disney’s Beauty and the Beast will be at the Sunderland Empire on 22nd and 23rd July with a matinee and evening performance on both days. Tickets are available by contacting Mark Clegg on 07808734268 (Photo by kind permission of the Sunderland Echo)

BEAUTY MAKES AN APPEARANCE ON VALENTINES

“Witness For The Prosecution” at the Darlington Civic Theatre

As Regional Rep for District No.6, I was approached by the Bill Kenwright Production Company with a view to providing some fourteen amateur performers augment the professional cast when the tour of “witness” played in Darlington for a week. The commitment would be for six evening performances and two matinees. I contacted societies in my District which were not in production, and soon had volunteers from St. Augustine’s Repertory Society (Darlington), The Allertonshire Players (Northallerton), The Castle Players (Barnard Castle), Leyburn Amateur Dramatic Society, and Darlington Operatic Society. I had originally thought that they were to be members of the jury, but found that role was to be taken by the audience, and the NODA members were to be in the public in the Public Gallery, and had various other small roles as court stenographer, assistant lawyer, warder etc. The professional actors, led by Denis Lill and Mark Wynter were very welcoming and supportive, and the amateurs gained an insight into what it was like to be backstage in a touring production such as this. All thoroughly enjoyed the experience, Stating that they had learned a lot from the professionals about discipline etc., and all declared themselves willing to volunteer once again should the occasion arise. Peter Parlour

Fire Alert!

Peter Parlour and his wife, Anne, were enjoying an interval drink in the bar of the Georgian Theatre Royal during the Richmond Amateur Dramatic Society’s production of ‘The Cemetery Club’, when suddenly the fire alarm bell was activated. They were instructed to vacate the building immediately, without trying to collect any belongings from the auditorium. Peter and Anne soon found themselves outside on a cold November night with their partly consumed drinks, but no coats, in the company of NODA Vice-President Fred Piggford, and the Mayor and Mayoress of Richmond, among others. Some shivering quarter of an hour later, the Fire Brigade arrived, and two or three of its members disappeared into the building, only to emerge a few minutes later, get back into the fire engine and drive off. The audience confidently expected to be ushered back into the theatre immediately, but in fact it was another thirty or so minutes when the ‘all clear’ was given. By this time it appeared that some of the waiting crowd had repaired to the local hostelries on either side of the theatre, or gone home, as it was a reduced number which returned for the second act of this very entertaining production by RADS in the famous Georgian Theatre, much admired by theatre historians as a rare example of a house of this vintage, which is still a working theatre. The cause of the alarm was assumed to be a fault in the system, which was a relief to the trustees of the building, but not much of a comfort to the members of the audience. Peter Parlour

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Darlington Civic Theatre Threat Of Closure During the week of the professional tour of “Witness For The Prosecution”, reported elsewhere, word came of the probable closure of the Darlington Civic Theatre, as part of the Council spending cuts. This news was greeted with dismay by all who use it and attend performances there, not least the Bill Kenwright organisation, which regularly mounts shows there with great success. Members of the cast of “Witness” were unbelieving that such a thing could happen, and Dennis Lill, who was appearing in the play, gave a statement of support for the theatre to be kept open in the Northern Echo, the Darlington-based daily newspaper. Peter Byrne, another member of the cast, suggested several ideas about how to get the Council to think again. The Friends of Darlington Civic Theatre, of whom I am Chairman, contacted other companies which have mounted productions at the theatre, and were all equally dismayed at the prospect of closure. The Friends have also campaigned in the press, and special support comes from Darlington Operatic Society, which was instrumental in saving the theatre fifty years ago when, ironically, it was closed by the Council. On that occasion the Society raised money to buy the theatre, ran it successfully, and eventually sold it back to the Council. At the time of writing the Council, in reply to protests, has said that the theatre will not close until January 2012, after the annual pantomime. This is a relief to the Operatic Society, since it is committed to its usual two major productions in 2011. It also plans to mark the centenary of the sinking of the RMS Titanic with a production of “Titanic, the Musical” in 2012, which would be difficult in any other venue. It seems that professional theatre companies are interested in running the theatre in the event that the Council gives up, so the mood is cautiously optimistic that the ‘Pride of Darlington’ will continue to provide first class entertainment for the people of the town and surrounding districts, but we shall certainly not lower our guard until its future is certain.

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Update to lost venue in Seaham, Co.Durham

n the April 2010 edition of Amateur Stage the plight of Seaham AODS was reported when their performance venue was closed just prior to the production of “Singin’ in the Rain”. A year on, in the true traditions of amateur theatre and the ‘show must go on’, we report not only Seaham AODS, but the other societies affected by the closure of Vane Tempest Social Centre. Shortly after the article was written, the venue that had been ‘home’ to two of the three societies in Seaham was bulldozed, and the only alternatives were to give up or to move forward. As previously reported, Seaham AODS had found a new venue in the local School of Technology, which had been used for the last twenty years by Seaham Youth Theatre Group. Although two of the members could not commit to the rearranged date of the production because of previous commitments, it was most of the original cast that took to the stage to perform “Singin’ in the Rain” in June of last year. The troubles the society had to endure were not quite over yet, however. A week before the new dress rehearsal the society’s sound technician broke his back in a climbing accident. Thankfully, he is now fully recovered, but at the time a replacement had to be found. The NODA Regional Rep for the District cancelled holidays planned for that week, and took on the role of sound engineer at the last minute. The show was a resounding success, complete with ‘real rain’ which soaked the main character each night. What about the long-term future of the neighbouring societies? The only viable venue available in Seaham was the School of Technology, which meant it had to be ‘shared’ between its original long-term user, Seaham Youth Theatre Group, and the

other two societies, Vane Tempest Theatre Group and Seaham AODS. Being a school, the stage and auditorium was only available during school holidays, i.e. Autumn, Whit, and February half term weeks. Close co-operation was required by the neighbouring societies to ‘share out’ the venue dates available – this also having a ‘knock on’ for other local societies a couple of miles away which had traditionally used the Autumn half term week for their production since the 1950’s. Another cloud on the horizon was that the school was also marked for closure and rebuilding under the ‘Building Schools for the Future’ scheme, and the new school not going to have a stage! Members of the three societies within Seaham are perhaps in the minority of people applauding the Government cutbacks, as the school’s rebuild was put on indefinite hold, thus securing a venue for the foreseeable future! Regional Rep for the District, Gordon Richardson, said “The school with its better facilities has perhaps allowed the societies to be a little more adventurous with their productions, and long term that has to be a good thing. There will, no doubt, be other obstacles to overcome in the future, but one good thing is that the problems overcome have engendered a greater working understanding and co-operation between the neighbouring societies, which bodes well for the future.” In February the latest production hit the stage of Seaham School of Technology was Seaham Youth Theatre Group’s 20th anniversary production of the classic “Les Miserables School Edition” to appreciative audiences.

The Other Side of Adrian Adrian Jackson performed a very quick change for his latest role. Fresh from having played a nervous vest-wearing geek in his most recent stage performance, he prepared himself to do the “full monty” for a packed theatre audience. Adrian insisted that he was up for the challenge – even with only a strategically placed brief case to spare his blushes. “It is not something that I have never done before”, he said, “and I do not regard myself as an exhibitionist under normal circumstances, but I am happy to do it in the name of fun, and because it provided good motivation for going to the gym.” Adrian, of South Shields, Tyne and Wear, played the part of Keno Walsh in the West End Operatic Society production of “The Full Monty” at the Tyne Theatre, Newcastle upon Tyne in April. He landed the role after his previous performance as Oscar Lindquist in the South Shields Gilbert and Sullivan Society production of “Sweet Charity”. In that role, as a nervous bumbler who was quite geeky and claustrophobic, he had removed clothing on stage down to his vest and underpants. It was Adrian’s wife Dianne who mentioned his less dramatic strip to a member of the WEOS, so was unknowingly instrumental in him getting the part. Both of hese two roles were a far cry from Adrian’s day job as a Watch Manager in Learning and Development for the Tyne and Wear Fire and Rescue Service.

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Coquetdale Amateur Dramatic Society celebrates its 10th Birthday with a new Challenge

he group performs an annual production each February in the Jubilee Institute Rothbury, North Northumberland. The building was completely refurbished about eight years ago with grant aid, then re-opened by Prince Charles. It is now a busy community venue providing a variety of live entertainment both amateur and professional. These events are a key element of this rural village; many of the local community live in the remote upper reaches of the Coquetdale valley and the geographical area is very wide with no public transport in the evenings. Visiting the theatre in Newcastle involves a round trip of 100 miles. The society was founded in 2000 at a time when community morale was very low due to the foot and mouth epidemic. The aim was to introduce live theatre to counteract the negative effect the disease was having on the village of Rothbury, largely agricultural and dependent on tourism for some of its income. It is one of the most isolated valleys in North Northumberland and many youngsters live on outlying farms, attending small village schools with limited opportunities to socialise with others of the same age. Belonging to the society helps address this and since its inception the society has grown year by year, and other events affecting the morale of the village, such as the disastrous floods in 2008, and the huge police manhunt for Raoul Moat last year have been counteracted by the group’s determination to hold its annual production in spite of the disruption caused. At the outset, members had little or no experience of amateur theatre, but with enthusiasm and determination the group began preparing for its first pantomime, which proved to be a success with local audiences. Further pantomimes followed, and finances became more stable. The group now consists of approximately 18 youngsters, known as ‘The Jesters’, aged between 9 and 16, and 20 adults. Through performance, our young people particularly have been helped to improve their acting, singing and movement skills. They learn to work as a team and what they do helps raise their selfesteem, encourages confidence, speaking and listening skills and above all personal and social development. This is as a result of performing and interacting with each other and the adults in the group. The group sometimes supports children from families with difficulties, and children are helped by being respected and well treated by the adults in the group, who are excellent role models. An acting workshop was arranged last year and this year there are plans to hold a stage make-up training session to further the skills of the

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make-up team and all those who appear on stage. Auditions are held for main parts, but everyone who attends regular rehearsals is included in the cast, with no one ever being turned away. In 2006 the group’s current director, David Richardson, with over 50 years experience in the field of amateur theatre, and 40 years since founding and being an active member of Whitby Musical Theatre Company arrived in Rothbury to ‘retire’ from directing. After an appeal for help he stage managed a production of “Sleeping Beauty”, then the following year took on the role of director for CADS and persuaded the group to put on a full length variety show involving choreography which they had never tackled before. Hidden talents were revealed amongst members, and the next two shows were musical plays, “The Wind in the Willows” and “Peter Pan” which performed to sell-out houses. David is now the District 9 Regional Representative for NODA North to which the group is affiliated. He is encouraging the group to perform a variety of styles of shows, which develops their skills, and is fostering links with other amateur groups in District 9. The present Chairman, Joan Wilkinson was a founder member of the society and has performed in every production. The musical director Neil Milburn, whose gentle encouragement and musical expertise has inspired new singers to achieve their potential, has been a key figure in the development of the society. Over the last few years improvements have been made to the stage, and performers have gained so much with experience that for the 10th anniversary show the group took on the challenge of their first full length musical, “Oliver!”, which played to full houses over five performances, and was greatly appreciated by Fred Piggford, Councillor and Vice-President Elect of NODA, who attended the production. The group reaches out to the local community each year, and acts as a catalyst to bring together a large number of people from all age groups. At each performance there are usually 55 or more people in the cast and backstage crew, 40 or so front of house, and refreshment volunteer staff, 65 or more local businesses sponsoring raffle prizes, and audiences totalling approximately 800 during the week. The production therefore involves approximately one third of the population of Rothbury and environs every year; a truly wonderful community venture that plays a large part in the village calendar. Here’s to the next 10 years!

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27/01/2011 22:29:12

NODA NORTH SHOW REPORTS DISTRICT ONE JIM GRAHAM

BLYTH MUSIC & THEATRE CO. CHESS THE MUSICAL Venue: The Phoenix Theatre, Blyth Producer/Director: Jackie Grey Musical Director: Bob Crabtree Choreographer: Jackie Grey What a wonderful show, excellently sung and very competently performed on what is relatively small stage. The Society’s committee made a brave choice in choosing to perform Chess. It is a show not often tackled due to the complex singing required, and the almost continuous music from a difficult score. It was very pleasing to note that there was a full house on the evening I was present, with full houses predicted for the rest of the run. I know audiences can be fickle with their attendances, but there is obviously an appetite for other different shows rather than the well-known favourites. The details of the story are difficult to follow, although the Programme notes helped. Chess opened in the Italian town of Merano where Kevin Gilroy, as the American World Champion, and Paul Worth, playing the Russian challenger, opened their competition. They sang to each other about the intricacies of the Game and the subterfuges and sub-plots going on around them. These principals did full justice to their roles, supported by Marie Swan, as Florence, Amanda Linney, as Svetlana, Dave Cooper, as Molokow, and Jamie Richardson as the all important Arbiter. The chorus were appropriately dressed as black or white chess pieces. The programme indicated that Amanda McFarlane was responsible for wardrobe, but I am sure that there must have been a larger team deserving of recognition. The stage set was a basic chess board designed by Philip Dixon. I must confess that I would have found it difficult to identify scenes without the help from the overhead projector. Lighting was strong and directional mainly from above and although used with good effect did create shadows on faces. Music was in the hands of Bob Crabtree and his orchestra superbly linked to the production. Well done. TYNEMOUTH AMATEUR OPERATIC SOCIETY MY FAIR LADY Venue: Playhouse, Whitley Bay Producer/Director: Chris Johnson Musical Director: Andrew Clarence Choreographer: Lyndsey Harrison When a show is as famous and well known as ‘My Fair Lady,’ amateurs have a tall hill to climb to compete with the film or touring professionals. Tynemouth can be proud of the quality of this production. The overture and opening set the quality of the show with a ten-piece orchestra leading us quietly into the production with nicely modulated music. The part of Eliza was in the hands of Charlotte May, a 2nd year student in a Performing Arts course. She handled the transition from a coarse flower seller to a well-groomed young lady beautifully. Her singing was excellent, and bodes well for the future. Alan Davison played Professor Henry Higgins, well supported by Andy Dean as Colonel Pickering, with all three working together successfully. Mention must be made of Andrew Richardson taking over the role of Freddy EynsfordHill at literally very short notice, coping with the part very well indeed. There was a very large cast of over 40 people with the stage sometimes looking a wee bit cramped. Thanks to good direction and choreography such problems were easily overcome. There were too many in the cast to name individuals but they all gelled together to make a memorable show. Lighting and sound mainly utilised the

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theatre facilities. The Playhouse does have a weakness in front of stage lighting resulting in poorly illuminated spots. Lyndsey’s choreography enhanced the production with her experience enhanced through NODA’s Summer Schools. An excellent production. TYNEMOUTH PRIORY THEATRE LTD ANYBODY FOR MURDER Venue: Tynemouth Priory Theatre, Tynemouth Producer/Director: David Johnson This play was set in a remote home on an equally remote Greek Island, connected by another equally mysterious daily ferry-boat. The set, designed and built by Society members, provided the right background and atmosphere to create “remoteness”. The title suggested murder was to be expected; with the identity of who was to be the victim and where the body was to be “planted” led the audience into an enjoyable evening of pure comedy as well as drama. Brendan Egan as the villain, Max Harrington, gave an excellent performance as a would-be murderer. Hayley Moy, as Janet Harrington (Max’s wife), and Jessica Lowery, as Suzy Stephens (Max’s girlfriend), admirably succeeded in confusing the two guests about their identities, with judicious, well-timed changes of wigs and costumes. The guests were played by Moira Cunningham and George Knox, as Mr and Mrs Ticklewell. Moira, a domineering wife, played opposite George, a timid, henpecked lawyer – both of whom turned out to be very greedy, seeking an elusive fortune. Malcolm Brown (Edgar) as the local writer provided the necessary scattiness and confusion. As befits a Greek Island, the action in the play was well lubricated with Ouzo and poisonous sounding liquids. A good evening’s entertainment. WALKERVILLE MUSICAL SOCIETY GOLDILOCKS AND THE THREE BEARS Venue: Walkerville Community Centre, Newcastle Producer/Director: Ann Ranson Musical Director: Gareth Miller In the true tradition of Pantomime this was another excellent show based on a good script by Robert Marlowe. The principals led by Alan Tompkins as Dame Clott, Eddie Macklam as Willy Clott, Diane Girdlestone as Goldilocks and Jenny Boothroyd as Robin Makepeace, showed much enthusiasm in their various roles and worked hard to deliver the humour needed in these parts. Indeed the audience responded enthusiastically with the children joining in noisily. Mention must also be made of Lisa Givens as Ali and Michael Roche as Oop for additional humour and sparkle from the Indian subcontinent – a nice contrast. Oohs and aahs were in abundance for the three bears with David Parrack as Daddy Bear, Jan Boothroyd as Mummy Bear and Joan Fothergill as Baby Bear. Superb costumes were from “In Disguise” and I was pleasantly surprised to learn that these three characters did not need audio amplification. Other parts including the children were well played and added to the success of the pantomime The Society should be congratulated on having a large team of helpers to contribute to all back-stage work – all directed by Producer Ann and Stage Manager Alan Ranson. Well done. WHITLEY BAY PANTOMIME SOCIETY CINDERELLA Report by Ian Wells Venue: Whitley Bay Playhouse, Whitley Bay Producer/Director: Joan Walton & Rowland Maughan Musical Director: Ian Teoh Choreographer: Julie Cockburn This was another successful production for the Society, even more spectacular than usual with elaborate scenery, as befits this favourite story. The plot was well told, and there was plenty of opportunity for the children

in the audience to join in the traditional rejoinders of ‘Oh, no it isn’t’ etc. The UV scene depicting the making of Cinderella’s ball gown was a very well done, and the traditional ‘haunted room’ sequence brought the children to a state of near hysteria. Maegan Hearons made a very appealing Cinders, with a good singing voice, and Cheryl Moody was every inch a principal boy, as Prince Charming, supported by Joanne Wingate, as Dandini, also in the principal boy mode. She stood up very well to the unwanted attentions of the Ugly Sisters, played by Alex Covell and John Collins in a series of OTT costumes and wigs. The Broker’s Men were David Lindsell and Rowland Maughn, the latter standing in at the last moment, as was Rob Smith, as Buttons, who soon had the children on his side, and consummately worked the audience. Neville Wanless (Baron Waste) and Christina Carmichael (Fairy Godmother) completed the principal line-up. The girls in the Chorus added to the atmosphere with their numbers, and Dancers (Senior, Junior and Tots), all performed beautifully, especially the latter, who charmed the audience with their ‘Jitterbug’ dance. The accompanying combo, led by Ian Teoh, was well suited to the demands of a pit orchestra. It must be said that lighting was not always good, especially for principals working down stage, and the comedy banter lacked pace a lot of the time, but the members of the audience did not seem to notice, and the well-earned applause at the end testified to their enjoyment.

DISTRICT TWO GWYNETH HUNTER CAPRIAN THEATRE COMPANY ALADDIN Venue: The Dryden Centre, Gateshead Producer/Director: Ernie Wilson Musical Director: Enid Stafford Choreographer: Cheryl Barr I love the Caprian pantos, as does my grandson Benjamin and this year yet again we were not disappointed. The sets were very good and the costumes superb, while the chorus dancers performed some excellent routines and looked great. Lyndsay Kellegher really looked the part as Aladdin, and sang beautifully while Helen Mckenry was stunning as Princess Balroubadour. Without a doubt Kevin Riley is one of my top two dames. He is very traditional, with outrageous costumes but a “manly” rapport with the audience. He was excellent as Widow Twankey and was very ably supported by the personable Steve Nichol as Wishee Washee. On the comedy front Pam Dias and Simon Devlin (Hilo and Lo-hi) are a great comedy duo, and the children loved them. As much as they loved cheering on the goodies, they loved booing the villain of the piece. Gareth Lilley was brilliant as the larger than life baddy, Abanazar. All the other characters were well cast and performed with pace, humour and good audience participation. Another great panto, well done again. CLEADON VILLAGE DRAMA CLUB IMAGINARY LINES Venue: Little Theatre, Cleadon Village Producer/Director: Jim McKenzie This was an excellent comedy which in places was very true to life. How often have we dreamt of how something would be only for it to be completely different in reality. The play required a set which depicted two different and separate locations, which was no mean feat on this tiny stage. Neil Weathers and Bob Lawson are to be commended on achieving the effect so well. The set, along with the excellent props, provided the perfect backdrop to the action. Denise Wilson played meddling book illustrator Wanda and gave a brilliant performance despite a painful back

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injury. Each time I see Ian Reah he just gets better, and he and Denise have a good rapport. His facial expressions and comedy timing were perfect for bookshop owner Howard. Stalwart Peter Calvert played Sir Michael Thurston MP with a good balance of humour and polite dignity, while Gillian Crossley was excellent as the upfront feisty, redundant teacher Carol. The final member of the cast was Pat Thompson, who played the author Mrs Burlap. She was brilliant playing a Marplesque character who constantly eavesdropped but invariably got the wrong end of the stick. Thank you for a great evening’s entertainment. FATFIELD MUSICAL STAGE SOCIETY NO NO NANETTE Venue: St Roberts School, Washington Producer/Director: Ann Chadwick Musical Director: Colin Galley On entering the hall at St Robert’s School I realised how hard the society had worked to create a theatre atmosphere. The show was very bright and cheerful, with lots of catchy tunes. I do like shows set in the 1920s as they do tend to be so frivolous and carefree. This show was well cast starting with Michelle Oakes as Nanette. She was perfect for the part, and her clear singing voice suited the 20’s music. She was well partnered by Lee Passmore as the slightly bumbling but earnest Tom. The partnership of Anne Taylor and Lawrence Chadwick was as strong as ever in the husband and wife team Lucille and Billy Early. Their characters were well defined, and they sang to their usual high standard. Similarly Barry Salmon and Betty Thompson were very good as Jimmy and Sue Smith. My favourite, however, was Joan Hunter as Pauline, the maid. She was spot on and I loved her facial expressions and line delivery. The chorus looked great, and are to be commended for coping so well with the restrictions of the stage. Ann, as always, put together a tight, smooth-running show taking everything in her stride. Well done Fatfield, a happy uplifting evening’s entertainment. JARROW MUSICAL THEATRE AND PANTOMIME CO MOTHER GOOSE Venue: Jarrow Community Centre, Jarrow Producer/Director: Alyson Moore Musical Director: Freda Carney Choreographer: Laura Kelly Playing to a packed house Jarrow once again produced their usual high standard of Panto. Mother Goose had everything I have come to expect from them. The enthusiastic chorus, wonderfully colourful scener,y and fabulous costumes provided a marvellous frame surrounding a strong line up of principals. Malcolm Blakey, as Mother Goose, was his usual effervescent self and had the audience in the palm of his hand. He was ably supported in the comedy by Kerry Gardner (Jack), especially in the very funny wallpaper scene. Claire Douglas (Jill) and Helen Eltringham (Colin) were perfectly matched, and their singing and acting complemented each other. Lawrence Clark (Squire Dastardly) and Grayson Wood (Demon King) provided the much needed villainy, plotting and schemimg to kidnap the Magic Goose (Amy Dixon). All the other principals (to many to mention) gave very capable performances, helping to add touches of comedy, magic and pathos throughout. As ever, the musical numbers were well performed to a good live band. I look forward to next year for another hand clapping, toe tapping, fun family panto. SOUTH SHIELDS G & S SOCIETY SWEET CHARITY Report by: Fred Piggford on Saturday 19 February 11 Venue: Customs House, South Shields Producer/Director: Gareth Hunter Musical Director: John Milgate Choreographer: Nadia Wearn South Shields G & S are very fortunate in having many young and good looking ladies in the company, and they were ideally suited to this show which featured some excellent choreography from Nadia, well executed by the

company. The men were alright too !! This was the first time I have seen Ashley Lamb in a part and I thought that she was absolutely wonderful in the role of Charity. She sang, danced and acted the part very well, and looked perfect on stage. Adrian Jackson, in the role of Oscar, was terrific and I think it is one of the best parts I have seen him do, particularly the elevator scene with Charity, which was tremendous. Karen Ratcliffe and Natalie Elleithy, as Helene and Nickie, showed just enough contempt for the customers as was needed and both worked well with Charity. Foster Johnson was a sleazy Herman. The ‘Rhythm of Life’ was a highlight for me, and was ably led by Graeme Smith, as Big Daddy. James de Lauch Hay was a flamboyant Vittorio, and Rachael Walsh was a petulant Ursula. The other principals and the chorus all worked well in producing a first class performance. This was an excellent production by Gareth ably assisted by John in the pit. A good lighting plot by Ian Johnson, costumes by Allan Graham, set from A1 Stage, and typically excellent sound by Tony Atkinson Associates all combined to make this a superb production and a good evening’s entertainment. Congratulations to all concerned and I am looking forward to the Summer concert. WASHINGTON THEATRE GROUP THE ADVENTURES OF ROBIN HOOD Venue: Washington Arts Centre, Washington Producer/Director: Peter Marshall Musical Director: Emma Rodham and Matthew Lowe This was my first visit to this enthusiastic, hardworking society. They are a lovely friendly group who made me feel very welcome. The Panto was very jolly and child friendly, with lots of good characters. There was no chorus as such, as everyone had a part. Paul Agar (Robin Hood) and Ann-Maria Cook (Maid Marion) worked well together, and looked good. Peter Wilson and Lisa Curry as the two Henchmen, Vomit and Bile, were very funny. I loved their French accents which were a cross between “Allo Allo” and “Clouseau”. Matthew Lowe was a smashing Widow Scarlett, and I really liked his group of tiny dancers (Scarlet’s Starlets), and Angela Marshall, as her son, Will, worked well with the audience. My Favourite in the show was undoubtedly Sarah Tetchner, as Scab the Jester. Her comic timing was excellent, and the audience loved the character. She and John Seymour as the brilliantly menacing Sheriff were a fantastic double act. The well painted set was minimal, but worked well with the excellent costumes and effects. Everyone in this group works extremely hard, taking on several key jobs as well as performing. I look forward to their next production. WESTOVIAN THEATRE SOCIETY THE LION IN WINTER Venue: Pier Pavilion, South Shields Producer/Director: Eddie McNamee This semi-historical and semi-fictional play provided an evening of drama, interlaced with pithy, humorous one-liners. The set was simple but effective, creating Henry II’s castle at Chinon. The four pages did the scene changes smoothly and, with atmospheric lighting and excellent props, the setting for the action was perfect. John Errington, as Henry II, played a rather laid-back, philosophical character, who had a bite when needed, while Delores Poretta-Brown was a superb Eleanor. Her character was multi-faceted and kept everyone guessing as to what she would do next. Dean Jukes (Richard), Mark Lamb (Geoffrey), and Daniel Lee (John) gave three very good, contrasting performances as their scheming sons. In contrast there was Rachael Walsh playing a simple and somewhat confused Alais, and Peter Dawson, whose boyish maturity was perfect for the regal young Philip. Well done, Eddie. This was a great piece of theatre. WESTOVIAN THEATRE SOCIETY CINDERELLA Venue: Pier Pavilion, South Shields Producer/Director: Peter Lathan

Musical Director: Mal Hall Choreographer: Julie Cummings Cinderella must be one of the most traditional of panto’s, with a lovely story line and established characters. The Westovian panto upheld all of these in addition to good sets and costumes. Natasha Haws was an excellent Cinders, with a beautiful singing voice and a feisty personality. Matthew Heppel who played Buttons is without doubt a talented young man. For one so young he captured the essence of the character and had a very good rapport with the audience. The two principal boys, Rachael Walsh as Prince Charming and Annie Cairns as Dandini both looked great. The Ugly Sisters certainly lived up to their names with Stephen R Sullivan as Asphyxia and Stan Hunter as Euthanasia. They played contrasting characters, so “ugly” in their glamour, that they were brilliantly hideous. Ruth Burn as Baroness Hardup was great, she was really scary and the children loved booing her. As always the chorus and dancers looked good and performed well drilled numbers. The musicians, under Mal Hall, were very good and well controlled and helped to link and move the production forward.

DISTRICT THREE PAULINE SWANN

CHESTER-LE-STREET THEATRE GROUP AND A NIGHTINGALE SANG . . . Venue: Newcastle Bank Community Centre, Chesterle-Street Producer/Director: Bill Boggon The play is set in Newcastle during the war years, chronicling the everyday lives a working class family, and the effects the war had on them. In her first major role in a play, Sarah Cook took on the challenging role of Helen, a role made all the more difficult by stepping forward directly addressing the audience from time to time to move the story along, as a narrator, and then stepping back into character. She must be congratulated on a confident and convincing performance. Her fellow cast members all provided interesting and varied characters, all of whom played together well throughout. This is a challenging play, made all the more so by the varied settings required. This proved a step too far given the size of this stage, and as a result confusion did set in from time to time from an audience perspective. It is always pleasing to see good sized audience, and this one appreciated the story told. Indeed, for some it was a nostalgic look back to what were dark days, but made bearable by the humour, which came through loud a clear. CONSETT BLACKHILL & SHOTLEY BRIDGE MUSICAL & STAGE SOCIETY SNOW WHITE AND THE SEVEN DWARFS Reviewed by: Fred Piggford on Saturday 29 January 11 Venue: Empire Theatre, Consett Producer/Director: Virginia Aken Musical Director: Stephen Stokoe Choreographer: Ashleigh Sowerby/Billie Aken-Tyers/ Claire Wright This was an excellent way to spend a Saturday evening in the middle of Winter, viewing a lively, colourful and enthusiastic production with some very talented performers. What more could one ask? This was Snow White with a twist, and what a good job Virginia, assisted by Stephen, Ashleigh, Billie and Claire, made of bringing the story to life, bringing out the very best in this extremely large cast. Billie Aken-Tyers, as Snow White, both looked good and sang beautifully. Conor Robinson was a dashing Prince Ferdinand who came to Snow White’s rescue, and Anna Wilkinson was a particularly nasty and evil Queen Avarice. Neil Pears was excellent as Dame Edna.

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Comedy was provided by Ben Dixon, as Chuckles, and Tom Banks as Scribbles. The Dwarfs (too numerous to mention individually) were always in character, and had some funny moments throughout. ,We had a special cameo from Hugh Malone, who was excellent as the Magic Mirror. Of course no pantomime would be complete without the children, and these kids were superb. Every congratulation must be given to the Choreographer. There were some excellent lighting and other special effects, provided by Paul Oliver and POSS. Lovely colourful costumes were provided by Alan Graham, and the excellent set was by The Border Studio. All in all, this was a superb evening’s entertainment which was enjoyed by the large audience. Well done to all concerned. DRYBURN THEATRICAL WORKSHOP ROBIN HOOD & THE BABES IN THE WOODS Venue: Park View Community Association Theatre, Chester-le-Street Type of Production: Pantomime Producer/Director: Michelle Coulson Musical Director: Brian Pennick Choreographer: Helen Wilson SHOW REPORT Pantomime is always a good excuse to do things a little differently, and bringing together these two stories firmly ticks that box, although the overall plot did get a little confusing from time to time. All the usual ingredients were present, and the characters Nurse Molly Coddle, played by Malcolm Quinn, an aspiring Dangerous Dave, played by Lee Passmoor, and a very convincing Sheriff of Nottingham, played by Brian Jordan, were well portrayed. The starring role, however, was the Panto Fairy played by Margaret Smith, whose comedy timing and delivery were, as we’ve come to expect, spot on. Robin Hood, played by Phil Martin, in his first leading role of this type, alongside a totally confident and convincing Maid Marion, played by Emma Scott, carried the story along. The near capacity audience were thoroughly entertained, which is what Pantomime is all about. DURHAM MUSICAL THEATRE COMPANY GRAND HOTEL Report by: Gordon Richardson on Sat 12 March 2011 Venue: Gala Theatre, Durham Producer/Director: Fred Wharton Musical Director: Steven Hood Choreographer: Kathleen Knox Set in the ‘Grand Hotel, Berlin’ in 1929 on the cusp of the emergence of the Nazi Party, this production revolved around five very different lives, their hopes and aspirations – Baron Felix von-Gaigern, a penniless aristocrat (Graeme Walton), Elizaveta Grushinskaya, a ‘fading’ ballerina (Eileen Glenton), Flaemmchen, a typist (Rebecca Dixon), Hermann Preysing, a director of a failing company (Olly Burton) and Otto Kringelein, a dying book keeper (Anthony Smith). All played their roles splendidly and ‘set the scene’ during the first Act for what was to come at the climax. It would be wrong to suppose this production did not benefit from many other equally important roles - far too many to mention however special praise must be paid to Clark Adamson, the cynical crippled ‘Doctor’ who remained in character throughout (even during the ‘bows’) and Steven Berry as ‘Erik’ who sang and acted the part of cowed desk clerk superbly. A fixed set of the hotel lobby was well suited to the action and each balcony and alcove was fully utilised. Costumes were authentic for the period, especially the ladies. Orchestration under the baton of Steven Hood was sympathetic to both the rich score and performers alike, whilst Kathleen Knox’s choreography was up to its normal high standard. At times the stage did look a little ‘cluttered’ with the large chorus but this did not detract from the spectacle that was ‘Grand Hotel.’ Fred Wharton and the whole society are to be congratulated on bringing this lavish production to the stage.

DISTRICT FOUR GORDON RICHARDSON

SPENNYMOOR STAGE AND SONG WHEN THE LIGHTS GO ON AGAIN Venue: Spennymoor Town Hall Producer/Director: Malcolm Cooper Musical Director: Martyn Jones Following the Parker family during WWII, this enjoyable production was full of humour, pathos, emotion and a genuine ‘feel good’ factor. The show is a series of humorous sketches about rationing, queuing, trips to the local ‘fleapit’ cinema, chats over the garden wall by neighbours – all interlinked into a heart-warming production culminating in the Parker’s son coming home from a PoW camp in the middle of the VE street party. Many characters excelled in this production, but special mention must be made of the two ARP wardens, whose gentle observations on life caused much laughter, Grandma Parker, whose curmudgeonly demeanour was a joy, Dad and Mum Parker, with their ‘backs to the wall’ spirit, neighbours Vera & Elsie, whose patter ‘over the wall’ was both humorous and so typified the era, and finally, the Sgt. Major who worked a hard shift cajoling his ‘rabble’ of squaddies in their Camp Concert. The production had a ‘Last Night of the Proms’ feel to it, with much singing and flag waving by the audience. The flags were sold on behalf of the ‘Help for Heroes’ fund, with over £200 being raised for such a worthwhile charity. One nice touch I noticed was that, in the street party where several of the ‘old soldiers’ wore their medals, I saw one or two sporting NODA Long Service Awards. Well done for ‘flying the flag’ Spennymoor. I wish I had come earlier in the week. I’d have come back to see it again!!! BISHOP AUCKLAND AOS FIDDLER ON THE ROOF Venue: Shildon Civic Centre Producer/Director: Budce Cunningham Assistant Producer: Vera Davison Musical Director: Jean Boyle ‘Fiddler’ is such a well-known show and this society compared favourably in many areas. Bruce and Sheila Cunningham played the onstage couple Tevye and Golde. Bruce, also taking on the task of directing the production, engaged the audience with his signing, humour and frequent ‘talks with God’. Sheila was the perfect foil for him with her ‘life worn’ demeanour on stage. Carole Walton, Amy Green and Michelle Clark (Tevye’s older daughters of Tzeitel, Hodel and Chava) each sang and acted well – especially “Far From The Home I Love”, performed so well by Amy. Their three husbands played by Tony White, Robin Crosby and Steven Berry, each playing their part well. Sound quality was fine although a little ‘lost’ at times when performers delivered their lines upstage. Joan Milner (Yente) had clear diction throughout, as did Ken Haigh (Lazar Wolf). Rob Berry, as the constable with a touch of compassion, was convincing. The ‘dream scene’ featured Joanne Rogers and Linda Lawson who were both strong as Grandma Tzeitel and FrumaSarah. The orchestra under the baton of Jean Boyle was well directed and balanced. In such a props-orientated production the occasional thing was missed – wedding rings once the daughters had married for one. Scene changes were many, and well done to crew and cast for coping with such movements. More atmospheric lighting would have benefitted some scenes, especially in songs such as ‘Sabbath Prayer’ which was possibly too brightly lit in my opinion. Did I and the audience thoroughly enjoy it? – Yes and Yes.

FERRYHILL STAGE SOCIETY THOSE WERE THE DAYS Venue: Mainsforth Hall, Ferryhill Producer/Director: Ken Simmons Musical Director: Meg Childs Mainsforth Hall is a large venue and well suited to this revue format of a show, split, as it were, in four distinct sections, but linked around a nostalgia theme especially related to the Movies and TV/Radio. Malcolm Frank, with his clear resonating voice, linked the production together and suddenly I was aware of how old I was, due to the fact I could remember the words of the fine medley of 50’s and 60’s songs filling the first section. This section concluded with ‘Those Were The Days!” – They were indeed! The youth section led us into the interval with 15 youngsters ageing from 7-13 regaling us with a Nautical adventure. Well done, especially to the young lady who belted out ’My Heart Must Go On’ in a voice that belied her age. Harmonies were much more in evidence during the second half, complemented by the six piece band directed by Meg Childs. At times soloists would have benefitted from sound reinforcement, as the hall, though acoustically good, is a large space to fill. Choral numbers were well thought out, and ample opportunity was made of ‘cartooning’ certain TV characters to provide the humour in abundance. Costumes were colourful as was the well thought out lighting design to make the most of the fixed and glitter curtains behind the cast. A creditable performance well appreciated by the audience. MALDO PRODUCTIONS THE WIZ Venue: Easington Welfare Hall, Easington Producer/Director: Wayne Malcolm Choreographer: Gemma Binks & Steev Dodds Once described as “the ‘black’ version of the Wizard of Oz” this show was certainly ‘darker’ than Frank L. Baum’s original version. The production is written for a strong singing cast and, in the role of ‘Dorothy’ (Victoria Gray), the society achieved this. Lynn Robson, as Dorothy’s ‘Aunt Em’, matched in the strong singing ‘stakes’ whilst also taking on the role of ‘Evillene’ – the wicked witch of the West. The three other main roles of ‘Scarecrow’ (Matty Lowery), ‘Tin-Man’ (Gemma Binks) and ‘Lion’ (Wayne Malcolm) all had their own individual, quirky characterisations – a ‘hip’ Scarecrow, a ‘funky’ Tin-Man and a neurotic Lion (under psychiatric help from his owl.) Other principals added to the performance especially, ‘Addaperle’ (Richenda Blakelock), ‘Wizard’, resplendent in the biggest afro wig I’ve seen, (Michael Mullender) and ‘Glinda’ (Amanda Clark). Special praise must go to the three ‘Yellow Bricks’ who linked the show’s characters together throughout with their vocal harmonies and dancing. At times some dialogue was difficult to pick out – loud doesn’t always equate to clarity and some principals needed to deliver their lines in a more ‘measured’ fashion rather than race through them. This on occasions wasn’t helped by some problematic radio microphones. All in all a creditable and colourful performance enjoyed by the audience. SEAHAM YOUTH THEATRE GROUP LES MISERABLES SCHOOL EDITION Report by: Pauline Swann on Friday 25 February 2011 Venue: Seaham School of Technology, Seaham Producer/Director: Gillian Biffetti Musical Director: Martin Humphrey Choreographer: Joanna Duffy There can be few productions which will challenge every aspect of a group’s ability both on and off stage to compare with ‘Les Mis’. A long list of strong leading characters is required, along with a very capable ensemble, as a performance of this show will stand or fall on the strength of the cast as a whole. There can be little doubt that Seaham Youth Theatre has such talent in abundance, so much so that it would be wrong to single

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out any one individual for particular mention. From the senior principals (although they are only teenagers!) right through to members of the chorus, they all work extremely hard to bring this very challenging production to life. A simple but very effective set provided by A1 Stage worked very well. It is always a worry to see a drum kit having microphones hanging around it, especially in a small school hall. The orchestra was very good, however, giving a very full account of this rich score without overpowering the performers - well done Martin. The lighting was simple and effective, although some strange effects were used which were somewhat distracting to some in the audience. Congratulations Gillian and your team for bringing this production to fruition, celebrating the groups 20th anniversary. I have no doubts you will agree it was worth all the hard work – roll on the next twenty years!!! SPENNYMOOR STAGE & SONG SLEEPING BEAUTY Report by: Fred Piggford on Tuesday 11 January 2011 Venue: Spennymoor Town Hall, Spennymoor Producer/Director: Malcolm Cooper (Assistant Director Richard Butler) Musical Director: Martyn Jones Pantomimes should have lots of children, lively music, light attractive costumes, slapstick and plenty of audience participation, and this panto from Spennymoor certainly lived up to all of that. Malcolm, Richard and Martyn certainly worked hard to bring the story to life and were ably assisted by the very large cast. Malcolm as Willie, in his usual role of the daft lad, certainly engaged the audience and got them going. Martin Peacock was a very believable Nanny Flora. Claire Smith was a typically nasty Carabosse, and she was ably assisted by the very talented Eric Hickson who gave a wonderful performance as sidekick Gripes, and also designed and constructed the excellent set. Even more comedy came from Richard Butler and Lewis Wilkinson, as Sir Round and Sir Render, whose job it was to protect the princess in her early years, and what a terrible job they made of it. The glamour was provided by Stacey Thompson, as Princess Aurora, and Rhiannon Hobson, as Prince Damian. The rest of the principals all played their parts well, and all combined to make this a very enjoyable evening’s entertainment. How good it was to see so many youngsters on stage, and it is to be hoped that they go on to be active members of the society. Well done to all concerned. ST ANDREWS OS IOLANTHE Venue: St.Andrew’s Church Hall, Sunderland Producer/Director: Keith Armitage & Peter Shreyhane Musical Director: Ken Mathews Although almost 130 years since its premiere in the Savoy theatre London, Iolanthe is as satirical today as it probably was on opening night. G&S Operetta’s now being out of copyright allows a society’s director a chance to tinker with the script and add a few little witticisms of the day. Peter Shreyhane and Keith Armitage (also excelling in the demanding role of Lord Chancellor) took advantage of this to the full in this story of a band of fairies (Suffragettes in this production) at odds with the House of Peers allowing half mortal/half fairy Strephon (Mathew Goode) to enter the Commons as a coalition candidate in his own right! Anne Phillips sang superbly in the title role of cast out fairy Iolanthe. Kayleigh Oliver as Fairy Queen (looking like Queen Victoria) held her troupe together with a commanding alto voice whilst Laura Crawley, as Phyllis, had just the correct ‘edginess’ about her role whilst temporarily being courted by both Lords Tolloller and Mountararat (Phil Hall and Paul Blakey respectively). Paul Bates as Private Willis - the grenadier guardsman father of Phyllis - was a perfect foil for his love interest of the Fairy Queen. A 19 strong Orchestra was directed by Ken Mathews and it was a pleasure to hear their controlled melodies. A

very strong chorus (including 15 men) was a delight as always to listen to with their robust four part harmonies. I’m already looking forward to this society’s summer concerts!

DISTRICT FIVE DEREK COLEMAN

OVINGHAM DRAMA GROUP KING HUMPTY DUMPTY Venue: Ovingham Reading Room, Ovingham, Northumberland Producer/Director: Jim Wardle Musical Director: Ray Shenton This script was written by Paul Reakes. Usually Humpty Dumpty is remembered as a good person, but in this version we see the opposite. When the egg fell from the wall a very spiteful character, played by Richard Heslop, appeared, and throughout his performance he maintained this characterisation until finally his goodness and caring overcame him. Richard portrayed the part excellently, constantly belittling the other characters with his antisocial behaviour. Ian Dixon (Patsy Putumup) performed well as the Dame, as did Lorraine White (Captain Vince). Peter Prescod (Private Spit) and Paul Kelly (Private Polish) excelled in their humorous roles, and Teresa Baird (Bad Luck Fairy) and Rosemary Cook (The Good Fairy) delivered their rhyming verse with clarity and purpose. The Royal Family and other characters in the production combined to make the production most entertaining and enjoyable. Costumes were good and as the stage is so small the set constructed by Bill Baird and his crew was handled with ease. Well done to you all. WOODLANDS THEATRICAL SOCIETY ALADDIN Venue: Woodlands Hall, Wideopen, Newcastle upon Tyne Producer/Director: Malcolm Alderson Musical Director: John Hopkinson Choreographer: Pamela Alderson Written and directed by Malcolm Alderson, who also played the part of the sinister Abanazaar, this was a highly entertaining production, giving the opportunity once again for several members of the cast to show their acting and singing skills. Alisar Taylor (Aladdin) and Aileen Stables (Princess Jasmine) worked well together, making a striking pair. The comedy was well delivered by Mike Clerkin, as Widow Twankey, and Gareth Graham, as Wishee Washee. Carla Dupree (Spirit of the Ring) and Eden Taylor (Genie of the Lamp) gave impressive performances, as did Sarah Austin (Sergent Hoo Mee) and Marion Faulkner (Officer Mee Tu). Good support was given by the other members of the cast. The senior and junior dancers from the Marion Lane School of Dance entertained with their usual high standard. Colin Shotton, designer, and the team of constructors and painters, made a set most appropriate for the production, making maximum use of the available stage space. Lighting and sound were good, and the costumes bright and colourful. I am sure that Malcolm must have been pleased with the result of all his efforts, and the members of the audience certainly were.

DISTRICT SIX PETER PARLOUR

BROMPTON PLAYERS THE SLEEPING BEAUTY Venue: Village Hall, Brompton, Nr Northallerton Producer/Director: Mark Bradley Musical Director: Paul Laverick Once again the Players entertained the villagers with a first-class pantomime. It is hard to beat a village show,

where everyone knows the members of the cast, and the banter between them really enhances the performance. Comedy was in the capable hands of Ray Moores, playing Dame Ammonia Goodbody, and his side-kick Andrew Cunningham, as the Court Jester, who worked really well together. Evil was represented by Hayley Bradley, who confidently played the wicked fairy Carabosse, and good by Laura Hallett, really lovely as the fairy Azuriel. Her three equally delightful assistants were Georgina Arrowsmith, Anna Cowley, and Imogen Hill. Ian Franks played King Cedric Vii of Entertania, well matched by Lisa Cowley as Queen Semolina. Heidi Bradley (Princess Aurora) and Kathryn Laverick (the Prince) made a very charming couple, and their duets were beautifully sung. Trying to keep some sanity in the show was Natalie Moores, as Fusspot, the Chamberlain, and two Heralds, Shout and Bawl. Played by Hayley townsend and Geoff Marsh. The members of the chorus made their contribution the the success of the show with well-sung songs under the direction of Paul Laverick, who made his keyboard sound like a full orchestra. All in all, this was an excellent evening’s entertainment. HAWES AMATEUR OPERATIC SOCIETY THE WIZARD OF OZ Venue: Town Hall, Hawes Producer/Director: Colin Bailey & Jennifer Fawcett The Yorkshire Dales were alive with the sound of music and entertainment amid the winter snow and frost. Making the 27 mile journey to see the show was somewhat hazardous, but well worth the effort to see this 50th Anniversary production, script by Limelight Scripts. Excellent performances were given by the cast, led by Bonnie Glendinning as Dorothy, who cleverly carried Toto in her basket. There were good fairies from North and South, played by Jennifer Fawcett and Jasmine Iveson, who had perfect control over Olga, the wicked fairy of the West (Joanne Head). Mike Waldman was excellent as The Wizard and Jethro Clampit, and Andrew Mackay made a surprise appearance as a beautifully- costumed Elvis. Miss Tin, Mr. Scary and Mr. Lion were played by Gina Thomas, Ben Fawcett, and Colin Tindill, the latter perfectly at home swishing his tail around. Munchkins, winged monkeys, and citizens were all enthusiastically played, delighting the children in the audience. With several changes of scene to cope with, Leslie Kinsman and his team did a wonderful job, as did Colin Bailey and his Show Band with the music. Well done, Hawes A.O.S. ST. AUGUSTINE’S REPERTORY SOCIETY KING ARTHUR AND THE KNIGHTS OF THE ROUND TABLE Venue: Parish Hall, Darlington Producer/Director: Anne Frank The well-known story of King Arthur and his knights has been cleverly adapted as a pantomime by Ron Hall, with Mordred and Morgan le Fey as the ‘baddies’. Gerry Connor played dame as Mary Christmas, the cook, and handled the comedy with consummate ease. There was an outstanding performance from Adrian Frank, as Lancelot, who looked good and sang well. Merlin the Wizard was a substitute ‘good fairy’, and was well played by Danny Klein. Ellis Leatherbarrow and Carol Keen were really horrid as the dastardly duo mentioned above. Lancelot’s ‘thick’ friend Ethelred was convincingly

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played by Alan Anderson, while Tony Middleton not only made a splendid King Arthur, but had also painted the wonderful sets. He had a perfect foil in Alison Ivanec, as Queen Guinivere. Other parts were played by David Thompson, Jane Thomas and James Frank, as Mordred’s pet dragon. The music was carefully chosen, and well performed by the chorus, accompanied by a quintet of instrumentalists. This was a good show, which I could have watched again.

DISTRICT EIGHT MARGARET JONES

CRASH BANG WALLOP YOUTH THEATRE LES MISERABLES SCHOOL EDITION Venue: Forum Theatre, Northallerton Producer/Director: Dan Brookes Musical Director: Jeremy Harbottle Choreographer: Emma Greenhalgh This really was an evening to remember, with so many outstanding performances from this very young talented company. There is a shortage of space at this theatre but it did not detract from the production and all of the principal performers are to be highly commended for their enthusiasm and stage presence. There was a brave performance from Jonathan Stokeld, as Javert, and just the right amount of humour given to the roles of Thenardier and his blousy wife by Michael Brennan and Roisin McLinden. The four young ladies who sang the roles of Fantine, Eponine, Cosette and young Cosette did so with great sensitivity and accuracy. The characterisation, accurate singing, maturity and passion of Adam Stokes in his role of Jean Valjean, however, was quite special. Last, but by no means least, congratulations to the young Musical Director, Jeremy Harbottle, and his young orchestra (all 19 of them). He controlled them superbly and they certainly complemented the performers. A wonderful evening - well done everyone. NORTH ORMESBY MINSTRELS SNOW WHITE AND THE SEVEN DWARFS Reviewed by: Alistair Bolton on Wed 19 January 2011 Venue: Town Centre, North Ormesby Producer/Director: Marie Turnbull Choreographer: M Turnbull, J Stephenson, L Maenami & A Maenami It has been some time since I had seen a pantomime and I had nearly forgotten what good family entertainment it can be. This production of Snow White and the Seven Dwarfs, or in this case eight, certainly had all the right ingredients Helen Brooks (Evil Queen) and Hannah Kennedy (The Rose Fairy) complemented each other as they portrayed evil and good. Lana Walker (Snow White) and Alice Maenami (Prince Rupert) provided the love element. Jill Stephenson (Dame Doitall) in eccentric costumes and wigs interjected her own style of slapstick and good humour supported by Marty Maenami (Handy Andy) and Gary Dring (Lord Chamberlain). The seven dwarfs plus one rather large relation completed the line up. A lively and well-drilled chorus in bright colourful costumes provided good support throughout. A simple but effective set created the right atmosphere to make this a most enjoyable evening. STOCKTON STAGE SOCIETY OLIVER! Venue: the Arc Director: Roy Thompson Musical Director: Stephen Sid Choreographer: Geraldine Dor This well known show is always a great favourite with audiences of all ages, and the workhouse children got this production off to a cracking start with a welldrilled opening chorus in which you could hear every word. Toby Shellard was a wistful Oliver, singing well throughout, and ably partnered by Patrick White as the Artful Dodger. Bryan Cutter, as the old miser Fagin, was

very well supported by the gang who sang and acted well. Helen Speed gave a convincing performance as Nancy, supported by Natalie Doidge as Bet. Steve McNichol and Elly Poad worked well together in their portrayal of Mr & Mrs Sowerberry. All of the other principals and the many children combined well under the direction of Roy Thompson to make this a successful production. Computer graphics gave pleasing backdrops throughout the show, although the constraints of the stage hindered the moving of the set, and with the music in the very capable hands of Stephen Sild this was a very enjoyable evening’s entertainment.

DISTRICT NINE DAVID RICHARDSON

ALNWICK STAGE MUSICAL SOCIETY DISNEY’S BEAUTY AND THE BEAST Venue: Playhouse Theatre, Alnwick Producer/Director: Lynn Lambert Musical Director: Paul Toward Choreographer: Penny Brown The audience were enchanted by this demanding show, which moved at a fast pace, was beautifully costumed, admirably choreographed and accompanied by a balanced, well-directed orchestra, always sensitive to the principal singers. Ami Huntley (Belle) had a lovely singing voice, providing a good partner for Michael Pearson (The Beast). Norman Luke (Maurice) successfully portrayed the eccentric father as a lovable character, and the arrogant Gaston was enthusiastically characterised by Phil Gregory. The comedy action was handled extremely well by Steven English (Cogsworth), Sarah Purvis (Mrs Potts), Sally Pumford (Babette) and the outstanding Peter Brown (Lumiere), not forgetting Daisy Hope; a perky Chip. The part of the Beast is a challenging one, involving the portrayal of the internal battle of frustration, anger and the desperate need of someone to love him so that he can be free. Michael Pearson portrayed this conflict convincingly, particularly in his solo ‘If I Can’t Love Her,’ but more use of the stage space would have enhanced his fine singing by providing further opportunities to demonstrate his acting ability. Other principal parts supported the main characters effectively and mention must be made of the superb ‘Be Our Guest’ number, a real show stopper, full of colour, movement, vitality and strong chorus singing. Congratulations to the backstage crew who ensured everything went smoothly. The idea of the storybook providing the scenery was a clever innovation, but was rather stark in comparison to the colour and extravagance of the rest of the production. Congratulations to all involved. ALNWICK THEATRE CLUB ROBIN THE HOOD Venue: Alnwick Playhouse, Alnwick Producer/Director: Daniel Watkins Musical Director: Gary Brown with John Bailey Congratulations to all concerned. The tone was set perfectly by Prairie Mary (Helen Gee) with authentic American accent, strong voice and boundless vitality. We knew we were in for a lively, entertaining evening right from the start. The show was fast moving, with well rehearsed choreography appropriately matched to the Wild West setting. Jimmy Dodd’s expertise as a dame was evident throughout, providing humour, inviting the audience to participate, to which they responded with enthusiasm and adding a few ad-libs for good measure! Robin Lewsey portrayed the villainous sheriff with some wonderful facial expressions. Nick Lewis (Yee Ha) and Gary Brown (How Yee) successfully confused the audience and were perfect foils for one another. Karen Mc Carthy had all the assets of a principal boy, singing well and ably supported by Hannah Firth (Blossoming Petal). The group is fortunate to have an abundance of

talented performers, which was obvious in the way all the other characters were played. Chorus singing and acting was good, though on occasion diction could have been improved. It was encouraging to see young people on stage, and performers with disabilities fully included in all the action. Well done! BERWICK AND DISTRICT AMATEUR OPERATIC SOCIETY SINGIN’ IN THE RAIN Venue: The Maltings, Berwick Upon Tweed Producer/Director: Wendy Payne Musical Director: Diana Harris Choreographer: Wendy Payne This society is fortunate to have so many talented principals. Each gave a convincing characterisation of his or her role with excellent singing and dancing. Anna Emmins (Kathy), and Cameron Cheek (Don), combined admirably together as the leading couple. Anna’s singing was a delight, and Cameron’s routine in the eagerly awaited title song was expertly performed. Lisa Summers (Lena) produced a strong, sustained portrayal of the dumb blonde with a wonderful accent. The attempted ‘voice recording’ scenes were extremely amusing. Equally well cast was Gary Robson (Cosmo) providing lively comedy with real stage presence and perfect timing, while Ray Howell (R.F. Simpson) was clearly under stress trying to run his film studio successfully in the new ‘talking picture’ era. Other characters supported the action effectively, producing a really good team performance. Although there are few chorus numbers in the show, the crowd scenes, party scenes and dancing were full of enthusiasm, with the ‘Moses Supposes’ number especially exuberant. The orchestra led by Dianna Harris ably and sensitively supported the company throughout. Costs of shows put societies under financial pressure, and this group is to be congratulated on providing their own costumes. There were considerable variations in their individual interpretations of 1920’s fashions, however, and this may be addressed by the wardrobe department undertaking diligent research into the period. Today’s fashionably long, un-pressed trousers, clip-on braces, and varying styles of the dancing troupe shoes are all details that could have been overcome in order not to detract from an otherwise polished performance. COQUETDALE AMATEUR DRAMATIC SOCIETY OLIVER Report by: Fred Piggford on Sunday 13 February 2011 Venue: Jubilee Hall, Rothbury Producer/Director: David Richardson Musical Director: Neil Milburn This was my second visit to Coquetdale, and I have to say that I enjoyed it as much this time as I did the last. For this their tenth annual production, they took on the very onerous task of producing ‘Oliver’ although they had never done a full musical before. And what a splendid job they did! This was a first class production with everyone working extremely hard to ensure its success. The Jubilee Hall was almost full to capacity on this Sunday afternoon. Harry Monks was a delightful Oliver, and he was accompanied by the very cheeky Jonathan Roxburgh, as Dodger. ,Alex Swailes, as Mr Bumble, and Wendy Richardson, as Widow Corney, worked really well together, and their opening scene was a delight. Robert Famelton gave an excellent performance in the role of Fagin. Linda Milburn was a very delightful Nancy, and her rendition of ‘As Long As He Needs Me’ was lovely. Mike Jevons was a typically menacing Bill Sykes, and the rest of the principals and the large chorus all combined well to make this a highly successful production which was enjoyed by the near capacity audience. It was a delight to see so many off stage helpers, and I am sure that many other societies would be envious of having so many people who are prepared to give up their time to help in any way they can. Well done Coquetdale, and continue to keep the tradition of live theatre going in Rothbury.

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FELTON & THIRSTON PANTOMIME SOCIETY A KNIGHT OUT IN FELTON Venue: The Village Hall, Felton Producer/Director: Mary Walker & Alison Rushby Musical Director: Alison Rushby This was a truly homespun pantomime with original music and script. The restriction of a small stage held no difficulties for the cast. There was also a high tech set up of radio mikes and lighting equipment, not usually seen in such a small venue, which added to the enjoyment of the audience and enhanced the production well. All the actors gave convincing performances, but in particular Joanna Barnes (Morgan le Fay), Andrew Marshall (Geordie), all the young knights of the Round Table and the beautiful singing voice of Catherine Walker (Rozenn). The audience was involved in the action from start to finish, and was particularly amused by Spot (the pantomime horse). Congratulations to Prince Anton d’Ahon (Mary Walker) on maintaining her excellent French accent throughout. The laid back King Arthur (Neal Skelton) and the horn playing of the Herald (Sarah Walker) added enjoyable touches to the originality of this pantomime. The music was tuneful, varied and singable and fitted the various facets of the story. The youngsters involved portrayed their characters well but often their words were delivered too quickly which meant the audience missed the humour of the script in places, something that could perhaps be worked on for future productions. MORPETH THEATRE GROUP GOLDILOCKS AND THE THREE BEARS Venue: King Edward V1 School, Morpeth Producer/Director: Peter Denton Musical Director: Dorothy Robson This production was truly one for the children, who showed in no uncertain manner that they enjoyed every minute of it. They sang, cheered, clapped and stamped their feet whenever asked to do so. The whole tone of the production was set by an outstanding performance by Julie Baxter-Jones (Curly-Wurly) whose energy and acting ability was a joy to see, and a fine example for any

aspiring young actor. Peter Denton (Daddy Bear) also gave a heart-warming performance, while David Clarke was very active throughout, as Polly the Trolley. Vivian Scott used her vast experience and talent as Witch Winnie after the interval, adding considerably to the pace and excitement of the second act, while Patrick Denton and Thomas BaxterJones (Snitch and Snatch) added a youthful touch of humour. Glamour was provided by Ruth Moore (Prince Rupert), meanness by Joanne Evans (Awful Annie), and innocence by Lauren Sanderson (Goldilocks). Others worked hard in supporting roles to ensure the evening was a success. The costumes were delightful and the detailed face make up of the three bears enhanced their roles well. Adverse winter weather had affected rehearsal time but the cast had worked hard to make up for lost time and is to be congratulated on ‘getting the show on the road’. SPITTAL VARIETY GROUP CINDERELLA Venue: The Maltings, Berwick Producer/Director: John Mabon Musical Director: Aubrey Sanderson Choreographer: Nancy Steele This was my first visit to “The Maltings” theatre, where there was a warm welcome and a thoroughly entertaining evening. Glamorous sets, extravagant costumes, a couple of well handled scenery mishaps, energetic chorus work and strong performances from principal characters contributed to the enjoyment of the capacity audience. The excellent band added to the show and was always at the right volume to support the singers. John Dougall’s long experience as a pantomime dame was obvious, and this helped to inspire confidence in his ugly sister, Michael McClean (Mona Hardup) in his first time playing a dame. Diane Renner (Cinderella) gave a truly heart-rending performance of “On my Own”, and Simon Landels was an exuberant Buttons. Geraldine Skelly (Prince Charming) was suitably glamorous and regal, while all the other supporting roles were well played in this lively, colourful show.

A couple of minor production details to be aware of is to remove modern wrist watches, which are incongruous with period costumes, and to ensure that men in the cast polish their shoes, particularly if the auditorium is raked or has a balcony! Nevertheless this was a great choice for a 50th Anniversary pantomime and congratulations are due to all those involved. ST GEORGE’S COMMUNITY PLAYERS WANTED - ONE BODY Venue: St George’s Church, Morpeth Producer/Director: Jared Johnson What an enjoyable evening this was, watching a well-directed comedy, an attractive, compact set in the company of a full house. All the actors are to be congratulated on their sustained performances, particularly Jared Johnson, who directed the play and had the most to learn. Jared (Blundell) and Chris Johnson (Mickleby) were perfect foils for each other, sustaining the comedy action with skilful timing and suitable facial expressions that greatly added to their characterisations. Janet and Heather Robinson showed strong acting skills playing the twin sisters Faith and Hope, and really did ‘get under the skin’ of the audience in the unpleasant way they treated their staff. Sue Elliott (Mabel) was a feisty maid who amused and excelled, particularly at the start of the servants’ strike. Martin Farrington (The Chauffeur) showed great concern over his fiancée Anne, played with real feeling by Emma Banfield. Roy Boulton, as Dr Brown (or was it Nikkamoppalofkiss?) was suitably eccentric in both dress and mannerisms. Graeme Trotter (Sorrel, the undertaker) was appropriately funereal, cleverly suggesting hints of Fraser, of Dad’s Army fame. Joan Tebbutt also carried off her role as the timid cook with great confidence. This production really demonstrated what Amateur Theatre is all about. It was a great team effort providing value for money to the appreciative audience. It was good to see that attention was paid to detail, as the unmarried chauffeur appeared at first wearing a wedding ring which mysteriously changed to his other hand in the next scene. Well spotted someone!

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

Costumiers:

Scenery, Props etc:

Lighting and Sound:

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

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

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

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

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

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

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

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

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

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LONDONÕSÊBESTÊMUSICALSÊ ATÊLONDONÕSÊBESTÊPRICES

APOLLO VICTORIA THEATRE • LONDON

ADELPHI THEATRE

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THEATREÊTICKETS

FORÊALLÊYOURÊTICKETINGÊNEEDS

www.amateurstagetickets.com Amateur Stage ad.indd1 1 CAROLETODD.indd

12/10/2010 12:02 27/01/2011 20:54:43

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MAY 2011

JENNI LEE REMEMBERED CHESHIRE CATS ‘SHOE’ BUSINESS AWARD NOMINATIONS SHOW REPORTS NODA NORTH WEST TEMPLATE.indd 1

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COUNCILLOR’S CHAT I firstly would like to thank you for your support and wonderful invitations to your productions in my first year in the role as your North West Regional Councillor. Like any organisation, or even everyday life, we face changes and we will continue to change to face the challenges that the future will bring us. We should therefore be forward planning now to protect and secure our future as Societies and this involves us taking a full 360-degree look at all aspects of our work. We recently held a successful joint meeting of Districts 1 and 9 (Manchester and South Manchester), and for those Societies who attended we shared knowledge and discussed the everyday issues and challenges we are all facing as to help each other to move forward. Many key points were raised: How to appeal to and recruit new members; how can we retain those members; how do we educate them on how a Society works and the jobs that need to be done; how can we mentor young people so they feel wanted and valued, as they are the future of our Societies; what can we do to address the rising costs of venues and also losing those venues due to cuts; and the sharing and cohesion of Society facilities and attributes. This was the first District meeting in these two areas in more than 31 years. As a result we are now committed to having these meetings in each of our 11 Districts, to work together and improve communication and share information. I ask for your support at these events. If you are interested in hosting the meeting in your District please contact me directly. Another milestone in the history of NODA in the North West is our collaboration to create the very first North West magazine within Amateur Stage magazine - which you are reading right now! This collaboration will open up your productions and reviews to a much greater audience not involved with NODA, who may decide to visit your productions. This collaboration has saved the membership money and we would be interested to find out what you think of this first edition. The North West Awards weekend has again had a fantastic response, with more than 560 people attending the largest number we have ever had at the Hilton. Thank you from myself and the NODA North West Committee for your continued support of this wonderful event. As you read this we will be attending our Blackpool NODA North West Awards evening and weekend celebrations, so may I take this opportunity to wish all the nominees “Good Luck”. Please do remember that although we can only have one winner on the night, you are all winners in our eyes as the standards this year were fantastic and you should all be proud to be nominated from across the North West. Let’s now keep up those standards for 20112012. Well Done. Check out the nominations on Page 6. I am also proud to announce that in the North West this year we have awarded four national bursaries for students attending NODA Summer School. May I congratulate Wayne Buckley of Walney Musical Theatre Company, Jill Roper of Cockermouth Amateur Dramatic Society, Luke Chritopher Dean Reilly of Hoylake and West Kirby Society and Elizabeth Holland of Todmorden AODS. Well done to you all and I hope you enjoy your experience. There are a few spaces still available on some courses - mainly covering backstage and technical aspects. If anyone is interested contact me or look at the website. The Summer School runs from July 30 to August 6 at the University of Warwick.

Speaking of the website, the all-new NODA website is now live and many societies are already placing production details online. Can I encourage all societies and members to take a look at the content, as it’s fabulous and improving all the time. There are fact sheets and information to help you, and news as it happens. You never know you may sell more seats for your shows if you upload the details onto the site at www.noda.org.uk. See page 4 for more on this from web editor Ian Johnson. We recently had the first NODA Volunteer Conference, and it was a great success. Several North West Committee members attended, and had the opportunity to develop their volunteering skills and look at new ways of helping our membership. There were some interesting guest speakers who gave us new ideas to think outside the box on how to attract and retain new members, while looking to the future. Another exciting collaboration getting underway is that between NODA and the Royal Shakespeare Company, which is inviting groups to join a unique UK-wide project between professional and amateur theatre. All amateur theatre groups in the UK are invited to take part in RSC Open Stages by performing their own Shakespeare themed production. The scheme culminates in a national showcase of amateur performances at the RSC’s home in Startford Upon Avon to co-incide with the World Shakespeare Festival in 2012. Amateur theatre companies are being asked to ‘pitch’ for a production within a specific brief - for instance, being performed by an amateur or community group (not led by professionals), and the play should be a Shakespeare play or adaptation, or have a Shakespearean theme. We are looking for both large and small productions from amateur companies with experience of Shakespeare and those who have never tried it before. Have a look at our new website for further information. As you can see from the few points above it’s been a busy year for us all and I would like to thank my loyal, hard-working Committee which has worked tirelessly for the membership and I thank you for your continued support. KEVIN RAWCLIFFE

REGIONAL COMMITTEE Regional Councillor: KEVIN RAWCLIFFE Tel: 01254 888340 / 07988 213896 Email: kevin@nodanw.co.uk Regional Secretary: CLAIRE PILKINGTON Tel: 07837 231922 Email: claire@nodanw.co.uk Regional Treaurer: TREVOR MILLS Email: trevor@nodanw.co.uk Regional Youth Advisor: JENNY KING Tel: 0151 639 4189 / 07788 998832 Email: jenny@nodanw.co.uk Regional Editor: ANNA MANSELL Tel: 07971 193616 Email: editor@nodanw.co.uk Regional Website Manager: IAN JOHNSTON Tel: 01900 66209 / 07711 591856 Email: webmaster@nodanw.co.uk Awards Secretary: COLIN MAGENTY Tel: 01942 679606 Email: colin@nodanw.co.uk Advertising Accounts: EDITH YATES Tel: 01995 603551 District Officials District 1: SIMON MURRAY Tel: 07815 870910 Email: simon@nodanw.co.uk District 2: CHRISTINE HUNTER HUGHES Tel: 01772 728817 Email: Chris@nodanw.co.uk District 3: RICHARD SANDERSON Tel: 07519 327373 richard@nodanw.co.uk District 4: BERYL RIGBY Tel: 01925 261612 Email: beryl@nodanw.co.uk District 5: JACKIE KAY Tel: 01204 852410 Email: jackie@nodanw.co.uk District 6: POSITION VACANT District 7: SHARON DRUMMOND Tel: 01706 854208 Email: sharon@nodanw.co.uk District 8: MICHAEL JONES McCAW Tel: 07545 096023 / 0161 368 5388 Email: michael@nodanw.co.uk District 9: HELEN ATTISHA Tel: 07772 408828 helen@nodanw.co.uk District 10: ED McGEE Tel: 01900 603050 / 07768 021157 Email: Ed@nodanw.co.uk District 11: KATHARINE CARRADUS Tel: 01539 725908 Email: katharine@nodanw.co.uk

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GRINNING LIKE A CHESHIRE CAT

Breast cancer survivor Gail Young is celebrating the first publication of her work – a play inspired by the thousands of women who hit the streets for Moonwalks each year. ANNA MANSELL found out more. Fancy bras, heaving bosoms and aching feet are all there, as the Cheshire Cats team pounds the streets for London’s Moonwalk. Gail Young, 56, of Guilden Sutton, wrote the comedy Cheshire Cats in 2005 after taking part in the famous fund raising event – naming it after the team she walked with. This summer, she will see her play – premiered by Guilden Sutton Players at the village hall in November 2005 – published by the international publishing company Samuel French Ltd. Despite having a rule of only publishing plays with a ‘professional stage history’, Samuel French managing director Vivien Goodwin couldn’t resist Gail’s work. In a letter to Gail, Vivien wrote: “There has been a great deal of discussion surrounding your submission because the rule we adhere to is that all full length plays must have some form of professional stage history. “I am delighted to let my heart rule my head and acquire Cheshire Cats… as I feel that Cheshire Cats has a great deal within it that will connect with a great many women and men.” As well as the ‘manic training walks, group relationships and comic and dramatic events during the weekend of the walk’ Gail, a member of Guilden Sutton Players for 10 years, has drawn on her own experiences of having had breast cancer, and those of her friends and family. She said: “The opportunity to reflect on life in general while striding round the streets of London in a bra in the middle of the night made me think that the whole

‘FOOT NOTES’

Pam Lomax, Pendle Hippodrome wardrobe mistresses “Everybody, get out of your trainers fast.” Casts often rehearse right through to dress rehearsal in their everyday shoes – from mules to clumpy trainers. But you can’t possibly rehearse a chorus number or a dance routine in trainers. You should be taking your stage shoes to rehearsal as soon as you start production and changing into them to get used to moving and dancing properly in them: Your producer and choreographer will really appreciate it. When the wardrobe mistress gives you your costume the one thing needed to complete it is usually a pair of shoes. Most society wardrobes can’t run – pun intended – to providing shoes for an ever-changing set of feet. Give them a hand and get some of your own. But it needn’t cost the earth, one good pair of shoes will see you through most of the shows year after year. They will work for everything from Shakespeare to Sondheim, Lerner and Loewe to Lloyd-Webber, Alan Ayckbourn to Oscar Wilde, The Importance of Being Ernest to Fawlty Towers etc. MEN: You will need at least one pair of black Oxfords, those standard round-toed leather lace ups. Men have been wearing this style for so long that they

experience could form the basis for a great comedy / drama. “And that is how it all started. I never thought I would get the chance to become a published playwright so this truly is a dream come true. “This is obviously a very emotional play for me as a breast cancer survivor so am delighted that the play will now get the chance to touch many more people’s hearts and lives.” Cheshire Cats has been performed by amateur groups across the UK, including selling out at the Edinburgh Fringe Festival in 2006. Productions have already raised thousands of pounds for charities. Gail said: “Cheshire Cats really is a ‘giving’ play, as it means something to so many people who’ve already are suitable for most shows. A good new pair will be expensive, but you can find cheaper alternatives. Alternatively, try charity shops, where you can find a variety of very good leather-soled Oxfords, and sometimes brogues and boots which, while well used, are exactly right for stage. Black for preference but a brown pair may come in useful from time to time. You need a pair with leather soles and hard heels to help you walk properly and move well. Modern shoe soles and heels are often very ‘squishy’ and make you walk sloppily. Splash out, a good pair of leather shoes will last all your performing life and your wardrobe team will be forever grateful when you turn up with your own shoes. LADIES: You need at least one pair of black character or stage shoes. These are readily obtainable from dance or stage shops or on the internet and prices depend on the quality of the shoe. You will get lots of use from them so buy a good pair if you can afford to. If not don’t worry, a cheaper pair will look just the same to the audience. Many performers now also have a pair of tan stage shoes which look a little lighter and will also be generally useful. Start with the black and save up for the second tan pair. If you have any ankle boots which have a small heel (currently fashionable) don’t throw them out, even if they are a bit scruffy, they will come in useful for period productions.

experienced it. Now, with it being published and with the funds we’re hoping to raise, it will truly be able to keep giving to a much wider audience.” In April, Cheshire Cats was performed by Tip Top Productions at the Forum Studio Theatre and The Bank Of America Auditorium, both in Chester, with Tip Tip hoping to raise £13,000 from ticket sales and raffles, for Countess of Chester Hospital’s breast care unit and the Relative Comfort Appeal. Cheshire Cats will be available through Samuel French Ltd in the late summer. For more information on Tip Top Productions, please visit www.chestertheatre.co.uk.

NEW PRODUCER SOUGHT

A new producer is being sought for Thornton Cleveleys Youth Theatre. The society was founded in 1950 and during the past 60 years has staged productions from Gilbert & Sullivan to modern days shows. It has recently taken a long sabbatical and is now gearing up to regroup in September, working towards a first show in July 2012 – with a new producer, as well as existing and new cast members. The company rehearses on Friday evenings in Cleveleys and performs at The Little Theatre, Thornton. To get involved, call 07866 182771 or email lyndamckenna@hotmail.co.uk

FROM THE EDITOR

We are always looking for items of interest to feature in the NODA NW magazine. Sing out loud about your unsung heroes, tell us about your society’s history and any landmark anniversaries, or any unusual situations you’ve had to deal with, and more. Please email editor Anna Mansell at editor@nodanw.co.uk with your story.

Deadline for the next magazine is July 22.

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NEW NODA WEBSITE By Ian Johnston, NODA NW Webmaster

The new NODA site is at www.noda.org.uk. It contains not only the latest national information but also information and news from all the regions of NODA. Ian said: “In the North West, we have been working hard to transfer information from the old region website to the North West regional area of the new site, and this should be completed by the end of April. “At the beginning of May, to coincide with the Regional Conference, we will remove the old website; however, the website address you are all used to www.nodanw. co.uk will still work and will take you directly to the North West’s own section of the national website with all your local news, listing, awards etc.” How to access all the benefits of the new website: While much of the new NODA website is accessible to anyone, there are some areas where you need to sign-in to access information; either as an individual member of NODA or a member of a NODA affiliated society. These include: * Submitting details of your productions to be included on the website and other NODA publications; * 40 NODA fact sheets on subjects including child protection, insurance, licensing, organising a workshop and much more; * An online version of Theatre Business; * Application forms for long service awards. Signing-In to the National Website: To sign-in as a member on the website you will need the ‘unique reference number’ (URN) for your society (available from your society secretary). Individual or joint members have their own personal URN. The URN is printed on membership renewal forms that were sent out at the start of the year. Creating a log in for Society members is easy; just follow the link “Sign-up” in the top right corner of the home page in order to create a “Profile”. For individual members, a “Profile” has already been created for you; simply use the sign-in link and use your URN as both you username and password. Publishing Show Listings: The publication of details of your forthcoming productions will now be much simpler! Gone are the yellow cards to be sent to NODA National, and gone is the need to email the North West Webmaster with details. The new process is completed in one simple step: Go to the website, log in and enter your show details. If you include the postcode of your venue then a map showing potential customers how to get to the venue will be available on the website. Your production will not appear immediately as this has to be checked before it is released to ensure consistency of names for shows. To make things even easier, the listings section of both Theatre Business and Amateur Stage / NODA NW will be taken from the information on the website. To get maximum publicity and ensure you get in the magazines please ensure that you submit details at least six months before opening night and before the published copy deadlines for the magazines. WE NEED YOU! To make your website more interesting, I need a constant supply of material for publication. I will consider anything of interest to the North West members of NODA, including: * Pictures of Long Service award presentations – including names and any background information or interesting facts about the recipients; * Pleas for help and assistance from members; * Interesting projects that you are undertaking.

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IN MEMORIUM TRIBUTE TO JENNI LEE by Nicky Evans

To lose such a talented and enthusiastic person from any society is a great loss. Yet to lose a person who offered so much to everyone through her time, her warmth and her care for helping others creates a hole that will prove almost impossible to fill. Congleton Musical Theatre tragically said goodbye to one of its young and enthusiastic performers in January. Jenni Lee, who successfully played the role of Pitti-Sing in their production of Hot Mikado in October, passed away suddenly on January 29, at the age of 29. Performing was Jenni’s life. From her first performance in Pirates Of Penzance, she owned the stage and created characters who magnetised her audience, and left them with feelings of joy and involvement that only successful performers provide. Jenni not only had passion for performance, but the hard work that she poured into each production was heartfelt. Her dedication to characterisation was enviable, and was only over-shadowed by her increasing amount of dance shoes, bright and vivid accessories and ever-changing hairstyles and colours! Not to mention the amount of time she would give to others to boost their confidence and support them with her memory of choreography and direction. Her energy and flair would light up any stage, and her smile was infectious. Memorable performances of Jenni’s include Miss Flannery in Thoroughly Modern Millie, Ethel in Footloose, and Mabel in Pajama Game, as well as being known for stepping into the breach at the last minute when needed. For me though, it would have to be her brash and forthright performance most recently as Pitti-Sing in Hot Mikado, where audiences witnessed her animated and energetic style, but more personally it was a great privilege to see how Jenni’s new confidence had allowed her to audition, and successfully take her first major role for the society. Jenni’s talents in ‘theatre’ lay not only on the stage,

but also as a theatre nurse where she provided care for others. More recently she turned her career towards baking and set herself up in business as a caterer for “any occasion”, where she brought sheer delight through her delicious tarts or immaculately decorated cakes. Jenni was a perfectionist, which was evident in all she did. Being a part of someone’s life is a true honour. Jenni was a beautiful person, and I’m just so sorry that more people didn’t get the chance to experience her talent, share in her warmth and get to know her. She will be greatly missed. In the words of musical theatre: “Glory, in the eyes of a young girl” Jonathan Larson (Rent) “There’s a place for us, somewhere a place for us. Peace and quiet and open air. Wait for us, somewhere” Stephen Sondheim (West Side Story) It was with great sadness that I was told of Jenni’s loss by a good friend. Having had the privilege to see this talented young advocate for amateur theatre performing her first principal role on the opening night, this came as a great shock to me. This young lady had so much more to offer life and was just starting her journey. I would like to offer my personal condolences to her immediate family. I would also like to offer my support to her friends and society members during this time of grief and loss. We are one family in theatre all connected by a common interest, love and commitment, and so Jenni you will be sadly missed. The NODA North West Committee members extend our deepest sympathy. Kevin Rawcliffe Please see Show Report of Hot Mikado on Page 62.

BARBARA HOLT

Barbara joined amateur dramatics during the 1956/57 season, becoming a member of St Philips AODS the following year. She was a very valued hard-working member of the society. She served as production, publicity and ticket secretary, becoming vice chairman and, finally, chairman in 1992. In 1994 her services to the society gained her the title of honorary vice president. Barbara enjoyed the special events and parties often associated with amateur dramatic societies, and was responsible for organising St Philips’ 50th and 70th anniversary dinners, which were a fantastic celebration of the success of the society. When she retired from ‘treading the boards’ she remained a vital member of our front of house team. She will be sadly missed by all her many friends at St Philips AODS but we feel quietly confident that she will be keeping a critical eye on the society and its future performances. Heather Ogden

ARTHUR MITCHINSON

Members of Workington And District Amateur Musical Society (WADAMS) have paid tribute to Arthur Mitchinson. Arthur was a man of many talents; he volunteered for the Royal Navy, and eventually joined the Grenadier Guards. He was selected for the special task of driver to the two royal princesses, Elizabeth and Margaret. Returning to West Cumbria he met his future wife Joan, and they set up home and family. Arthur trained as a fitter and turner, while Joan went into teaching. Arthur joined WADAMS in 1952 as a dancer but soon made his mark as a comic character and panto dame. After retiring, Arthur and I were instrumental in laying the foundations for WADAMS, literally; we laid the floors in our new HQ! WADAMS were nomads no more. Arthur then started making his legendary props which appeared on sets all over Cumbria. He last appeared on stage in 2009 in When The Lights Go On Again. Arthur gave WADAMS 59 years of active service and he will be fondly remembered and missed by all. Reg Jenkinson, WADAMS

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AWARDS SEASON

Many of you will be dusting off your tux and collecting your best dress from the cleaners as you read this – ahead of the glitz and glamour of the 2011 NODA NW Awards night at the Hilton Hotel, Blackpool. To get you in the party spirit, here are the nominations for this year’s biggest celebration of amateur theatre in the North West, and some pictures from last year’s event. Record numbers are due to be attending the conference dinner on May 1 and we hope you’re looking forward to the party as much as we are! Disrticts shown in brackets. BEST SUPPORTING MALE ACTOR – MUSICAL John Matthias (1), Lumiere – Beauty And The Beast, East Cheshire Musical Theatre Company; Peter Bowden (2), Pirate King, Pirates Of Penzance – Marton Operatic; Rhys Roberts (3), Willard - Footloose, Todmorden AODS; Chris Simmons (4), Bobby Childs – Crazy For You, Birkenhead Operatic Society Trust; David Slater (5), Major General – Pirates Of Penzance (Broadway Version), Farnworth FPAC; Gary Lamb (6), Vicar Bruce Forsyth – Spend, Spend, Spend, St Helen’s AOS; Sam Maurice (7), Pirate King – Pirates Of Penzance, North Manchester AODS; Paul Aucott (8), The King – The Sliper And The Rose, Acton AOS; Gary Jones (9), The Cat – Honk, Mossley AODS; Tony McGee (10), Gaston – Beauty And The Beast, Workington AOS; Bryan Wood (11), Hines – The Pajama Game, Lancaster ADOS. BEST SUPPORTING MALE ACTOR – DRAMA Jeff Brailsford (2), Justin Holbrook – Shut Your Eyes and Think Of England, Preston Drama Club; Paul Mason (3), Sir Robert Morton – The Winslow Boy, Blackburn Drama Club; Gordon Wallis (4), Warnie – Shadowlands, Neston Players; Stan Porter (5) Hooper – Kindly Keep it Covered, St Paul’s AODS; Paul Robinson (6), Tommy – Breezeblock Park, Pilkington Musical Theatre Company; Andrew Walsh (8), Felix – The Odd Couple, Centenary Players Runcorn; Rana Das (9), Nawab – The Constant Wife, Brookdale Theatre; Sandy Lofthouse, Bernard – Seasons Greetings, Grange Drama. BEST SUPPORTING FEMALE ACTOR – MUSICAL Kathy Bowers (1), Carrie Pipperidge – Carousel, Salford Musical Theatre Society; Sue Hurrell (2), Dame Carruthers – Yeoman Of The Guard, St Leonards G & S Group; Elizabeth Wellock (3), Conchita – Copacabana, Pendle Hippodrome Theatre Company; Julie Rooney (4), Mrs Potts – Beauty And The Beast, Ellesmere Port Musical Theatre Company; Lizy Pickup (5), Rusty – Footloose, Horwich AODS; Sam Hilton (6), Young Viv – Spend, Spend, Spend, St Helen’s AOS; Sarah Thewlis (7), Lina Lamont – Singin’ In The Rain, Congress Players; Patsy Roberts (8), Hattie – Follies, Centenary Theatre Company; Andrea Sutcliffe (9), Muzzy – Thoroughly Modern Millie, Stockport AOS; Zoe McSorley, Shell – Bad Girls, Maryport

AODS; Michelle Larcombe (11), Lady Thiang – The King And I, Ulverston AOS. BEST SUPPORTING FEMALE ACTOR – DRAMA Sally Ann Griffiths (1), Mari – The Rise And Fall Of Little Voice, Worsley Intimate Theatre; Emma Kerr (2), Bridget Baines – Chorus Of Disapproval, Windmill Players; Rose Dummer (3), Miriam – Outside Edge, Clitheroe Parish Church AODS; Gill Breckon (4), Lady Bracknell – The Importance Of Being Earnest, Hand In Hand Theatre Company; Barbara Platt (5), Mrs Bounty – Panic Stations, St Vincent’s ADS; Helen Haygarth (6), Stephanie – The Of My Life, Too Friendly Theatre Company; Helen Sutton (8), Helga – Allo Allo, Congleton Players Amateur Theatre Club; Lyn Heywood (9), Vera – Straight and Narrow, Hyde Little Theatre; Vicky Beeston (11), Margaret – Last Tango In Little Grimley, Storth Enterainers On The Bay. BEST MALE PERFORMER IN A YOUTH PRODUCTION Lewis Barber (1), Quakers – Aladdin, St Lukes ADS; Thomas Atkinson (2), Billy – Billy Elliot, Clifton Academy; Joe Bury (3), Troy – High School Musical 2, Rossendale AOS Youth Section; Danny Price (4), Ugly – Honk, Stage One 2000 Musical Youth; Matthew Howard-Normam (5), Sweeney Todd – Sweeney Todd, CAT’S Youth Theatre; Chris Rimmer (6), Rev Moore – Footloose, Song (Southport Operatic Society New Generation); Henry Roadnight (7) Ugly – Honk, Hey Kids Heywood AODS; Greg Link (8), Edna Turnblad – Hairspray, Curtain Call Productions Youth; Alex Whelan (9), Trevor Graydon – Thoroughly Modern Millie, Brookdale Youth Theatre. BEST FEMALE PERFORMER IN A YOUTH PRODUCTION Rachel Strachan (2), Millie – Thoroughly Modern Millie, Lytham Academy; Hannah Phillips (3), Gabriella – High School Musical 2, Rossendale AOS Youth Section; Emily Abercrombie (5), Lucy – Snoopy, St Philip’s AODS; Jessica Wall (6), Arial Moore – Footloose, Song (Southport Operatic Society New Generation; Johanna Batterby (7), Tracy Turnblad – Hairspray, Junior Association Of Whitworth Whitworth Amateur MDS; Jessica Smith (8), Belle – Beauty And The Beast, Congleton Amateur Youth Theatre; Ella Maria Danson (9) Millie – Thoroughly Modern Millie, Brookdale Youth Theatre; Tiffany Charnley (11), Nancy – Oliver, Walney Juniors.

BEST STAGING OF A MUSICAL A Funny Thing Happened On The Way To The Forum, Lytham Operatic Society (2); 42nd Street, Clitheroe Parish Church AODS (3); Once Upon A Time At The Adelphi, West Kirby Light Opera Society (4); Guys & Dolls, Whitefield AODS (5); The Wizard Of Oz, Adlington Music and Arts (6); Our House, Whitworth Amateur MDS (7); Calamity Jane, Golborne St Thomas ADOS (8); When The Lights Go On Again, Woodford Community Players (9); Disney Beauty And The Beast, Barrow Amateur ODS (11). BEST STAGING OF A DRAMA The Rise and Fall of Little Voice, Worsley Intimate Theatre (1); Caught In The Net, Whitechapel Players (2); The Ladykillers, Blackburn Drama Club (3); The Memory Of Water,Guilden Sutton Players (4); Spring and Port Wine, Farnworth FPAC (5); Hindle Wakes, St Ambrose Players (6); Move Over Mrs Markham, St Herberts ADES (7); Allo Allo, Congleton Players Amateur Theatre Club (8); The Constant Wife, Brookdale Theatre (9). BEST CHOREOGRAPHY Micky Merriman (1), Beauty and the Beast, East Cheshire Musical Theatre; Howard Raw / Kathryn Mather (2) Oklahoma, Thornton Cleveleys Operatic Society; Alexandra Scott (3), Footloose, Todmorden AODS; Kate Cobb (4), Crazy For You, Birkenhead Operatic Society Trust; Jane Wood (5), Footloose, Horwich AODS; Gaynor Hale (6), Seven Brides For Seven Brothers, Maghull Musical Theatre Company; Jean Griffiths (7) Singin In The Rain, Congress Players; Fiona O’Connor (8), The Slipper and The Rose, Acton AOS; Jean Ashworth (9), Mack & Mabel, Hyde Musical Society; Graham Barker / Steve Chesters (11), West Side Story, Morecambe Amateur ODS.

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BEST MUSICAL DIRECTION Adam Whittle and Andrew Saunders (1), Chess, Sale and Altrincham Musical Theatre; Peter Ledder (2), Yeoman Of The Guard, St Leonards G & S Group; Helen Clarkson (3), Beauty And The Beast, Todmorden AODS Youth Theatre; Craig Price (4), Beauty And The Beast, Ellesmere Port Musical Theatre Company; Simon Pickup (5), Footloose, Horwich AODS; Jeff Rimmer (6), The Likes Of Us, Birkdale Orpheus Society; Paul Nicholls (7), Copacabana, Rochdale AOS; Malcolm Fallows (8), Titanic, Centenary Theatre Company; Claire Sweeney (9), Jesus Christ Superstar, Romily OS; Clark Wilkinson (10), Bad Girls, Maryport AODS; Joanna Jeffreys (11), West Side Story, Morecambe Amateur ODS BEST LEADING MALE ACTOR IN A MUSICAL James Cockerill (1), Billy Bigelow – Carousel, Salford Musical Theatre Society; Andrew Tuton (2), Tony – West Side Story, Clifton AOS; Peter Norris (3), Spencer – Boogie Nights 2, Accrington Theatre Group; Joel Merry (4), The Beast – Beauty And The Beast, Ellesmere Port Musical Theatre Company; Steve Benson (5), Albin – La Cage Aux Folles, Walmesley Church AODS; Joe Conner(5), George – La Cage Aux Folles, Walmesley Church AODS; Rob McGregor, Billy – Anything Goes, Southport AOS; Gary Jones (7), Don Lockwood – Singin In The Rain, Congress Players; Mike Morris (8), Daniel Mendoza – Jack The Ripper, Newton & Lowton AOS; Martin Roche (9), Mack – Mack & Mabel; Hyde Musical Society; Adrian Davis Johnston (10), Jim Fenner – Bad Girls, Maryport AODS; Malcolm Smith (11), Jesus – Jesus Christ Superstar, Walney Musical Theatre Company. BEST LEADING MALE ACTOR IN A DRAMA Phil Gomer (2), Arturo Ui – The Resistible Rise Of Arturo Ui, Poulton Drama; Clive Stack (3), Roger – Outside Edge, Blackburn Drama Club; Michael Hetherington (4), John – The Importance Of Being Earnest, Hand In Hand Theatre Company; Phil Ward (5), Rafe Crompton – Spring and Port Wine, Farnworth FPAC; Jo Mills (6), Lord Goring – An Ideal Husband, Chorley ADOS; Michael Kennedy (4), C S Lewis – Shadowlands, Neston Players; Chris Mann (8), Rene Artois – Allo Allo, Congleton Players Amateur Theatre Club; Tom Dawson (9), King George – Madness Of King George The Third, Woodford Community Players; Colin Kendall (11), Inspector Goole – An Inspector Calls, Ulverston Outsiders.

Iain Lewis (4), West Side Story, Wallasey Operatic Society; Louise Cohen (5), Sweeney Todd, CAT’S Youth Theatre; Liz Clarke (6), The Likes Of Us, Birkdale Orpheus Society; Mike Sammon (7), Singin In The Rain, Congress Players; Sheryl Haydock–Howorth (8), The Slipper And The Rose, Acton AOS; Lee Brennan (9), Honk, Mossley AODS; Russell Palmer (11), Disney Beauty And The Beast, Barrow Amateur ODS. BEST ARTISTIC DIRECTION OF A DRAMA Colin Johnson (2), September In The Rain, Poulton Drama; Peter Wakefield and Andrew Rawlinson (3), Brassed Off, Todmorden AODS; Bev Clark (4), The Importance Of Being Earnest, Hand In Hand Theatre Company; Allen Christey (5), Spring and Port Wine, Farnworth FPAC; Liz Proctor (6), Family Planning, St Ambrose Players; Paul Kirkbright (4), Shadowlands, Neston Players; Pamela Mien (8), Allo Allo, Congleton Players Amateur Theatre Club; Bryan Lingwood (9), The Constant Wife, Brookdale Theatre; Nicholas Carson (11), An Inspector Calls, Ulverston Outsiders. BEST PANTO Sleeping Beauty, Preston Musical Comedy Society (2); Aladdin, Bacup AODS (2); Jack & The Beanstalk, The Chrysanthemums (4); Dick Whittington, All Souls Dramatic Club (6); Aladdin, Hyde Little Theatre (9); Sleeping Beauty, Garstang Theatre Group (11) BEST YOUTH PRODUCTION Billy Elliot, Clifton Academy (2); Beauty And The Beast, Todmorden AODS Youth Section (3); Fame, Hoylake and West Kirby (4); Sweeney Todd, CAT’S Youth Theatre (5); Footloose, Song (Southport Operatic Society New Generation) (6); Hairspray, Junior Association Of Whitworth Whitworth Amateur MDS (7); Hairspray, Curtain Call Productions Youth (8); Thoroughly Modern Millie, Brookdale Youth Theatre (9); Beauty And The Beast, Staged Right (10); Return To The Forbidden Planet, A590 (Youth) Barrow (11).

BEST DRAMA The Rise and Fall of Little Voice, Worsley Intimate Theatre (1); Chorus Of Disapproval, Windmill Players (2); Brassed Off, Todmorden AODS (3); The Memory of Water, Guilden Sutton Players (4); The Importance Of Being Ernest, Whitefield AODS (5); The Hollow, Waterloo and Crosby Theatre Company (6); Shadowlands, Neston Players (4); Mr Wonderful, Congleton NOMADS (8); The Constant Wife, Brookdale Theatre (9); An Inspector Calls, Ulverston Outsiders (11) BEST MUSICAL Carousel, Salford Musical Theatre Society (1); The Full Monty, NOGAL (2); The King And I, Burnley Light Opera Society (3); Crazy For You (4), Birkenhead Operatic Society Trust; Footloose, Horwich AODS (5); Anything Goes, Southport AOS (6); Our House, Whitworth Amateur MDS (7); Titanic, Centenary Theatre Company (8); Mack & Mabel, Hyde Musical Society (9); Beauty And The Beast, Workington AOS (10); Jesus Christ Superstar, Walney Musical Theatre Company (11).

BEST LEADING FEMALE ACTOR IN A MUSICAL Sarah Thewlis (1), Florence – Chess, Sale and Altrincham Musical Theatre; Lizzie Shepherd (2), Charity – Sweet Charity, St Anne’s Parish; Katie Cowburn (3), Peggy Sawyer – 42nd Street, Clitheroe Parish Church AODS; Linzi Stefanov (4), Mary Magdalene – Jesus Christ Superstar, Birkenhead Operatic Society Trust; Hannah Davies (5), Sarah Brown – Guys & Dolls, Whitefield AODS; Laura Fegan (6), Milly – Seven Brides For Seven Brothers, Maghull Musical Theatre Company; Laura Meredith Hoyle (7), Lola / Samantha – Copacabana, Rochdale AOS; Jane Rigby (8), Sally – Follies, Centenary Theatre Company; Sarah Thewlis (9), Mabel – Mack & Mabel, Hyde Musical Society; Vanessa Whittle, Nancy – Oliver, Lancaster Red Rose AODS. BEST LEADING FEMALE ACTOR IN A DRAMA Vera Cummins (2), Doris – Talking Heads, Fylde Coast Players; Marina Butterworth (3), Sybil – Fawlty Towers, Pendle Hippodrome Theatre Company; Tricia Shorten (5), Donna – A Fly In The Ointment, St Vincent’s ADS; Linda Millar (6), Henrietta – The Hollow, Waterloo & Crosby Theatre Company; Suzi Grenfall (7), Joy Gresham – Shadowlands, Neston Players; Victoria Lee (8), Norma – Mr Wonderful, Congleton NOMADS; Sally Jolley (9), Constance – The Constant Wife, Brookdale Theatre; Jean Hunt (11), Sybil Birling – An Inspector Calls, Ulverston Outsiders. BEST ARTISTIC DIRECTION OF A MUSICAL Val Cowley (2), HMS Pinafore, Manx G&S; Rhys Roberts (3), Our House, Rossendale Amateur Operatic Society;

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LONG SERVICE AWARDS 10 YEARS

Burnley St Cuthbert’s AODS: Mrs P Dobson; Shavington Village Festival Committee: Mrs E Wood; The Ellesmere Port Original Pantomime Company: Mrs K Fellows; Copeland Amateur Theatrical Society: Mr J Killen, Mrs D Killen, Mrs H Davidson, Mrs E Martin, Mrs S Lewis, Miss R McDowell; Workington & District Amateur Musical Society: Miss A Rance, Mrs C Rance, Miss K Fisher; The Three Towns OS: Mr I Williams.

15 YEARS

Shavington Village Festival Committee: Mrs A Snell, Mrs M Yarwood; Workington & District Amateur Musical Society: Miss L Wilkinson, Miss V Sharples, Miss C McLoughlin, Mr K Hitchen, Mrs G Hitchen; The Three Towns OS: Mrs S Shaw; St Paul’s Players Adlington: Mr R Armstrong; Farnworth PAC: Mrs H Lord, Mrs PC Lister.

20 YEARS

Marton Operatic Society: Mrs A Dagger, Mr K Dagger, Mr G Bland, Mr FH Horsfall, Mr JA Wilson; Shavington Village Festival Committee: Mrs B Rigby, Mr P Slater, Mrs J Wilkinson, Mr I Parker, Mr A Rigby.

25 YEARS

Grange and District AOS: Mrs S Haines; The Operetta Company: Mrs H Deakin; St Paul’s AOS (Astley Bridge): Mrs T Shorten, Mr T Shorten.

Barbara Mottershead took a welcome break from front of house duties during Congleton Musical Theatre’s production of the G&S makeover show Hot Mikado to received her 60-year diamond bar. She is an honorary life member of Congleton Musical Theatre, having been with the society throughout most of her 60 years’ service. Barbara’s theatrical inclinations began as a teenager when she performed with a dance troupe in the town but soon she was singled out for her exceptional soprano voice which, over many years, featured in a great many lead roles in a variety of shows. She has also performed a range of duties on behalf of amateur theatre in the town, including committee work, front of house duties and membership of the Daneside Theatre trust. Picture: Barbara Mottershead receives her 60-year bar from Margaret Taylor District 11 rep Katharine Carradus, second right, presents members of Grange And District Amateur Operatic Society with long service awards at its recent production of Oliver. From left, Sally Haines (25 years), Derek Roberts as Fagin (55 years), show producer Christine Bell, Malcolm Higginson as Mr Sowerberry (55 years) and Mick Malkin as Mr Bumble (25 years).

30 YEARS

Clitheroe Parish Church AODS: Mrs L Haworth; St Paul’s AOS (Astley Bridge): Mr B Flitcroft, Mr PR Cohen; Three Towns OS: Mrs C Kay, Mrs E Murphy, Mrs C Rynn, Mrs C Williams; Farnworth PAC: Mrs B Parsons, Mr K Lee.

35 YEARS

The Ellesmere Port Original Pantomime Company: Mrs ME Clare, Mrs SEC Albino, Mrs G Moulton, Mrs D Cartwright, Mrs JA McIntosh; Clitheroe Parish Church AODS: Mr B Haworth; The Operetta Company: Mrs B Meehan; Red Rose AODS: Mrs S McGinness; Workington & District Amateur Musical Society: Mr D Thompson, Mr E Findley; Three Towns OS: Mr G Orrell, Mrs S Bradley.

40 YEARS

Clitheroe Parish Church AODS: Mrs J Croft; St Paul’s AOS (Astley Bridge): Mrs C Keefe, Miss CS Catherall; Workington & District Amateur Musical Society: Mrs E Jenkinson; Walmsley Church AO&DS: Mrs E Towler.

45 YEARS

HAZEL HODDER

Doyen of local theatre Hazel Hodder has been honoured for 60 years of service to amateur dramatics. Hazel, the chairman of Burnley Pantomime Society, received her diamond badge during the society’s 10-day run of Aladdin at Burnley Mechanics. She was called onto the stage to receive the award from Kevin Rawcliffe, who praised her devotion to local amateur theatre for six decades. She was also thanked by the NODA District 3 representative Richard Sanderson before receiving a rousing round of applause from the whole auditorium. Hazel, who started in panto as a schoolgirl with St Oswald’s Sunday School, joined Burnley Light Opera Society 60 years ago as a dancer in the chorus of The Girlfriend, later becoming the group’s choreographer, and is now a life member. She founded Burnley Panto Society 34 years ago and over the years has produced, choreographed and been wardrobe mistress – and still does all the organisation involved in bringing together a first-class panto. Over the years her mission has been to provide family entertainment at prices that families can afford, and her pantos have also managed to raise thousands of pounds for local charities along the way. She said that she was honoured to receive her diamond badge and thanked the great team she has around her for all their support. Article courtesy of Margaret Parsons, The Burnley Express

The Operetta Company: Mrs JA Horridge.

50 YEARS

The Operetta Company: Mr J Unsworth, Miss EM Gething.

55 YEARS

Grange and District AOS: Mr M Higginson, Mr JD Roberts; The Operetta Company: Mr G Bustard, Mr G Neary.

60 YEARS

Burnley Pantomime Society: Mrs H Hodder; Romiley Operatic Society: Mr G Pickford; Workington & District Amateur Musical Society: Mrs F Ellwood, Mrs RM Stockdale.

COMMENDATION AWARD

Birkenhead Operatic Society Trust: Mr D Brown; Marton Operatic Society: Mr T Dagger.

Hazel, with District 3 rep Richard Sanderson and North West Councillor Kevin Rawcliffe

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SHOW REPORTS NORTH WEST DISTRICT ONE SIMON MURRAY

Fame the Musical PADOS Youth Theatre Group Director Timothy Plat Musical director Scott Stait Choreographer Helen Halstead The last time I saw this production was a professional show in Manchester a couple of years ago. This amateur youth production was streets ahead of that production in pretty much every way: The singing and dancing had so much energy, and the characterisation by the principals was so good that I really cared about what happened to each of them – something that was lacking from the professional show I saw. Apart from the title number the rest of the songs are not well known but these young actors made them stand out. The adult performers playing the teachers supported this cast really well and I loved These Are My Children by Maria Gooch playing Miss Sherman. The position of the band to one side meant that sometimes they appeared loud and almost in competition with the cast. However they sounded fantastic and I believe a live band on any musical raises all the performances. Amanda Ernest as Carmen made the part her own and performed the title number with ease. Her friendship with Schlomo played by Jack Martin was very believable. Joe Jordan had a difficult part as Tyrone but performed it with the right amount of anger and frustration that I still cared for him. Stephen Air put in a very amusing performance as the cocky Joe Vegas. Adam Bowler as Nick Plazza and April Grime as Serena Ketz were fantastic. They had fabulous singing voices and total command of the stage, even when performing alone. Well done to all the cast and congratulations to director Timothy Platt. Sharon Drummond

Ghetto The Jewish Theatre Company Creative Director Arden Sills Producer Philip Greene Musical Director Marilyn Blank Choreographer Barbara Brown Ghetto is the true story of the Vilna Ghetto Theatre Company and their fight for survival during the Nazi occupation of Lithuania during the Second World War. The whole experience started as we entered the theatre as the SS soldiers waited the audience’s arrival

and Jewish bodies were lying in the entrances. The open stage had a huge pile of clothes in the middle and a single piece of barbed wire across the stage. An air of fear could be felt immediately. This is a play with music rather than a musical and no-one clapped at the end of the numbers only adding to the tension. Often the only person clapping was Kittel the SS officer superbly and scarily played by Howard Yaffe. This was a very demanding role but Howard should be very proud of his acting skills and also his saxophone playing which I believe he learnt especially for the show - most impressive. All the cast, both principals and chorus had their roles to play and every single one, albeit different, created a character and made me care about them. Deborah Finlay as Hayyah had a beautiful voice and conveyed the fear she felt throughout. Stephen Moss as Srulik and Deborah Nesbitt as his ventriloquist dummy had difficult roles, as the dummy said all the things that Srulik was thinking. They worked really well together and portrayed a lot of the anger and desperation felt by the characters. I found the whole experience deeply moving and an amazing theatre experience and can only commend the cast and crew, who set each scene with detail. The direction, both acting and musical was superb and the movement and choreography in keeping. You all rose to the challenge and gave me one of the most memorable nights of my life: Thank you. Sharon Drummond

RENT South Manchester AOS Director Emma Corrigan Musical Director Simon Pickup Choreographer Sally Ballantyne The concept and coincidences of the development of Rent reads like a drama in itself. Based on La Bohème, the difficulties in writing it, the comparisons between the author, Jonathon Larson’s own life and the content of the play and the fact he died suddenly the night before it opened. Having never seen Rent before, it very much reflects the period of the late 1980s and when new I can imagine its story was quite shocking. Perhaps not so much now. This performance was certainly gritty, and was aided by a clever but simple set which allowed additional height, depth and movement in the small playing area. It was great to see so many young people in the chorus and even better seeing they had all developed vignettes to support the storyline and provide a great back drop to the principals, who gave their heart and soul to the production. And the musical numbers were delivered well. I particularly have to commend Helen Attisha (Joanne) for her vocals. Simon Murray (Angel) really delivered both the humour and emotion and the development of his relationship with Martin Hulme (Collins) was realistic and intense. I am aware that Rent has become a cult classic and from a society’s point of view there are plenty of ‘Rent heads’ in Manchester if ticket sales are anything to go by. Do I like the show? I am not sure I do, maybe it’s a grower. However, I did enjoy the production so I must congratulate Emma Corrigan on her directorial debut and must commend all cast members for the energy and enthusiasm they projected. Sarah Thorpe

The Lady in the Van Worsley Intimate Theatre Director Mike Doyle This was my first visit to Worsley Court House and with seating on two sides the action of any production has to be delivered on the diagonal. The director Mike Doyle worked his creative magic into making this piece work beautifully with the obvious restrictions. The staging was very creative and well lit with an excellent use of props in such a confined space. Each scene worked seamlessly into each other. The role of Alan Bennett is played by two actors, one narrating while the other takes part in the action. Narrator Simon Griffiths described the action and had Bennett’s dry northern humour off to a tee. He was never off stage although he was often just observing with no dialogue and yet he was never out of character. The younger Alan played by David Griffiths was softer in character or appeared so and you could feel the genuine care he had for Miss Shepherd. Fantastic acting and characterisation by both was evident. Well done. The supporting roles of Mam (Wendy Heydon), Rufus (Nick Eccles), Pauline (Esme Mather) and Leo Fairchild (Neil Heydon) were well acted and very believable and the other supporting roles played by Joyce Challenor, Bob Etherington and Sally Griffiths were played as archetypal, stereotypical roles to great effect. Bob Challenor was very threatening as the nasty, manipulative Underwood. Miss Shepherd was superbly played by Ivy Griffiths. She was rarely off stage and when she was it was for a quick costume change. This role has a massive amount of dialogue and Ivy delivered it with charm, feeling and perfect diction. I really felt for the character and was genuinely moved by her performance even in her moments of madness. Thank you for a wonderful evening’s entertainment. Sharon Drummond

DISTRICT TWO CHRISTINE HUNTER - HUGHES 1001 Arabian Nights and a Matinee St Bernadette’s Players Directors Phillip Higginbottom and Jake McGrattan This production had all the required elements to produce a top-class pantomime, the goodies and baddies, the triumph of good over evil, the hiss and boo, comedy, audience participation and the song sheet. All the principals got into character; Ali Barber (Susan Hope), Princess Bobastasia (Vera Muller), Dame Barber (Wayne Walker), Princess Jasmine (Wendy Wilson), Grand Vizier (David Mechrystal), Sinbad (Samantha Fish), Humpy the Camel (Chloe and Sophie Thompson) Genie (Tammy Ferguson), Royal Guards (Adriane Schmeil and Natalia Bulla). They got excellent support from the chorus. Costumes, props, lighting all added to the evening. And the scenery which, with some front cloth business, changed quietly and seamlessly, maintaining the pace. Ken Robinson

A Merry Little Christmas Nogal Players Director Sue Gallagher When I was contacted to review Nogal’s festive production, I immediately thought ‘panto’, and looked at

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Lowther’s ‘What’s On’ to find it was to be Mother Goose. So, on arrival at the theatre, I was surprised to find it had been cancelled due to a professional company having been engaged to put on a two-week performance of Cinderella. This is a shame as Nogal has performed a pantomime at Lowther for many years. Nogal had decided to replace the show with a piece written by and starring Sue Gallagher, filled with Christmas songs. The story was about a hotel struggling for business that was suddenly descended upon by a coach-load of tourists and a van-load of stranded dancers. There were little extracts from people’s lives and situations; a young couple expecting a baby, who were being pursued by a reporter for a story, a receptionist at the hotel couldn’t get child care bringing her baby to work. Confusion, and the reporter jumping to conclusions, all led to a happy ending. Unfortunately, there was innuendo and swearing which I felt were unnecessary and too adult for the age of the audience around me. Maybe they too turned up expecting Mother Goose. This production fell a little bit below Nogal’s usual standard, I look forward to their next show, Titanic The Musical – providing the theatre does not interfere with their plans. Ken Robinson

Aladdin Preston Musical Comedy Society Director Eddie Regan Musical director Janet Calman Choreographer Amanda Rogers What a super pantomime this was! The script was excellent – very topical, and with enough ‘adult humour’ to keep the adults entertained but not too much so that the children (and there were lots and lots of them) became bored. The script-writing, of course, is only one part: It has to be delivered well – and it was! Plenty of pace – so essential, especially in panto as children in particular easily get bored. There was simply no time to get bored here. The children (and adults) joined in with great gusto – happily and loudly undertaking everything that was asked of them and the traditional ‘community sing’ was great! The set was a curtain set of backcloths and was quite effective – it was unfortunate that the backcloth was not just a little heaver as it moved each time someone went behind it but that is such a small point in an otherwise super production. The costumes were excellent – and the pyrotechnics added just the right amount of bang and sparkle and were well timed. There were some great characters too: The dame was just right – not too OTT but very funny. I also liked the ‘comedy double’ of the Chinese policemen, the accents did not slip once – well done. Musically it was a triumph – with a live combo of keyboard, drums and bass guitar with some excellent singing which was never drowned out – don’t lose the drummer! All in all, it was a great evening’s entertainment, thoroughly enjoyed by the almost capacity audience – adults and children alike – no mean feat! My congratulations to all concerned.

Calamity Jane

Cinderella

Our Lady Star of the Sea Youth Theatre Director Michelle Cuffe and Team Musical director Len Hampson Choreographer Sarah Appleton

Teresian Players Director Tom Gradwell Musical director Gerard Brimelow Choreographer Kathryn Mather This was a real family pantomime for both the cast and the audience. The script, written by the director, had been brought up to date slightly – but not enough to spoil the traditional pantomime theme and story. I was so impressed with the age range of the cast from very tiny tots right up to (I suspect) a granddad, all enjoying working together and bringing this classic tale to life. Scenery was good and the group must be congratulated on the costumes which were excellent. Music via a keyboard was also good and songs were kept to one or two verses – just the right sort of length for children. I loved the ‘twist’ on the Fairy Godmother – played as Hyacinth Bucket, so funny. There was lots of dancing – again from tots to adults – perhaps a little too much for my taste, but the capacity audience seemed to thoroughly enjoy the whole thing. The group are doing quite a long run right up to and after Christmas, and I do hope that their capacity audiences continue.

Calamity Jane as is a Wild West-themed film musical released in 1953. It is loosely based on the life of Wild West heroine Calamity Jane and explores an alleged romance between Calamity Jane and Wild Bill Hickok in the American Old West. This production, performed by a group of talented under 18s was simply a really good show. I was very impressed particularly by the musical numbers many of which have quite complex harmonies but which appeared to be managed with ease by these talented youngsters. Sets were effectively managed wiith back-cloths. Lighting was adequate although faces are in shadow when performing on the apron, but I suspect that this is something which cannot be changed. Radio mikes were visible but I was uncertain if they were working – if they were then the balance achieved was simply superb – and we were able to hear everything. The crew were effective and efficient so set changes were not over long. I would have liked to see more smiles especially in the opening and closing choruses, but that really is somewhat nit-picking – I thoroughly enjoyed the show. The young people played with enthusiasm and energy – and, of course, congratulations to the small army backstage who made sure everyone was on stage on time in the right costume – no mean feat!

Calamity Jane Arnold School Directors Faye Horrocks and Kathy Preston This was a school production – and I start by stating this to remind myself that I was sitting in a school hall and not at a West End theatre. Everything about this production was 100% quality: From the opening notes of the overture you got the feeling you were in for something special, and so we were. The principals were all superb: Calamity Jane (Amy Clark) gave an absolutely barnstorming energetic, riproaring performance – spell binding. There was top class support from Katie Brown (Catherine Lusher), Adelaide Adams (Faye Shearer), Bill Hickock (Oliver Pilkington), Danny Gilmartin (William Fairhead) Susan (Francesca Dooley), Henry Miller (Cameron Lawlor), Doc Pierce (Thomas Hammond), Rattlesnake (Ron Collins) Joe (Bowen Feng) and finally Frances Fryer (Joseph Shaw). And what a fantastic sport this young man is to take this role. Due to a mis-understanding with the spelling of his name when Frances arrives in Deadwood he is not the glamorous cabaret star that Henry Miller is expecting but a gentleman vaudeville act. To save Miller’s face, Frances agrees to do an act in drag and Joseph’s rendition of Hive Full Of Honey was a show-stopper and spectacular in the extreme. A large chorus gave first class support and worked with precision in a professional way. Scenery, costumes and lighting all helped to make this a really special and memorable evening. A standing ovation at the final curtain was thoroughly deserved. Finally, the orchestra, under the baton of Daniel Chandler, gave the whole company the support you would expect in a professional theatre. Ken Robinson

Dangerous Corner Penwortham St Mary’s Amateur Dramatic Society Director Barbara Brown Priestley wrote this play in 1946 and, by and large, it still works today. A bunch of well-to-do’s are gathered for a party when the spectre of a suspect death arises to implicate them all in a series of vicious revelations, truths and untruths. All are connected to a nepotistic publishing company; they are wealthy, successful and attractive... On the surface. One by one their masks slip to reveal festering sores, as the evening and the accusations progress. The set was simply superb – and the opening ‘picture’ was certainly worthy of the round of applause it received. However, as the play progressed I became less certain of the position of the chaise (centre front). To me it looked artificially placed – just not where it would have been had someone lived there, and there were occasions when actors were masking each other and I was unable to see facial expressions which was a great shame as there were some excellent ones. The props and costumes looked appropriate to the period – we could certainly believe we were among the ‘beautiful people’. Speech could perhaps have been a little more clipped but deportment was generally good. The cast both individually and collectively played well, although I did struggle to believe one relationship, the rest were quite believable. Overall it was an excellent evening’s entertainment which I thoroughly enjoyed. A good play, well directed and acted: What more could anyone ask? A super production.

Fish Out Of Water Preston Drama Club Director Don Stephenson This gentle comedy is set in the hotel of a wellknown Italian resort. It brings together an ill-assortment of guests, including, of course, the loud-mouthed, manipulative and overbearing holiday maker you dread meeting, and who wants to get everyone organised. The set was very good, but somehow looked more like the interior of an apartment than the lounge of a hotel, and mis-matched crockery did little to help but this in no way detracted from the production as a whole. There was very little required for anything out of the ordinary in the way of technical support so it was a shame that the music was not killed sooner at the

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beginning of act 2, scene 2 – we struggled to hear the dialogue over the ‘interval’ music. Costumes were appropriate and the whole play has something of a nostalgic feel as it is set in the 1980s. The title is something of a red herring in that rather than one character not ‘fitting in’ the whole cast do not really ‘fit in’ with each other or their circumstances or surroundings – which means that each character needs to be fully developed, and the director was ably assisted by his cast in doing just that. The play was well cast with a mixture of experienced and less experienced cast members each one of whom played well. There were a couple of occasions when lines were rushed so much so that we missed the words, but by and large we saw and heard everything. Overall, it appeared to be just what everyone needed to lift the gloom of the current bad weather. It was played to a capacity audience who fully appreciated all the hard work which had obviously been put in by the director and cast – a great evening.

Rutherford for reviving this splendid tradition, to the cast of so many enthusiastic youngsters, and to the small army of people required to stage such an epic.

The Gondoliers Preston Gilbert & Sullivan Society Directors Sue Hurrell and Janet Dawson Musical director Merle Gray

Pinocchio Rainbow Dance Studio Produced, directed and choregraphed by B HaylettEshelby and L Harrison Each time I attend a production by this group I come away in awe, not only of the young people who perform, but of the organisation required to get the cast of 80 young ladies from age three to 18 on and off the stage, and with so many changes of costumes. I cannot praise the costumes too highly – they are simply splendid. Everyone always looks so beautifully presented and turned out. The scenery added to the whole magical effect of the entire evening. The sound was generally good, and we could hear the majority of the performers – but there did appear to be a couple of ‘sound gremlins’ in Act 2. Some of the lighting was very good – I liked the blue fairy lights and the underwater scene – but those performing on the apron were totally in shadow. The performers themselves are a real credit to both themselves and to their teachers at Rainbow. The confidence they display on stage is superb – interacting with an audience can be a daunting task for an adult, but these youngsters manage it with grace and style – and with no edge to them. There were some good characters developing from the principals. All in all, a good evening’s entertainment, roundly enjoyed by the audience – who delightedly participated in all they were asked to do. My congratulations to all concerned for a great production.

Snow White and the Seven Dwarfs Blackpool and Fylde Children’s Pantomime Director Jacqui Mein Choreographers Amie Rutherford and Nikita Coulon Many congratulations must go to the army of people who have revived the tradition of Blackpool Children’s Pantomime for a centenary production. I heard so many people in the audience remembering so fondly the times they were in it – and then their children what a tradition to revive – well done. As I watched the cast of almost 100 youngsters aged from five to 18 – I tried to imagine how thrilled and excited they must be to be performing on such a stage, and with such an auditorium: The Blackpool Opera House, which has a seating capacity of around 3,000. The script was a new one from a local writer, and was performed with such energy and enthusiasm it was clear that everyone on the stage was enjoying the whole experience, and it was obvious that there was some real talent among the cast. It was unfortunate that the technical crew did not match performers – the sound was very poor and we were unable to hear some of what was said and sung. Very many congratulation to Jacqui Mein and Amie

or ‘business’. I would have preferred to see what little ‘business’ which could and did take place, but was unable to do so as much of it took place behind the sofa. That said I did enjoy the play and the production. I attended on the opening night and there were memory lapses, particularly noticeable in the second half, which was when the plot was really unfolding. This did slow the pace down, and with only three people there is little or nothing to detract. People around me seemed to find it difficult to hear all the dialogue – but I must say that I heard the majority of it without too much problem. All three members of the cast played good parts, with some excellent character development. A gripping play and thank you to everyone involved.

Taking Steps Fylde Coast Players Director Rosemary Roe Taking Steps is a farce from the 1970s – a portrait of dysfunctional suburbanites and full of plausible people in improbable situations. The farcical mix-ups unfurl in the course of one evening and during the rude awakenings of its morning-after denouement. Events take place across three floors of a house. There’s no three-tier set but the different parts of the action are presented on the same stage level, concurrently. This proves a source of great visual comedy as we watch (among other things) the cast ascend and descend a spiral staircase. (I was however grateful for the ‘map’ in the programme it helped to get things established). There is really very little to say about this play apart from congratulations and well done to all concerned. It really was a great evening’s entertainment. The set and costumes were both good – even the sticking door provided opportunity for the best ad lib I have seen for some time – and he continued it into Act 2! Lighting does need to be quite precise for this and on a couple of occasions I felt the lines had become a little blurred but that really is nit-picking. There were some wonderful characteriSations from the whole cast; I loved (and was very impressed) with the stammer, and the drunk/drugged scene was superb – it is very easy to over-act this type of thing but this was just right. All in all a smashing evening, superb cast, excellent direction and set, and a warm and friendly welcome and goodbye to everyone. Thank you for an example of amateur theatre at it’s best.

The Business Of Murder Preston Drama Club Director Stella Judson This gripping play ran for more than seven years in London and kept audiences in suspense until the very last word. It is an intensely wordy piece, so full of twists and turns of plot that it requires total concentration. Three apparently unconnected people, yet each once has a secret which may connect them to The Business Of Murder. The set was very good and the nature of the play meant that there was little opportunity for movement

The Gondoliers, or The King of Barataria, was the 12th opera written by Gilbert and Sullivan. Opening on December 7, 1889 at the Savoy Theatre, It ran for a total of 554 performances, and was the last of the G&S operas destined to achieve wide popularity. It was certainly a very colourful evening and the costumes and set were both very good, although I was disappointed not to see a Gondola – but then you can’t have everything. The evening began with the National Anthem, which I always appreciate particularly when played, as this one was, by a very good orchestra. The sound balance was generally good and I was able to hear everything that went on, including the chorus talking behind the curtain as the overture was playing, but the chorus went on to make a really good sound – with lots of smiles. I thought that, in places there was a little too much movement for movement’s sake – especially with so many people on such a small stage. Even during lib people were not still, not dancing just moving which I found quite distracting. I thought the Cachucha was very good, and the ‘Replying we Sing’ duet was excellent, quite seamless. There were some good characters developing from principals who ranged from highly experienced to firsttime principals. The audience, including me, appreciated all the hard work and energy that went into making such an enjoyable evening’s entertainment.

What the Dickens Harlequins This really was A Christmas Carol with a difference. Written, as always, by the members of the society, the story was loosely based on Dickens’ classic story, complete with a ghost, and including an appearance of Oliver and Mr Bumble – who stumbled into ‘the wrong production’. This society always interacts with the audience, which can be a blessing and a curse. But their audiences are always so appreciative and they always play to packed houses, so there is much to be said for ‘if it’s not broken why try to fix it’. That being the case, some of the cast do need to project a little more; no problem whatever when the audience is quiet, but not always easy to hear when the audience are joining in. There were some good costumes – which perhaps made the costume changes perhaps a little longer than I would have liked. At the beginning, the pace was excellent. But the introduction of a group of carol singers really did slow the pace: They were very good – I am just not sure that they should have been placed in the middle of the show. That said, the audience, including myself, had a thoroughly good time – with a hot pot supper – and joined in everything with great glee. A most entertaining evening.

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DISTRICT THREE RICHARD SANDERSON A NIGHT ON THE TILES Hoghton Players Director Janet Dawson I always look forward to productions at Hoghton: They produce some lovely theatre and always make me feel welcome. Once again, the team involved with this production did not disappoint and certainly executed a great piece of theatre. It was great to see the hall was once again full to capacity, full of friendly and supporting faces. The story of this play was relatively simple and took some great twists and turns. A Night On The Tiles told the story of two brothers who fall for the same girl. The girl marries one brother while having a fling with the other, resulting in her having his child, which the other brother ‘thinks’ is his – very Jeremy Kyle! The play was full of comedy and drama throughout. I found myself laughing very much out load in parts while in others I was quietly saddened and moved by the unfolding plot. It was played out beautifully with some lovely touches of light and shade. The detail within the direction was spot on, drawing some touching moments out of the piece. Heading the cast was Carol McCann who played mum Doris. She did a great job and had an awful lot of dialogue. There were the odd moments of uncertainty, however Carol was quick to recover and did the essential thing in bringing back any pace that was lost. The brothers were played by Sam Clarkson and Steve Catterall: Possibly two of the strongest male actors I have seen in some time. They did a stunning job in showing the dimensions of their characters, showing that a great deal of thought had gone into bringing the individuals to life. Shirley, the girl in the middle of all this was wonderfully played by Annaka Lee, a really enjoyably natural on stage. It was almost like watching her in a TV drama, rather than a stage production. Her reactions were scarily natural and so believable and not at all overplayed. Granddad and Reg, played by Brian Hoyle and Paul Santus were equally as good, showing great stage craft and ability. But the performance of the night was by Lois Ward as Mrs Morris, the neighbour. Lois was excellent and very funny. I adored her comedy timing and again, she was very natural and believable. The entire cast of this play were so incredibly strong and as I have said, very believable and natural. Congratulations to all the team at Hoghton.

Every scene worked well, and not once did he use his chorus to simply dress the stage. Every individual was on that stage for a purpose and this I praise Neil and Laura for! Along with a well-drilled chorus, came some stunning dance numbers from Lynn McCheyne and her dancers. Her choreography was stunning and a pleasure to watch, her dancers were delightful and very well polished. All smiled throughout and every number was spot on. As with any panto you must have strong principals. Kevin Kay did not disappoint as Aladdin. I have seen Kevin on a number of occasions this year and he never fails to deliver the goods. The dame this year was Dave Pilkington who did a splendid job. He certainly knows how to work his audience, ensuring the pace of the comedy was maintained throughout. Louise Young and Laura Chadwick played well opposite each other as Princess Mandarin and Soshy. Louise has great stage presence and sang delightfully, interacting well with her audience and fellow performers. Laura had great energy and a wonderful stage presence. Laura did a great job with her character, as well as being responsible for the chorus. The comedy duo of Jack Hartley and Peter Morville, with Roger Dugdale and Kathleen Watkins, as the genie and empress, all did a great job! Ordinarily the star of a panto is the dame, however not at Burnley. I move now to the incredible talents of Angela Foulds who played the Spirit of the Ring, in the style of Mrs Overall from Acorn Antiques. As a massive fan of Victoria Wood, I was at first a little dubious of this idea, however was soon in tears of laughter. Angela was simply outstandingly funny and her character was perfect! Her comedy timing was faultless, her singing excellent and her tap dancing amazing. The team at Burnley pantomime, from the front of house, the cast to everyone back stage should be incredibly proud of what they have achieved. I had a great night out.

DAY OF RECKONING Todmorden Amateur Operatic and Dramatic Society Director Michael Gill

ALADDIN Burnley Pantomime Society Director Neil Tranmer Choreographer Lynn McCheyne Chorus trainer Laura Chadwick I do tend to arrive at a pantomime full of trepidation as this has never been my favourite style of theatre and, no matter how hard I try, I don’t think it ever will be. Burnley pantomime was my last visit of the panto season, so naturally I was all ‘pantomimed out’ or at least I thought I was until this production opened. If I had to use only one word to sum up my thoughts on this production, it would be ‘brilliant’, in a different league to any other I have seen. Under the direction of Neil and his team, this pantomime remained slick and consistent from start to finish. Seldom do you see an amateur pantomime as good as this. You could certainly tell that Neil’s years on the panto stage paid dividends when it came to his direction.

chorus singing and dancing to Take That’s Shine. Andrea Day played the fairy, and was wonderful. She played it dizzy and flighty and sang well too. Cinderella’s (Amy Singleton) songs were chosen especially to suit her beautiful singing voice with On My Own from Les Miserables being outstanding. Although her lines were delivered with ease Amy seemed a little awkward at times, particularly when faced with long delays with set changes. Dawn Rowe played the baddie Dandini and held the stage well, positively relishing the boo’s from the audience. She had a nice tone of voice and always looked like she was enjoying herself. Lindsay Eyre as Prince Charming played the part well but had some pitching issues with her songs which weren’t the easiest of numbers to perform. Overall though well done. Stephen Wood and Jo Eden as the Baron and Baroness played their parts well and Daniel Starkie as Buttons had a nice singing voice and played to the audience with some ease. The Ugly Sisters played by David Rhodes and Michael Howarth filled their shoes very well, (and what shoes they were!) climbing up and down to the balcony seats in 4-6 inch stiletto platforms. They interacted well with the audience and delivered their lines with great comic timing. The chorus and younger chorus members added to the scenes nicely and the little ones often stole the scenes with their enthusiastic singing and dancing. Sharon Drummond

CINDERELLA Bacup AODS Director Clare Round Musical director Simon C Parker The set, lighting and costumes on this show were perfect for this pantomime. The small band under the guidance of Simon C Parker did a fabulous job keeping the pace going particularly in some of the scene changes which seemed a little long. Act 1 opened on the Fairy Godmother’s grotto with the

I must start by saying how truly sorry I was for being slightly late to the Friday night performance of this play. I hate being late, however my fellow motorists on the M66 didn’t feel an urgency to get out of the way. As I hastily, yet discreetly, got to my seat, the first thing to strike me was the detail of the set: A simple, yet ageing village hall was perfectly put before the audience, with the attention to detail being superb. It even had a fire evacuation break glass call point and up to date legal evacuation signs! I would like to focus on the quality of the cast and director. With a cast of eight, I could not fault a single one. Timing was spot on, with a combination of great individual characters that when brought together worked beautifully. Every opportunity with each character was played out well and while this play was a comedy drama, not one actor even attempted to play for laughs. What was great to see was the actors using their props and set properly and naturally. Everything about this play was incredibly realistic and natural, resulting in the audience being able to relate to the action on stage. Praise must go to the director who has a great eye for detail. I really enjoyed what Mike did with this play and like I have said, everything was spot on. The actors took me from laughing out loud in Act 1, to almost being in tears of emotion in Act 2; a great skill that not many can pull off easily. Seldom do I come across such realistic and natural ability on stage, so congratulations. Once again, another great job by the team at Todmorden.

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The Female Of The Species Blackburn Arts Club Director Andrew F Bell Blackburn Arts Club is a little gem of a theatre, so understated and tucked away I’d reckon some of its neighbours don’t even know it’s there. This is the second production I’ve seen there – and such is the quality of their work, I’d urge anyone to pop to the Gibraltar Street venue and have a look. The Female Of The Species is a comedy, centred on various mother-daughter relationships – examined through the eyes of a feminist author, her daughter and her stalker. Based on the true-life incident which saw Germaine Greer kidnapped by a student, Anne Baron took the immense role of writer Margot Mason. I thoroughly enjoyed the portrayal, a tour-de-force in stage command. Playing the deranged student Molly was Barbara Cilgram – who played the gun-wielding nutter brilliantly. Although, I felt she was perhaps a touch too old for the role, but that’s a note to the director. And rounding off the central trio was Tess, played by Alison Bell, making a bid for freedom from the chains of domesticity. Some of her world-weariness could have been played out more, but overall, again, very enjoyable. It was definitely a case of ‘here come the girls’, I felt the men were the slightly weaker ‘species’ – each of their characters could have been brought more fully to the fore. ‘Flamboyant’ Theo (David Pilkington) and ‘macho’ Frank (Alec Bell) were not extreme enough, although I liked Bryan’s unaware flirting with Molly. This was a great choice of play for a small venue, such as the arts club – the one-room set was ideal, though perhaps a little bare for a character such as Margot. For such a wordy piece, the pace was spot on – quick enough not to drag, but slow enough for my work-addled mind to keep up. Anna Mansell

particularly effective was the children’s artwork created especially for the play by St Gabriel’s Primary School. The costumes were excellent and I particularly liked the donkey’s head. The props were well sourced and very much added to the production. There was a complicated lighting plot which worked well, the lighting change whenever the teacher spoke was particularly effective. The cast entered into their child roles with gusto, each bringing an individuality to their characters. It would be unfair to single anyone out as the whole performance was very much a team effort. The humour in the script was well utilised and I found the songs particularly touching. The high standard of performance continued when, in the final scene, the actors become the parents of the characters they have been portraying and through their behaviour we begin to understand the actions of the children. All in all, a very enjoyable performance from a talented ensemble cast and crew. Helen Atkinson

The Gondoliers Blackburn Gilbert and Sullivan Director David Slater Musical director G Hill Having recently heard of an East Lancashire G&S society folding, it was a pleasure to attend the Thwaites theatre to see a local G&S in action. It sadly seems to be the way for G&S though, as there was a rather desperate plea in the programme for new men to replenish the ‘dangerously low’ supply. This was very obvious on stage – so many women to go round so very, very few gondoliers; no wonder they were nearly marrying twice! As a result, the chorus sound, while good and strong, was a touch shrill and not very rounded at times – despite the men’s best efforts to redress the balance. Principals’ performances across the board were strong and there was some real vocal talent on show. I especially liked the Duke and Duchess, Clive McCoy and Brenda Murray, who worked brilliantly together and seemed to be having a ball. My only real gripe was the casting: The audience are time and time again told of the match made between Casilda (Kath Rand) and Marco/Guiseppe (Jim Lancaster/ Jonathan Scadding), when they were babes, 21 years ago. It just doesn’t work when those playing the roles are significantly over the realistic playing age. Every single time there was a mention of ‘21 years ago’, or similar, I felt myself cringing. I know it is hard to attract new members, and this isn’t solely a G&S issue, but more should have been done to ensure appropriate casting. The sets were attractive, and costumes were bright and appropriate, although I wasn’t sure about a lot of the ‘youthful’ wigs on some of the Venetian maidens – which comes back to my age concern. Any younger musical fans reading this, please give G&S a go: It’s smart and witty, and you don’t have to look to far to find contemporary links. Overall, I did enjoy this production. And treasure those younger members who were on stage with you! Anna Mansell

Jack and the BeanStalk The Flint Street Nativity Blackburn Arts Club Director Alison Bell Setting off on a snowy evening in December the thought crossed my mind whether it would be worthwhile attending Blackburn Arts Club’s production of the Flint Street Nativity. I’m happy to say the answer is a resounding yes. The play was purposefully directed by Alison Bell who made excellent use of a small stage which over spilled from the main acting area into the auditorium drawing the audience in. The set was well designed with great attention to detail,

Greenbrook Methodist Church Pantomime Society Directors Emma Brand and Debbie Hargreaves It was a pleasure to see Greenbrook almost full on the Friday evening of my visit to this society, with a great mix of young children and adults. I always attend pantomimes with much trepidation as I was never a fan as a child and have avoided them ever since. The directors certainly did a great job ensuring this small stage looked busy, yet uncluttered. I did feel there were occasions when the chorus were just simply standing around, dressing the stage. It was during these moments that the children looked slightly

bored and pulled my eye from the true action. I did feel the production was rather sluggish to start; taking some time to pick up pace. However once in its stride, the principals did a great job maintaining the crucial comedy timing. It goes without saying that the principals were incredibly strong and consistent throughout. Yes there were a few ‘fluffed lines’ however this all added to the comedy, and let’s face it, in panto you can get away with it! Once up and running, the production flowed really well and I was particularly impressed with the use of the stage, considering how small it is. As with any panto, a good dame is essential and Les Newcombe did not disappoint, keeping the audience entertained throughout. I must also mention Daniel Bend as the Prime Minister, and other numerous characters. He was excellent and incredibly funny and for me gave the best performance of the evening. Other principals were played by Amy Crossley, Rebecca Scholfield, Glenn Hawthorne and James Hargreaves, who all worked well and gave confident performances. All in all, this company did well and kept their audience entertained throughout.

Love Begins At Fifty Clitheroe Director Terry Till One word to describe this play ‘hilarious’! Once again this society did not fail to deliver an excellent farce. I couldn’t stop laughing from start to finish and my sides were sore by the time I came home. Many different characters came in and out of the action with Brian and Lesley Howarth being at the centre of this wonderful farce. Playing opposite each other as husband and wife, Brian and Lesley gave a great performance and were consistent from start to finish. As a fellow actor and audience member, I always feel in safe hands when I work with or watch Brian and Lesley on stage. For me they never fail to deliver the goods and this play was no exception. I admired how natural they were with their characters, making the entire production very believable. Alongside Brian and Lesley were Bob Cleeve and Rose Dummer. Bob played the part of Jack Raynolds and again was excellent. His delivery and subtleties to the humour was great and very enjoyable. Supporting we had Jean Pells, Jean Croft, Kelly Lord and Grace Mercer, all of whom were great and very funny. Jean Croft gave quite a touching performance and was extremely believable. For me personally, this was one of her best performances. The highlights of this play were Rose Dummer and Damian Marsh. They were absolutely incredible and on the money throughout. Their comic timing, expression and delivery was possibly some of the best I have seen. There were moments when they could have taken it to far, however they didn’t, and reigned it in at the right moments. This entire cast did a tremendous job and I praise director Terry Till for bringing together a fine team of actors.

Mother Goose St Mary’s Panto Group Oswaldtwistle Director Jackie Henderson This was a new one for me, as I had never previously heard of the panto Mother Goose. I attended this production on the final Saturday afternoon’s performance and was pleased to see a good number of children and adults in the audience. This was a panto that was completely made up of young adults, mostly teenagers so I applaud their efforts and contribution to amateur theatre. There were some moments that I really enjoyed, where you could clearly see that careful thought and planning

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had been put in from its creative team. Like the majority of pantos I’ve seen this season, the production did lack pace in parts. This could have been down to a lot of distracted children in the audience. All on stage did a tremendous job in battling on against this, something that I personally would find a massive challenge. The principals did well in maintaining their roles, however If I were to pick out one ‘learning’ for all them to think about, it would be to slow down the dialogue. Unfortunately there were far too many occasions when the dialogue was rushed, resulting in the audience loosing many of the gags etc. Another vital bit of feedback would be to ensure that you don’t fidget or rock on your feet while singing a solo. This detracts from your overall performance and in my opinion is a vital ‘next step’ for moving on and developing in theatre. It is best to get out of these bad habits now, rather than later. The dancers in this production did well and gave it their all. I did at points question the relevance of some of the routines, however enjoyed them all the same. The scene changes were slick with some nice staging. All in all this helped with the pace of the pantomime. The society set out to entertain their audiences so I would say I good job done.

Oklahoma ! Clitheroe Parish Church AODS Director Howard G Raw Musical director Chris Andrews Choreographer Lindsay Pollard Many people say that Rodgers and Hammerstein shows are dated and stale, resulting in newcomers to am dram being put off these amazing writers and composers, that, in my opinion, have made the world of musical theatre what it is today. Rodgers and Hammerstein only becomes dated if you allow it to be, and this was certainly not the case at Clitheroe. This show was staged and executed as though it were written yesterday. As I arrived on opening night, I was delighted to find the auditorium packed to the rafters, and rightly so! The company did a sterling job with great energy from the word go. There were many moments where I wanted to jump up and join in! Leading this team as Curley was Jon Ranwell, who gave a confident performance. Jon has a great singing voice which enabled him to sing this score with incredible ease. Laura Mitchell was lovely as Laurey as her acting was incredibly natural and very believable. At first I was a little unsure as to the tone of her singing voice, however as she settled I found myself really enjoying her natural and pure tone. Together Jon and Laura gave an enjoyable performance. Keeping order was Dawn Elliot as Aunt Eller. Her portrayal was very well thought out; however I did feel that Dawn was too young for the part. While this didn’t distract from her performance, it did sit at the back of my mind. Dawn however did a great job with excellent characterisation. Other principles were played by Jessica Hurley, Howard Raw, Erica Cummings and Mike McKeowan. For me, there was one performance which stood out above the rest; Damien Marsh as Jud Fry. Damien’s interpretation was incredible. He really got under the skin, leaving the audience feeling immensely sorry for him – something I have never seen from an actor playing

Jud before. This show was great, with some excellent direction and choreography to match; I certainly left the theatre with a big smile on my face.

Our House Xrays Director Rhys Roberts Musical Director Paul Swale Choreographers Charlotte Omerod and Millie Hall This musical Our House was totally new to me, having not even realising where its music comes from! (For others out of the loop, it’s based on the music of ska band Madness). The story line was quite complex and not the easiest to follow, however I felt that this was the script as a piece and not the fault of the individual actors. If anything, I was impressed with how hard the cast worked to bring the story across. I walked into the hall with much anticipation, not knowing what to expect. I will be honest and say that I wasn’t expecting much at all, however I was soon put back in my place once this production started: I loved this musical! The production of Our House was under the direction of Rhys Roberts and I absolutely loved what he did with this show. His direction was well thought out, bringing some lovely touches to this upbeat musical. Rhys certainly has a lovely eye for detail and this was quite evident throughout. This was his first musical as director; however you would have thought he had been doing this for some time and doing it well due to his precision. You often find that in any musical the odd ‘weak link’ amongst the production, either in the cast or crew etc. This was not the case with this show. The energy and drive was outstanding; the scene changes seamless; the lighting simple yet effective; and perfect diction from everyone. The band were small, however they produced a great sound that was consistently good from the start. Along with great direction was some stunning choreography from Charlotte Ormerod and Millie Hall This was some of the best choreography I have seen and in parts tempted me to get up and join in! Taking the lead in this complex musical was Grant Bromley, whose approach to this role and the way in which he portrayed his character was very well done. I could tell that Grant had really spent some time thinking about the journey of his character. His singing voice was lovely, and matched with some heartfelt acting made for an excellent and well rounded performance. Credit must also go to Nicola Lynch, Bob Haken, Kathy Bowers, Connal O’Reilly, Ashley Story, Jenny–May O’Reilly, Jade Hardman, John Moorehead and Chris Lawton. All were excellent and like I said, not one weak link. I would really encourage other societies to look at doing this show. It has upbeat, great numbers for chorus, great characters and can be done with a small band and simple set, however be aware that this society have really set the standard!

Rebecca Bacup Amateur Operatic and Dramatic Society Director Carolanne Connolly The last time I had anything to do with this play was some years ago at school when we read it as part of GCSE drama. I remember not enjoying it at all; however I later realised that this was probably down to the teaching, rather than the material. It was a shame to see this theatre less than half full for this great piece of work; however the audience certainly got involved with the drama of the piece from the outset. The play opened with a very impressive set with some great attention to detail, however I felt that certain pieces of furniture obstructed the action on set. While the actors seemed settled in their surroundings, I did feel the majority of the direction had the actors walking around

their set/props – rather than use them. I felt there were far too many occasions where the cast were stood in lines or standing in the middle of the stage, rather than do what is natural and use the props/set provided. The cast of Rebecca certainly did a great job and really got under the skin of their characters, resulting in us the audience taking sharp intakes of breath as the story unfolded. Every member of this cast was as strong as the next and really took us on the journey of the story. It was clear that a lot of thought had gone into putting this play together as the costumes, lighting and set all combined to make a great piece of theatre. Yes this play had opportunities, however on the whole I think this team did a good job.

Separate Tables Blackburn Drama Club Director Jane Berry For those who don’t know (as I didn’t before watching) this play is written as two separate plays, however the characters involved remain the same, just telling a different story. It is at this point that I will lay my cards on the table and say that I didn’t enjoy this piece. I tried my best to, however it didn’t grab me at all. The theatre was rather cold, resulting in the Friday night’s audience sitting with coats on. Personally I cannot concentrate when I am cold as I cannot get comfortable. Having said this, the cast certainly did what they could, showing some great empathy within their individual characters. Leading this cast was predominantly the responsibility of Rose Dummer, who played Miss Cooper. Once again I really enjoyed what Rose did with her character as she demonstrated lovely consistency and really told the story within the piece. Having seen Rose previously do farce I wasn’t sure at first, however she soon shredded any doubt I had, showing great ability as an experienced actor. I think my main reasons for not enjoying this play would be mainly due to its very lengthy scene changes. These took what felt to be an awfully long time. I can see why these changes were needed, however unfortunately this resulted in the play becoming very disjointed. I also felt there was far too much sauntering around scenery and props not used accurately throughout this play. Many times I thought some of the actors moved about the set for no reason whatsoever and not using the props as best as they could have done. For example; one scene required a character to pour and drink a cup of tea, yet the pot had no tea or any liquid in it what so ever. For me, detail like this is a quick win and can take a production from looking sloppy to polished. All in all, the actors did a great job; however the play and certain elements of the direction did not work for me.

Sylvia’s Wedding Rossendale Players Director Jeff Heys Once again I visit a society within District 3 and find more new talent. This play was funny, slightly emotional and very well executed by this team. Director Jeff Heys did a great job and certainly got the best out of it. As I entered this lovely intimate theatre I was instantly impressed with the quality of the set and the detail that had been put into this. Sylvia’s Wedding tells a lovely story of Sylvia planning her wedding to her first boyfriend Gordon. Played by Isobel Balchin and Graham Haworth, these two were excellent and consistent with their choice of character from the outset. They played very well opposite each other, reacting well with their audience and not once slipping off the mark. I especially loved Isobel; everything from her voice to her mannerisms were spot on and incredibly entertaining. Sylvia’s mum and dad were played by Janet Hall and Michael Lister with Gordon’s parents being played by

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Christine Durkin and Tony MacDonagh. The interplay between the four was incredibly natural and almost reminded me of a scene from TV’s the Royal Family. They all worked really well together and made everything look so easy. A credit indeed to their acting ability and stage craft. Finally I come to the best friend of Sylvia who was played very well by Gemma Rooke. Gemma really got into her character and showed every element possible. The best friend that has a fling with Gordon, the night before the wedding, Gemma did a great job, showing great confidence and professionalism. All at Rossendale Players did a great job and I very much look forward to their next production.

Snow White

The Likes Of Us Pendle Hippodrome Youth Theatre Director Andrea Jackson Musical director Lisa Manley Choreographer Vicky Royle This was my first visit to the youth stream of this fabulous theatre company and it’s easy to see how they put on such fantastic ‘adult’ shows when they bring through talent like this. This was also my first time of seeing The Likes Of Us. The show itself is basically a selection of fantastic songs with no dialogue by the actors and because of this it’s hard to warm to the characters. However this group did a really good job with it and the talent of the principals shone through. The set was very effective with the costumes, props and lighting just right. There were a few sound problems which was a shame but such was the professionalism of the actors that they did not let it phase them at all. All the principals did a great job in delivering their numbers. But I particularly want to mention Chris Sunderland as Barnardo, who showed a maturity beyond his years with a richness of sound to his voice, and Evie Rapson as Syrie, who not only had great vocals but a real command of the stage. Jacob Baldwin as one of the narrators had an excellent dry delivery of humour which can sometimes be missed by young performers and Laura Schofield as Rose put in a rousing and feisty performance. I loved the harmonies of the title number and the lovely London accents. How Am I To Know Him was a great ensemble number, Going, Going, Gone which everyone seemed to have fun with and Have a Cup of Tea which again included all performers. A job well done by all concerned and thank you all on stage, back stage and front of house for a lovely evening’s entertainment. Sharon Drummond

DISTRICT FOUR BERYL RIGBY

The Wizard of Oz Stage One 2000 Musical Youth Theatre Producer Brenda Davies Musical director Nikki Molley Choreographer Allison Bentley The original version of The Wizard of Oz is one of my favourite shows, so when I received an invitation to see it I was really looking forward to going. I was not disappointed, it was well cast, good entertainment, with a lot of talent on show. The four main characters, Dorothy played by Becky Harton, The Scarecrow played by Declan Murphy, The Tin Man played by Edwin Mawdsley, The Lion played by Andy Arrowsmith, were all good actors. They had good diction,and stayed in character all the way through. Their movement was well choreographed and pleasingly presented. The costumes by Beryl Cross and Jenny King were

excellent. I especially liked the effect of having two outfits for Dorothy; one in grey to start and blue when she reached the Emerald City: A rather nice touch. The Wicked Witch Of The West played by Shay Collins was excellent, really frightening voice, well sustained. The other smaller characters were all well trained and confident. The Wizard himself played by Marc C Smith made the part exciting to watch. All the children in the chorus were very confident, and their costume changes were slick. I have seen shows from this youth group before and I have always enjoyed the work they do. Well done to everyone connected with this outstanding youth group.

Ellesmere Port Original Pantomime Company Producer Sharon Albino Musical director Chris Lucas Choreographer Kelly Clare It was the first time I’d been to this society, and what an enjoyable experience it was. Everyone on stage was totally involved. Coral Mourant certainly looked the part of Snow White, working well with Amber Fellowes as Rose, both having good singing voices. Mark Hunt worked well as Senna Pod, as did Carol Nickson as Queen Drusilla and Gareth Anderson as King Desmond. Gill Rigby was a strong, lively Prince Valentine. Chris Pacitti kept his character accent really well as Hans, with Leyland Gould as a very energetic Pushup and Karen Fellowes as Hannah – the queen’s long-suffering maid. The Dwarves were great: Each one had developed its own personality and kept that role throughout. The dancers were strong and the choreography interesting, with chorus and woodland animals playing their parts well. For me, the highlight of the night had to be Mirror (Gail Roberts) and the Chamberlain (Andy Nickson). They complemented each other so well, never once over playing their characters. Direction, scenery, costumes and props were all of a high standard. The orchestra sound, under Chris Lucas, was really strong and tight, complementing the performers, whose singing was of a really high standard with some intricate harmonies. It was a pleasure to listen to. On the night, I was asked to present awards for youth and adult performances. I had to tie each title, between Gail Roberts and Andy Nickson, for the adults, and Bethany Cox and Chloe McWhirter for the youth – these girls worked to the audience throughout. Thank you and well done.

DISTRICT FIVE JACKIE KAY

Countess Maritza The Operetta Company Director and musical director Allen Christie Guest conductor Robert Aston This show was excellently performed as a concert version, with only the principals in costumes. The singing and orchestra under the baton of conductor Robert Aston was second to none. Eileen Reeves as the Countess sang so very well. Her beautiful voice and facial expressions were outstanding. The other principals in the show were also of the highest quality. Anthony Meehan gave us a super Baron Zsupan, so very funny. Mention must be made of Allen Christie. As director and musical director he must have been distraught when he woke on the first day of the show to find he had lost his voice. Fortunately the company were able to bring in Alan Roscoe, one of Bolton`s well-known thespians. Spending the day going through the music and libretto, he stood in a small alcove and performed Allen’s part. Allen meanwhile mimed everything on stage. In no way did this detract from the performance. The two were in complete togetherness, absolutely brilliant. The plot was very easy to follow, having a super narrator Irene Smith. Her diction was very clear and amusing – well done. In the main, the orchestra was excellent. Just occasionally they were a little loud making it difficult to hear the words. The chorus were very strong, the company numbers were really well sung. A love story complete with gypsies, gypsy music and a great company, the right ingredients for a good night out.

Aladdin Hoylake and West Kirkby Theatre Group (HAWK) Directors Rose Evans and Christopher Stratton Choreographer Dawn Smith From the moment Carl Howard, as scheming, evil Abanazer, appeared to loud booing, the audience appeared to be ready to be part of this production at the Gladstone Theatre. Nicky Brown was a strong Aladdin, with Lisa Marshall as the lovely Princess Lychee, and Steph Kinseley as Peek A Boo. Rob Evans worked well as Widow Twankey, with Aaron Hayes as his sidekick Wishee Washee producing some excellent comedy moments. The Emperor (Alan Earl), Empress (Clare Hurst), Vizier (Laura Savage) and Won Hung Lo (Josh Cartwright) all played their parts well. Helena Parker (Spirit Of The Ring) and Joe Wilson (Genie Of The Lamp) creating their very differing characters to help Aladdin. The singing was strong and tuneful. Chorus and dancers played their parts well, costumes were well chosen and the sets were suitable. The audience left with happy faces after their evening’s entertainment. A good production from all involved.

My Fair Lady St Paul’s AOS Director Eileen Powell Musical director Jennie Allcock Choreographer Trisha Shorten I have always loved My Fair Lady since first watching the film years ago. This was a smashing show, with great sets, a very good orchestra and some super characters. Tim Shorten was outstanding as linguist Professor Henry Higgins, really believable. Jan Carney playing Eliza Doolittle, gave us the Cockney flower girl turned into a refined young lady. Her scenes with Higgins were wonderful, a super performance. Her costumes were magnificent, as were those of

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the company – the Ascot and ballroom scenes were stunning. Colin Dean gave a strong performance as Colonel Pickering, as did Matthew Howard-Norman playing Freddie Eynsford Hill. His rendition of On The Street Where You Live gave us the opportunity to hear his lovely strong voice. Alfred P Doolittle, Eliza’s father was quite well played by Mick Moran, but I would have liked some scenes to have been played with a little more ‘oomph’. He should be a larger than life character. The chorus was very good, so nice to hear the harmonies. I was most impressed with the servants, very strong singing. Well done to all in this show on stage and backstage.

is an indication of how enjoyable the show is, then this panto fitted the bill. There were occasions when I couldn’t hear the words and sometimes the chorus weren’t always together. Some of the songs were a little long but what I did like was the enthusiasm that all the cast put into the show. Every time the children’s chorus came on stage, aged 4 and up, I felt myself smile, they were gorgeous. The principals all played their parts very well. I especially liked Sadie, the fortune teller, well acted by Ian Dean-Boardman. Ryan Stanton was excellent as Izzy. Raghbag the Ruthless (David Hollingdale) was a very good baddie, but would have looked more menacing with some heavier make up. Sinbad and Princess Serena played by Coral Cameron and Lucy Allcock sang and acted very well together. With corney but funny jokes and a bit of magic thrown in, this panto had everyone leaving with a feel good factor. The sets and costumes were all very attractive. A pity that there was nothing in the programme to say who sang what, some of the music I did not recognise. We did however have a lovely evening.

Pirates of Penzance New Rosemere AOS Producer and musical director John Corcoran This show could have graced any professional stage: Every one of the principals acted and sang superbly and the chorus were a joy to listen to – not a note out of place. The set and costumes were just right. The orchestra was well balanced and not too loud – it was lovely to hear all the words from those on stage. Danny Shaw playing Fredric sang really well and was obviously very comfortable on stage. Well done. Tim Henshaw acted very well as The Pirate King, as did Allen Christey as the Major General. Ann O’Shea played the part of Ruth, the maid of all work. I think she was a little too glamorous to be classed as the plain and elderly nurse joining the Pirates after signing up Fredric as a pirate and not a pilot. Ken Brook as the Sergeant of Police brought much of the comedy to the show. He and his team of policeman had all the audience laughing, well done. Now to the girls: What a delightful group and such lovely voices. Katherine Seager and Lauren RobsonTatlock, playing the sisters Kate and Edith, sang and acted very well. And I’ve saved the best ‘til last. Mabel, played by Eleanor Molloy, was outstanding, her beautiful pure voice was a joy to listen to. She looked delightful onstage. My congratulations to everyone involved in putting on such a good show

Sinbad St Simon and Judes ADS Director Mark Daniel Choreographer Jennifer Dagnall If going to a pantomime and hearing children and adults shouting, cheering and booing at all the right time

Six Of The Best St Philips AODS Director Mina Kirkbright Musical director Paul Stanley Choreographer Barbara Grant What a wealth of talent was on show this evening. We were treated to sections from such musicals as We Will Rock You and Mamma Mia. The seniors kicked off the evening with a superb excerpt from the Queen musical which was visually fantastic, and sounded great. Among the numbers, we heard Anne-Marie Duckworth singing We Are The Champions – wonderful. This was followed by Les Miserables including the beautifully sung I Dreamed A Dream from Teresa Harper and On My Own from Holly Ogden. Nine is a musical I have yet to see, so it was interesting to hear some of the music. I was very impressed with Liane Critchley who gave us an outstanding solo of Unusual Way. Not to be left out, the junior section gave us two smashing excerpts from the land of Oz and Hairspray. The former included music from Wicked with Rebecca Bolton singing Popular – what a lovely voice and super stage presence, well done. We also heard all-time favorites from The Wizard Of Oz including Somewhere Over The Rainbow. Their second offering Hairspray showcased some great solos and company numbers. The final offering was Mamma Mia at which point I thought ‘what a brilliant ending’, before we were treated at the very end of the show to an absolutely stunning number from Heather Ogden and all the company singing Joyful, Joyful. I must however mention the talented Zak Thornley who sang solos in both the senior and junior sections: What an outstanding young man, Michael Ball beware!

I am sorry I cannot mention more of the solos. It was wonderful to see so many people singing on their own. Congratulations to everyone connected in producing a lovely evening. Orchestra, lighting and costumes were just right.

Snow White Farnworth PAC Director and choreographer Paul Cohen What a delightful panto this turned out to be! Snow White had all the ingredients for a really good evening’s entertainment. The principals looked as though they were having a ball. Dame Edna Bucket played by Christian Brabin had great costumes, wonderful wigs and – with super Beyonce-style dancing – had the audience in stitches. Chuckles was well played by Gareth Mason, who had the audience in the palm of his hand, especially the younger ones, well done. Snow White and Prince Ferdinand (Stacey Roscoe and Jennifer Scrafton) gave us some lovely scenes with some nice vocals, allthough some of the high notes proved a little testing. Charming performances. Emily Chesterton playing Fairy Good Fortune gave good characterisation with a beautiful voice. Her singing was delightful. How could we forget the Seven Dwarfs? These children were very, very good, super performance: David Beeby, Ebony Crosby, Elliot Hogben, Katie Toole, Leah Crook, Jordan Ashton and Matthew Connelly. Justice Quill and Scribbles were well acted by Colin Dean and John Mosey. I did think that on occasions the microphone of Scribbles did not seem to be working right. I could not hear his singing in Brush Up Your Shakespeare. Shame, as the rest of your acting was really good. Harvey Walton and Ben Latham, as Slurp and Merlin really made the most of these smaller parts, well done. The chorus ranged from tiny tots to older children: You all performed wonderfully. Hardly any mistakes – I suspect many mums and dads must have been driven mad with you learning the dances and the songs. Congratulations to all of you. Finally I must mention Francis Shinks playing Queen Avarice. What a nasty, horrible person... played to perfection. Every time she came on stage it was to hissing and booing, as there should be. Brilliant, a super performance. To all involved in the show, director and stage crew, my congratulations on a very good show. Everyone came out with a smile on their faces.

DISTRICT SIX COLIN MAGENTY

A few words from retiring District 6 representative, Colin Magenty: “My friends, on behalf of Enid and myself may I thank all my societies for all the friendship and hospitality they have given us over the last 12 years – both n District 6 and on the Isle of Man. You will all be forever in thoughts. Don’t forget us ,we will never forget you. God bless you all.”

The Full Monty St Paul’s Players Director Liz Blundell This was a thoroughly enjoyable evening. First of all my congratulations to the backstage crew who made this show flow so well, with several scene

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changes. The pace was spot on, as was the direction and as for the orchestra, well, it was wonderful. With a cast that had no square pegs, each member gave strong performances down to the smallest role. This was one of the most entertaining shows this society has staged and the full houses they had would not go home disappointed. For the ladies; Sarah Morgan, Jane Harrison and Jane Catterall all gave performances they can be proud of. And their spouses, the men, were also on top form, Paul Roberts, Graham Cohen and Mike Wignall. The other three men to make up the six male strippers were Antoin Savage, who played Horse, Graham Hope, who played Malcom, with a little bit of Frank Spencer, and Phil Armstrong, who threw himself at a wall at every opportunity But one performance I have left till last was that of the boys’ pianist Jeanette Burmeister, played by Judith Armstrong: A gem! All well supported by some lovely cameo performances those of Robin Armstrong and Bex McLean to name just two.

All Souls Dramatic Club Director and choreographer Karen Edge Despite being limited in the amount of scenery that can be used at the venue, this production worked well. Dance numbers all came across full of enthusiasm and energy. The costumes were very colourful and looked good and the panto itself was very well received by the audience. Excellent performances from Katie Watkinson as the nasty Fairy Maleficent and Cliff Gillies as Dolly who just gets better each time he dons the Dame’s garb. A female Muddles did extremely well in the form of Cathy Formby and at times you forgot it should have been a man. Princess Aurora played by Karen Hall came across as a bit of a tom boy but was a good match for Kelly Anderson who made an impressive Prince Michael. They were well supported by June Weights as Fairy Flora and Peter Roney and Sue Lord as the King and Queen; add to that a very vocal chorus and this was a very entertaining evening. My thanks to all concerned.

Sleeping Beauty

The GondolierS St Helens Gilbert and Sullivan Society Director Juliet Miles Musical director John Flood Choreographer Kathryn de-Lappe This is arguably the most popular of G&S’s works. The music, some of their happiest, was done justice by the orchestra and its conductor John Food. The production was not one of their best, but the opening with the young people was good. The chorus especially the men came across loud and clear in spite of their numbers. As for the characterisation of the Gondoliers and the business between each other, plus the positioning on stage, this was not up to their usual standard. It was good to hear Karen Dyble again, she sang Gianetta very well, and Jennifer Santus’s Duchess was also a pleasant performance – but I missed the interplay between the Duke and Duchess. As usual, strong performances came from Katherine de-Lappe as Casilda and Wilfrid Fildes as Don Alambra. And we had a good cameo by Chris Hill as Inez which brought the evening to a close leaving us with feelings of pleasure. My thanks to the society for their kind hospitality and hope that the theatre in St Helens will continue even with the increased production costs.

Lucky Stiff Southport AOS Director Stephen Hughes-Alty Musical director Paul Williams Choreographer Jackie Morris A change of venue but not a change of standard: This was a production of pure quality. The cast this show was excellent and gave a performance of which the society can be justly proud. John Delahunty has come a long way since I first saw him in SONG, this was a super performance, as was that of his leading lady Jo Howarth as Annabel. The deadly duo of Rita and Vinnie came up trumps: Lauren Murphy and Anthony Orme squeezed every drop of comedy out of their roles. A special word for the dead body, well done Jim Donaldson. My thanks to the society from both Enid and myself for all the hospitality and friendship we have received during the 12 years I have been your representative. I retire on May 1 so this my last show, thank you all for the memories.

Sleeping Beauty

Chorley ADOS Director Sue Hilton Choreographer Anna McGarr The first thing to hit you with this panto was the set, which was one of the most attractive I have seen and which worked very well. The young ladies who opened the show were excellent and gave the panto a good start, their facial expressions and diction were very good. Other outstanding performances came from Barry Callander as the dame and we also had a nice performance from Muddles played by Alan Levesley. The performance of the evening however came from Emily Jones who played Princess Rose; this was charming portrayal. The pace was good and the company worked well both on and behind stage, even with the taped music it was a very good evening’s entertainment. My congratulations to all.

Robinson Crusoe The Derby Players Director Neil Williams This was an example of a town completely panto’d out, a house only half full and not a child to be seen. Although the backcloths were OK and the music was down to a keyboard player, the show was not the best advert for a society which has over the years put on some excellent plays; they now just don’t have the people to do a pantomime and the show struggled from curtain up until its finale. The only character to come across well was Kevin Green’s Man Friday, which owed a great deal to Manuel from Faulty Towers. This was my last visit as the representative for the district I wish the society good luck for the future from Enid and myself; our thanks for past nights of good theatre enjoyed in Ormskirk.

Puss in Boots The Waterloo and Crosby Theatre Company Director Leo Appleton Musical director Ann Dickenson Choreographer Alex Foy With a cast of more than 50 this panto was welcomed by a good-sized audience in the midst of some shocking weather. The pace of the show was slow and needed more speed. It was a colourful show and the young plentiful rabbits were delightful as were the dancers. The director did very well as he also took the roll of the Dame which came across even with the sound gremlins. The two outstanding performances for me were those of the Princess Xena who both looked the part and acted

very well and Roy Hartley, who co-wrote the show, and played Krank the Frog who looked superb; what is more is that he is a wonderful example to the young with his diction and projection.

The Return Of Robin Hood And The Boys From The Ruff Wood Ormskirk Theatre Company Directors Andy Hawkes and Gary Simpson First performed 11 years ago, this panto has had a couple of changes to bring it up to date. An unusual but effective opening film sequence, reminiscent of a Benny Hill chase sketch, set the scene. However I did feel it just slightly went on too long before the real live action. Lots of audience participation made this show fun for all ages. Robin Hood was played by Kelly Fisher, who managed the role, but I wish someone would tell her to stand still. Maid Marian played by Charlotte Taylor gave us a couple of solo numbers and rightly so – her voice was superb. However the ‘guy’ that stole the show for me was Sir Guy, played by Gary Simpson. His characterisation was brilliant. Closely followed by Cooka Hood – Mark Hill as a believable dame, with some wonderful costumes, although he sometimes slipped into drag artiste. The rest of the cast supported this show well with each one having their own little characters. The Sheriff of Wigan with his wonderful wig, played by Don Ridland, was suitably evil and dastardly. Some good songs moved the show on but I will never forget Ormskirk Today to the tune of YMCA – a truly memorable moment. A special mention to the band, which fully joined in with the production and did not play too loudly as they often do. A wonderful night’s entertainment. Lee Thompson

The Railway Children Ormskirk Pleasure Folk Directors Gemma Briscoe and Liz Wainwright Musical director Nancy Wells This well-loved children’s classic is now a musical but the story does not change right down to an impressive train for the children to stop. The music is not easy, but this brave group gave it their best shot and it was most entertaining. The three young children were delightful with Zoe Snell as Phyllis, Luke Davis as Peter and Holly Fletcher giving a splendid performance as Roberta. Susanne Denner as thier Mother and John Hardiker as the The Kind Old Gentleman both played very well along with Jim Briscoe as Perks. With a cast of more than 20 this was a glimpse of a new and worthwhile show. It was well costumed by Charades of St Helens.

Les Miserables Stint Productions Director Andrew Follin Musical director Shaun Chambers Choreographer Debi Upton There were times when I forgot I was watching a youth production. The music was as good as it gets and the set was excellent and worth the problems in the end. Apart from one or two sound gremlins, the production was very good and worked well. As for the cast, they were a company and the chorus numbers were executed superbly. The barricade scene was handled as well as anyone could expect and the chorus singing of Drink With Me was haunting, wonderful! There were outstanding performances and it would be amiss if I did not mention them; the voice of David Moorst as Jean Valjean was very good indeed, but the overall performance of Nick Parry as Javert was truly memorable; they hold the show together and a smashing job they made of it. For the ladies, Olivia Archbold as Fantine, Danni Britch

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as Eponine and both Katie Burke and Nicola Howard did justice to the role of Cosette. The Thenardiers played by Gina Fillingham and Thomas Platt had some lovely comic moments which were necessary to lighten the story line. The whole cast should be proud of what they have achieved and they truly warranted the standing ovation they received.

The Merry Widow The Bentley Operatic Society Director James Craig Musical director Michael Hoyland The “Widow” is the most popular operetta in the Western world mainly because of Franz Lehar’s wonderful score. Although I felt that the orchestra was a little thin during the overture, it was still the jewel in the crown. Operetta, as opposed to Gilbert and Sullivan, makes different demands on director, principals and chorus alike and unfortunately these were not always met. Brian Williams as Baron Zeta did well and Anna, played by Pam Ashcroft, sang her way through the show giving a lively Vilia. Nick Hardy, one of Liverpool’s favourite tenors, also gave us some memorable moments. The Grisettes were fine and were followed by six wonderful dancers, their Can-Can was executed with aplomb and at the end of the evening an appreciative audience went home humming Lehar’s exquisite music that will live on and on.

Loot St Ambrose Players Director Mike Coombes Joe Orton’s plays need clear diction and pace, even more than most. Apart from ‘pace’ the other two Ps are power, or projection, and pitch (light and shade in the dialogue). Unfortunately at some parts one or all of these were missing. And so we lose interest in the plot. I attended the first night when the adrenalin should be pumping, but I am sure the security with lines would improve – but it should be there throughout, maybe a little under rehearsed? A dive into the deep end for a directing debut but we all learn from each production and I’m sure we will see more from this young man. The best of luck to all the company’s directors and the society for the years to come, and my thanks from both Enid and myself for your hospitality and friendship during the 12 years I have been your NODA representative.

Aladdin Golborne St Thomas’s Amateur Dramatic & Operatic Soc Producer and choreographer Alison Eaton Musical director Liz Ince This was a entertaining traditional family panto which was very well attended. For a very small stage the set was very good and the various scenes were changed with a quickness so that the pace of the show was kept at a good level. Keith Wilde as Widow Twanky and Andrew Marsh as Wishee Washee gave good performances, and both had one lady going with a laugh which was infectious. Other good performances came from the two principal boys: Sarah Hutchinson, who can slap her thighs with the best of them, and Leanne Barnes, who not only looked the part but had a lovely voice. The young Princess played by Rachael Lyon had good stage presence. Gary Williams was Abanazer and Chris MacDonald the Vizier. The principals were supported well by a cast of more than 30, including a tuneful chorus. The choice of music was one which I could sing along with, which these days is not always the case.

Trial By Jury and HMS Pinafore Crosby Gilbert and Sullivan Society Producer Marilyn Taylor Musical director Brian Smith

This was a modern version of Trial and when done with another, it always lacks room and so at times was a little crowded. Apart from that, the set was adequate. The other major difference was the fact that there were no bridesmaids and this I did miss but having said that it did work without. The Judge was played by Les Hampson and the very talented young tenor Chris Liston as the Defendant. A more sexy than usual Plaintiff was portrayed by Sophie McQueen. Micheal Seager gave his usual finesse to the roll of the Counsel for the plaintiff. Ed Davies was the Usher. A good start to the evening. For HMS Pinafore, the set was OK but took up quite a of the stage, and although it had height the projection needed sometimes was lost. The opening was excellent and the young dancers gave it a very good start. Jonathan Taylor’s Sir Joseph was once again very good indeed. Joan Ashcroft as Little Buttercup was up to her usual standard, and so was Ralph played by Chris Liston who sang Nightingale Sighed For The Moon’s Bright Ray and its following ballad extremely well. Brian Tubb made a good rejuvenated Captain and Les Hampson was a good Bill Bobstay. Bob Becket was played by John Whitehead and I liked Elaine Williams as Hebe, a cameo role but played very well. Michael Seager played the role of Dick Deadeye and sang it with aplomb, but once again the voice and acting ability of Jane Hamlet shone through in a wonderful performance as Josephine. All were well supported by a strong chorus. The result a super show, well done. Congratulations on the society’s 60th anniversary, may you go on for many more years to come.

DISNEY’S High School Musical C.o.d.y.s. Director Nick Cupit Musical director Craig Stewart Choreography Jon Kindon I attended first night and the show, despite a sound problem at the beginning, soon righted it self – only losing the introduction of the characters mainly because the background music was too loud. After that it moved well, the change of scenes and musical intro all picked up well. With just over 50 in the cast, we had some extremely good performances. The cheerleaders’ movement and the ensemble singing was great. All the principals delivered good performances. Hannah Young as Miss Darbus was a smashing portrayal and I enjoyed the performances of Jordan Carr and Georgia Hatton as Ryan and Sharpay. Ben Cupit put in a strong performance as Troy but for me the star of the show was Rebecca Hatch: Her performance as Gabriella was wonderful. This young lady has a voice and acting ability to die for. The theatre of tomorrow is in good hands.

Neville’s Island Chorley ADOS. Director Sean Duxbury The set for this play was outstanding with the stage being partly filled with water. This left the audience in no doubt that the set was that of an island as we could see water on at least two sides. The director made full use of this wonderful set, and the direction and performances on first night were excellent – yet another super show from this Little Theatre company. With a cast of four each taking the limelight in this multi-scene play, this is the only fault I could find with it having been written for TV. This stops and starts the action which makes it more difficult for the play to flow. But it did not stop what was a very enjoyable evening in the presence of Neville (alias John Griffin), Gordon (Steve Unsworth), Angus (Andrew Kidd) and Roy (superbly played by Barry Callander). This was theatre at its best.

Jack and the Beanstalk St Paul’s Players Director Graham Cohen Choreographer Lorraine Sullivan This was a good family panto. The set, as always, was well done and the choreography very good from the experienced Lorraine Sullivan, maybe one dance too many – but very well done. I enjoyed the performance of Peter Haslam as the dame after a shaky song he relaxed and gave a nice performance. We had an energetic Jack in Hannah Dixon who sang and danced her way effortlessly through the show; other strong performances came from Robin Armstrong as Ransid and Snatchet and Scarper played by Phil Armstrong and Dax Owen. Bex McClean as Piccalilli gave a nice portrayal but the voice was very high and she just needed to watch the diction as we did loose the odd word; otherwise a good characterisation. They were all well supported by Keiron Garlic as Simple Simon, David Greenfield and Debbie Leyland as the King and Queen and Amber McCrone and Emily Morris who played the Princess Fairy Stardust. My congratulations to all.

Aladdin and his Wonderful Lamp St Ambrose Players Director Lee Thompson Choreographers Ami Yates and Jennie Barnes The use of tape music instead of a live combo or small orchestra did not help to set the scene, also the choice of music was very modern and was not well known by many adults in the audience. There were several good performances, namely that of the duo Charlie Chan and Chin Chin Chan which were well played by David White and Joyce Nichols; The Genie Of The Ring I found very amusing. Among the mainly young cast, Jennie Barnes gave a delightful portrayal of Sing Lo, and Aladdin played by Shane Lillycrop had a good voice. Widow Twankey was in the capable hands of Lee Thompson and the whole cast showed an energy and enthusiasm which bodes well for the future of the society. My thanks to all concerned.

DISTRICT SEVEN SHARON DRUMMOND

Christmas Concert Saddleworth Music Society with Diggle School Choir Musical director Harry Butterworth This was a lovely way to start getting in the Christmas spirit. The depth of voice of the choir was so well rounded, and the harmonies on numbers such as Angels Carol and Do You Hear What I Hear were beautiful. The numbers where we all sang sounded fabulous particularly on numbers such as The First Noel where the choir harmonised the audience voices. I loved the full orchestra pieces of The Emperor Waltz and 633 Squadron which were expertly directed and conducted by Harry Butterworth who, however big his orchestra, never lets the singers’ voices be drowned out. The children of Diggle School did not hold song sheets and treated us to four numbers the final one being Will We Know Him? which sounded fantastic. The whole evening was compered by Gordon Russell who filled in with poems and terrible jokes which were much appreciated by the capacity audience. The evening was in aid of the Royal Oldham Hospital League of Friends and I hope plenty of money was raised for this worthwhile cause.

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Cinderella Whitworth Amateur Musical & Dramatic Society Director Andy Kelly Musical director Chris Addington Choreographer Gemma Singleton This is the first pantomime this society has done in over 40 years but what a brilliant start to Christmas! The set and costumes were fairly basic and light and sound were good, but this show was definitely about the performances. From the opening number where the curtain didn’t open properly to the closing bows it was a laugh a minute. Many of the songs were right up to date and it was lovely to experience numbers from previous productions of this company. The seven-piece band did a good job under the guidance of Chris Addington. The story, of course, is familiar to all, but pantomime relies on a strong experienced performance from the storyteller, in this case Buttons, played by Terry Banham. Terry’s experience delivered a fantastic comic performance and his song with Cinderella the new Pack Up Your Troubles sounded great. The two Ugly Sisters were expertly played by James Earnshaw and Mark Rosenthal who kept the audience on their toes – quite literally in the Village People medley. Prince Charming and Dandini played by Harriet Williams and Nikki Law both had great stage presence and lovely voices. Good Vibrations which even the Beach Boys avoided singing live sounded wonderful and was beautifully harmonised. Cinderella was played beautifully by Rachel Slater. She interacted with the audience well and had an amazing singing voice. Her version of Make You Feel My Love made the hairs on the back of my neck stand up – well done! The younger members of the cast, Ethan Jones, Ryan McMyler, Helen Rose and Jack Rawstron all delivered their lines perfectly and the Single Ladies dance by the boys will stay in my memory for a long time!

Sweeney Todd Rochdale AOS Director Michael Jones-McCaw Assistant director Gary Jones-McCaw Musical director John Stevens This is a challenging show to produce and stage, and to have a first-time director and MD on such a demanding piece of theatre was a risk for this society. In my opinion it was a risk which paid off with a fantastic piece of musical theatre. At times I found myself so deeply engrossed in the action that I forgot I was in a theatre. I loved it. The orchestration under John Stevens added to the atmosphere of terror felt across the piece but managed to be light and jaunty across certain comic numbers and deeply moving in others. Well done. The demon barber was touchingly played by John Wood. The angst he felt was tangible and his vocal performance was superb. Joanne Gill as Mrs Lovatt was utterly brilliant both vocally and in demeanour and her comic timing added to the performance. David Gill as Judge Turpin played the part well and was more than sufficiently creepy and Tom Shiels as Tobias put in a lovely performance with both his acting and

singing. Gary Jones put in a solid, reliable performance as Anthony and Claire Morris as Johanna was beautifully played with a sweetness and innocence and clarity of voice which is so important in this role. Sarah Thewlis did a tremendous job as the Beggar Woman, being on stage throughout and never letting her characterisation or madness slip. Richard Sanderson was ideal as Pirelli showing flair, showmanship and arrogance before he reaches his bloody end. Every one of the principals sounded fantastic and the set and direction worked really well throughout with plenty of blood and bodies to assist the theatrics in this production. All the cast, crew and production team should be proud of the work put in to provide a fabulous evening’s entertainment albeit dark and bloody! Well done and thank you.

The Sleeping Beauty St Herbert’s Amateur Dramatic and Entertainment Society (S.H.A.D.E.S.) Director Tony Mooney Musical director Carl McIver Choreographer Rebecca Henry This was my first pantomime of the season, and first review of a pantomime since becoming a NODA rep in May 2010. Tony Mooney has been involved onstage with SHADES for many years but this was his directorial debut – so a night of firsts all round then. The scenery was very well done as this society has very limited space. The costumes were fabulous and the sound and lighting added to the atmosphere very well. There was a small band which certainly contributed to the show, as live music always helps to lift performances. The cast had a lovely mix of young and more experienced performers, all of whom put in admirable performances. You could tell they were enjoying the action as much as the audience. The three fairies played by Sue Longley, Victoria Mooney and Michelle Cust put in nice performances and carried the story along at a good pace. Diane Campbell and Martin Dowey as the Queen and King were silly and funny, just as they should be – well done. Lauren Copp did a nice job as Sleeping Beauty as did Jade Griffiths as Prince Handsome. Lesley Dowey as the witch was well characterised and very scary, and her son Gormless played by Joe Craven was suitably slow witted and cumbersome – well played, Joe especially in all the green paint. The two performances which stole the show for me were Rebecca Henry as OddJob and Carole Griffiths as Nurse Pinch Me. Rebecca’s comic timing was faultless and vocally she did really well and Carole’s experience meant she played the Dame with much gusto and stage presence. The younger members can learn a lot from you Carole.

DISTRICT EIGHT MICHAEL JONES McCAW HOT MIKADO Congleton Musical Theatre Producer Nicky Evans Musical director Ian Pickford This was my first visit to this society on its opening night, to see one of my favourite shows – and I knew from the opening number I was not going to be disappointed. The stage was open and the set was fantastic; replicating both the fan and willow design, and built by the society it was well thought out. Well done, it was one of the best I have seen for a while. Good lighting effects created the moods within this fast moving production, and the band complimented the performers on stage. The principals all gelled, while working well with the chorus, and giving first class delivery of this script. The story needs to be told well for the audience to get it because it has plots and sub-plots, and if not delivered

well it can be confusing, but the diction was clear from all. Just one or two slow sound pick-ups on the night but nothing major. The cast all moved well with some very creative choreography and the Lindy Hop was perfectly in keeping with the period this piece was set. Great vocals from Hannah Bours in the role of Yum Yum. there was brilliant empathy, she delivered well, and connected with her audience. She was partnered by Andrew Jones as a confident Nanki Poo. Vincent Van De Kraan played the complex comedy role of KoKo excellently; this is a hard role as it can be oversold, yet Vincent gave us his own interpretation. He was well partnered by Jenny Hall, who gave great contrast as the rebuffed Katisha - great vocal on Alone and Yet Alive. The duet Beauty In the Bellow Of the Beast had me in stitches; great comedy, not overplayed, well done to you both. Pish-Tush and Pooh-Bar were well played by David Martin and John Beech, whol sold the parts well, however I felt that Pooh-Bar needed to be larger than life as at times the character disappeared. But good vocals from both. Peter Johnson played The Mikado. I didn’t seem quite comfortable with the role on his big first entrance, although he did settle down after this. Helen Snelson-Pickford played a confident Peep-Bo, good vocals and harmonies especially with Jeni Lee who played Pitti-Sing. Combined with Yum Yum played by hannah Bours, we were given an excellent rendition of Three Little Maids with great attitude and a smashing routine, well done. I felt that the director had got full delivery from his talented cast, and if this was opening night: Wow! what was this show going to be like by Saturday? The costumes were colourful and in keeping with the period, and in my opinion the hairstyles had been researched. This combined with a super lighting plot and the use of movers or macs created visually stunning effects. The band was just right with great consideration for individual solos on stage. My favourite show delivered with gusto from the start. The company should be congratulated for a wonderful light-hearted production that left many happy memories and tunes in my mind. Kevin Rawcliffe

Snow White and the Seven Dwarfs Shavington Village Festival Committee Director Barbara Bispham Musical director Jenny Collis-Smith Choreographer Angela Snell What a delight this production of Snow White and the Seven Dwarfs turned out to be. This was a bright, lively and very traditional, good old-fashioned pantomime, which in itself was a breath of fresh air. This had all the right ingredients for a very enjoyable show, full of fun and presented by an enthusiastic and talented group. Director Barbara Bispham had worked hard with the company. It was tight and well rehearsed. It was a wonderful job for her first excursion into directing – well done. The dancing was simple and effective, well executed with choreography from Angela Snell. And how fortunate this group was to have the musical direction of Jenny Collis-Smith, who brought her expertise and first class musicianship to the ensemble. The music was well played by the small combo in the pit. Snow White played by Louise Green was charming. She has a lovely singing voice and gave an assured performance. She has a lot of potential. Her prince was the lovely Katie Burt, who also gave a confident performance. They were a good team. It was Megan Sheer, however, as the evil Queen Evilena, who stole the show. She was ideally cast, a really sinister Queen with remarkable stage presence and a terrific signing voice. An outstanding performance! The children were a delight, but the Seven Dwarfs were truly adorable, each portraying their own individual

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character. Nigel Walters brought lots of energy to Dame Dora, looking the part with some outrageous costumes. The humour in this pantomime was exactly at the right level, very funny with some wonderful gags, but aimed at a family audience. Richard Kinsey as Muddles was a revelation in comic timing! He worked the audience well and with Dame Dora brought bags of comedy to the show. Duncan Crawford came across well as the Chamberlain, as did Chris Rodgers as Herman the Huntsman and Angela Snell as the troll and Elaine Dodd as the Hag. The chorus sang well and with enthusiasm to a responsive audience who obviously enjoyed themselves. There was plenty of audience participation culminating in the community song, and yes I did stand up and do my bit! Adrian Hancock and his team must be congratulated for their effective set which worked really well, especially the Dwarfs’ cottage. The show was well lit, often to great effect with an effective UV skeleton scene. The sound was good and together with the well-managed scene changes this all made for a smooth running show. Makeup was just right and effective. Costumes were very colourful. The magic Mirror was managed beautifully and played by Rebekah Phillips. My only small criticism and a suggestion for next time is that some scenes ended rather abruptly, with abrupt cut-offs in the music. Perhaps you could use more music to link scenes. I had a delightful afternoon watching this lovely show. It was heartening to see a community come together to present live theatre in this way. Excellent! Well done. Ann Sleigh

Jesus Christ Superstar Crewe Amateur Musicals Society Director Paul Aucott Musical director Ian Pickford Choreographer Fiona O’Connor This is a wonderful show for any society to perform and the opening use of the gauze was great. The moment the orchestra struck up, I knew we were in for a great night. They sounded great and did this superb score justice. The overture was well moved introducing the characters to the audience. Judas, played by Lee Edwards, sang well as he opened with My Mind Is Clearer Now. But I felt – at times – on the higher register falsetto it became a little pitchy. Still a good character, well portrayed. Just watch the over use of hand movements to the words. The disciples all gelled and worked and sounded well, with great harmonies during What’s The Buzz. Mary opened her account singing Everything’s Alright and was played by Joanne Stubbs. What a fantastic vocal, she went from strength to strength. Her interpretation of I Don’t Know How To Love Him was fantastic, such a clear voice and great projection. One of the best performances of this character I have seen. Jesus was played by Robert West who delivered a relaxed presentation, vocally excellent and well acted, good projection. I loved Gethsemane, but just found the walking backward and forward on the same diagonal track a little distracting. None-the-less a great performance. The priests were well cast with very different vocal ranges, which slotted together. A great rendition of Jesus Must Die and I loved Blood Money. Simon Zealots played by Mathew O’Donnel gave us a super vocal during Song Of Freedom. Pilate played by Robert Earl was superb. He gave wonderful passion to this role and delivered every song with attack; I love Pilate’s Dream and Trial Before Pilate. I felt that this character can be understated and Robert was on the money. Herod was played by Simon Dean and I loved the director’s use of beach balls, a clever routine, very funny. The choreography was simple and the company sang

well and entrances and exits were well executed. The lighting plot at times was good but I felt there was overuse of chasing lights that detracted, especially when the mode of the piece was changing to a more softer number. For example during Everything’s Alright. There also seemed to be a problem with some of the sound cues, and the pickups on a few occasions were not on the money. Judas’s suicide was well choreographed and worked well and I loved the energy in the Superstar number. I loved the use of Hope played by Danny Heath – a nice touch after the crucifixion. The costumes looked well and the set was simple but worked well. The director have a wonderful interpretation of this complex show and I look forward to seeing more of his work in the future. This is always a challenging show, and the director, cast and society rose to the occasion. Kevin Rawcliffe

Cinderella Cheshire Youth Pantomime Society (CHYPS) Director Sally Hunt Musical director Phil Millar Choreographer Michelle Yeomans The show began with the chorus all singing and dancing You Can’t Stop The Beat from Hairspray with everyone looking and sounding brilliant. The set, lights and costumes all looked fantastic. Buttons (Callum Holt-Eaton) held the whole show together and performed well beyond his years both with comic timing and his lovely voice. Just The Way You Are is one of my favourite songs and not the easiest to sing and Callum held the audience and nailed it. Cinderella played by Kate Stubbs had a nice voice and was very sweet as the lead character. Luke McDowell played Baron Hardup with ease; he was funny and had a very good voice. Dandini and the Prince played by Barney Miles and Charlotte Bailey characterised well and again had excellent voices. I really enjoyed the character Ribbons played by Ledicia Carp who had a lovely singing voice on L.O.V.E. and Start Without You. Baroness Hardup played by Kate Nicholls had one of the hardest songs in the show with Man Wanted from Copacabana. Again she performed this with ease and her backing dancers did a fantastic job. The Fairy Godmother and Apprentice kept the pace going well, and Bodget and Leggett did extremely well on the comedy routines – the decorating scene had perfect comedy timing. The stars of the show were the Ugly Sisters played by Sam Oakes and Josh Feldman who seemed to relish the parts and interacted with the audience perfectly. However I must say there wasn’t a weak link in this show: All the performers seemed to be having a ball and that enthusiasm is infectious to audiences. Much praise must go to Sally Hunt, Phil Miller and Michelle Yeomans for directing and choreographing this show to near perfection, and to everyone involved with this society who pulled out all the stops to produce such a fabulous show. Sharon Drummond

Brassed Off

saw a flawless production. Daniel Green was confident as Shane. Giving us comedy and connecting with the audience from the start, great projection, well done and keep up the good work. Mike Hall was perfectly cast as Danny, delivereding a superb character that I believed in. A super monologue at the end. Claire Littlemore brought to life the down-trodden Sandra with some lovely moments of empathy. She was partnered by Rob Gregory who played Phil, again a complex character trying to do the best for his family – but always failing. I saw a wonderful light and shade of the character. Gloria looked fantastic and again brought her character to life and was played by Vikki Jackson, good accent and clear projection. She was wooed by the confident Andy played Dave Randall who delivered this character well. Just a note, watch dropping accents at times but it only happened during the first scene. Rita and Vera played by Marilyn Baxter and Majorie Clare have us wonderful sub plots. They were partnered by Harry and Jim played by Dave Rimmer and Michael Mullan. All four were brilliant and we saw some fanastic acting, especially when they came forward to talk to the audience. I also loved the scene were they were all drunk on the way home. Special mention to Craig and Melody played by Thomas Sams and Danielle McDerra. These young people should be congratulated and played their parts well, were always acting on stage and never distracted. Well done, you were brilliant. The other cast members took various roles and all performed well. The brass band sounded fantastic and I particularly loved how all the principals looked as if they were playing their instruments. This is a credit to the attention to detail of the director and hard work of the cast. The creative use of the gauze and the projection during the pub march was great and this scene had me in stitches. I loved the whole production. A fine play, in fact one of the best I have seen this year and delivered to perfection. Kevin Rawcliffe

Centenary Theatre Company Director Dan Grimes Musical director Ian Turner, Tarporley Silver Band Right from the opening this play was fantastic with a superb set that worked so well. It was simple but did not require complex changes just very subtle. Combined with good use of lighting on the white syke, and the introduction of projection images and old film archives all worked for me. From the opening I was impressed how the principals worked well together on a large stage for a play and this is hard as there is no room for mistakes and I must say I

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DISTRICT NINE HELEN ATTISHA

scenes as the bumbling but charming Bienstock. Joe/Josephine played by Simon Bradbury and Jerry/ Daphne played by Ian Tyler were both utterly brilliant. They really complemented each other and worked the numbers well too. I completely forgot who had played the parts in the film such was the ownership of those roles. Well done. Yzzy Pearce-Higham had a real challenge as Sugar Kane but again made the role her own and didn’t try to emulate Marilyn Monroe. She had wonderful stage presence and sang and danced beautifully too. I would thank director and MD Sally Jolley for such a fun production which had me smiling and laughing all the way . Sharon Drummond

THE MADNESS OF GEORGE III

HONK Mossley AODS Director Lee Brennan Musical director Mike Bramhall Choreographer Jenny Savill This is one of my favourite shows: It is well written, has great songs, full of fun and yet you feel for the character Ugly and his Mum. Mike McCaw captured the innocence of the character and delivered, strong and poignant performance with good vocal work. Sarah Thewlis as Ida used all her emotions once again and did a great job of the part. It was nice to see John Wood after so long: He was well cast as Drake and his humour throughout was excellent. Sam Peach as Greylag has gone from strength to strength during the past few years and I am sure will develop into a strong character actor. I loved watching Mandy Mallinson as Low Butt, she had us all in stitches as she bounced onto the sofa clucking her way through her lines, a first class performance. Congratulations also to Kirsten Hampson as Queenie, her duet with The Cat was excellent. Tom Holmes’ Bullfrog was very different to others I have seen, but by no means was it poor performance: It was strong, funny and full of energy. While all other principal roles were very well performed and particularly well cast, I have to say that Gary Jones as The Cat was my favourite. His performance was strong, well characterised and excellently danced. The set for this production was first class as always, and the lighting enhanced the show. With excellent sound and strong singing from the whole company I must congratulate all the production team on their efforts. This was a first class production and as this was my final show as a NODA representative, one I shall always remember. Sheryl Haydock-Howorth

Sugar

Woodford Community Players Director Adrian Barrowdale What an extraordinary play to perform, and how to do it justice are just two of the reasons I wanted to see this production and I have to say I was certainly not at all disappointed. Tom Dawson in the title role played this superbly. The attention to detail in his body language and breakdown were excellent and couldn’t have been bettered. The scenes with his various doctors were quite soul searching and the treatment he was put through quite harrowing. However Bill Cross as Dr Pepys added the much required humour to lighten the mood of the audience. Marilyn Fountain as the Queen was a little light in her delivery at times, but worked hard to maintain her character, as did Colin Whitehead as Prince of Wales. Well done to Colin Evans as Duke of York, who although didn’t say a great deal, did a great characterisation throughout the play. Ian Butterfield and John Lomax as Thurlow and Pitt were well chosen for their roles as was David Wilkinson as Dr Baker and Charlotte Neary as Greville, who did good jobs with their characters. I was particularly impressed with Derek Snowden as Dr Willis; a strong assured delivery and presence. All other principals, of which there were many, worked exceptionally well and brought life into their characters. The set was very clever with divided areas, lit perfectly adding great atmosphere. This was an excellent production, beautifully costumed and great attention to detail in the props department. Congratulations, this was first class and much appreciated by the audience. Sheyl Haydock-Howorth

DISTRICT TEN ED McGEE

Brookdale Theatre Director and musical director Sally Jolley Choreographer Sheryl Haydock-Howarth This was my first time of seeing this show – although the film Some Like It Hot is one of my favourites. I was intrigued to see how the three main characters would fill such iconic shoes. There are no familiar songs in this show but it made not a jot of difference to this production. The opening number When You Meet A Man In Chicago really set the pace for this show with lovely vocals and dancing. There was a real mix of dances in this show and with the age range of the cast from teens to 80s and two men in heels, this was a real challenge for choreographer Sheryl Haydock-Howarth who rose to it and produced some lovely routines. All the cast and crew put in fantastic performances. The show was seamless and the use of props and staging set each scene up beautifully. Costumes were stunning and the team worked well to cover the fast changes in some scenes. Victoria Geary played a steely Sweet Sue whose stature and voice commanded the stage. Ian McEwan often stole

detract at all from the plot. They were well led by a very experienced Dale Corless. The big disappointment for me was the Dame, played by Mark Seldon. He found it difficult to engage the kids, and consequently the audience participation could have been much better. Perhaps this was down to his inexperience. The staging was good, the cloths very colourful and were hung very well, good and tight. Costumes and lighting were good and of period. The biggest downside was sound: I’m not a big fan of canned music to start with, and the performers deserved better. The music was too loud at times, it was difficult to hear the singers, and the pauses between cues were often over long. On balance, a good night’s entertainment, but please get the sound sorted. A good panto could have been a great one.

Cinderella Workington and District Amateur Musical Society Director Reg Jenkinson Musical director David Taylor Choreographer Susan Houghton This was the society’s golden jubilee production of Cinderella – it hasn’t missed a seasonal panto since 1960, no mean feat for any company. It was a jolly good production, which included many society veterans and a lot of new and very young members in the cast. Playing the Uglies were Eric Finlay, a very experienced panto dame, and Daniel McCreedy, making his pantomime debut – although you wouldn’t have known, he really performed like an old stager. The dames really complemented each other, and there were lots of knock about scenes, between them and the other principals. The other members of the cast included society veterans Jim Bedingfield, playing Buttons, a part he has made his own over the years, Alan Carruthers, as Baron Crumpet, and Derek Thompson as the Herald. Kim Fisher made a fine thigh slapping Prince Charming, and sang This Is The Moment extremely well. Chelsea Fisher made a very sweet Cinderella, and the very young chorus performed their routines well. Pantomime expert Reg Jenkinson , who had written as well as directed the show, had included all the traditional pantomime elements in the show. The choreography was good, and the musical combo was well led by David Taylor. It was good to have live music at a panto for a change! Costumes looked good, and the scenery and cloths looked effective. A very good 50th anniversary production from WADAMS, I hope they carry on the tradition for another 50! The only small downside for me was I felt there was rather too much innuendo, particularly in the first act. Well done to everyone concerned, a good night’s entertainment enjoyed by an enthusiastic audience.

Snow White And The Seven Dwarfs

Disney’s Mulan Junior

Whitehaven Theatre Group Director Beth McGarry Choreographer Kayleigh Cullen

Workington Amateur Operatic Society Juniors Direction, musical direction and choreography by the Junior Committee.

Oh yes it is... Panto time again! And this was a good offering from the theatre group, with a directing debut for Beth McGarry. The show had all the usual pantomime elements; good comedy and singing ensembles, and some very good choreographed numbers, although perhaps too many for me, and they seemed to go on and on. There were some nice performances from Rachel Denwood as Snow White, and Chris Simpson as Prince Karl. They were well supported by Jayne Vincent as the wicked Queen, and Tony Parker as the King. The knockabout characters were played very well by Carol Corless and Shaun Donald. I wasn’t sure how I would find the Dwarfs played by adults, but I have to say it worked very well, and didn’t

This was an area premiere for the operatic juniors, and what a jolly good job they made of it. Mulan is set in ancient China, which is being invaded by the Huns and one male member of every family is called to arms. Mulan, a girl, decides to take the place of her elderly, injured father, in the Chinese army to prove she is worth something in life. Mulan was played by Alyson Douglas, making her debut with the society, and very well she played it too. Her song Reflections was sung with a lot of feeling. Another newcomer, Emily Jardine, played the part of Mushu the mischievous dragon with great gusto – what a star in the making. The male leads were well played by McCauley Hunter, as Captain Shang, and Craig Norendahl as villain and

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Hun leader Shan Yu. The other parts were played by enthusiastic youngsters, and the singing and choreography was a credit to every last one of them. One thing to work on during club nights is pacing of lib, and diction – particularly with local accents. The costumes, staging, sound and lighting were all very good. I particularly liked the way the avalanche scene was depicted using special snow lighting effect and lengths of white material. This was a production these talented young people should be proud of, and it augers well for the future of the society. Phyllis McGee

audience. The adult leads were all well played out. Claire Cooper gave a sound performance as Miss Hannigan, she was suitably aggressive, occasionally rather too much, but I felt her self pity was underplayed. Anton Muller as Daddy Warbucks played the ‘brash billionaire’ well, but I felt he rather lacked warmth in his scenes with Annie. James Cooper and Juliet Golding were convincing as Rooster and Lily St Regis, they brought the comedy out well, and the other parts were all well played. I must mention Charles Ritchie, who had a busy night playing both Bert Healy and President Roosevelt. All the ensembles were well sung, by an enthusiastic chorus, and the show moved along at a good pace. The set consisted of three, three-sided rotates and worked well with the limited facilities, with the exception of one long pause for a scene change. Costumes, mostly made by the cast, were adequate but they never quite compare to the real things. The sound was fair, but there were times when the orchestra overpowered the players – it’s a pity the company didn’t persevere with head mikes. The stage is also difficult to light, and there were often dark areas. There were many more positives to this show than negatives, and it was good to see the company performing shows again after a couple of barren years. Well done everyone for making this a very enjoyable evening, and the 40-mile trip back home – singing all the well-known songs – was no hardship.

effect, and the ensembles were well choreographed, if a little contrived, coming off the apron scene to perform them. Costumes were of period, and the scenery, sound and lighting were adequate. The down side for me the night we attended were incorrect music cues given to the kids, which caused much embarrassment to the performers, and mirth to the audience. The kids deserved better! On balance, this was a very good production and the hard work was there for all to see. These talented kids should stand the society in good stead for years to come.

DISTRICT ELEVEN KATHARINE CARRADUS

Jesus Christ Superstar Walney Musical Theatre Company Artistic director David Marcus Musical director Eileen Lithgow This was my last musical of 2010, and what a superb production – full of excellent performances with so much talent on show. Malcolm Smith was a towering Jesus, he was really splendid. His singing of Gethsemane was beautiful and he conveyed the suffering of Jesus mentally and physically. The crucifixion was incredibly moving in its simplicity. Rob O’Hara as Judas Iscariot portrayed this part with passion, Judas is a difficult and unsympathetic role, well done. Caiaphas was superbly sung by Vincent Burston, and he was well supported by Priests Bill Calvert and Peter Buckley, and Annas, Tom Halfpenny. I thought Emily Dodd as Mary Magdalene did very well, and Joe Kaye made a fine Pilate. David Marcus was a very slick Herod, his song was a show stopper. The whole ensemble was in excellent form with good singing and dancing, I thought that all the Apostles/ Disciples were very good indeed. This was a very special show, with a good set and excellent costumes, but above all lovely singing complemented by a good orchestra. The title song Jesus Christ Superstar was brilliant. Thank you Walney for such a moving and rewarding evening.

Oliver! Grange and District Amateur Operatic Society Director and choreographer Christine Bell Musical director Tom Gray

Annie Jr Workington & District Amateur Musical Society: The Next Generation Director Kimberley Fisher Musical director David Proud Choreographers Victoria Sharples and Linzi Wilkinson

Annie the Musical MAD Penrith Savoyards Director and musical director Andy Webster Choreographer Alison Horn The thing that amazes me about Penrith Savoyards is how they are able to perform shows like Annie on a postage stamp of a stage – they do extremely well. The show got off to a good start with the orphans, augmented by a few extra ones, and even one or two lads. Last night we had the white team, very well led by Anna Willison-Holt, as orphan Annie. She sang and acted well, and was very convincing, although at times her voice was lost under the orchestra – what a shame! The kids songs were well received by an enthusiastic

This was the first time I had seen Annie as an abridged version for kids, and I think it works extremely well, much better than some of the other shows available for youth societies. The young performers seemed to engage much better, without the embarrassment of a romantic storyline. Annie was played by Dempsey Taylor, a little girl with a big voice. She was very convincing, and could easily have carried the part off in the adult version. Dempsey was very ably supported by Luke Todd as Daddy Warbucks, Francesca Duxbury as Miss Hannigan, and Taylor Nicholson as Grace Farrell, who played their adult parts very well. It isn’t always easy. The orphans made a good team, and the minor parts and chorus all played an important part. The show zipped along at a good pace. The production team used the stage aprons to good

First of all, congratulations must go to the scenic design team. The opening scene at the workhouse was really good, and when this was transformed into the thieves’ kitchen the lighting and fireplace really made it very atmospheric. The workhouse children opened the show with the rousing chorus of Food Glorious Food. Their singing throughout the show deserves a special mention, as does Oliver who was played by Robert Muir, who took on this role for the whole week, as well as the aforementioned children. There were some good characterisations; first from Mr Bumble and Widow Corney – who also sang very

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well, played by Mick Malkin and Catherine Garnett; also from the Sowerberrys played by Malcolm Higginson and Jean Malkin. Both Charlotte and Noah Claypole played by Victoria Martin and Peter Hazzard added to the undertakers scene. Johnathan Daley played a likeable Artful Dodger. Nancy played by Samantha Grundy made a fine entrance in It’s A Fine Life, and must be congratulated on the change of character from a raucous Oom Pah Pah to the tender As Long As He Needs Me – well done. She was well supported by Bet played by Grace Heap. Fagin was well played and sung by Derek Roberts who brought out his own quirky characterisation. The performance of the night came from Mark Jeffreys who superbly took on the role of Bill Sykes. He really was very menacing, and I think everybody was trembling when he sang What’s My Name?: I certainly was. Compliments must go to the street vendors on their portrayal of Who Will Buy. A lovely calming influence was shown to Oliver by Mr Brownlow – Ron Shapland and Mrs Bedwin – Ann Heap. All the smaller parts were played well. This was a really lively show, the chorus sang well and were supported by a good orchestra. Well done.

Olivia Storth Kids On The Bay Director Mike Cooper Musical director Alan Gardner Choreographer Jude Johnson This Innovative show by Malcolm Sircom, and set in Victorian times, traces the steps of Olivia from a downtrodden orphan to a star of the stage. On her journey to the bright lights of London, she is befriended by Eliza Doolittle outside Covent Garden, she becomes a singer in a new Gilbert and Sullivan show thanks to the unlikely help of Fagin and the Artful Dodger. She also gets help from George Bernard Shaw, Scrooge, Sherlock Holmes and Doctor Watson, she makes friends with Annie and many more characters. A great deal of enthusiasm and a good sprinkling of talent were on show, how well all these youngsters performed. There were some good individual performances including a cute and confident Artful Dodger played by Hannah Goodfellow-Foster who had lovely facial expressions and was a joy to watch. Beth Cooper as Olivia did a good job. Emma Gleave gave a strong performance as Eliza Doolittle, well done. The supporting ensemble were all well cast, they put a lot of energy into everything they did. Malcolm Sircom wrote some lovely songs, which were performed very well indeed. And the minimalistic black box set worked a treat. The props were just right, as were the costumes. The production team must have been pleased with everyone’s hard work. A good evening’s enjoyment, thank you and well done Kids On The Bay.

Sleeping Beauty Garstang Theatre Group Director Steve Dobson Musical director Lucy Leather Choreographer Kathy Pinon With this pantomime we had a good evening’s entertainment, with bright colourful costumes which enhanced the lively case, creating the ideal vehicle to lead us into the festive season. All the principals were well chosen and played their roles well, I loved the Stork that flew across the stage carrying the baby Princess, really funny and how the audience laughed. The comedy was a strong feature of the production. Joseph Clark as Nanny Fanny Cranny made a good traditional Dame. Katherine Ferguson and Derek Longstaff were good and very believable as the Princess and Prince, and Louise Topping as the ‘Horribilis’ Carabosse was brilliant, very well done. Strong supporting roles

added to the production, as did the chorus singing. There were many opportunities for audience participation, and how they loved every moment. The special effects were well done and the large audience of very vocal youngsters, including my own granddaughter, were thoroughly engrossed. The scenery was excellent as usual, a large gold star and very well done must go to unsung hero Tony Yates, and thank you to the band, a good selection of music. I think everyone went home happy, I know that I did.

The Admirable Crichton Ulverston Outsiders Director Jayne Kendall Lord Loam has socialistic ideas, not of the kind associated with economics. His daughter Lady Mary, is engaged to Lord Brocklehurst, she and her two sisters positively hate the monthly tea parties which their father gives to his household staff. Lord Loam is in fact master in his own house, and this is fully recognised by Crichton the butler and the whole household. Lord Loam takes his three daughters, some friends, Crichton and maid Tweeney on a world cruise, only to be shipwrecked on a tropical deserted island. The family is used to being waited on hand and foot, and they are now totally incapable of looking after themselves So Crichton becomes their leader and they all realise they can’t survive without him. I had not previously seen this JM Barrie play. It has a large cast, all were well chosen and turned in good individual performances. Lady Mary played by Lesley Skelton and her sisters Kerry Lacey and Ruth Wright all played their parts well, I must mention the beautiful dresses and wigs; so in keeping with the era. Tony Smith as Crichton was excellent, he sustained his character and had a natural presence which allowed him to make his role convincing. All the other principals gave strong performances giving thought to their characterisations regardless how large or small part they were playing. Occasionally there was need for more projection from some cast members when having stayed I felt, too long in one place when having their backs to the audience, sometimes important dialogue was lost. The audience was seated on three sides, as the stage was being used for entrances and exits plus the desert island, and most of the drawing room scenes were on the floor. At times I thought the play lacked the pace needed to extract the humour of the piece. The crew and props worked very hard and deserve a mention. I wish you all every success with the Drama Festival.

The Mikado Kendal and District Gilbert and Sullivan Society Director Vanessa Andrew Musical director John Perrin Choreographer Susan Scott-Stephenson The curtains opened onto a simple but lovely black and white set and back cloth, so much in keeping with the traditional Japanese buildings. The whole cast played as a delightful ensemble and gave pleasure to all who were present. There was strong choral work from all the gentlemen of Japan and the ladies of Titipu, they were all focused on what they were doing. Very good performances came from Neil Lawson playing the role of Nanki-Poo, he was in fine voice, and Kirsty McLean’s portrayal of Yum-Yum was just lovely, she sang with clarity with superb diction and feeling in her beautiful clear soprano voice, and Three Little Maids with Pitti-Sing played by Anna Graves and Peep-Bo Hannah Marsden was delightful. The girls were suitably giggly and complimented each other. Ian Loi as Koko was just brilliant, how the audience loved him, how they laughed at the topical and local inclusions in Koko’s Little List. Other good performances came from Nick Birbeck in

the part of Pooh-Bah, Jim Thompson as Pish-Tush and The Mikado was in the capable hands of Bryan Johnson. Vanessa Andrew made her debut as director of the society and was also cast in the role of Katisha, which she played wonderfully. She looked formidable, her costume, make up and wig were excellent, but I did feel that her vocals came across rather light, not as strong as to match her appearance. Also it was good to see young people on stage enjoying themselves. I especially liked the lighting used during The Sun Whose Rays sung most beautifully by Yum-Yum, and the opening of Act 2 Braid The Raven Hair, with PittiSing and the ladies. All the chorus and principals looked great with superb costumes and wigs, also there was some good choreography which enhanced the production. The orchestra was as always, first class. Congratulations to you all for your enthusiasm in making this evening’s production so enjoyable.

Trial By Jury and HMS Pinafore Barrow Savoyards Director Russ Palmer Musical director Doreen Dunlop Choreographer Karen Glasgow A strong performance of Trial got the evening off to a good start. This production had a well-balanced cast of principals, with producer Russ Palmer bringing in more movement into what can be a static piece. The learned Judge played by Andrew Barrow presided throughout and gave a first class performance, as did Phil McIntosh as the Defendant and Lorna McIntosh the Plaintiff who sang delightfully and was well supported by the bridesmaids. All other principals and chorus added to the enjoyment with the singing of a high standard. HMS Pinafore, or Lass That Loved A Sailor was first produced in 1878 at the Opera Comique London. One of the most essential characteristics of G&S is the strength of the leading players, there was everything here. The leading roles of Josephine and Ralph Rackstraw were both splendidly played by Ailsa McIntosh and Chris Hardman who complimented each other. Their solos and duets were beautifully sung. Helen Troughton brought a wealth of experience to the role of Little Buttercup. Phil McIntosh made an excellent Captain Corcoran as was Ron Eadington’s Quasimodo characterisation of Dick Deadeye. I also enjoyed Andrew Barrow as Sir Joseph Porter, and not forgetting the Bosun and Bosun’s mate, all the sisters, cousins, aunts and sailors. The singing was of a high standard accompanied by a well balanced and controlled orchestra. The curtain falls on general rejoicing and a finale in which all the best tunes are repeated and which finishes on a patriotic note, with some members of the audience waving English flags in praise of Englishman.

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Derby Opera Company

40 year Silver bar 40 year Silver bar

Mrs Linda Jennison Mr Ian Jennison

Erewash Musical Society

Diamond bar Mrs Fay Kirk 30 year Silver bar Mrs Carol Lawson 20 year badge Mrs Jane Maltby First class scenery, lovely colourful costumes goodHowe lighting and 15 year badge throughout Mrswith Heather sound. 10 year badge Mrs Joan Dockerill Thank you Savoyards for a very entertaining evening. 10 year badge Mr Mark Haigh 10 year badge Mr Gary Lever

Anything Goes (revised)

Gainsborough Amateur Commendation Award Lancaster Red Rose Amateur Operatic and Dramatic Society.Mrs Alice Pearson Operatic Society Producers Kathleen Kenyon MBE and Val Goulding Musical director Joanna Jeffreys Long Eaton Operatic year pin Mrs Jennifer Carty Choreographers Val Goulding and55 Anne Barnes Society 50 year Gold Award Dr Anthony Newton 40this yeargreat Silver bar Mr Keith This was a lively production from composer / lyrist Cole Butcher Porter; his music year are Silver bar recognisable. Mrs Angela Walters is always a joy to listen to as the40songs easily The show is one of 35 which year Silver Mr John Foxin the world of the light-hearted frivolous musicals has abar well-deserved place 25 year Award & 30 year musical entertainment. Silver bar from NewMrYork Steven Twigg I thought The action takes place on the SS American sailing to England. year Award Mrswere Siobhan Parker the opening was a little slow, but25 that disappeared once we aboard ship. Reno 25 year Award Mrs Elizabeth Sweeney, evangelist-turned-nightclub singer, was in the capable handsWoolley of Eleanor 15 year badge Mrher Robert Byatt with style. Manning who gave a good and assured performance and wore costumes 15 year badge Collishaw Paul Knowles gave a confident portrayal of Billy Crocker, Mrs who Claire is an admirer of Hope Harcourt – the American debutante. Alice Dent was suitably cast as Hope, she looked Northampton 40 year bars onMrs Joyand Eason good and has Amateur a pleasing voice 35 but&needs to Silver relax more stage not stand in a Operatic Company 25 year Award & 30 year Mr John Eason posing position. Silver bar The likeable characterisation by John Atkinson as Moonface Martin and Kate Ashton as his moll Bonnie were ideally cast and they acted well together. Geoff Houghton Stamford Gilbert & 30 year Silver bar Mr Trevor French was really excellent as the Wooster-ish Sir Evelyn Oakleigh; he got it just right and Sullivan Society 25 year Award Mrs Liz Knight his comedy timing was perfect. Reno’s four angels Chastity, Purity, Virtue and Charity, 25 year Award Mrs Rachel Parsisson together with the dancers performed some good choreographed routines, and all were 10 year badge Mr Allan Crowson smiling, well done. 10 year badge Mr Ian Ferguson I did enjoy Ching and Ling. Valerie Crompton as Mrs Wadsworth Harcourt and Argo Ashton as Elisha Whitney both contributed to the overall production. Good support came The Watson Players 10 year badge Mr Sean Beeston from the minor principles and the passengers and crew of the SS American. I must mention the rather camp purser, played well by Bob Bailey. Wolverton Gilbert & 20 year badge Mrs Karen Platt All the production well Ruth dressed. There were Sullivan Society numbers were 10 extremely year badgecolourful and Mrs Martin many inventive and amusing touches throughout the show which made for a very entertaining evening, helped along by a good band. Congratulations on your 75th anniversary production.

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BACKSTAGE

WRITE YOUR OWN PANTO PART TWO

In Part Two of this series Chris Lane discusses the importance of the title, constructing scenes and the importance of character in your panto. CHOOSE A TITLE

This doesn’t matter to you, all pantos are much the same, but it matters to the Club Treasurer as they don’t all attract the same size audiences. ‘Cinderella’ has them queuing; ‘Mother Goose’- going elsewhere; ‘Treasure Island’ - asking “Not doing a panto this year then?” • Cinderella - the most popular by a mile. Not Politically Correct – evil stepmother / bullying stepsisters?! TAKE CARE! • Aladdin - very popular but very clichéd. Often racist. Hard to be different. • Ali Baba and the Forty Thieves – mocking Muslims! Work it out for yourself. Avoid. • Robin Hood - very popular and with endless variations of story. Potential for beginner. • Dick Whittington and His Cat - very popular; few really original scripts here; often racist and can offend Muslims (not an ideal hobby). • Goldilocks and the Three Bears – obscure. Write anything and put porridge in it. • Jack and the Beanstalk - very popular, but with huge technical issues (literally). • Jack and Jill - obscure. Make up your own story with a well in it. Will it attract an audience though? Only village village shows. • Little Red Riding Hood – dramatic moments. Small girl at peril from hairy old man? Tricky. • Babes in the Wood – Who knows what it’s about? Why is Robin Hood in it? Old fashioned. Don’t do this first (if ever). • Hansel & Gretel – a super story but ‘destitute mother killing kids’?! Take care! • Mother Goose – totally obscure. Very old fashioned. What kid has heard of it? Avoid. • Puss in Boots – often mixed /confused with Dick Whittington. Vague. Tricky. Avoid. • Robinson Crusoe – usually racist mocking “cannibals” & slaves. Could be funny? Alone on an island – so what are the chorus, Dame, villain, love interest all doing there? • Sleeping Beauty – formerly popular, but about ‘someone sleeping’; too often gimmicky. Hard to get a solid narrative drive. Try it later. • Snow White – very, very popular but tricky without dwarfs. Very funny concepts; needs skill to be original. Possible second choice. • Treasure Island - use the character names and write what you like. Can be funny. • Three Men in a Tub – not sure if it is traditional but it worked for me! Hands off! Reluctant to tackle a classic? Don’t take the “zany” (lazy) option and write “Jack the Ripper: The Panto” or “Macbeth in Space: The Panto.” Audiences secretly hate them. With at least ten good, traditional plots to use and recycle endlessly it’s our duty to preserve this heritage.

Now find the key elements you must keep in: ‘new lamps for old’, ‘turn again Whittington’, ‘sleep for a hundred year’, ‘left her glass slipper behind’. Miss these out and make small girls cry. But is the original story so thin you have to add a sub plot?

BLOCK OUT THE SCENES

You will need six SCENES using three SETS.

1. FULL STAGE: Opening Scene – full stage (1) 7:30 – 8:15 2.HALF TABS SCENE: or on rostra 8:15 – 8:35 3. ¾ or full STAGE: Slapstick Scene. (2) 8:35 – 9:00 INTERVAL (to clean up mess) 9:00 – 9:20 4. FULL STAGE: Action Scene stage. (3) 9:20 – 9:40 5. HALF TABS SCENE: community song / business with kids. 9:40 – 9:55 6. FULL STAGE: Finale Scene (can be scene 1 or 4 again). 9:55 – 10:00 Better to keep it simple than use commercial scripts with fourteen scenes and seven major sets. And don’t think, “I’ll make it clear in the Program”. You don’t want people flicking through it every ten minutes. And what if they didn’t buy one? The best option is to build reusable rostra and create small scenes there. This costs a bit at first but is well worth it as your life is transformed!

FILLING THE SCENES

Scene One: Meet the characters; Set the background for the story; Start the story in motion. Scene Two: Establish the romance, with a song; Give the villains a chance to be villainous and sing; Let the idiots be idiotic, possibly with a song; Develop the plot slightly. Scene Three: Slapstick 4 sorts: cooking, decorating, factory, water. Always have a dramatic end to progress the plot. Interval – DO NOT have a draw or raffle here - so very amateur! Post the prizewinners numbers on a board as they leave. Scene Four: Main part of the action happens here, maybe even including the “denouement” (story ending)

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BACKSTAGE Scene Five - Community Scene Singing and / or kids on stage. This is the time for the cast to put their Finale costumes on.

New books from

Scene Six – Finale: The end of the story if not concluded earlier. Maybe an unexpected bit more or a twist? Punish the villain? Romantic conclusion – often a wedding. QUICK TIP: give each scene a sub-title. Shout out: “Scene Seven; fight with the giant!” and get a much better response. KEY TIP: ‘Don’t SAY it, SHOW it’. So why do so many old scripts spend pages telling you: “My son Jack is so idle that he….” or “Aladdin is so stupid that yesterday he …” The worst I saw had THREE pages of the Dame describing the other characters without any action at all! AVOID!

CHARACTER WRITING

Good Panto is CHARACTER DRIVEN. Like great TV sitcom you know what the characters will do under any circumstance. List the main characters, their gender (the more listed ‘Male OR Female’ the more chance of filling them) and their character oddities, romantic status, abnormalities, hobbies, etc. Do not copy commercial scripts that make characters handicapped (hunchback; stutter; lisp, etc.), or ‘different’ and open to ridicule because they are obese, depressed, gay, ginger, blonde, black, foreign, etc. Still common in scripts limping around for 40 + years now. Shun! ‘Stupid’ is acceptable if the person has a heart of gold and bravery. Every panto has an idiot, often two or more to interact. You can mock: arrogance, loudness, being ‘regional’, pomposity, forgetfulness, shortsightedness (I know – borderline but probably OK), poshness, and being-an-officialfigure. Wicked people must not have handicaps but can be stupid.

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So now you have a list looking something like this: Jim Hawkins – 15 to 21(male or Principal Boy) – very enthusiastic. Too trusting, even of obvious villains. Love interest with Squire’s daughter so needs to be right age. One proper song. Not stupid.

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You can now start writing about these people but remember: SEX and DRUGS and RUDE WORDS. In fairy-tale land the Dame can try to drag men to the church but not the bedroom. One tragic script has a gay genii come out of the lamp solely to make ‘jokes’ about ‘being bent double inside the lamp’ and it ‘not being all bad’. Would you tell your six year old daughter jokes like that? No mention of body parts or functions (not even ‘fart’). The audience CAN fill the gaps themselves. “I eat a lot of Brussels; I fetch them in my cart;” Pause for audience to guess where you are going; maybe even a grin and a nod. “I’d eat them every mealtime; ‘cept they really make me…”

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You can have that one for free; more in Part Three. Chris Lane www.pantoscripts.ME.UK

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BACKSTAGE

Know Your Rights DAVID WATERS Stage Scripts

professional production company in Wales, where we’re going to publish the winning entry in their open play-writing competition. We’ve also teamed up with UK Productions and we represent their range of pantomimes by Tom Bright. Our publishing policy for musicals though is similar, but we have to be more careful here. The significantly higher production costs of a large musical makes choosing one quite a complex affair for a production company. Those that enter our catalogue now can only be of top-notch quality, both in book and music, and preferably, to assist the marketing of the production to its audiences, the musical is better served if it has a recognisable title. This isn’t always possible and so we will take musicals with an ‘unknown’ title if we can see a commercial return for it in the longer term. Given the head start that the ‘Goliath’ rights-holders have with world famous titles in their catalogues, it’s unlikely that David in Stagescripts will become a true competitor to them any time soon, but, what we can do, is to give a shop window to some fabulous plays and musicals from talented creative people that would otherwise just have perhaps one production and then simply gather dust in a drawer for eternity. 3. What is the most exciting aspect of what you do? I think it’s that of being a catalyst; bringing together the constructional creativity of writers and composers with the interpretive creativity of directors, actors and backstage staff in a production company, resulting in performances that their audiences walk out of thinking that their ticket money has been well spent. We are the theatrical equivalent of a catalytic converter! 4. What were your stand out successes in 2010? The one act festival play ‘ A Little Box Of Oblivion’, and the Australian musical theatre version of ‘The Pirates Of Penzance’. 5. Is there anything exciting we can look forward to in the next year? In terms of musicals, we’ve just released ‘Gulliver’s Travels’ - a big production based on all four parts of Jonathan Swift’s satirical novel. Whilst children will enjoy its spectacle, adults will appreciate that the strength of the musical is its story about one man’s search to find inner contentment as he rails against the inadequacies of life. Later in the year we’ll be releasing the sung-through, ‘Les Mis’ style musical ‘Quasimodo’, and a version of ‘The Wind In The Willows’ first performed at the Yvonne Arnaud Theatre in Guildford. Plays coming along the pipeline are ‘Disconnected’ (a comedy about the complications a telephone repair man encounters on a small offshore island), ‘Hear A Song That Echoes’ (a contemporary drama themed around ‘The Lady Of Shalott’) and, in a very interesting development that’s still secret, we’re about to sign up the playwright son of a very famous playwright father - both of whom write good plays, but their styles are somewhat different.

Amateur Stage spoke to David Waters, Managing Director of Stage Scripts.

Also, we’ve just signed an agreement with the young and vibrant London production company, ‘A Stage Kindly’. We’ll be publishing and managing the rights for musicals that they produce as well as a range of other activities.

1. Tell us a little bit about Stagescripts? We’re a fairly new entrant into the theatrical publishing and right-holder business having started out in 2002 with just a few titles in our catalogue. Over the intervening nine years we’ve been actively ‘growing’ that catalogue, growing the company, and getting to know our customers, most of whom at the moment are in the amateur sector. Stagescripts is a private, family-owned business (so, no Doug, you can’t buy any shares!) and we pride ourselves on being responsive, honest and cost effective. We take care that our customers know what we have to offer and how they can go about getting hold of it. We’re currently expanding quite quickly, and we’ve recently increased our marketing team and opened an office in Ireland.

6. Most rightsholders have an underperformed gem in their catalogue. Is there a show you love that you’d like to see performed more? You’re quite right! We’ve had the musicals ‘Wuthering Heights’ and ‘Pride And Prejudice’ in the catalogue for about three years now. They are superb pieces with great principal and support roles with good chorus work and yet, despite this and the fact that the books they are based on are much loved and well known, they have languished, unperformed. I know I said we appeal to risk-taking production companies, but these

Witchfinder

2. Stagescripts has a reputation for representing some interesting new works and writers. Do you have a specific publishing policy? Yes we do, but first a bit of explanation. Some years ago we had to take a decision on where the company was going; which direction to take. Should we concentrate on plays for one act festivals, pantomimes and junior school musicals, or should we aim higher. We approached a consultant with this question, and after a good deal of discussion, the result was that we felt that the more difficult route would be far more appropriate for us. So our publishing policy is to seek out material that is suitable for ‘adventurous producers’ by which we mean that our titles are not household names, have not (yet!) appeared in the West End or on Broadway, and so the production company, be it amateur, fringe or professional, needs to be a risk-taker. For plays, we aim to have a balanced catalogue, with a good mix of comedy and drama, mostly by playwrights who are good at their craft, have a solid cadre of work behind them, but haven’t been successful in the acquisition process of the larger publishers. We’ve also been working co-operatively with other organisations to tease out fascinating and/or new material. Two examples of this are firstly our association with the Theatre Royal, Bury St Edmunds, a regional theatre in Suffolk and the only remaining operational Regency theatre in the UK. We represent their range of regency plays which admittedly are not everybody’s cup of tea, but are nonetheless great pieces of work and, although they are around two hundred years old, have been fully restored for production. Secondly we’ve teamed up with Frapetsus Productions, a small

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BACKSTAGE Gulliver’s Travels

titles would seem to me to be a lot easier to attract an audience than some other ‘unknown’ shows.

inferno and you can find many professional producers (and some amateur groups) who relish the thought of producing a new and exciting piece.

7. How significant is the amateur sector to Stagescripts? At present, and for the near future, productions by amateur groups are vital to our success. We’re gradually diversifying into other sectors, but most of our catalogue is performed by, and ideal for, amateur groups. 8. If a group is interested in finding out more about your catalogue what should they do? If you’d asked me that question five years ago, I’d have said, “phone us for a printed catalogue”. You can still do that of course, but with the internet now looming large in our lives, the quickest way to get a feel for, and find out information about any particular title is to visit our website at www.stagescripts.com (or www.stagescripts.ie if you’re reading this in Ireland). We’ll gladly lend you a full perusal set (script, vocal score, cast recording & DVD) free olf charge for our musicals but regrettably not for plays, but you can download a free preview script for each title from our website containing about half the script) on a ‘try before you buy’ basis.

12. Why should an amateur group choose one of your shows over a more well-known one? Surely they’ll have a much harder time selling tickets for it? That’s an interesting point. We took our exhibition stand to the NODA North East Conference weekend recently and I was talking to some people there about financially reliable shows - the ‘certainties’ you mentioned. The general consensus was that there are no longer any ‘dead certs’ to attract an audience and that the key to increasing audience numbers is marketing ... and modern, all-encompassing marketing at that. No longer was it sufficient to stick up a few A4 posters in shop windows and put an advert in the local paper! They had had to get to grips with adverts and editorial on local radio and TV, develop Facebook followings with their audiences, compile audience e-mail lists, stand outside supermarkets etc etc. All of the people I spoke to said it didn’t matter what show they were doing, new or old, known or unknown, they were being dragged kicking and screaming into the 21st Century world of marketing and social networking.

9. If they like a show how do they proceed to get a license? In the perusal pack for musicals we conveniently pop in a Royalty Quotation form, which, when we receive it back in our palatial corporate office (that’s perhaps overegging the real situation ever so slightly!) after we’ve checked the availability of the titles requested, we’ll send the group a bespoke quotation which doubles as the licence application form. Send that application form back with the appropriate cheque and normally by return we’ll post the licence back. If a group wants though, all this can be done on our website using online forms, credit card payments and e-mailed responses.

So, if that’s the case, and my small straw poll suggests that it is, then why still choose ‘Oklahoma’ or ‘Kiss Me Kate’ when with the same amount of marketing effort you could challenge your cast and delight your audiences with ‘Wuthering Heights’ (or to be fair, an ‘unknown’ title from another rights-holder). It’s not an easy decision for a Committee to take when considerable sums of money are involved, but by spending money up front in providing the right marketing, the risk of financial problems are drastically reduced. Tony Gibbs from NODA has been banging on about this for a few years now and they have developed some expertise to support groups with their marketing efforts.

10. Are there any tips you can give groups to make licensing easier? I’m not sure that there are any such tips. Licensing (aka ‘getting the rights’) is not a complicated activity per se, but it does require a) an understanding of the legal position and b) it should be started well in advance of any planned production. Certainly do it before rehearsals start and venues are booked to avoid disappointment at best, and financial loss at worst. Just because it’s in the catalogue doesn’t mean you can perform it when you want.

For more information visit www.stagescripts.com

11. Do you think there is a market for unusual or new works in a market where everyone (professionally and amateur) seems to be latching onto film and tv based “certainties”? If I thought that the only shows that are going to be booked in the future are ex-TV spin-offs and legacy productions of shows that have closed after their West End runs, then I’d have to close the business now! I’m convinced though that we as human beings will always want to perform in shows that challenge us, shows that expect more of an audience than passively letting the action on stage wash over it without becoming emotionally involved with the characters on stage. This applies equally to comedy as to drama - laughing can be just as powerful an emotion as crying. I think there’s a distinction to be made in your suggestion that ‘the professional theatre is only going for film and tv based certainties’. That may be true of the West End in their relentless quest to part tourists with their holiday money, but step away from that bright and shiny

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DIGITAL MIXERS - WHAT ARE THE BENEFITS? Dan Herbert TechInstSCE, Systems Designer – Distributed Sound & Video Ltd looks at the ins and outs of digital mixing technology. Nowadays the idea of having the ability to recall presets and cues on a mixing desk in a similar way to that of a lighting desk is more of a reality, but what is the main benefits of using a digital desk? The main benefit of using a digital rather than an analogue desk is that digital desks are normally smaller and lighter compared to their analogue counterparts. This is often achieved by multiple fader layers on the control surface, where channels 1 – 16 share the same physical faders as channels 17 – 32, enabling the selection of the fader layer you are working with at the touch of a button. You can setup your work surface so the channels you need instant access to can be on one layer, while channels you don’t necessarily need regular access to, such as the Band, can be on another layer. Normally only one channel strip comprising of EQ, pan etc. is provided, this is also selected by the press of a button in relation to the channel you wish to adjust. Effects, compressors, gates and delay facilities are normally built into the signal chain of the inputs and outputs of digital desks. This means that you shouldn’t need any other outboard equipment (except for playback), as the desk would have this built in, saving you considerable space in your front of house rack, where several signal processing units may have been situated. Unlike analogue desks where the mixer would have all XLR and jack connectors built into the console, digital desks may make use of external interfaces. Channels 1-16 may have XLR connectors however; channels 1732 may require the use of an audio interface unit. This will either be internally installed into the mixer or externally connected. Although the interface unit would require connection to an external microphone preamplifier to house the XLR connectors; this can be located either onstage or in the orchestra

pit; giving you increased flexibility and a reduction in the number of cables required. Depending on the features of the digital desk, you may be able to set up the entire show before you start your production week. Using an offline editor on your pc to programme the show and then simply load into the desk will leave you time to set up the rest of the system. If you are hiring a desk the ability to set up inputs, outputs, routing, effects or mute groups without the need to access the desk, will save you time and money. Most digital desks allow you to assign mute groups, allowing you to mute selected inputs and outputs at the touch of a button. For example, should you need to mute several selected microphones at once, you would be able to assign a single button to do this rather than having to press many buttons at the same time. Presets, scenes or cues may also be stored into digital desks. This allows you to set up the desk to mute, add effects or change levels of channels at a given time in the show, much like playing back a cue on a lighting desk. Although additional items such as microphone preamplifers, interface units and cabling may be required to enable the use of all of the capabilities of your digital desk, the advantages of digital mixers such as, ease of control, flexibility and more compact front of house mixing position, will ease the demands placed on you in the preparation and mixing of your production!

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BBC RADIO 2

THE STORY OF FRANKIE VALLI & THE FOUR SEASONS 0844 482 5151

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H T N O M E H T F O PLAY

playscri pts

BACKSTAGE

David Muncaster reviews the latest playscript offerings.

is both fascinating and frightening.

DEAD HEAVY FANTASTIC Robert Farquhar Josef Weinberger ISBN NO: 9780856763182 CAST: 4M 4F

Sex and drugs and karaoke: Liverpool on a Friday night and Frank is sitting in a trendy bar waiting for his blind date. He doesn’t have to wait very long. Cindy arrives, introduces herself, asks for a drink (double vodka – straight) and tells Frank that he has a nice face. She reminds him of her Dad. No, not now. When he was younger, in his forties. Frank tells her that he is thirty-nine. Cindy apologies and gets up to leave; but she doesn’t go. Instead she suggests they go somewhere together. She knows a place that isn’t far. She has some condoms… Dead Heavy Fantastic is a whirlwind of a play, the speed of Cindy’s proposition a metaphor for the pace of the action. Keep up. You won’t want to miss anything! As you would expect from a play set in the streets, bars and nightclubs of Liverpool, not to mention the Accident and Emergency department of the local hospital, the language is colourful and our story encompasses all the unsavoury aspects of a drunken night out that goes horribly wrong. It is also very, very funny. Characters enter and leave the action to provide momentary glimpses into the lives of people who are not in control of their own destiny. They supply humour and pathos in equal measure in this slice of Friday night that

MAKING MONEY Terry Pratchett adapted Stephen Briggs Samuel French Limited ISBN NO: 9780573112645 CAST: M19 F10. Extras

It is twenty years since Stephen Briggs first brought Terry Pratchett to the stage when the Studio Theatre Club in Abingdon produced Wyrd Sisters. This first play was a massive hit and has become a favourite amongst amateur theatre groups. Since then Briggs has become known as an authority on the series of Discworld novels having written books about the series as well as his many stage adaptations. In Making Money, Moist von Lipwig is employed as the Postmaster General of the Ankh-Morpork Post Office but is forced into taking over the running of the Royal Bank. Finding that people trust banks much less than they trust the post office he uses his skills as a former con-man to change the way money is valued, with the currency being supported by the city rather than gold. The story could hardly be more topical and it is a tribute to Prachett’s perspicacity that his novel was published in 2007 before the real life banking crisis became apparent to us ordinary mortals. The play opens with a speech which is almost word for word the same as the beginning of an episode of Ronnie Barker’s Porridge and this will, perhaps, reassure audiences unfamiliar with Pratchett’s work that they will be able to relate to the action on the stage. Indeed Ankh-Morpork is a fantasy world that so closely resembles our own that the characters seem both ridiculous and familiar at the same time. With so many adaptations available, any society deciding that they want to stage one of the Discworld plays are rather spoilt for choice but, with Making Money, timing may be the thing that is of the essence.

MY WONDERFUL DAY Alan Ayckbourn Samuel French Limited ISBN NO: 9780573113048 CAST: M2 F3, 1 girl (aged 9)

In the hotel where Cindy takes Frank we meet Vince, Cindy’s desperate ex-boyfriend who is prepared to do anything to get her back. Frank’s evening gets increasingly weird as he is drawn into Vince’s world of girls, drugs, booze and a little bit of arson on the side. Frank is out of his depth in so many ways but in spite of himself he ends up the hero. Most of the characters in this play are the type that we would cross the road to avoid but one cannot help hoping that everything is going to work out ok for all of them and I was relieved that, for Frank at least, there is a happy ending. Any company considering putting on a production of Dead Heavy Fantastic would have to use every warning they have available but, for the broad minded, this is a fantastically good play.

author acknowledges the difficulty in find a child who is, or at least looks, nine years old it is such an essential part of the story that it will just not do to ‘age up’ the child to, say, fourteen and have a seventeen year old play the role. The play must be told from the perspective of a nine year old. The child in question is Winnie the daughter of the second generation Afro-Caribbean Laverne who is heavily pregnant. As the play begins the mother and child have arrived at the house of Kevin Tate, a minor TV celebrity, where Laverne is employed as a cleaner. Winnie is off school, supposedly ill, and is told to sit quietly and do her homework: an essay entitled My Wonderful Day. This particular day, being a Tuesday, is a day in which she must speak entirely in French in preparation for Laverne’s dream of moving the family back to Martinique. As Winnie sits and quietly gets on with her work the scenes acted out in front of her give her plenty of material for her essay. The first visitor is Tiffany, Kevin’s Personal Assistant and mistress. We learn of their affair when Tiffany tries to distract Winnie from the argument that Kevin is having with his wife on the telephone in the next room by playing a corporate video that Kevin has just made for some awful sounding resort. The cheesy music is interrupted by the voice of Paula, Kevin’s wife, explaining in no uncertain terms the relationship her husband enjoys with his P.A. Then there is Josh. Summoned by Kevin to discuss the situation with the videos and, in a scene that is both cringingly embarrassing and very funny, the pair talk openly in front of Winnie in the mistaken belief that she does not understand English. Then Laverne’s waters break and, whilst she is whisked off to hospital, Winnie has to stay in this strange house until a family friend can collect her. Josh is instructed to look after her but, in a reversal of their supposed roles Winnie reads aloud from her book and Josh falls asleep. Finally Paula arrives and is briefly maternal until she realises that her husband is upstairs, in bed with Tiffany. The pivotal scene in the play is pure farce, as the naked mistress is thrown out of the house and the cheating husband is brained by his wife’s BAFTA; but it wouldn’t be Ayckbourn if there wasn’t any pathos and this is provided by the fact that this very adult situation is witnessed and recorded by the nine year old child.

My Wonderful Day is a play told through a child’s eyes. Whilst the

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OUBLIETTE

BACKSTAGE

David Foxton Samuel French ISBN NO: 9789573121883 CAST: M6 F9, plus 5 M or F In a twelfth century manor house stands a room with no doors or windows. This is an Oubliette, from the French ‘to forget’ and it is the place where our story is set. A tour guide leads a group of visitors into the room via a door recently installed by the trust that now owns the property. As the guide speaks they are all unaware of the ghostly presence of Anne, a servant girl from the past. The guide tells the visitors that the original purpose of the room is unknown, whilst the interjections from Anne, heard only by the audience, add to the mystery. The visitors leave and the room is filled by more characters from Anne’s era. It seems that the Oubliette is something of a den for thieving servant girls, stealing linen from their masters.----- When Anne’s master learns of this the girls are quick to blame witchcraft, claiming they were forced into participating in crime against their will. The master seeks to protect the girl accused of being a witch and we realise that the master’s fate and reason for the room being sealed, trapping Anne eternally within the walls, has more to do with greed and ambition than it has with witchcraft. For a play lasting only around twenty minutes or so, Oubliette is remarkably atmospheric and succeeds in having a satisfyingly complex and intriguing plot.

THE GRAVE

Melville Lovatt New Theatre Publications ISBN NO: 9781840948042 CAST: 2M In a graveyard Michael is sitting on a bench reading a book. He is a man in his twenties, dressed in denim, with a studious appearance that would give one the impression that he has come to this place for a bit of peace and quiet. This is disturbed by Williams, an older man who is shabbily dressed apart from his brand new shiny shoes. This is a one act play in the Theatre of the Absurd genre associated with playwrights such as Samuel Beckett. It lurches from extreme violence, to humour, to menace in a manner that is likely to remind the viewer of Waiting for Godot, but the story never strays very far from the real world. Are Williams’ shiny shoes stolen and, if so, why should Michael care? Who is Michael anyway and what was the real purpose for him being in the graveyard? The Grave is open to a multitude of interpretations and is the sort of play that an audience will ponder after the curtain falls. I believe that this makes it well worth considering as a festival entry.

THIRTEEN MONOLOGUES Translated by Peter Meyer Oberon Books ISBN NO: 978184943194

First published in 1996, Thirteen Monologues is now available as a paperback edition. Peter Meyer’s translation of the works of Jean Cocteau and Georges Feydeau was in part commissioned by the BBC for broadcast on Radio Four and this volume serves as a reminder of a form of dramatic expression that is often neglected. It is true that the monologue has always had an uneasy relationship with the theatre, more likely to be performed in private drawing rooms than in public places of entertainment, but this collection proves that monologues can entertain, and that’s enough for me. JEAN COCTEAU In A Practical Joke the narrator describes his delectation for making mischief. In truth he is an annoying little man who delights in getting strangers into trouble. His victims are usually undeserving of his abuse but he gets his comeuppance when he uses his skill at devilry on a more justifiable target. I Lost Her is the story of a liaison. Our narrator found her at a fair

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

BACKSTAGE

but, before he had even learned her name, he lost her again. As they made their way around the attractions they met several more times. He found her and lost her many times until he is finally left wandering around in the dark, searching for her but unable to call her name.

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(THE CENTRE) In Read Your Paper the narratorWIG is frustrated. Behind the newspaper hides his indifferent lover. There he is, racked by pain and suffering. All he wants is a word, a glimpse of her face, one sign that his love is not in vain. But no. His lover remains impassively behind her newspaper. Oh, the torture!

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In A Man Who Hates Monologues Feydeau takes the opportunity to poke fun, not at the genre, but at people who make generalisations. The narrator insists he hates monologues but concedes that there are occasions when they are acceptable. A monologue, to him, is someone talking to themselves and whilst he accepts that there Full & Kryolan are circumstances whererange this might-beLeichner excused, it is clear that he never takes the time to listen to what is being said.

THEATRICAL MAKE-UP ACCESSORIES

Feydeau’s comic style is more prevalent in The Antipodes. Before the monologue has properly gotHats, underwayfans, we haveboas, the delightful line, “My uncle, he’s my aunt’s glasses, gloves, etc.husband, dies in Marseilles. So far, so good.” More comedy comes courtesy of the naivety of the narrator. Alone in Paris she is completely unaware that people are taking advantage of her. Or is she?

JEWELLERY

Plays for review should be submitted to: Amateur Stage Limited SHOW CARDS Suite 404 Albany House, 324 Regent Street, London W1B 3HH Whilst all efforts will be made to review scripts received the publisher cannot guarrantee reviews. We regret that scripts 166 Edleston Road, Crewe do not reflect cannot be returned.The opinions of our reviewers CW2 7EZ the views and opinionsCheshire of the publisher. Tel: 01270 255726 Fax: 01270 255130 Email: bromileyltd@btconnect.com www.bromileywigs.co.uk

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playiNg wiTh my hearT a one-act comedy for young people by Shaun Prendergast M7 F7, may be played by M5 F4 with doubling A group of adolescents and their teacher are on an outing to the iconic Angel of the North in Gateshead. When their coach home is delayed, squabbles start to break out and the Angel steps down from her lofty height to intervene. Price £5.00

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

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

42nd Street

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

90 Years Young

Billy Elliot the Musical - Youth Theatre Production 06 - 08 July 2011 Yeovil Youth Theatre Octagon Theatre Yeovil, Somerset 01935 422884

Bugsy Malone

17 - 18 June 2011 KYDS Youth Drama Society Thurstable School Colchester, Essex 07954229869

09 - 11 June 2011 Alton Operatic and Dramatic Society Alton Assembly Rooms Alton, Hampshire 01420477856

07 - 09 July 2011 College Amateur Operatic Society Kenneth More Theatre Ilford, Essex 020 8553 4466

Acorn Antiques - The Musical

Cabaret

14 - 18 June 2011 Dryburn Theatrical Workshop Park View Theatre Complex Chester-le-Street, County Durham 0191 3883362 27 June - 02 July 2011 The ESNA Players Loughborough Town Hall Loughborough, Leicestershire 07989 787888

Alice In Wonderland 13 - 16 July 2011 SEND A D S Rhoda McGaw Theatre Woking, Surrey 07542107815

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

Annie Warbucks

18 - 20 July 2011 Steps Productions Rotherham Civic Theatre Rotherham, South Yorkshire 01142 475 460

Anything Goes

09 - 11 June 2011 Barking Music and Drama Kenneth More Theatre Ilford, Essex 020 8553 4466

As You Like It 13 - 16 July 2011 Guildburys Farnham Castle Farnham, Surrey 01273 251913

Bad Girls The Musical 07 - 11 June 2011 LIDOS The Carriageworks Leeds , West Yorkshire 0113 2474746

Beauty and the Beast 01 - 04 June 2011 Watlington Players Watlington Village Hall King’s Lynn, Norfolk 0845 052 9645

Best Little Whorehouse in Texas, The 14 - 18 June 2011 Springers Amateur Operatic and Dramatic Civic Theatre Chelmsford, Essex 01245 606505

08 - 11 June 2011 Sidmouth Musical Comedy Society Manor Pavilion Theatre Sidmouth, East Devon 01395 514413 14 - 18 June 2011 Bournemouth & Boscombe Light Opera Co The Regent Centre Christchurch, Dorset 01202 499199 21 - 23 July 2011 Nomads The Masque Theatre Kettering, Northamptonshire 07857 186005

Clink, The

28 - 30 July 2011 The Beaufort Players The Church of the Ascension Hall Ealing, London 020 8993 2532

Copacabana

29 - 02 July 2011 Bexhill Light Operatic and Dramatic Society De La Warr Pavilion Bexhill-on-Sea, East sussex 01424 229111

Crazy For You

20 - 23 July 2011 Weymouth Operatic Society Pavilion Theatre, Weymouth Weymouth, Dorset 01305 783225

Crossing Delancy 29 June - 02 July 2011 Fylde Coast Players Lowther Pavilion Lytham, Lancashire 01253 794221

Curtain Up

06 - 11 June 2011 Little Theatre Gateshead Little Theatre Gateshead, Tyne & Wear 0191 478 1499

Disco Inferno

27 - 30 July 2011 Billboard Ensemble Memorial Hall & Theatre Barry, Vale of Glamorgan 01446 733625

Disney’s Beauty and the Beast 22 - 23 July 2011 Centre Stage North East Sunderland Empire Sunderland, Tyne and Wear 0844 8472499

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

East Lynne

21 - 23 July 2011 Writtle CARDS Writtle Village Hall Chelmsford, Essex 07843 422262

Elixir of Love, The 16 - 18 June 2011 Southgate Opera Wyllyotts Theatre Potters Bar, Hertfordshire 01707 645005

Fantastic Mr. Fox 16 - 18 June 2011 Kaleidoscope players Guildhall Theatre Derby, Derbyshire 01332 255800

Fiddler on the Roof 21 - 25 June 2011 PHEOS Musical players Watersmeet Rickmansworth, Hertfordshire 01923 711063

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

Full Monty , The

15 - 18 June 2011 New Mills & District Amateur Operatic & Dramatic Soc The Arts Centre Derby, Derbyshire 01298 25750

Godspell

11 - 2 July 2011 Whitworth Amateur Musical and Dramatic Soc The Curtain Theatre Rochdale, Lancashire 01706 630733

Golden Moments

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

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

Dangerous Corner

Grand Night For Singing, A

Curtain Up On Murder

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

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

Darling Buds of May, The

06 - 09 July 2011 Peforming Arts Company Berry Theatre Southampton, Hampshire 01489 799499

27 July - 05 August 2011 Richmond Amateur Dramatic Society The Georgian Theatre Royal Richmond, North Yorkshire 01748 825252

Guys & Dolls

08 - 11 June 2011 Maghull Musical Theatre Company Southport Little Theatre Southport, Merseyside 01695632372 14 - 18 June 2011 Sunderland Amateur Operatic Society Sunderland Empire Sunderland, Tyne and Wear 0870 6021130

Half a Sixpence

26 - 30 July 2011 Worcester Operatic Youth Section Worcester Swan Theatre Worcester, Worcestershire 01905 423809 21 - 25 June 2011 Handsworth and Hallam Theatre Company The University of Sheffield Drama Studio Sheffield, South Yorkshire 01709 377611

Hi-De-Hi

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

High School Musical 30 June - 01 July 2011 Glow Theatre Group Barn Theatre Oxted, Surrey 01883 720167 www.barntheatreoxted.co.uk

HMS Pinafore

14 - 16 July 2011 Sunningdale Savoy Chorus The Rose Theatre, St Mary’s School Ascot Ascot, Berkshire 01344 297347

Hot Mikado

21 - 25 June 2011 Southampton Operatic Society Nuffield Theatre Southampton, Hampshire 023 8067 1771 01 - 04 June 2011 Norfolk and Norwich Threshold Theatre Group Norwich Playhouse Theatre Norwich, Norfolk 01603 598598

Inspector Calls, An

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

La Cage aux Folles

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

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

Les Miserables (School Edition) 06 - 09 July 2011 Easy Street Theatre Company Universtiy Drama Studio Sheffield , South Yorkshire 07788 594133

Likes of us , The

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

78| www.amateurstagemagazine.co.uk

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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Little Shop of Horrors

Much Ado about Nothing

Oklahoma!

Lucky Stiff

Musical History Tour, A

15 - 18 June 2011 Rock Ferry A O S The Gladstone Theatre Wirral, Merseyside 0151 645 1369

Me and My Girl

My Fair Lady

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

28 - 30 July 2011 Just Good Friends St Peter’s Civic Hall Carmarthen, Carmarthenshire 01267 237386

21 - 25 June 2011 Morecambe Amateur Operatic and Dramatic Society Lancaster Grand Theatre Lancaster, Lancashire 01524 64695

Melody Lingers On, The 29 - 30 July 2011 Tynemouth Amateur Operatic Society The Kings School Tynemouth, Tyne & Wear 0191 2521827

Merry Widow, The

06 - 11 June 2011 Pershore Operatic and Dramatic Society Number 8 Community Arts Centre Pershore, Worcs 01386 555488

Mikado, The

15 - 18 June 2011 Sheringham Savoyards Sheringham Little Theatre Sheringham, Norfolk 01263 822347

05 - 09 July 2011 The Castle Players Grounds of Bowes Museum Barnard Castle, Durham 0800 074 7080

14 - 16 July 2011 Colchester Operatic Society St Mary’s School Colchester, Essex 01206 383172

08 - 11 June 2011 Southampton Operatic Society Juniors The Hub Theatre Southampton, Hampshire 023 8040 3163

Neville’s Island 02 - 04 June 2011 Alexandra Players Alexandra hall Charlton, London 020 8858 2769

Noises Off

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

Oh, To Be In England 11 June 2011 Godalming Operatic Group The Electric Theatre Guildford, Surrey 01252 703376

16 - 18 June 2011 Nuneaton Pantomime And Revue Society The Civic Hall Bedworth Bedworth, Warwickshire 07900 452 306

Oliver

22 - 25 June 2011 5 Towns Musical Theatre Society Alice Bacon Community Centre Normanton, West Yorkshire 01924 894480

On a Lighter Note 14 - 16 July 2011 Hitchin Thespians Woodside Hall Hitchin, Hertfordshire 01462 641575

Opposites Attract

28 - 30 July 2011 Younger Generation Theatre Group Ashcroft Theatre Croydon, Surrey 0208 6799404

Out of Focus

27 - 30 July 2011 Burton Bradstock Players Burton Bradstock Village Hall Burton Bradstock, Dorset 01308 897415

Outside Edge

15 - 18 June 2011 The Festival Players Loughborough Town Hall Loughborough, Leicestershire 01509 231914 www.loughboroughtownhall.co.uk 15 - 18 June 2011 The Watson Players Derby Theatre Studio Derby, Derbyshire 01332 343649

Pajama Game, The

15 - 18 June 2011 St Annes On Sea Amateur Operatic & Dramatic Society Lowther Pavilion Lytham St Annes, Lancashire 01253 658666

Pirates of Penzance

24 June - 02 July 2011 Hemel Hempstead Theatre Company Boxmoor Playhouse Hemel Hempstead, Hertfordshire 01442 234004

Pocket Pericles, The 03 - 11 June 2011 Woodhouse Players Welsh Church Hall Leytonstone, London 020 8504 3872 www.woodhouseplayers.co.uk

Producers, The

26 - 30 July 2011 Slough,Windsor & Maidenhead Theatre Company Theatre Royal Windsor Windsor, Berkshire 01753 853888

Guys and Dolls, Deanery Players

www.amateurstagemagazine.co.uk | 79

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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdia

Kiss Me Kate - Dunkinfield AODS Photos: Martin Ogden Proof

South Pacific

Pull the Other one

Spygame

08 - 11 June 2011 Shinfield Players Theatre Shinfield Players Theatre Reading, Berkshire 1189758880

09 - 11 June 2011 Bramrocks Norwich, Norfolk 01508 538622

Rebecca

13 - 16 July 2011 John Lewis Partnership Dramatic Society Odney Club Maidenhead, Berkshire 07977070211

Recipe for Disaster 10 - 11 June 2011 Under The Tower Drama Earls Barton Parish Church Hall Northampton, Northamptonshire 01604 810802

Run for your Wife 13 - 16 July 2011 Rustington Players Woodlands Centre Rustington, West Sussex 01903 774849

She Stoops to Conquer 16 - 25 June 2011 Chelmsford Theatre Workshop The Old Court Theatre Chelmsford, Essex 01245606505

Showstoppers

30 June - 02 July 2011 The Orchard Players Capel St Mary Village Hall Ipswich, Suffolk 01473 311061

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

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

Sweet Charity

20 - 24 July 2011 Centre Stage Theatre Arts Chatsworth Arts Centre Long Eaton, Nottingham 01332 232940

Thank You For The Musicals 01 - 02 July 2011 Staines Musical Theatre Group Old Windsor Memorial Hall Old Windsor, Berkshire 07907 614 916

There Goes The Bride 01 - 04 June 1911 Poulner Players Poulner Church HAll Ringwood, Hampshire 01425475886

They Came From Mars and Landed Outside The Farndale Avenue Church Hall 27 June - 02 July 2011 Wheatsheaf Players Co-Operative Theatre, Wyken, Coventry 024 7645 6179 www.wheatsheafplayers.com

Troy Boy

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

Vagina Monologues, The 07 - 11 June 2011 Wick Theatre Company Barn Theatre Southwick, West Sussex 01273 597094 www.wicktheatre.co.uk

Wedding Singer, The

Wizard of Oz (RSC version) 30 June - 02 July 2011 Tipton Arts The Milk Theatre, Sedgley, Staffordshire 0121 502 3601

Wizard Of Oz, The

31 May - 04 June 2011 Ariel Theatre Co The Hawth, Crawley, West Sussex 01293 553636

Woman In White, The 04 - 09 July 2011 Little Theatre Gateshead Gateshead, Tyne & Wear 0191 478 1499

04 - 09 July 2011 Birmingham & Midland Operatic Society The Old Rep Birmingham, West Midlands 01212411681

Whistle Down The Wind 21-26 June 2011 Jersey Amateur Dramatic Club Jersey Arts Centre Jersey, CI 01534511115

Who is Pilgrim?

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

Wiz, The

21 - 23 July 2011 Llandudno Youth Music Theatre The Hall, Venue Cymru, Llandudno, Conwy 01492 872000

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

80| www.amateurstagemagazine.co.uk

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BIRTHDAY ISSUE

the musical produced

FORBIDDEN PLANET special feature

SUMMER SCHOOLS interview

JERRY MITCHELL PLUS: INSURANCE, PLAYSCRIPT REVIEWS, UK PRODUCTION DIARY, NEWS & SOUND ADVICE Feb10_1-11.indd 1

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NATIONAL NEWS ROSS SUMMER SCHOOL NATIONAL SHOW DIARY SELLING YOUR SHOW WEBSITE REVIEWS SCRIPT REVIEWS

tech talk

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MAMMA MIA PROFILED

The Musical Produced JESUS CHRIST SUPERSTAR

feature

Special Feature AETF England Final 2010

POLITICAL PLAYS

TICKET PRICES Are We Charging Too Little? The Musical Produced SCROOGE THE MUSICAL NDFA Results

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the last word

CURTAIN CALL Wisteria Cottage Garrick Lane Hello my luvvies, I have had such a stroke of luck! For some reason I have a reputation as a source of unusual items and have been asked for such random objects as a samovar and size 12 slippers. (I must admit I failed on both counts.) Nevertheless, I have been known to come up with a wind-up gramophone, a top hat in original case and I possess a tea set so garish that it only ever sees the light of day on a stage. On its last outing, someone remarked that the china was Clarice Cliff’s; naturally, I put them straight and told them in no uncertain terms that it belonged to my mother and she was called Beatrice. Only last week, Nikki asked if I knew where she could find a hubble-bubble pipe for some play set in the Far East. I told her I had a hookah in my spare bedroom and she made a choking noise down the phone, obviously staggered that I had such a thing. Mind you, she has so many choking fits that I’m beginning to think she has a medical problem. Anyway, today I was asked for a long cigarette holder and delved into the understairs cupboard where I keep such items. I was seeking a box labelled ‘Accoutrements’ which I distinctly remembered as being inside a brass coal scuttle. Memory did not deceive me. I extracted the box and noticed an old, brown booklet lying beneath it. My dears, it was meant to be. It was the script of ‘The Monkey’s Paw’! That would be my festival offering! As I remembered, there were three characters – mother, father and son. Perfect! I settled down to read and, calamity! This time memory had deceived me, I had completely forgotten the sergeant. Still, I snatched up the phone, broke the glad tidings to Nikki and explained that I had never had a problem finding a man. She made that strange noise again and said she would call me back. Next time I see her I shall make her a present of some Friar’s Balsam. Now, casting. Jeff will obviously take the role of the father, I can persuade Darren to do the son, but the mother.....? After due deliberation, I decided to ask Kath. Vera lacks experience and Marjorie exceeds in the size department. At least Kath will be easy to dress and can usually be relied upon not to fall over the furniture. I say ‘usually’, there was the famous occasion when she became inexplicably entangled with an umbrella stand for several pages during Pygmalion. I digress, back to the drawing board. Set design poses a few problems, though none are insurmountable to someone of my experience. Firstly, the play calls for a door stout enough to be battered from the outside. Doors we have, but to fix one firmly in a festival environment, that is another matter, unless, of course, you are blessed with lateral thought as I am. The answer was obvious. I shall place the aperture downstage and next to the proscenium arch, thus anchoring at least one side. As for the knocking, the off-stage actor will thump on the floor with a broom handle. Problem solved! The other issue is, of course, the fireplace. Again, I came up with the ideal solution - let the audience use their imagination! The grate can be simply indicated by a brass fender projecting from the wings, thus obviating the need for the traditional pile of logs and a red bulb which I always think most unsatisfactory. A productive afternoon, I’m sure you’ll agree. So productive, I shall reward myself with a schooner of sherry and listen to a long-playing record of Perry Como. Yours as ever,

Doris Richardson-Hall 82| www.amateurstagemagazine.co.uk

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