asmagazine THE INDEPENDENT MAGAZINE FOR COMMUNITY THEATRE
WWW.ASMAGAZINE.CO.UK NOVEMBER 2009 £2.95
SLEEP NO MORE
SHOWSTOPPERS * SAM PETER JACKSON SHOW DIARY * PLAYSCRIPT REVIEWS * WEST END LITTLE THEATRE GUILD NEWS BOOKS & MUSIC * NEWS Nov09_1-11.indd 1
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asmagazinenov09 FROM THE EDITOR A quick note to apologise profusely for the delay in getting the magazine to you this month. As with many businesses across the UK the recent series of postal strikes wroght havoc with us here at AS. A decision was made a few weeks ago to delay the magazine to give time for the backlog of mail with your inclusions and diary listings to reach us to avoid disappointment. Now that the strike has been resolved we are back to business as usual and your next issue will be with you in a timely fashion. We hope that you will undertstand our decision to delay. This is an exciting issue for us in that we welcome the Little Theatre Guild as regular contributors to AS. Each quarter we’ll be highlighting the latest news from the guild and looking at their latest endeavours. We hope you enjoy this issue. Regards Doug
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THIS MONTH 5
NEWS
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FIRST NIGHT INSURANCE
Robert Israel ASCII looks at the latest insurance issues.
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THE PLAY PRODUCED
Alex Duncan discusses the new play Sleep No More.
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SHOW DIARY
Production listings and photographs from around the UK
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HOT PROPERTY
We talk to hot young playwright Sam Peter Jackson about his latest West End play.
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LITTLE THEATRE GUILD NEWS
Michael Shipley gives us the latest news from the LTG.
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SCRIPT REVIEWS
The latest offerings from the publishers.
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BOOK REVIEWS
The latest theatre books reviewed.
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CD REVIEWS
We look at the latest musical theatre recordings.
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STOP THE SHOW
We look at some show stopping moments from around the world.
News from around the country.
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THE FINAL WORD
The latest gossip from Doris Richardson Hall!
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26 CREDITS
Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0207 622 6670 www.asmagazine.co.uk Publisher - Paul Webster : paul@nextphasemedia.co.uk Editor - Douglas Mayo : editor@asmagazine.co.uk Advertising - James Dewar : advertising@asmagazine.co.uk Subscriptions/ Diary Listings : diary@asmagazine.co.uk
All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of AS Magazine. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of AS Magazine. (c) 2009 Next Phase Media Ltd
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Photograph from the UK of 42nd Street, produced by UK Productions
NEXT MONTH SPECIAL FEATURE
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NEWS
HARMAN BECOMES ARIEL PATRON Ariel Theatre Company has recently announced that Nigel Harman star of TV’s East Enders and the Recent West End successes Guys & Dolls and Three Days Of Rain has agreed to become patron of the company. Ariel continues to have success in the mid Sussex area, offering an exceptionally broad range of high quality productions and participatory projects designed to engage and inspire theatre audiences, children and young people alike. Neil and Nicci Hopson who are the owners of Ariel Theatre Company also run a highly successful drama school with over 300 students called Ariel Drama Plus in Burgess HIll and East Grinstead. Both are delighted that Nigel has chosen to accept patronage of the company “Nigel has followed Ariel’s successes for years and has supported us and it seemed a natural step to ask him to be Ariel’s patron” said Neil Hopson. It’s a feel echoed by Nigel, “The standard of theatrical training is second tonone, and I am honoured to have been asked, the school sets a shining example of what can be achieved with hard work and dedication”. For more details about the school and theatre company visit www.arielct.co.uk.
CALLING ALL PANTO DAMES As this year draws to a close and panto season commences, AS Magazine is looking to recruit panto dames from all over the country to help with our annual Panto Scripts feature in February 2010.
Looking for a great comedy/farce? M4 F4
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We are currently asking our talented panto scriptwriters to submit their latest offerings and we are looking for all the dames to help us to review the new scripts.
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We have “six of the best” by Raymond Hopkins.
As the face of panto across the country you are perhaps best placed to offer an opinion on what makes for good panto. So get in touch and take part in this regular feature.
Send your audience home with the ‘feel good factor’.
For further information call us on 0203 004 8133 or email: editor@asmagazine.co.uk
Dozens of excellent reviews. Hundreds of productions in this country, several in Australia. Now also in Europe!
If you’d like your new panto script reviewed or require information about advertising anything panto related in the February 2010 issue please email sales@asmagazine.co.uk. UPCOMING ISSUES January 2010 PLAYS & PLAYSCRIPTS
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NEWS
DIGITAL THEATRE HAS ARRIVED The 26th October 2009 saw the launch of Digital Theatre with the announcement of their first high definition downloadable theatre productions. The online productions have been specially developed to play on a Theatre Player which is compatible with all major browsers and operating systems.
A SUPRISE VISIT Bishopston, Bristol’s non-professional theatre company, The Kelvin Players, had a surprise audience member on Wednesday night (21st October) during their 5 day run of the wartime play We Happy Few by Imogen Stubbs.
a resident of Bath, had come across Kelvin’s production whilst trying to locate his sister on google (apparently his usual way of tracking down his high flying sister). He then persuaded her to see the show during her visit.
We Happy Few tells the story of a group of outstanding women called the Osiris Players who toured around the British Isles during World War II performing Shakespeare to the masses.
Imogen was kind enough to meet the cast and crew after the show where it became known this was the first time she had ever seen the play performed. Although the play was briefly in the West End, Imogen was tied up with the Royal Shakespeare Company and was unable to see her script come to life.
During the interval, a rumour circulated that Imogen herself was in the audience. Disbelieving, the play’s director Mary McCallum went to see for herself only to find that the rumours were true. The message was soon circulated amongst the crew but with strict instructions not to let on to the cast until after the curtain call. It transpired that Imogen’s brother,
A rather chaotic play with fast scene changes and a complicated set, Imogen was extremely apologetic to cast and crew ‘I gave you all SO much to do! I am SO sorry!’ Imogen was also extremely complimentary praising Mary’s directorial talent and the combined talents of the cast and crew.
US YOUR 2010 FESTIVALS - SEND NEWS HERE WE GO! 17th One Act Festival W/C 21st June 2010 at Preston Playhouse,Market St. West offers many opportunities for budding actors, new directors (as well as experienced ones) and writers. Although competitive the festival is noted for its friendliness and honest fairminded adjudications of Sue McKay. The festival offers generous incentives. Early enrolment is advised.Enquiries to Adrienne Hurley: hurley332@hotmail.com or 01772 700562.
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Each and every month we are looking for news to fill these pages. Have you got a special event coming up, an announcement to make or just a general interest piece that might be interesting to others. Please submit it along with any photographs to editor@ asmagazine.co.uk for potential inclusion.
With an investment of over £1 million and the support of industry unions, Digital Theatre and its first five creative partner theatres - the Almeida Theatre Co, English Touring Theatre, The Royal Court Theatre, the Royal Shakespeare Company and the Young Vic - will produce downloadable top quality theatre productions filmed in front of live audiences. For a cost of £8.99 per download, users can keep and enjoy access to each production from www.digitaltheatre.com of the individual partner theatre’s website. Co-Founders Robert Delamere and Tom Shaw said: “Our aim is to make Digital Theatre the focal point for theatre-based entertainment online. Digitaltheatre. com is a single destination site, acting as a vibrant source of information and content, providing continued enjoyment for traditional theatre goers as well as bringing great theatrical works to a wider audience.” Digital theatre’s first download is English Touring Theatre’s Far From The Madding Crowd, a new adaptation by Mark Healy from Thomas Hardy. This will be followed by The Container presented in association with the Young Vic and Amnesty International, highlighting the plight of illegal immigrants coming to the UK. The Almeida Theatre, the Royal Court and the Royal Shakespeare Company are currently collaborating with Digital Theatre with a view to contributing productions shortly. “We at English Touring Theatre are proud to be part of this exciting new initiative. Our production of Far From The Madding Crowd played to packed theatres on tour last year and this filmed version cleverly captures the raw energy and dynamism of the live production, seamlessly transporting it to a whole new medium and to a whole new audience.” said Rachel Tackley, Director of English Touring Theatre.
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SOMERSET FELLOWSHIP OF DRAMA AWARDS On October 23rd, the annual Phoebe Rees awards evening, fondly known as “The Somerset Oscars “ was held at Taunton Racecourse. This was a new venue for this event and proved very successful on all levels. One hundred and twenty amateur thespians from all over Somerset enjoyed a delightful evening - with good & glamourous company , good food and for some the rewards for their work. It is a great night to meet meet fellow performers whose names are often only seen in print. We are very grateful to Troy Hill the catering manager & his team who made the event run so smoothly. Highlights of the awards presented include:Best Production Barnstormers of Minehead for “See How They Run” Best DIrection Elaine Ross of Barnstormers for “See How They Run” Actor in a leading Role Christopher Williamson of the Warehouse Theatre Ilminster as the twins Max/Ashley in Double Death by Simon Williams. Actress in a leading role Jenny Warwick of Barnstormers MInehead as Penelope Toop-in “See How They Run “ by Philip KIng Best Under 21 Nick Taylor of West Huntspill as Dan in Night Must Fall by Emlyn Williams Danielle Critchley of CUDOS Crewkerne as Georgie In “Stranded “ by Michael Starr
Under 16 Henry Payne of the Warehouse Theatre Ilminster as Reggie Boggis in “The Accrington Pals “ by Peter Whelan Set Construction Street Theatre For “Allo “Allo Costumes Barnstormers For 1066 and all That Props Civic Players of Yeovil for Season’s Greetings
PANTOMIMES By JOHN CROCKER
The Smaller Cast Versions ALADDIN “PEAK OF PANTO PERFECTION” Exeter Express & Echo MOTHER GOOSE “FUN FILLED SCRIPT” Western Morning News SLEEPING BEAuTy “ A RIP-ROARINg SUCCESS” Exmouth Herald CINDERELLA “TRADITIONAL PANTO AT IT’S BEST” Hampshire Gazette DICK WHITTINGTON “A CRACKER OF A PANTO” Evening Herald, Plymouth BABES IN THE WOOD “WONDERFUL NEW ChRISTmAS PANTO” Herald Express and the latest JACK AND THE BEANSTALK “gIANT ChRISTmAS TREAT” Tiverton Crediton, Culm Valley Gazette PLUS the much loved favourites with music and lyrics by ERIC GILDER CINDERELLA, PuSS IN BOOTS, DICK WHITTINGTON, ALADDIN, BABES IN THE WOOD, SINBAD THE SAILOR, MOTHER GOOSE, ROBINSON CRuSOE, SLEEPING BEAuTy, HuMPTy DuMPTy, QuEEN OF HEARTS, RED RIDING HOOD, JACK AND THE BEANSTALK And a zany potted panto sketch POTTy PANTOMIME Also a Rock Musical THE FRANKENSTEIN MONSTER SHOW By JOHN CROCKER and TIM HAMPTON Music by KEN BOLAM Lyrics by LES SCOTT All obtainable from SAMuEL FRENCH LIMITED 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
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NEWS
12TH YOUTH ONE ACT PLAY FESTIVAL RESULTS The 12th Youth One Act Play Festival hosted by Skegness Playgoers took place at the Embassy Theatre in Skegness on October 17th/18th. The Festival was opened on Saturday evening by Playgoers chairman, Ken Blankley, who welcomed all teams taking part and also the Adjudicator Russell Whiteley. The opening play was “Much Ado About Nothing” performed by Horncastle Up and Centre Stagers, followed by “The Rime of the Ancient Mariner” by Spotlight Youth from Bridlington, “The Night The Moon Fell Into The Pond” by Arnold Hill School Youth Theatre from Nottinghamshire,and lastly “Playing With Plays” by Spellbinder Youth from Driffield. The evening ended with a short adjudication from Russell Whiteley on each play performed. Sunday evening produced 5 more plays opening with “The Daily Wash” by Skegness Playgoers CADS, followed by “Abu Kassim’s Shoes” by Perfact Youth Theatre from Grantham, “The Monkey King” by Fusion Youth Juniors from NE Lincs., “Electra” from Migrant Youth at Bridlington, and “The Golem” by Fusion Youth Seniors from NE Lincs. There followed another adjudication of the evenings plays. The Chairman then thanked everyone for all their hard work in producing a splendid 2 days of enjoyment for our audiences. A short speech followed from Mrs Anne Key-Huckerby, who is the area region’s NODA representative, saying how much she enjoyed the festival and hoped to see everyone again next year. Certificates of participation were handed out to each team by the chairman before the final summing up, and presentation of awards were made by Russell Whiteley who said the standard of plays and performers this year was excellent which made his job harder to make the awards. He admired the adaptations and fresh work, enthusiasm and loved the way the children take risks.
There were lots of nominations made for each category and the final winners of each trophy was ;Alan Watkins-Grove Shield for Best Original Play or Adaptation-- “Electra” by Migrant Youth Theatre. The Rotary Club of Skegness, Matthew Dickinson Cads Founder Member Trophy for Teamwork --Migrant Youth Theatre. Stuart Parkins Trophy for Special Moment of Theatre The Death scene in “The Rime of the Ancient Mariner” By Spotlight Youth. The Andrea Hall Trophy for Best Young Actress went to Jessie Elton from Horncastle Theatre. The Sue Sharman Trophy for Best Young Actor went to David Neal from Horncastle Theatre . The Skegness Playgoers Trophy, Runners Up went to “The Night The Moon Fell into the Pond”. The Gertrude Nelson Memorial Trophy, Winner was “The Monkey King”. Russell Whiteley praised the winning team Fusion Youth Juniors with their version of “The Monkey KIng” and recommended that they took their play to the national finals. All in all an excellent two nights of entertainment from children ranging from 7 years old to 19 years. Jenni Blankley
WOKING DRAMA FESTIVAL RESULTS The final night of the 51st Woking Drama Festival was held at the Rhoda McGaw Theatre, Woking, on Saturday 17th October, with Mole Valley Scriptwriters from Dorking, and Theatre64 from Blackwater, sharing the major honours. Mole Valley Scriptwriters won 5 prestigious awards, including Best Play, Third Place Play, Best Actor, Best Actress and Best Direction, for their two selfpenned plays, ‘Immaculate’ and ‘The Door’, both directed by Stefan DuBois. Theatre64 also won 5 awards, from a total of 16 on offer, including Second Place Play and Best New Play, for their production of Matthew Wilkie’s ‘The delicate art of keeping in touch’. Over the preceding two weeks twenty plays were presented by amateur theatre groups. On the final night two of the most entertaining plays (Theatre64 and Young KVODS ‘Rags to Riches’) were
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recalled for a 2nd performance before the festival adjudicator, Paul Fowler, GoDA, announced the prize-winners. In his presentation, Mr Fowler praised the high quality of the productions he had seen, saying that the Festival was both “festive and competitive in the right proportions and is one of the finest festivals in the country”. Telling the audience that they had witnessed some of the best amateur drama to be seen in the British Isles, he also enthused about the diversity and variety of plays which had been presented and congratulated the 130 actors and equivalent number of backstage staff who were involved. Other winners included Runnymede Drama Group, Ottershaw Players, Bishopstoke Players and Young KVODS, from Kingston Vale.
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FIRST NIGHT INSURANCE
DARE YOU KEEP SECRETS! Robert Israel ASCII from Gordon & Co discusses the latest insurance issues affecting amateur theatre. I want to tell you a story … Many years ago, when I first started here, I was presented with a situation that was, to say the least, very awkward. Briefly, we had a commercial client for whom we arranged all of their commercial insurances. It was a family business, with the father being Chairman and Managing Director and one of his sons, who was being groomed to take over and was also a Director. Some years after placing the insurance, the son came to see me for me to arrange household insurance in his name. Having completed the proposal form, the client was asked to sign the declaration at the end of the proposal form. He looked at me and said “I cannot sign this” and I asked why not. He informed me that he had a criminal conviction whilst he was a teenager. I thought that was bad enough, but he then dropped the bombshell by saying to me “please do not tell my father as he doesn’t know anything about this incident”. This caused me an immense issue because the son was a Director of the company and therefore, in my opinion, by not disclosing the conviction it could be jeopardising the father’s insurance. The issue, of course, was that, because of client confidentiality, I could not say anything to either the father or the corporate insurers that I was in possession of what I considered to be a material fact.
within the society, e.g. the Treasurer or the Chairman, then I think underwriters would take a very long hard look at the incident and could possible deny the claim on the strength that, if they had been in possession of the facts to start with, would they have taken on the insurance? There is, of course, the Rehabilitation of Offenders Act in this country and therefore care has to be taken that one stays within the confines of the Act. This is a very thorny subject that, if not handled correctly, could lead to all sorts of problems. I assume that, by the time you read this article, rehearsals for your pantomime will be in full swing. Can I just remind you to make sure that, if you are hiring in any extra equipment, you remember to increase the sum insured under the Material Damage Section of your policy. In addition, remember to advise your insurers if any livestock is being used and also remember to notify them if any of your members will be undertaking any hazardous activities. I am sure that by now you are fed up with me remind you about these points, but you never know …
There has been quite a lot of press comment recently about the effect that a past criminal conviction can have on an insurance policy in the event of a claim. There was quite a high profile fire insurance claim under a household policy where insurers declined the claim when they found out about a prior criminal conviction. I am not going to discuss the pros and cons of personal insurances in this article, but I am going to look at how such an incident occurring under an Amateur Theatre Policy may affect the cover. UK Insurance Law permitting insurers to reject claims because of misrepresentation substantially altered during the 1990s. In order to reject a claim because of misrepresentation or nondisclosure, an insurer must show that the misrepresentation or undisclosed fact actually induced the underwriter to accept the policy at the relevant rates and terms. Refusing to pay claims on the basis of non-disclosure is a relatively rare event, but in the event of a case proceeding to court the actual underwriter involved may be called upon to testify regarding the underwriting actions he or she took. It is very difficult to crystal ball gaze, but the problem as I see it is that membership of an amateur society comprises many different people from different walks of life, many of whom will initially be strangers or certainly not that well known. If a member of a society does have a criminal conviction, it is not likely that they are going to advertise the fact, which could therefore lead to a potential problem. If the conviction involved is fraud or dishonesty, and that person is in a position of trust
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THEMUSICAL PLAY PRODUCED THE PRODUCED
SLEEP NO MORE Alex Duncan discusses the production of Sleep No More he co-directed for The Players. He documents the first production ever of this new play by Colin Wakefield and David Gillespie. THE GROUP
The Players were founded in 1962, with their first play being Hobson’s Choice. They are based in Nunthorpe, Middlesbrough in the North East of England. In 1970 The Players moved to their current home, in the newly built St Mary’s Church Hall, in Morton Carr Lane. This venue offers a stage some 40 feet wide, including wing space, and thirty feet deep. It has adjacent rooms ideally suited to dressing rooms, and even offers warm dry costume storage - luxury indeed. It is a venue the envy of many other local drama groups. Over the years The Players have produced a wide range of drama, from farce, pantomime and comedy to musicals and more serious drama. We
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have also, from time to time, entered one act plays in a number of local drama festivals - gaining the odd award along the way. We have no defined policy in choosing our plays- it is usually down to finding a suitable director and going with what he or she wants to do - although we do try to maintain a balance between the lighthearted and more serious drama. With our annual pantomime we are also not afraid to experiment with more unusual story lines, but balance these productions with the more traditional stories.
THE PLAY
We first caught sight of the script of Sleep No More when it was emailed to us by David Gillespie, as a way for the co-writers, David and Colin Wakefield to get their new script published. Due to
copyright laws in Britain, in order to get a script published, it has to have first been performed. The script had been sent to a number of drama groups, and was picked up and forwarded to the rest of our committee members. I was the first to read it, and was struck immediately by how well written it was. It was easy to see straight away how each character would work, and interact with each other. I emailed David Gillespie back just to say how much I enjoyed the play, and even if we couldn’t help, then to wish the two writers lots of luck with it. I honestly thought that would be the end of it, but an email came back from David thanking me for my reply, and hoping I would pass my thoughts on to the rest of the committee, which I duly did. By this time, a few of the other committee members had read the script, and they too had enjoyed it, and we started looking at the feasibility of
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THE PLAY PRODUCED
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making it our autumn production. We were at a committee meeting at my house and were discussing the play, so I went onto the computer and emailed David again asking for more details. He replied straight away, and asked for a contact telephone number, which I sent back. It has to be said that by this time, we had Google’d both Colin and David, and were rather overawed by their profiles. So much so that shortly after I emailed David back with a contact number, and my house phone rang – we were all totally star-struck, and it took me ages to answer the phone! Of course, he was only human and very nice on the phone, and we started to finalise agreements. Joanne Forth and I agreed to co-direct. The play tells the story of a group of actors and a director coming together to rehearse a play called Murder by Poison, which originally should have been done some sixty years ago – but was never performed due to tragic and unforeseen circumstances. However, the same reasons come back to haunt the cast of the current play, and this version too does not get past the technical rehearsal.
CASTING
We had a read through at the hall, and both Jo and I were really pleased with the turn out, quite a few new faces as well as our own members, so it was lovely to be able to work our way around the room, and have different people reading in for the characters. There were even some audible intakes of breath at certain points in the script, and that gave us a good indication of how well it would be received by our audiences. However, casting and audition gave us the usual problems – not enough men!! We could have cast Sal, Jenny and Eva many times over – and we were thrilled with the standards at the auditions – however despite us having a really good turn out for the read through – we only had one person who put his name down for the part of Pete (a mid-thirties jack-the-lad type) and he was a 17yr old – who did read very well, but couldn’t have pulled off the age difference; and two people who read for Micky (a mid forties theatre director). One of the men read in really well, however he looked older than his years, and we wondered if he looked too old in age to be cast against William (Micky’s father). We decided to cast the female parts, and re-advertise and
re-audition for the male parts. I had known Si Relph from a previous play, and knew he would play the part of Pete very well, so arranged for him to come along to the second auditions and read for us. We were also so fortunate that Neil Mapplebeck had seen our advert in the local paper and had come along to audition. Neil should have been in Absent Friends with another drama group – but due to an unfortunate problem with the fire curtain, the play had been postponed, so Neil was at a loose end, and wanted something else to take part in. Middlesbrough Theatre’s loss was definitely our gain!
STAGING
With our play cast, we started to rehearse. Because the script had not been published, it wasn’t in a proper book format, but was an A4 Word document, with no real set directions – or even stage left or right on entrances and exits. We went through the whole play once, just deciding which side people would be entering and exiting from, and doing basic blocking, before really getting down to it. The set is a working theatre that only
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THE PLAY PRODUCED coordinate two nooses, a flying window frame and a bureau with a draw which opens and shuts by itself.
FURNITURE
The play calls for very little furniture, however, we had to source a chaise longue, a Victorian bureau, and two hangman’s nooses, at least one of which had to work! The main props we needed as well as furniture were a realistic body which we could hang from the noose, and a Victorian pistol.
LIGHTING
The lighting script is fairly complicated for this, as a lot of the more supernatural scenes take place under ghostly lighting, and it is that which determines not only what the audience sees, but also what the other cast members see. As Micky is the director of Murder by Poison, he actually gives a lot of the lighting cues himself, so for Neil, lines had to be word perfect, as so many crew were relying on him for prompts, not just other cast members.
SOUND
We wanted the sounds to be really atmospheric, and as much as that was sounds on stage, we wanted the house music to be appropriate as well. We didn’t want the audience listening to lively pop music before the play, or during the interval, and so we spent a long time searching for music for the house as well as sounds for the stage. On a royalty free site, I found a copy of Twinkle Twinkle Little Star played on a xylophone, which when you slowed right down, became a really creepy and very sombre piece of music – evocative of an old fashioned music box. We used this as Eva’s refrain to very good effect.
COSTUMES
ever gets dressed for Murder by Poison once, so we had to demonstrate the passing of time and building of the stage set during the play, but with very little time between scenes. It is a very minimalist set deliberately (Micky, the director of the play makes reference to it allowing the audience to access the paintbox of their imagination). This made it much easier for us, as we could leave up an existing backdrop, just roughly painting over it, and only have the side flats up and covered in black material. But we
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did need to demonstrate in some way the passage of time taken. There is a window flat which flies in, and we left it bare for the first half, and then added a curtain to it halfway through, and the props came in at different stages throughout the rehearsals – as normally happens with plays anyway. This all helps to show the passing of time throughout their rehearsal period, until Act 2 Scene 3 at the technical. We had a brilliant crew, and stage manager who had to organise and
We are so lucky in our group to have two brilliant costume mistresses, and although much of the earlier scenes are rehearsals, and cast would wear modern dress, Act 2 Scene 3 is the technical for Murder by Poison and the cast are in Victorian garb. We also had to have two identical costumes, one for Eva, and one for the body from the noose. There are a couple of instances of quick changes, and the cast had to show different rehearsals often by changing an item of clothing in the wings.
REHEARSALS
We met and rehearsed twice a week, Tuesday evenings, which we used initially as a blocking session, and then Sunday afternoons which became a consolidation time, to go over what we had put in place. Because we were rehearsing over the
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THE PLAY PRODUCED
summer, many of the cast (and indeed both directors) had holidays pre-booked, and so quite often we had people reading in, which is never ideal. However, the cast spent some of their own time arranging get-togethers informally, and relationships started developing on stage. We also held extra rehearsals nearer the time for people to come in and concentrate on lines.
FIRST NIGHT
We were thrilled that the writers came along to watch their play being performed. It was a great honour for us, and everyone was excited. The main thing we wanted to set was the atmosphere in the hall as you walked in. Instead of bright house lights, we had tables set out with chairs around them, so audiences could take their drinks to their table, and in the centre of each table we had a tealight candle. The music was playing really gently, and we found that people responded to the atmosphere very well. I gave the Front of House information, and ended by saying “Now please blow out your candles!” The audience – almost to a man – leaned forward and blew out their candles and the play started.
CONCLUSION
This has been a fabulous play to put on – and we had lots of good feedback from not only the two writers who came to see it brought to life, but cast members who were thrilled to be part of something special, and also audiences – some of whom text me a couple of days later to say they were still thinking about the play and how well different parts worked. A fine tribute indeed.
AS MAGAZINE | NOVEMBER 2009
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NEW and IMMEDIATELY AVAILABLE
SLEEP NO MORE
A gripping supernatural thriller by DAVID GILLESPIE and COLIN WAKEFIELD (3F, 4M – one set)
“A fabulous play” – Nunthorpe Players (Amateur World Première – October 2009) For all enquiries or an inspection copy please contact: 07796 178581 or dgill1812@aol.com
01:18:11
insurance.indd 3
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LISTINGS>CLASSIFIEDS>PHOTOS>>>
SHOWdiary HOT MIKADO Dunkinfield AOS
FIDDLER ON THE ROOF Strode
42nd Street Featured shows this month include Oklahoma!, The Wizard Of Oz, 42nd Street, Fiddler On The Roof, Granny Annie, and Hot Mikado
GRANNY ANNIE Tredegar Thespians
diary.indd 3
20/11/2009 16:29:39
SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar ALADDIN
08 - 16 January 2010 Otterbourne Village Hall Committee Otterbourne Village Hall Winchester, Hampshire 02380 614655
1001 ARABIAN NIGHTS
22 - 30 January 2010 Corvus Amateur Dramatic Society Greneway School Royston, Hertfordshire 07774 782440
25TH ANNIVERSARY CHRISTMAS CONCERT WITH BRIGHOUSE & RASTRICK BAND 19 December 2009 Harrogate G & S Society The Royal Hall Harrogate, N Yorkshire 0113 250 2677
A CHRISTMAS CAROL 03 - 05 December 2009 Kibworth Theatre Company Kibworth Grammar School Hall Kibworth, Leicestershire 07950 306968
07 - 12 December 2009 Progressive Players Little Theatre Gateshead Gateshead, Tyne & Wear 0191 478 1499 www.littletheatregateshead.com
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM 19 - 23 January 2010 Southampton Operatic Society Nuffield Theatre Southampton, Hants 023 8067 1771
A GREAT AND MIGHTY WONDER 03 - 05 December 2009 Havant Light Opera Havant Arts Centre Havant, Hampshire 023 9247 2700
ABSURD PERSON SINGULAR
14 - 17 January 2010 Walkerville Musical Society Walkerville Community Centre Newcastle Upon Tyne, Newcastle 0191 236 25647 20 - 23 January 2010 NOMADS The Masque,Barton Seagrave, Northants 07857 186005
ALADDIN AND HIS WONDERFUL LAMP
21 - 24 January 2010 Barnton Variety Theatre Workshop Northwich Memorial Hall Northwich, Cheshire 01606 782442
ALI BABA & THE FORTY THIEVES 23 - 30 January 2010 HIADS Station Theatre Hayling Island, Hampshire 023 9246 6363
ALICE IN WONDERLAND
11 - 13 December 2009 Hawkhurst Amateur Theatrical Society Marlborough House School Theatre Hawkhurst, Kent 07807544872
AUTUMN CONCERT
05 December 2009 Southminster Operatic & Choral Society St Leonard’s Church Southminster, Essex 01621 740787
AVAST BEHIND
12 - 19 December 2009 Wells Operatic Society Ltd The Little Theatre Wells, Somerset 01749 672611
BABES IN THE WOOD
29 December 2009 - 09 January 2010 Sidmouth Amateur Dramatic Society Manor Pavilion Theatre Sidmouth, Devon 01395 514413
28 January - 06 February 2010 Hartley Arts Group Victoria Hall Hartley Wintney, Hampshire 079564412826
27 - 30 January 2010 Morpeth Theatre Group King Edward VI Lower School Hall Morpeth, Northumberland 01670 820999
ALADDIN
BELOW STAIRS
11 - 19 December 2009 Purbrook Amateur Theatre Deverell Hall Purbrook, Hampshire 023 9261 0856
BEYOND REASONABLE DOUBT
06 - 12 December 2009 Kinver Light Operatic Society Edgecliff High School Kinver, South Staffs 01384 836963
27 December 2009 - 03 January 2010 Dereham Operatic Society The Memorial Hall Dereham, Norfolk 01362 694222 08 - 09 January 2010 Felling & District Music, Arts & Drama Felling Methodist Church Gateshead, Tyne and Wear 0191 420 6632 09 - 16 January 2010 Huddersfield Light Opera Company Lawrence Batley Theatre Huddersfield, W Yorks 01484 430528 10 - 16 January 2010 Wombwell & District AOS Operatic Centre Wombwell, S Yorks 01226 758375
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09 - 20 December 2009 Apollo Players Apollo Theatre Newport, Isle of Wright 01983 296388
11 - 14 November 2009 The Anonymous Players Lowther Pavilion Lytham St. Annes 01253 658666 www.lowtherpavilion.co.uk
CHRISTMAS CONCERT
CINDY RELLA
CHRISTMAS CRACKER 2009
COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED)
12 - 12 December 2009 The Elizabethans AOS Town Hall Ossett, W Yorks 01924 280344
12 December 2009 Barn Theatre Oxted, Surrey 01883 714103 www.barntheatreoxted.co.uk
CHRISTMAS SPECTACULAR 16 - 22 December 2009 Ipswich Co-Op Juniors Snape Maltings Concert Hall Snape, Suffolk 01728 687110 28 - 30 December 2009 Ipswich Co-Op Juniors Charter Hall Colchester, Essex 01206 282020
CINDERELLA
02 - 05 December 2009 Youth Onstage Dovehouse Theatre Solihull, W Midlands 0121 474 2104 02 - 05 December 2009 Caistor Amateur Theatrical Society Caistor Town Hall Caistor, Lincs 01472 851212 03 - 05 December 2009 The Harlequins The Studley Village Hall Studley, Warks 01527 870295
05 - 06 December 2009 The Uptown Players Hampden Park Community Association Hall Eastbourne, East Sussex 01323 722895
08 - 12 December 2009 Kelvin Players Theatre Company The Studios Bishopton, Bristol 0117 942 5540 www.kelvinplayers.co.uk
CRAZY FOR YOU
24 - 30 January 2010 Christchurch Theatre Club Loughborough Town Hall Loughborough, Leics 01509 231914
DICK WHITTINGTON
03 - 05 December 2009 Rayleigh A O & D S Rayleigh Mill Arts and Events Centre Rayleigh, Essex 01268 771751 11 - 23 December 2009 Downfield Musical Society Whitehall Theatre Dundee, Scotland 01382 322537 15 - 20 December 2009 Whitehaven Theatre Group Trust Civic Hall Whitehaven, Cumbria 01946 692468
04 - 06 December 2009 Whittle Hall Cranwell, Lincs
28 December 2009 - 02 January 2010 Bedford Pantomine Company Bedford Corn Exchange Bedford, Beds 01234 269514
17 - 19 December 2009 Axis Youth Productions The Playhouse Walton on Thames, Surrey 020 8890 6826
06 -11 January 2010 Chellaston Players The Guildhall Theatre Derby, Derbyshire 01332 703828
08 - 16 January 2010 Broxbourne Theatre Company Broxbourne Civic Theatre Hoddesdon, Herts 01992 441946
08 - 16 January 2010 Oxted Players Barn Theatre Oxted, Surrey 01883 724852 www.barntheatreoxted.co.uk
09 - 16 January 2010 Arrow Players St Edmund’s Hall Northwood Hills, London 020 8868 7785 www.arrowplayers.org.uk 14 - 16 January 2010 Orchard Players Capel St Mary Village Hall Ipswich, Suffolk 07761 782456
09 - 16 January 2010 Newmarket Operatic Musical & Dramatic Society Kings Theatre Newmarket, Suffolk 01638 663337 15 - 23 January 2010 South Shields Westovian Theatre Society Westovian Theatre, Pier Pavilion South Shields, Tyne & Wear 0191 456 0980
15 - 30 January 2010 Lane End Players Lane End Village Hall Lane End, Buckinghamshire 07852 153914 boxoffice@laneendplayers.com
21 - 23 January 2010 Chellaston Players St Peter’s Church Hall Derby, Derbyshire 01332 703828
22 - 31 January 2010 Pheonix Players St Peter’s Theatre Southsea, Hampshire 0845 293 9350
29 January - 13 February 2010 Lindsey Rural Players Broadbent Theatre Wickenby, Lincolnshire 01673 885500
01 - 05 December 2009 Marlowe Players Darley Abbey Village Hall Derby, Derbyshire 07961 607372
20 - 23 January 2010 Priory Players Ossett Town Hall Ossett, W Yorks 07852 978407
DICK WHITTINGTON AND HIS CAT
CAROUSEL
29 - 31 January 2010 Kingfisher Players Stuart Memorial Village Hall Tempsford, Beds 01767 691982
CAP’N HOOK
10 - 13 December 2009 Crofton ADS Crofton Community Centre Stubbington, Hampshire 01329 661143
CANTERBURY TALES
03 - 06 December 2009 Chippenham Light Opera Group Neeld Hall Chippenham, Wiltshire 01249 721171
04 - 12 December 2009 London Pantomimers The Intimate Theatre Palmers Green, London 01992 304327
AS MAGAZINE | NOVEMBER 2009
20/11/2009 16:31:02
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> DIVIDED LIVES
04 - 05 December 2009 Young Rogues & Vagabonds Civic Hall Stratford Upon Avon, Warks 01789 207100
DOUBLE DEATH
25 - 30 January 2010 Keighly Playhouse Keighly, West Yorkshire 08451 267 859 www.keighlyplayhouse.co.uk
FAME -THE MUSICAL 08 - 12 December 2009 1020 Musical Youth Company Victory Hall, Thorner Leeds, W Yorks 0113 293 2653
FARNDALE HOUSING ESTATE’S CHRISTMAS CAROL 01 - 05 December 2009 Doncaster AOS Little Theatre Doncaster, S. Yorkshire 01302 340422 07 - 12 December 2009 Bingley Little Theatre Bingley Arts Centre Bingley, W. Yorkshire 01274 432000
FIDDLER ON THE ROOF 26 - 30 January 2010 Shenfield Operatic Society Queen’s Theatre Hornchurch, Essex 01708 700625
HAIRSPRAY
JACK AND THE BEANSTALK
07 - 12 December 2009 Mossley AODS George Lawton Hall Mossley 01457 870875 www.maods.org
HALF A SIXPENCE
17 - 20 December 2009 Act One Pantomimes Eric Morecambe Theatre Harpenden, Herts 01582 767525
06 - 09 January 2010 Five Towns Theatre Stoke on Trent Repertory Theatre Stoke on Trent, Staffordshire 01782 321666
HARVEY
26 - 30 January 2010 Leatherhead Operatic Society Epsom Playhouse Epsom, Surrey 07787 870012
FOOTLOOSE
GLOW ON STAGE
10 - 11 December 2009 Glow Theatre Group Barn Theatre Oxted, Surrey 01883 714103 www.barntheatreoxted.co.uk
GOLDILOCKS & THE THREE BEARS 15 - 23 January 2010 Creakes Drama Group North Creake Village Hall North Creake, Norfolk 07818 696660
GRIMM TALES
28 January - 06 February 2010 Harleston Players Archbishop Sancroft High School Harleston, Norfolk 01379 676324
15 - 23 January 2010 Curtain Call Productions Grange Theatre Hartford Northwich, Cheshire 01270 587173
10 - 12 December 2009 Southampton Operatic Society Hanger Farm Arts Centre, Aikman Lance Totton, Hants 023 8066 7274
06 - 09 January 2010 Wick Theatre Company Barn Theatre Southwick, West Sussex 01273 597 094 www.wicktheatre.co.uk
HIGHBURY’S CHRISTMAS TURKEY 10 - 12 December 2009 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761
HOW THE OTHER HALF LOVES 09 - 12 December 2009 The Harrogate Dramatic Society Harrogate Theatre Studio Harrogate, N Yorks 07770 630299
HUMPTY DUMPTY
06 - 09 January 2010 Woodlands Theatrical Society Woodlands Hall, Blanchland Ave Newcastle-upon-Tyne 0191 236 3060
04 - 12 December 2009 Mickleover Players Murray Park School Mickleover, Derbyshire 01332 511867
19 December 2009 - 02 January 2010 GADOC Beau Sejour Theatre Guernsey, Channel Islands 01481 747200 www.gadoc.org 22 December 2009 - 03 January 2010 Paignton Pantomime Productions Palace Theatre Paignton, Devon 01803 290371 27 December 2009 - 02 January 2010 St Paul’s Amateur Dramatic Society Plinston Hall Letchworth, Herts 01462 672003 29 - 30 December 2009 HEOS Muscial Theatre Greenford Hall Greenford, Middlesex 01784 255164 www.heos.org.uk 14 - 17 January 2010 The Chameleons The Paul Daisley Hall Wembley, London 0208 123 6443
Brigg Operatic Society - Oklahoma!
AS MAGAZINE | NOVEMBER 2009
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar
Riverside Players - The Wizard Of Oz
JACK AND THE BEANSTALK 24 - 30 January 2010 Northallerton Amateur Variety Company Hambleton Forum Northallerton, N Yorks 01609 770936
JACK AND THE JERSEY BEANSTALK 02 - 17 January 2010 Jersey Amateur Dramatic Club Jersey Arts Centre Jersey, Channel Islands 01534 700444
JUNGLE BOOK
10 - 19 December 2009 Humdrum Havant Arts Centre Havant, Hampshire 023 9247 2700
LITTLE RED RIDING HOOD 12 - 16 January 2010 Dover Operatic & Dramatic Society Dover Town Hall Dover, Kent 01304 240477
LITTLE SHOP OF HORRORS
LOST MAN’S CHEST 23 - 30 January 2010 St Mark’s Players The Stanley Halls S. Norwood Hill, London 020 8393 3640 www.smplayers.co.uk
MAGICAL CHRISTMAS STORIES 11 - 13 December 2009 3d (Derby Deaf Drama) Deda Derby, Derbyshire 01332 370911
MIRACLE ON 34TH STREET 11 -20 December 2009 Harlow Theatre Company Victoria Hall Theatre Old Harlow, Essex 01279 420062 www.harlowtheatrecompany.co.uk
MOTHER GOOSE
11 - 16 January 2010 Wellingborough Pantomime Society The Castle Wellingborough, Northants 01933 317304
02 - 05 December 2009 Hayes Players Hayes Village Hall Bromley, Kent 07905 210718 www.hayesplayers.org.uk
14 - 16 January 2010 Heath Players East Malling Institute East Malling, Kent 01622 717491
20 - 22 January 2010 Swanley Light Opera Group Woodlands Theatre Swanley, Kent 01474 703448
15 - 23 January 2010 Yeadon Charities Association Town Hall Yeadon, Leeds, W Yorks 07758 278395
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15 - 23 January 2010 Winton Players Festival Hall Petersfield, Hampshire 01730 268829
09 - 12 December 2009 Over Players Community Centre Over, Cambridgeshire 01954 230056
19 - 23 January 2010 Harlequin Pantomime Productions Perton Community Centre Perton, South Staffordshire 01902 678242
06 - 09 January 2010 Cheshire Youth Pantomime Society The Woodford Centre Woodford, Cheshire 01625 529774
MR CINDERS
12 - 16 January 2010 Dryburn Theatrical Workshop Park View Theatre Chester-le-Street, Durham 0191 388 9709
01 - 05 December 2009 Stowmarket ODS The Regal Theatre Stowmarket, Suffolk 01449 612825
MURDER MOST MUSIC HALL 05 - 05 December 2009 Phoenix Arts Company OWG Centre Dartford, Kent 01322 221840
OKLAHOMA!
20 January - 06 February 2010 Ballywillan Drama Group Riverside Theatre Coleraine, Londonderry 02870 323232
OLD MOTHER HUBBARD 23 - 30 January 2010 The Young Ones Netherton Arts Centre Dudley, W Midlands 01384 895266
PETER PAN
02 - 06 December 2009 Margate Operatic Society Winter Gardens Margate, Kent 01843 297780
29 January - 06 February 2010 New Mills A O & D S Art Theatre New Mills, Derbyshire 0161 427 5317
PHIL BARNETT AND FRIENDS 12 December 2009 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007
PIRATES OF PENZANCE 25 - 30 January 2010 Northampton G & S Group Royal & Derngate Northampton, Northamptonshire 01604 624811
PUSS IN BOOTS
13 January - 06 February 2010 The Pantomime Company Concordia Theatre Hinckley, Leics 07956 543369
AS MAGAZINE | NOVEMBER 2009
20/11/2009 16:31:56
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Iver Heath Drama Club - Jack & The Beanstalk
Oxford Operatic Society - 42nd Street
20 - 24 January 2010 Littlehampton Musical Comedy Society Windmill Theatre, The Green Littlehampton, W Sussex 01903 722224 14 - 24 January 2010 Nomad Theatre Productions Nomad Theatre East Horsley, Surrey 01483 284747 22 January - 06 February 2010 St Nicholas Players St Nicholas Church Hall Allestree, Derbyshire 01332 556228
RED HOT AND COLE
23 - 30 January 2010 Cheltenham Operatic & Dramatic Society Playhouse Theatre Cheltenham, Gloucestershire 01684 565030
RED RIDING HOOD 22 - 30 January 2010 The Watson Players The Guildhall Theatre Derby, Derbyshire 01332 255800
REVUE 2010
14 - 16 January 2010 Musselburgh Amateur Musical Association Brunton Theatre Musselburgh, East Lothian 01620 826210
ROBIN HOOD
29 - 30 January 2010 Tread the Boards Theatre Group Chrysalis Theatre Milton Keynes, Bucks 01908 377449
14 - 16 January 2010 Killin Drama Club McLaren Hall Killin, Scotland 01567 820424 www.killindramaclub.co.uk
ROBIN HOOD & THE SINGING NUN 05 - 09 December 2009 Admirals Players Fisher Hall HMS Excellent, Portsmouth 023 9262 5265
ROBINSON CRUSOE 03 - 05 December 2009 The Bury Players The Bury Village Hall, Bury Pulborough, W Sussex 01798 831468
09 - 16 January 2010 Seaford Musical Theatre The Barn Theatre Seaford, East Sussex 01323 492240
16 - 19 December 2009 Gloucester Operatic and Dramatic Society Gloucester Guildhall Gloucester, Gloucestershire 01452 503050
26 - 30 January 2010 Ferndown Phoenix Musical Society Barrington Theatre Ferndown, Dorset 01202 874073
10 - 12 December 2009 Lantern Arts Centre Raynes Park, London 020 8944 5794 www.lanternarts.org
01 - 05 December 2009 Andover Operatic Society The Lights, Andover, Hants 01264 368368
16 - 19 December 2009 The New Strolling Players Memorial Hall Freshwater, Isle of Wight 01983 752956
09 - 12 December 2009 Colyton Theatre Group Colyton Town Hall Colyton, Devon 01297 552317
19 - 29 December 2009 Kidz R Us St Ives Theatre St Ives, Cornwall 01736 797007 12 - 16 January 2010 Spennymoor Stage and Song Town Hall, Spennymoor, Durham 01388 420057
SCROOGE
08 - 12 December 2009 Gloucester O & D S The Picturedrome Theatre Gloucester, Gloucestershire 07530 560440 15 - 19 December 2009 Redruth Amateur Musical & Pantomime Society Regal Theatre Redruth, Cornwall 01209 216278
AS MAGAZINE | NOVEMBER 2009
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar SÉANCE FOR MURDER 08 - 12 December 2009 Swan Theatre Amateur Company Swan Theatre Studio Worcester, Worcs 01905 611427
SEASONS GREETINGS
21 - 23 January 2010 Grange Amateur Dramatic Society Victoria Hall Grange Over Sands, Cumbria
SEE HOW THEY RUN! 14 - 16 January 2010 Loughton A D S Lopping Hall Loughton, Essex 0208 502 5843
SINBAD THE SAILOR
19 - 25 January 2010 Spittal Variety Group The Malting Art Centre Berwick upon Tweed, Northumberland 01289 330999
SLEEPING BEAUTY
07 - 09 January 2010 Starlight Productions Eastwood Theatre Eastwood, Southend, Essex 01702 612351 09 - 16 January 2010 Pickering Musical Society The Kirk Theatre Pickering, N Yorks 01751 474833 10 - 16 January 2010 Frodsham PG Frodsham Community Centre Frodsham, Cheshire 01928 579575 11 - 16 January 2010 Whitley Bay Pantomime Society Playhouse Theatre Whitley Bay 0191 252 3681 14 - 23 January 2010 Leeds Insurance D & O S Carriage Works Theatre Leeds, West Yorkshire 0113 2522514
01 - 05 December 2009 Garforth A D S The Miners’ Welfare Hall Leeds, W Yorks 0113 286 3534
22 - 30 January 2010 Dinnington Operatic Society The Lyric Theatre Dinnington, South Yorks
23 December 2009 - 03 January 2010 OTFM Productions Bridge House Theatre Warwick, Warwickshire 01926 421774
15 - 30 January 2010 Riverside Players Eynsford Village Hall Eynsford, Kent 01322 861001 www.riversideplayers.co.uk
23 December - 02 January 2009 Deben Players Seckford Theatre Woodbridge, Suffolk 01394 382240
SLEEPING BEAUTY - GET ME OUT OF HERE 01 - 06 December 2009 Ormskirk Theatre Company Civic Hall, Ormskirk, Lancs 01695 577393
SNOW WHITE
02 - 06 December 2009 Marlow Entertainers Shelley Theatre Marlow, Bucks 01628 483597 www.marlowentertainers.co.uk 02 - 06 December 2009 Collingwood RSC Millennium Hall HMS Collingwood, Fareham 07502 037922 07 - 12 December 2009 Riverside Drama Club Cowane Centre Theatre Stirling, Scotland 01786 811291 08 - 12 December 2009 Stewarton Drama Group Stewarton Area Centre Stewarton, Scotland 29 December 2009 - 02 January 2010 Hertford D & OS Castle Hall, Hertford, Herts 01922 531500 16 - 23 January 2010 Alnwick Theatre Club Alnwick Playhouse Alnwick, Northumberland 01665 510785 24 - 30 January 2010 Reydon & Southwold Panto Group St Edmunds Hall Southwold, Suffolk 01502 724539
SNOW WHITE & THE SEVEN DWARFS
08 - 12 December 2009 Fakenham & District Light Opera Society Fakenham Community Centre Fakenham, Norfolk 01328 862622 19 - 23 January 2010 The Mellow Dramatics Brewhouse Arts Centre Burton-upon-Trent, Staffs 01283 508100 www.mellow-dramatics.org
STRICTLY MUSICALITY
03 - 05 December 2009 Aldridge Musical Comedy Society Brownhills Community School Theatre Brownhills, West Midlands 01543 480626
SWEENEY TODD
26 - 30 January 2010 Slough Musical Theatre Company Norden Farm Centre for the Arts Altwood Road Maidenhead, Berks 01628 788997
THE BFG
09 - 12 December 2009 CCADS New Theatre Royal Portsmouth, Hampshire 023 9264 9000
THE HOUND OF THE BASKERVILLES 02 - 05 December 2009 Bramley Players Electric Theatre Guildford, Surrey 01483 444789 www.bramleyplayers.org
07 - 12 December 2009 Retford & District A O S Retford Little Theatre, Retford, Notts 01777 702002
Strode - Fiddler On The Roof
Lighted Fools Theatre Co - Shirley Valentine
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AS MAGAZINE | NOVEMBER 2009
20/11/2009 16:32:50
OWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Every two weeks you can read the complete, unabridged reviews of all the major national drama critics, reprinted with photos in Theatre Record. Send for a free specimen copy to:
Theatre Record PO BOX 445 CHICHESTER, W. SUSSEX
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
THE HUNCHBACK OF NOTRE DAME 22 - 30 January 2010 Haverhill & District Operatic Society Town Hall Arts Centre Haverhill, Suffolk 01440 714140
THE IMPORTANCE OF BEING EARNEST 02 - 05 December 2009 Argyle Players Tovey Hall Bath, Somerset 01225 858112
THE JUNKYARD STORY
18 - 19 December 2009 Be Inspired Productions Be-Inspired Productions Studio Rugby, Warwickshire 07842 687632 www.beinspiredproductions.webs.com
THE LIKES OF US
20 - 23 January 2010 Sunderland Amateur Operatic Society Sunderland Empire Theatre Sunderland, Tyne & Wear 0844 847 2499 23 - 24 January 2010 Silhouettes Operatic Society Grimsby Central Hall Grimsby, NE Lincs 01472 346251
THE LION, THE WITCH AND THE WARDROBE 11 - 12 December 2009 The Histons Players A D S Trinity Methodist Church Codsall, Staffs 07799 116823
THE MIKADO
THOROUGHLY MODERN MILLIE
08 - 12 December 2009 Salisbury A O S City Hall Salisbury, Wilts 01722 434434
THE PANTOMIME ADVENTURES OF SINBAD 03 - 06 December 2009 Kaleidoscope Players The Guildhall Theatre Derby 01332 281900
THE SNOW QUEEN 11 - 16 January 2010 St Giles Marys Panto/TS Pontefract Town Hall Pontefract, W Yorks 01977 795904
THE TWELVE DAYS OF CHRISTMAS 03 - 06 December 2009 The Good Companions John Keble Church Hall Edgware, Middlesex 020 8959 2194 www.thegoodcompanions.org.uk
27 - 30 January 2010 Stockport Amateur Operatic Society Plaza Theatre Stockport, Cheshire 0161 427 7121
TOM, DICK & HARRY 02 - 05 December 2009 St Ursula Players The Newman Hall Westbury On Trym, Bristol 0117 9624431 www.stursulaplayers.co.uk
TOM, THE PIPER’S SON 13 - 16 January 2010 Ripon Charity Pantomime Group Ripon Leisure Centre Ripon, N Yorks 01765 601262
TOUCH & GO
30 January - 06 February 2010 Heald Green Theatre Company Heald Green Theatre Heald Green, Cheshire 0161 436 5000 www.hgtc.org.uk
THE WEDDING SINGER
TREASURE ISLAND
THE WIZARD OF OZ
TRIAL BY JURY
01 - 05 December 2009 Selsig Amateur Operatic Society Park and Dare Theatre Treorchy 01443 438053
03 - 05 December 2009 Whitby Area Musical Theatre Company Whitby Pavilion Theatre Whitby, N Yorks 01947 604855
22 December 2009 - 02 January 2010 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761
03 - 04 December 2009 Chapel End Savoy Players St John Church Walthamstow, London 020 8529 3143
Tredegar Thespian Players - Granny Annie
AS MAGAZINE | NOVEMBER 2009
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar XMAS FACTOR
11 - 12 December 2009 Holmer Green Players Holmer Green Village Hall High Wycombe, Bucks 07778 175616
TURKEY & TINSEL 02 - 05 December 2009 Peterborough Players John Clare Theatre Peterborough, Cambs 01733 315684
TWELFTH NIGHT
03 - 06 December 2009 The Garden Suburb Theatre Upstairs at the Gatehouse Highgate Village, London 0208 340 3488 16 - 19 December 2009 Stage 2 Youth Theatre Company The Crescent Theatre Birmingham, W Mids 0121 643 5858
05 - 12 December 2009 Halifax Thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998 www.halifaxplayhouse.org.uk 03 - 06 December 2009 Garden Suburb Theatre Gatehouse Highgate, London 020 8340 3488 www.gardensuburbtheatre.org.uk
TWELVE DAYS OF CHRISTMAS 08 - 12 December 2009 St Herberts Amateur Dramatic Society St Herbert’s Parish Centre, Broadway Chadderton, Oldham, Lancs 0161 624 5856
WE WISH YOU A MERRY CHRISTMAS
10 - 12 December 2009 East Berkshire Operatic Society Pinewood Theatre, Pinewood Leisure centre Wokingham, Berks 0118 973 3464
WIND IN THE WILLOWS 01 - 05 December 2009 Spotlight Musical Theatre Group Public Hall Beccles, Suffolk 07887 750846
WYRD SISTERS 13 - 16 January 2010 Preston Drama Club Preston Playhouse Preston, Lancs 01772 744771
Dunkinfield Amateur Operatic Society - Hot Mikado
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AS MAGAZINE | NOVEMBER 2009
20/11/2009 16:34:23
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>
AS MAGAZINE | NOVEMBER 2009
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FEATURE
www.asmagazine.co.uk
HOT PROPERTY 26 saminterview.indd 2
AS MAGAZINE | NOVEMBER 2009
20/11/2009 16:35:40
FEATURE
www.asmagazine.co.uk
Playwright Sam Peter Jackson was an actor before he wrote his first play Minor Irritations in 2005. It premiered at the Edinburgh Festival Fringe and received the Pleasance Theatre’s Charlie Hartill Special Reserve. It then transferred to London, Guildford (Yvonne Arnaud) and Dublin, where he was nominated for the Oscar Wilde Award for Writing. “Public Property”, his second play as a writer, about a newsreader who gets caught in a public sex scandal is about to open at the Trafalgar Studios in London’s West End with Nigel Harman, Robert Daws and Steven Webb in the lead roles. AS: What made you write Minor Irritations? SPJ: As the title suggests, it was my frustrated rant against all the mildly annoying things in the world. I wrote it for an hour every night for several months at the end of a day’s shift at a temp job on a dodgy computer in my bedroom. As an actor I wasn’t getting the roles that I wanted to play at that time, so it was a chance to write myself a part that I thought would showcase my talents. AS: So you also performed in it? SPJ: Yes, at that time I didn’t think of myself as a writer, I just saw it as creating an opportunity for my acting career. AS: Do you still perform now? SPJ: Occasionally, but I much prefer the writing lifestyle. I wasn’t a happy actor when I was actively pursuing it. I liked the work, but I hated auditioning and the constant emotional rollercoaster that it came with. It’s given me great respect for actors when I work with them now as a writer. AS: So tell me about Public Property. SPJ: It’s a comedy about the state of television in a celebrity-obsessed world. It tells the story
of a popular newsreader, Geoffrey Hammond, who gets caught by the press in a sexual act with a 16 year-old boy. Most of the play is set in a house between Geoffrey (Robert Daws) and his publicist (Nigel Harman) with the paparazzi wolves at the door and it shows the power struggle between the two men as they fight for their professional survival AS: How did the play come about? SPJ: It started when a director I worked with told me he had once been a newsreader and I had the idea of a newsreader becoming the headline. I wrote it as a short film first, but after a while I realized the story had more potential. We workshopped an early version at the Hampstead Theatre Start Night and later at the Old Vic and that’s when our producer became interested. The whole process has taken over two years, but it’s been worth it. To have my second play on in the West End with the cast that we’ve managed to get is simply a dream come true.
see them do something they haven’t seen them do before. Nigel has quite a tough guy image due to his TV work, so it’s really enjoyable seeing him play a character quite acerbically witty and neurotic. Robert’s image is very clean-cut because of the character he plays on The Royal, so the impact of him playing someone involved in a sex scandal is fantastic. And seeing both of them interact with Steven who has this very natural and contemporary feel for edgy comedy is just an absolute treat. AS: And I’ve heard there’s a few exciting cameos too… SPJ: Yes, we have some fantastic on-screen cameos from Stephen Fry, Natasha Little and Elize du Toit. Working on this production has just been an absolute joy. I really do feel like the luckiest young playwright in town!
AS: What has the cast brought to the production? SPJ: What I’ve really enjoyed with the Public Property cast is that our audience will get to
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LTGnews > LTGnews > LTGnews > LTGnews Michael Shipley look at what’s been going on recently around the country recently. The main item of concern amongst the membership remains the troublesome question of Chaperones and Children in Performance Licenses. The more each theatre gets to grips with the legislation and regulations, and the way that local authorities are dealing with them, the more discouraged the volunteers become. Indeed in some theatres the whole future of giving young people the chance to appear in live drama is seriously under threat because of the onerous conditions being applied. Most prominently, Loft Theatre, Leamington Spa went public with the Daily Telegraph, with a very serious threat to close down its Youth Theatre Group as well as to stop young people under 18 appearing in any of its productions at all. Chairman Michael Rayns wrote to his local MP as well as prospective candidates describing the present situation as “legislative crassness bordering on insanity. We regard the present system as excessively onerous, and the proposed new one as a completely unjustified and poorly targeted over-reaction which will do little or nothing to protect young people from any real threats, but will have very unfortunate unplanned side effects such as the one represented by our decision”. Herne Bay Little Theatre are similarly worried. “Everyone wants to see children sensibly looked after, but this legislation is completely over the top and frankly, pretty difficult to comply with to the letter of the law in very small premises”, wrote Chairman Judy Challis. “There is a growing feeling that it would just be easier not to include under17s at all in our productions in future. What a shame that would be, not only for the youngsters themselves and their families but ultimately for the societies who will have yet another factor to consider in choosing material for performance. They will also not be encouraging the next generation of adult actors and our hobby is at further risk of survival long-term. Even young techies are now a problem as they need a chaperone in the lighting box! I think all of us on the sharp end can see the travesty here but the powers that be must see that in their anxiety to see children protected, they are in danger of barring hundreds of young people from taking part in a fun and rewarding hobby.” We are lucky in the Guild that our Chairman, Eddie Redfern of Archway Theatre, Horley has for the last three years been working actively by sitting on a cross industry (amateur and professional) and local government
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committee set up to review and update the provisions of the Children in Performance Licensing Regulations. He recently reported: “We had expected the Department for Culture, Schools and Families (DCSF) to start the formal consultation on our proposals prior to the Parliamentary recess at the end of July, but that didn’t happen, so we do expect the consultation shortly after parliament returns. The aim is to have new regulations in place by April/ May next year. I think we have to be careful to separate the actual requirements of the law from the myths that may have crept into our dealings with youngsters. The law only requires chaperones for licensed performances: however t he LTG encourages all LTG Theatres to have chaperones for unlicensed performances ‘as if they were licensed’. In practice this means for 21 days prior to a production starting. We have successfully argued that in practice you only need chaperones once children are changing into costume where for many of our theatres this is when the production moves from a rehearsal area to the stage. For rehearsals prior to that chaperones are not a legal requirement; however we should employ good standards of child protection, for example by not allowing the director to be in a one-to-one situation with children; always having another adult (stage manager) present during such rehearsals; making sure youngsters are picked up by parents from the theatre, and not left to walk home alone late at night (unless the parent gives written consent). The PROPOSED changes to the legislation if adopted would require chaperones only for dress or tech rehearsals and performances. The one area that will be enhanced is that this would be for all performances, plus a chaperone cannot carry out another role eg. backstage or on stage. lt is very difficult to argue against such a policy when the chaperone is there to look after the interests of the children in their care. Also many LEAs have already adopted this as a local condition of issuing a chaperone licence. I have certainly pushed the fact that for us within the amateur sector, chaperones are volunteers, where any attempt to place greater burdens on licensing and training of chaperones will mean that the amateur sector will stop using children. Indeed my own LEA requires me to travel 60 miles round trip, twice, to complete registration and training, between Monday to Friday 9 -5, to renew my chaperone licence. I have written to the Chief Executive and explained that this will turn off the
supply tap of volunteer chaperones, and thus disenfranchise youngsters to participate in live theatre. The LEA has now reviewed its policy and improved access to registration and training. We need to come up with creative wavs to protect our children whilst meeting our legal obligations: for example if you have a youngster techie, rather than place another person in the lighting & soundbox, can the operatinq equipment be moved near to the stage manager? We did this recently for a young sound engineer, where he was able to operate the sound from the wings, as part of the crew thus avoiding having to find another body just to provide child protection cover. I remain committed to ensuring that our theatres are able to continue to use children in our productions and that we will not be stifled by unnecessary regulation and red tape, which includes sensible procedures for training and licensing our volunteer chaperones.” As if all this was not enough, we are faced with the new proposed extension of the Independent Safeguarding Authority (ISA) and the need for CRB checks. The new compulsory rules have widened the role of the ISA to the NHS and the Prison Service. How theatres, in particular amateur theatres, will fit into this growing scheme is at present unclear, but Eddie Redfern has it under close review. His message for the moment is that our member theatres don’t need to do anything. We are all anxiously watching this space, as they say.
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Gnews > LTGnews > LTGnews > LTGnews >
ENCOURAGEMENT FROM OUR PATRON
Sir Ian McKellen continues most generously to support the member theatres of the Guild. His visits to our theatres (sometimes arranged at the last moment) are always an enormous boost to the membership, giving the actors, technicians, front-of-house, Youth Theatre members and general public a renewed enthusiasm for their hobby. This year he has visited Stables Theatre Hastings, People’s Theatre Newcastle, Abbey Theatre St Albans and The Cotswold Playhouse Stroud, and there are expected visits in December to Rugby Theatre and Doncaster Little Theatre. We are more than honoured by his repeated commitment to Amateur Theatre, and obviously this commitment reaches out to even wider audiences. The sincerity of his support for all our work is magnificent.
TRAINING WEEKENDS AT THE RSC & SHAKESPEARE’S GLOBE THEATRE
Over the May Bank Holiday weekend 25 practitioners from Guild Member Theatres went to Stratford for the first of what it is hoped will be just the first of a series of training weekends with the RSC. The course was set up by our then Chairman Steve Pratt of Stockport Garrick Theatre, was immediately filled, with a long waiting list, and the lucky delegates received a strenuous two day training session into all aspects of Shakespearean presentation, especially voice and movement. Top RSC practitioners led the sessions, and the weekend also included a chance to see the current production in the Courtyard Theatre. Then in August, the now annual Guild weekend at Shakespeare’s Globe Theatre, Bankside took place. These training weekends began in 1999, and alternate each year between Youth Theatre and mature practitioners. This year it was the turn of the mature, and
they were certainly put through their paces from Friday evening to Sunday afternoon with an almost non-stop programme concentrating on approaches to aspects of Romeo and Juliet. Globe director Dominic Dromgoole and almost the entire cast gave up some of their valuable spare time to talk to and instruct the 45 delegates. The workshops were productive, interesting and hard work. Glynn MacDonald, the Globe’s Head of Movement and with them since inception, led the movement workshops. She stressed the importance of not giving the wrong signals. A gesture either clarifies or confuses. “Look before you move. Don’t speak unless you can improve on silence. Less is more.” Delegates were put through a rigorous programme of exercises to encourage the awareness of the eyes, touch, bottoms, knees, “tits”, all contributing to developing the physical character. She commented that the Globe’s actors spent weeks on movement before moving on to the text. Scene V of Romeo and Juliet provided the basis of text workshops run by Trevor Rawlins who is both an actor and director. Delegates were handed copies of the scene with the roles assigned a number. Delegates were told to arbitrarily volunteer to read the lines assigned a number against a character, i.e. Romeo 1, Romeo 2, etc. Someone else would pick up the reading when the number changed, etc. Little did delegates know that the number randomly read was to be their part for the whole of the exercise culminating with a performance for the other workshop. When it came to moving the scene Trevor called for or made suggestions such as whispering to Juliet to keep pulling Romeo back to bed. Romeo was unaware of the suggestion resulting in freshness to the scene. Trevor instructed the group to “keep experimenting”. He kept adding challenges. Reading fragments of the
scene was never boring as a result. One delegate playing Capulet was encouraged to add some physical violence against Juliet which he did, and the next continued on this line but to a lesser degree. The third Capulet then discarded the violence aspect entirely but used a quiet menace and towered over Juliet to convince his threat was not to be taken lightly. The results were most effective. During the performance for the other workshop group there was no confusion experienced by the constant switching of actors for the roles. The second group played it straight by having delegates cast entirely in the same role throughout their scene which was the ballroom scene. (Thanks to Pip Piacentino of The Lindley Players, Whitstable for this short report) Arrangements are currently being made for the 2010 weekend, for Youth Theatre members aged 15 to 18.
CONFERENCES AND AGMS
Every autumn members of the Guild get together at their regional meetings. The host theatre puts together the programme of talks, seminars and demonstrations, always including the chance to see its current production, and there is plenty of time for an open discussion forum as well as important networking over meals and at the bar. In October the Northern Region delegates assembled at The Royalty Theatre, Sunderland, which was proud to display its recent £70,000 refurbishment of front-of-house. The workshops were all arranged in-house, demonstrating the wealth of talent available; the food was in true northern fashion excellent; and the production of Bones by Peter Straughan (the amateur premiere) was a challenge brilliantly surmounted by cast and director. At the AGM Margaret Mann (Southport Little Theatre) was re-elected as Northern Region Secretary. In November the Southern Region held its AGM and Conference at Apollo Theatre, Newport IOW. Again there was a similar programme of useful workshops held both in the theatre and at a nearby meeting hall. For those gathering on the Friday evening the Apollo Youth Theatre provided a special presentation for Halloween – Playhouse of Horror! The production on Saturday was of Breakfast with Jonny Wilkinson, and the speaker at lunch on Sunday was author Ray Allen. At the AGM, Rosemary Shaw (Wharf Theatre, Devizes) was re-elected as Southern Region Secretary. As usual, lots of useful discussion, networking of course and the renewal of friendships. Finally the Midlands Region AGM took place at Highbury Theatre, Sutton Coldfield on 14th November, just for the
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LTGnews > LTGnews > LTGnews > LTGnew one day. There was a packed agenda including a Youth Theatre presentation, a planned discussion session, and the AGM and open forum where delegates expressed their views and concerns – sometimes the liveliest session of the day! The play on offer in the evening was Hypnosis by David Tristram, followed by a question and answer session with the author himself. Jackie Blackwood (Crescent Theatre, Birmingham) was reelected as Regional Secretary. Plans are now well advanced for the National AGM and Conference to be held in 2010 on 26/28 March at The Miller Centre, Caterham. An impressive variety of workshops and seminars is being arranged (including an important session on the Child Protection problem); the play will be The Circle by Somerset Maugham; and hopefully the hotel arrangements and parking facilities for the delegates will be such as to convince those traveling some distance not to be deterred by busy Surrey at the weekend! At least the venue is close to Gatwick, so that some theatres in far-flung corners of the country can contemplate an easy journey!
THE INTERNATIONAL CONNECTION
The Guild has always maintained a strong connection with IATA and the British branch ITE (International Theatre Exchange). The IATA English speaking secretary currently is Anne Gilmour (Questors Theatre, Ealing) and Philip Bradley (People’s Theatre, Newcastle) is on the ITE Board. This enables Guild member theatres with an interest in the international scene to get easy access to information and opportunities. This year Questors Theatre took their Youth Theatre production to the World Youth Theatre Festival in Vienna. In March next year two delegates from Bolton Little Theatre have already booked their places on the Stanislavski International Seminar in Moscow, led by teachers from the Russian Academy of Theatre Arts. It is hoped that delegates from the LTG will be able to participate in the IATA World Festival of 2011 to be held in Tromso, Norway, and the 2013 Festival to be held in Monaco, as well as the EDERED Encounter for Youth, scheduled for Flanders in 2011. Advance notice and forward planning are essential for these events!
REPAIRING & MAINTAINING OUR THEATRES To be a member of the Little Theatre Guild a drama group has to own or exclusively control and maintain its own theatre building, and present a seasonal programme of plays each year. The Guild currently has 104 members, from Bangor, Co Down and Dumfries in the
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north, Llangefni in the west, Louth in the east and Torquay in the south, with large concentrations of members in the Home Counties, the central midlands and the industrial Pennine area. The problems of running ones own theatre are special to us, and the Guild secretariat obviously concentrates on servicing its membership in this area. The quarterly Newsletter for the Guild keeps the membership up to date about what is going on, as the following snippets indicate: At LOFT THEATRE, Leamington there is still no absolute certainty about the move to the adjoining church. There are still factors which have to be slotted into place, like the developer’s plans for the existing theatre and the results of various surveys. But meetings continue to plan the move in the expectation that there will be a positive outcome. Meanwhile at nearby TALISMAN THEATRE, Kenilworth it was agreed after two special EGMs that proposals for a move to new premises at Smalley Place should continue to be explored. Certain conditions however were laid down, and members were promised a monthly update on progress, available on the website. Fundraising for the new TOWER THEATRE kicked off in earnest in June. Preliminary plans were unveiled. In the new building it is intended to keep the archaeological remains of “The Theatre” of Burbage and Shakespeare on permanent display, “reminding us always that we will be bringing theatre right back to where it started”. The fundraising campaign has already attracted a star-studded list of patrons, many former Tower members like Richard Baker, Bill Dudley, Michael Gambon and Alfred Molina. Details of the theatre plans can be found on Tower’s website. After a few years of uncertainty about the long term viability of the theatre building, PROGRESS THEATRE, Reading has been given a thorough makeover. The Foyer has been revamped with new décor and furnishings, the bar has been modernized, and a new heating system has been installed. Long term plans to relocate have not been abandoned, but the most recent plan to take a lease on property owned by a local convent school has been brought to an end by the school. At CRITERION THEATRE, Coventry the new roof was finally completed in time for the opening of the first production of the new season. The huge effort of cleaning up the theatre afterwards involved many members! But the bar stayed open throughout the whole rebuilding period!! Work is currently in progress on
substantial roof repairs at STABLES THEATRE, Hastings, part of a 5 year project for restoration costing £85,000. “Our lovely old theatre is constantly in need of repair. There is a persistent roof leak which is still causing problems as I write. As anyone who lives in an old house is aware, maintaining it is like being in a state of permanent revolution and a constant drain on the pocket. The Board will need to consider in the next few months whether it is setting aside enough of the budget to deal with building issues.” (from the Chairman’s comments in Spotlights, the Newsletter for Bromley Little Theatre) Some member theatres own purposebuilt theatres or cinemas, both pre-war and post-war. Many more own former religious houses, schools or meeting rooms, all converted by members over many years of voluntary work. Other groups own former industrial premises, and redundant buildings suitably adapted to their use. The premises can vary from the Grand Theatre in Lancaster, built in 1785 and converted by Matcham in 1911, to the former Pier Pavilion in South Shields; from a 12th century church in Winchester to a former army church in Folkestone; from a 17th century barn in Welwyn to an old oasthouse in West Wickham. Keeping these old buildings in use as theatres to serve the local community is a task of great responsibility, and of course puts a financial and administrative strain on groups who really just want to put on plays! But we all know that without our own buildings, we don’t have the same freedom to do what we want! And having your own building holds a group together marvelously.
HOW TO GET MORE NEWS
The Guild provides for its members a quarterly Newsletter, and the above information largely came from the November issue. The Newsletter is sent out by mail and by email, and ends up on the Guild Website, www.littletheatreguild. org Every December the Guild produces a Year Book covering the season just gone. Each member sends in a list of plays presented, with numerous useful statistics, and a short resume of things achieved over the year. This information is not on the website, but copies of the Year Book can be obtained for £6 p&p incl. from Michael Shipley, 121 Darwen Road, Bromley Cross, Bolton BL7 9BG. Information about joining the Guild can be obtained from the Secretary, Barbara Watson, 181 Brampton Road, Carlisle CA3 9AX.
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Gnews > LTGnews > THE LATEST STATISTICS!
With the returns for the Year Book having been sent in by nearly every member, the trusty computer has thrown up the following statistics: • At least 880 productions were mounted by members of the Guild in the season 2008/09 • At least 613,700 seats were sold • The average membership for each group was around 275 • The average annual financial turnover of each group was £106,300 The statistics are certainly being used constructively in representations to national and local bodies. They certainly help to build up the picture of the strength of amateur theatre in the voluntary sector, and often come as a great surprise to funding bodies, national and local, who otherwise might be totally ignorant of the strength of the sector.
AND FINALLY, THE TOP OF THE POPS!
The most often produced play in 2008/9: No particular play stands out this year, but the range of choice is fascinating, as groups struggle to find the right balance between artistic merit and box-office success. Here is the list – The Breath of Life – David Hare (6) Hay Fever – Noel Coward (5) The Accrington Pals – Peter Whelan Gaslight – Patrick Hamilton Brassed Off – Paul Allen My Boy Jack – David Haig Little Shop of Horrors – Ashman/Menken Tom, Dick and Harry – Ray & Michael Cooney Art – Yasmina Reza The Lady in the Van – Alan Bennett Macbeth – William Shakespeare The Dresser – Ronald Harwood The Darling Buds of May – H E Bates The Odd Couple – Neil Simon The Graduate – Terry Johnson Ladies Day – Amanda Whittington Snake in the Grass – Alan Ayckbourn Iron – Rona Munro The Woman who Cooked her Husband – Debbie Isitt The most often chosen playwrights: Alan Ayckbourn – 34 productions William Shakespeare - 23 Noel Coward – 16 Alan Bennett – 13 Neil Simon – 12 John Godber – 12 David Hare – 10 Ronald Harwood – 8 Peter Whelan – 7 Amanda Whittington – 7 Arthur Miller – 7 Patrick Hamilton - 7 So Ayckbourn tops the list again, and Shakespeare remains in contention!
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PLAYSCRIPTS
2ND MAY 1997
A play by Jack Thorne Published by Nick Hern Books ISBN : 9781848420809 Cast: M4, F2 2nd May 1997. A historic victory. The Tories, eighteen years in power, are defeated as New Labour sweeps into government. From the euphoria and despair, three deeply personal stories emerge. Tory MP Robert prepares to attend the count. With defeat looming large, he fears becoming a forgotten man, while his wife Marie counts the cost of her own sacrifice to politics. Lib Dem footsoldier Ian is no hero, but party-crasher Sarah is determined to make him one. Best mates Jake and Will wake up with a new world order to memorise before their A-level politics class. Jake dreams of Number 10. Will dreams of Jake. With action taking place in three bedrooms this would seem like a relatively simple play to stage. Each couple in the play makes for an interesting study at a time of huge upheaval. In every case one is more politically involved than the other making for some interesting interactions. For those who remember Labour sweeping to power in 1997 this play will invoke memories but its the humanity that triumphs in this thought provoking play.
TIMING
A new comedy by Alistair McGowan Published by Josef Weinberger plays ISBN: 9780856763311 Cast: M5, F2 When Julian Mann goes to work one morning, the last person he expects to find alongside him in the tiny recording studio is his ex. She’s the woman who captured his heart, the woman who shared his life for five years, the woman who walked out on him and who hasn’t spoken to him since. Under the pressure of recording a radio commercial lie hidden personal tensions which soon come to the surface resulting in a soulsearching, head-scratching, lip smacking, time-killing, muckraking, hard hitting and rib-tickling drama. This is a fast paced, enormously funny play that at times is reminiscent of classic Ayckbourn. The staging of the play in a recording studio where each set of characters can only hear each other at certain times provides endless opportunities for comedy. Timing would be an easy play to stage but ultimately will reward audiences with a hugely enjoyable night in the theatre.
SPYGAME
A comedy thriller by Bettine Manktelow Published by Samuel French ISBN: 9780573114243 Cast: M3, F4 From the author of Curtain Up On Murder and Murder Weekend comes this comedythriller which weaves “an intense web of deceit, intrigue and secrets” (Whitstable and Herne Bay Times). Prospective contestants for a TV reality show gather in a country house, aiming to win a large cash prize, but only if they survive the rigours of the ultimate Spygame. This excellent play offers seven good acting roles and will grip your audience until the totally unexpected ending. Spygame is a cracking suspense thriller which should be well received by audiences. Following her previous successes Spygame has Manktelow delivering another fine play which should prove a huge hit with companies across the world who
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PLAYSCRIPTS
www.asmagazine.co.uk are searching for new thrillers to delight their audiences.
SPEAKING IN TONGUES
A play by Andrew Bovell Published by Nick Hern Books ISBN: 9781848420748 Cast: M2, F2 A woman disappears. Four marriages become entangled in a web of love, deceit, sex and death. Who will survive? Nine parallel lives - interlocked by four infidelities, one missing person and a mysterious stiletto - are woven through a fragmented series of confessionals and interrogations that gradually reveal a darker side of human nature. Bovell has crafted another compelling play here. He is a master of structure and in Speaking with Tongues he has developed some finely crafted characters, but just when you are getting to grips with these characters, Bovell confounds the audience after the interval by having the same four actors play completely different people. Ultimately, its a hugely rewarding play and would profer rich rewards artistically for any company chosing to undertake a production.
Samuel French Ltd
NEW WEBSITE! Combining the very best of the old with the very best of the new
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GREAT EXPECTATIONS
Adapted by Tim Baker, based on the novel by Charles Dickens. Published by Josef Weinberger Plays ISBN: 9780856763168 Cast: M6, F3 A rich and theatrically vivid adaptation of Dickens’ classic, following Pip from his early encounter with an escaped convict and his experiences with the cruel Miss Haversham and her ward Estella to his removal to London where after his ‘expectations’ are mysteriously unveiled, Pip aspired to become a gentleman. This well crafted new adaptation of the timeless classic is a real treat. The story has been recrafted together with a score and songs that compliment the material incredibly well. This is not a musical by any stretch but a well scored play that is sure to sweep an audience along in its wake. Richly populated by the incredible Dickens characters this is a real treat for any acting company looking for a crowd pleaser for its 2010 programme.
• Buy online • • Check performing rights • • Apply for a licence quotation • • Apply for perusal material •
SUBMIT YOUR SCRIPTS
Here at AS Magazine we are currently starting to review script submissions for the following issues:-
JANUARY 2010 PLAYS AND PLAYWRIGHTS
We are interested in new scripts from aspiring playwrights as well as scripts which could be of interest to amateur groups across the UK.
February 2010 PANTO SCRIPTS
We are looking for the latest offering from panto writers across the country. Submit your scripts now for possible review in this important issue. Send your scripts to Next Phase Media, Suite 404 Albany House, 324-326 Regent St, London W1B 3HH
Select-a-play Unique search facility Choose a play from over 2000 available to perform by length, genre, period and cast requirements. French’s Theatre Bookshop 52 Fitzroy St London W1T 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 Email: theatre@samuelfrench-london.co.uk AS MAGAZINE | NOVEMBER 2009
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REVIEWS
A LITTLE BIT WICKED.
Kristin Chenoweth with Joni Rodgers. £18.99 hardback Told in the exhuberent style familiar to the many fans of this Broadway leading lady and star of US hit television series The West Wing and Pushing Daisies, A Little bit Wicked is bound to delight and enthuse every wannabe star. While this may not exactly be a rags to riches story, Kristin Chenoweth’s autobiography is full of the highs and lows that only a journey to the top of the US entertainment industry can provide. From Oklahoma beauty queen to creating the role of Glinda in Stephen Schwartz’s smash hit musical Wicked, hers is a story that can only motivate anyone who has a dream and the talent and determination to make it.
BROADWAY MUSICALS SHOW BY SHOW
by Stanley Green. £12.99 Paperback
The ultimate reference book for anyone interested in the history of American musical theatre. Listing new shows and revivals on the Great White Way chronologically, from The Black Crook in 1866 to Young Frankenstein in 2007, this updated edition of Stanley Green’s authoritative original work is jam packed with a wealth of facts, figures and inside stories that will delight Broadway fans of all ages.
VOICES FROM THE WINGS; A CONNOISSEUR’S COLLECTION OF GREAT THEATRICAL & SHOWBIZ ANECDOTES. by Ned Sherrin. £6.99 Hardback
The late Ned Sherrin collected together a fantastic number of stories that surrounded some of the great and the not so good of British and American theatre. Updated from his original best seller Theatrical Anecdotes this hardback volume at a special price of just £6.99 is full of wonderful put downs and acerbic one liners. Typically witty and deliciously gossipy, including some of the best backbiting and bravura you will ever encounter from the likes of Noel Coward, Coral Browne and Beatrice Lillie, this is a book that cannot fail to entertain while proving to be a fine and fitting tribute to a great raconteur, Sherrin himself.
A FART IN A COLLANDER Roy Hudd £20.00 Hardback
Star of stage, screen, TV and radio for over five decades, Roy Hudd tells his story for the very first time. Roy’s career spans every form of entertainment from drama to comedy, pantomime to Pinter, but he also has an affecting and poignant personal story to tell. Now in his seventies, Roy’s TV and radio CV is highly impressive. His big television break came with Not So Much a Programme, More a Way of Life with David Frost, John Bird and John Fortune and he also had a brief stint in the popular TV soap Coronation Street. With over thirty pantomimes under his belt, as well as many memorable Variety and West End performances, A Fart in a Colander brings together some wonderful stories from his life, and sparkles with the fun and laughter Roy has brought to millions of people throughout his career. This autobiography captures every ounce of the effervescent character that is Roy Hudd. It’s a fabulous read and a great stocking stuffer for the upcoming Christmas season.
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REVIEWS
www.asmagazine.co.uk
SHREK THE MUSICAL
It was with some apprehension that I listened to this recording. Based on the original Dreamworks animated film, it had the potential to be truly awful. I am pleased to say however what I got was a truly delightful score full of wit, boundless humour and loads of showstoppers. There’s no doubt that the part of Princess Fiona is going to be one of the most hotly contested parts at auditions when this one hits the amateur circuit. Favourite tracks for me included I Know Its Today, Who I’d Be and The Ballad of Farquaad – a comedy 11 o’clock number that is a real showstopper.
SIMON BURKE – SOMETHING ABOUT ALWAYS
Currently starring in the West End production of La Cage Aus Folles, Simon Burke is no newcomer to the world of musical theatre both in London and in his native Australia. This beautifully produced album showcased his lyrical tenor voice at its best. The album features an eclectic mix of tracks from big musicals and some interesting tracks from Australian composers. It’s quite refreshing to hear a selection of show music without a Les Mis song in sight. Beautifully arranged, this is an album that is really easy to listen to again and again.
THE FAR PAVILLIONS – A JOURNEY TO THE STAGE
This is a rather unique recording in that it’s not necessarily a cast recording but a collection of material that formed part of the development and eventual staging of the musical The Far Pavillions which was performed at the Shaftesbury Theatre. Based on MM Kaye’s blockbuster novel the scoring is evocative of colonial India, its lush and gorgeous. However, it’s all just a bit too lush, perfect adequate ballads predominate and I found myself waiting for a change of tempo. I must admit that nothing really grabbed me on this recording. Critics of the stage show had high praise for the productions storytelling but it just doesn’t come across on this recording.
NIGEL RICHARDS – A SHINING TRUTH
This is a collection of material from new composers and unpublished material from some of the heavyweights of American Musical Theatre. It’s an ambitious project that Richards manages to pull off with aplomb. It’s not easy listen though as you jump from musical to musical, emotional theme to emotional theme. This is an album that requires time and patience to absorb and enjoy but ultimately well worth the time. There’s a wealth of new material here that hopefully will one day see the lights of a Broadway or West End stage. It’s a must for die hard musical theatre fans or for any actor looking for new challenging material.
ALL BOOKS AND CD’S REVIEWED ON THESE PAGES CAN BE PURCHASED FROM
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FEATURE
www.asmagazine.co.uk
STOP THE SHOW!!! Do mobile phones interupt your enjoyment of shows?, have onstage slip ups wrought havoc with your productions? Following Hugh Jackman and Daniel Craig’s untimely interruption to their Broadway play ‘A Steady Rain’, Europe’s leading theatre ticket exchange, viagogo (http://www.viagogo.co.uk/Arts-and-Theatre-Tickets), asked its customers to vote for their top 5 theatre performance interruptions. We’d like to hear about your experiences!!!
Hugh Jackman and Daniel Craig’s Broadway play ‘A Steady Rain’ has set the record for the highest grossing non-musical stage production, but when a patron’s mobile phone rang, both actors remained in character when asking the patron to answer his phone. The incident caused even more mass publicity and the actor’s reaped the humorous take on the incident.
The Devil Wears Prada star Anne Hathaway was starring in a New York stage production of Shakespeare’s Twelfth Night when to her confusion the audience started laughing during her moving monologue. It turned out that a stray raccoon had decided to join her on stage too!
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Actress Cate Blanchett was injured on stage during her performance of Blanche in ‘A Streetcar Named Desire’ when a radio was thrown at her head. The hurling of the radio was part of the script, but Blanchett unfortunately took the blow, and she was left with blood pouring from her head, and the show was subsequently cancelled.
4 Comedy veteran Tommy Cooper had a fatal heart attack on stage in 1984 during the Varity Show Live from Her Majesty’s. The audience thought it was part of the act, and carried on laughing, until he was removed from the stage. He still remains one of Britain’s best loved comedians.
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Harry Potter star Richard Griffiths has become infamous for now demanding patrons to leave the theatre if their mobile phone starts ringing. Patrons were asked to leave the auditorium by Griffiths when their mobiles went off, notably during a performance of which he was starring in Alan Bennett’s ‘The History Boys’ and also during his performance in ‘Heroes’ at London’s Wyndham Theatre.
AS MAGAZINE | NOVEMBER 2009
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THE LAST WORD Wisteria Cottage Garrick Road Campton Royal
My dears, I am sure you are dying to know how my little production fared. I was unable to attend rehearsals until the dress, and then, only with the aid of a cane. Marjorie collected me in her ancient mini – an experience I do not want to repeat. She said the car could drive itself to the hall, almost certainly true since she does not look where she’s going. How we missed that cat I have no idea. I must admit, though I do not suffer from nerves, as I entered the storage area that serves as a dressing room, I felt a distinct frisson and said so. Marjorie replied that she was sure Derek would board up the broken window if we asked him. Truly, that woman has no soul! Nikki was wearing some sort of head phones and jumped a mile when I tapped her on the shoulder. Why do today’s young feel it necessary to plug things into their ears? She muttered something about adjusting her profile and darted away, presumably to find a mirror. Waiting in the wings, I observed that the sofa was not dead centre where it should be, but at a rakish angle stage right. Naturally, with my experience I could adjust accordingly until it was moved back. I was concerned about the others, but they seemed to have no problem. I had barely set foot on the boards, when Jeff took my arm and sat me down, none too gently I might add, on the offending sofa. Now, my script has numerous moves for Madame Arcati, but every time I attempted to rise, one of my fellow thespians prevented me – which gave a whole new meaning to the word ‘blocking’. After the first scene, I protested and was told that they were concerned that I should put no strain on my damaged ankle. The sofa had been moved for the same reason. Most considerate don’t you think? Other things had also changed – the green light planned for the séance had disappeared – Nikki said her lighting friend was colour-blind so not to worry. And Jeff committed the cardinal sin of delivering his final speech with his back to the audience. Nikki said he had found it hard to learn and was going to read it, though I never saw a crib sheet. Despite these imperfections, the audience adored it, and what an audience! For the first time in years we made a profit. It just shows what a seasoned director can do! Listen to me and learn,
Doris Richardson-Hall
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SOMETHING ABOUT ALWAYS THE DEBUT ALBUM FROM
SIMON BURKE WITH SPECIAL GUEST STARS
CONNIE FISHER & CAROLINE O’CONNOR AVAILABLE FROM
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