amateurstage THE INDEPENDENT MAGAZINE FOR AMATEUR THEATRE FEBRUARY 2010 www.amateurstagemagazine.co.uk
£2.95
the musical produced
PARADE special feature
PANTO
featuring our Panto Dame Script Reviews drama festivals
AETF DIARY PLUS: INSURANCE, WEST END REVIEWS, UK PRODUCTION DIARY, NEWS & LITTLE THEATRE GUILD NEWS ROUND UP Feb10_1-11.indd 1
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amateurstagefeb10 FROM THE EDITOR This month sees some new directions for Amateur Stage. Firstly I’d like to announce our sponsorship of the All England Theatre Festival. Amateur Stage applauds the volunteers who make the AETF tick and we’re proud to be associated with you. Secondly, we’d like to thank our February Dames who came in to take part in our first ever Panto Script review. We asked Dames from all over the UK to take part - who better, we thought, to look at new panto scripts! Lastly, the April issue of Amateur Stage will be the first issue of the magazine in many years to feature reviews of your shows. We are currently recruiting reviewers across the country for this mammoth undertaking. Watch this space. It’s going to be an epic year!! Enjoy! Doug
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THIS MONTH 5
NEWS
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ALL ENGLAND THEATRE FESTIVAL
This year’s diary and news from the AETF.
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FIRST NIGHT INSURANCE
Robert Israel ASCII looks at insurance issues relating to Panto.
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News from around the country.
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MUSICAL PRODUCED - PARADE
Nicci Hopson discusses Ariel’s recent production of Jason Robert Brown’s musical set in the South.
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LITTLE THEATRE GUILD NEWS
Michael Shipley gives us his quarterly round up of happenings at the Little Theatre Guild.
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NATIONAL DIARY
The March/April listings of productions across the UK.
30
PANTOMIME ALLIANCE
We look at the Panto Alliance of Leicester.
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PANTO WRITERS
A quick guide to who’s who in writing and publishing pantos.
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THE PANTO PRODUCED
Panto goes corporate as PricewaterhouseCoopers present Publisher - Paul Webster : paul@nextphasemedia.co.uk Stephen Duckham’s Snow White. Editor - Douglas Mayo : editor@asmagazine.co.uk Subscriptions/ Diary Listings : diary@asmagazine.co.uk
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42 CREDITS Published monthly by Next Phase Media Limited Suite 404 Albany House, 324/326 Regent Street, London W1B 3HH P: 0207 622 6670 www.amateurstagemagazine.co.uk
THERE AIN’T NOTHING LIKE OUR DAMES
Fabulous panto dames from across the UK give their considered Advertising : Zoya Berkeley: zoya@asmagazine.co.uk P: 0207 078 4893 opinions on some of the latest script offerings available.
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WEST END REVIEWS
Mark Ludmon looks at some recent West End offerings.
All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of Amateur Stage. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of Amateur Stage.
AMATEUR STAGE | FEBRUARY 2010
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NEWS
NEW DIRECTOR FOR DRAMA ASSOCIATION OF WALES ARIEL SELECTED FOR BILLY YOUTH THEATRE To celebrate five amazing years in the West End, the producers of Billy Elliot the Musical have launched Billy Youth Theatre, an exciting new initiative providing schools and youth groups around the country with the opportunity to perform their own productions of this internationally award-winning show. Billy Elliot writer Lee Hall, together with Martin Koch (Musical Supervision and Orchestrations), have adapted their original script and orchestrations to produce a shortened version of the show exclusively for groups staging local productions as part of Billy Youth Theatre. With an amazing 115 separate productions being staged across the country, Billy Youth Theatre is truly a nationwide event and Ariel Drama Plus from Burgess Hill are delighted to announce that they will be taking part in the competition and the recording is planned for 1st March at Chequer Mead, East Grinstead. As part of Billy Youth Theatre, selected productions of Billy Elliot from around the country will be invited to perform excerpts from their productions at showcases held at major regional theatres between April and June 2010. This will culminate with some groups being offered the opportunity to follow in the steps of Billy and perform at the Billy Youth Theatre West End Gala at the Victoria Palace Theatre, Billy’s London home, in July 2010. To support and encourage the local productions, the directors of the participating groups were given a fantastic opportunity to come to London in December to take part in an all day workshop led by the award-winning team that brings Billy Elliot to life each day on the London stage. Participating on the day, alongside writer Lee Hall, were Resident Choreographers, Lee Proud and Damian Jackson, Musical Director, Chris Hatt and Resident Director, Nick Evans as well as some former and current cast members including current Billy Elliot, Tom Holland. Nicci Hopson, Sue Jay, Judy Finlay and Bev Locke of Ariel Drama Plus joined other directors from participating groups at the Victoria Palace Theatre for this unique event. Lee Hall, who originally conceived the idea behind Billy Youth Theatre, said: “I am delighted that young people around the country will have the opportunity to bring the story of Billy Elliot to life in their local communities with the help and guidance of our creative team”.
The Drama Association of Wales is pleased to announce the appointment of a new Director, Mrs. Susan Stacey. Suzy joins us after a long career as a Senior Manager & Quality Manager for a multinational credit insurer. Suzy has extensive experience in management and business and has also been Director of her own company. Suzy has been active in amateur theatre for 25 years. Prior to the acceptance of the post of Director of DAW, Suzy was the Chair of Llantrisant Drama. Suzy has directed and produced many of their productions, as well as appearing in them. She was also the Secretary of the Glamorgan Drama League (GDL) and an appraiser for the GDL Glammies. Suzy is delighted to have found her dream job and is looking forward to meeting members over the coming year. Founded in 1934 and a registered charity since 1973, the Drama Association of Wales offers a wide and varied range of services to Community Drama. Among others, members include amateur and professional theatre practitioners, educationalists and playwrights. The function of the Drama Association of Wales is to increase opportunities for people in the community to be creatively involved in drama that is fun and of a high standard. The Drama Association of Wales, The Old Library, Singleton Road, Splott, Cardiff CF24 2ET. Tel: 029 2045 2200 Email: info@dramawales.org.uk Website: Qdos hirewww.dramawales.org.uk QP ad 05/02/2010 10:15 Page 1
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NEWS
SIR IAN SPEAKS OUT ABOUT VETTING The Vetting and Barring Scheme (VBS) aims to stop unsuitable people working with children and vulnerable adults. But some theatres say they do not have resources to carry out the paperwork it entails and Sir Ian fears child actors will lose important stage experience. Speaking as patron of the Little Theatre Guild, Sir Ian McKellen, 70, said without early local theatre roles, he “would not have grown up to be this person today”. Ministers responded by saying that many concerns with VBS had been dealt with or were overstated. “People are all there for the love of it – that’s what amateur means” Sir Ian said. “It is a very family atmosphere and there’s never in the last 50 years been any hint of wrongdoing and so it’s trying to put right a problem that doesn’t really exist,” he said of the combination of the vetting scheme and a possible extension of chaperone regulations. He said small theatres were struggling to comply and instead opting to avoid plays with children in the cast, a loss for both future generations of actors and for audiences. If children are no longer allowed, as it were, to perform with amateur groups the loss is everybody’s.” The Loft Theatre in Leamington Spa has reacted to the changes by stopping casting children in their productions. Chairman Michael Rayns said it came down to there only being so much time and energy that volunteer groups could dedicate to the paperwork involved in meeting the criteria for the new Vetting and Barring scheme on top of the stringent chaperoning rules already in place when casting children. Home Office minister Meg Hillier said many of the concerns raised by volunteer organisations have been dealt with and others are being overstated. “I do not believe there will be fewer volunteers as a result of the Independent Safeguarding Authority scheme,” she said. “I think some of these concerns and worries are from people who imagine there might be worries but perhaps aren’t going through the normal process of being a volunteer and doing it every week anyway.”
ISLE OF ARRAN FESTIVAL Isle of Arran Drama One Act Festival runs from Wednesday 24 to Saturday 27 February in the Arran Community Theatre, Arran High School, Lamlash Isle of Arran. Twelve plays will be performed, four junior and eight senior plays. The festival will be adjudicated by Mr Ron Nicol who has judged many Scottish Festivals. The plays are normally very varied and include melodrama, comedy and drama. Tickets are £6.00 for each night or a four-night for £20.00. What a bargain for such good entertainment!
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DON’T BE SCARED OF MACBETH: LET S4K EXPLAIN Ever been bored by the Bard? Well there’s no excuse for being mystified by Macbeth or horrified by Hamlet, since Shakespeare 4 Kidz came along. Shakespeare 4 Kidz (S4K) based in Oxted, Surrey was formed in 1997 and has grown to become the UK’s National Shakespeare Company for children and young people, making the classic plays easy-to-understand and entertaining as well as educational, weaving original text with modern language, songs and dance. S4K produces fun-filled musical theatre adaptations of Shakespeare’s plays which are presented in theatres across the country during the autumn and spring school terms, supported by interactive workshops for primary schools. DVDs of S4K’s A Midsummer Night’s Dream and S4K’s Macbeth are available to purchase from the S4K web site. Drama groups and schools can also produce their own versions of S4K theatre shows using the Put on a Play Pack, which provides everything you need to get you up and running, all in one easily affordable pack. Choose from A Midsummer Night’s Dream, Hamlet, Macbeth, Romeo & Juliet, The Tempest and Twelfth Night. Look out for the S4K UK tour of Macbeth at a theatre near you this autumn. For more details call 01342 894548 or visit the Shakespeare 4 Kidz web site: www. shakespeare4kidz.com
OH WHAT A NIGHT! The Night of 1000 Voices, the annual, starstudded event celebrating musical theatre at the Royal Albert Hall, is to take place on Spring Bank Holiday Sunday May 2, 2010 and will fundraise for the charity Leukaemia & Lymphoma Research. Since 1999, The Night of 1000 Voices has delighted capacity audiences at the Royal Albert Hall whilst raising money for charity. In 2010, The Night of 1000 Voices will be celebrating its 10th birthday, the 80th birthday of Stephen Sondheim and the 50th Anniversary of this year’s charity, Leukaemia & Lymphoma Research. Performers to be introduced by the much-loved, Aled Jones, include London and Broadway’s Kerry Ellis (Oliver!, Wicked, Les Misérables) and Adam Pascal (Rent, Chess in Concert) and multiOlivier Award-winning Philip Quast (Les Misérables, La Cage Aux Folles); also, the popular The Night of 1000 Voices regulars, Teri Bibb (Broadway’s Christine in The Phantom of the Opera), Kenneth Nichols (Lyric Opera of Chicago) and David Michael
Johnson (We Will Rock You in Stuttgart) who will return with his show-stopping Jesus Christ Superstar. This year there will be a birthday tribute to Stephen Sondheim, as well as the most requested favourites from the last 10 years – including You’ll Never Walk Alone, The Tonight Quintet, It Ain’t Necessarily So, and Don’t Cry For Me Argentina. These are just some of the great songs that will be given The Night of 1000 Voices treatment, together with nods to We Will Rock You and The Rocky Horror Show featuring TV’s Christopher Biggins. Some surprises have also been promised… In 2010, The Night of 1000 Voices will be for the benefit of Leukaemia & Lymphoma Research. This is the only UK charity solely dedicated to saving lives through research into better treatments and cures for all blood cancers including leukaemia, lymphoma and myeloma. Cathy Gilman, Chief Executive, says: “Since 1960, Leukaemia & Lymphoma Research has invested in world-class research and survival rates have increased dramatically for patients with leukaemia, lymphoma and myeloma. However, there’s still a long way to go and money raised from this evening will help us get closer to a cure. We are delighted that the original Calendar Girls from North Yorkshire will be our very special guests.” The West End’s distinguished conductors, Mark Warman, Stuart Morley and David Firman, will supervise the massed musical forces and the director, Hugh Wooldridge, says “This evening is a must for all who love musicals. Come along and hear the best performers in the world performing some of the greatest songs. Come and join in the fun; come and raise funds for this splendid charity whilst raising the roof of the Royal Albert Hall.” The Night of 1000 Voices takes place on Sunday May 2, 2010 at 4.00pm and 8.00pm. Tickets start at £17.50 and are available from the Royal Albert Hall box office on 020
JOIN OUR MAILING LIST ONLINE Amateur Stage has just launched its online mailing list and we’d like to invite everyone to join. This is a quick and easy way for us to keep in touch with you and let you know about events that may be of interest. We can also give you advance warning of stories and images we need for publication. Every month we’ll be holding a prize draw too! Just visit our website and sign up in the top right hand corner.
AMATEUR STAGE | FEBRUARY 2010
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AETF DIARY
ALL ABOUT THE ALL ENGLAND THEATRE FESTIVAL This year Amateur Stage Magazine is pleased to announce its sponsorship of the Al England Theatre Festival. When announcing the sponsorship, Roger Cunnington from the AETF said “AETF are extremely grateful to AS Magazine for their sponsorship of the 2010 English Final. Amateur Stage Magazine has been enormously supportive of our work over the last year, advertising festivals and publishing results. We look forward to a long association in the years to come.” This guide provides a comprehensive view of all you need to know about the All England Theatre Festival.
WHAT IS THE ALL ENGLAND THEATRE FESTIVAL?
We run the only nationwide eliminating contest of One Act plays in performance. This gives amateur groups the opportunity to take part in a progression of festivals starting in their own local area and possibly ending at the English Final. The benefits of competitive drama are in raising standards; to allow people to compare the standard of their work and to learn how to improve it. They also benefit from seeing the work of other companies and having supportive but constructive criticism, as well as playing in a variety of conditions. Our hope is to encourage originality and adventure in the choice of plays and to provide friendly, entertaining events for audiences as well as those taking part. Our audiences can also enjoy comparing their views with those of the Adjudicator in assessing and appreciating the work they see upon the stage.
WHO MAY ENTER?
The festival is open to any amateur drama group in England. If there is no convenient local festival we are always happy to consider adding more to feed into our event. Please contact any Committee member to see how to progress this or check our website www.aetf.org.uk.
HOW IS IT ORGANISED?
The festival is organised by AETF through a network of Committees using rules confirmed by the English Executive Committee. Each Preliminary round has one member on the local Division committee and on the Area Committee, so are represented in all decisions. The English committee is made up of elected members from Area committees, assisted by co-opted members with significant skills as needed. AETF works closely with Independent Organisers of Preliminary Festivals via the above representation structure but recognises that they are Independent and hence may have rules that differ from AETF. However, only Entries that
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comply with AETF Rules may go forward to our Quarter Finals. AETF does organise some Preliminary rounds and is solely responsible for the Quarter Finals, Semi Finals and English Final. There are a series of Trophies awarded at Quarter and Semi Finals. The Trophies awarded at the ENGLISH FINAL are the PAUL DYSON TROPHY at the adjudicator’s discretion, the IRENE GARTSIDE TROPHY for stage décor and the JOHN MAUDE TROPHY for the BEST Performance. The ENGLISH Winner also proceeds to the British Final, organised by the British Final Festival Standing Committee. This event is coordinated by representatives from England, Scotland, Ireland and Wales. Each Country enters its Winner to compete for the HOWARD DE WALDEN CUP.
THE COMMITTEE
Chairman: Ann Aplin Vice-Chairman: Mike Linham Treasurer: Roger Cunnington Secretary: Martin Patrick 37 Verdayne Gardens, Warlingham, Surrey CR6 9RP Tel: 01883 625651 martindpatrick@btinternet.com ORIGINAL ONE ACT PLAY AWARDS ADMINISTRATOR Jean Cunnington 11, Howard Road Yardley, Birmingham B25 8AL Tel: 0121 707 6684 e-mail: cunnington@talk21.com Original work submitted by authors for performance in the AETF rounds may also be entered in the GEOFFREY WHITWORTH TROPHY run in conjunction with the parallel organisations in Wales, Scotland and Northern Ireland. The trophy, first presented in 1951, is awarded to the authors of new work performed under festival conditions. Entry forms are held by festival secretaries. All plays are read ‘blind’ (i.e. the identities of the authors are not known in advance by the Judges) by a panel of three. Qualifying conditions are as follows:*Only plays which are unpublished and have never been produced in any other festival are eligible. *Plays should conform to AETF rules regarding format and play length. *There is no entry fee and plays are judged in manuscript form. A short written assessment of the play will be sent to each playwright at the conclusion of the festival. The responsibility for entering plays rests with the writers.
ALL ENGLAND DRAMA FESTIVAL DIARY NORTHERN AREA NORTH WEST DIVISION Cumbria Preliminary 13th March Victoria Hall GRANGE-OVER-SANDS John Larkham 01946 728242 john@jolola.plus.com Adj. Andrew Rawlinson GODA
West Pennine District 27th March CHADS THEATRE CHEADLE HULME Jeff Brailsford 01772 616092 jeffbrailsford@jandowae.freeserve.co.uk Adj. Colin Snell Ass. GODA Leverhulme Drama Festival Youth Festival 13th - 17th April Adult Festival 20th - 24th April GLADSTONE THEATRE PORT SUNLIGHT Phyllis Driscoll 0151 348 4688 driscoll284@btinternet.com Adj. (Youth) Richard Woodward GODA Adj. (Adult) Ann Warr Manx Amateur Drama Federation One-Act Festival 11th – 13th February ERIN ARTS CENTRE PORT ERIN, I.O.M Aalin Cunningham 01624 674901 mark-oberon@manx.net Adj. Michael Poynor GODA
NORTH CENTRAL DIVISION Nidderdale and District Drama Festival 11th - 13th March FRAZER THEATRE KNARESBOROUGH N. YORKS. Elizabeth Clarke 01423 712240 elizclarke77@waitrose.com Adj. Carolyn Drury GODA
Richmond Festival 1st - 6th February GEORGIAN THEATRE ROYAL RICHMOND N. YORKS. Theatre Royal Box Office 01746 825252 admin@georgiantheatreroyal.co.uk Adj. Russell Whiteley GODA
NORTH EAST DIVISION Hull and East Riding District 25th - 27th March THE VILLAGE HALL NORTH FERRIBY Barbara Prince 01482 650952 Adj. Colin Snell Ass. GODA
AMATEUR STAGE | FEBRUARY 2010
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AETF DIARY
www.amateurstagemagazine.co.uk Saltburn ’53 Festival 15th - 20th March SALTBURN COMMUNITY THEATRE SALTBURN, CLEVELAND Sheenah Taylor 01642 481638 sheenahtaylor@hotmail.co.uk Adj. Jeannie Russell GODA
QUARTER FINALS
North West Division 1st May THE PLAYHOUSE, PRESTON, LANCS Jeff Brailsford 01772 616092 jeffbrailsford@jandowae.freeserve.co.uk Adj. Robert Meadows GODA North East Division 17th April THE COMMUNITY THEATRE SALTBURN, CLEVELAND Sheenah Taylor 01642 481638 sheenahtaylor@hotmail.co.uk Adj. Bev Jenkins Ass GODA
CENTRAL DIVISION
CENTRAL AREA
EASTERN DIVISION
Birmingham BFAME Festival 22nd - 27th February Dovehouse Theatre SOLIHULL Jean Cunnington 0121 707 6684 cunnington@talk21.com Adj. Alan Hayes Ass. GODA The Worcestershire Theatre Festival 6th - 7th March The Swan Theatre WORCESTER Roger Seabury 01562 885578 rseabury@liscombe.co.uk Adj. Jane Levan GODA The Shropshire One Act Festival 24th - 27th March The Belfrey Theatre WELLINGTON Brian Hughes 01952289608 brian@breakaleg.org Adj. Benjamin Humphrey Ass. GODA
MERCIA DIVISION
Cheltenham One Act Play Festival 8th - 13th March The Playhouse, CHELTENHAM Ann Wessen, 01242 226092 annwessen@hotmail.co.uk Adj. Sonia Wolley GODA
Stoke-on-Trent Drama Festival 27th March - 1st April Trentham High School STOKE-ON-TRENT Alan Hill 01782 317151 hilldepanto@ntlworld.com Adj. Alan Hayes Ass. GODA Warwickshire One-Act Play Festival 26th - 27th March The Abbey Theatre & Arts Centre Pool Bank Street NUNEATON Dave Sedgwick 07956 909369 sedg@talktalk.net Adj. Chris Jaeger GODA
Herefordshire County Drama Festival 11th - 13th March The Courtyard HEREFORD Lucy Zammit 01568 616150 Adj. Colin Dolley GODA
Somerset County Drama Festival 27th - 28th March Kings College TAUNTON Ron Roberts 01458 241374 ron@silverstones.com Adj. Jane Levan GODA
Tamworth (Hastilow) Drama Festival 15th - 20th March The Assembly Rooms TAMWORTH Sue Fortune 01827 69082 sue.fortune@tact-web.co.uk Adj. Cherry Stephenson Ass. GODA
North Central Division 17th April BISHOP MONKTON VILLAGE HALL BISHOPMONKTON, RIPON Elizabeth Clarke 01423 712240 elizclarke77@waitrose.com Adj. Jeff Brailsford GODA
WESTERN DIVISION
Bristol Festival 11th - 13th February The Olympus Theatre FILTON COLLEGE Jill Gill 0117 924 7266 jillgill47@yahoo.co.uk Adj. Mike Tilbury GODA
Leicestershire & Rutland Festival 18th - 20th March Lutterworth College Lutterworth, LEICESTER Jackie Sellwood 01572 723247 jgsellwood@hotmail.com Adj. Carolyn Drury GODA
Harold Joliffe One Act Play Festival 11th - 13th February The Arts Centre, SWINDON Ashley Heath, 07899 967157 swindononeact@googlemail.com Adj. Sonia Woolley GODA SOUTHERN DIVISION
Nottingham Festival 5th - 6th March Chilwell Olympia Theatre Bob Wildgust 0115 9291077 rwildgust@hotmail.co.uk Adj. Jill Gautrey
QUARTER FINALS Western Division 10th April Highbury Theatre Centre Sutton Coldfield Jean Cunnington 0121 707 6684 cunnington@talk21.com Adj. Mike Kaiser GODA
Central Division 17th April Two Rivers Theatre TORC SITE Tamworth Sue Fortune 01827 69082 sue.fortune@tact-web.co.uk Adj. Marie O’Sullivan GODA
WESTERN AREA WESSEX DIVISION
Avon Festival 26th - 28th February The Playhouse, BACKWELL Janet Adams 0117 963 8347 aad.oneact@virgin.net Adj. Scott Marshall GODA
Totton Drama Festival 22nd - 27th March Hanger Farm Arts Centre TOTTON, Hants Michael Farleigh 023 8086 2882 tottondrama@ntlworld.com Adj. Keith Thompson GODA Dorset Drama League Week beginning 1st March The Arts Centre SHAFTESBURY, Dorset Simon Hunt 01747 830242 simon.hunt3@btinternet.com Adj. Keith Thompson GODA
WESTERN DIVISION
Cornwall Festival 26th - 27th March Arts Theatre St AUSTELL Fred Parker 01579 362269 fred.parker@uphill.fsnet.co.uk Adj. Russell Whiteley GODA The Teignmouth Drama Festival 8th - 13th March Carlton Theatre, TEIGNMOUTH Freda Welton 01626 775140 Adj. Beverley Jenkins Ass. GODA Exmouth Festival 12th - 17th April Blackmore Theatre EXMOUTH Norman Warne 01395 266069 Adj. John Scowen
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AETF DIARY QUARTER FINALS
EAST DIVISION
Southern Division 24th April The Arts Centre, Bell Street SHAFTESBURY, Dorset. Dennis Dunford 01305 776151 dennis@dadunford.plus.com Adj. Mike Kaiser GODA
Waltham Forest Festival of Theatre 15th - 20th March Chingford Assembly Hall Station Road, CHINGFORD E4 7EN Elaine Elliott 0208 527 4690 Elaine17elliott@aol.com Adj. Michael Kaiser GODA
Mercia Division 17th April Theatre-on-the-Hill MARLBOROUGH, Wilts Martin Clifton 01672 810436 and on line www.pvads.net Adj. TBC
WEST DIVISION
Wessex Division 17th April Warehouse Theatre ILMINSTER, Somerset Mark Graves 01454 238384 mark@normark.eclipse.co.uk Adj. Sonia Woolley GODA
Western Division 1st May Carlton Theatre TEIGNMOUTH Freda Welton 01626 775140 Adj. Paul Fowler GODA
EASTERN AREA NORTH DIVISION
Bedford Festival 26th April - 1st May Haynes Village Hall Haynes, BEDFORD Debbie Bosher 01234 381295 debbie.bosher@tiscali.co.uk Adj. John Scowen Cambridge Festival 19th - 24th April The Mumford Theatre CAMBRIDGE Wendy Walford 01223 323519 Raw1000@cam.ac.uk Adj. Tony Rushforth GODA
SOUTH DIVISION
Elmbridge Drama Festival 1st - 6th March The Playhouse. Hepworth Way WALTON-ON-THAMES Margaret Watford 01932 228525 margaret.watford@btinternet.com Adj. Robert Meadows. GODA Southern Counties Drama Festival 22nd - 27 February The Barn Theatre Bluehouse Lane, OXTED Bruce Reed 01959 561811 sc.df@btinternet.com Adj. Arthur Rochester GODA
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Southend on Sea Theatre Festival 8th - 13th March Eastwood Studio Theatre Rayleigh Road. LEIGH-ON-SEA Kay Banning 01268 752239 Adj. David Vince GODA
Maidenhead Drama Festival 26th April - 1st May Norden Farm Centre for the Arts MAIDENHEAD Carolyn Morley 01628 828463 carolynmorley@tiscali.co.uk Adj. Jan Palmer Sayer GODA
QUARTER FINALS
North Division Winners of Bedford & Cambridge Festivals Bye into Semi-Final Debbie Bosher 01234 381295 Wendy Walford 01223 323519 West Division Winner of Maidenhead Festival Bye into Semi-Final Carolyn Morley 01628 828463 East Division Winners of Southend on Sea & Waltham Forest Festivals Bye into Semi-Final Kay Banning 01268 752239 Elaine Elliot 0208 527 4690 South Division 7th March The Playhouse Hepworth Way WALTON-ON-THAMES Richard Davis 01932 845855 richardc.davis@ntlworld.com Adj. Paul Fowler GODA
SEMI FINALS
Northern Semi-Final 22nd May 2010 FRAZER THEATRE, KNARESBOROUGH, N.YORKS Contact: Ian Clarke 01423 712240 ian.clarke33@btinternet.com Adj. Scott Marshall GODA Central Semi-Final 8th May 2010 The Evesham Arts Centre, EVESHAM Contact: Jean Cunnington 0121 707 6684 cunnington@talk21.com Adj. Scott Marshall GODA
Western Semi-Final 15th May 2010 The Atheneaum Centre WARMINSTER Contact Ann Aplin 01454 228243 annaplin@tiscali.co.uk Adj. Colin Dolley GODA Eastern Semi-Final 15th May 2010 Chequer Mead Theatre EAST GRINSTEAD Contact Chris Hepher 020 8656 5554 cih@tinyworld.co.uk Adj. Helen E Sharman GODA
ENGLISH FINAL
5th June 2010 2.30pm & 7pm Brewhouse Arts Centre Burton-on-Trent Contact: Sue Fortune sue.fortune@tact-web.co.uk Adj. Paul Fowler GODA Box Office: 01283 508100 The winner of the English Final will represent England at the
BRITISH FINALS
to be held on 25th & 26th June 2010 at 7.00pm at the East Kilbride Village Theatre Box Office 01355 248669 Contact: Christine Currie currie@ntlworld.com Adj. Russell Boyce SASDA
AETF CONTACTS AREA OFFICERS AND DIVISIONAL REPRESENTATIVES NORTHERN AREA Chair: Jeff Brailsford ‘Jandowea’, Gill Lane, Longton, Preston PR4 4SS. Tel: 01772 616092 jeffbrailsford@jandowae.freeserve.co.uk Administrator: Ian Clarke ‘Briardene’, Silver Hill, Pateley Bridge, Harrogate. HG3 5PQ Tel: 01423 712240 ian.clarke33@btinternet.com Treasurer: Dennis Yardley 5 Riverside Ave, Farington Moss, Leyland. PR26 6RQ Tel: 01772 495325 d.yardley@blueyonder.co.uk NORTH-WEST DIVISION: Jeff Brailsford. ‘Jandowae’, Gill Lane, Longton, Preston PR4 4SS Tel: 01772 616092 jeffbrailsford@jandowae.freeserve.co.uk NORTH-CENTRAL DIVISION: Elizabeth Clarke. ‘Briardene’, Silver Hill, Pateley Bridge. Harrogate. HG3 5PQ Tel: 01423 712240 elizclarke77@waitrose.com NORTH-EAST DIVISION: Sheenagh Taylor, Tel: 01482 650952 sheenahtaylor@hotmail.co.uk
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AETF DIARY
CENTRAL AREA Vice-President: John Clarke 45 Equity Road, Enderby, Leicestershire Tel: 0116 284 8911
Vice-Chair: Colin Jackson 54 Fane Way, Maidenhead, Berks. SL6 5DJ Tel: 01628 784166 colincaunter@aol.com
Vice-Chair: Dennis Dunford 19 Markham Ave, Weymouth. DT14 1QL Tel: 01305 776151 dennis@dadunford.plus.com
Chair: Roger Cunnington 11 Howard Road, Yardley, Birmingham B25 8AL Tel: 0121 707 6684 cunnington@talk21.com
Secretary: Chris Hepher 5 Princess Court, Canning Road, Croydon CR0 6QB Tel: 020 8656 58134 cih@tinyworld.co.uk
Secretary: Ann Aplin The Clove Hitch, Iron Acton, Bristol. BS37 9UG Tel: 01454 228243 annaplin@tiscali.co.uk
Treasurer: Beryl Smith 28 Barnstaple Road, Thorpe Bay, Southend-on-Sea SS1 3PA Tel: 01702 584134 awsmith@blueyonder.co.uk
Treasurer: Alan Cross 41 Twenty Acres Road, Bristol. BS10 6PW Tel: 0117 985 3631 alanecross@blueyonder.co.uk
Vice Chair: Harry Bladon 36 Cedar Road, Blaby, Leicestershire LE8 4AD Tel: 0116 277 5499 theatre@hbladon.wanadoo.co.uk Secretary: Jean Cunnington 11 Howard Road, Yardley, Birmingham B25 8AL Tel: 0121 707 6684 cunnington@talk21.com CENTRAL DIVISION: Sue Fortune ‘The Elms’ Lichfield Road, Hopwas, Tamworth B78 3AF Tel: 01827 69082 sue.fortune@tact-web.co.uk WESTERN DIVISION: Jean Cunnington 11 Howard Road, Yardley, Birmingham B25 8AL Tel: 0121 707 6684 cunnington@talk21.com EASTERN DIVISION: Bob Wildgust 67 Aspley Park Drive, Aspley, Nottingham NG8 3EG Tel: 0115 9291077 rwildgust@hotmail.co.uk EASTERN AREA Chair: Brian Freeman 79 Lower Weybourne Lane, Farnham, Surrey. GU9 9HW Tel: 01252 680514
NORTH DIVISION: Wendy Walford. 12 Stukeley Close, Cambridge. CB3 9LT. Tel: 01223 323519. raw1000@cam.ac.uk SOUTH DIVISION: Richard Davis 68 Byfleet Road, New Haw, Addlestone, Surrey. KT15 3LB Tel 01932 845855 richardcdavis@ntlworld.com EAST DIVISION: Frank McGrath OBE 16 Perry Road, Benfleet, Essex SS7 3PA. Tel: 01268 752239 WEST DIVISION: Colin Jackson 54 Fane Way, Maidenhead, Berks SL6 5DJ. Tel: 01628 784166 colincaunter@aol.com
WESTERN AREA
WESSEX DIVISION: Mark Graves, 42 France Lane, Hawkesbury, Upton, Badmington, South Glos. Gl9 1AS. Tel: 01454 232384 mark@normark.eclipse.co.uk MERCIA DIVISION: Martin Clifton. Station Farm, West Grafton, Marlborough, Wilts. SN9 3BY. Tel: 01672 810436 martin.clifton@lineone.net SOUTHERN DIVISION: Marianne Potts, 14 Shetland Close, Totton, Southampton Hants. SO40 8HY. Tel: 02380 663593 WESTERN DIVISION: Rodney Bowen. 68 Ringmore Road, Shaldon, Teignmouth TQ14 0AB. Tel: 01626 872934 rodneybowen@talktalk.co.uk
Chair: Mike Linham 24 Clemence Road, Street, Somerset. BA16 0SR Tel: 01458 442725 mike.linham@btinternet.com
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Professional sound for the amateur stage – 2010 weekend training courses Theatrical sound can be a demanding subject, but many of its mysteries can be unlocked by learning a few tricks of the trade. Orbital Sound’s newly-developed series of training courses are structured to broaden theatre sound skills, irrespective of previous experience. Take advantage of our decades of theatre sound know-how, and demystify the techniques and technology by attending our free courses, covering eight modules each weekend.
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FIRST NIGHT INSURANCE
PANTO INSURANCE Robert Israel ASCII from Gordon & Co discusses the latest insurance issues affecting amateur theatre. I understand from your Editor that this month’s Amateur Stage is dedicated to the wonderful world of pantomime. I always think about writing my pantomime article during the summer, so you will have to excuse me if some of the following comments ring some bells with you, but I am sure that there are always new readers, so hopefully you may find the following comments to be of assistance. Insurance for pantomimes is not that different to arranging insurance on a standard production except, in my experience, the limits are probably higher for a pantomime. So, starting from the beginning, you must make sure that the period of insurance is correct. What I mean by this is that you must start the insurance from the first date of auditions and not the first day or rehearsal or, as I have seen in the past, the first performance date. It is extremely important to make sure that the period of insurance is correctly shown as you would still have a liability should an injury or damage occur during auditions and it is very easy to forget this particular point. Obviously, for societies who carry an annual insurance policy, this is an irrelevance. But for societies who are specifically run just to produce a pantomime, this becomes an important factor. As far as First Night Insurance is concerned, if we were notified by a prospective client that they were carrying out auditions in, say, the first week of March in any particular year, but that rehearsals wouldn’t start until September, then I would design the policy to cover the auditions inside the main body of the policy, but would not charge a premium for the intervening months. You should be very careful to make sure that you are not paying for months of cover which you do not need. When considering the period of insurance you should, of course, take into account when you start to take delivery or build the equipment.
if not for the year then certainly for the pantomime season. This should not involve you in a significant additional premium. In addition, it may be a local authority requirement in your contract with the Theatre that you have a certain level of indemnity, which may be more than £2,000,000. However, you also need to consider what it may cost to re-build the theatre if you negligently burn it down! Again, the indemnity limit will need to be adequate for this eventuality. Certainly, as far as the standard First Night Insurance package is concerned, we also provide cover for Cancellation Risks. You should make sure that your cover is adequate to provide you with an indemnity in the event that the pantomime is either cancelled or some of the performances are cancelled. Again, experience tells me that the running cost of a pantomime can far outweigh that of a normal production, so you need to make sure that the limits under your Policy are adequate to cover you against the loss of the total production and/or an individual performance and that the cover is in place from the earliest date you start to spend money or become financially responsible. Finally, certainly as far as the First Night Insurance Package is concerned, we do provide cover for personal accident benefits for members engaged in the production, but we do operate on a limit any one production of up to 50 members. If you go over this limit for the pantomime, you must tell your insurers in case they rate the policy on the number of people and, if so, they will then need to charge an additional premium for the pantomime run.
Pantomime costumes are very expensive and therefore you should look carefully at the sum insured to make sure that it is adequate for your purposes. From an insurance perspective, you need to make sure that the sum insured is adequate to cover you during the period of the run. You may, for instance, need to start the cover in September for rehearsal period, but the costumes may not become your responsibility until December. It is important for you to tell your insurers that a vast majority of the equipment does not become your responsibility until later on during the period in order to make sure that again you are only charged for the cover that you need. Turning now to the Public Liability Section, you may decide that during the year a limit of £2,000,000 for any one claim is more than adequate for your purposes. However, in the pantomime season you may wish to consider an increase in the limit for various reasons. There may be a significant higher number of children in the audience than attend your other performances. It is unfortunately the case that claim settlement relating to children can be vastly in excess of those for adults. As an example, consider the following. If a child is severely injured during the early part of their life, the cost of looking after them during their entire lifetime can be significant and in excess of a similar injury occurring to an old age pensioner. Furthermore, there is a chance that you might be undertaking certain, shall we say, slightly more hazardous activities in the pantomime than during the rest of the year. It is not unusual for pantomimes to include sword fights, flying and, dare I say it, the occasional pantomime dame “give-away”. If your dame starts throwing sweets into the audience, there is a chance that a member of the audience can be injured. During the years that I have been arranging insurance for both amateur and professional production companies, we have had our fair share of such injuries. We have had sweets hitting people in the face, a rubber ball hitting somebody’s finger whilst they are rubbing their eye, we have even had flowers thrown into the audience which have injured audience members. So, as far as the Liability Section of your policy is concerned, I would strongly advise that you consider increasing the indemnity limit,
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THE MUSICAL PRODUCED
PARADE Jason Robert Brown’s award winning musical Parade has won acclaim worldwide. Nicci Hopson discusses the recent production staged by Ariel Theatre Company.
THE GROUP
Is one of the key theatrical companies in the Mid Sussex area. Ariel offers an exceptionally broad range of the highest quality productions and participatory projects designed to engage and inspire the surrounding Sussex theatre audiences, children and young people alike, being foremost in producing modern professionally ethical and honest productions designed to enhance audiences and actors experiences alike. Established in 1991, Ariel has achieved genuine acclaim and recognition within the theatre industry for our shows and professional approach in producing these productions. As such, Ariel draws upon unparalleled experience in generating memorable creative entertainment for our audiences, by staging primarily modern Musicals, Concerts and Plays in professional theatres. Neil and Nicci Hopson run Ariel Company Theatre and their 300 strong ‘Ariel Drama Academy (Ariel Drama Plus)’ in Burgess Hill and East Grinstead. The theatre company is proud to have Nigel Harman as their patron. Nigel continually supports and enriches the students with his active involvement in the Academy. Ariel is a non-professional company with a professional attitude, who hold open auditions for most of their main productions. Ariel believes in enabling performers both adults and young alike to really stretch their acting
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potential, by generating a hardworking and fun team spirit from the very start. Everyone who takes part on & off stage in our eyes are all the shining stars of each performance. Never scared to try new projects and to stretch their actors, Ariel have tackled many shows not normally tackled as large scale productions such as ‘TOMMY’, ‘RENT’, ‘WE WILL ROCK YOU’, ‘RETURN TO THE FORBIDDEN PLANET’ – with the cast playing all the instruments live at every performance.
THE PLAY
Parade was first produced on Broadway 10 years ago, winning two Tony Awards for Book and Score, and described by Clive Barnes in The New York Post as A defining moment in Broadway musical theatre. It’s first outing in the UK was in the 2005 Edinburgh Fringe Festival, followed in 2007 by the critically acclaimed production at The Donmar Warehouse. Parade is based on the true story of Leo Frank, a New York-born Jew, living and working in Georgia, who in 1913 was accused of the murder of a young girl. Rare among musicals for its serious subject matter, the audience experiences an uncompromising account of a disturbing episode from America’s recent past. Parade is a musical with a book by Alfred Uhry and music and lyrics by Jason Robert Brown. The musical was first produced on Broadway at the Vivian Beaumont Theater on December 17, 1998. The first major production in the United Kingdom played at the Donmar Warehouse from September 24 to November 24 in 2007.
STAGING AND LIGHTING
This show is best done with true simplicity, we decided to use scaffolding with a hint of broken picket fencing, which was whitewashed to reflect the Southern image. This helped greatly when lit as it reflectedl lighting patterns of gold’s and reds that were required to make the audience feel the humidity and intense heat during most scenes. A simple confederate flag was used on a few occasions, poignant use of VT projections occurred three times during the production to establish time frames and then one at the end to allow the audience to think about what had happened and how the case would have been received now in our time frame.
CASTING
We decide early that the production would be performed by our Ariel Young Actors and not the adult cast. Having seen it tackled brilliantly by the West Sussex Youth Theatre a year before, Ariel did believe that it could be tackled by a mature cast, however felt that the casts’ age range needed to be from 15 to 22 years of age. The feeling behind this was that our young actors are of a very high standard and we therefore felt we wanted to stretch them dramatically, vocally and intellectually, therefore giving them the opportunity to perform in a show rarely seen and thus allowing them the freedom to explore a more mature approach to acting, as well as being true to the historical, political, racial and moral attitudes of that time.
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THE MUSICAL PRODUCED
CONCLUSION
‘This is a hard piece of theatre as previously mentioned rarely tackled in the UK. Now we can say that it is a masterpiece that has proven to be one of the most rewarding our Young Ariel Actors have been involved in to date. Our cast were selected very carefully over several months and we also needed to find black actors to portray a dark time in American history. We were extremely privileged to cast 5 fantastic young actors to fill these roles. They showed such depth and maturity, especially as the subject matter they were representing was so alien to them, re-telling the racial intolerance in the Deep South of America around that time. However the production needed to ensure that remained true and accurate to the historical content of the Musical. ‘This team has been on an emotional journey and one we shall never forget’ . Nicci Hopson Director. Parade is licensed in the UK by Josef Weinberger
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LTGnews > LTGnews > LTGnews > LTGnews Michael Shipley looks at what’s been going on recently around the country recently. IS THE RECESSION HITTING?
Quite a few LTG member theatres are pressing on regardless of the economic downturn with their plans to enlarge and upgrade their theatre buildings. This confidence in the long term future of their role in their communities is refreshing. Over the summer months the huge undertaking of preparing the plans for TOWER THEATRE, Islington’s new theatre was completed with the sponsorship of Sir Robert McAlpine, and the plans were submitted to Hackney Planning Committee. Since the appeal for funds was launched, members and friends have promised over £168,000, and significant grant applications have been lodged. Planning permission was granted in October, and demolition of the existing building and remaining archaeological excavations are scheduled to start in the Spring. Rebuilding will start in 2011, with completion in 2012! The Development Appeal at CHESIL THEATRE, Winchester is progressing strongly. £30,000 p.a. for three years is promised by the Local and District Councils between them, and private and local charity donations are growing to add to the society’s significant reserves for the project. Contracts have now been exchanged for the purchase of the adjacent land, and revisions to the plans for building are being made following a detailed consultation with the membership about what economies can be made before work commences. Planning permission has now been granted to HEBDEN BRIDGE LITLE THEATRE to build another floor above the existing bar area. This will give much needed extra dressing-room space, storage for larger props, rehearsal and letting space and great improvements to the public toilets. The fund raising target is £50,000 to finish the first stage of the project. At ILKLEY PLAYHOUSE plans are being made to close the Wharfeside Theatre (Main House) from July to October 2010 to enable building improvements to take place to enlarge and improve the stage area. STEVENAGE LYTTON PLAYERS have recently been granted planning permission to build a completely new theatre/rehearsal room on their existing site, and now need to raise in the region of £1.5M to see the project through to completion. There is some degree of urgency to this, as the current premises, the Lytton Theatre, are presenting an ever increasing annual repair bill, and eating up valuable current resources. The architect’s plans are expected to be unveiled this January. At LOFT THEATRE, Leamington the last
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piece of the jigsaw puzzle has at long last slipped into place, with the local authority giving planning permission to the developers who will be taking over the existing theatre. So the theatre now begins to plan in earnest for the conversion of the church next door, which it hopes will be ready to move into by the end of 2011. In November NOTTINGHAM ARTS THEATRE officially opened their new Studio Theatre. The contractor had finished work on time and within budget! This multi-use space is providing a base for the Youth Theatre group, can be used of course as a performance space, and will be available for hire during the day to raise income. BARN THEATRE, Welwyn has decided to go all out to create a properly equipped Studio Theatre involving substantial enlargement of the existing space, with new entrance and a ramp, not to mention new equipment by way of lighting and curtains. The appeal for funds is under way! The new space will primarily be allocated to the flourishing Youth Theatre group.
ACTIVITIES AHEAD!
AGM & CONFERENCE The Miller Centre, Caterham, Surrey 26 – 28 March 2010 Apart from the Guild AGM, the weekend promises a very busy programme of seminars and workshops. Sessions on Lighting & Laser Safety, Makeup and Wigs. Stage Combat, Sound & Accoustics, and Baroque Dance will be led by leading practitioners in these branches of our art. There will also be an informative session on Child Protection led by our Chairman Eddie Redfern, and this is bound to be a topic dominating our informal discussions as well. The production on stage at the Miller Centre will be Somerset Maugham’s classic comedy, The Circle. The Miller Centre members will also be busy feeding and watering all the delegates – on past experience, between 80 and 100 people will be descending on Caterham for this meeting!
Little Theatre while he was on a visit to the Sheffield Crucible. In both theatres he met and chatted to the members quite informally, and in his inimitable way generated enormous enthusiasm. At Doncaster he spent an hour with the Youth Theatre group, as well as giving an “audience with” event which ended with an informal question and answer session. The Guild and its members are so grateful for his splendid commitment to the work we all do.
BEST SELLING PLAYS
In the November issue I gave you the list of plays and authors that had come out as “top of the pops” with the members of the Guild. Almost as a postscript to the Year Book for 2009/10, Dolman Theatre, Newport recently carried out a searching review of the Guild statistics to help them deal with the problem of reversing the declining audience trends currently causing them a great deal of worry. Dolman seats 400. Looking at the LTG member theatres with similar large auditoria to fill, they discovered that the ten best seat-filling plays in the previous season were: Habeas Corpus at Southport LT (100% - 409 seats) Brassed Off at Altrincham Garrick (100% - 401) Curiouser and Curiouser for Tower Theatre (99% - 400) See How They Run at Leicester LT (99% - 349) Dad’s Army at Rugby Theatre (99% - 313) Season’s Greetings at Abbey Theatre (99% - 230) The Lady in the Van at Abbey Theatre (99% - 230) Murdered to Death at Plaza Theatre (97% - 231) The Lady in the Van at People’s Theatre (95% - 500) Stepping Out at Chorley AODS (94% - 238) Any surprises there?
YOUTH THEATRE WEEKEND SEMINAR Shakespeare’s Globe Theatre, Bankside 13- 15 August 2010 Another stimulating weekend of training for members of LTG Youth Theatre groups, based of course on the work of William Shakespeare. The ages are 15 – 18. The session leaders are members of the Globe Theatre company. A very full weekend of work is promised, and as in previous years, it is expected that the 40 or so places will rapidly be subscribed for! Accommodation is booked at nearby Bankside House.
SIR IAN CONTINUES TO GET AROUND THE REGIONS!
Our patron Sir Ian McKellen during his “free” time before rehearsal and performance of the revival of Waiting for Godot generously managed to fit in visits to two more of our member theatres. Following his visit to Stroud in October to open the new Cotswold Playhouse, in December he went to Rugby Theatre on the occasion of their 60th birthday celebrations, and also to Doncaster
AMATEUR STAGE | FEBRUARY 2010
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Gnews > LTGnews > LTGnews > LTGnews >
to consume a two-course take-away in front of me during the first act! This permissiveness is spreading into our amateur world now.
Bolton Little Theatre. Photo: Steve Gill
FRONT OF HOUSE DUTIES
As all members of the Guild control their own theatres, the problem of manning front-of-house with volunteers is getting ever more difficult. People tell us more than they ever used to that they are too busy! This seems unlikely to me! It really boils down to a question of priorities, a question of commitment. At Crescent Theatre, Birmingham, the problem of staffing FOH is particularly important for a city centre prestigious venue. The board has had to take pretty drastic measures to ensure that every member takes full responsibility for keeping the place open, by re-introducing a points system on 1st September. “The decision to bring this back was not taken lightly, but it is necessary due to a significant decline in members doing FOH duties and the consequential risk that we have to close productions. At the community day, many members felt the system was the fairest way for everyone to do their bit for the theatre. We also have standard legal fire evacuation obligations to fulfill, and we cannot perform without stewards on duty.” The system will work by recording the duties each member does. Every member must do 10 FOH duties each season. The points are allocated as follows: Stewarding – 1 Coffee – 1 Bar (to end of interval) – 1 Bar (start of interval to end) – 1 Bar (start to end) – 2 Duty Managers will organize staffing as required. Members can even sign up on line. Additionally, for any duty done on a Friday, Saturday, or Sunday, a ticket voucher for a future show will be given. “As members of Crescent we are all obliged to do our FOH duties, which in turn is the only way we can stay viable as a theatre. We will monitor at regular intervals ‘who is doing what’, and the hope is that we all do our duties and that no further encouragement is required. However we do need to make everyone aware that if you choose not to fulfill your duties, this could affect your membership status and
involvement in the theatre.” In the same issue of the Newsletter @ CT came this reminder about the payment of subs: “It has always been the rule that anybody taking part in a show must be a member of the theatre. However there have lately been a few instances of people being in a show and managing to get away without paying a sub. Directors must now be aware that the board has now decided to rigourously enforce this rule. Henceforward anybody who is involved in a show and has not paid their subs by the second rehearsal will not be allowed to continue in the show.” So, actors in particular are clearly being targeted to pull their weight in supporting the theatre that gives them the chance to strut their stuff! Now this is a problem we all have experience of! Most member theatres of the Guild are experiencing the same pressures – the difficulty of raising FOH staff, and getting some people to commit by paying their subs – but may not feel the need to go quite so far as Crescent in finding a solution to the problem. A lot may depend on an easy relationship with their local authorities and fire authorities, and the profile, high or otherwise, they have in the community; and also on local competition for actors and technicians. But for those groups experiencing real difficulties, the example of Crescent Theatre may well give them some guide as to how they might think about solving their problems.
ANTI-SOCIAL BEHAVIOUR IN THE AUDITORIUM
For years now, since the advent of mobile phones and pagers, theatres and concert halls have tried to tackle the dreadful menace that they pose to the pleasure of the audiences. One would have thought that the message would have got through! But as technology progresses, and new gismos become ever more addictive to their users, the problem refuses to go away. Actors are resorting to stopping the performance, even taking direct action when a dreaded ring tone starts to sound! And, for goodness sake, why have professional theatres started to allow drinks and food to be taken into the auditorium for consumption while the show is taking place? In the West End last year I sat behind two couples, laden with shopping, who proceeded
“Allowing drinks into the auditorium is destroying part of the sacred culture of the theatre, namely the audience failing to lose themselves into the world created for them because they are too busy knocking back their drinks. They are also causing unnecessary distractions to other members of the audience and the actors on stage. The theatre is not like cinema or watching television: we can hear patrons swigging the liquid and shaking their plastic beakers. Ronald Harwood has said that he was appalled by the number of people taking drinks into the auditoria of London theatres – audiences were behaving as if they were in their own drawing rooms!.” (from a column in the Newsletter for Barn Theatre, Welwyn) “Last night in Row B I was witness to two audience members on my left, one young, one not so young, continually texting messages on their mobiles throughout the performance. Although on silent mode the bright illumination of the screens was a distraction from the play, Journey’s End. How some people can totally violate the boundaries of good manners leaves me speechless. Imagine my anger, relating this violation to my wife, to hear she had witnessed two members of the audience on her side also texting. I am very angry with myself for not dealing with this intrusion at the time, and cannot guarantee my silence in future productions.” (from a letter to Oast Notes, the Newsletter for Oast Theatre, Tonbridge) Michael Billington commented recently: “Some things I regret (about the Noughties): The decline in audience behaviour – everything, from mid-show texting to the scrunch of plastic glasses under foot. It is a symptom of a wider malaise, behaving as if other people didn’t exist.” At a Christmas drinks party I watched a serious young lady secrete herself into a corner, and spend an age glued to her blackberry. Chatting to her later, I humourously asked if she took it to bed with her. Oh Yes, she replied. And she confirmed this when, incredulously, I repeated the question! What has life become when one cannot and doesn’t want to leave the outside world behind on entering a theatre, let alone going to bed!
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LTGnews > LTGnews > LTGnews > LTGnew COMMUNICATING WITH YOUR MEMBERS
I see many Newsletters from LTG member theatres, and in them I find many wonderful bits and pieces that deserve to be shared, for their humour and for their common sense. What about these: “Vacancies exist for semi-skilled volunteers to participate in a unique apprenticeship scheme. On-site training in the use of tape measures, spirit levels and pencils will lead to a Grade I diploma in scenic construction, whilst for advanced students, an NVQ in power tool practice is planned. Applicants must be over the age of consent but not yet over the hill, able to master metrication, health & safety issues and fit into one of our extensive range of hard hats. Time wasters need not apply but should be encouraged to try something less challenging, like directing or acting. Light refreshments are occasionally provided if we can remember the code to open the biscuit cupboard.” (from the Newsletter for Archway Theatre, Horley) “It is very easy to send an email to someone, or lots of people, and to assume the message is received instantly. In fact, we don’t all sit in front of our computers 24 hours a day. Some of us only look at personal emails in the evenings, and then not every day. Others don’t, or can’t look at weekends. So – if it’s important – why not pick up the phone?” (from the Chairman’s column in Prompt Corner, the Newsletter for Abbey Theatre, St Albans) Sometimes a whole article deserves wider coverage, like the following from the Newsletter for Bolton Little Theatre, written by actor Peter Scofield who was playing the role of Sherlock Holmes in a December production of The Hound of the Baskervilles, as adapted by Simon Williams. “As the actor responsible for bringing Sherlock Holmes to life for the BLT, and as a serving police officer to boot (as the great detective might say) I began to wonder what ‘The Hound of the Baskervilles’ might look like if it were brought into the 21st century. Holmes and his partner Watson, from their premises at 221B Baker Street, would be classed as a third sector partner agency and, as such, would need to be registered as a responsible body under Sec. 17 of the Crime & Disorder Act 1998, and sign an information sharing protocol in accordance with the Data Protection Act 1998. Having done so they would need to come up with a ‘Service Level Agreement’ with the Devon & Cornwall Police before even approaching the nefarious goingson in Grimpen, Dartmoor.
Watson, being sent to ferret out information from Baskerville Hall, would need to be registered as a ‘Covert Human Intelligence Source’ under the Regulation of Investigatory Powers Act 2000, and allocated a ‘handler’ and a ‘controller’. Holmes himself, secretly infiltrating his apparition into Baskerville Hall and Merripit House, would be conducting ‘intrusive surveillance’ under the same legislation, and would need to satisfy the Chief Constable that his activity was lawful, necessary for the prevention and detection of serious crime, proportionate to what it sought to achieve and that the risk of ‘collateral intrusion’ had been recognised and mitigated. Thus confirmed as being consistent with the European Convention on Human Rights, the Chief Constable’s authority would need to be ratified by the Surveillance Commissioner before Holmes could begin his undercover work. Despite his reputation for investigative genius, Holmes would never be allowed to command a firearms operation to tackle the evil murderer. Instead, it would be necessary to appoint a ‘Strategic Firearms Commander’, a ‘Tactical Firearms Commander’ and an ‘Operational Firearms Commander’, all of whom were trained in compliance with the National Police Firearms Training Curriculum and accredited by the National Policing Improvement Agency. Guided by a Tactical Firearms Advisor, and in compliance with a ‘Conflict Management Model’ it would be necessary to record the information and intelligence on which the operation was based, conduct a ‘threat assessment’, set out the legislative authorities and identify the tactical options and contingency plans before setting out the actions necessary to deal with the dangerous offender and the humane destruction of the hound (that means two different plans and authorities of course!) Following the fatal shooting of the murderer a post-incident manager would need to be appointed, and the incident referred to the Independent Police Complaints Commission for a full investigation. Locally, a ‘Critical Incident’ would need to be declared and a
‘Community Impact Assessment’ prepared and actioned. In our play, of course, Holmes and Watson merely celebrate with dinner at Marcini’s and a trip to the theatre! On reflection, if BLT ever perform a 21st Century version of ‘The Hound’, please don’t cast me in the role!”
AND FINALLY, CHILD PROTECTION MATTERS
The Guild is working hard to minimize the potentially devastating effect of the vetting and barring scheme represented by the Independent Safeguarding Authority (ISA) upon the opportunities for young people under the age of 16 to appear on stage in amateur productions. Already the regulations with regard to chaperones are tough enough, even if and when a theatre has the benefit of a Body of Persons Exemption from its local authority. The Guild has consistently taken the view that these regulations, hard though compliance may be for many, are not unreasonable in today’s climate. All our member theatres have, we believe, a child safety policy worked out and in place. The CRB currently checks both professionals and non-professionals who work regularly with children to ensure that there are no known criminal convictions or concerns relating to working with children. The ISA will be an extension of those checks and will include more people who fall within the scope of the vetting. The ISA legislation will require those adults who have ‘regular’ contact with children be included in the ISA vetting and barring scheme. The difficulty arises in what is classified as “those adults having regular contact.” Regular contact as far as the LTG is concerned should refer to those working with youngsters at least once a week. So in effect Youth Leaders and potentially the Director
“Cinderella” by Peter Denyer performed at the Plaza Theatre, Romsey, the home of RAODS
Without question, a risk assessment would be required to identify and mitigate any hazards in working on the moor in accordance with the Health & Safety At Work Act 1974. The Grimpen Mire, for example, would need a water-born hazard assessment by the Devonshire Fire & Rescue Service, and consideration given to the risk of injury in dealing with any offences under the Dangerous Wild Animals Act 1976, the Dangerous Dogs Acts of 1989 and 1991 and the Dangerous Dogs (Amendment) Act 1997.
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Gnews > LTGnews > LTGnews > LTGnews > and/ or Stage Manager (and cast?) of each production would need to go through the ISA clearance and registration process. For the LTG there are two potential concerns: 1.Where an LTG Theatre has a youth theatre group offering regular youth group sessions, our leaders are already CRB cleared and it is not seen as an issue if the checking is extended within the ISA vetting and barring scheme. 2.Where an LTG theatre uses youngsters in its productions the ISA vetting and barring scheme will add an additional layer of bureaucracy, which is likely to lead to a reduction in the number of volunteers willing to take on those roles just for the purposes of a production. For example, will a Director, who is always an amateur volunteer, be prepared to go through the hoops of registration if instead he can choose a play that does not involve youngsters? Will we get the volunteer Stage Managers to take on this additional responsibility? The LTG takes the safety and security of children very seriously, and has published best practice child protection guidelines. Most member theatres have a long tradition of using children in productions. More and more youngsters now wish to operate in the technical areas of theatres, lighting and sound especially. In addition to best practice child protection policies operated within theatres, children used in any performances, with a few exemptions, fall into the Children in Performance
regulations. These regulations require that children are licensed to perform and there must be licensed and registered chaperones present during dress rehearsals and performances. LTG theatres are well used to these requirements. It is however becoming more and more difficult to get the necessary volunteers to become chaperones. For example; a 13 performance run of a Pantomime using less than 20 children will require 3 chaperones per performance, needing 50 chaperone slots to be filled. In order to meet that requirement a theatre would need in the region of 20 registered and licensed chaperones to provide that cover. If that requirement were to be extended through the ISA scheme, theatres would find it virtually impossible to get that type of commitment from its volunteer pool. (And of course this ignores the bureaucratic delays inherent in applying for clearance in the first place, if emergencies arise and time is of the essence!) The Children’s Minister is already looking at changes to the Children in Performance legislation, where our Chairman, Eddie Redfern is directly involved in those discussions, the latest of which took place in January. Within the last 12 months at least three LTG theatres have already decided that they cannot meet the current requirements to provide the number of volunteer chaperones, and have thus decided not to produce plays utilising youngsters.
The ISA vetting and barring scheme will further add to the commitments that the amateur sector will find extremely difficult to manage on top of an already highly regulated area. We would therefore argue for an exemption from the need to register with the ISA during the rehearsal period where theatres can demonstrate that they have good workable child protection policies in place ahead of requirements to meet the Children in Performance Regulations. If more theatres decide against using children in performance, then more children will not have an exciting and rewarding after school outlet that assists in their development as an individual. This piece is written before the highlighting of the whole issue on BBC Panorama on Monday 8th February. Sir Ian McKellen has been interviewed for the programme. His own experience of the stage started both at his school and on the stage of his local little theatre in Bolton. Are the future knights and dames of the theatre going to be denied this early chance to find their true call in life? Increasingly it seems that only high profile publicity, like that recently raised by Philip Pullman on behalf of writers for children lecturing to school children (not to mention Joanna Lumley’s success on behalf of the Ghurkas) seems to have any effect on the powers that be! And even then, there seems to be a knee-jerk reaction instead of a thought-through rational response.
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar “AND THE NOMINATIONS ARE...” SONGS FROM THE OSCARS
30 April - 01 May 2010 Stewartby Amateur Operatic & Dramatic Soc Stewartby Village Hall Stewartby, Beds 01525 404573
42ND STREET
30 March - 03 April 2010 Erewash Musical Society May Hall, Trent College Long Eaton, Derbyshire 0115 930 1603 13 - 17 April 2010 Gateshead Amateur Operatic & Dramatic Soc Dryden Centre Gateshead, Tyne & Wear 0191 477 6924
70, GIRLS, 70
14 - 17 April 2010 Curtain Up Amateur Dramatic Society Memorial Hall Freshwater, Isle of Wight 01983 754654
ABANDONMENT
13 - 24 April 2010 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761
ADVENTURES OF THE FARAWAY TREE, THE 11 - 13 March 2010 Young Oxted Players Barn Theatre Oxted, Surrey 01959 561811 www.barntheatreoxted.co.uk
AFTER THE DANCE
13 - 17 April 2010 Carlton Dramatic Society New Wimbledon Studio Theatre Wimbledon, London 0844 871 7646
ALADDIN
01 - 03 April 2010 Lavender Hill Mob Theatre Company Princess Theatre Hunstanton, Norfolk 01485 532252
ALBERT MAKE US LAUGH 15 - 20 March 2010 Keighley Playhouse Keighly, West Yorkshire 01535 604764 www.keighlyplayhouse.co.uk
ALBERT NOBBS
13 - 17 & 20 - 24 April 2010 Formby Little Theatre Formby, Merseyside 01704 875821 www.formbytheatre.com
ALL SHOOK UP
02 - 06 March 2010 Marlow Amateur Operatic Society Shelley Theatre Marlow, Bucks 01628 473577 26 - 30 April 2010 Waveney Light Opera Group Public Hall, Beccles, Suffolk 01502 712329
AMADEUS
10 - 17 April 2010 HIADS Station Theatre Hayling Island, Hampshire 023 9246 6363 www.pad.hampshire.org.uk
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AMPHIBIOUS SPANGULATOS 24 - 27 March 2010 Collingwood RSC Millennium Hall HMS Collingwood, Hampshire 07502 037922 www.pad.hampshire.org.uk
AN INSPECTOR CALLS 20 - 24 April 2010 Ulverston Outsiders Coronation Hall Ulverston, Cumbria 01229 587140
21 - 24 April 2010 Luxulyan Amateur Dramatic Society Luxulyan Village Hall Luxulyan, Bodmin, Cornwall 01726 850515
ANNIE
15 - 20 March 2010 Bishop Auckland Amateur Operatic Society Civic Hall Shildon, Durham 01388 604275 17 - 20 March 2010 Eyemouth Variety Group Eyemouth High School Eyemouth, Berwickshire 01890 750585 27 April - 01 May 2010 Garstang Theatre Group Arts Theatre High School Garstang, Lancs 01995 600649
ANNIE GET YOUR GUN 10 - 13 March 2010 Alloa Musical Players Alloa Town Hall Alloa, Clackmannanshire 01259 214962
16 - 20 March 2010 Kelso Amateur Operatic Society The Tait Hall Kelso, Roxburghshire 01573 274756 23 - 27 March 2010 TAB Operatic Society Civic Hall Brierley Hill, W Midlands 0121 550 7254 27 April - 01 May 2010 Hartlepool Stage Society Hartlepool Town Hall Theatre Hartlepool 01429 890000
ANTHONY & CLEOPATRA 06 - 13 March 2010 Richmond Shakespeare Society Mary Wallace Theatre Twickenham Embankment, Surrey 020 8744 0547 www.richmondshakespeare.org.uk
ANYTHING GOES
09 - 13 March 2010 Central Operatic Society Landau Forte College Derby, Derbyshire 01332 366279 www.derbyartsandtheatre.org.uk 22 - 27 March 2010 Harpenden Light Operatic Society Harpenden Public Halls Harpenden, Herts 01582 624147
14 - 17 April 2010 COS Musical Theatre The Hawth Theatre Crawley, West Sussex 01293 553636
24 - 27 March 2010 Hillingdon Musical Society Beck Theatre Hayes, Middlesex 01895 639769
22 - 24 April 2010 Stage Door Theatre Company The Spa Pavillion Felixstowe, Suffolk 01394 282957
29 March - 03 April 2010 Innerleithen Amateur Operatic Society Memorial Hall Innerleithen, Peeblesshire 0845 224 1908
25 April - 01 May 2010 Lichfield Operatic Society Lichfield Garrick Lichfield, West Midlands 01543 412 121
30 March - 03 April 2010 Pied Pipers Theatre Company ADC Theatre Cambridge, Cambs 01223 300085
ARABIAN NIGHTS
02 - 12 April 2010 Kidz R Us Minack Theatre Porthcurno, Cornwall 01736 810181 www.kidzrus.net
18 - 19 March 2010 The Nomads Nomad Theatre East Horsely, Surrey 01483 284747 www.nomadtheatre.com
ART
06 - 08 April 2010 Theatremask Productions Llwynpia Community Theatre Tonypandy, Rhondda Cynon Taff 07814 840008
BACK TO THE 80S
10 - 13 March 2010 William Ocean High School Playhouse Theatre Cheltenham, Glos. 01242 522852 www.playhousecheltenham.org
BAD GIRLS - THE MUSICAL
07 - 11 April 2010 Halifax Amateur Operatic Society Victoria Theatre Halifax, W Yorks 01422 344319 26 April - 01 May 2010 Lyric Club Theatre Royal Glasgow, Scotland 0870 060 6647 20 - 24 April 2010 West Bromwich Operatic Society Grand Theatre Wolverhampton, W Midlands 0121 550 3667
24 - 27 March 2010 Worthing Light Opera Company Pavilion Theatre Worthing, W Sussex 01903 246194
27 April - 01 May 2010 Kirkcaldy Amateur Operatic Society Adam Smith Theatre Kirkcaldy, Fife 01592 583302
21 - 24 April 2010 Finchley & Friern Barnet Operatic Society The Intimate Theatre Palmers Green, London 020 8482 6923
BELOVED CLARA
BAKERS WIFE, THE 26 April - 01 May 2010 Walmsley Church AODS Walmsley Parish Hall Egerton, Bolton 01204 305812
BEAUTY AND THE BEAST 01 - 06 March 2010 Cockett Amateur Operatic Society Taliesin Arts Centre Swansea, Glamorgan 01792 584706
02 - 06 March 2010 Doncaster Amateur Operatic Society Civic Theatre Doncaster, S Yorks 01302 342349 04 - 06 March 2010 Rochford District Players The Greensward Academy Hockley, Essex 07722 154052 08 - 13 March 2010 Tynemouth Amateur Operatic Society Playhouse Theatre Whitley Bay, Tyne and Wear 0191 253 1802
10 March 2010 St John’s, Smith Sq. London 020 7222 1061 www.sjss.org.uk
BILLY
20 - 24 April 2010 Waveney Light Opera Group Public Hall Beccles, Suffolk 01502 712329
BILLY ELLIOTT
08 - 10 March 2010 STP Musicals Ferneham Hall Fareham, Hampshire 01329 231942 www.pad.hampshire.org.uk 23 April 2010 STP Musicals Academy New Theatre Royal Portsmouth, Hampshire 023 9264 9000 www.pad.hampshire.org.uk
BIRTHDAY PARTY, THE 16 - 27 March 2010 Highbury Little Theatre Highbury Little Theatre Sutton Coldfield, W Midlands 0121 373 2761
BITTER SWEET
24 - 27 March 2010 Ellesmere Amateur Operatic Society Sheffield Montgomery Theatre Sheffield, S Yorkshire 01909 770050
10 - 13 March 2010 Three Towns Theatre Co. Brook Theatre Chatham, Kent 01634 338338 www.threetownstheatrecompany.co.uk
20 - 24 April 2010 Bury St Edmunds Amateur Op & Dram Soc Theatre Royal Bury St Edmunds, Suffolk 01284 769505
12 - 17 April 2010 Abingdon Operatic Society Amey Theatre Abingdon, Oxfordshire 01235 834383 www.abingdonoperatic.co.uk
21 - 27 March 2010 Glastonbury & Street Musical Comedy Society Strode Theatre Street, Somerset 01458 441442
29 April - 01 May 2010 Locko Amateur Dramatics Spondon Village Hall Spondon, Derbyshire 01332 669138 www.derbyartsandtheatre.org.uk
BLACK WIDOW
AMATEUR STAGE | FEBRUARY 2010
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Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> BLITHE SPIRIT
25 - 27 March 2010 Horndean Amateur Theatrical Society Merchistoun Hall Horndean, Hampshire 023 9259 7114 www.horndeanamdram.com
BLITZ!
23 - 27 March 2010 Ruislip Operatic Society Winston Churchill Hall Ruislip, Middx 07905 932366
BOOGIE NIGHTS
23 - 27 March 2010 Dundee Operatic Society Whitehall Theatre Dundee 01382 643868 07 - 10 April 2010 Kings Lynn Operatic & Dramatic Society King’s Lynn Corn Exchange King’s Lynn, Norfolk 01553 764864
BRASSED OFF
12 - 17 April 2010 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507 600350 www.louthplaygoers.co.uk
BREAKFAST WITH JONNY WILKINSON 15 - 17 April 2010 Mickleover Players Murray Park School Derby, Derbyshire 01332 511867 www.derbyartsandtheatre.org.uk
BRIGADOON
CAMELOT
19 - 24 April 2010 Scunthorpe Amateur Operatic Society Plowright Theatre Scunthorpe, N Lincs 01724 851143
CAROUSEL
BUGSY MALONE
16 - 20 March 2010 Walsall Operatic Society Lichfield Garrick Theatre and Studio Lichfield, Staffs 01922 611982
03 - 10 April 2010 Bridlington Amateur Operatic & Dram Society Spotlight Theatre Bridlington, East Yorkshire 01262 604751
13 - 17 April 2010 Chapeltown & District Amateur Operatic Soc Rotherham Civic Theatre Rotherham, South Yorkshire 0114 246 8462
CALAMITY JANE
17 - 20 March 2010 Motherwell & Wishaw Amateur Operatic Soc Clyde Valley High School Wishaw, North Lanarkshire 078570 57963 23 - 27 March 2010 Hessle Theatre Company Hull New Theatre Hull 01482 226655 14 - 17 April 2010 March & District AOS Neale Wade Community College March, Cambs 01354 654380 20 - 24 April 2010 Garforth Musical Society Miners Welfare Hall Leeds, West Yorkshire 0113 2863534
14 - 17 April 2010 Runway Theatre Company Glasgow University G12 Theatre Glasgow, Lanarkshire 0141 330 5522
02 - 06 March 2010 Grange & Dist Amateur Operatic Society Grange-over-Sands, Cumbria 01539 534308
17 - 20 March 2010 Holy Ridiculous Theatre Group Mayhill County Junior School Odiham, Hook, Hants 01256 704916 22 - 27 March 2010 Lewes Operatic Society Town Hall Lewes, E Sussex 01273 480127 24 - 27 March 2010 Berwick-upon-Tweed Amateur Operatic Soc The Maltings Theatre Berwick-upon-Tweed, Northumberland 01289 330999 03 - 10 April 2010 Scarborough Musical Theatre Company YMCA Theatre Scarborough, N Yorks 01723 581260
05 - 10 April 2010 Musselburgh Amateur Musical Association Brunton Theatre Musselburgh, East Lothian 01620 826210 13 - 17 April 2010 Ringwood Musical & Dramatic Society Ringwood School Theatre Ringwood, Hampshire 01425 470837 13 - 17 April 2010 The Arcadians The Cresent Theatre Birmingham 0121 421 7278 20 - 24 April 2010 Potters Bar Theatre Company Wyllyotts Theatre Potters Bar, Herts 01707 880017 26 April - 01 May 2010 Huddersfield Light Opera Company Lawrence Batley Theatre Huddersfield, W Yorks 01484 430528
CELEBRATION
14 - 17 April 2010 Upstage Theatre Company The Cornerhouse Surbiton, Surrey 0208 390 0334
CHASE ME UP FARNDALE AVENUE S’IL VOUS PLAIT
22 - 24 April 2010 Soberton Players Soberton Village Hall, Soberton, Hampshire 01489 878724 www.pad.hampshire.org.uk
Bristol Musical Youth Productions - Les Miserables
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar
Keighley Playhouse - Double Death
W11
CHESS
COPACABANA
06 - 10 April 2010 Lytham Amateur Operatic Society Lowther Pavilion Theatre Lytham, Lancs 01253 658666
12 - 17 April 2010 Coleshill Operatic Society Solihull Arts Complex Solihull, W Mids 0121 704 6962
12 - 17 April 2010 Ripley & Alfreton Musical Theatre Company Alfreton Grange Arts College Alfreton, Derbyshire 01773 745082
13 - 17 April 2010 Tamworth Arts Club Tamworth Assembly Rooms Tamworth, Staffs 01827 709618
21 - 24 April 2010 Leek All Saints AOS St Edward’s Junior High School Leek, Staffs 01538 383979
27 April - 01 May 2010 Stamford Amateur Musical Society Corn Exchange Theatre Stamford, Lincs 01780 766455
CHICAGO MIKADO, THE
29 April - 01 May 2010 Porthcawl Amateur Operatic & Dramatic Soc Grand Pavilion Porthcawl, Bridgend 07947 594578
08 - 13 March 2010 Leven Amateur Musical Association The Centre Leven, Fife 01334 659348
24 - 27 March 2010 Thurrock Operatic Society Thameside Theatre Grays Grays, Essex 01277 375955
CHORUS LINE, A
21 - 24 April 2010 Musicality Academy of Performing Arts Penyrheol Theatre Gorseinon, Swansea 01792 897039
CINDERELLA
11 - 14 March 2010 Bingley Amateur Operatic Society Bingley Arts Centre Bingley, West Yorkshire 01274 432000
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16 - 20 March 2010 Wolverhampton Musical Comedy Company Grand Theatre Wolverhampton, W Midlands 01902 429212
COUNTRY WIFE, THE 16 - 20 March 2010 Henley Players Kenton Theatre Henley-on-Thames, Oxon 01491 576293
CRAZY FOR YOU
10 - 13 March 2010 Uni of Portsmouth D&MS New Theatre Royal Portsmouth, Hampshire 023 9264 9000 www.pad.hampshire.org.uk
16 - 20 March 2010 Pendle Hippodrome Theatre Company Pendle Hippodrom Theatre Colne, Lancs 01282 612402 23 - 24 April 2010 Dunstable Amateur Operatic Society The Grove Theatre Dunstable, Beds 01582 602080
CRUCIBLE, THE 13 - 20 March 2010 Rugby Theatre Society Rugby Theatre Rugby, Warks 01788 541234
CURTAIN UP ON MURDER 19 - 24 April 2010 The Progressive Players Little Theatre Gateshead Gateshead, Tyne& Wear 0191 478 1499 www.littletheatregateshead.com
22 - 24 April 2010 Hambledon Arts Society Drama Group Hambledon Village Hall Hambledon, Hampshire 023 9263 2800 www.pad.hampshire.org.uk
CURTAINS
06 - 10 April 2010 Bristol St Mary’s Players Redgrave Theatre Bristol, Bristol 0117 965 2303 21 - 24 April 2010 Players 2 The Compass Theatre Ickenham, Middlesex 01895 673200
DARLING BUDS OF MAY, THE 27 April - 01 May 2010 Wellingborough Technical Players The Castle Studio Wellingborough, Northamptonshire 01933 270007
DE JA VU
20 - 24 April 2010 Dalziel High School FP Easter Egg Club Clyde Valley High School Wishaw, Lanarkshire 01698 322867
DEEP BLUE SEA, THE
03 - 06 March 2010 The Harrogate Dramatic Society Harrogate Theatre Studio Harrogate, N Yorks 07770 630299
DICK WHITTINGTON AND HIS CAT 03 - 06 March 2010 Crigglestone Theatre Company Wakefield Arts Centre Wakefield, W Yorks 01924 265829
DIE FLEDERMAUS
23 - 27 March 2010 Great Witley Operatic Society Swan Theatre Worcester, Worcestershire 01905 611427
DISNEY KIDS - ARISTOCATS 29 April - 01 May 2010 Toppers School of Dance & Drama Beaufort Theatre Ebbw Vale, Gwent 01495 304269
AMATEUR STAGE | FEBRUARY 2010
09/02/2010 19:38:17
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> Iver Heath Drama Club - Jack & The Beanstalk
W11 Opera For Young People - The Whale Savers
DOG IN THE MANGER
26 - 28 March 2010 Chameleon Players Northern Academy of Performing Arts Hull, Yorkshire 01482 310690 www.chameleonplayers.com
DOLL’S HOUSE, A
28 February - 06 March 2010 Teddington Theatre Club Hampton Hill Playhouse Teddington, Middlesex 020 8943 9127
DR JEKYLL AND MR HYDE 18 - 20 March 2010 Shiphay Amateur Dramatic Society St. John’s Church Hall Torquay, Devon 0759 530 6171 www.sadsonline.co.uk
ELIJAH
05 March 2010 Lanchester & District Choral and Operatic Society Lanchester Methodist Church Lanchester, Durham 01207 520172
FAR AWAY PLACES
11 - 13 March 2010 Ferryhill Stage Society Mainsforth Community Centre Ferryhill, Durham 01740 652551
FARNDALE AVENUE MURDER MYSTERY, THE 18 - 20 March 2010 Haverhill & District Operatic Society Arts Centre Haverhill, Suffolk 01440 714140
FAWLTY TOWERS 22 - 24 April 2010 Maldon Drama Group Maldon Town Hall Maldon, Essex 01621 856503
FIDDLER ON THE ROOF
05 - 14 March 2010 Kidderminster Operatic & Dramatic Society Rose Theatre Kidderminster, Worcs 01562 743745 08 - 13 March 2010 Knowle Operatic Society Solihull Arts Complex Solihull, West Midlands 0121 704 6962 09 - 13 March 2010 Croft House Operatic Society Lyceum Theatre Sheffield, S Yorks 0114 249 6000
23 - 27 March 2010 Kings Langley Light Opera Company Kings Langley Community Centre Kings Langley, Herts 01442 268839
19 - 24 April 2010 Abergavenny A O & D S Borough Theatre Abergavenny, Monmouthshire 01873 850805
05 - 10 April 2010 Centre Stage of Exmouth Exmouth Pavilion Exmouth, Devon 01395 232830
20 - 24 April 2010 Falkirk Operatic Society Falkirk Town Hall, Falkirk, Scotland 01324 637791
12 - 17 April 2010 Melody Makers Benllech Community Hall Benllech, Anglesey 01248 853263
27 April - 01 May 2010 Bournville Musical Theatre Company The Crescent Theatre Birmingham, W Midlands 0121 643 5858 28 April - 01 May 2010 Petts Wood Operatic Society Stag Theatre Sevenoaks, Kent 01689 820448
17 - 20 March 2010 HEOS Musical Theatre Questors Theatre London 0208 567 5184 www.heos.org.uk 17 - 20 March 2010 Pastiche Theatre Group Compass Theatre Ickenham, Middlesex 020 8848 8265 www.pastichemusicaltheatre.co.uk 22 - 27 March 2010 CFAOS Princess Hall Aldershot, Hampshire 01252 329155 www.cfaos.org.uk
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar FOLLIES
GIPSY LOVE
HELLO DOLLY!
28 April - 01 May 2010 Wembley Operatic Society Winston Churchill Theatre Ruislip, Middlesex 07983 103444
GODSPELL
27 April - 01 May 2010 Woodmansterne Operatic & Dramatic Society St Peter’s Church Hall Woodmansterne, Surrey 01737 555009
09 - 13 March 2010 Saffron Walden Musical Theatre Company Saffron Walden Town Hall Saffron Walden, Essex 01799 526623
FOOTLOOSE
09 - 13 March 2010 SCAMPS Youth Company Evans Theatre Wilmslow, Cheshire 01625 527593 16 - 20 March 2010 Woodhouse Amateur Operatic Society Lawrence Batley Theatre Huddersfield, W Yorks 01422 310872 17 - 20 March 2010 Clydebank Musical Society Clydebank Town Hall Clydebank, West Dunbartonshire 0141 952 1886 19 - 24 April 2010 Teesside Musical Theatre Company Middlesborough Theatre The Avenue, Middlesborough 01642 815181 26 April - 01 May 2010 Solihull Operatic Society Solihull Arts Complex Solihull, West Midlands 0121 704 6962 23 - 27 March 2010 Bristol Muscial Youth Productions Redgrave Theatre Clifton, Bristol 0117 962 3286 www.bmyp.com
FULL MONTY, THE 22 - 27 March 2010 Newark AOS The Palace Theatre Newark, Nottinghamshire 01636 655 755
14 - 17 April 2010 Ipswich Operatic & Dramatic Society Regent Theatre Ipswich, Suffolk 01473 433100
FUNNY THING HAPPENED ON THE WAY TO THE FORUM, A 28 April - 01 May 2010 Kingsbury Amateur Operatic Society KAOS Theatre Kingsbury, Middlesex 0845 020 4240
GASLIGHT
16 - 19 March 2010 St Austell Players St Austell Comm. Centre St Austell, Cornwall 01726 879500 24 -27 March 2010 Harlow Theatre Company Victoria Hall Theatre Old Harlow, Essex 0797 367 9364 www.harlowtheatrecompany.co.uk
GHOSTS
27 - 27 March 2010 Bradford Stage and Theatre School The Delius Arts and Cultural Centre Bradford, W Yorks 01274 405974
GIGI
02 - 06 March 2010 Wellingborough A O & D S The Castle Wellingborough, Northants 01536 516661
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09 - 10 April 2010 South Wessex Opera Company Layard Theatre, Canford School Nr Wimborne, Dorset 01202 692044
12 - 17 April 2010 Erith Operatic Society Erith Playhouse Erith, Kent 01322 222417
GONDOLIERS, THE
17 - 20 March 2010 Wakefield G & S Society Theatre Royal, Wakefield, W Yorkshire 01924 211311 22 - 27 March 2010 Melrose Amateur Operatic Society The Corn Exchange Melrose, Roxburghshire 01835 822425 13 - 17 April 2010 Bath Operatic & Dramatic Society Theatre Royal Bath, Somerset 01225 425509
GOTTA SING - GOTTA DANCE 22 - 27 March 2010 Alderley & Wilmslow A O S Woodford Community Hall Woodford, Cheshire 0845 603 4505
GRAND DUKE, THE
23 - 27 March 2010 Birmingham Savoyards G & S Society Old Rep Birmingham, W Mids 0121 303 2323
GYPSY
16 - 20 March 2010 Yeadon A O & D S Yeadon Town Hall Leeds, W Yorks 0113 202 9524
HAEBEAS CORPUS 23 - 27 March 2010 Sultan Theatre Group Brunel Theatre HMS Sultan, Hampshire 023 9254 2272 www.pad.hampshire.org.uk
HALF A SIXPENCE 17 - 20 March 2010 The Garrick Singers The Duthac Centre Tain, Ross-shire 01862 842311
25 - 27 March 2010 Flying Ducks Youth Theatre Joseph Rowntree Theatre York, N. Yorks 01904 768963 www.flyingducksyouththeatre.com 30 March - 03 April 2010 Northavon Youth Theatre Company Armstrong Hall Thornbury, S Glos 01454 613172 26 April - 01 May 2010 Abertillery Amateur Drama & Musical Society The Met Cultural & Conference Centre Abertillery, Gwent 01495 310792 27 April - 01 May 2010 South Downe Musical Society Kings Theatre, Southsea, Hampshire 023 9282 8282 www.pad.hampshire.org.uk
HARVEY
20 - 27 March 2010 Bolton Little Theatre Bolton, Greater Manchester 01204 334400 www.boltonlittletheatre.co.uk
09 - 13 March 2010 Basingstoke AOS The Haymarket Basingstoke, Hants 01256 844244
HIGH SOCIETY
10 - 13 March 2010 Brookdale Theatre Brookdale Club Bramhall, Cheshire 0161 439 0505
HUNCHBACK OF NOTRE DAME, THE 02 - 06 March 2010 Ilkley Amateur Operatic Society Kings Hall Ilkley, West Yorkshire 01943 602028
08 - 13 March 2010 Alnwick Stage Musical Society Alnwick Playhouse Alnwick, Northumberland 01665 510785
24 - 27 March 2010 Young Inspirations Theatre Co Promegranate Theatre Chesterfield, Derbyshire 01246 345222
24 - 27 March 2010 Newtown Musical Theatre Company Theatre Hafren Newtown, Powys 01686 625007
IMPORTANCE OF BEING EARNEST, THE
HMS PINAFORE
02 - 06 March 2010 The Savoy Singers The Camberley Theatre Camberley, Surrey 01252 834380 10 - 13 March 2010 Knaphill & St John’s Opera Group Rhoda Megaw Theatre Woking, Surrey 01483 473657 13 - 17 April 2010 Haywards Heath Operatic Society The Hub Haywards Heath, W Sussex 01444 848004
HMS PINAFORE AND TRIAL BY JURY 09 - 13 March 2010 Astwood Bank Operatic Society The Palace Theatre Redditch, Worcs 01527 546569 21 - 24 April 2010 Melbourne Operatic Society Community College Castle Donington, Derbyshire 01332 863030
HOBSON’S CHOICE
26 February - 06 March 2010 Company of Ten Abbey Theatre St Albans, Herts 01727 857861
HONK!
16 - 21 March 2010 Evesham Operatic & Dramatic Society The Arts Centre Evesham, Worcs 01386 442348 04 - 10 April 2010 Why Not? Musical Theatre Company Carnegie Hall Dunfermline, Fife 01383 822501
HOT MIKADO
02 - 06 March 2010 Doncaster Amateur Operatic Society Civic Theatre Doncaster, S Yorks 01302 342349 24 - 27 March 2010 Hebden Bridge Light Opera Society Picture House Hebden Bridge, W Yorks 01422 250181
HUMBLE BOY
08 - 13 March 2010 South Shields Westovian Theatre Society Westovian Theatre South Shields, Tyne & Wear 0191 456 0980
18 - 20 March 2010 The Kings Lynn Players Arts Centre, Kings Lynn, Norfolk 01553 764864 20 - 27 March 2010 Rossendale Players New Millenium Theatre Waterfoot, Rossendale, Lancs 01706 228720 09 - 13 March 2010 Magic Hat Productions Compass Theatre Ickenham, Middlesex 01895 673 200 www.magichat-productions.com
27 April - 01 May 2010 Marlowe Players Darley Abbey Village Hall Derby , Derbyshire 07961 607372 www.derbyartsandtheatre.org.uk
INTO THE WOODS
13 - 17 April 2010 Rickmansworth Players Rickmansworth School Perfoming Arts Rickmansworth, London 0844 745 1944
IOLANTHE
07 - 10 April 2010 Grantham Operatic Society The Guildhall Arts Centre Theatre Grantham, Lincs 01476 406158
JESUS CHRIST SUPERSTAR 22 - 27 March 2010 Lutterworth Musical Theatre Company Lutterworth St Mary’s Church Lutterworth, Leics 01455 209108
12 - 17 April 2010 CODS Queen Elizabeth’s Community College Barnfield, Devon 01363 773501 www.codsonline.co.uk 21 April - 01 May 2010 Darlington OS Darlington Civic Theatre Darlington, Co. Durham 01325 244659
KILLING TIME
03 - 06 March 2010 Knutsford Little Theatre Knutsford, Cheshire 01565 873515 www.knutsfordlittletheatre.com
KING AND I
15 - 20 March 2010 Barnsley Amateurs Musical Theatre Group The Lamproom Theatre Barnsley, South Yorkshire 01226 200075 23 - 27 March 2010 Bo’ness Amateur Operatic Society Town Hall Bo’ness, West Lothian 01506 827292
AMATEUR STAGE | FEBRUARY 2010
09/02/2010 19:39:05
Form
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
KING AND I
LA VIE PARISIENNE
LITTLE SHOP OF HORRORS
24 April - 01 May 2010 Dumfries Musical Theatre Company The Theatre Royal Dumfries, Dumfries and Galloway 01387 269437
LAST OF THE RED HOT LOVERS
22 - 24 April 2010 Worle Operatic & Dramatic Society Blakehay Theatre Weston Super Mare, Somerset 07525484024
23 - 27 March 2010 Rosyth & District Musical Society Carnegie Hall Dunfermline, Fife 01383 602302
KISMET
23 - 27 March 2010 All Souls Amateur Operatic Society Halifax The Playhouse Halifax, W Yorks 01422 205101
KISS ME, KATE
10 - 13 March 2010 KLOS Musical Theatre Winston Churchill Hall Ruislip, Middx 020 8868 4096 07 - 10 April 2010 Duns & District Amateur Operatic Society Berwickshire High School Duns, Berwickshire 01361 883259 20 - 24 April 2010 Zodiac Amateur Operatic Society The Brindley Runcorn, Cheshire 0151 907 8360
LA CAGE AUX FOLLES 26 April - 01 May 2010 West End Operatic Society Theatre Royal Newcastle Upon Tyne 08448 112121
03 - 06 March 2010 Kirkcaldy G & S Society Adam Smith Theatre, Kirkcaldy, Fife 01592 566353 www.fifedirect.org.uk/attfife/index.cfm
18 - 20 March 2010 Henfield Theatre Company The Henfield Hall, Henfield, W Sussex 01273 495220
LIKES OF US, THE
22 - 27 March 2010 Abbey Musical Society Barrow Forum 28, Barrow in Furness, Cumbria 01229 470067 23 - 27 March 2010 Market Harborough Musical Theatre Welland Park Octagonal Theatre Market Harborough, Leics 01858 445660 13 - 17 April 2010 Long Eaton Operatic Society May Hall, Trent College Long Eaton, Notts 01332 874352
LION IN WINTER, THE
15 - 20 March 2010 The Progressive Players Little Theatre Gateshead Gateshead, Tyne& Wear 0191 478 1499 www.littletheatregateshead.com
LION, THE WITCH AND THE WARDROBE, THE 25 - 27 March 2010 Murton & East Durham Theatre Group East Durham College Peterlee, Co Durham 0191 526 2532
24 - 27 March 2010 Elstree Productions The Ark Community Theatre Borehamwood, Herts 0208 953 6560
LORD ARTHUR SAVILE’S CRIME 16 - 24 April 2010 Lane End Players Lane End Village Hall Lane End, Bucks 07852 153914
MACK AND MABEL
15 - 20 March 2010 Maidstone Amateur Operatic Society Haglitt theatre Maidstone, Kent 01622 761998 22 - 27 March 2010 Hyde Musical Society Festival Theatre, Corporation Street Hyde, Cheshire 0161 301 2253 14 - 17 April 2010 Blackpool Operatic Players Grand Theatre Blackpool, Lancs 01253 290190 20 - 24 April 2010 Oxted Operatic Society Barn Theatre Oxted, Surrey 01883 714103 www.barntheatreoxted.co.uk
Formby Youth Theatre - Animal Farm
AMATEUR STAGE | FEBRUARY 2010
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar 13 - 17 April 2010 Driffield Musical Theatre Driffield School Driffield, East Yorks 01377 253149 20 - 24 April 2010 Horsham A O & D S The Capitol Horsham, West Sussex 01403 750220
OLIVER!
02 - 06 March 2010 St Andrews Amateur Operatic Society Byre Theatre St Andrews, Fife 01334 475000 08 - 13 March 2010 Maltby Musical Theatre Group Civic Theatre Rotherham, S Yorks 0845 241 2542
MACK AND MABEL 21 - 24 April 2010 Little Theatre Company Palace Theatre Southend, Essex 01702 351135
MAGNIFICENT MUSICALS 16 - 20 March 2010 Fareham Musical Society Ferneham Hall Fareham, Hants 01329 231942 www.pad.hampshire.org.uk
MAME
16 - 27 March 2010 Yeovil Amateur Operatic Society Octagon Theatre Yeovil, Somerset 01935 422884
MAN FOR ALL SEASONS, A
MURDER AT SHAKERLEY HOUSE 07 - 10 April 2010 Milborne Port Opera Milborne Port Village Hall Milborne Port, Dorset 01963 250270 www.milborneopera.co.uk
MURDER IN COMPANY
21 - 24 April 2010 Colyton Theatre Group Colyton Town Hall, Colyton, Devon 01297 553641
MURDER MISTAKEN
02 - 06 March 2010 Radcliffe-on-Trent Drama Group Grange Hall Radcliffe-on-Trent, Notts 0115 9332906 www.radcliffe-on-trentdramagroup.co.uk
OH WHAT A LOVELY WAR 10 - 13 March 2010 Pirton Players Pirton Village Hall Hitchin, Hertfordshire 01462 712572
OKLAHOMA!
09 - 13 March 2010 Clevedon Light Opera Club Princes Hall Clevedon, N Somerset 01275 340805 17 - 27 March 2010 Peterborough Operatic & Dramatic Society Key Theatre Peterborough, Cambs 01733 552439 22 - 27 March 2010 Markinch Amateur Operatic Society Markinch Town Hall, Markinch, Fife 01592 758478
17 - 20 March 2010 One Off Productions New Theatre Royal Portsmouth, Hampshire 023 9264 9000 www.pad.hampshire.org.uk
MUSIC MAN
02 - 06 March 2010 Mansfield Amateur Operatic Society The Palace Theatre Mansfield, Nottinghamshire 01623 624980
23 - 27 March 2010 Ashbeian Musical Theatre Group Ivanhoe College Ashby-de-la-zouch, Leicestershire 01283 224879
MEET ME IN ST. LOUIS
08 - 13 March 2010 Hitchin Thespians The Gordon Craig Theatre Stevenage, Herts 01438 363200
13 - 17 April 2010 Port Talbot & District Amateur Operatic Soc Princess Royal Theatre Port Talbot, Neath Port Talbot 01639 896228
16 - 20 March 2010 Stirling & Bridge of Allan Operatic Society Macrobert Stirling, Stirlingshire 01786 466666
MEMORY OF WATER, THE 22 - 27 March 2010 Arundel Players Priory Playhouse Arundel, West Sussex 01243 782976
MIKADO, THE
01 - 06 March 2010 Leicester G & S Operatic Society Little Theatre Leicester, Leics 0116 255 1302 06 - 13 March 2010 Leeds G & S Society Carriageworks Leeds, West Yorkshire 0113 247 4746 10 - 13 March 2010 The St Helens G & S Society Theatre Royal St Helens, Merseyside 01744 756000 27 April - 01 May 2010 East Kilbride G & S Society Village Theatre East Kilbride, Glasgow 01355 248669
MOTHER GOOSE
05 - 06 March 2010 Utopian Operatic Society Tyler Theatre Eltham, London 01322 402528
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17 - 20 March 2010 Staines Musical Theatre Group Magna Carta Theatre Staines, Middlesex 01784 456958 27 April - 01 May 2010 Chesterfield Operatic Society The Pomegranate Theatre Chesterfield, Derbyshire 01246 345222
MY FAIR LADY
01 - 06 March 2010 Ayr Amateur Opera Company Ayr Town Hall, Ayr, Scotland 01292 287268 12 - 17 April 2010 St Austell AOS The Keay Theatre St Austell, Cornwall 01726 226777
NIGHT AT THE MUSICALS, A 27 March 2010 Giselle Academy St Peter’s Theatre Southsea, Hampshire 023 9264 3385 www.pad.hampshire.org.uk
NOISES OFF
13 - 17 April 2010 Wick Theatre Company Barn Theatre Southwick, West Susses 01273 597094 www.wicktheatre.co.uk
08 - 13 March 2010 Lancaster Red Rose A O & D S The Grand Theatre Lancaster, Lancashire 01524 64695 17 - 20 March 2010 Rock Ferry Amateur Operatic Society Gladstone Theatre Port Sunlight, Wirral, Merseyside 0151 645 1369 30 March - 03 April 2010 Redruth Amateur Operatic Society Trust Hall for Cornwall Truro, Cornwall 01872 262466 20 - 24 April 2010 Studley Operatic Society Palace Theatre Redditch, Worcs 01527 65203 20 - 24 April 2010 Ripon Amateur Operatic Society Harrogate Theatre, Harrogate, N Yorks 01423 502116
ONE MILLION TO STOP THE TRAFFIK 06 - 10 March 2010 Oasis Youth Theatre Oasis Academy Lord’s Hill Theatre Southampton 023 807 39797 www.wheellerplays.co.uk
DIARY SUBMISSIONS Diary submissions are published each month for the two months immediately following publication. Please note that the submission deadline is the 1st of each month. Submissions should be sent in the format shown in the magazine to diary@asmagazine.co.uk Production photos should be emailed to editor@asmagazine.co.uk
AMATEUR STAGE | FEBRUARY 2010
09/02/2010 19:39:50
Wdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>
Wick Theatre Co - Harvey Photos: Lucien Bouchy ORPHEUS IN THE UNDERWORLD 21 - 24 April 2010 Rochdale Phoenix Operatic Society Heywood Civic Centre Rochdale, Lancashire 01706 343163
27 April - 01 May 2010 Woodley Players Theatre Company Hatherlow Sunday School Romiley, Stockport 0161 430 5066
PACK OF LIES
17 - 20 March 2010 Witham Dramatic Club The Public Hall Witham, Essex 01621 892404
PAJAMA GAME, THE 16 - 20 March 2010 Canterbury Operatic Society Gulbenkian Theatre Canterbury, Kent 01227 769075 25 - 27 March 2010 Forest Musical Productions Kenneth Moore Theatre Ilford, Essex 020 8553 4466 14 - 17 April 2010 WBLOS The Memorial Hall Wootton Bassett, Swindon www.wblos.org.uk
PATIENCE
09 - 13 March 2010 New Rosemere Amateur Operatic Society The Albert Hall Town Hall, Bolton 01204 300666
PRINCESS IDA
RENT
01 - 08 March 2010 Wombwell & District Amateur Operatic Soc Operatic Centre Wombwell, S Yorks 01226 758375
12 - 17 April 2010 Tenbury Amateur Operatic Society The Regal Theatre Tenbury Wells, Worcestershire 01584 810061
RETURN TO THE FORBIDDEN PLANET
18 - 20 March 2010 The Elizabethans Amateur Operatic Society Town Hall Ossett, W Yorks 01924 265248
PRODUCERS, THE
13 - 17 April 2010 Bristol G & S Society Redgrave Theatre, Percival Road Clifton, Bristol 0117 907 8079
PIRATES OF PENZANCE
13 - 17 April 2010 Epsom Light Opera Company Epsom Playhouse Epsom, Surrey 07957 469942 20 - 24 April 2010 Swansea Amateur Operatic Society Grand Theatre Swansea, Swansea 01792 202376
PRESENT LAUGHTER
24 - 27 March 2010 Penarth Operatic & Dramatic Society The Paget Rooms Penarth, Vale of Glamorgan 029 2071 2260
PRIDE AND PREJUDICE 02 - 06 March 2010 Derby Shakespeare Theatre The Guildhall Theatre Derby , Derbyshire 01332 255800 www.derbyartsandtheatre.org.uk
13 March 2010 Centenary Company St Alfege Passage Greenwich, London 07970 866034
09 - 13 March 2010 Paisley Musical & Operatic Society Kings Theatre Glasgow, 0844 871 7627
PUTTING THEM TOGETHER
07 - 10 April 2010 Gorleston Theatre Company Gorleston Pavilion Theatre Gorleston, Norfolk 01493 662832
22 - 27 March 2010 Braintree Musical Society The Institute Braintree, Essex 01376 553395
20 - 24 April 2010 Telford & District Light Operatic Players The Place, Oakengates Theatre Telford, Shropshire 01952 382382
29 April - 01 May 2010 Eldorado Musical Productions The Bob Hope Theatre Eltham, London 0208 690 2305
28 April - 01 May 2010 Hayling Musical Society Station Theatre, Hayling Island, Hampshire 023 9246 6363 www.pad.hampshire.org.uk
RAILWAY CHILDREN, THE
RICHARD THE THIRD
24 - 27 March 2010 South Shields Westovian Theatre Society Westovian Theatre South Shields, Tyne & Wear 0191 456 0980
RAISE A LAUGH
24 - 27 March 2010 Southsea Shakespeare Actors The Spring Arts & Heritage Centre Havant, Hampshire 023 9247 2700 www.pad.hampshire.org.uk
15 - 17 April 2010 Lion and Unicorn Players The Studio @ TPS Petersfield, Hampshire 01730 821491
ROLEPLAY
RAVE REVUE, A
SAILOR BEWARE
25 - 26 March 2010 Glow Theatre Group Barn Theatre, Oxted, Surrey 01959 561811 www.barntheatreoxted.co.uk
24 - 27 March 2010 Cuffley Players Cuffley Hall,Cuffley, Herts 01707 870854
13 - 20 March 2010 Halifax Thespians Halifax Playhouse Halifax, West Yorkshire 01422 365998
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SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiar
Kennet Opera, Newbury - Carmen Photos: Stewart Mcpherson, www.mcphersonphotography.co.uk
SALAD DAYS
27 April - 01 May 2010 Hereford Musical Theatre Company The Courtyard Hereford, Herefordshire 01432 340555
SEUSSICAL THE MUSICAL 08 - 10 April 2010 St Albans Youth Music Theatre Abbey Theatre St Albans, Herts 01727 857861
SEVEN BRIDES FOR SEVEN BROTHERS 24 - 27 March 2010 Leamington & Warwick Musical Society Royal Spa Centre Royal Leamington Spa, Warks 01926 425507
SHADOWLANDS
14 - 17 April 2010 Harlequin Theatre Northwich, Cheshire 01606 353534 www.harlequinplayer.co.uk
SHELL SEEKERS, THE
25 - 27 March 2010 Loughton Amateur Dramatic Society Lopping Hall, Loughton, Essex 0208 502 5843
SINGIN’ IN THE RAIN
23 - 27 March 2010 Bohemians Lyric Opera Company Edinburgh Kings Theatre, Edinburgh, Midlothian 0131 336 3216 23 - 27 March 2010 Brynmawr Amateur Operatic Society Market Hall Theatre Brynmawr, Gwent 07932 472638
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13 - 17 April 2010 Maidenhead Musical Comedy Society Desborough Suite, Maidenhead Town Hall Maidenhead, Berks 01628 605077 26 April - 01 May 2010 Worthing Musical Comedy Society Connaught Theatre Worthing, W Sussex 01903 247999 27 April - 01 May 2010 Seaham Amateur Operatic Society Vane Tempest Social Centre Seaham, Co Durham 0191 581 2838 27 April - 01 May 2010 Tunbridge Wells Operatic & Dramatic Society Assembly Hall Theatre Tunbridge Wells, Kent 01732 355363
SITUATION COMEDY
20 - 24 April 2010 Enville Street Dramatic Society St Thomas’ Church Hall Stourbridge, West Midlands 01384 374376
SMOKEY JOE’S CAFÉ
03 - 06 March 2010 Twickenham Operatic Society St. George’s Suite Twickenham Stadium, Twickenham 08445 889003 www.twickenhamoperatics.com
SOME OF MY BEST FRIENDS ARE WOMEN 03 - 05 March 2010 Bourne Players The Corn Exchange Bourne, Lincolnshire 01778 393787
SONGS FROM 4 SHOWS
SWEET CHARITY
SORCERER, THE
21 - 24 April 2010 Chesham Musical Theatre Company Elgiva Theatre Chesham, Bucks 01494 792754
15 - 17 April 2010 Bath Light Operatic Group The Guildhall Bath, BANES 01225 863740
27 April - 01 May 2010 Meersbrook Park Church Operatic Society Dronfield Civic Hall Dronfield, Derbyshire 0114 255 7634 16 - 20 March 2010 Rose Hill Musical Society The Guildhall Theatre Derby, Derbyshire 0115 9258717 14 - 17 April 2010 Hereford G & S Operatic Society Courtyard Theatre Hereford, West Midland 01432 340555
SPLENDOUR
14 - 17 April 2010 Nomads Drama Society Nomad Theatre, East Horsley, Surrey 01483 284717 www.nomadtheatre.com
STEEL MAGNOLIAS
17 - 20 March 2010 Rustington Players Woodlands Centre Rustington, West Sussex 01903 774849 www.rustingtonplayers.org.uk
STEPPING OUT 14 - 17 April 2010 Nuneaton A O & D S Abbey Theatre Nuneaton, Warks 02476 738007
15 - 20 March 2010 Ashton Under Lyne Operatic Society George Lawton Hall Mossley, Gtr Manchester 0161 456 6560
26 April - 01 May 2010 Brookdale Theatre Brookdale Club Bramhall, Cheshire 0161 439 0505
SWEET PANIC
23 April - 01 May 2010 Company of Ten Abbey Theatre, St Albans, Herts 01727 857861
TEMPEST, THE
21 - 24 April 2010 Stevenage Lytton Players Lytton Theatre, Stevenage, Herts 0870 777 7619
THAT’S LOVE
15 - 20 March 2010 Louth Playgoers Society Riverhead Theatre Louth, Lincolnshire 01507 600350 www.louthplaygoers.co.uk
THOROUGHLY MODERN MILLIE 03 - 06 March 2010 Alton Operatic & Dramatic Society Assembly Rooms Alton, Hampshire 01730 827200
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OWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>> 18 - 20 March 2010 Skegness Musical Theatre Company Embassy Theatre Skegness, Lincs 0845 674 0505 02 - 10 April 2010 Perth Amateur Operatic Society Perth Theatre 01738 621031 12 - 17 April 2010 Rutland Musical Theatre Uppingham Theatre Uppingham, Rutland 01572 822702 27 April - 01 May 2010 Stafford & District Operatic Society The Gatehouse Theatre Stafford, Staffs 01785 253595
TIME OF MY LIFE
18 - 20 March 2010 Theydon Bois Drama Society Theydon Bois Village Hall Theydon Bois, Essex 01992 812250
TITANIC
14 - 17 April 2010 Milton Musical Society Regents Centre Christchurch, Dorset 01202 479 952
TOM, DICK AND HARRY 10 - 17 April 2010 Rugby Theatre Society Rugby Theatre, Henry St Rugby, Warks 01788 541234
TOMB WITH A VIEW, A 18 - 20 March 2010 Frampton Footlights Frampton Village Hall Frampton, Dorset 01300 320459
UNEXPECTED GUEST, THE
14 - 17 April 2010 Stage Door Theatre Company Windmill Theatre Littlehampton, West Sussex 01903 723373 www.stage-door.org.uk
UTOPIA LIMITED
16 - 20 March 2010 Edinburgh Gilbert & Sullivan Society King’s Theatre, Edinburgh, Scotland 0131 529 6000 23 - 28 March 2010 Wolverton G & S Society Stantonbury Campus Theatre Milton Keynes, Bucks 01908 262250
VARIETY SHOW
25 - 27 March 2010 Alive The Warehouse Theatre Ilminster, Somerset 07502 189717
VIVA, MEXICO!
03 - 06 March 2010 Elgin Musical Theatre Elgin Town Hall, Elgin, Moray 01343 542088
WEST END HITS & BROADWAY GLITZ
23 - 27 March 2010 Penistone Centre Stage Musicals Paramount Penistone, S Yorks 01226 370121 12 - 17 April 2010 Newquay Amateur Operatic Society Newquay Tretherras School Newquay, Cornwall 01872 510373 14 - 17 April 2010 Sutton-In-Craven Amateur Op & Drama Soc Sutton Village Hall Keighley, W Yorks 01535 632289 21 - 24 April 2010 Northallerton Amateur Operatic Society Hambleton Forum Northallerton, N Yorks 01609 770936
WHIPPING IT UP
24 - 27 March 2010 Runnymede Drama Group Riverhouse Barn Theatre Walton-on-Thames, Surrey 01932 253354
WINSLOW BOY, THE 26 April - 01 May 2010 Keighley Playhouse Keighly, West Yorkshire 01535 604764 www.keighlyplayhouse.co.uk
WIZARD OF OZ, THE 09 - 13 March 2010 Carlton Operatic Society Nottingham Playhouse Nottingham, Notts 0115 952 5721 14 - 17 April 2010 Dartford A O & D S Orchard Theatre Dartford, Kent 01322 527165
06 - 13 March 2010 ImpAct Theatre Various Locations Dorset 01202 876007
YOU’RE THE TOP 16 - 17 April 2010 Guildford Opera The Electric Theatre Guildford, Surrey 01483 444789
amateurstage is seeking
REVIEWERS In April 2010, we will be starting to review amateur productions across the UK. We are currently seeking interested volunteer reviewers and review coordinators in all regions across the UK. Interested parties should email editor@asmagazine.co.uk for more information.
“...both adults and kids alike were in stitches laughing at the humour. We are greatly looking forward to doing our next show, also by TLC.� BATS Australia
20 - 24 April 2010 Blackwood Musical Theatre Society Blackwood Miners Institute Blackwood, Gwent 01495 227206
WORKING
22 - 27 March 2010 The Tinhatters Concordia Theatre Hinckley, Leicestershire 01455 615005
WRITE ABOUT WHAT YOU KNOW 20 - 23 April 2010 Admirals’ Players Fisher Hall, HMS Excellent Portsmouth, Hampshire 023 9262 5265 www.pad.hampshire.org.uk
YEOMEN OF THE GUARD, THE 16 - 20 March 2010 Wivenhoe G & S Society William Loveless Hall Wivenhoe, Essex 01206 823702 24 - 27 March 2010 Hornby Occasionals Hornby Institute Hornby, Lancs 01524 222227
23 - 27 March 2010 The Good Companions Stage Society Guildhall Theatre, Derby, Derbyshire 01332 721108 www.derbyartsandtheatre.org.uk
22 - 24 April 2010 Wellingborough Arts Barn G & S Society The Castle Wellingborough, Northants 01536 710774
WHEN THE LIGHTS GO ON AGAIN
27 April - 01 May 2010 Ingatestone Musical Operetta Group Ingatestone Community Club Theatre Ingatestone, Essex 01277 352360
16 - 20 March 2010 Heckmondwike Players The Town Hall Cleckheaton, West Yorks 01924 492671
YORK REALIST, THE
Making the magic happen since 2002 Pantomimes Available:
Cinderella • Puss in Boots Babes in the Wood Jack and the Beanstalk Aladdin • Dick Whittington Goldilocks • Knight Fever 1001 Nights (and a Matinee) Watch this Space (Sci-Fi spoof) also a range of pantomime fun packs, spoof programme adverts and foyer announcements to enhance your pantomimes and productions Quality backing tracks for our shows and others available from www.sound-board.com
www.tlc-creative.co.uk Read our scripts and purchase rights online at
www.lazybeescripts.co.uk
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PANTO FEATURE THE MUSICAL PRODUCED
THE PANTOMIME ALLIANCE This year the Pantomime Alliance of Leicestershire (PAL) will hold its 9th ‘Salute to Pantomime’ when the awards for the best of amateur pantomime performances in the County will be made. At the event on 27th March, the 15 or so pantomime groups who have entered the competition will learn who has won the various categories and been awarded the prestigious ‘Blue Balloon’ Trophy for ‘Pantomime of the Year’. There are 16 categories, stretching from best Original Script, through best young performer to best Dame. The event will be compered by Martin Ballard, a broadcaster with BBC Radio Leicester and a panto Dame himself who performs at the Loughborough Theatre each year. As part of the evening, selected groups will perform excerpts from their pantomimes, giving them an opportunity to show off in front of their peers. In true Hollywood fashion there are 3 nominations for each award and there is great excitement when the envelope is opened. Oh yes there is! PAL was formed in 2001 by the then Chairman of Leicestershire County Council, David Pollard, who with the help of Council officers and representatives from 6 local groups organised the first ‘Salute to Pantomime’ in the Century Theatre in Coalville. The AmDram critic of the Leicester Mercury, Lynda Smart was a great help in giving publicity to the fledging group That first event was not in the form of a competition, but the founding group decided that a competitive element would stimulate interest across the County. The event has been a success every since and entries are accepted from Leicester, Leicestershire and Rutland, and if groups are just across the boundary, from neighbouring Counties as well. Pantomime is very popular in the villages and communities in rural Leicestershire. It is an art form which can easily be adapted to the available cast, brings together people from 3 years old to 85, and calls on a very wide variety of talents to put on a good show. Its not only the performers of course, but the scenery builders, costume makers lighting and sound engineers, all of which has to be brought together by a strong no nonsense director. As this is amateur theatre, women
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predominate over men and the tradition of principal boy is strongly upheld. However in the vast majority of pantomimes, the dame is still the preserve of a man, thank goodness (or not as the case maybe). PAL boasts two authors, Pete Henton and Matt Wesson and Pete rose to the challenge when PAL was asked by the Loughborough Council of Faiths to write a multi-faith panto for their members to perform. Pete wrote Dick Whittington –Mayor of Loughborough specifically for the group and taking account of the ethnic mix, Dick journeyed round India with his multi-lingual cat, pursued by the evil villain. Of course PAL claimed this to be the first multiethnic pantomime in Britain and so far we have not been contradicted. The PAL Committee would love Groups in other Counties to become involved in similar competitions. Who knows we could even end up with a National Pantomime of the Year award! We have already had visits from people in other areas and we have offered them our help if they want to go ahead. Getting started may be the most difficult bit, and PAL was lucky having the support of the Council at the time. However there is plenty of information on the internet (see www. pantomime-alliance.co.uk ) and Amateur Stage Magazine will bring people together. Provided the members of a Committee are prepared to work on a voluntary basis, the running costs can be off-set with an entry fee for each group in the competition. The way PAL operates is to send 4 Committee members to a performance of each pantomime, marking each performance. Then when all have been visited, they get together to decide on the awards. This is not idea, because the same people should really attend all the performances, but this is outside the resources of Committee members. If you are interested in starting a competition or you already run one, please get in touch.
AMATEUR STAGE | FEBRUARY 2010
09/02/2010 19:41:39
www.amateurstagemagazine.co.uk
PANTO FEATURE
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PANTO FEATURE
Panto Script Time!! Amateur Stage presents its annual round up of pantomime writers and their fabulous new offerings. It’s time to choose your next panto!! It’s that time of the year again when societies across the country embark on the choice of their seasonal pantomime. Viewed by many audience members as a light romp that is easily concocted, the art of pantomime is anything but. The art of good panto is to make it look seamless and easy, but those of you who put these massive undertakings together know just how much of an art form they are. Panto needs to be an experience for all ages, a multi-generational experience that hits the mark for every viewer. Panto works best when you have a tight script, great music used to effect, loads of local references, bright costumes and colourful sets. Amateur Stage have put together a veritable who’s who of pantomime writers for your consideration. No matter your tastes in subject, be it modern, or more traditional, you can find them scattered over the next few pages.
JOHN MORLEY
Britain’s pantomime king, his scripts are classics of their kind, based on his magnificent London Palladium originals. Then, of course, there is the Guinness Book Of Records entry for Babes In The Wood at Nottingham Theatre Royal which ran until June! If old fashioned tradition is what you look for in a panto, John’s scripts are perfect for your group. His treatments of nearly every usual subject are still the first choice for societies worldwide. Scripts are available through Samuel French or NODA.
JOHN CROCKER
John’s pantomimes have been performed all over the world. John and his son Ben (see Ben’s individual listing) have worked on keeping the scripts modern and current. Whether your requirements are for larger casts or smaller casts John’s scripts cover your requirements. If you want to veer off the more traditional subjects you are advised to look at his Potted Panto and the Frankenstein Monster Show – both hugely entertaining. John Crocker’s scripts are available through Samuel French.
DAVID WOOD
Crowned the “National Children’s Dramatist” by The Times, David is well known for his original works and dramatisations of Roald Dahl stories, he has also adapted fairy tales into musical plays, as alternative seasonal entertainment. Supreme importance is given to the story and while there are plenty of comedy scenes which are firmly integrated into the action. Comedy adventure and lively, original songs combine to make these unusual plays sure-fire hits with family audiences. The script breaks with traditional pantomime stories in that, although there are dames, there are no broker’s men and boys are boys and girls are
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girls. Published by Samuel French there are numerous titles available for perusal including his Roald Dahl adaptations which play well to Christmas audiences.
ALAN P FRAYN
Alan P Frayn continues to be one of the most popular present day writers, with over 100 productions once again choosing one of his pantomime scripts this season. Whilst traditional in style, Alan’s pantomimes are written for audiences of today, being refreshingly imaginative and packed with modern-day humour. They are also amazingly flexible, being suited to straightforward staging whilst offering plenty of scope for the more ambitious and, what’s more, all scripts are revised and updated every year. Available from Stage Right Creative Ltd, this new generation of pantomime scripts includes Cinderella, Jack & the Beanstalk, Aladdin, Dick Whittington, Mother Goose, Sleeping Beauty, Snow White & the Seven Dwarfs and Sinbad the Sailor, together with a true pantomime adaptation of Ali Baba & the Forty Thieves and a fun-filled version of Robinson Crusoe & the Pirates with a vibrant South American opening and finale. For something a little different, they also offer The Twelve Days of Christmas – a totally original, but traditional style pantomime and Adventure in Pantoland – a magical journey through the world of pantomime, ideal for an anniversary production. A brand new version of Humpty Dumpty is already proving very popular, with more laughs and a much stronger underlying storyline than most. And shortly to be released is a brand new pantomime adaptation of Treasure Island. For further information, please contact me on 01889 502222 or by email: alan@stagerightcreative.co.uk
COLIN WAKEFIELD AND KATE EDGAR
Colin Wakefield and Kate Edgar wrote a new version of The Snow Queen for Theatre Royal Margate last Christmas, which proved a great success. They now have small and large cast versions of this story, as well as thirteen other pantomimes and Christmas shows, all published by Josef Weinberger Plays. These feature original songs and music by Kate Edgar, and strong, witty, plotdriven scripts by Colin
Wakefield. All their shows were originally commissioned by Salisbury Playhouse, Winchester Theatre Royal or Theatre Royal Margate and are increasingly popular with amateur societies. Further details are available on their website: www.traditionalpantomimes. co.uk
BOB HEATHER
Bob Heather has been writing traditional family pantomimes for many years now and they are performed all over the UK and in may ex-pat areas abroad including Canada, USA, Australia and New Zealand. He has written four titles on his own - Aladdin, Dick Whittington, Jack and the Beanstalk (NODA Scripts) and the Pied Piper (Lazy-Bee Scripts). He has also written Babes in the Wood and Mother Goose with Roger Lamb, Cinderella with Stuart Ardern and The King’s New Clothes with Peter Bond (Lazy Bee Scripts). Bob fully believes in magic traditional family pantomimes with something for the grown-ups to enjoy as well as the children. Full details can be found Bob’s website www.dublar.co.uk
BEN CROCKER PANTOMIMES.
Ben Crocker’s pantomimes were premiered at the Northcott Theatre, Exeter, where Ben was Artistic Director for ten years. This year, his new version of “Dick Whittington & His Cat” was premiered at The Theatre, Chipping Norton; winners of this year’s TMA award for special achievement in regional theatre. The show was reviewed locally as “The best ever!” and received a four star review in the Times. Similarly, the Telegraph described it as “absolutely delightful” and voted it one of the top five traditional pantos in the country. Ben’s pantomimes are exquisitely crafted and deliver a very clear story line, a great deal of charm and bucket loads of humour. Being the son of pantomime writer, John Crocker, pantomime is in his DNA! Having directed over seventy-five professional productions, Ben has a very clear
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David Wood
“... the national children’s dramatist ...” (The Times) Pantomimes These family shows have original songs, all the classic pantomime ingredients, plus strong storylines. They were all first performed at the Queen’s Theatre, Hornchurch. Smaller in scale than some pantomimes, they don’t need a chorus! Jack and the Giant “ ...a fantastic adventure to enchant youngsters.” Aladdin “... this Aladdin sets kids alight. ” Romford Recorder
Wythenshawe World
Babes in the Magic Wood
“...a fantastic confection … the creation of another magic Wood.” Romford Observer
“ ... the perfect family Christmas entertainment … marvellously inventive twists.” Thurrock Gazette
Cinderella
Old Father Time
Mother Goose’s Golden Christmas
“… perfectly updated to modern children’s tastes … it’s fantabulous.” Thurrock Gazette
“ … a roaring response.” The Times
Dick Whittington and Wondercat
“… a classic – lots of participation, witty, catchy songs …” Essex & East London Newspapers
“… just magic … master of the panto David Wood has done it again.” Advertiser
Old Mother Hubbard
The Roald Dahl Adaptations The BFG • Danny, The Champion of the World • Fantastic Mr Fox James and the Giant Peach • The Twits • The Witches Professionally produced worldwide, including many West End seasons. The popularity of Roald Dahl’s books – and these adaptations – continues to grow! Please check availability, which sometimes depends on current professional productions.
All the above are published and licensed by: Samuel French Ltd., 52 Fitzroy Street, London, W1T 5JR Tel: 020 7387 9373 email: theatre@samuelfrench-london.co.uk. For more details see : www.samuelfrench-london.co.uk or www.davidwood.org.uk
Theatre for Children
Guide to Writing, Adapting, Directing and Acting by David Wood and Janet Grant (Faber) with a foreword by Sir Cameron Mackintosh “… superb and long-needed work“ from the “… greatest living advocate for theatre for children and its most prolific provider … essential reading.” (Charles Vance, Amateur Stage) Available at French’s Theatre Bookshop and the National Theatre Bookshop at £9.99 panto.indd 5
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PANTO FEATURE idea of what makes an audience laugh and he has distilled this experience in his scripts. His pantomimes contain some unique and wonderfully ludicrous situations – allied to this, he has an exceptionally good understanding of the mechanics of good comedy and is keen to share his experience. He offers a free consultancy service to all users of his scripts. The scripts have been designed to last about two hours including interval – maybe a bit more with the right audience! Tightly written, they provide the perfect framework for the controlled anarchy of good pantomime. They also all have sad bits. After all, where else could you encounter a middle aged man dressed up as a woman, waving good bye to two people dressed up as a cow, being led off by a young woman dressed up as a man AND for there to be real tears in the audience? If you want your audience to laugh a lot, shout a lot and maybe cry a little bit, then go to Ben’s website at bencrockerpantomimes. com and start reading straight away. We think you’ll be delighted.
NEW THEATRE PUBLICATIONS
Why choose a pantomime from New Theatre Publications? Good question. I do have an answer. Oh yes I do. It’s in front of me. NTP, uniquely, is in regular contact with all its member playwrights. Those who write pantomimes know the essential ingredients: a dame, a villain, a leggy principal boy, a pretty principal girl, a fool or two, a slapstick scene, a monster, audience interaction, singalong songs and terrible jokes. Any fool knows all that, so what’s special about NTP? The fact that the authors are usually keen and willing to adapt their work for your requirements. Casting problems? OK, they can invent the odd extra character, or drop a few. Topicality? You can’t get more up to date than today. Local content - we’ll put you in touch and you can tell them a few local issues and personalities and they’ll adapt especially for you. That means you end up with a panto script tailored for YOUR needs. Many writers go with the tried and tested stories, because most audiences (especially the kids) want to see Cinderella defeat the Ugly Sisters, Aladdin beat evil Abanazar or Robin Hood triumph over the evil Sheriff. They come with their expectations and why disappoint them? We have plenty of traditional pantomimes. But we also have new takes on the old stories. We have Robin Hoodlum, which is Robin transported to gangster Chicago; we have Abanazar’s Revenge, where the evil queen and Abanazar have teamed up to defeat Dick Whittington, Aladdin and Prince Charming by capturing their princesses; we have Sleeping Beauty going Back To The Future and Goldilocks meeting three Martians - all developments of the traditional tales. And we have totally new ones, such as The King and Queen Show, The Magic Clogs, The Tin Soldier and Santa’s Worst Nightmare. Perhaps best of all is that you can try before you buy. All NTP scripts can be downloaded, free of any charges or obligation, so you can decide which script you want before you part with any actual cash. That’s right - read the script without buying it. Royalties are £40 per performance for all pantomimes. Go to www.plays4theatre.com and click on Catalogue. You’ll then see a link at the
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top of the page that says “Click HERE to list Pantomimes”. Select the one you like the look of and you can add free reading copies to your shopping cart, with the pleasant outcome that, when you go to the checkout, you’ll see a nice round zero in the total. Oh yes you will!
TLC CREATIVE
TLC Creative is actually a trio of experienced writers and performers. Damian Trasler spent many years working in Amateur Dramatics and has won awards around the world for his one act plays. David Lovesy performs stand up and improvised comedy and regularly appears in pantomimes and other forms of theatre. Steve Clark is a director, actor, producer and writer, excelling in musical theatre and pantomime since his university days. Formed specifically to write pantomime over ten years ago, they used their own time spent treading the boards to good effect. Building on the sell out success of their first script, Babes in the Wood, they developed a best-selling line of over a dozen pantomime titles, both traditional and original stories, and found a good publisher in Lazy Bee Scripts. With hundreds of productions of their scripts worldwide each year, TLC don’t rest on their laurels, continuing to perform in their own and other pantomimes, keeping up to date with panto trends and seeing audience reactions up close! They have also branched out into other forms of theatre, theatrically themed merchandise, short sketches, murder mysteries and taking on commissions for theatre groups and corporate clients. Whatever you’re looking for, TLC Creative are the ‘write’ people to ask! www.tlc-creative.co.uk www.lazybeescripts.co.uk
SPOTLIGHT PUBLICATIONS
Last year Spotlight celebrated its 10th anniversary in the theatrical script publishing business. It now publishes over fifty pantomimes and a wide selection of plays, both one act and full-length, and thirty two writers contribute their works, the most recent additions being Tony Earnshaw, Helena Sheridan, Brenda Read-Brown and Geoff Bamber. It is still committed to its original aims of quality scripts at competitive prices, and offers discount packages to clubs mounting full-length pantos. The much awaited new version of Aladdin by Craig Hewlett is expected shortly.
PANTOMUSICALS
The conventional time for panto is Christmas, but Woodhouse Players in Leytonstone decided to try a ‘gothic’ panto at Halloween. Discussing panto ideas, member Khadija asked “why don’t we do Dracula?”, and Tim Saward and Thos Ribbits wrote it for a run in October half-term, with a 1901-set story featuring the eponymous vampire, Sapphi (a vampire slayer), Coco Van Helsing, her mother (the dame) and an incompetent detective called Sheerluck Jones. Tim decided to dispense with a traditional physical set, and have all the backdrops projected on to a large screen as animated movies. This gave the show a distinctive “virtual set” that could change instantly, and interact with live performers at a button-press. The show was a sell-out and the group scaled up for Jekyll & Hyde at a “proper
theatre” in Barking in 2005, with professional animations by Matt Latchford and Lucy Izzard. “We call them ‘pantomusicals’,” says Tim, “because panto uses current songs, but ours have an original score.” To share the fun, the team set up a website where amateur groups can download script, backing tracks, videos and animations, and licence performances completely free. The two shows have since been performed by groups in Leicester, Lincoln, London, Welwyn, Portsmouth, Suffolk, Derbyshire, Dublin and the Netherlands. More at pantomusicals.co.uk.
STEPHEN DUCKHAM
Released through NODA, Stephen’s scripts have proven very popular with companies of all sizes. Stephen is constantly updating his scripts to keep them current. His most recent offering Robinson Crusoe has been reviewed by our Dames in this issue. Stephen’s scripts come with full staging notes and character details. In many cases specially composed songs are available. Contact NODA for full details and perusal copies.
JOSEF WEINBERGER PLAYS
As we shout our last, “he’s behind you” and bid farewell to Panto season, its time to consider options and make decisions about your next Christmas show. Colin Wakefield and Kate Edgar have a wonderful new Christmas show, Ali Baba and the Forty Thieves. This title was originally commissioned by the Theatre Royal Margate for a cast of six, 4M 2F with doubling. However, the cast can be extended to nine principals without doubling. Another title from the successful duo is The Snow Queen, with a cast of 19; it also has great opportunities for children, with a snowflake ballet and a crew of tap-dancing penguins! Wakefield and Edgar have six other titles with Josef Weinberger. With mixed casts and lots of opportunities for children and chorus, these titles can provide both pantomime in its traditional form, and a great opportunity for those who would like to try something slightly alternative. If Ali Baba or The Snow Queen is not for you, then we also have a fantastic catalogue of traditional pantomimes, to delight audiences of all ages. Between authors Kate Edgar and Colin Wakefield, Peter Webster, Chris Denys and Chris Harris, we can provide Aladdin, Babes in the Wood, Cinderella, Dick Turpin, Dick Whittington, Jack and the Beanstalk, Little Red Riding Hood, Mother Goose, Peter Panto, the Pied Piper, Puss in Boots, Robin Hood and the Sleeping Beauty. The pantomimes of Chris Denys and Chris Harris are great options for companies with smaller casts. Traditional favourites; Aladdin, Babes in the Wood, Mother Goose, Jack and the Beanstalk, Cinderella and Dick Whittington are available, music choices are left to the director with suitable suggestions by the authors. For something different, Peter Webster‘s imaginative titles also offer the much-adored favourites of Dick Turpin, The Pied Piper and Babes in the Wood and Peter Panto, offering further scope for amateur societies to chose the perfect Christmas production. Finally, as an alternative to the traditional pantomime is Daniel Wain’s Look Behind You,
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LOOKING FOR YOUR NEXT PANTOMIME SCRIPT?
This is where to look - oh yes it is! PANTOMIMES BY PETER WEBSTER Simple and affordable to stage Plenty of scope for scenery and effects All the traditional elements of pantomime Strong story lines true to the original with an added twist Above all - enjoyable for both audiences and cast.
BABES IN THE WOOD DICK TURPIN PETER PANTO THE PIED PIPER All Available from Josef Weinberger ARTHUR’S ADVENTURE CINDERELLA PUSS IN BOOTS Available from the author. For a full synopsis, contact details and script availability visit
www.petepanto.co.uk
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www.pantosdirect.co.uk
Pantos Direct
Pantomime scripts written especially for you!! Do you have a wonderfully talented company but can’t find a pantomime script to do them justice? Then contact
Pantos Direct
Pantomime scripts written especially for you!! Old shows reworked New shows written to suit your cast Original music at a price! FOR ALL YOUR PANTO NEEDS CONTACT
Pantos Direct
Pantomimes written especially for you!! info@pantosdirect.co.uk Tel: 01726 870 794
09/02/2010 19:46:00
PANTO FEATURE chronicling both the on and off stage lives of the cast and crew of a disastrous Dick Whittington production, where increasingly the backstage chaos makes a hilarious counterpoint to the antics onstage during the struggling production. All scripts are currently in stock and available, for licence information or to purchase scripts contact: plays@jwmail.co.uk.
audiences for many years before being transformed into a spectacular pantomime for the Theatre Royal, Drury Lane, in 1870. In his version, Robbins focuses on the comedy in the story. Squire Benjamin is being forced by the pompous Mayor of Wantley, Sir Walter de Warthog, to leave his home unless he can somehow pay his council tax. The fairy Mauxalinda meanwhile, is seeking revenge for being turfed out of her grotto by unleashing a dangerous dragon on the village. When SAMUEL FRENCH LTD. Sir Walter’s beautiful ward Lady Joan is This year, get two pantomimes for the kidnapped and taken to the dragon, Squire price of one with Richard Lloyd’s hilarious Benjamin is the only one who can save her, Sinbadaladdin! – which adds elements of with a little help from his housekeeper Granny Sinbad to the traditional story of Aladdin. The Gubbins, his valet Jingo and his horse Radish. result is a bumper pantomime offering parts Paul Reakes tells the story of Tom Thumb, for two Principal Boys and two genies – the in which the citizens of the Royal Kingdom Slave of the Lamp and the Slave of the Ring, are being terrorized by a hungry giant and his as well as many other good roles for both evil henchman Slither Slugslime. Only Tom, male and female actors. Widow Twankee the King’s head gardener, will stand up to gets up to her usual mischief as manageress them, but as punishment Slugslime shrinks of a Chinese laundry – not-so ably assisted him – to the size of a thumb! Mum Thumb, by slopper-out Wishee-Washee, while the Tom’s brother Tim, Princess Primrose and beautiful and feisty Princess Jasmine steals her maid Lucy Lastic enlist the help of the Aladdin’s heart and risks the wrath of her beautiful witch Spellena to restore Tom to his father, the Sultan Ming the Mirthless and normal size. In the meantime Slugslime has her mother Sultana No-Lo-Fat, as well as taken a liking to Princess Primrose and Mum Aladdin’s rival suitor, the terrifying magician must somehow rustle up a cake for the giant Abanazar. with two very dim-witted sous-chefs. Tom The perennially popular Norman Robbins Thumb offers good roles for both male and has taken a trip back in time to the Victorian female principals, as well as a large chorus, era, adapting the traditional story The Dragon and plenty of opportunity for a creative finger of Wantley for a modern audience. The Bob Heather 9 29/10/09 puppeteer 13:16 playing Page the 1 role of Tom in miniature! pantomime took advert:Layout its first bow at the Covent For more details of these and all our Garden Theatre (now the Royal Opera House) pantomimes and to browse and buy online, in 1737 as a burlesque opera, and delighted visit www.samuelfrench-london.co.uk.
TRIO ENTERTAINMENT
Trio Entertainment Limited is based in Liverpool and was founded in 2007, As a organisation we aim to produce good quality pantomimes at cheap prices for all the family. Our Next production is “Snow White & the 7 Dwarfs” at Kirkby Suite in Knowsley, Liverpool over Easter. When not producing ourselves as a company we aim to take the work load for professional and amateur companies by providing a number of different services from costume hire and script hire, to a full production hire which can include set, costume, script, sound effects and sound & lighting equipment as well as technicians and production management for your productions at rates to suit your budget. We currently have the following productions in stock, “Wizard Of Oz”, “Cinderella”, “Aladdin”, “Snow White”, “Jack and the Beanstalk” and “Peter Pan”. We are currently working on a “Dick Whittington” and “Sleeping Beauty” for the 2010 season. For more information about how Trio can help you please visit our website www.trioentertainment.co.uk or call 07922 515468 or email either kevin@trio-entertainment.co.uk or darren@trio-entertainment.co.uk. We are also touring our fun-filled One Night For You variety show to a number of theatres, community centres and groups during 2010, which is available at discount rates to theatre groups for a fun night out.
TRADITIONAL FAMILY
PANTOMIMES
For more information on all the above, go to - www.dublar.co.uk 36 panto.indd 8
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NEW Pantomimes from Samuel French Ltd The Dragon Of Wantley by Norman Robbins Cast 12 Principals. Chorus. sCene Various settings. This spectacular pantomime, based on an English legend involving real people, was beloved by Victorian audiences and has now been successfully adapted for the 21st century, concentrating on the comedy of the story. Choice of music is left to the director. Price £8.95
Tom Thumb by Paul Reakes
Cast 15 Principals. Chorus. sCene Various settings. A hungry giant is approaching the Royal Kingdom, and his evil henchman Slither Slugslime has forced the citizens to give up all their food to satisfy his appetite. Only Tom Thumb, the King’s head gardener, will stand up to him, but as punishment Slugslime casts a spell that shrinks him – to the size of a thumb! Mum Thumb, her son Tim, Princess Primrose and her maid Lucy Lastic enlist the help of the beautiful witch Spellena to restore Tom to his normal size. Price £8.95
Sinbadaladdin! by Richard Lloyd Cast M11 or 12, F10 or 11. Chorus. sCene Various settings. Richard Lloyd puts his outrageous mark on the traditional story of Aladdin by adding a dash of Sinbad, a few surprise oriental ingredients and two larger-than-life genies! When Aladdin falls in love with the beautiful Princess Jasmine he will stop at nothing to win her hand in marriage, transforming himself into a prince, disguising himself as Sinbad, and risking the ‘head chop’ at the hand of Ming the Mirthless. Not yet published, due Spring 2010. Price £8.95.
Contact us for a FREE pantomime list or download from our website:
samuelfrench-london.co.uk French’s Theatre Bookshop 52 Fitzroy St London W1T 5JR Tel: 020 7255 4300 Fax: 020 7387 2161 email: theatre@samuelfrench-london.co.uk
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THE PRODUCED THEPANTO MUSICAL PRODUCED
SNOW WHITE MEETS THE CITY
PricewaterhouseCoopers took on Stephen Duckham’s Snow White this year. We took a look into the world of staging a panto from a corporate perspective. THE GROUP
PricewaterhouseCoopers (PwC) is the world’s largest professional services firm with a huge office in London where the bulk of the UK staff are based. For the last 24 years, our people from all levels of the firm have been taking part in an annual charity pantomime staged in January for thousands of underprivileged local children and children from local charities. This year, the show was Snow White and the Seven Dwarfs. Over 200 people from the firm work together for nearly a year to get the show ready alongside demanding day jobs working as accountants, consultants, marketers and a whole range of other roles. Everyone helping to pull the show together is an amateur aside from our only professional theatre manager, Glynn Davies. The cast is made up of 36 talented individuals and they are ably assisted by a full 26 piece live orchestra – again drawn from within the firm. The show plays to over 6000 people over its 8 shows in London and 4 shows on tour to a regional city in the UK. This year we are privileged to be going to the Grand Opera House in Belfast for our tour in February.
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THE PLAY
For a number of years now, PwC has been using the pantomime scripts of Stephen Duckham which we then tailor to suit our needs as regards to characters and a few accountancy-based jokes (yes, they do exist!). Stephen’s version of Snow White has the standard characters (Snow White, Evil Queen, Dwarfs, Prince, Huntsman, Dame and comedy character) and we start the play with the Queen setting out her vision to be the most beautiful in the land before we head straight into a celebration being held for Snow White’s birthday. It is whilst these celebrations are gearing up, Prince Rupert happens by the palace and the Queen decides he must stay and that the party must instead be a celebration for him. It is at this point in the play that the Magic Mirror informs the Queen that she is no longer the fairest in the land and that Snow White is now the holder of that accolade. Furious, she summons the Huntsman and puts him into a trance demanding he take Snow White into the forest and kill her, returning with her heart in a box as proof. Meanwhile, Snow White and the Prince meet and instantly fall in love, promising to spend the evening at the party together. At the party, it is discovered
that Snow White is missing from her room. At this point, we are transported to the forest where we first meet the dwarfs who are on their way to the diamond mines. The act ends with Snow White in the forest having been set free by the Huntsman who, upon tripping over a spade discarded by the dwarfs, is freed from his trance. Back at the castle, the huntsman presents the Queen with the heart of a wild boar in the box and tells her he has killed Snow White. Dame Doitall hears the evil plan and rallies Prince Rupert and the court to head to the forest on a mission to save her. Upon hearing from the mirror that Snow White is still alive, the queen disguises herself and sets off to get to Snow White first and kill her with a poisoned apple – the only antidote to which being true love’s kiss. Back in the forest, Snow White has met the dwarfs and is now happily at home with them. Whilst they are at work, Snow White unwittingly lets the queen in and takes a bite of the poisoned apple before the others can get to her rescue. The Prince and his gang arrive at the same time as the dwarfs and all believe Snow White is dead, before a kiss from the Prince wakens her. The dwarfs tell the Prince that the mirror is the key to the Queen’s magic power and by destroying
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www.amateurstagemagazine.co.uk the mirror, they destroy the queen. Everyone returns to the palace for a final showdown with the Queen where Prince Rupert smashes the mirror, destroying the Queen and setting free the spirit of the mirror who sings us out with ‘Let’s hear it for the boy’..and..of course..they all lived happily ever after.
MUSIC
A trademark of PwC’s pantomimes has always been the many song and dance numbers. We always try to choose tunes that the kids will recognise as well as some that the adults will enjoy. To that end, this year saw such gems as ‘I kissed a girl’ when the Prince and Snow White meet, Madonna’s ‘Express Yourself’ for Dame Doitall’s big number and ‘The dwarf mine tango’ borrowed from Chicago and tweaked for the dwarf’s introductory song. In total, the MD and some of his orchestra take over 20 songs and pieces of underscoring and arrange them for a 26 piece orchestra as well as arranging the vocal harmonies for the cast to work on in rehearsal.
CASTING
The show calls for 13 principal characters and 20 chorus and 6 dancers and the places are all filled through an audition process where potential cast members are invited to come along and learn a piece of a dance, sing a song and act some scenes in front of the creative team (director, assistant director, choreographer and MD) in groups of 10-15. Those being considered for principal roles are told what they have in mind for them more fully to allow them to test out potential onstage relationships. At this stage, the decisions have still not been made as to which sex the roles will be, which allows the directing team a great deal of flexibility when trying different people out. In the end, both Snow White and
THE PANTO PRODUCED
the Prince are played be females. In addition, the part of Handy Andy – the slapstick comedy character – also goes to a female. The Dame, of course, is a man. Next the tricky decision of how to play the dwarfs. The solution arrived at in the end is to use two shorter females and 4 male cast members on their knees. Due to the fact that the original dwarf names are copyrighted by Disney, the dwarfs are all given new names, meaning there is room for a very tall mute dwarf, who is of course called ‘Tiny’ and who has a great deal of slapstick fun throughout the show.
REHEARSALS
Rehearsals start in earnest in September with the cast rehearsing one night a week after work in the staff canteen for 3 hours. When October hits, the cast also rehearse on a Sunday for 6 hours. We start by learning all the big chorus songs with our vocal coach (another PwC staff member) and dances from our choreographers (again..staff members) and then start to bring in the dialogue scenes We also have a rehearsal towards the end of November in a dance studio to polish the dances and make sure the cast get to see how they look. We start running the shows in the last two rehearsals before Christmas, culminating in a huge rehearsal in December where the cast and orchestra get together to run the whole show together for the first time (before heading to the pub for the Christmas party). After the Christmas break, there are 5 rehearsals at which the show is ran a number of times before we head to the theatre on the weekend of the run for a day of technical rehearsal. We also have a number of board members of the firm taking on a cameo role in each of the shows, so we have an additional rehearsal with them all to take them through the part and help them with the dance steps.
STAGING AND TECHNICAL
We are very lucky to be able to play in a West End theatre. Our venue for the last 10 years has been the 1000 seater Peacock Theatre – part of the Sadler’s Wells group. Due to the fact this is a professional working theatre, we hire our sets from Qdos pantomimes and our lighting from Stage Electronics. We met our production manager Glynn Davies at one of our tour theatres many years ago and he has been our professional adviser ever since. The Crew is again made up of over 30 PwC people doing everything from building the two articulated lorries full of massive sets, to running the lighting desk, working the fly floor, making the props and moving the scenery around during the show. The hard-working crew get to the theatre a week before the cast to get the set ready for the Tech rehearsal. They head down after a long working day and often work through the night to get everything ready for the week long run This year, we also had a professional sound guy to run the sound desk as we have some amazing harmonies the cast had been working hard on for months and we want to make sure everyone can hear them. In addition to the theatre tech, one of our performances is beamed by satellite to five children’s hospitals around the UK due to generous support from BT, one of the firm’s clients. This throws an additional bunch of wires and cables into the mix as the fabulous crew from the outside broadcast unit at Carlton O21 come in with their many cameras to broadcast the show – something they all do free of charge. We also have a signed performance for the hard of hearing and our amazing signer learned the whole script beforehand and finally we have a performance for the blind and visually impaired. Where the show is
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THE PANTO PRODUCED described to the children through headsets as well as there being a touch tour before the show where they meet the cast and touch the costumes and props. A truly humbling experience for all involved.
COSTUMES AND MAKE-UP
This year, over 130 costumes were required from Madonna-style conical bras for the Dame and fake legs for the kneeling dwarfs to traditional Snow White dresses and an entire Bollywood themed dance number (not to mention assorted palace staff, forest animals and evil minions). The wardrobe team, led by Jen Rowley, started work way back in August of last year agreeing designs and sourcing fabrics. Jen’s holiday to India was somewhat sidetracked by the purchase and sourcing of 40 Bollywood costumes to be carted back to the UK in her rucksack. There were still things being altered, adorned with sequins and even made on the day of the first show, but as you will see from the photos, the costumes looked amazing and aside from quite a few trips to Primark, all made from scratch. Our amazing head of make-up, Kim Wilson, used to be a professional make-up artist before coming to PwC to work and so we are in very good hands when being made to look ugly, old, young, magical or scary. She has a team of 4 helping her and a large account at Charles Fox! You’ve never seen so many sets of false eyelashes in one place.
CONCLUSION
Hopefully, you will have gained some sense of the size and scale of the show - a massive undertaking, but one which is undertaken with relish and enthusiasm by everyone involved. The advantage of working for such a big firm as PwC is that we are lucky enough to perform our show in a West End theatre and with so many people working for the firm it is no surprise that we are able to find 200 talented people to take part in the show. You cannot put into words the feeling you get from stepping out on stage in front of 1000 screaming children – many of whom have never been to the theatre before – but when you also think of the months of hard work that has gone into the show by so many talented people, alongside their day jobs – you truly feel very proud to be part of such a special event.
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S MAGAZINE
dvert – quarter page – February 2010 edition www.amateurstagemagazine.co.uk
PANTO FEATURE
NEW – FUNNY – STRONG – ORIGINAL
PANTOMIME SCRIPTS by Alan P Frayn
Traditional but up-to-date & loads of comedy! CINDERELLA JACK AND THE BEANSTALK ALADDIN ROBINSON CRUSOE & THE PIRATES DICK WHITTINGTON ALI BABA & THE FORTY THIEVES SLEEPING BEAUTY SNOW WHITE & THE SEVEN DWARFS MOTHER GOOSE THE TWELVE DAYS OF CHRISTMAS SINBAD THE SAILOR ADVENTURE IN PANTOLAND HUMPTY DUMPTY Coming soon … TREASURE ISLAND!
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 SCRIPTS UPDATED ANNUALLY! www.stagerightcreative.com For more info, please call: 01889 502222
STAGE RIGHT CREATIVE LTD
All obtainable from SAMuEL FRENCH LIMITED 52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373
PANTOMIME SCRIPTS by
Stephen Duckham
OTES:
Aladdin : Babes In The Wood : Beauty and the Beast Cinderella : Dick Whittington : Goldilocks and the Three Bears Please keep the relative sizes/emphasis as above – Jack and the Beanstalk : Mother Goose : Puss in Boots dimensions are already more or less in proportion. Robinson Crusoe : Sinbad the Sailor : The Sleeping Beauty Snow White and the Seven Dwarfs
the height/width
Fonts used: ARIAL and ARIAL BLACK
Brand new version for 2010 Robinson Crusoe. This version theblue old tale has a number of newas characters andpossible a very Please make ofthe background colour bright as – we were different Friday. Plus all the usual ingredients of the traditional pleased with our similar advertfamily last pantomime. year, but the blue looked a bit dull.
very
Each script comes with a full set of production notes and can be performed Also, in thesimply “PANTO SCRIPT DIRECTORY”, please ensure our old website or lavishly, depending on the facilities available to individual companies. address (stageright.biz) ismodern replaced with www.stagerightcreative.com – many Both traditional and sequences are found throughout each script, together edition. with a large amount of audience participation. thanks.in February 2007
Scripts are being updated regularly.
ALADDIN “Writer Stephen Duckham’s version was a feast – a great family show which has something for everyone” Warwick Times CINDERELLA “Well-delivered gags flew thick and fast and credit must surely go to Stephen Duckham” Leamington Observer MOTHER GOOSE “Stephen Duckham’s script skilfully combines traditional panto and contemporary themes” Isle of Man Newspapers SINBAD THE SAILOR “Stephen Duckham;s action-packed panto was a real Christmas cracker” Coventry Evening Telegraph PUSS IN BOOTS “So good was Stephen Duckham’s script – the story flowed effortlessly” Leamington Courier DICK WHITTINGTON “Written by Stehen Duckham, this show had everything you would expect from a traditional panto” Kenilworth Weekly News SNOW WHITE AND THE SEVEN DWARFS “...an enchanting show which combines panto classics with audience participation” Evening Sentinel, Stoke On Trent
Perusal scripts now available from: NODA, 58-60 Lincoln Road Peterborough PE1 2RZ Tel: 01733 865790 Email: everyone@noda.org.uk www.noda.org.uk
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PANTO FEATURE
JOHN HICKS THE DRAGON OF WANTLEY BY NORMAN ROBBINS I found this script to have a few too many one line gags and jokes. Some of the jokes are very good, but there are many ‘Old Chestnuts’ in it and I feel that by having too many in one script can leave the audience with almost a feeling that they’ve seen it before and therefore slight boredom. The story line is one of great simplicity with good topicality. I also liked the few references of some modern day paraphernalia. I feel that perhaps the slapstick scene or the ghost scene could have been omitted and a bit more made of the chase through the woods to find the dragon. Although the slapstick scene is very good, providing it is done well. I feel that this script would really be of interest to larger companies due to the large amounts of paste etc that is splashed around. I feel the slapstick would have to be curtailed greatly for smaller companies or even omitted completely, thus making it much less comical. I found it had a very good mix of characters, I especially liked Madge Merry and of course Verruca Gubbins. All in all a very good script with just a few slight reservations. I would like to see this Panto performed, but I feel it is just a bit too complicated, scene-wise (10 scenes is plenty), for many smaller theatres to cope with. The other thing I would like to see is a more catchy title, The name ‘Wantley’ doesn’t really conjure up a Pantomime village in my mind. I do like to see an alliteration (double is even better) in a ‘new title’ if at all possible as it straight away gives a slightly comedic value to the production from the outset which will attract more bums on seats. (Publisher - Samuel French)
SINBAD AND THE VOYAGE OF THE SEVEN SOULS BY JOE GRAHAM I found this script to be much more up my street with lots of original stuff in it to keep the audience interested. While reading it I didn’t feel like it was familiar at all which is very important and not too difficult to do when adding new and original ideas to a popular storyline, It isn’t too heavy on the scene changes either, and are cleverly done by using the chorus and villagers etc to change it before your eyes. I feel the amount of jokes and gags are about right and to have plenty of original songs written into it makes it all the better. (No mention though about a score or CD to hire) I enjoyed the characters very much with good and entertaining dialogue for all the main ones. The chorus line characters are exciting and varied which is good as they can very often end up a little under-whelming but I feel there are some very good chances for them to shine in these parts. I particularly liked the rolling gag of Sami’s with the playing cards and his penchant for getting all his magic wrong. Aphrodite is a good alternative character to a ‘Dame’ and one I would relish having a go at. Hedes is sufficiently evil to get the audience screaming in fury at him and along with the other characters there is an excellent pantomime in the making. I feel this is a play that would grace any stage, large or small. In my 42 years of amateur dramatics I have always thought of two categories of script, ‘professional’ and ‘home-spun’ and this play feels like a ‘professional homespun’ one and is sure to be a winner. (Publisher - J Garnett Miller)
JOHN HICKS
I have been involved with amateur dramatics for 42
MARK JEFFERIES
in!). The Panto’s story very much revolves around the Dame and builds up to a very engaging script, although it is a bit thin towards the end! I would have liked to see a little more THE HUNCHBACK OF NOTRE audience participation from the Dame and DAME – BY JOE GRAHAM Billy, but they are both well written parts and work well within the story. The prinicipal boy The Hunchback of Notre Dame has been written and girl roles are well written and have just as a very traditional children’s story and does enough edge to keep then interesting (and not not really become a Panto. There is no Panto bland) and the comedy duo have some great Dame character to base the humour on and very lines to keep the plot moving along. This is a few jokes or funny lines. The story is very well very strong, well written traditional panto and told as a children’s story, with the characters would work well on any stage, with any group beinging very well defined and easy to of performers. recognise. However, I would have liked to have see more comedy, slap stick humour, audience MARK JEFFERIES participation and better use of traditional Panto I started training as a performer at the age of structures. The love story for the two main seventeen at the Patterson School of Dancing principals is a little weak, so the story really in Coventry, my first public performance doesn’t know where to go and doesn’t allow the was in a musical called ‘The Card’ at the audience to become engaged. I don’t think this Belgrade Theatre, Coventry in 1976 and since really is script a Panto, but more a one-act play. then I have worked with a number of semi-
ROBINSON CRUSOE BY STEVE DUCKHAM Robinson Crusoe is very much a traditional panto, with a good story line and some great charactors (with some funny one liners thrown
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years. I started off in the Isles of Scilly, Cornwall. in the ‘St Mary’s Theatre Club’ where I learnt ‘the trade’. In 1997 I came across the sea to the mainland and after trying out various clubs in Bristol I eventually started up a new theatre group called ‘The Stagelights’ in Hanham, Bristol. The Stagelights has about 55 members, (children & adults) on average and we manage to put on 3 big productions yearly ending with the pantomime in January. Some years we will use a ‘professional’ script and in others we will use a ‘home-spun’ one, I have written them myself on occasion and am generally very pleased with the result. Having been involved in 34 pantomimes over the years, either in them, back stage or directing, I am now only too pleased to pass on to the youth what I can so that this wonderful medium will continue for many years to come. I keep a full and informative website for our club that can be perused at your leisure. ~ www. thestagelights.co.uk
Phaedra in ‘La Caux Aux Follies’, Gypsy (which I also choreographed) and many others. I began taking more serious roles in plays with my first leading role as Dennis the Undertaker in Joe Orton’s ‘Loot’ in 1989 and subsequently played, Stanley in ‘No Sex Please We’re British’, Jack Manningham in ‘Gaslight’, Licet Green in ‘The Royal Baccarat Scandal’. Panto credits started as Juvenile lead playing: Idle Jack in ‘Jack and The Beanstalk’, Wishee/ Washee in ‘Aladdin’ moving on to playing Dame in: ‘Beauty and the Beast’, ‘Jack and the Beanstalk, ‘Mother Goose’, ‘Dick Wittington’ , ‘Sleeping Beauty’, Sinbad the Sailor’ and many others.
professional groups dancing and performing in night clubs, stage and variety shows. Credits include Sam Weller in ‘Pickwick’, Cornelius in ‘Hello Dolly’, Bill Calhoun in ‘Kiss Me Kate’, Wil Parker in ‘Oklahoma’ (which I also choreographed), Tin Man in ‘Wizard of Oz’, Paul (the choreographer) in 42nd Street,
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GEOFF LEGAN Oh no it isn’t...! Oh yes it is…! It’s that time of year again…! No sooner has the final curtain fallen on our annual, festive, thespian activities, that thoughts must inevitably turn to our next Christmas endeavour. Should we be essaying Jack or Dick, Cinders or Beauty, Aladdin or Pan…? Thus, you can imagine my delight when Amateur Stage asked if I would like to review a couple of new scripts allowing my annual foray into pantoland to last just a little longer (though some who know me may say that I never leave it, but that’s another story entirely) You shall go to the ball…! To misquote the Bard (who, to my certain knowledge, never penned...or should that be quill’d…a panto) “To trad or not to trad”. Do we follow hundreds of years of the age old traditions of our chosen genre or do we bring it kicking and screaming into the 21st century…? My first offering:
,I did think that in the story surely the magic wears off at midnight proper so think it might be confusing to an audience. Maybe I’m wrong if the “tail shout out” running gag is tried and tested but I just fear an audience on a wet Wednesday in Widnes may forget to look for a visual cue as they sometimes struggle to remember “watcha muddles” in reply to “watcha kids”…! My final thoughts are that, undoubtedly clever though the songs are, they would all appear to “play long” and my general preference for panto music is usually “verse, chorus, chorus off” but that may just be me. All that having been said, I think that in general this script is well within the reach of the budgets of most theatre groups and small scale musical companies who prefer the “play with music” approach to the season The complete panto kit…! For companies with maybe the budget and ambition to look for a larger scale production then “Stage Right” would appear to be the place to look. (Publisher - Spotlight Publications)
HUMPTY DUMPTY BY ALAN P FRAYN
CINDERELLA BY ROBIN BAILES (Spotlight Publications) sits comfortably in the former category, with maybe a nod to the latter. All the familiars are there: Buttons, Fairy G, Baron Bankrupp (I guess that’s Hardup for the credit Crunchers), Uglies; Cholera and Rubella (I love these names, just hope our audience kiddies will have had their MMR’s), Prince and Dandini and A Baroness: Crimea Scrounge in best Cruella DeVille style (probably best played as a third drag role). In this script, however, our Cinders is very much a “girl power” heroine and has some wicked one-liners on her feisty path to The Prince. Then, new to me and the Cinderella story, we have Ambrose and Alice, a dog each for the Prince and Cinders who have much comic interplay and a nice “fresh” take in the discovery of Cinderella in the final shoe fitting scene. The Script itself is smart and witty and pacey and, for me, doesn’t need the real groaner lines like the Page’s announcements of the guests at the ball as the humour is charming and consistent thorough…favourite touches are the meeting of Cinders and The Prince at the ball: the hiding of Cinders under Cholera with her legs dangling; the chase with the dogs and the Uglies and the general dry delivery of The Prince’s “put upon” Page and Dandini. I have a couple of confusions and a couple of personal thoughts. Confusions first: Dandini is described as having been chief advisor to the aging king as well as The Prince, thus he would need to be much older than The Prince making the clothes swap and mistaken identity plot line difficult. Also though the visual gag of the clock hands being turned while the perpetrators are being “hit” by the pendulum is very funny
PANTO FEATURE
(Stage Right Creative) My second offering is by Alan P. Frayn and is, I have to admit, a new panto story for me, Humpty Dumpty. Not to worry, however, Alan not only provides an eggcellent script but also complete staging and production notes in one neat A4 book. A jolly helpful intro by author Alan advises that, though this script may be a blueprint for your production, he would allow and almost encourage the producer/director to put their own stamp on the piece by using their own choice of music, traditional or contemporary, and also greater or lesser staging as budget and facilities allow. Classic panto routines (i.e. The Magic Hat and Plate Smashing) are described in detail so that even a fledgling director can stage the traditional with as much skill and knowledge as the panto pro. For those, like me, who have little or scant knowledge of Humpty Dumpty, it would appear to revolve around the granting of ten (yes, count ‘em ten) wishes for our eponymous hero. Some as simple as an egg sandwich for a hungry Humpty (“It might be a relation of yours…!”) and others as a clever plot device to transport our hero, and us, to far flung magical places including “Cloud Cuckoo Land”, “Nursery Rhyme Land”, a great opportunity to poke some fun at our much loved pre-school characters, and a rousing, colourful act two opener set in a circus. All the usual suspects appear: Humpty, our hero, Dame Ditsy Dither and her son and daughter Topsy-Turvy and Upsy-Daisy, King Egbert, Fairy Soufflé and Egg-Nog, The Bad (for those of us who remember Noggin the Nog) and my particular favourites General Mayhem and Reggie Mental who are the comedy duo, brokers men type (who along with Marmeduke the Panto Horse, couldn’t put humpty together again). As the names testify, this is a pun-filled
egg-stra-ordinarily funny script which will, I’m sure, provide much fun in rehearsal AND performance There are even suggestions for presong sheet interplay and an extremely comprehensive musical numbers suggestion list, what more could we ask for. (Publisher Stage Right Creative)
GEOFF LEGAN
Geoff is a freelance non-professional actor/ director who over the last 30 years has performed in musicals, cabaret, concerts and “straight” theatre in his home town of Stoke-on-Trent as well as further afield in Lincoln, Leeds, Sheffield, Buxton and Cornwall amongst others. Roles range from Gilbert and Sullivan to Alan Bennett, from full scale musical productions to monologues. As a director Geoff has created productions of Stepping Out, Adrian Mole, The Cemetery Club and The Lady in The Van and recently formed his own company “Scrapbooks Productions” to stage new and rarely seen plays and musicals including the European Premieres of “The Shoe-Horn Sonata” and “Gossamer” by the award winning playwright John Misto. Geoff is also in demand as a compere and cabaret performer where some of his favorite “Dames” to perform include “Dame Edna” and “Dame Hilda Bracket” as well as a whole host of Diva Dames from Shirley Bassey to Judy Garland and Barbra Streisand to Cher...you name her he can probably do her...now there’s a challenge...! Photo: EL Norman Photography, Newcastle Under Lyme. Artistic direction by John Cumberlidge and Costumes and Wigs by Stephen R Metcalfe.
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PANTO FEATURE
PAUL WOODS
MIKE MONTICELLI
ADVENTURE IN PANTOLAND BY ALAN FRAYN
SNOW WHITE BY CRAIG HEWLETT & EDDIE GODDARD
The premise of this pantomime amalgam intrigued me considerably. A group of four standard pantomime characters, the Dame, Principal Boy, Principal Girls and the helpful but inept simpleton, are tricked out of their home in ‘The Land of Make Believe’ by the evil witch; losing their memories in the process. They then have to assume the lead roles in a succession of traditional panto vignettes in order to re-establish their identities. They work their way through versions of ‘Sleeping Beauty’, ‘Aladdin’, ‘Dick Whittington’, ‘Jack and the Beanstalk’, ‘Snow White’ and ‘Cinderella’ before recovering their memories and their true identities. The various scenes are all linked by the continued machinations of the evil witch and her hapless assistant. I found that the script flows well and audiences will all instantly recognise the familiar minipantos portrayed. The characters too are easily recognisable by their dialogue and actions and there are some genuinely funny lines. However, when I reached the end of the script I was left with a feeling of dissatisfaction, although I could not immediately put my finger on what caused this feeling. On a second reading I was able to identify what I consider the shortcomings of this script. At this point it should be borne in mind that I was reading this script through the eyes of an experienced Dame and was, therefore, paying particular attention to the Dame character in the script. In my somewhat selfish view, the Dame character in any panto should have the best lines and the biggest laughs. However, in virtually every scene in this script, these lines are given to the simpleton character. This makes the Dame role rather safe and unappealing in my eyes. I also felt that the denouement was rushed and unfulfilling. After all the care taken to set up the premise it was wrapped up hurriedly in about six lines of dialogue. Overall, this is a clever script which will certainly appeal to a number of societies but it is not one that I could ever see my own club taking on.
TOM THUMB BY PAUL REAKES I have to confess at the outset that I am a great fan of Paul Reakes’ series of pantomimes. I have already appeared in a number of them and they have all been great crowd pleasers and lots of fun to perform. Therefore, it was with much anticipation that I started to read ‘Tom Thumb’, his latest offering. I was not disappointed. In this story, the hero of the tale, ‘Tom Thumb’, is the King’s head gardener and is also secretly in love with the King’s daughter, ‘Primrose’. When the Kingdom is threatened by a hungry giant and his evil wizard henchman, Tom is shrunk to the size of a thumb as punishment for standing up to the evil regime. With the help of his old Mum, his dim-witted brother and his girlfriend and the intervention of a beautiful witch, the spell is reversed and the traditional happy ending is achieved. Paul Reakes has the happy knack of making a script feel fresh and modern whilst still including all the traditional ingredients of a good pantomime. This script is an excellent example of that talent. Modern references abound; including Harry Potter, Hannibal Lecter, Anne Robinson and a very cheeky reference to Gordon Ramsay! The Dame (my particular personal interest) is a wonderful character with some great lines and really holds the show together. The other characters are also extremely well written and entertaining; the man-hungry old crone being a particularly delightful cameo. There is a suitably messy cooking scene and a complicated chase sequence and many opportunites for societies to add their own choice of songs and music. Another plus for this script is that, technically, it can be made as challenging or as simple as you want, depending on the capabilities of your own society. I thoroughly enjoyed reading this script and it is now definitely on our club’s ‘To-Do’ list! A big thumbs up for ‘Tom Thumb’! ABOUT PAUL WOODS
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I am the Chairman of the Buccaneer Theatre Club located at RAF Lossiemouth in North East Scotland. Our club performs a variety of full length plays, one act plays and pantomimes which are all very well supported by our loyal audiences. I first performed the Pantomime Dame role as an Ugly sister in ‘Cinderella’ in 1981 and have reprised the role most years since then. In fact, my current portrayal of ‘Semolina Sinbad’ in ‘Sinbad the Sailor’ is my 25th outing in the padded bra!! More information about the club and pictures from past productions can be found on our website: www.bucctc.topcities.com
This new Snow White script has a novel twist as, unable to use the Disney Dwarves names, the authors have used normal sized people who are a defunct Musical Act, who got their name because of their unusual act. Actors, male or female, playing these parts have to be able to move well, sing and rap! There are ten principal parts, plus the dwarves, a fearsome Dragon, done wtih much smoke and roaring, a chorus of villagers and mice for the younger members of the cast! The comedy duo are Gladiators. Wolf and Scorpio, good parts for the slightly older man! Dame Sarah, Snow White, Principal Boy, Prince Seymour, the Wicked Queen and Boris, the Hunchback who doubles as the King and a Gladiator referee and a herald, which can be doubled up, make up the cast list. There is one extra part of the Mirror, which in this panto is played by a person, making it very much easier to stage. There are suggestions for all the songs, sixteen in all. There is some novel comedy in this script, which apart from the duo, gives lots of opportunity to the Dwarves. The setting may cause problems, as there are sixteen scenes altogether, some very short, which may
RICHARD BOND A NOTE FROM RICHARD I didn’t find it easy to review these scripts, being an avid supporter of traditional family pantomime. This started as a child, watching “Dick Whittington” from the gallery at the Bristol Old Vic and still continues today in my Dame roles. The Kingswood Players of Bristol were awarded a Lottery grant, in part, to perpetuate traditional pantomime and so, I look for a script which closely follows the well-known story using both plain dialogue and rhyming couplets. This, together with the traditional pantomime elements of ‘Good versus Evil’, familiar pantomime business, a transformation scene and a strong dame character are, for me, essential. As is music in suitable style, not modern songs or songs suggested from other musical shows. There is a wealth of non-royalty music waiting to be used from the music hall era with tunes and words perfect for pantomime, it’s just a case of looking! A good pantomime can introduce a child to the theatre for life and therefore they deserve the best. Unfortunately, the two scripts I reviewed, did not ‘fit the bill’ for me, but I am sure they will for others!
BEAUTY AND THE BEAST BY TERRY HARPER Not billed as a pantomime, but with balanced cast of 7 women & 6 men plus chorus, it was more of a children’s story and
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PANTO FEATURE
be difficult for scenes changes. However, this is always a popular panto and this is an interesting modern version of an old favourite with good parts for all ages.
is excellent comedy for all the parts, and they are all of more or less the same size, which makes Jack and the Bean Stalk and excellent choice for amateur companies.
JACK AND THE BEAN STALK BY BEN CROCKER
JERSEY AMATEUR DRAMATIC CLUB
This new version of Jack and the Beanstalk by Ben Crocker, whilst keeping the traditonal story has a good modern feel to it, with ten good principal parts and plenty of chorus work. Edna, the Eco Fairy locks horns with Slime Ball, a lovely comedy part this, and evil side kick to Giant Blunderbore, who appears more often than usual in this panto. Jack Trot has to sell Daisy the cow, who has some great comedy appearances, because the Giant, has doubled a tax on the villagers and if they can’t pay, he will marry Princess emelza. Jack Trott also wants to marry the Princess, aided by his mum, Dame Madonna Trot known as Madge, and Simple Simon, the milker with great opposition from King Bertram and the Royal Flunkey, Fixit. Add Hetty the Hen who lays golden eggs and the magic harp and you have all the ingredients for a very funny panto. All the parts appear throughout and there is a lot of one line dialogue which should keep it moving at a great pace, always necessary to keep the children interested. the Bean Stalk scene is well managed and easilt staged, often a difficulty in this particular panto. There
The Jersey Amateur Dramatic Club started in 1939 and in 1997 we opened our own club room in an old granite barn which we also fought hard to purchase and then renovate. Each year we do panto, two musicals and usually two plays, plus entering in our local Eisteddfod. We have about 250 members starting at 14, but also have a strong group of much younger children who love to be in panto or anything else that is going! I have just finished directing my 23rd panto, Jack and the Jersey Bean Stalk, which went very well despite three cancelled performances due to snow! Mike Montincelli (pictured) has apeared as Dame in many pantos as well as taking leading parts in plays and musicals. Pat Dubras -President.
was certainly not traditional! It really had nothing to do with the story of ‘Beauty and the Beast’, but was more a collection of characters which happened to include a beauty and a beast! Where were the merchant and the rose taken from the Beast’s garden? Scene 1 which should have laid the foundation for the story was actually an argument between Fairy Goodenough who was definitely not an immortal and the ‘offstage’ stage manager – very confusing for young children and audience who were referred to as “you lot”! There was no introduction of the individual characters, to build a rapport with the audience, no rhyming couplets, too many suggested songs from well known musical shows such as The Wizard of Oz and too many confusing characters. Definitely not a script I would choose!
again this could be more effective if it was deliberate and without an apology or the ‘whatever your names are’ dialogue following. I would have like to have seen more business like the traditional skeleton scene instead of the repetitive ‘Oh no’ ‘Oh yes’ dialogue that was used on numerous occasions and the writers seemed to know this might not work by the non specific stage directions that followed. Dame (Nurse Ribena), could have been a much better role if combined with the character of Granny Grunt – was this included to add another women’s role? It used much comedy that should have been part of the dame’s role. I personally did not like the business of the dame losing her wig to show a bald head. Children should know this is a man playing a woman, but seeing a dame without a wig is unnecessary for it’s vital to the character and completes the costume. (Danny La Rue would never be seen in his pantomime costumes without the wig!) As you can see, I was disappointed in this script and I believe this started when Alana-Dale referred to the audience as ‘you lot’, characters need to be believable and gain the respect of their audience and this type of dialogue in your opening speech, does not achieve that. I feel that this script would benefit from some rewriting and more inclusion of specific pantomime elements.
BABES IN THE WOOD A PANTOMIME BY PAT JONES & BRIAN TRAVERS Billed as a pantomime, the most important element of Good (stage right) and Evil (stage left) was missing as was much traditional business. With a cast of 13 men and 3 women plus chorus, it is unfortunately male dominated. The traditional storyline of losing ‘the babes in the wood’ to gain their inheritance did not come over. There were some excellent one-liners, but these were often lost amongst other dialogue which attempts to give comedy style lines to everyone. Pantomime also needs straight characters! The confused names idea was good but
Editors note. Due to a family emergency Mike was unable to review for this issue, so Pat Dubras stepped in to fill the breach in show business tradition. We offer her our profound thanks.
AMATEUR STAGE | FEBRUARY 2010
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WEST END PRODUCED THE MUSICAL Nation, Olivier, National Theatre
Rope. Photo: John Haynes
ROPE
ALMEIDA THEATRE Patrick Hamilton’s 1938 thriller, Gaslight, has long been a favourite for the amateur and professional stage, and his earlier work, Rope, has also been much revived since its 1929 premiere and the subsequent 1948 film version by Alfred Hitchcock. The play opens on two undergraduates killing a fellow student just for the thrill of committing a motiveless murder. Bundled into a trunk, the unseen corpse is present throughout as the dilettantes organise a tea party for the victim’s oblivious friends and family. Roger Michell’s production is performed in the round – a first for the Almeida – with the trunk literally taking centre stage. He tackles the slightly dated dialogue by bringing out the full comic potential of the bright young things’ vapid language, but he preserves the darker moral elements of the murderers’ twisted Nietzschean logic. Blake Ritson is excellent as the instigator of the killing, self-assured and charming despite his psychopathic intent, while Alex Waldmann makes his weaker sidekick a puppy-like bundle of bottled-up nerves. The homoerotic undercurrents of their friendship is briefly hinted at but is played down compared to other productions. Bertie Carvel stands out with his performance as their friend, Rupert Cadell, who initially seems comical with his aesthete’s voice and mannerisms but develops into an admirable
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and remarkable character who provides the emotional and intellectual heart of the play.
PUBLIC PROPERTY
After the success of War Horse and His Dark Materials, the National Theatre has a new family show, Nation, based on the novel by Terry Pratchett. Although my mum would probably have objected to the use of “bloody” and most definitely to the use of “shit”, it is said to be aimed at 11-year-olds and upwards. At a Sunday matinee (a great innovation by London theatres), the audience at the Olivier was chiefly made up of adults with sprinklings of teens who seemed to enjoy what is a nicely paced, at times spectacular show. The running time was less than originally advertised, suggesting they have responded to early complaints that it was too long and sluggish in places. Considering the adaptation is by Shopping and Fucking’s Mark Ravenhill, it is surprisingly free of dark sexual undercurrents, despite the occasional profanity, which is all the more surprising as the two main characters are teenagers on the verge of adulthood. Drawing on mythic themes, it follows a South Pacific islander, Mau, whose whole tribe has been wiped out by a tsunami and his attempts to find an identity without a “nation”. He meets an uptight Victorian miss, Ermintrude, who befriends Mau after being shipwrecked on his island, changing her name to Daphne and reinventing herself. They are engagingly played by Gary Carr and Emily Taaffe, with comic interventions by Jason Thorpe representing a plain-talking parrot. The story follows standard mythic journeys and discoveries, but its excitement comes from the inventive staging by director and designer Melly Still working with designer Mark Friend. Using three ceiling-height translucent screens and puppets by Yvonne Stone, they bring spectacle to the stage, from dolphins and sharks to flesh-eating birds and giant boards, providing something to amuse children and adults.
TRAFALGAR STUDIOS
Every time you read about John Terry’s latest affairs or Katie Price’s ups and downs, behind the scenes there is a publicist manipulating what is reported. Sam Peter Jackson’s new play, Public Property, exposes this world in a play full of comedy and energy. It follows newsreader Geoffrey who is caught by photographers in a compromising position in a car with a young man, and shows how his cynical publicist Larry handles the situation. With twists and turns, it is a well crafted and smartly paced rollercoaster of a comedy that will hopefully transfer or tour after its short sellout run at the Trafalgar Studios. Robert Daws is excellent portraying Geoffrey’s descent from calm composure to a man on the verge of a nervous breakdown, a perfect foil to Nigel Harman’s sly and calculating Larry whose slick veneer hides a man fighting to keep control of his life. As the fame-hungry 16-year-old Jamie, Steven Webb is an ambiguous combination of streetwise toughness and vulnerable naivety. With on-screen appearances by Stephen Fry, Natasha Little and Elize Du Toit, this production, sharply directed by Hanna Berrigan, grabs the audience and takes them on an intelligent and satirical tour of the smoke and mirrors of today’s tabloid media.
Nation
AMATEUR STAGE | FEBRUARY 2010
09/02/2010 20:07:29
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