SOUVENIR CENTENARY PROGRAMME
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AFFILIATED TO THE NATIONAL OPERATIC AND DRAMATIC ASSOCIATION
Presents in its centenary year
Original book and lyrics by VICTOR LEON & LEO STEIN Music by FRANZ LEHAR New book and lyrics by PHIL PARK Music adapted and arranged by RONALD HANMER These amateur performances are given by arrangement with Glocken Verag Ltd
Directed by DAVID KIRK Musical Director JOHN WEBB Choreographer LORRAINE SWAINE
Tuesday 15th - Saturday 19th February 2005
IN AID OF LOCAL CHARITIES PLEASE BE AWARE THAT THE RUSTLING OF SWEET PAPERS. THE BLEEPING OF DIGITAL WATCHES AND OTHER NOISES CAN BE DISTRACTING TO OTHER MEMBERS OF THE AUDIENCE. THE TAKING OF FLASHLIGHT PHOTOGRAPHY,USE OF VIDEO OR TAPE RECORDERS IS STRICTLY FORBIDDEN. PLEASE TURN OFF MOBILE PHONES.
Great horton theatre company centenary year
PRESIDENTs Letter esident r P
Welcome, It gives me great pleasure to offer you all a warm welcome to this beautiful Theatre to see our show in this our Centenary year. It is also 100 years since the ‘Merry Widow’ was first performed so it seemed a fitting choice for our show this year. I am sure you will enjoy its lovely music, settings and costumes. In October we held a Centenary Lunch which 127 past and present members attended. It was lovely to see so many friends and have a chance to renew old acquaintances. A big thank you to the Committee, Production team, friends back stage and front of house and all members of the cast, especially those who have joined us for the first time, for their enthusiasm throughout rehearsals. We are always grateful to the Alhambra staff for their help and advice. So, enjoy your evening with us and, as we say in the show, ‘Long life and the very best of health’ to you all. See you again next year! Yours truly
C la
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Clare
VISITORS The Lord Mayor of Bradford Councillor Irene Ellison-Wood Representing the National Operatic & Dramatic Society. The Regional Councillor for the North East Area, Mr Chris Ingram Regional Representative for the North East, Mrs Judith Smith Noda Past President, Mr Reg Vinnicombe President Buttershaw St Paul’s AODS, Mrs Rita Horner President Bingley AOS, Mr George G Pickles President Bradford Catholic Players, Mrs Josephine M Kennedy President Bradford Players, Mrs Patricia Robinson President Idle & Thackley AOS, Mr John Roberts President Bradford Youth Players, Mrs Margeurite Jennings & their Guests
A cordial welcome is extended to our special guests at the Gala Evening, Friday 18th February:
Party Bookings Allerton Congregational Church Allerton Townswomen’s Guild Alzheimer’s Society Barbara Tyas’ Party Buttershaw A.O.D.S East Bierley Ladies Guild Friends of Bradford College Ian Slater’s Party Idle & Thackley A.O.D.S. Joyce Relton’s Party Mr R Stead’s Party Mr R Thompson’s Party Mrs Irene Mason’s Party Mrs L Swaine’s Party Royal Wharfedale Lodge and Fairfax Chapter Safe Anchor Trust Saltaire Wives Group Senior Wayfarers Group St Winefride’s Church St. Luke’s Ladies Guild, East Bierley The Mount Nursing Home West Yorkshire Police
Patrons Mr & Mrs B Ashley Mr& Mrs PJ Barfield Mrs M Bateman Miss I Brearley G W Bryson, Esq Mrs K Carroll Mrs H Dewhirst Mr and Mrs G Elliott Mr & Mrs B Gledstone Mrs J Hobson Mr & Mrs D Judson R Markwell, Esq Mrs I Mason Miss D B North
Dr & Mrs A Pratt Mr & Mrs J Robertshaw Miss E Rudd Mrs S Shaw Mrs J Skirrow S C Swaine, Esq Mrs J Tordoff GW Turton, Esq Mrs N Walker Mrs P Wharton Mr & Mrs J Whitwham K A Wilcock, Esq Mr & Mrs RA Winn
This page kindly sponsored by Clare and Brian Ashley “Happy 100th Birthday to Great Horton Theatre Company”
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Great horton theatre company centenary year
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This page kindly sponsored by Carol & Alec Pratt with thanks to their supporters over the last 40 years
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Great horton theatre company centenary year
DIRECTORS NOTE French plays had been traditional source material for Viennese musicals since the days when Genee and Zell merrily plundered Paris for texts to remake as operettas and playwright Victor Leon had been particularly adept of the practice in the late 1890s. So when he refashioned Henri Meilhac’s old play L’Attache D’Ambassade as a libretto for The Merry Widow it was Richard Heuberger who was scheduled to write the music. Apparently he did produce a score but then the producer didn’t like it, and in the end – against the wishes of the librettist, so it is said – it was Franz Lehar who got the job of illustrating the piece with music.
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Pontevedrian Anna Glavari is a widow and she is deeply, seriously rich. She is so rich that the idea of her marrying a foreigner and taking all that money out of financially shaky Pontevedro gives the government the blue horrors! So Baron Zeta, the Pontevedrian ambassador in Paris – where the widow is off enjoying herself amongst a swarm of suitors – is deputed swiftly to find her a healthily home made husband. He picks for this delicate, patriotic mission the boozy, womanising, but indubitably charming Count Danilo Danilowitsch. Its a tricky choice because Danilo missed out on Anna first time round and has a pretty poor opinion of her for preferring Mr Glavari to his enamoured self. And now he has to woo her all over again! For the sake of the Fatherland he swallows his pride, but he almost brings it right up again when Anna is caught in a compromising position with a sexy young Parisian who sings high notes! However, Anna has only been covering up for the embarrassed Baroness Zeta, and by the end of the evening pride and the Glavari millions have been saved.
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Lehar’s score caught the light hearted Balkan-Parisian romanticism of the story and its rather ridiculous characters marvellously, as it ranged from light comedy (It Goes to Show, You’ll Find Me at Maxim’s), romance (Driving in the Park With You), and even a showpiece (Vilia) for Anna to more earnestly sung romance in a series of duos for the Parisian and the Baroness Valencienne (Flowers Are Awakened, A Highly Respectable Wife). There was also full-blooded comedy for the buffo Baron and his friends, comedy that was topped by a swinging ditty about Women! Even the girlie element was not neglected, as Valencienne led the grisettes of Maxim’s in a vigorous song and dance routine. The Merry Widow was an immediate hit of proportions never seen before on the Viennese stage. The first English adaptation appeared in 1907 with two new numbers from Lehar and the comedy given more exposure than before! The version you see tonight has a new book and revised lyrics by Phil Park.
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Paris, 1912. Farcical comings and goings at the Pontevedrian Embassy!! Let the fun begin.....
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FRIENDS OF GREAT HORTON THEATRE COMPANY For many years we have had a small band of patrons who, for a small annual subscription, have supported the company.
We are proposing to change the name from Patrons to Friends of Great Horton Theatre Company.
This page kindly sponsored by Phillip, Pauline, Helen and Susan Barfield
Would you like to become a friend of Great Horton Theatre Company? Find out what events are being held throughout the year? Support our annual production at the Alhambra?
Then please contact Sally Shaw on 01274 510731 and ask for further details.
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Great horton theatre company centenary year
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This page kindly sponsored by Rita & Harry Stott in loving memory of Irene Stott
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NODA The National Operatic and Dramatic Association President: Lord Lloyd Webber
standard of best practice and provide leadership for the 21st century.
The Association was founded in 1899 ‘to protect and advance the interests of Operatic and Dramatic Art and Societies engaged therein’ NODA has a membership in excess of 2,300 amateur societies and 2,500 individual members throughout the United Kingdom performing plays, operas, musicals, concerts and pantomimes in venues ranging from leading theatres to village halls.
Noda is divided into 11 areas, the North East area covering Yorkshire. This is one of the largest areas with over 230 society members and over 400 individual or joint members.
There is a broad span of ages involved nationwide in every sort of activity connected with the performing arts both onstage and off. Whatever the age of the participants, whatever the onstage or offstage talents they have to offer, they are involved in amateur theatre for the love of it. Performers, the stage crew, committee members and front of house staff all contribute to the creation and success of each production. Noda aims to give a shared voice to the amateur sector, help societies and individuals achieve the highest
For more information contact: Noda, 58 – 60 Lincoln Road, Peterborough, PE1 2RZ Tel: 0870 770 2480 Fax: 0870 770 2490 (crown) Email: everyone@noda.org.uk Web: www.noda.org.uk.
Great horton theatre company centenary year
Début is a member of
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Dancers courtesy of & choreographed by Jacqui Drake Début Theatre School
Principals: Jacqui Drake & David Kirk
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Photographic Catwalk Catalogue TV Commercials Advertising & Promotions
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CAST The Characters Anna Danilo Baron Zeta Valencienne Camille Njegus St. Brioche Cascada Kromov Olga Bogdanovitsch Pritsch Sylvia Praskovia
Madame Glavari: “The Merry Widow” Count Danilovitsch Pontevedrian Ambassador in Paris Baroness Zeta Count de Rosillon Baron Zeta’s factotum Diplomat guests at the Embassy An attache Wife of Kromov Attache Attache Lady guests at the Embassy
Julie Burrows Peter Hall Michael Hellawell Helen Woodhead Duncan Hall Tony Cross Chris Nuttall Mick Duckworth David Elliott Christine Roberts Mick Snowden John Hudson Kate Stubbs Jill Whitehouse
The Grisettes Lo-Lo Do-Do Jou-Jou Frou-Frou Clo-Clo Margot
Sally Shaw Paula Klenk Emma Woodhead Wendy Nuttall Kate Stubbs Jill Whitehouse
The Dancers Cressida Anderson, Sarah Binns, Amy Bowers, Kirsty Cunliffe, Kylie Dargue, Georgina Kormoczi, Sarah Lambert, Lydia Pitkethly, Amy Robinson, Emma Toulson, Amy Wilson
The Company Iain Anderson, Barry Ashcroft, Philip Barfield, Damien Cheshire, Geoff Dowling, Mark Francis, Les Fryer, John Mason, Albert Pratt, Alec Pratt, Stuart Swaine, Ray Whittingham Susan Brady, Wendy Elliott, Lynda Gowers, Jean Hobson, Audrey O’Keefe, Carol Pratt, Enid Rudd, Cath Smith, Judith Steele, Anna-Marie Tate, Nora Walker, Pamela Wharton, Joyce Wood
Pontevedrian Dancers Krylati Brenden Barker, Evhen Chymera, Martin Chymera, Paul Diakin, Nick Favell, Mark Prodywus, Mick Shutak
Great horton theatre company centenary year
SYNOPSIS & MUSIC Synopsis of Scenes Period - 1912 Act One A SALON IN THE PONTEVEDRIAN EMBASSY IN PARIS Interval Act Two Scene 1 THE GARDENS OF MADAME GLAVARI’S RESIDENCE Early the following evening Scene 2 THE SAME – A LA MAXIM’S Later that night
Musical Numbers Act One Overture...... Pontevedro in Paree ......Cascada, Zeta and Company A highly respectable wife......Valencienne and Camille So many men admire me......Anna and Men You’ll find me at Maxim’s......Danilo and Ladies It goes to show......Anna and Danilo Finale act one......Anna, Valencienne, Danilo, Camille ......St. Brioche, Cascada and Company Act Two Opening dance......Dancers and Company Vilia......Anna and Company Driving in the park with you......Anna and Danilo Women, women, women......Danilo, Cascada, St. Brioche, Zeta Kromov, ......Bogdanovitsch and Pritsch Introduction to waltz scene......Anna and Danilo The waltz ballet......Dancers Flow’rs are awakened in maytime......Camille and Valencienne Finale act two scene one......Anna, Valencienne,Danilo, Camille, Zeta and ......Company Scene two opening dance......Dancers The Grisettes’ dance......Valencienne, Lo-Lo, Do-Do, Jou-Jou ......Frou-Frou, Clo-Clo, Margot ......Dancers and Company These pages kindly Can Can......Dancers sponsored by Reprise: You’ll find me at Maxim’s......The Grisettes and Danilo Paula Klenk The Merry Widow waltz......Anna and Danilo Finale act two......The Full Company
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BEHIND THE SCENES h L ig
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We wish to thank all those who have assisted in any way with the production of “The Merry Widow”. Unfortunately there are too many to mention them all by name.
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THANK YOU However, we must thank our Patrons, Subscribers and the visiting public to the Alhambra Theatre. As a result of their support and the efforts of our members over the years, the Company has been able to make many cash donations to local charities. Regrettably the ever increasing cost of our productions prevents us from supporting as many causes as we would wish.
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A look at some of the backstage staff........
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Stage Manager ..............................................Betty Woodrow Lighting Design ..............................................Richard Thompson Sound..............................................................The Trenouth Family Properties ........................................................Michelle Norton ........................................................................Ann Carroll ........................................................................Brian Gledstone Costumes ......................................................W A Homburg Ltd Leeds Wigs ................................................................Dress Circle of Yeadon Scenery & Property ........................................Scenic Projects Limited ........................................................................of Beccles Suffolk Rehearsal Pianist ............................................Christopher Brook Prompter ........................................................Val Margerison House Managers ............................................Bob Winn ........................................................................Joe Robertshaw Make-up ..........................................................Rita Stott and Assistants Photography (Julie Burrows / Grissettes) ......Mark Swinford (Other cast members) ..............Steven Gore ........................................................................John Mason ........................................................................Alec Pratt ........................................................................Stuart Swaine Programme Compilation ................................Philip & Pauline Barfield Programme Advertising ..................................Clare Ashley ........................................................................Nora Walker Programme Cover/Flyer Design ....................Alistair Fletcher Programme Design & Artwork ........................Simon Frater Publicity & Marketing ......................................David Elliott ........................................................................Sally Shaw ........................................................................Kate Stubbs Sponsorship ....................................................John Mason Corporate Sponsorship ..................................Kate Stubb
A special word of thanks must be given to:Management and staff of the Alhambra Theatre & Bradford Ticket Centre. Jim Greenhalf and the Bradford Telegraph and Argus for advanced publicity.
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Bingley Little Theatre, Dewsbury Arts Group, and all those who have lent properties. St Winefride’s Church and Great Horton Village Hall for providing rehearsal facilities. Jean Carroll and Trish Webb for arranging the Centenary Lunch & Gala Evening. Charles Kirk for building the banquette and also those who upholstered it.
Finally we must mention the Advertisers in our programme. Please give them your patronage.
R ita
Stott
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......there are many more who were unwilling to have their photograph taken!
Great horton theatre company centenary year
LES GRISETTES Photo: Mark Swinford
The Family Portrait Specialist • Bookings now been taken for Mothers Day • Portrait Gifts • Telephone
0113 2591161 www.markswinford.co.uk
THE DANCERS Photo: Stuart Swaine
These pages kindly sponsored by Pam, Chris, Timothy & Rebecca Wharton and Helen, Gary & Joseph Childs and Joe & Freda Robertshaw
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OBITUARIES Marjorie Bateman
Principal: GILLIAN ROBINSON A.I.S.T.D.Dip
Former Professional Dancer
• Jazz, Modern, Tap & Ballet Classes available for children age 3 upwards • Dance examinations taken (I.S.T.D.) and pupils involved in annual spectacular show •
Places now very limited •
For more details Tel: 01274 643119 Good Luck & Best Wishes to five of our senior pupils appearing as dancers in this production.
Have a great week girls -
‘Break A Leg’!
Marjorie was a playing member before the Second World War and she met her husband Arnold Bateman when he played Captain Fontaine in the ‘Desert Song’. After the war she joined that band of unsung heroes that no production can do without - the backstage helpers. She was the Wardrobe Mistress as well as a committee member until 1970 when she went to live in Morecambe. She was a Vice President and maintained her interest in the Society to the end.
May Brigg (nee Wilkinson) May was a stalwart member of the Society from its reformation after World War II. She was a chorus member and performed supporting parts in such shows as Quaker Girl, Love for Judy and many more. She was also a committee member. Like Marjorie, she maintained her interest in the Society and, aged 91, attended our Centenary lunch last October. They will both be missed.
An Independent Co-educational (IAPS) Day School for 3 -11 year olds
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Richmond House School, 170 Otley Road, Leeds, LS16 5LG
Tel: 0113 2752670
Great horton theatre company centenary year
THE CHORUS
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This page kindly sponsored by the Men’s Chorus
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PREVIOUS PRODUCTIONS 1905 1907 1908 1909 1910 1911 1912 1913 1914 1920 1921 1922 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938
Sherwood's Queen H.M.S. Pinafore Iolanthe The Pirates of Penzance Merrie England Patience, The Gondoliers Princess Ida, Yeomen of the Guard Dorothy The Mikado The Gondoliers Iolanthe Merrie England Trial by Jury, The Pirates of Penzance Yeomen of the Guard Tom Jones Dorothy The Mikado A Waltz Dream The Quaker Girl The Geisha The Vagabond King Rose Marie Sybil The Arcadians Wildflower The Street Singer The Desert Song Primrose
1939 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978
Rose Marie The Mikado Tom Jones A Waltz Dream Waltz Without End The Land of Smiles The Quaker Girl The Lilac Domino The New Moon Love from Judy Summer Song Zip Goes a Million The Desert Song The Most Happy Fella Oklahoma Rose Marie Merrie England Flower Drum Song The Gipsy Baron Kiss Me Kate Wedding in Paris Half a Sixpence Mame Brigadoon Carousel Can - Can The Merry Widow Die Fledermaus The Music Man My Fair Lady
1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2003
2004
Camelot Fiddler on the Roof Showboat Oklahoma White Horse Inn The Pajama Game Annie Hans Andersen The Merry Widow My Fair Lady The Dancing Years Oliver The Desert Song Anything Goes High Society Barnum Gigi The Pirates of Penzance (Broadway Version) Singin' in the Rain Hello Dolly Crazy for you Me and My Girl The Sound of Music Oliver My Fair Lady (Sept.) My Fair Lady (Waterford Festival of Light Opera) The Wizard of Oz
Great horton theatre company centenary year
OFFICERS OF THE SOCIETY President Clare Ashley
Life Member Carol Pratt
Treasurer Iain Anderson
Vice Presidents Brian Ashley Marjorie Bateman Irene Brearley Brian Gledstone Pauline Gledstone Allan Harrison Josie Hey Edward Johnson Derek H Judson Freda Robertshaw Joe Robertshaw Enid Rudd Peter Russell Josephine Skirrow Rita Stott Joan Tordoff Geoffrey W Turton Audrey Whitwham Jack Whitwham Kevin Wilcock Jean Winn Robert A Winn Joyce Wood
Chairman
Ticket Bookings/ Business Manager Sally Shaw
Vacant Vice Chairman Jean Hobson Executive Committee Philip Barfield David Elliott Michael Hellawell John Mason Kate Stubbs Nora Walker Secretary Enid Rudd 40 Beldon Lane BRADFORD BD7 4JZ
Auditor Geoffrey W Turton Librarian Cath Smith Wardrobes Sonia Lord Jeanette Hamilton Rehearsal Refreshments Brian Ashley Roy Markwell Bob Winn
Some of the guests at the Centenary Lunch
These pages kindly sponsored by the Ladie’s Chorus and Godfrey Eliott
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DOWN MEM In the opening scene of ‘Showboat’ one of the principals lost his false teeth to the amusement of all the chorus. One lady bent and scooped them up, putting them in her basket. In ‘Me and My Girl’ kitchen maids had to chop vegetables in time to the music without looking. Bits of carrot, potatoes etc. flew about in all directions – on the table, under the table and across the stage. My first show was ‘Die Fledermaus’ produced by Tony Haigh. The curtain went up on a bare stage, footmen came on carrying a roll of carpet which they unrolled, lifted into the air and Adele, the maid, ran underneath it clapped her hands and the rest of the chorus came and set the stage. It got a round of applause every night. In Camelot a group of us ended up at the front of stage for the jousting scene which had four complicated, tonguetwisting verses. We can still remember the Musical Director shouting ‘Sing you ******* sing.’ We made sure we kept on the back line after that! Playing Orlofski in ‘Die Fledermaus’ I stood in the wings waiting for my grand entrance. The curtain opened showing the dancers suitably posed on a high rostrum. I made my entrance only to have the rostrum collapse and all the dancers disappear from view. The curtain closed and Fred Lancaster made a delayed restart to the act. During ‘Showboat’ I walked down the gangplank with Wendy Coombs who introduced me as the ‘handsomest leading man in the Mid West’. While uttering my first line my denture shot out and struck a chorus member in the chest. I tried to retrieve my teeth without the audience noticing but the cast saw the whole thing and the musical director, Fred Lancaster, in the pit was puce trying to hold back his laughter. In 1992 during a performance of Anything Goes there was a bomb scare and the theatre had to be evacuated. We were all singing and dancing in Morley Street in the snow.
One of my fondest memories of productions of the 70s was the involvement of the Company’s own ‘Noel Coward’. He could be guaranteed to be in the dressing room, fully made up, smoking with a cigarette holder hours before curtain up. As soon as the performance started he was down at the front in the footlights no matter where he had been set and woe betide any principal standing in front of him!
In ‘Kiss Me Kate’ Kate threw a milking stool so hard it bounced off the stage into the orchestra pit and knocked the pianist out.
In ‘Gipsy Baron’ the ladies of the chorus wore crinolines and the first time they sat down in them the dresses ended up over their heads.
I remember after show parties in the Ladies Chorus dressing room at the top of the theatre. This was before the Alhambra was refurbished. There are offices there now. Also you could slip out into the balcony and watch favourite bits of the performance.
In ‘Desert Song’ the donkey wouldn’t go down the steps to the stage so it had to taken on from the Scenery Bay. As far as I recall we only had to use the brush and shovel once that week!
While taking the photographs for the programme for ‘Barnum’ we went to Salt’s Mill because Jonathan Silver had given us permission to use a large wooden chair for the photo of Tom Thumb. The photographer moved it to get better lighting for the shot and Mr Silver came storming over and threw us out for ‘damaging’ his exhibits. Luckily we had got the shot. Several members of the Society have gone on to become professional actors. They include Margaret Airey (Morne) in the 1950s; Mary Weston who turned down a professional engagement to do our show; Gordon Kaye from “‘Allo, ‘Allo”; and most recently James Thornton who has been in ‘Playing the Field’ and ‘Redcap’.
‘...we can s till rememb er the Musical D irector sho uting ‘Sing you * ****** sing .”’
Great horton theatre company centenary year
MORY LANE On dress rehearsal night for ‘Pirates of Penzance’ there was a very heavy snowfall and Bradford was grid locked as usual. Most of the cast couldn’t get there and the Societies tea urn was requisitioned to provide cuppas in the foyer for stranded workers.
3 weeks before the opening of ‘Singing in the Rain’ the tap dancing leading man went on a skiing holiday. I was chairman then and I had nightmares in case he had an accident. Luckily he came back in one piece!
Going back to when we staged the shows at Southgate Hall it was so small we had to go outside to get from Stage Right to Left. If it was raining the ladies used to put their skirts over their heads and we sometimes missed our cues trying to dry out. I remember what a thrill it was to move to the Alhambra. In one production of ‘Oklahoma’ the backcloth for Jud Fry’s den split in half and later crashed to the stage narrowly missing the stage hands.
I was really pleased when my daughters were old enough that, though they didn’t want to appear on stage, they came to help as ‘callboys’.
‘Barnum’ was another show where snow affected rehearsals but it was a fantastic experience learning to juggle and do other circus skills. The leading man walked the tightrope every performance without falling off although there were some tense moments when he wobbled!
We also did lots of Mini Shows and Music Halls to raise money for the Society and these were great fun as we got to do cameo parts. We also did ‘Showstoppers 1986’ and a Gala Concert for Rowland Hill (manager of the Alhambra for many years) with the other amateur societies. We opened that concert with ‘42nd Street’.
Over the years the Society has donated thousands of pounds to various charities and hopefully we can go on doing so for many years to come with your patronage.
For Wedding in Paris I spent hours with the Musical Director rehearsing playing my accordion only for the audience to think I was miming!
I played the vocal coach in ‘Singing in the Rain’ as well as doing the lighting for the show. I had to learn a dance routine and the follow spot operators insisted on lighting up my bald patch.
At the first rehearsal for the ‘Music Man’ I was whisked off my feet in a cartwheel turn in the Shipoopee.
I was Bob Winn’s partner in Alexander’s Ragtime Band in a Roaring 20s Mini Show performed at Great Horton Conservative Club.
When the ‘Merry Widow’ was performed in 1975 I was lucky enough to be a Grisette. Shortly after my husband joined the Society and then our eldest daughter had a part in the ‘Music Man’. Now my two younger daughters are appearing in this production of the ‘Merry Widow’, one taking a leading role and the other is a Grisette. Great Horton Theatre Company is a truly family society.
How times have changed! When a certain lady appeared topless as an artist’s model in ‘Can Can’ in 1974 she was the first amateur actress to move across the Alhambra stage – albeit for only 20 seconds – if you blinked you missed it! What a stir this caused in both local and national papers. It even appeared as far away as Spain. This was a ‘first’ in the country for amateur theatre. Now other amateur societies are appearing fully nude in such shows as ‘Hair’ and nobody raises their eyebrows.
bomb a as w atre e e r h t e h t ‘... d the ated.’ n a scare be evacu o had t These pagee kindly sponsored by Jean Hobson and Richard Thompson
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THE HISTORY OF G.H.T.C. Great Horton Amateur Operatic Society
1904
Great Horton Theatre Company
100 YEARS
The society was inaugurated in 1904 out of a male glee union. It opened its doors to women under new musical director Albert Connell and its first effort, Sherwood’s Queen, was produced at Great Horton Church School Room, popularly known as the Bell Chapel, in 1905. The venue was changed in 1910 and Edward German’s Merrie England was performed in the Cross Lane Council Schools. About this time two performances were given in the Copthorne Road School. A further change occurred when a transference was made to St Columba’s Schools in Great Horton Road. In 1921 a performance of Iolanthe was given at Queens Hall in Morley Street. It was then decided to transfer from schoolroom A.E production to the Grange Cinema with a . production of ‘Yeoman of the Guard’ which was a huge success. Four years later a further move was made to Cross Lane Cinema. In 1933 a newsletter to members, patrons and subscribers informed them that ‘Circumstances now dictate a further change which is perhaps the most important of them all and it involves our next effort being produced at the Co-operative Hall, Southgate and made ‘a sincere appeal to all interested friends for sufficient financial justification to warrant the carrying out of a policy which will place the Society on a sound financial basis’ It was suggested that Patrons fees should be one Guinea (£1.05), Honorary membership 10/6d (52p) and social membership 5s (25p). The 1934 production was the Arcadians and rehearsals commenced on the 31st August 1933 at Wesley Place School, Bakes Street. In 1939 the Society transferred to the Alhambra Theatre.
2004
1961 was the start of the sojourn at the Alhambra with the ‘Desert Song’ under Musical Director, Hermann Crossland and the Diamond Jubilee was celebrated with a production of ‘Rose Marie’ in 1964. A look through the programme shows many names that are very familiar to us today. The Society has played at the Alhambra ever since, apart from 1984 – 1986 when it was being refurbished, returning in 1987 with the ‘Merry Widow’, the last time we performed this show. It was a relief to many female chorus members not to have to climb that last flight of wooden steps up to the top dressing room and everyone appreciated the modern facilities that were now provided back stage.
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Over the years Great Horton has performed many ‘old favourites’ but has also produced many of the more modern shows with great success.
A performance of ‘Anything Goes’, in 1992, was interrupted by a bomb scare. In 1994 ‘Barnum’ was a particular success with the cast learning various circus skills and the leading man walking the tightrope every performance. In 1997 the show was ‘Singing in the Rain’. Because of all the water in the main number the leading man had to pre-record and mime the song in order to avoid being electricuted. In 2003 we were invited to represent the North of England at the Waterford Festival in Southern Ireland with our production of ‘My Fair Lady’ and we walked away with two prizes – Best Comic Actor (Tony Cross as Alfred Doolittle) and the Best Chorus Number for ‘Get me to the Church on time’. The Society was also nominated for Best Set, Best Supporting Woman (Doreen France), Best Supporting Man (Michael Hellawell) and Best Female Performer (Katrina Wood). Both Tony Cross and Michael Hellawell are performing with us in ‘The Merry Widow’.
There were no productions during both the First and Second World Wars. In 1950 the Society reformed with Albert Connell as President In the programme for Land of Smiles (1954) the E. B t t and a production of Gilbert & Sullivan’s perennial President, Albert Connell, in his Retrospect ended e u rn favourite, The Mikado, at Bethel Methodist School, Great with these words:Horton Road. Two of the principals are still members of the “And now what of the future? Only a fool would attempt to Society, Bob Winn who played Koko and Joe Robertshaw as prophesy. But one thing is certain. So long as the members Pish Tush. By 1951 we were back at the Southgate Hall and are imbued with an unselfish team spirit, so long as they can in 1954 celebrated our Jubilee show the same resilience in crisis that they have shown in the there with a production of the ‘Land past, so long as they can meet disappointment with courage of Smiles’. In 1960 the Zip goes a and optimism, then the future should be, and I think will be, Million production signalled the as successful as the past.” move to the Prince’s Theatre but the next year we had to move again Researched and Written by Philip and Pauline Barfield as the theatre closed in June.
Great horton theatre company centenary year
DEDICATED TO ALL
This page is dedicated to all the people who have supported the society over the years in any way however great or small. Those who have performed or worked back stage. Those who have supported us as Patrons and Subscribers. Without you we would not be here today.
Thank you Great Horton Theatre Company (formerly Great Horton Amateur Operatic Society)
This page kindly sponsored by Bob and Jean Winn in memory of Edmund Burnett who placed an advert in the newspaper to reform the Society after World War II
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BRADFORD THEATRES MANAGER OF THEATRES, ADAM RENTON CONCERT HALLS & COMMUNITY ARTS THEATRE ADMINISTRATOR SHEILA JOZEFEK PROGRAMME MANAGER LAURA WOOD PROGRAMME/BOOKINGS MANAGER CHRISTINE RABY PROGRAMME ASSISTANT PAMELA PICARD
Twisting Yarn Theatre Company ARTISTIC DIRECTOR KEITH ROBINSON ADMINISTRATOR SU HOLGATE P/T WORKSHOP LEADER SIAN WILLIAMS KIRSTY TODD
Customer Services CUSTOMER OPERATIONS MANAGER GERRY CLIFFORD ADMINISTRATIVE ASSISTANT BEV BARNES HOUSE MANAGER RITA FRENCH RICHARD BATTERBY ASSISTANT HOUSE MANAGERS JULIE CARRINGTON MO ALMAS RECEPTIONISTS BARBARA SYKES ANGELA NELSON BARBARA JAMES
Finance PERFORMANCE MANAGER CATHY HOLMES ACCOUNT SUPERVISOR IVY MURTAGH FINANCE OFFICERS CAROLE HIRST KATH WALTERS
Marketing SENIOR MARKETING OFFICER JAMES LEE MARKETING OFFICERS STEPHANIE IRWIN ELIZABETH HALL MARKETING ASSISTANT JONATHAN BOWDIN
Technical Services TECHNICAL OPERATIONS MANAGER TECHNICAL MANAGER STAGE MANAGER CHIEF ELECTRICIAN STAGE/LX MANAGER SENIOR STAGE TECHNICIAN SENIOR LX/SOUND TECHNICIAN SENIOR SOUND/LX TECHNICIAN MULTI-SKILL TECHNICIAN (FLYS/STAGE) MULTI-SKILL TECHNICIAN (LX/SOUND) ADMINISTRATIVE ASSISTANT
SIMON HORSLEY CHRIS DOWKER MARTIN SMALL SIMON LORD DAVID SEARLE MARTYN WILLS NICK HARMER CHRIS ANYON JOHN GREENWOOD LISA LEES LISA CRANN
Commercial Services BARS, CATERING & FUNCTIONS MANAGER TONY CLARKE CATERING & CUSTOMER SERVICES MANAGER JASON LEE ASSISTANT BARS & CATERING MANAGERS BERNADETTE MITCHELL ANNE PERKINS DUTY MANAGER LYNN ARMITAGE ADMINISTRATIVE ASSISTANT ALISON WILBER BOX OFFICE MANAGER HEATHER LEEMING DEPUTY BOX OFFICE MANAGER DAVID PLATT ASSISTANT BOX OFFICE MANAGER MOIRA HEAMES BOX OFFICE SUPERVISOR JOANNE WATSON
PLEASE ENSURE ALL MOBILE PHONES ARE SWITCHED OFF DURING PERFORMANCES
CATERING SERVICES BARS AND CATERING Licensed bars and coffee bars are available throughout the theatre. Beat the rush and pre-order your interval drinks using the interval drinks order pads. ALHAMBRA CARVERY The Alhambra Carvery situated on the Pit level, offers a tempting selection of starters followed by a daily choice of 2 roast meats; fresh vegetables, various potato dishes and home made Yorkshire puddings. In addition our Vegetarian Carvery offers a mouth-watering selection of meals without meat. To reserve a table
telephone 01274 431052/432168 CIRCLE COFFEE If you prefer something lighter there is a daily choice of hot and cold snacks, jacket potatoes and sandwiches with mouth-watering fillings.
CORPORATE ENTERTAINING Treat your guests to the magical atmosphere of a live show in the luxurious surrounding of the north’s number one theatre! Corporate entertaining opportunities at the Alhambra Theatre are second to none. You can choose from the following benefits: • Exclusive use of private facilities before, during and after the performance. • Best seats in the house with complimentary programmes • Pre show and interval drinks • Post show exclusive buffet or dinner • Top quality personal service If you entertain regularly, why not speak to Tony Clarke, on 01274 434829 about our wide range of options. There is a Duty Manager available at every performance to ensure the highest standards of welcome and care to all patrons. We always welcome comments, positive or otherwise, as we continually strive to improve our service.
For further info 01274 434829