Amateur Stage December 2008

asmagazine

NEWSCHAOS CENTENARY

LES MISERABLES HITS NOTTSWEST END REVIEWS

THE MONTH IN PICTURES

DECEMBER 2008£2.40

LES LIAISONSDANGEREUSES

magaTHE INDEPENDENT MAGAZINE FOR COMMUNITY THEATRE

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NEWS

AS MAGAZINE | DECEMBER 20082

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asmagazine dec08

18

from the editoriAL teAm Seasons Greetings to All!!

this month’s issue of AS contains a few more developments in our plans to modernise the magazine. We hope you like the attempt to brighten up the diary and showcase some of your hard work. each month we will feature production photos from the month before so get snapping and show us what you’ve been up to.

don’t forget to ask you press officers to send us information and diary listings. We’d love to feature more information and news but to a large degree its reliant on information being sent to us.

We were lucky enough to talk this month to hugh durrant about his career in design and how he started in the industry. it’s an amazing tale which we hope you will enjoy.

happy Pantoing this month.

the editorial team

thiS moNth

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3 NeWS the latest news from around the country.

12 100 YeArS of ChAoS Cradley heath Amateur operatic Society celebrates its centenary. 14 LeS LiAiSoNS dANGereUSeS the Play Produced. helen Sharman discusses a recent production of Christopher hampton’s play by Beaconsfield theatre Group. 18 NottiNGhAm’S Got tALeNt maggie Andrew talked about an upcoming production of Les miserables Schools edition in Nottingham.

22 hUGh dUrrANt AS talks to professional theatre designer hugh durrant about his career and work with the rSC and Cher!

27 firSt NiGht iNSUrANCe robert israel discusses the latest insurance issues.

29 teCh tALK ian hornby discusses using computers for sound effects in your next production.

31 A BUNCh of AmAteUrS A preview of a great new film starring derek Jacobi.

32 WeSt eNd reVieWS AS looks at new productions of La Cage Aux folles, La Clique and imagine this.

34 diArY / ProdUCtioN PhotoS Your guide to upcoming shows and pics of recent productions.

CreditS

Published monthly by Next Phase Media LimitedSuite 404 Albany House, 324/326 Regent Street, London W1B 3HH

P: 0870 233 2040 www.asmagazine.co.uk

Editor : [email protected] : [email protected]

Subscriptions/ Diary Listings : Paul [email protected]

All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise

without the written consent of AS Magazine. The views and opinions expressed by the contribu-tors to this magazine may not necessarily represent the views of AS Magazine. (c) 2008 Next

Phase Media Ltd

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NEWS


THE PLAY’S THE THINGSTOCKSFIELD Player Alex Swan is a man of many talents. A teacher by day, he has not only written the Players’ latest offering but is also directing the production. And, as if that weren’t enough, he is playing the lead role too.

Multi-tasking Alex, who has previously written for the BBC, wrote Sow Tears, Reap Joy especially for the Stocksfield Players.

Alex says: “I really wanted to do something for the Players and help raise their profile”.

“Amateur dramatics gets a lot of bad press and I wanted to give something back to the community.” Sow Tears, Reap Joy revolves around the disintegrating marriage of Ben and Lucy as they try to get through Ben’s birthday celebrations with minimal aggravation.

But events conspire against them and the facade they try to present to the world begins to wear away, exposing their true feelings.

If it all sounds a bit miserable, Alex guarantees there’s plenty of humour along the way. “The funny thing is, I wanted to get away from comedy and write a serious play but I kept ending up with funny bits that I didn’t intend to, and it’s accidentally turned into a

comedy. The play is trying to explore how the choices we make can have unexpected results.”

Alex plans to offer the script to other amateur theatre groups for a smaller fee than is normally charged.

Helen Morris, who plays Ben’s wife, Lucy, says: “This is quite a daring departure for a village amateur group, as we rely on ticket money to fund next year’s performances. A debut production from an unknown playwright is a gamble, but one that the group was willing to take.” Tamzin Lewis

Whitley Bay’s Culture Quarter has received national backing after the National Operatic and Dramatic Association (NODA) stepped in this week to offer its support to the regeneration project. Following recent debate between the local authority and directors of the Culture Quarter, NODA has stepped in to support the project which is battling to obtain ownership of the local theatre. Claiming that Culture Quarter will enrich the local community by driving the renaissance of culture and the arts in Whitley Bay, NODA has openly opposed North Tyneside Council’s choice of American venue operating giant SMG. Tony Gibbs, chief executive of NODA said: “The Culture Quarter is a dedicated project established by the locals, for the locals. NODA fully support their attempts to rejuvenate the arts in Whitley Bay, particularly for those amateur groups using the facilities at the Playhouse. “We are deeply concerned by the local authority’s selection of SMG as the preferred operator for the Playhouse. The theatre offers invaluable benefits to locals which we fear will disappear should SMG take over the contract. SMG have experience of running big sports and entertainment venues, however running a small, community-based theatre such as the Playhouse is a totally different game.” Toby Bridges, director of the Culture Quarter added: “We are pleased to have NODA on board with Culture Quarter. It’s important to us to see a national organisation specialising in theatre getting behind us.” NODA, who act as an advisory body for amateur groups, entered the debate earlier this week after being approached by the Culture Quarter.

The organisations are now working together to challenge the Council’s choice. Gibbs said: “Culture Quarter is a combination of interests and ambitions. Their plan has always been to bring the significant number of amateur groups in the area together under one banner, to create a hub of creativity that the locals can benefit from. The Council can not deny this to the people of Whitley Bay.” Bridges added: “We want to bring Whitley Bay together and give it one voice, making it stronger and tying in other lasting elements such as education. By giving Culture Quarter a chance, the Council would reassure local people that they have their best interest at heart and that they’re committed to lasting regeneration of Whitley Bay.”

The real sticking point, according to both Culture Quarter and NODA, is the prospect of SMG forcing out the dedicated local groups who currently use the Playhouse in favour of larger touring productions who can afford the facilities. Bridges said: “That’s where all this started. We believe that if the big boys got hold of our theatre they will push up their theatre hire costs. It’s difficult to judge of course because everyone’s staying very tight-lipped about all this but we’re expecting costs to double, if not triple. The costs would likely far exceed what amateur users could ever afford.” Culture Quarter are set to meet with Council bosses later this week to determine the fate of the Playhouse. Bridges said: “With NODA on board I hope we have a chance of persuading all involved that Culture Quarter are the best option for the people of Whitley Bay.”

CULTURE QUARTER GETS NATIONAL BACKING

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NEWS

5

BLESSED MEMORIESWhen I was 11 I played the part of Rumpelstiltskin and my teacher told me I would make a great actor. But I was the son of a coal miner and I had to leave school when I was 14 because my father had an accident. I became a plasterer and I did amateur theatre at night. It was there I met Harry Dobson.

He got a hold of me and guided me from then on. He was the best director and teacher I ever met; he was of the same stature as Peter Hall and Trevor Nunn, or at least would have done as well as them had he not stayed in amateur theatre and helped people like me.

Harry was a great bull of a man: he had a huge physique with sausage fingers and a penetrating gaze. He rode a motorbike and wore leathers and said things like: “Give yourself the luxury of making a fool of yourself!”

He thought the greatest risk in life was not going for the adventure and told me often that my determination was getting in my way and that I should lighten up and ease up on myself. He taught me not to try too hard, and that I needed to get out and have fun.

I went through a phase when I became uncaring, the way teenagers do. I was horrible to my parents and to everyone around me and Harry was appalled. One evening I was talking to him in an offhand way and he slapped me straight across the face. It stung, it was powerful and it almost unbalanced me. “You uncaring bastard - you’re forgetting everyone who has done so much for you, you’re big-headed and egotistical!” he roared. “You can bugger off; I don’t want to talk to you!”

I got a fever that night that lasted a couple of weeks. I apologised to my parents for my behaviour and then I went to see Harry and told him I was back to myself and apologised profusely. He hugged me and said, “Come here, you great ape!”

I kept in touch with Harry. When I was in Z-Cars I got a message that he was in hospital with cancer. I rushed to his bedside and there was this bull of a man now about five stone with wires coming out of his nose. I was crying my eyes out, but he reassured me. “Oh Brian, I’m having the most wonderful dreams. You go for it and don’t let the bastards grind you down.” A few hours later he was dead.

I always feel when I play parts that he’s watching over me, saying: “Give, you bugger, give!” and as a result in rehearsals I always make a fool of myself and throw myself into it, trying new things out.

ROUND ONEBUDDING actors and actresses are invited to try out for a prestigious national competition.

The Georgian Theatre Royal in Richmond will host the annual One Act Drama Festival - a preliminary round of the All England Theatre Festival.

The One Act event, to be held next spring, is open to amateur groups of all levels.

The competition starts the week beginning February 2 and an awards night for the winners will take place on Saturday, February 7.

Interested groups should contact the Georgian Theatre on 01748 825252 as soon as possible or email [email protected]

V & A SCRAPS BLACKPOOL AS SITE FOR THEATRE MUSEUMIt has been announced that the proposed relocation of the Covent Garden Theatre Museum to Blackpool has been scrapped following a report into the financial viability of the relocation.

The V & A has stated that the new Theatre and Performance Galleries which are due to open in March 2009 will allow the same degree of access that was possible at the Covent Garden Site. At the time of writing there are no plans for a stand alone exhibit.

STAG THEATRE SAVED FROM DEMOLITIONSevenoaks Town Council has taken over Kent’s Stag Theatre following a July adm in i s t r a t i on order saving the theatre from demolition.

It will re-open on a short term lease in january for a Pantomime season whilst a new operating trust and management team are appointed. It will fund the Stag, which will become a community arts venue under the new plan with an annual grant of £100,000 per year for the first five years.

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NEWS


HE’S BEHIND YOU - SCOT’S STYLEAn exhibition celebrating decades of Scottish pantomime will make its way to Inverness next month, as part of its nationwide tour.

Pantomime in Scotland: Your Other National Theatre will visit Eden Court Theatre, Inverness, between December 31 and January 27.

The exhibition, which is run by the University of Glasgow’s department of theatre, film and television studies, launches today in Edinburgh’s King’s Theatre.

It covers all aspects of pantomime, from its narrative to its sets and costumes, and features photographs, playbills and rarely seen archive footage of Scottish pantomimes from the 1930s, 1940s and 1950s, courtesy of the National Library of Scotland.

The free exhibition begins just in time for the pantomime season, and its launch is being helped by comedian Allan Stewart, TV and radio presenter Grant Stott, and former Miss Scotland Nieve Jennings, all stars of this year’s pantomime Aladdin at the King’s Theatre.

It is part of a three-year academic research project, funded by the Arts and Humanities Research Council, aimed at examining all facets of pantomime in Scotland.

As part of the exhibition, visitors will be invited to contribute their own memories and experiences of seeing and making amateur pantomime in Scotland.

After its launch in Edinburgh, the exhibition will move to Perth Theatre and Perth Concert Hall next Monday, before going to the Byre Theatre in St Andrews on December 15.

The exhibition will be at HM Theatre, Aberdeen between December 23 and December 29, before going to Inverness, and will begin its tour of the west, starting in Glasgow, later next year.

THE spotlight fell on amateur dramatic groups across Spelthorne and Runnymede as actors and back-stage workers were recognised for their efforts at the boroughs’ annual drama festival.

Spelthorne and Runnymede Drama Festival awarded 14 trophies to talented players by the Mayor of Spelthorne, Cllr Simon Bhadye, and his opposite number at Runnymede, Cllr Jim Broadhead.

Ten amateur drama groups from the two boroughs battled it out on stage, performing plays at the Riverside Arts Centre, in Lower Sunbury, before adjudicator Mike Kaiser, a member of the Guild of Drama Adjudicators. Member of the Drama Association Committee, Kevin Welling, said: “There was a really good atmosphere, and the drama was of a very high quality this year.”

Winner of the Spelthorne Cup for overall best of festival was Lighted Fools Theatre Company, a group of experienced performers from Surrey and West Sussex. Under the artistic direction of Richard Parish, it took to the stage for the first time in March 2002 with a festival production of Kathy Mead’s award winning play, Reckoning, and reached the divisional final of the All England Theatre Festival.

Seven trophies, including runnersup for best of festival, were won by Runnymede Drama Group. It holds at least five productions each year, including drama festival entries, and are based at the RDG Studio in Ford Road, Chertsey.

Its entry for the drama festival, But Yesterday, also won Woking Drama Festival earlier this month.

On Saturday it won awards for stage and technical merit, acting, and youth drama.

Chairman of the Drama Festival Association, Sheila Ritchie, said they were already planning for next year’s festival, which will be held from October 20 - 24 at the same venue. Anyone interested in entering can call 01784 452675.

SPELTHORNE AND RUNNYMEDE DRAMA FESTIVAL WINNERSOverall Best of Festival (Spelthorne Cup): Lighted Fools Theatre Company Runners Up: Runnymede Drama Group Youth Award (under 16): Arabian Nights by ECH Actors Youth Award (16-21): Runnymede Youth Drama Group WorkshopActor’s Award: Richard Parish (Lighted Fools Theatre Company) Actress’s Award: Julia Stevens (Ottershaw Players) Mary FitzHugh award for comedy: Ottershaw Players Stage Presentation: Runnymede Drama Group Technical Merit Award: Runnymede Drama Group Adjudicator’s Award: Arabian Nights by ECH Actors Best Supporting Player: Anna Beuden (Runnymede Drama Group)Jean Augur Memorial Cup for the most promising youth player: Sarah Evans (Runnymede Drama Group Youth Workshop) Best New Play Award: As We Forgive Those (Brooklands Theatre Company)Mayor’s Backstage Award: Runnymede Drama Group

SPELTHORNE & RUNNYMEDE DRAMA FESTIVAL 08

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AS MAGAZINE | DECEMBER 2008 7

PANTOMIMESBy JOHN CROCKER

The Smaller Cast VersionsALADDIN “PEAK OF PANTO PERFECTION”

Exeter Express & EchoMOTHER GOOSE “FUN FILLED SCRIPT”

Western Morning NewsSLEEPING BEAUTY “ A RIP-ROARING SUCCESS”

Exmouth HeraldCINDERELLA “TRADITIONAL PANTO AT IT’S BEST”

Hampshire GazetteDICK WHITTINGTON “A CRACKER OF A PANTO”

Evening Herald, PlymouthBABES IN THE WOOD “WONDERFUL NEW CHRISTMAS PANTO”

Herald Expressand 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 GILDERCINDERELLA, 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 sketchPOTTY PANTOMIME

Also a Rock MusicalTHE FRANKENSTEIN MONSTER SHOWBy JOHN CROCKER and TIM HAMPTON

Music by KEN BOLAM Lyrics by LES SCOTT

All obtainable fromSAMUEL FRENCH LIMITED

52 Fitzroy St, London W1P 6JR Ph: 020 7387 9373

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NEWS


Amateur performers have received a boost following the announcement they are to receive an unprecedented level of funding throughout 2009, despite fears of an impending recession.

The plans, outlined by the National Operatic and Drama Association (NODA), look set to offer amateur theatre enthusiasts £100,000 worth of support in training, marketing, market research and the implementation of youth development strategies across the UK.

Tony Gibbs, chief executive of NODA said “Funds will go towards marketing support packs to enable members to promote their productions better than ever before, piloting a youth academy offering workshops for young people, and a whole range of projects including advice on fund-raising and business planning.”

“Members have told us that their top priorities are attracting an audience, encouraging more young people and overall fi nancial sustainability. That’s why we are looking at projects that will support

them in those areas”.

“We have also recently launched a public relations advice line which is available free of charge to members. We are trying to tap into the various strands of support on a more effective basis. Many groups don’t have the resources and expertise, so we hope we can put services in place that can be accessed by even the smallest of societies.”

“I believe it is time for all those who participate in amateur theatre to stop apologising for their amateur status. Really, if you look at it, what is the difference between amateurs and professionals these days? The line is not as clear as it once was – and we hope that this level of support from NODA will cloud that line even further. Effectively our slogan now for NODA is professional support for amateur theatre. We recognise that for lots of groups its a hobby and voluntary activity but now there is an increased recognition that it is now also a serious business given the size of some of the budgets involved.”The new plans to be completed over the

NODA LAUNCHES £100,000 FUNDING PLAN

next fi ve years, will ensure that amateurs will receive consistent services and products, including theatrical performance, backstage skills and society administration training. NODA will also offer opportunities for partnerships with other organisations and advisory services such as media and legal help lines.

SOUTHERN COUNTIES DRAMA FESTIVAL AT OXTED’S BARN THEATRE The All England Theatre Festival has a history dating back to 1919 when the British Drama League was formed. It is the only national competitive one act drama festival in the UK and organises an eliminating series of festivals which lead ultimately to the British fi nal. The Southern Counties Drama Festival, (previously The Betchworth Festival), a preliminary round of this festival has been an important part of local amateur dramatics in Surrey and Kent for over 50 years. The result is the return of an exciting week of festival drama in 2008 from 24th – 28th February, at the Barn Theatre in Oxted, with 14 groups competing against each other and Jill O’Hare, a member of The Guild of Drama Adjudicators, pressed with the diffi cult task of deciding who should be declared winner to go forward to the next round of festival. With a mixture of youth and adult teams during the week, most entrants are experienced in festival and St Pauls Drama Group and the Young Oxted Players all have recent experience of success in the further rounds that lead to the English and British fi nals. Tenacity and perseverance has ensured that this festival endures and you can support the endeavour by ordering your tickets by telephoning 01959 561811. General enquiries can be answered by telephoning 01959 561811 or by email at [email protected]. More information is also available at www.barntheatreoxted.co.uk/scdf.html This year’s selection of plays is an eclectic and interesting mix of comedy, tragedy and drama and a week not to be missed.

THEATRE TOKENCOMPETITION

WINNERSCongratulations to our winners ofTheatre Tokens from last months

issue.

Mr P Collett

&

Mr D Gibbs

We hope you enjoy your prize.

Our thanks to the Society of London Theatres for their

generous contribution.

Dec1-11.indd 8 05/12/2008 14:02:14

Going Dutcha full length play by John GodberCAST M3 F2 or M2 F2 with doubling.

SCENE Various simple settings.

Mark and Sally are going to Amsterdam to celebrate Mark’s fiftieth birthday. Mark feels unsuccessful, Sally feels neglected, and the journey makes them feel worse as they travel with Gill and her boyfriend, Karl, who knows a little too much about Amsterdam’s seedier side. Price £8.50.

A Small Family Murdera one act play by Simon Brett

CAST M3, M1 voice or M1 with doubling.SCENE An interview room.

An elderly woman has been murdered in her nursing home and the two key suspects are her sons, who both had motive and oppourtunity. However, as the family are interviewed it comes to light that something more sinister is at work. This can be played with three actors and a male voice-over or as a male monologue. Price £4.75.

No Dinner For Sinnersa full length play by Edward Taylor

CAST M2 F4 SCENE A living-room. Jim is hosting dinner for his boss and his wife, members of the anti-permissive society group. They don’t approve of Jim’s lifestyle, so he asks his girlfriend, Helen, to pose as his wife. Helen walks out and Jim has to pay his eccentric cleaner, Edna, to be his wife for the evening. Disaster reigns as Edna cooks and entertains, and Helen and Jim’s assistant turn up to help him once his guests have already arrived! Price £8.50

NEW RELEASES!

French’s Theatre Bookshop52 Fitzroy St London W1T 5JR

Tel: 020 7255 4300 Fax: 020 7387 2161

Email: [email protected]

Samuel French LtdThe play publisher

Wishing you a very Merry Christmas

from everyone at

Dec1-11.indd 9 05/12/2008 14:02:17

NEWS


Hilary Strong talks to AS about new initiatives from the National Council for Drama Training.

About NCDTThe National Council for Drama Training inspects and accredits full-time drama courses and has established the criteria for both acting and stage management training. NCDT has, for thirty years, provided a professional kite mark for vocational drama courses through its direct links with the industry, including BBC, ITV, Equity, the UK Film Council and the Theatrical Management Association. The UK creative industries are expanding rapidly and government investment in training and quality assurance has increased. Organisations like Skillset and the Creative and Cultural Skills Council are developing national occupational standards and introducing apprenticeship programmes. The new Creative and Media diploma is now being piloted in 63 areas across England and may replace the BTEC/A Level options in the future. Schools are encouraged to extend their drama and dance provision and widening participation programmes such as Aim Higher, Find your Talent and Young, Gifted and Talented highlight ways in which young people can gain transferable skills and experience in the performing arts.There is a general aim to extend opportunity to the least advantaged so that they can enjoy more of the choices, chances and power that the rest of society takes for grantedHowever, it is still the case that the majority of students achieving places on NCDT accredited full-time courses are likely to come from more socio-economically advantaged homes, compared with the national data for entrants to higher education. The numbers of black and minority ethnic and disabled students remain relatively low overall. This in turn leads to a performing industry dominated by white, middle-class people and employers (both in theatre and television) find it difficult to cast actors from minority sectors. In response, NCDT is currently broadening its remit and developing a widening participation strategy to try to improve the diversity of entrants to the performing industries. We’ve recognised that for some people, it’s simply too late at 17 or 18 years old to try to acquire the skills, experience and confidence to compete for

a place at drama school. The scarcity of places creates a climate where ‘getting into drama school’ is close to securing a place at medical school; one of the toughest and therefore most prized achievements for the aspiring middle-classes.If we are going to change the landscape we need to tackle the problem at a much earlier stage and look at the provision for children aged 11+.However, whilst there is a vital need to signpost good practice, it is also important to recognise the limited professional opportunities on offer and the uncertain nature of a performing career. We want to promote the benefits of participation and the transferable skills that can be achieved by taking part in youth theatre or other drama projects. Young people should be encouraged to participate in ‘theatre making’ and be introduced to a full range of career pathways. The range of options can be bewildering and there is a significant lack of expertise guiding participants and their parents.So why quality assure voluntary groups?There are hundreds, perhaps thousands of very good youth theatre and amateur companies in this country including the well-known national companies, groups attached to regional theatres and many fantastic outfits operating from village halls run by volunteers. Some receive funding from local authorities, charitable trusts or even the arts council – others simply reply on subscriptions. If I’m a 12 year old looking to join a youth company, (or more realistically the parent of a 12 year old) how do I know if the personnel are all CRB checked, the sessions take place in a proper space, someone has a first aid qualification and there is insurance in place in case of accidents? That’s before we even talk about the quality of the artistic experience.Without quality assurance, it’s difficult for any formal organisation such as the Arts Council to recommend a group as they simply don’t know if these basic elements are in place. More importantly, a new enterprise will not gain from more established companies passing on enquiries if they are full. Plenty of the successful groups have hundreds of children on their waiting lists and yet still can’t recommend an alternative group in the area as they can’t be confident about the quality.NCDT believes that there is a need for a form of accreditation that would provide

national recognition of good practice and reassure participants that basic standards of provision are in place. ‘Recognised’ groups could then be offered a range of services including advice on appropriate accredited learning and access to formal learning networks. We want to make this opportunity available to any voluntary group, however small in scale, that provides drama workshops or projects to young people and would value the connection with NCDT. It’s obviously entirely optional and we are not seeking to replicate existing schemes.This project is still being piloted and will be rolled out fully in 2009. We’re keen to develop the scheme in consultation with umbrella bodies such as NAYT, the Little Theatre Guild etc and will be continuing to consult over the coming months. The new scheme will also highlight existing quality marks and accredited learning that helps to identify good practice (for example the Arts Award) and as a result, support young people make good choices in progressing their chosen careers. The process coincides with NCDT’s move to new premises and the development of an unique advice and guidance resource centre which will specifically help young people gain information about drama training and participation.NCDT wants to shine a light on inspirational teachers, directors and youth leaders around the country and encourage young people to get involved in their local groups whilst remaining confident that the activity is safe and worthwhile.

For further information contact:Hilary Strong - DirectorNational Council for Drama Training249 Tooley Street, London SE1 2JX. Tel: 020 7407 3686. Email: [email protected]

QUALITY ASSURING DRAMA PARTICIPATION IN THE INFORMAL SECTOR

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NEWS

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NEWS


A century of hitting the high notes is being celebrated by Cradley Heath Amateur Operatic Society this year - making it the oldest group of its kind in the Black Country.

Its milestone anniversary has been marked in a variety of ways including a gala dinner dance, a thanksgiving service at St Luke’s Church and a highly-acclaimed exhibition of 100 Years of CHAOS at Haden Hill House.

Despite the scores of shows the society has performed, it managed to find a Rodgers and Hammerstein classic which it had not brought to the stage before and the curtain rose on its successful centenary production, South Pacific, earlier this month.

“We not only had some enchanted evening - but an enchanted celebratory year,” said leading man and publicity officer Paul Murdock, who played Emile de Becque.

Show week also saw £1,000 cheques handed out to Action Heart and the physiotherapy department at Russells

Hall Hospital, County Air Ambulance, Mary Stevens Hospice and Sandwell Diabetes Support Group.

The £5,000 had been raised from the society’s rock ‘n’ rolling Summer Holiday last year - taking it back to its roots of raising money for good causes.

The Cradley Heath, Old Hill and District Amateur Operatic Society was formed on May 21 1908 at a meeting in the Band Room, Meredith Street and it was not until 1964 that the name was slimmed down, resulting in its humorous acronym - CHAOS.

The first show, HMS Pinafore, was launched on Cradley Heath audiences in spring 1909 at the Empire Theatre - now part of Tesco’s.

Two world wars and the depression of the 1930s took their toll on the society, but it survived and flourished and has performed at venues including Old Hill’s Grand Theatre, Cradley Heath’s Royal Theatre, the town’s Majestic Cinema, which boasted superb seating, but no

100 YEARS OF C.H.A.O.Schanging rooms, the Dudley Hippodrome and the Windsor Theatre, Bearwood.

In 1964 CHAOS moved to Brierley Hill Civic Hall for Bob’s Your Uncle, which has been its home ever since, and in 1989 set up CHAOS Youth, the only group of its kind in the Dudley area which offered the chance for Black Country youngsters to appear in classic musicals.

A more recent highlight came in 2003 when the society’s show Fiddler on the Roof won the National Operatic and Dramatic Association’s inaugural Midland Regional Best Production Award.

Sadly, long-standing president Margaret Brockway died last year and Summer Holiday was dedicated to her memory. Her niece society choreographer Elizabeth Broadway took her place, giving support to Hilda Faulkner, the society’s first female chairman who this year is also celebrating 20 years in the post.

Further information can be found at the groups websitewww.chaosoperatics.co.uk

Dec12-21.indd 2 05/12/2008 14:13:23


NEWS

13

100 YEARS OF C.H.A.O.S

This Page: The cast of “Summer Holiday”, 2007/ Chairman, Hilda Faulkner, Exhibition Organiser, John Murdock and President, Elizabeth Broadway at the Centenary Exhibition “100 Years of CHAOS”, Haden Hill House, Cradley Heath. / Ernest Webb as Leopold and Cynthis Moseley as Josepha in “White Horse Inn”, 1960. Opposite Page: The cast of “HMS Pinafore” 1909, CHAOS’s first Production/ Poster for “The Marriage Market”, 1928.

Dec12-21.indd 3 05/12/2008 14:13:39

THE PLAY PRODUCED


The GroupBeaconsfi eld Theatre Group was established in 1951 and aims to produce at least three shows a year. Our current ‘home’, The Beacon Centre in Holtspur is a converted school and though primarily designed as a sports centre, boasts retractable raked seating, a reasonable sized stage and a basic lighting rig. The group has tackled a wide range of plays from Shakespeare to Ayckbourn and has had some success in local one-act festivals. Competition for actors and technicians in the area is fi erce and this factor, coupled with the age profi le of the town, led to the unprecedented cancellation of our May show this year. If the group was to continue to exist, this production had to both excite existing members and attract new ones – Les Liaisons Dangereuses ticked all the boxes.

The PlayChristopher Hampton’s masterly

adaptation of the original 1782 epistolary novel is full of incident and subtlety. It tells the story of the Marquise de Merteuil and the Vicomte de Valmont, once lovers, now co-conspirators who compete to prey upon the vulnerable and innocent for their own amusement. Both disdain emotion, yet it is their own repressed feelings that ultimately lead to their destruction.

CastingIn a new departure for the group, we ran a taster evening prior to auditions to provide an opportunity for potential new recruits to fi nd out more about the play, the director and the group in a relaxed atmosphere. We hung 18th costumes around the walls, played Handel in the background and, most important, offered a free glass of wine! I presented the play and my vision of how we could bring it to the stage. There was then time for people to meet informally, before reading excerpts from the script. The evening was a success

and we had an excellent turn out at the auditions proper.The play requires at least two young players, Danceny and Cécile. Whilst Cécile must be a credible fi fteen, the sensual nature of the play demands that she be at least eighteen! Both roles were fi lled by past and present members of Young Theatre (at Beaconsfi eld), an organisation I have been closely associated with for many years. The same source provided Azolan, Valmont’s valet. So, with deceptive ease, the play was cast with the exception of Rosemunde, the dowager aunt. I say deceptive, because over the summer things went horribly wrong! Health issues and work commitments caused three actors to drop out. Two girls were replaced, but a Valmont was nowhere to be found – no Valmont, no Liaisons. Charismatic and experienced actors with a playing age of around 40 are a rare breed. I was within a whisker of substituting an entirely different script, when after many emails and phone

Beaconsfi eld Theatre Group was established in 1951 and aims to produce at least three shows a year. Our current

adaptation of the original 1782 epistolary novel is full of incident and subtlety. It tells the story of the Marquise de Merteuil and the Vicomte de Valmont, once lovers,

and we had an excellent turn out at the auditions proper.The play requires at least two young players, Danceny and Cécile. Whilst Cécile

Les Liaisons Dangereuses

Dec12-21.indd 4 05/12/2008 14:13:45


THE PLAY PRODUCED

15

Les Liaisons Dangereuses

calls, we found an actor who was well qualifi ed for the role. As for Rosemunde, she was under my nose the whole time in the form of my Fight Director!

Staging The play has eighteen scenes, including a forest, so the set must be multi-purpose and convey a feeling of 18th century France. Three scenes require a bed, which because of the size of our stage would have to move on and off each time. My designer conceived the idea of using three pairs of four foot fl ats to create doors – wide enough for the bed – and setting a slightly smaller pair of dummy doors on either side of the stage to mask the pros arch. The ‘real’ doors would open toward the back of the stage for the duel, revealing a cyc to give the impression of outdoors. Set design and lighting design were one and the same man, so the pillars supporting the doors were constructed from ply, led lights were placed top and bottom and the front faced with gauze.Our aim was that the set should be subservient to the cast, so the base colour was a warm, but anonymous cream and a talented artist created the suggestion of panelling. For me, the contest between the Marquise and the Vicomte is a sensual chess game and from fi rst reading, I wanted a chess board effect on the fl oor. We constructed a fl oor of mdf and my

magic artist created the marble effect.

FurnitureFurniture was kept to a minimum to avoid interminable set changes. We used a narrow desk, bought for £5 from the local tip, a stool, three chairs, hired from a local catering company, a small table, a chaise longue which we built from scratch, and, of course, a bed. Normally, I would aim for a set change to be around 15 seconds and certainly no longer than 30, but for this show they stretched to around 45 seconds. These changes were carefully rehearsed and executed as a quasi-dance routine by Azolan, the Major Domo and Adele, the maid and became an intrinsic part of the play.

LightingThe led pillar lights provided an atmospheric glow for set changes. Different locations were indicated by subtle changes of colour, from both pillars and main lights. The bed(s) were softly lit, leaving the surroundings dark. A window gobo was used for Cécile’s seduction, casting the shape onto the covers as she slept and a second window gobo was used centre back for Valmont’s house. The forest was also created with gobos, starting dim and gradually brightening to allow the fi ght to proceed safely. We chose not to use the fi nal image of the guillotine as indicated in

Dec12-21.indd 5 05/12/2008 14:13:53

THE PLAY PRODUCED


the script, but used a slow fade on the final tableau. SoundPeriod music was a must, so Handel’s Firework music was used for the beginning and end of the show and a selection from Telemann’s Paris Quartets was used for set changes. The duel scene began with the song of a lone bird and a tolling bell covered the removal of Valmont’s body. A ticking clock was used to indicate passage of time in one scene and played throughout the last scene to increase the tension of the atmosphere. As the lights faded for the last time, the volume of the tick was increased to give the impression that the game would be interminable and that contrary to the Marquise’s brave words, there was nothing to look forward to.

CostumesThe wardrobe mistress sourced a dazzling array of period costume from local companies. She and her team managed incredibly fast and difficult costume changes with total efficiency. The fastest change, Cécile from nightdress to gown and bonnet, was effected by rapid over dressing – a little warm for the actress, but fast! Wigs were hired for Valmont and Danceny, one dark and one brown, to distinguish them from the white-wigged footman/Major Domo.

Rehearsals

Twice weekly rehearsals were supplemented by several Sunday afternoons for more intensive exploration of the text. The script is elegant, but complex and a character’s intentions often change phrase by phrase.We worked on the journey of the Marquise / Vicomte relationship and on Vicomte /Tourvel prior to blocking. The insight gained from these sessions proved invaluable, allowing us to agree the essential purpose of each scene and to decide if characters would be physically close or distant and antagonistic. Once on the floor, I allowed the actors to ‘play’ and the moves developed naturally. For example, Merteuil and Valmont are first seen sitting close together, smiling, flirting and with easy physical contact. In contrast, in their last conversation, they were often on opposite sides of the stage. This scene sprang to life in the last couple of weeks. I asked Valmont to throw off his coat as he declares that he has come to spend the night and this action triggered the decision to play the end section as a potential rape, thus providing clear motivation for her declaration of ‘War!’ Rehearsals provoked some interesting initiatives. We decided that Danceny should be reading poetry to the Marquise and he delivered a few translated lines of a contemporary work to set the mood at the beginning of the scene. We also felt that it would be helpful for the audience’s understanding of the plot, if, as he was dying, Valmont indicated to Azolan to give

Danceny a bundle of incriminating letters. To add weight and poignancy to Madam de Tourvel’s breakdown, Valmont became increasingly desperate with flashes of physical brutality and the scene ended with a heart-rending animal howl from the actress that sent shivers down the spine. Bedroom scenes are difficult to choreograph so a mattress was provided to facilitate rehearsals! The cast were totally professional and the intimacy demanded was never an issue. The duel must be precise, safe and dramatic, so we obtained the services of a professional fight arranger. The protagonists were taught basic skills and the fight was blocked very early on taking careful note of the playwright’s explicit stage directions. They practised at least once a week, even in the car park during the performances. Pockets were sewn into Valmont’s shirt, at the shoulder and above the waist to take the blood packets. After much experiment, small ‘bombs’ made from cling film and rubber bands proved the most reliable, the actor simply clapped his hand to the ‘wound’ and the blood flowed. His ‘body’ was dragged off the stage on a dark blanket by Azolan and the footman, leaving a devastated Danceny free to leave in the opposite direction. The card game was a theatrical version of piquet which the girls were playing as the audience entered. We chose a two-player version so that Cécile could doze at the start and in the final scene Merteuil was

Dec12-21.indd 6 05/12/2008 14:13:58


THE PLAY PRODUCED

17

excluded, casting an ironic twist on her final line – ‘our best course is to continue with the game.’

ConclusionThis is a difficult play, requiring a sensi-tive, experienced cast with no weak

links and a committed technical team. I was blessed with both and the produc-tion received much praise from the four hundred strong audience. The group felt a real sense of achievement and was re-energised. I would commend ‘Liaisons’ to any company up for a challenge, but

beware this piece is dangerous by name and dangerous by nature.

Helen E Sharman (GoDA)Photography Tony Sendall.

Dec12-21.indd 7 05/12/2008 14:14:04

FEATURE


Nottingham Arts Theatre, a reincarnation of the Co-operative Arts Theatre on George Street in the heart of the old Lacemarket area of the city, recently held auditions for their forthcoming youth production of Les Misérables School Edition to be performed on February 9th-14th 2009. Over ninety young people from all parts of Nottinghamshire attended the auditions in the auditorium of the theatre, all vying for a coveted role in this well known production. The auditions were well supported by a team of volunteers from the theatre, who were there to ensure all the youngsters were given an equal opportunity to been heard and seen.

The auditioning panel comprising the director, Maggie Andrew, the Musical director, Nathan Truesdale, and a representative of the artistic team, David Supper, sat entranced listening to the extraordinary ability of these youngsters who sang, danced and acted their hearts out, hoping to be selected as a member of the cast. It took two meetings, burning the midnight oil, and an evening of recalls to fi nally sort out the principal roles and then further discussions to select the various chorus members required. In all over fi fty young people were chosen to be in the cast.

Rehearsals began in early October and

although the production is not scheduled until the beginning of February, both Nathan and Maggie are determined that the show will be memorable for both the audience and the cast, a memory to take forward with them for the rest of their lives. Early rehearsals are going well and plans are being made for the hiring of costumes, altering these to fi t, the set design and the use of lighting to create an authentic atmosphere of the student revolution of 1832. The most striking piece of the set is of course the barricade, which in the West End production is made to lower down from the wings, this is not possible at the Arts Theatre so alternative designs are being worked on, and the director hopes that the solution will be equally effective, and dramatic.

The Theatre is actively seeking sponsorship for this production, which it sees as an integral part of its remit to provide high quality education (in the broader sense) for those young people who are interested in all aspects of theatre arts.

The Theatre currently runs two youth groups on a Tuesday evening and both groups are over-subscribed. It is planned to start a third group on Thursday evenings to meet the demand and it is hoped that this will start some time in 2009. The current group leader Faye Morrell says “I

until the beginning of February, both Nathan and Maggie are determined that the show will be memorable for both the audience and the cast, a memory to take forward with them for the rest of their lives. Early rehearsals are going well and plans are being made for the hiring of costumes, altering these to fi t, the set design and the use of lighting to create an authentic atmosphere of the student revolution of 1832. The most striking piece of the set is of course the barricade, which in the West End production is made to lower down from the wings, this is not possible at the Arts Theatre so alternative designs are being worked on, and the director hopes that the solution will be equally effective, and dramatic.

The Theatre is actively seeking sponsorship for this production, which it sees as an integral part of its remit to provide high quality education (in the broader sense) for those young people who are interested in all aspects of theatre arts.

The Theatre currently runs two youth groups on a Tuesday evening and both groups are over-subscribed. It is planned to start a third group on Thursday evenings to meet the demand and it is hoped that this will start some time in 2009. The current group leader Faye Morrell says “I

Nottingham Arts Theatre, a reincarnation of the Co-operative Arts Theatre on George until the beginning of February, both until the beginning of February, both Nottingham Arts Theatre, a reincarnation of the Co-operative Arts Theatre on George

although the production is not scheduled until the beginning of February, both although the production is not scheduled until the beginning of February, both

NOTTINGHAM’S GOT TALENT

Dec12-21.indd 8 05/12/2008 14:14:18


FEATURE

19

NOTTINGHAM’S GOT TALENT

have only been recently appointed, but I am so excited about the opportunities that the Arts Theatre offers youngsters from all walks of life. We have plans to make this the best youth group in Nottinghamshire and the East Midlands”.

The Arts Theatre is recovering from a

fi nancial crisis which in July 2007 almost saw it close for good. This 318 seater community theatre complex, has a vital role to play in the life of the city, and thanks to some very generous donations the Board was able to mount a rescue plan, securing the future of the theatre for generations to come. To mark this

the Board have decided to raise funds to convert the lower rehearsal room into a fully equipped studio theatre, seating 52, which will be dedicated for the use of the youth groups. This will enable them to showcase small scale productions of an experimental nature, and produce work that is not suited to the larger auditorium. The appeal was launched at the start of the Theatre’s Diamond Jubilee season, this September and has already raised nearly £10,000. Match funding from the local authority means that the target is now nearly halfway. The Youth Group members are always an active part of our fund raising efforts, from bag-packing at local supermarkets, to roaming the streets of the city centre in costume to advertise the Theatre’s activities and of course provide young actors for the in-house season of plays, musicals and other fund raising productions.

For further details about the theatre, the youth groups and all the activities that are available please visit our website at www.artstheatre.org.uk The box offi ce is open and tickets may be purchased by phone on 0115 947 6096 or online at our website.

Photographs kindly supplied by Jessica Nicklin, an active youth member of the Nottingham Arts Theatre.

Maggie AndrewDirectorLes Misérables School Edition.

Dec12-21.indd 9 05/12/2008 14:14:31

SETS AND PROPERTIES


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SETS AND PROPERTIES

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SETS AND PROPERTIES


Hugh Durrant is one of the UK’s foremost theatrical designers. From Panto to Vegas spectaculars, Hugh has worked in all facets of the entertainment industry earning an Emmy award on the way. AS took time to chat to Hugh about his career and his work process.AS: Tell us how you got into design.

Hugh: When I was at school I wanted to be an actor like everyone else. I realised in my early teens though, that I wasn’t very good. I didn’t help that I was at school with Alan Rickman who got all the parts that I wanted. It then dawned on me that there was a reason for this and that really I should be looking to do something else.

At the age of 13 I discovered that there was such a things as a designer who did sets and costumes. I’d always been very good at art at school (I may not be very good at it now though!!) so I thought that’s what I could do. We had to write and es-say about “my job” writing it as if you were already doing it and I remember saying ‘I’m a theatre designer at the Old Vic!’.

My school (Lattimer) was very drama oriented and produced people like Mel Smith and Hugh Grant, so I was lucky it had such a theatre base. They let me design the school play twice (not sure I did I great job of it) and that was my first foray. Whilst I was still at school I joined an amateur dramatics group called Court Drama which I think later became Stan-hope Drama Group which Alan Rickman also belonged to along with teachers from my school. I designed Romeo & Juliet for

LARGER

THAN

LIFE

Hugh wins an Emmy

Dec22-31.indd 2 05/12/2008 14:19:53


SETS AND PROPERTIES

23

them in which Alan played Romeo.

My school had a strong affiliation (although I never knew why) with the Royal Shake-speare Company and they got me into the RSC Wardrobe department when they were at the Aldwych Theatre so between school and university I was a dresser for the RSC and I dressed the likes of Patrick McKee, Ian Richardson and people like that. I learned a lot about costumes from that side as a dresser. You fast learn the practicalities of design. I had to dress 4 people in Henry V with full plate armour in under 5 minutes. Somebody I had been at school with became big at Bermans, the theatrical costumiers, so during vacations I went to work there in the production de-partment working on big West End shows and films. This was right at the end of the 60’s when there was loads of money go-ing around so I learnt how do things with no expense spared.

I worked with Cecil Beaton (designer of My Fair Lady) and he would have bolts of fabric flown in from Paris to look at as he said he couldn’t make up his mind from a small sample. He always knew what he wanted. I worked with him on Lady Wind-emere’s Fan and On A Clear Day You Can See Forever.

I was also at Cambridge doing shows for the Marlowe Society and the Footlights. I learnt how to work on a shoestring. I didn’t really know what I was doing but I learnt as I went along. Then I got an Arts Council bursary and went to Nottingham Playhouse for a year. I got into doing rep and freelancing and ended up doing

Shakespeare, Shaw and Ibsen.

I did all these classic shows as head of design at Nottingham and I directed there as well. Then I got asked to do panto. I changed how people saw panto. Until then a designer called Tony Parsons had been the major designer of the time. His style was very graphic and flat, drawn with lots of glitter. I started doing panto as audition for doing Swan Lake. It was very painted with false perspective, very romantic look-ing. I’m not sure you could do that now, there aren’t the painters. A lot of skills are disappearing. Nobody in Europe wants to earn so little money and a lot of skills now only exist in India and China.

As a result of doing Panto people started

asking me to do musicals. I did Copacaba-na in the West End and my career trajec-tory changed completely. I started getting asked to do Cher and Barry Manilow and cruise shows.

AS: So tell us a bit about the process when someone approaches you to de-sign a show.

Hugh: I read he script as quickly as possi-ble so I get an overview, then I wont think about it too long til I meet the director to see what their views are so I don’t end up going down the wrong path. Then it’s very much a collaborative process to find stag-ing solutions.

Babes In Arms - The Model

Aladdin

Dec22-31.indd 3 05/12/2008 14:19:57

SETS AND PROPERTIES


AS: Are there any shows that you wouldn’t do?

Hugh: There are some shows I just wouldn’t do as they just aren’t me. The Producers is one of those shows. I just couldn’t see a way to do it apart from the way it was done.

AS: You’ve designed sets for Amateur productions. Are there any significant differences in the way you approach designs for amateurs?

Hugh: The interesting thing about doing design for amateurs as against professional productions is that with pro shows you usu-ally don’t want to make it look like it did before but with amateurs they will want something that they recognise as that show. I did the first production of A Little Night Music outside the West End. I thought the West End production was overdesigned so I spoke with the director and we changed the concept and did something different, in most cases you couldn’t do that with the amateurs.

AS: Do you have a particular style – architectural, minimal, traditional?

Hugh: I think its really different project to project. You really are only known for what you have done recently and for me that’s not all that minimal. Let’s face it nowadays you are looking at budg-ets of £750,000 to £1 million for a West End musical and about £250,000 for a play. I’m known for grand and opulent things, I try

to be sensible about how much I spend but I’m not cheap!!

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Dec22-31.indd 4 05/12/2008 14:20:00


SETS AND PROPERTIES

25AS MAGAZINE | DECEMBER 2008 25

Cher In Vegas Costume Designs

Dec22-31.indd 5 05/12/2008 14:20:12

FIRST NIGHT INSURANCE


By Robert Israel ACII

Just when you think you have educated all your clients into the right and proper way to behave along comes a new piece of legislation, which completely turns around what you have been trying to achieve for the last number of years. For those happy band of readers that also happen to be clients of First Night I am sure they will be sick and tired of the letter that we have been issuing accompanying their renewal notice which tells them that they must on pain of I don’t know what make sure that they retain their Employers’ Liability Insurance Certificate for the next 40 years.

The reason for this was because there was a change in legislation a few years ago which dictated that you indeed had to keep your certificate for the stated period of time. I gave up along time ago trying to defend this situation when clients rang up saying that 40 years night be a little bit beyond their own sell by date! Well low and behold the Department of Work and Pensions (DWP) have now brought in new legislation effective from 1st October this year under the exciting heading of Employers’ Liability (Compulsory Insurance) (amendment) regulations 2008: this new piece of legislation has deemed sufficient for employers to make an electronic copy of their Insurance Certificate available to employees. At the same time the DWP has also done away with the need for companies to retain their previous certificates for the full 40 years. Whilst this is very good news the DWP is also telling firms that it would be foolish to throw the certificates away and that they should keep them! So on the one hand they are saying you don’t need to keep the certificates but on the other they are saying that you do.

This whole problem can be traced back to all the asbestos claims that have been submitted in some cases many years after the original event. The issue has always been trying to find the Insurer who was on risk at the time the incident originally took place. Because this type of disease takes many years to come to the fore it has been difficult, in some cases, to find the right Insurance Company. So someone came up with the brilliant idea of making all clients keep their Employers’ Liability Certificates for 40 years.

But at the end of the day I don’t think this was really a great success for a number of reasons. Firstly, lots of companies have gone into liquidation and tracing the records prior to computer intervention is not easy. Secondly, lots of small companies would destroy their records after a number of years especially if they were to move premises or on the death or retirement of the Business Owner. However, on the other side of the fence this is a really serious problem for anyone who has contracted such an appalling disease because they would need to know which Insurance company to make a claim against in order that they would be able to submit an Employers’ Liability claim. The Association of British Insurers acknowledge this to be a problem and for some time have operated a tracing service but this service only operates in certain circumstances, such as if a former employer has ceased trading.

There are also independent companies who specialise in Insurance Archaeology. But of course neither of these options are that acceptable especially when an employer is faced with a Solicitors letter that usually demands an answer within 21 days. So with all of this in mind whilst it may not b the law anymore, I would strongly suggest that all societies continue to keep their Employers’ Liability Certificate on file just in case they are ever needed in the future. It should of course always be born in mind that if you are asked to supply an Employers’ Liability Certificate

and fail to do so then you can be liable to a £1,000 fine. It is interesting to note that those without the appropriate cover in place can be fined £2,500 per day thereafter.

You will be aware that over the years I have been writing articles for Amateur Stage I have on occasions referred to the reasons why Employers Liability cover is included within the standard First Night package. This is in response to the number of people who have asked why it is necessary for such cover to be incorporated within an “Amateur” Theatrical package where you do not employ people. The problem is that you maybe “employing” people within the Act of Parliament and not realise it. For instance, you may pay a musician to assist with your production. You may employ a cleaner to clean the stage after the performance. There are any number of possibilities as to where you might “employ somebody” and not realise that you are in contravention of the Statuary Act. If you then add the potential financial penalty into the mix that I have referred to above then you can see why we have included the cover within the package. It is there as a protection for you and is catered for within the overall premium. The cost of this cover is negligible because Underwriters appreciate the chances of a claim under this section are remote. However, in my opinion it would be imprudent for you not to have this cover.

So whilst it may not be legally necessary for you to keep the certificates I would strongly suggest that you do.

On behalf of all my staff, I take this opportunity of wishing you a happy and prosperous New Year!

FIRST NIGHT INSURANCE - THE CHANGING FACE OF LEGISLATION

Dec22-31.indd 6 05/12/2008 14:20:13

AS MAGAZINE | DECEMBER 2008 27

Dec22-31.indd 7 05/12/2008 14:20:17


OVER MY DEAD BODY!(M2: 69,40’s. F4: 60,60,40,30)“As with all Derek Benfield’s work his new comedy is wholesome and guarranteed to provide family audiences with a delightful evening in the theatre” - Charles Vance

FIRST THINGS FIRST(M3: 40’s. F3: 30,40,60)Another riot of comedic fun from the author of Beyond A Joke, Looks Who’s Talking and Anyone for Breakfast?

FUNNY BUSINESS(M4: 50’s, 40,70,60. F2: 40’s)The riotous sequel to the ever popular Bedside Manners in which we meet again the hilarious Ferris who was first created by the late great facical genius John Inman.“The pace is relentless in this merry mixture of comic chaos” Oxford Times

latest popular comedies from derek benfield

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Dec22-31.indd 8 05/12/2008 14:20:18


TECHNICAL

29

Everywhere you look in large or professional theatres, as with most other walks of life, you will find computers, and generally you’ll love them or hate them. But surely there’s no place for such high technology for the average amateur theatre group. Well, think again. Maybe there are opportunities here too. Over the next few months we aim to give you a small insight into how these high-tech and often scary machines actually can help, without frightening off your cast or backstage volunteers.

This first article deals with a product called Cue Player, designed specifically for small theatre companies. It can happily handle a complete set of music and effects from many sources, from your own CDs through to effects available on the Internet. It can mix, overlay, cross-fade and do just about anything you’ll want, with a user interface so simple it can be used by the most inexperienced person. Effects are played instantly, with no need for headphones and winding a mini-disk to exactly the right spot.

For any of you involved in a local theatre group, it might be worth you taking a look at http://www.baxeldata.com/The owner of that site, David Baxter, has produced a product called Cue Player for use in theatres large and small. There are 3 versions:-Cue Player Free – (yes FREE) is the basic product that anyone can download and use without any limitations.Cue Player PRO – contains more features and costs a one time fee of $24.95Cue Player Premium is the top of the range version and David has yet to specify a price, but it is likely to be extremely reasonable.All three products allow you to cue sound effects files and play them through the speakers of your personal computer (or through an external sound system via the audio output or headphone socket).Unlike systems that use some kind of mechanism, there is no delay between pressing the play button and the sound actually playing, so cues are absolutely precise without any lag like your mini disk, CD or cassette systems. Each cue can be loaded from a CD, downloaded from the Internet or imported from another audio source, so you can still use your old sound effects disks, CDs and tapes. The picture that follows is the basic screen.Each cue can have a 2 line text added to it, so you can specify page number, associated spoken line or whatever you choose. When you want to play it, just double click or press the play

button. You can fade the whole cue or even cross fade, so the sound effect can “move” from one stereo channel to the other.The more advanced versions have the ability to have background cues, for example a rainstorm and foreground cues, such as a thunderclap, so you could have your actors talking over a rain effect and the thunderclaps appearing exactly at the right dramatic moment. The Premium version has an additional independent category so that cues can be played at any time, regardless of what else is playing, and you can assign each of the 12 function keys on your keyboard to them so that, for example, you get a gunshot each time you press the F1 key.

The above screen is the cue edit popup that allows you to set the initial and final volume of a cue (different on L and R channels if you wish), fade time, cross fade, and even a 5 band graphic

computers in the theatre pART 1

equaliser.I should point out that Amateur Stage has no financial interests in Cue Player – we just think it’s a great product. What’s more, if you use it and have ideas how it could be improved, David Baxter is always open to suggestions – I’m proud to say that the function key cues (amongst others) was my suggestion.Give it a try – the basic version will cost you nothing.I’m currently directing one of my own plays with a local group – the cues are very complex at one point – ghostly whispers overlaid with a music box and a television – yet Cue Player Premium takes it all in its stride.The next feature will be on another free product called Audacity – it allows you to take your sound effects and edit them in terms of pitch, fade, echo, speed and all manner of other ways.

Ian Hornby

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NEWS


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FILM

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This December a real gem of a British Film comes to the screen. A Bunch Of Amateurs is a hilarious comedy that features some of Britains finest actors playing against Burt Reynolds vanity striken Hollywood persona.

Jefferson Steel (Burt Reynolds) is an ageing Hollywood action hero. He’s out of work, vain insecure and is desperate to revive his flagging career. Under pressure from his client, Jefferson’s incompetent LA agent Charlie (Charles Durning) is forced to go through his trash in a final attempt to find Jefferson work… and stumbles upon the perfect role: a prestige run in the British theatre playing King Lear at Stratford.

Jefferson believes he has landed the role of a lifetime and arrives in the UK only to discover the reality. Instead of a leading role in a Royal Shakespeare

Company Production at Stratford upon Avon, Jefferson has committed to star as King Lear for an amateur dramatic society in Stratford St John in Suffolk.

Samantha Bond, Sir Derek Jacobi and Imelda Staunton bring down the house as the amateur actors in Stratford St John. Sir Derek has confessed he enjoyed playing a terrible actor in the film. The legendary Shakespearean actor plays a solicitor who believes himself to be the star of the show and is furious when Burt Reynold’s character - a huge Hollywood star - is given the title role. Asked if he enjoyed sending up amateur dramatics Sir Derek said “Oh yes! It’s wonderful to be, and strangely quite easy, to be a bad Shakespearean actor!”

The 70 year old actor has never played King lear on stage yet as he didn’t feel

old enough but revealed he has plans to in the near future.

Sir Derek said: “I think if you have any aspirations to be a classical actor, when you’re young you go through the Hamlet hoop and you’re judged by the quality of your Hamlet, whether you’re allowed into the classical club. The you get older and you have to go through the King Lear hoop - not have to but want to. I mean they are both great parts for any actor.

“So, I will play Lear in a few years time. I want to do it. I will do it somewhere, somehow”.

A Bunch Of Amateurs is released nationally on the 19th December.

A BUNCH OF AMATEURS

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WEST END


BEAUTIFULLY IMAGINEDIMAGINE THIS - NEW LONDON THEATREA new musical has opened in the West End and it’s not one with recycled pop songs, nor a stage adaptation of a film, this is a genuine new musical complete with original score and story concept. Yet judging from some of the responses from fellow critics I have to wonder if we were watching the same show on the same night.

Imagine This is no light musical comedy, it has taken as its subject matter the plight of a handful of Jews in the Warsaw Ghetto and the historical story of Masada and the Jews who took their own lives rather than surrender to the Romans. The twin stories are played out in a show within a show format (think Kiss Me Kate) and you kind of get the idea by the Warshowsky family troupe. This is no musicalisation of plight of every Jewish man and woman in World War II, it is the story of a group of people who decided to resist repression in the only way they could.

This is no easy subject matter on which to base a musical but the creative team of Glenn Berenbeim (Book), Shuki Levy (Music) and David Goldsmith (Lyrics) have succeeded in crafting a touching, emotional and respectful piece of theatre which I hope will grace the stage of the New London for a long while to come. Levy and Goldsmith’s score is sweeping and highly memorable, with some great ensemble vocal moments including the shows title song.

This is an ensemble piece, skilfully created by director Timothy Sheader that correctly assumes the intelligence of it’s audience. It’s no easy feat to create a show from scratch but Sheader has succeeded aided by the inventive choreography of Liam Steele and Eugene Lee’s impressive yet simple set. This cast work and work hard, each member adding to a palette of characters which ultimate leave you moved beyond expectations.

Peter Polycarpou’s performance as patriarch

Daniel Warshowsky, a man who is high on optimism and humour in the face of crushing repression, is a tour de force. He is a consistent moral voice often working against easier options in favour of what is right. Simon Gleeson (Adam), a relative newcomer to West End musicals has certainly made his mark on the medium, his incredible vocals were a highlight, even more so when matched against Leila Benn Harris as Rebecca.

If there was a weak link for me in Imagine This it came with the comedy associated with Izzy (played by Michael Matus). The insertion of light comedy into the story seemed to jar but I am the first to admit that without it the show would be so much heavier. It is a tribute to Matus that can take these awkward moments and make them work.

A lot of people have been quick to dismiss Imagine This (many without having even seen it). I’ve now seen the show twice and intend to see it again. It entertained me, it moved me! This is a solid piece of musical theatre, brilliantly conceived and executed by a talented team and cast. I urge you to go and see it for yourself and make up your own mind.

Following the success of it’s intimate staging at the Watermill Playhouse, Andrew Lloyd Webber’s Sunset Boulevard is transferring to the West End for a strictly limited season.

Eleven years after its West End Run, this intimate production will grace the stage of the Comedy Theatre. It follows in the innovative and emotionally direct tradition of intimate productions using actor/musicians that has resulted in previous enormously successful transfers from the Watermill, including John Doyle’s multi-award winning “Sweeney Todd”.

Taking on the part of ‘Norma Desmond’, one of the greatest female roles in musical theatre, will be Kathryn Evans, with Dave Willetts as ‘Max Von Meyerling’ and Ben Goddard as ‘Joe Gillis’.

The score includes a number of hits including With One Look, As If I Never Said Goodbye and the title song Sunset Boulevard.

This production directed by Craig Revel Horwood, played to sell out houses at the Watermill and is sure to do the same in London.

“SUNSET BOULEVARD” originally premiered in London at the Adelphi Theatre in 1993, where it ran for almost four years and played to nearly two million people. Based on Billy Wilder’s classic film, Sunset’s book and lyrics are by Don Black and Christopher Hampton.

Box Office on 0870 060 6637 or at www.sunsetlondon.com.

AS IF SHE NEVER SAID GOODBYE

Photo: Robert Day

Imagine This Photos: Tristram Kenton

Dec4.indd 2 05/12/2008 15:49:48


WEST END

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LA CAGE RETURNS TRIUMPHANTNearly twenty years after the ill fated Palladium production London finally gets a first class revival of Jerry Herman’s La Cage Aux Folles. Set in a bohemian drag club in St Tropez, we are introduced to George (the clubs host) and Albin (his drag artiste partner). Trouble begins when George’s son turns up to announce that he is to marry the daughter of a local political figure who just happens to be ultra right wing. You can guess the farcical situations that follow.

Douglas Hodge sparkles as Albin, camp doesn’t quite cover this knockout performance. Partnered with the incredibly suave and sensuously voiced Dennis Lawson, this couple are a force to be reckoned with.

The fun in La Cage comes from the “notorious and dangerous” Cagelle. These six long legged beauties have huge fun driving some hilarious backstage scenes and looking incredibly glamourous.

There are fast changes a plenty in this outrageous comedy. The functional set takes us front of house, backstage, and to locales in St Tropez with ease. Harvey Fierstein’s book is timeless and still holds true years after its original production.

Ultimately though it is the genius of Jerry Herman that makes La Cage a delight. This is a lyrical, tuneful and rousing score. Albin’s anthem I Am What I Am, which has been covered by the likes Of Shirley Bassey is pure Broadway.

Go get a ticket to La Cage and immerse yourself in this classic musical. It’s zany, fun and ultimately will have you singing all the

SHEER ENTERTAINMENTFor the first time in many years London’s Hippodrome is packing the crowds in with a show that takes the historic venue back to its roots.

La Clique is an entertainment developed by David Bates and Brett Haylock which has been presented to acclaim in Australia, Canada, New York and in Edinburgh. Now it’s London’s turn to experience this brilliant night out. Think Cirque Du Soleil without the massive staging and you get close to an evening with La Clique.

This is a show driven entirely by talent. Acts have been gathered from around the world to create a show that is part cabaret, part circus, a smidgeon of bur-lesque and a dash of variety. Ultimately this mix gives the audience two hours of solid entertainment that had the auditorium on its feet cheering for more.

Highlights for me included Captain Frodo, Norway’s rubber man, the incredible English Gentlemen, Bath Boy David O’Mer and the UK’s own Miss Behave. La Clique is not a show for children, indeed due to licensing requirements its only open to over 18’s. The show is fast paced and skillfully moves from the almost balletic gymnastics of O’Mer one minute to the bawdy antics of Miss Behave the next. La Clique will have you wincing one minute and screaming with delight the next.

Brilliantly staged in the Hippodrome, La Clique reaches right out into the audi-ence, you are part of the show from the first minute. It’s a masterclass in using a venue to its full extent. This is one show that really shouldn’t be missed. It’s unique and thoroughly brilliant.

www.lacliquelondon.com Photo: Perou

Dec4.indd 3 05/12/2008 15:49:53

DIARY


42ND STREET10 - 21 February 2009York Light Opera Company Ltd.Theatre RoyalYork, N Yorks01904 623568 18 - 21 February 2009Seaham Youth TheatreSeaham School of TechnologySeaham, Co Durham A KICK IN THE BAUBLES07 - 10 January 2009East Essex PlayersThe Dixon Studio, Palace TheatreWestcliff, Essex01702 351135 A SLICE OF SATURDAY NIGHT18 - 21 February 2009Epsom Light Opera CompanyMyers Studio, Epsom PlayhouseEpsom, Surrey01372 742555 ADVENTURES OF MR PICK-WICK, THE29 - 31 January 2009Hoghton PlayersHoghton Village HallHoghton, Preston, Lancashire01254 852258 ALADDIN22 December 2008 - 03 January 2009Paignton Pantomime ProductionsPalace TheatrePaignton, Devon01803 290371 28 December 2008 - 03 January 2009Bedford Pantomine CompanyThe Corn ExchangeBedford, Beds01234 269519 02 - 04 January 2009Kettering & District Youth Theatre GroupLighthouse TheatreKettering, Northants01536 414414 08 - 11 January 2009Cheshire Youth Pantomime Society (CHYPS)The Woodford CentreWoodford, Cheshire01625 529774 09 - 17 January 2009Sale Nomads Theatre ClubWaterside TheatreSale, Cheshire0161 912 5616 21 - 24 January 2009Priory PlayersOssett Town HallOssett, W Yorks 23 - 31 January 2009Dinnington Operatic SocietyLyric TheatreDinnington, S Yorks01909 569340 09 - 14 February 2009Jarrow Musical Theatre CompanyJarrow Community AssociationJarrow, Tyne & Wear0191 420 5726

19 - 22 February 2009Wetherby Musical Theatre GroupWetherby High SchoolWetherby, 0113 216 7410 ALI BABA09 - 17 January 2009Arrow PlayersSt Edmund’s HallNorthwood Hills, Middx020 8868 7785 09 - 18 January 2009Burnley Pantomime SocietyBurnley Mechanics TheatreBurnley, Lancs01282 664400 ALI BABA AND THE FORTY THIEVES17 - 20 December 2008The New Strolling PlayersThe Memorial HallFreshwater, Isle of Wight01983 752956 09 - 18 January 2009Burnley Pantomime SocietyBurnley MechanicsBurnley, Lancashire01282 664400 14 - 17 January 2009Ripon Charity Pantomime GroupLeisure Centre, Dallamires LaneRipon, N Yorks01765 601262 22 - 24 January 2009Clevedon Comedy ClubPrinces Hall, Princes RoadClevedon, N Somerset01275 879250 22 - 24 January 2009Clevedon Comedy ClubPrinces Hall, Princes RdClevedon, N Somerset01275 873405 25 - 31 January 2009Northallerton Amateur Variety CompanyHambleton ForumNorthallerton, N Yorks01609 770936 AND A LITTLE LOVE BESIDES15 - 17 January 2009Loughton Amateur Dramatic SocietyLopping HallLoughton, Essex020 8502 5843 ANNIE23 - 28 February 2009Wickersley Amateur Operatic SocietyRotherham Civic TheatreRotherham, 01709 823621 25 - 28 February 2009Carnegie Youth TheatreCarnegie HallDunfermline, Fife01383 602302 15 - 25 January 2009Nomad Theatre GroupNomad TheatreEast Horsley, Surrey01483 284717

ANYTHING GOES17 - 21 February 2009Belper Musical TheatreBelper SchoolBelper, Derbyshire01773 822730 19 - 21 February 2009Stage One STC Youth Theatre GroupFerneham hallFareham, Hants01329 231942 BABES IN THE WOOD20 - 30 December 2008 (not 22-26)Deben PlayersSeckford TheatreWoodbridge, Suffolk01394 615015 27 December 2008 - 03 January 2009Stowmarket Operatic & Dramatic SocietyRegal TheatreStowmarket, Suffolk01449 612825 13 - 18 January 2009Spittal Variety GroupThe Maltings Art CentreBerwick upon Tweed, Northumberland01289 330999 22 - 24 January 2009Waterbeach Community PlayersWaterbeach SchoolWaterbeach, Cambs01223 570109www.wcponline.org.uk 23-25, 30, 31 January & 01 February 2009Phoenix PlayersSt. Peter’s TheatreSouthsea, Hants0845 293 9350 17 - 21 February 2009Burton Amateur Stage EntertainersBurton Brewhouse Arts CentreBurton-on-Trent, Staffordshire01283 508100 21 February 2009St. Mary’s Panto PlayersSt. Peter’s TheatreSouthsea, Hampshire023 9282 2990 BEAUTY AND THE BEAST10 - 21 December 2008Harlow Theatre CompanyVictoria Hall TheatreOld Harlow, Essex01279 420062www.harlowtheatrecompany.co.uk 16 - 31 December 2008The Angles TheatreThe Angles TheatreWisbech, Cambs01945 585587 17 - 20 December 2008Burnley Youth TheatreBurnley Mechanics TheatreBurnley, Lancs01282 664400 08 - 11 January 2009The ChameleonsThe Paul Daisley Hall, Brent Town HallWembley, Middx0208 123 6443

17 - 17 January 2009Heath PlayersDitton Community CentreDitton, Kent01622 717491

24 January - 01 February 2009Lowestoft PlayersThe Marina TheatreLowestoft, Suffolk01502 533200 BOMBED OUT01 - 03 January 2009Dynamo Youth TheatreNew Theatre RoyalPortsmouth, Hants023 9264 9000 BOOGIE NIGHTS10 - 14 February 2009Wilton ProductionsPlowright Theatre, Laneham StScunthorpe, N Lincs01724 277733 BOYFRIEND, THE18 - 21 February 2009New Forest PlayersThe Performing Arts Centre, Ballard SchoolNew Milton, Hampshire0845 166 8775 BRAY ONE-ACT FESTIVAL: 32ND YEAR27 - 31 January 2009Mermaid Arts CentreBrayCo.Wicklow, [email protected] BREAKING THE CODE21 - 24 January 2009The Adel PlayersAdel Memorial HallAdel, Leeds0113 2300312 BY JEEVES14 - 17 January 2009Theydon Bois Drama SocietyTheydon Bois Village HallTheydon Bois, Essex01992 812250 CARMEN - THE MUSICAL28 - 31 January 2009Cecilian Society - University of GlasgowThe Mitchell TheatreGlasgow, 07858 167843 CAROUSEL02 - 07 February 2009Cupar Amateur Musical SocietyCorn ExchangeCupar, Fife01344 654187 23 - 28 February 2009East Renfrewshire Operatic SocietyEastwood Park TheatreGlasgow, 0141 577 4970 CHESS14 - 21 February 2009Clitheroe Parish Church AO & DSSt Mary’s Centre, Church StreetClitheroe, Lancs01200 424545

DIARYDECEMBER 2008 - FEBRUARY 2009

Dec4.indd 4 05/12/2008 15:50:09


DIARY

35

CHORUS OF DISAPPROVAL24 - 28 February 2009Ponteland Repertory SocietyMemorial HallPonteland, Northumberland01661 822985

CHRISTMAS CONCERT20 - 20 December 2008Harrogate G & S SocietyHarrogate International CentreHarrogate, N Yorks01423 537230 CHRISTMAS SPECTACULAR11 - 21 December 2008Ipswich Co-Op JuniorsSnape Maltings Concert HallSnape, Suffolk01728 687110 27 - 28 December 2008Ipswich Co-Op JuniorsCharter Hall, Colchester Leisure WorldColchester, Essex01206 282020 CINDERELLA18 - 21 December 2008Act One PantomimesEric Morecambe Theatre, Harpenden Public HallsHarpenden, Herts0870 774 3638 19 - 21 December 2008Rosehill Youth TheatreRosehill TheatreWhitehaven, Cumbria01946 692422 20 December 2008 - 03 January 2009GADOCBeau Sejour TheatreGuernsey, Channel Islands01481 747200www.guernseytickets.gg

29 - 30 December 2008HEOS Musical TheatreGreenford Hall, Ruislip RoadGreenford, Middlesex01784 255164 07 - 31 January 2009The Pantomime CompanyConcordia TheatreHinckley, Leics07956 543369 14 - 18 January 2009Littlehampton Musical Comedy SocietyWindmill Theatre, The GreenLittlehampton, W Sussex01903 722224 14 - 17 January 2009Farnworth Performing Arts CompanyAstley Bridge Theatre ChurchBolton, Lancs0750 726 9090 15 - 18 January 2009Portchester PlayersPorchester Community CentrePorchester, Hants023 9237 7175 15 - 31 January 2009Loddon PlayersLecture Hall, George LaneLoddon, Norfolk01508 520162 20 - 24 January 2009Dewsbury Collegians Amateur Operatic & Dramatic SocietyThe Town HallDewsbury, W Yorks01924 324501 25 - 31 January 2009Reydon & Southwold Panto GroupSt Edmunds HallSouthwold, Suffolk01502 724539

CINDERELLA, THE RETURN OF THE FAIRIES22 - 24 January 2009Axminster Drama ClubThe GuildhallAxminster, Devon01297 33595 COPACABANA21 - 24 January 2009Sunderland Amateur Operatic SocietySunderland EmpireSunderland, Tyne & Wear0844 847 2499 CRAZY FOR YOU17 - 20 February 2009Fatfi eld Musical Stage SocietyWashington SchoolWashington, Tyne and Wear0191 388 5425 DAZZLE16 - 21 February 2009Tiverton Junior Operatic ClubThe New HallTiverton, Devon01884 253672 DEAD MAN’S HAND16 - 17 January 2009Colwyn Abbey PlayersTheatr ColwynColwyn Bay, Conwy01492 872000 DEAR EDWINA29 - 31 January 2009The Lamproom Youth Theatre EnsembleLamproom TheatreBarnsley, South Yorkshire01226 200075 DEATH TRAP07 - 14 February 2009Rugby Theatre SocietyRugby Theatre, Henry StRugby, Warks01788 541234

DICK BARTON, SPECIAL AGENT09 - 17 January 2009Meeching Amateur DramaticsMeeching HallNewhaven, East Sussex01323 896813 DICK WHITTINGTON19 December 2008 - 04 January 2009OTFM ProductionsBridge House TheatreWarwick, Warks01926 776438 08 - 10 January 2009Ringstone PlayersEdenham Village HallNr Bourne, Lincs01778 571937 09 - 18 January 2009Rugby Theatre SocietyRugby Theatre, Henry StRugby, Warks01788 541234 10 - 17 January 2009Brierley Hill Musical Theatre CompanyBrierley Hill Civic HallBrierley Hill, W Midlands0845 658 8195 15 - 17 January 2009Killin Drama ClubMcLaren HallKillin, 01567 [email protected] 22 - 24 January 2009Weymouth Drama ClubThe Pavilion TheatreWeymouth, Dorset01305 783225

CHESS. OXFORD OPERATIC SOCIETY. Photos: Ian Bateman

Dec4.indd 5 05/12/2008 15:50:30

DIARY


ROLEPLAY - Ravenshead Theatre Group, Nottinhamshire. Photo by Smiffy

18 - 21 February 2009Brixham OD&CSBrixham TheatreBrixham, Devon01803 857654 08 - 11 January 2009Walkerville Musical SocietyWalkerville Community HallNewcastle upon Tyne, 0191 2362647 DIPLOMATIC BAGGAGE04 - 07 February 2009Falcon PlayersCope Auditorium, Epinal WayLoughborough, Leics01509 231914 DON’T DRESS FOR DINNER19 - 24 January 2009Rotherham Phoenix PlayersRotherham Civic CentreRotherham, South Yorkshire01709 823640 FIDDLER ON THE ROOF21 January - 07 February 2009Ballywillan Drama GroupThe Riverside TheatreColeraine, Co Londonderry07798 930308 28 January - 07 February 2009Colchester Operatic SocietyMercury TheatreColchester, Essex01206 573948

FOLLOW THE STAR - A CHRISTMAS MUSICAL20 - 21 December 2008Victory-Land Theatre SchoolSt. Peter’s ChurchSouthsea, Hants023 9273 2785 FRANKENSTEIN - THE PANTO17 - 24 January 2009Dursley Operatic & Dramatic SocietyLister Hall, Long StreetDursley, Glos07890 203318 FULL MONTY, THE29 - 31 January 2009Downfi eld Musical SocietyWhitehall TheatreDundee, 01382 322537 17 - 21 February 2009Erewash Musical SocietyTrent College (May Hall)Long Eaton, Notts0115 930 1603 FUNNY THING HAPPENED ON THE WAY TO THE FORUM, A20 - 24 January 2009Brentwood Operatic SocietyBrentwood TheatreBrentwood, Essex01277 223710 GEISHA, THE11 - 14 February 2009Southgate College OperaWyllyotts Theatre, Darkes LanePotters Bar, Herts01707 645005

GIGI22 - 24 January 2009Harrogate Phoenix PlayersHarrogate TheatreHarrogate, N Yorks01423 502116 GOLDILOCKS & THE THREE BEARS01 - 04 January 2009Clacton Amateur Dramatic SocietyWest Cliff TheatreClacton on Sea, Essex01255 433344 03 - 18 January 2009Jersey Amateur Dramatic ClubJersey Arts CentreJersey, Channel Islands01534 700444 05 - 11 January 2009Whitley Bay Pantomime SocietyThe People’s Theatre, Stephenson RoadHeaton, Newcastle-upon-Tyne0191 252 3681 21 - 24 January 2009Christchurch Music Society - NewportChurch Hall, ChristchurchNewport, Monmouthshire01633 881320 GONDOLIERS10 - 14 February 2009Basingstoke AOSThe Haymarket TheatreBasingstoke, Hampshire01256 844244

GUYS AND DOLLS02 - 07 February 2009CAOS Musical ProductionsMinerva TheatreChichester, West Sussex01243 781312 HAIR24 - 28 February 2009Edinburgh Music Theatre Company Ltd.Church Hill TheatreEdinburgh, Midlothian0131 332 6558 HANSEL AND GRETEL16 - 21 February 2009Abergavenny Pantomime CompanyAbergavenny Borough TheatreAbergavenny, Monmouthshire01873 890683 HEIDI27 - 31 January 2009Western College PlayersThe Drum, Theatre RoyalPlymouth, Devon01752 267222 HI-DE-HI12 - 14 February 2009Thurrock Courts PlayersThameside TheatreGrays, Essex0845 300 5264 HICKORY DICKORY DOCK23 December 2008 - 03 January 2009Highbury PlayersHighbury Theatre Centre, Sheffi eld RdSutton Coldfi eld, W Midlands0121 373 2761

Dec4.indd 6 05/12/2008 15:50:47


DIARY

37

ROLEPLAY - Ravenshead Theatre Group, Nottinhamshire. Photo by Smiffy

HIGH SCHOOL MUSICAL30 December 2008 - 03 January 2009Wisbech Amateur Operatic & Dramatic Society (WAODS)Thomas Clarkson Community CollegeWisbech, Cambs07776 318309 or 01945 870393 HIGH SOCIETY20 - 24 January 2009Farnham Amateur Operatic SocietyThe MaltingsFarnham, Surrey01252 722233 HMS PINAFORE17 - 21 February 2009Godalming Operatic SocietyThe Borough HallGodalming, Surrey01252 703376 27 - 28 February 2009Godalming Operatic SocietyThe Leatherhead TheatreLeatherhead, Surrey01252 713376 HONK28 - 31 January 2009GHosTsElectric TheatreGuildford, Surrey01483 444789 17 - 21 February 2009Cary Amateur Theatrical SocietyAnsford SchoolCastle Cary, Somerset01458 273472 HOT MIKADO18 - 21 February 2009Zenith Youth Theatre CompanyKingswood TheatreBath, BANES01225 835301 HUMPTY DUMPTY09 - 17 January 2009Otterbourne Village Hall CommitteeOtterbourne Village Hall,Otterbourne, Winchester, Hants023 8036 3205 IOLANTHE03 - 07 February 2009Crosby G & S SocietyCrosby Civic HallWaterloo, Liverpool0151 934 2140 16 - 21 February 2009Melrose Amateur Operatic SocietyThe Corn ExchangeMelrose, Roxburghshire01835 822425 JACK & JILL17 - 21 February 2009Lyme Regis Pantomime SocietyMarine TheatreLyme Regis, Dorset01297 443986 JACK AND THE BEANSTALK12 - 23 December 2008Downfi eld Musical SocietyWhitehall TheatreDundee, 01382 322537 19 - 21 Dec 08 and 04 - 06 Jan 09Bridlington Amateur Operatic & Dramatic SocietySpotlight TheatreBridlington, E Yorks01262 604751 27 December 2008 - 10 January 2009Manor Operatic SocietyCity HallSheffi eld, S Yorks01709 365108

30 December 2008 - 03 January 2009Swaffham PlayersHamonds High School TheatreSwaffham, Norfokl01760 721899 03 - 10 January 2009Huddersfi eld Light Opera CompanyThe Lawrence Batley Theatre, Queen StreetHuddersfi eld, West Yorkshire01484 430528 12 - 17 January 2009Totnes Operatic & Dramatic SocietyTotnes Civic HallTotnes, Devon07912 142053 13 - 24 January 2009Kays Theatre GroupThe Swan TheatreWorcester, Worcs01905 420083 14 - 18 January 2009Carlinghow Theatre CompanyBatley Town HallBatley, West Yorkshire01924 491905 21 - 24 January 2009NOMADSThe MasqueBarton Seagrave, Northants07857 186005 23 - 25 January 2009Encore Theatre CompanyAspley Guise Village HallAspley Guise, Bedfordshire01908 583640 24 - 31 January 2009Keighley Amateur Operatic & Dramatic SocietyVictoria HallKeighley, W Yorks08450 170718 27 - 31 January 2009St Austell PlayersSt Austell Arts TheatreSt Austell, Cornwall01726 879500 16 - 21 February 2009Coliseum Operatic & Dramatic Society AberdareColiseum TheatreAberdare, Rhondda Cynon Taff01685 882685 25 - 28 February 2009Polden ProductionsEdington Village HallBridgwater, Somerset01278 723095 JUKEBOX - A MUSICAL PANTO19 - 24 January 2009Padiham Pantomime SocietyPadiham Town HallBurnley, Lancs07831 250539 JUNGLE BOOK17 - 21 February 2009Shavington Village Festival CommitteeShavington Leisure Centrenr Crewe, Cheshire01270 661592 KIND HEARTS AND CORONETS10 - 20 December 2008Chelmsford Theatre WorkshopThe Old Court TheatreChelmsford, Essex01245 606505 KING AND I18 - 21 February 2009Community of HungerfordJohn O’Gaunt Community & Technology CollegeHungerford, Berks01488 684011

24 - 28 February 2009South Shields G & S Operatic SocietyCustoms HouseSouth Shields, Tyne and Wear0191 454 1234 KISS ME, KATE16 - 21 February 2009Hinckley Comm Guild AOSConcordia TheatreHinckley, Leciestershire01455 847676 LES MISERABLES03 - 14 February 2009Douglas Choral Union Amatuer Operatic and Dramatic SocietyGaiety TheatreDouglas, Isle of Man01624 694555 18 - 21 February 2009Spennymoor Youth Theatre GroupGala TheatreDurham, Durham0191 332 4041 LET’S GO TO THE MOVIES III15 - 16 February 2009Havering Music MakersQueens TheatreHornchurch, Essex01708 762256 LION, THE WITCH AND THE WARDROBE, THE30 January - 07 February 2009Harleston PlayersArchbishop Sandcroft High SchoolHarleston, Norfolk01379 588043 LITTLE RED RIDING HOOD15 - 17 January 2009Twyford & Ruscombe Theatre GroupLoddon HallTwyford, Berkshire0845 450 1308 LITTLE TOMMY TUCKER24 - 28 February 2009Market Drayton Amateur Operatic & Dramatic SocietyThe Grove SchoolMarket Drayton, Shrops01630 652454 MACK AND MABEL20 - 24 January 2009Shenfi eld Operatic SocietyQueen’s TheatreHornchurch, Essex01708 700625 MANSFIELD PARK29 - 31 January 2009Lyndhurst Drama and Musical SocietyVernon TheatreLyndhurst, Hampshire023 80282729 MIKADO, THE19 - 24 January 2009Abbots Langley G & S SocietyWatford Palace TheatreWatford, Herts01923 225671 MOTHER GOOSE30 December 2008 - 03 January 2009Frome Amateur Operatic SocietyMemorial TheatreFrome, Somerset01373 462795 01 - 10 January 2009Digswell PlayersDigswell Village HallDigswell, Herts01438 715489 10 - 17 January 2009Pickering Musical SocietyThe Kirk TheatrePickering, N Yorks01751 471553

12 - 17 January 2009Whitby’s Apollo PlayersWhitby Pavilion TheatreWhitby, North Yorkshire7817778126 16 - 25 January 2009South Shields Westovian Theatre SocietyPier PavilionSouth Shields, Tyne and Wear0191 456 0980 20 - 24 January 2009Kippax Amateur Operatic Society (KAOS)Castleford Civic CentreCastleford, W Yorks0113 287 4564 OKLAHOMA!16 - 21 February 2009Bridgnorth Musical Theatre CompanyBridgnorth Leisure CentreBridgnorth, Shropshire01746 763510 23 - 28 February 2009Guiseley Amateur Operatic SocietyGuiseley TheatreLeeds, W Yorks08453 705045 OLD MOTHER HUBBARD16 - 24 January 2009Addlestone Community TheatreAddlestone Community TheatreAddlestone, Surrey01932 844653 OLD TIME MUSIC HALL15 - 17, 22 - 24 January 2009Stevenage Lytton PlayersThe Lytton Theatre, Vardon RdStevenage, Herts0870 777 7619 OLIVER!13 - 17 January 2009Tread the Boards Theatre GroupWhitehall TheatreDundee, Tayside07803 521700 15 - 17 January 2009Compton Little TheatreCompton Village HallGuildford, [email protected] 04 - 07 February 2009Stage ProductionsRegent TheatreStoke, Staffs0870 060 6649 18 - 21 February 2009Ruthin Musical TheatreTheatr John Ambrose, Ysgol BrynhyfrydRuthin, Denbigh01824 703748 19 - 21 February 2009Tipton Amateur Repertory Theatre SocietyMill TheatreSedgley, W Midlands01902 679682 21 - 28 February 2009Southport Amateur Operatic SocietySouthport Arts CentreSouthport, Merseyside01704 228936 ONCE A KNIGHT08 - 11 January 2009Chellaston PlayersGuildhall Theatre, Derbyshire01332 703828 22 - 24 January 2009Chellaston PlayersSt. Peter’s Church HallChellaston , Derbyshire01332 700821

Dec4.indd 7 05/12/2008 15:50:59

DIARY


ORPHEUS IN THE UNDER-WORLD17 - 21 February 2009Rugby Operatic SocietyRugby TheatreRugby, Warks01788 541234 OUTSIDE EDGE29 - 31 January 2009BreakaLeg ProductionsUnicorn TheatreAbingdon, Oxon01235 821351 PANTO OF THE OPERA, THE29 - 31 January 2009Adur Theatre CompanyThe Shoreham CentreShoreham-by-Sea, West Sussex01273 591933 PETER PAN09 - 25 January 2009All Souls Dramatic ClubSouthport Arts CentreSouthport, Merseyside01704 540011 16 - 31 January 2009Lane End PlayersLane End Village HallLane End, Bucks01494 881981 29 January - 01 February 2009Felixstowe Musical TheatreSpa PavilionFelixstowe, Suffolk01394 282126 PHIL BARNETT AND FRIENDS21 December 2008Kidz R UsSt Ives TheatreSt Ives, Cornwall01736 797007 Pinocchio08 - 17 January 2009Folkestone & Hythe Operatic & Dramatic SocietyTower TheatreFolkestone, Kent01303 223925 PINOCCHIO15 - 24 January 2009Wayfarers Pantomime Society (Taunton)The Brewhouse TheatreTaunton, Somerset01823 283244 24, 26 - 31 January 2009HIADSStation TheatreHayling Island, Hants023 9246 6363 17 - 21 February 2009St Andrews Youth Fellowship SandonSandon Village HallSandon, Essex01245 477872 PIRATES OF PENZANCE18 - 21 February 2009Walsall G & S SocietyBrownhills Community TheatreBrownhills, W Midlands01922 645378 23 - 28 February 2009Barrow SavoyardsForum 28, Duke StreetBarrow in Furness, Cumbria01229 820000 26 - 28 February 2009Girton Operatic SocietyGirton Glebe SchoolCambridge, Cambs01223 556766

PIRATES OF PENZANCE (BROADWAY VERSION)27 - 31 January 2009Buttershaw St Pauls Church Amateur Operatic SocietySt George’s HallBradford, W Yorks01274 676047 17 - 21 February 2009Heanor Operatic SocietyHeanor Gate Science CollegeHeanor, Derbyshire01773 712296 24 - 28 February 2009Chelmsford Amateur Operatic & Dramatic SocietyCivic TheatreChelmsford, Essex01245 606505 PULL THE OTHER ONE12 - 18 January 2009Arundel PlayersPriory PlayhouseArundel, West Sussex01243 782976 PUSS IN BOOTS12 January 2009 - 17 January 2008St Giles Marys Panto/TSPontefract Town HallPontefract, West Yorkshire01977 677980 23 - 24 January 2009Little Hadham PGLittle Hadham Village HallLittle Hadham, Herts01279 842160 29 - 31 January 2009Wootton Bassett Light Operatic SocietyMemorial HallWootton Bassett, Wilts01793 855473 30 - 31 January 2009Little Hadham PGLittle Hadham Village HallLittle Hadham, Herts01279 842160 Puss In Boots11 - 14 February 2009Irchester PlayersParsons HallIrchester, Northants01933 624310 RAILWAY CHILDREN, THE24 - 31 January 2009Cheltenham Operatic & Dramatic SocietyThe Playhouse TheatreCheltenham, Glos01684 293346 REBECCA18 - 21 February 2009Festival Players (Loughborough) LtdLoughborough Town HallLoughborough, Leics01509 231914 RED RIDING HOOD16 - 17 January 2009Briston PlayersThe Copeman CentreBriston, Melton Constable, Norfolk01263 861340 23 - 31 January 2009Haverhill & District Operatic SocietyHaverhill Arts CentreHaverhill, Suffolk01440 714140 RETURN TO THE FORBIDDEN PLANET13 - 17 January 2009The Mellow DramaticsBrewhouse Arts CentreBurton on Trent, Staffs01283 508100

17 - 21 February 2009Rosehill Youth TheatreRosehill TheatreWhitehaven, Cumbria01946 692422 REVUE 200815 - 17 January 2009Musselburgh Amateur Musical AssocBrunton TheatreMusselburgh, East Lothian01368 869611 ROBIN HOOD AND HIS MERRY MEN09 - 17 January 2009The Oxted PlayersThe Barn TheatreOxten, Surrey01883 724852 ROBIN HOOD AND THE BABES IN THE WOOD04 - 20 December 2008Attic TheatreAberdeen Arts CentreAberdeen, 01224 641122 28 - 31 January 2009Sway Drama ClubSway Village Hall, MiddleRoadSway, Lymington, Hants01590 683683

02 - 07 February 2009Whitestone PlayersWhitestone Parish Hallnr Exeter, Devon01392 433997 ROBIN PRINCE OF SHERWOOD26 - 28 February 2009Sosage FactorySolihull Arts ComplexSolihull, W Midlands0121 704 6962 ROBINSON CRUSOE27 December 2008 - 03 January 2009Strode ProductionsStrode Theatre, Church RoadStreet, Somerset01458 442846 22 - 24 January 2009Criccieth Starlight PlayersMemorial HallCriccieth, Gwynedd01766 522249 ROBINSON CRUSOE AND THE PIRATES27 - 31 January 2009Bolsover Drama GroupMoorfi eld School, BolsoverChesterfi eld, Derbyshire01246 850402 28 - 31 January 2009St Blane’s Drama GroupDunblane Primary School01786 823716 13 - 21 February 2009Court PlayersThe Memorial HallRangeworthy, S Glos01454 321149 ROLEPLAY29 - 31 January 2009The Centralian PlayersHenderson HallAbbots Langley, Hertfordshire01923 227392www.thecentralians.co.uk RUDDIGORE03 - 07 February 2009Aireborough G & S SocietyYeadon Town HallYeadon, Leeds, W Yorks0113 250 3519

10 - 14 February 2009St Andrews Operatic SocietySt Andrew’s RokerSunderland, Tyne and Wear0191 548 4621 18 - 21 February 2009Intake Methodist Musical SocietyIntake Methodist Church, Foxwood RdSheffi eld, 0114 287 2093 SCRIMSHAW!15 - 24 January 2009Pump House Children and Youth TheatrePump House TheatreWatford, Herts07903 411150 SEASONS GREETINGS29 - 30 January 2009Innuendo Theatre GroupThorngate HallsGosport, Hants01329 310473 SHE STOOPS TO CONQUER10 - 14 February 2009Ecclesall Theatre CompanyEcclesall Parish Hall, Sheffi eld0114 2308842www.ecclesalltheatre.com SINBAD19 - 22 February 2009Morley Amateur Operatic SocietyMorley Town HallMorley, W Yorks07960 766 334 22 - 25 January 2009Phoenix Players StratfordCivic HallStraford-upon-Avon, Warks01789 207100 SINBAD THE SAILOR07 - 10 January 2009Woodlands Theatrical SocietyWoodlands Hall, Woodlands ParkNewcastle upon Tyne, Tyne & Wear0191 236 3060 27 - 31 January 2009Bridport Pantomime PlayersElectric PalaceBridport, Dorset01308 423366 16 - 21 February 2009Circle Light Opera CompanyHighbury Theatre CentreSutton Coldfi eld, West Midlands07876 190519 SLEEPING BEAUTY13 - 20 December 2008Wells Operatic Society LtdThe Little TheatreWells, Somerset01749 672611 15 - 21 December 2008Retford & District Amateur Operatic SocietyRetford Little TheatreRetford, Nottinghamshire01777 702002 23 December 2008 - 10 January 2009Talisman Theatre CompanyTalisman Theatre, Barrow RoadKenilworth, Warks01926 856548 27 December 2008 - 03 January 2009Dereham Operatic SocietyThe Memorial HallDereham, Norfolk01362 851919 03 - 04 January 2009Elstree ProductionsSt Michael and All Angels Church, Brook RoadBorehamwood, Herts0208 953 6560

Dec4.indd 8 05/12/2008 15:51:10


DIARY

39

11 - 17 January 2009Wombwell & District Amateur Operatic SocietyOperatic CentreWombwell, S Yorks01226 758375 15 - 18 January 2009Argosy PlayersWinston Churchill HallRuislip, Middlesex0845 838 9058 17 - 24 January 2009North Ormesby MinstrelsThe Trinity CentreNorth Ormesby, Teeside01642 272241 17 - 24 January 2009The Young OnesNetherton Arts CentreNetherton Dudley, W Midlands01384 895266 23 - 24 January 2009Newton Amateur Dramatic & Operatic SocietyNewton Community High SchoolNewton-le-Willows, Merseyside01942 741835 24 - 31 January 2009Stourbridge Pantomime Co LtdStourbridge Town Hall TheatreStourbridge, W Midlands01384 560653 24 - 31 January 2009Highcliffe Charity PlayersRegent CentreChristchurch, Dorset01202 499199

27 - 31 January 2009Ellesmere Port Original Pantomime CompanyEllesmere Port Civic HallEllesmere Port, Cheshire0151 355 9310 30 - 31 January 2009Chapel PlayersChapel PlayhouseChapel-en-le-Frith, Derbyshire01298 813176 30 - 31 January 2009Newton Amateur Dramatic & Operatic SocietyNewton Community High SchoolNewton-le-Willows, Merseyside01942 741835 05 - 07 February 2009Chapel PlayersChapel PlayhouseChapel-en-le-Frith, Derbyshire01298 813176 05 - 07 February 2009Edenbridge Forge SingersWI HallEdenbridge, Kent01732 864471 SLEEPI17 - 21 February 2009Caldicot Musical Theatre SocietyCaldicot SchoolCaldicot, Monmouthshire01291 422207 SLEEPING BEAUTY18 - 21 February 2009Bradfordians Dramatic SocietyTrinity Hall St Laurence SchoolBradford-on-Avon, Wiltshire01225 761720

SNOW WHITE12 - 20 December 2008Starburst Theatre CompanyHarlington CentreFleet, Hants07793 816750 17 - 21 December 2008Billboard Ensemble BarryMemorial Hall TheatreBarry, Vale of Glamorgan01446 733625 27 December 2008 - 01 January 2009Kings Lynn Operatic & Dramatic SocietyKing’s Lynn Arts CentreKing’s Lynn, Norfolk01553 764864 23 January - 07 February 2009Lindsey Rural PlayersThe Broadbent TheatreWickenby, Lincs01673 885500 23 January - 07 February 2009St Nicholas PlayersSt Nicholas Church HallAllestree, Derby01332 556228 SNOW WHITE & THE SEVEN DWARFS03 - 10 January 2009The Southwick PlayersThe Barn TheatreSouthwick, W Sussex01273 597094 09 - 10 January 2009Felling & District Music, Arts & Drama (FADMAD)Felling Methodist Church Hall, Coldwell StGateshead, Tyne and Wear0191 420 6632

09 - 17 January 2009Louth PlaygoersRiverhead TheatreLouth, Lincolnshire01507 600350 14 - 17 January 2009Handsworth & Hallam Theatre CompanyUniversity of Sheffi eld Drama StudioSheffi eld, S Yorks01709 377611 21 - 24 January 2009Barnton Variety Theatre WorkshopNorthwich Memorial HallNorthwich, Cheshire01606 782442 30 January - 07 February 2009New Mills Amateur Operatic & Dramatic SocietyArt Theatre, Jodrell StreetNew Mills, Derbyshire0161 427 5317 SOUTH PACIFIC16 - 20 February 2009Carmarthen & Dist Youth OperaThe Lyric TheatreCarmarthen, Wales01267 232632 17 - 21 February 2009Rosehill Youth TheatreRosehill TheatreWhitehaven, Cumbria01946 692422 SOUTHERN COUNTIES DRAMA FESTIVALFirst round of the All England Theatre Festival23 - 28 February 2009Barn TheatreBluehouse Lane, Oxted01959 561811

Waterbeach Community Players production of Teechers Nov 12th - 15th with Kattreya Smith & Cath PerkinsPhotographer Christine Easterfi eld

Dec4.indd 9 05/12/2008 15:51:34

DIARY


ST ALBANS SCOUNT & GUIDE GANG SHOW11 - 14 February 2009St Albans Scout & Guide Gang ShowAlban ArenaSt Albans, Hertfordshire01727 830397 STEPPING OUT30 - 31 January 2009East Grinstead Operatic SocietyChequer Head Community Arts CentreEast Grinstead, W Sussex01342 302000

STRANGERS ON A TRAIN21 - 28 February 2009Natwich PlayersPlayers’ TheatreNatwich, Cheshire01270 537359www.nantwichplayers.com SUNSHINE BOYS, THE25 - 28 February 2009Preston Drama ClubPreston PlayhousePreston, Lancs01772 744771

SWEENEY TODD27 - 31 January 2009Leatherhead Operatic SocietyEpsom PlayhouseEpsom, Surrey07787 870012 10 - 14 February 2009Lindley Church Amateur Operatic SocietyLawrence Batley TheatreHuddersfi eld, W Yorks01484 430528 10 - 14 February 2009Xtreme Theatre CompanyLlwynypia Community Theatre, Coleg MorgannnwgLlwynypia, Rhonddda Cynon Taff01443 774167 18 - 21 February 2009Stampede Theatre CompanyYeadon Town HallYeadon, W Yorks0113 202 9524 SWEET CHARITY23 - 24 January 2009Present CompanyBuxton Opera House, Derbyshire0845 127 2190 26 - 28 February 2009Spotlight Musical Theatre CompanyCompass TheatreIckenham, Middlesex01895 673200 SWEET REVENGE18 - 21 February 2009Belmont Theatre CompanyThe Pump House TheatreWatford, Herts0845 521 3453 TALK BY JOHN OWEN ED-WARDS, MD D’OYLE CARTE & BUXTON GS FESTIVAL11 - 11 January 2009Gilbert & Sullivan Society ManchesterCross Street ChapelManchester, Lancs0161 973 9965 TELL ME ON A SUNDAY25 - 28 February 2009CCADSCentral Library - 3rd Fl. Arts CentrePortsmouth, Hampshire023 9268 8070 THE FULL MONTY10 - 14 February 2009Portsmouth PlayersKings TheatreSouthsea, Hampshire023 9266 0880 THE GRINCH - THE PANTO05 - 07 February 2009Threemilestone Amateur Dramatic SocietyThreemilestone Community HallTruro, Cornwall01872 275237 THE OLD WOMAN WHO LIVED IN A SHOE06 - 10 January 2009From The Top Theatre CompanyHighbury Little TheatreSutton Coldfi eld, W Mids07974 894542 THE PIED PIPER21 - 28 February 2009Burton Bradstock PlayersBurton Bradstock Village HallBurton Bradstock, Dorset01308 897415 THE SLEEPING BEAUTY24 - 31 January 2009Stourbridge Pantomime Co LtdStourbridge Town Hall TheatreStourbridge, West Midlands01384 812959

THE SORCERER’S APPREN-TICE17 - 24 January 2009Chesham Bois Catholic PlayersThe Elgiva Theatre, St Mary’s WayChesham, Bucks01494 582900 www.elgiva.com THE WOMAN WHO COOKED HER HUSBAND23 - 28 February 2009Highbury PlayersHighbury Theatre Centre, Sheffi eld RoadSutton Coldfi eld, W Midlands0121 373 2761 TOSCA03 - 07 February 2009Windsor & Eton Operatic SocietyNorden Farm Centre for the ArtsMaidenhead, Berks01753 863719 TREASURE ISLAND29 - 31 January 2009The Magpies Drama GroupMatfi eld Village HallMatfi eld, Kent01892 834365 11 - 19 February 2009The Oxted PlayersBarn TheatreBluehouse Lane, Oxted01883 712241www.barntheatreoxted.co.uk 18 - 21 February 2009Maesteg Amateur Operatic SocietyMaesteg Town HallMaesteg, Bridgend07989 439629 TWELTH NIGHT24 -28 February 2009Derby Shakespeare Theatre CompanyThe Guildhall Theatre, Derby01332 255800www.derbyshakespeare.org.uk WEST SIDE STORY26 - 31 January 2009Norfolk & Norwich Operatic SocietyTheatre RoyalNorwich, Norfolk01603 630000 WINNIE THE POOH08 - 18 January 2009Crescent Theatre LimitedThe Crescent TheatreBirmingham, W Mids0121 643 5858 WIZARD OF OZ08 - 10 January 2009Orchard PlayersCapel St Mary Village HallIpswich, Suffolk07761 782456 23 - 31 January 2009Watson PlayersGuildhall TheatreDerby, Derbyshire01332 343649 17 - 21 February 2009Letchworth ArcadiansPlinston HallLetchworth Garden City, Herts01462 453801 WONDERFUL STORY OF MOTHER GOOSE, THE13 - 17 January 2009Storth & District Entertainers SocietyStorth Village HallStorth, 01524 761903 YEOMAN OF THE GUARD18 - 21 February 2009Dunfermline G & S SocietyCarnegie HallDunfermline, Fife0845 241 2187

LAYING THE GHOST - Greasley Players NottsPhotos by Smiffy

Dec4.indd 10 05/12/2008 15:51:52


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Love grows in the most unexpected places

NEW LONDON THEATREA REALLY USEFUL GROUP THEATRE

THREE WAYS TO BOOKWITH NO BOOKING FEE

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Amateur Stage December 2008