Amateur Stage Magazine June

amateurstageamateuramateurstageTHE INDEPENDENT MAGAZINE FOR AMATEUR THEATRE JUNE 2010 £2.95www.amateurstagemagazine.co.uk

The Musical ProducedJESUS CHRIST SUPERSTAR

Special FeatureAETF England Final 2010

National Show Diary

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AMATEUR STAGE | JUNE 20103

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14

FROM THE EDITORIt was our pleasure this year to act as sponsor of the

AETF England Final. We attended the final in Burton On Trent and were hugely impressed with the enthusiasm and sheer abundance of talent that was on display in the four productions. Our congratulations to everyone who took part and to the organisers on a job well done.

We hope that you are all enjoying the summer break and gearing up for the rest of 2010. We have a lot of exciting news coming up which we will be unveiling over the next few months. We’re quite pleased to have a few months of quiet in which to initiate some plans we’ve been working on for a while now.

Keep an eye out!!I hope you enjoy this month’s magazine.

Doug

THIS MONTH

10

20

25

5 NEWS News from around the country.

10 AETF ENGLAND FINAL Ann Aplin reports on a great day of theatre.

14 THE MUSICAL PRODUCED Darlington O S presents Jesus Christ Superstar. 19 INSURANCE Robert Israel ASCII reports on the latest insurance issues. 20 PRODUCTION DIARY What’s on where across the UK.

25 WEST END Mark Ludmon reviews the latest West End offerings.

26 PLAYSCRIPT REVIEWS David Muncaster reviews the latest scripts.

30 THE FINAL WORD - DORIS

Cover: Jesus Chris Superstar

CREDITSPublished monthly by Next Phase Media LimitedSuite 404 Albany House, 324/326 Regent Street, London W1B 3HHP: 0207 622 6670 www.amateurstagemagazine.co.uk

Publisher - Paul Webster : [email protected] - Douglas Mayo : [email protected]/ Diary Listings : [email protected]

Advertising : Zoya Berkeley: [email protected]: 0207 078 4893

All rights reserved throughout the world. No part of this magazine may be reproduced, stored or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise without the written consent of Amateur Stage. The views and opinions expressed by the contributors to this magazine may not necessarily represent the views of Amateur Stage.

Registered Office:46 Ashby Drive, Rushden, Northamptonshire, NN10 9HHCompany Reg. No. 5737512 - VAT Reg. No. GB 884 1177 06

Sales

Installations

Servicing & RepairsWe have a dedicated team of engineers who are on hand to service andrepair your current systems and equipment. We can arrange a visit toevaluate the situation, make recommendations and deliver a solutionthat works for you.

From conception through to installation and after sales support, we canoffer you a complete audio & visual solution designed to fulfil yourunique requirements.We offer a free site survey and will provide you with an extensive reportand quotation usually within 24 hours.

Whatever your sound, video or lighting needs, we are sure that we canhelp with our extensive portfolio of products, all at competitive prices.Going that extra mile makes a huge difference, that’s why we provideexcellent after sales support and advice.

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NEWS

5AMATEUR STAGE | JUNE 2010

A NOTE FROM NICK HERN BOOKSI am writing to let you know about a new scheme we are introducing at NHB. For the amateur drama market only, we are making some as yet unpublished plays available for

performance. We will begin with a wonderful play by Amanda Whittington: PLAYERS’ ANGELS. Those of you who have enjoyed success with BE MY BABY and the LADIES’ plays (LADIES’ DAY and LADIES DOWN UNDER) will want to take note, as this is very similar territory, and as yet undiscovered. The play is set in 1950’s Nottingham, and follows a group of friends who work on the production line of the John Player tobacco factory. Cyn is an aspiring starlet, beautiful and sassy, Vee has just got married, but feels insecure about what her new situation requires, Glad has a dark, but wonderful secret, and Mae, who comes to work in the big city, has a warm heart and an open mind, and might just rescue them all towards the end of the play. It offers great parts for four women and a man (ages range from early 20s to 40s), so very similar cast requirements to the LADIES’ plays, and can be staged fairly simply. The 1950’s setting allows for great costumes and authentic stage design (there should at least be lovely dresses for the ladies), but it can also be staged with minimal requirements, according to budget.

The script is available in digital form only, and can be sent out as an email attachment. We will sell it to you at a very moderate £35 plus VAT for a printable copy, and, if you want to read it on screen beforehand, we will send you a non-printable copy for free. The rights are available at £64 per performance plus VAT. Do let me know if you are interested. I am looking forward to hearing from you.

Tamara von [email protected]

FELIXSTOWE DRAMA FESTIVAL RESULTSThe 60h FELIXSTOWE DRAMA FESTIVAL of full length plays was held 29 May – 5 June 2010. With Tony Rushforth GODA presiding as adjudicator the results were as follows:-

Winner: Tryst Theatre; Art by Yasmina Reza plus Best Team Acting, Best Set, and Adjudicator’s Award for recall of telephone conversation for Craig Murray as Yvan.

Runner Up: Parkside Players: The Importance of Being Earnest by Oscar Wilde plus Audience Winner, Best Director (for the play’s language) Val Tillett, Best Actor Greg Tillett as John Worthing, Best Actress Ame Tillett as Gwendolyn

Audience Runner Up: In Yer Space; Like a Virgin by Gordon Steel

Best Supporting Role: Neill Pearce as Sir Andrew Aguecheek in Deben Players production of Twelfth Night by William Shakespeare.

Best Dressed: Rushmere Players production of Under Milk Wood by Dylan Thomas.

The 2010 Drama Festivals Conference is to be held at the Lighthouse Theatre and Conference Centre, Kettering, Northants on Saturday September 18.

The theme of the conference, organised by the Guild of Drama Adjudicaors on behalf of the drama festivals movement, will be “Winning Festivals” and will include sessions, workshops and forums of interest to everyone involved in festivals at all levels.

The conference centre, a splendid venue both in terms of facilities and accessibility, is situated less than a mile from Junction 8 of the A14 – the main east/west route linking the A1 and M1/M6, and is half a mile from Kettering’s mainline railway station.

“The facilities are second to none,” says conference organiser Paul Fowler. “The

conference amenities are really excellent and in house catering is a real bonus.”

In addition to the conference facilities the Lighthouse has a fully-equipped 600 seat theatre that stages a varied programme of local community theatre, touring production and music events.

A tour of the theatre will form part of the conference programme, and there will be an optional evening theatre visit as part of the fringe events.

The full conference programme including details of the headline speaker, and prices for delegates, will be announced in the New Year along with details of a new initiative for participating teams.

The town of Kettering – originally a Saxon

settlement – is well served for overnight accommodation with several reasonably priced branded outlets nearby as well as a luxury hotel and spa and a number of reasonably priced Bed and Breakfast places.

For further information please contact Paul Fowler: Telephone: 01536–511308. Mobile: 07973 343158. E: paul @paul-fowler.co.uk

(Provided courtesy of www.amdram.co.uk)

DRAMA FESTIVALS CONFERENCE 2010

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NEWS


Here are the festival results for the 62nd Annual Play Festival hosted by Skegness Playgoers at the Embassy Theatre in Skegness, May 24th to 29th 2010.

The festival was adjudicated by David Vince GoDA who gave thanks to all the teams who entered for an excellent selection of plays which were all performed to a high standard.The Trophies were awarded as follows:- Premier Award- The Arcadia TrophyHolder: Halifax Thespians - “Flamingoland” Runner Up- Grace Green CupHolder: Horncastle Theatre Company - ”Shakers Re-Stirred” One-Act Winner- Skegness Playgoers One-Act ShieldHolder: Scothern Players - ”Meat and Two Veg” Best Actress- Betty Lowndes CupHolder: Julie Johnston (Halifax Thespians) Best Actor-Skegness Entertainments Bateman CupHolder: David Edgar (Boston Playgoers)

Best Supporting Actress- Phyllis Garner Memorial TrophyHolder: Melissa Marlowe (Boston Playgoers) Best Supporting Actor-Cyril Shepherd Memorial TrophyHolder: John Davies (Halifax Thespians) Most Promising Actress (Under 21)- Elizabeth Allan Trophy

Holder: Charlotte Argyle (Boston Playgoers) Most Promising Actor (Under 21)- Joe Wright CupNot awarded Adjudicators Special Award (Acting)-Eileen Pett Memorial TrophyHolders: Horncastle Theatre Co. Shakers’ Cast Adjudicators Special Award (Backstage)-William Butlin CupHolders: Gladrags Productions. (Boston) Best Setting Award (Furniture & Dress)-

Nottingham Co-op Society TrophyHolders: Boston Playgoers (Billy Liar) Award for Best Lighting and Effects-Claude Sharman Memorial PlateHolder: Halifax Thespians Most Innovative Production- Les Allison Plate Holder: Lindsey Rural Players with “Always” Supreme Comedy Moment-Joyce Smith Trophy Holder: Horncastle Theatre Company

62ND ANNUAL PLAY FESTIVAL RESULTS

Looking at Durham Stage and Screen is a unique book. Written by John C. Foster this book is a warm and insightful exploration of the theatre and film industry in Durham from 1884 to 1963. The author is a knowledgeable and passionate guide, taking us on a chronological journey that traces the development of the arts in Durham from the day The Royal Albany Theatre opened, thereby ending a period of 15 years in which the city had no theatre.

Illustrated throughout with pictures embedded in the text the book can serve as an excellent reference though the many entertaining and amusing anecdotes ensure that it is no text book. Instead it is a lively, informative and well-written book, a must-read for anyone interested in the arts in Durham, as well as the general reader.

John C. Foster has long had a keen interest in theatre. In 1958 he joined the Durham Amateur Dramatic Society and took up acting. Most of his appearances were with this Club but he was also a member of the Langley Park Players and appeared in other productions for Elsie Craig Shaw. At Durham he was a producer for the Society whose plays were

staged in St. Margaret’s Hall and later at the Assembly Rooms. During his time with D.D.S. he adapted ‘A Christmas Carol’ and ’Dracula’ for the stage. Mr Foster is an avid collector of all types of theatre memorabilia and is a member of the Ephemera Society of Great Britain.

For further information please contact:Lynn Davidson, The Memoir Club, Dartmoor Suite, The Courtyard, Aryanna Business Centre, Arya House, Langley Park, Durham, DH7 9XE

Tel: 0191 3735660: Fax: 0191 3739652Email: [email protected]

You may prefer to contact the author direct:Tel: 0191 373 4223 Email: [email protected]

Looking at Durham Stage and Screen is a unique book. Written by John C. Foster this book is a warm and insightful exploration of the theatre and film industry in Durham from 1884 to 1963. The author is a knowledgeable and passionate guide, taking us on a chronological journey that traces the development of the arts in Durham from the day The Royal Albany Theatre opened, thereby ending a period of 15 years in which the city had no theatre.Illustrated throughout with pictures embedded in the text the book can serve as an excellent reference though the many entertaining and amusing anecdotes ensure that it is no text book. Instead it is a lively, informative and well-written book, a must-read for anyone interested in the arts in Durham, as well as the

general reader. John C. Foster has long had a keen interest in theatre. In 1958 he joined the Durham Amateur Dramatic Society and took up acting. Most of his appearances were with this Club but he was also a member of the Langley Park Players and appeared in other productions for Elsie Craig Shaw. At Durham he was a producer for the Society whose plays were staged in St. Margaret’s Hall and later at the Assembly Rooms. During his time with D.D.S. he adapted ‘A Christmas Carol’ and ’Dracula’ for the stage. Mr Foster is an avid collector of all types of theatre memorabilia and is a member of the Ephemera Society of Great Britain.

Looking at Durham Stage and Screen Memories 1884 - 1963

John C. Foster

For further information please contact: Lynn Davidson, The Memoir Club, Dartmoor Suite, The Courtyard,

Aryanna Business Centre, Arya House, Langley Park, Durham, DH7 9XE

Tel: 0191 3735660: Fax: 0191 3739652 Email: [email protected]

You may prefer to contact the author direct: Tel: 0191 373 4223 Email: [email protected]

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NEWS


AETF SEMI FINAL WESTERN AREAThe Venue

The western version of this annual showpiece of English theatrical talent was held this year in The Athenaeum Centre in Warminster, Wiltshire. This gem of a facility is in fact an old Victorian building, founded in the mid nineteenth century as a literary institute.

After various changes, including a life as the Palace cinema in the early part of the twentieth century, it is now a great community arts centre run and manned entirely by volunteers. It is a real treasure and obviously much loved as a ‘proper’ theatre space and was very much appreciated by the many players on stage on

Saturday May 15th.

New ‘hands’, new territoryIt used to be rare to have a youth group

appear at this prestigious, third round of the All England. This Festival rejoiced in two youth groups proving that they could take on productions by the more experienced groups. From Southern Division came Oasis Youth Theatre ‘A million to STOP THE TRAFFIK’ by Mark Wheeller, whose scripts are well-known and deservedly popular amongst schools and youth groups. Mark directed this talented team which is associated with Oasis Academy, Lord’s Hill, Southampton. Adjudicator Colin Dolley, GODA, was enthusiastic about their committment, energy and focus and sent this exciting production forward to the English Final as the Western Area winner. The other youth group were Ampersands from Sands School in Devon. They presented a ‘very different’ production of David Campton’s ‘The Cagebirds’, directed by Meryl Duff. A play that frequently appears in festivals was given a very imaginative and beautiful staging backed up by disciplined performances from a talented cast. This production received the adjudicator’s award. (See our report on the English Final for what happened next - ED).

Old ‘hands’, known valuesThe other two contestants have been ‘here’

before, having met at the Area final last year and having a history of Festival successes. Mercia Division winners were Whole Hog Productions from Wiltshire. They presented an original play, ‘The Last Supper’ by Phil Regan. Wessex Division were represented by the redoubtable Taunton Thespians. This well-established company staged work by well-established playwrights, to wit Neil Simon and Anton Chekhov. They played two of the ten vignettes that make up ‘The Good Doctor’, modern rewriting of not-so-well-known, very funny comedy.

Ron Roberts, with acknowledgement to source material by Ann Aplin.

POSITIONS VACANTFEATURES WRITERS

Amateur Stage is looking for voluntary contributors interested in writing features for forthcoming issues of the magazine.

Interested parties should email us together with a sample of their work and any features suggesstions they may have.

Email [email protected] in the first instance.

JUNE10_1-11.indd 8 14/06/2010 23:29:08

PANTOMIMESBy JOHN CROCKER

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AETF

Four teams were feeling the heat of competition at the English Final of the AETF at Burton on Trent on Saturday June 5th - and so were the audience as the temperatures soared! And what very different companies and productions they were. For the fi rst time ever not just one but two youth teams reached the English Final; Oasis Youth Theatre from Southampton with a play One Million to STOP THE TRAFFIK written especially for them by their director, Mark Wheeler and Saltburn ‘53 Drama Group (Youth) with an increasingly

popular play The Musicians written by Patrick Marber for Shell Connections and fi rst performed at the National Theatre in 2004.

The two other companies were Total Arts Community Theatre from Tamworth with The Mother Tree, an original play written by Peter Machen. This team were last year’s winners with Moll Flanders but this time put on a play with a completely female cast. The last play was one with an all male cast; The Dumb Waiter by Harold Pinter - a 20th century

classic- presented by the Wadham Players. Well there you go - who ever said one act festivals contained only one type of play - a cast of one man and one woman - feeling miserable!

The name Total Arts indicates a willingness to embrace the many forms of artistic expression and this was certainly borne out in this production which was visually stunning with its set consisting of black two-dimensional cut-outs and a back-lit white screen behind

FEELING THE HEATAETF ENGLISH FINALTheatre Companies from across England gathered in Burton On Trent recently for the AETF English Final. Ann Aplin looks at the days activities and the results of the coveted awards.

AETF.indd 2 14/06/2010 20:25:33


AETF

11

www.amateurstagemagazine.co.uk

which the crinoline-clad women appeared initially as silhouettes with movements and wigs reminiscent of Japanese theatre and whose movements followed a choreography that made them appear to fl oat. The clarity of this visual picture was intensifi ed by their decision to play it on a white fl oor cloth. The whole production was underscored by subtle and evocative music that never intruded. It was the well thought out and detailed visual impact of this production that will stay with me longest - I haven’t yet mentioned that the play was a retelling of the Cinderella story which according to the adjudicator, Paul Fowler, was known in ninth century China long before the Brothers Grimm got hold of it. The script

was not quite of Angela Carter quality but a variation on the Cinderella theme - with a modern twist.

It was easy to see why the directors of the second production , The Musicians , chose this play - it offers such splendid opportunity for a large youth group to explore various theatrical conventions. It is set on the stage of an empty opera house somewhere in Moscow that Alex, the young Russian cleaner, is sweeping in preparation for a rehearsal of an English comprehensive school orchestra which despite its inadequacies has somehow ended up giving a concert. It opens with a duologue between the Russian and a young

Englishman whose teacher has given him his fi rst opportunity to conduct. An opportunity for two contrasting performances here - in which one can practise his Russian! The arrival of the orchestra provides us with group speaking, interaction in which each member of the young cast has an opportunity to establish with very few words their own character and to work as a team. This company was very strong in this section and then moved on effectively to the section where , owing to the confi scation of their instruments by Customs they have to mime Tchaivosky’s Symphony Number 4. The ending is a song and dance routine centred round Alex whose air guitar is now a real one. Plenty for any young group to get their teeth

AETF.indd 3 14/06/2010 20:25:45

AETF


into there - and one which Saltburn attacked with energy and skill.

Cometh the hour cometh the man - or men, in this case Gus and Ben in Pinter’s disturbing play, The Dumb Waiter. I have seen productions in which the director has been too clever by half but this one was straightforward and as Paul Fowler pointed out true to the script. However for my taste it could have been more effective if underplayed. The script is full of ambiguities , hesitations, silences and pauses, and I feel that in such cases it is the actors’ job not to get between the script and the audience but let it speak as clearly as possible. We don’t want to be absorbed by the characterisations but by what is being said or happening - or not being said and not happening. I suspect every audience can be divided up into Pinter-lovers and Pinter-loathers but it speaks volumes for Wadham Players that they brought this classic work to the attention of an English final audience and held their attention until its dramatic ending..

The final company to storm on to the Brewhouse stage was Oasis Youth Theatre and I use the word storm advisedly as the sixteen strong cast swarmed and scrambled, climbed and attacked to the accompaniment of grunts and feral sounds as we began to see the plight of young people throughout the world who are the prey of employers, pimps, and traffickers. Dressed in dark STOP THE TRAFFIK tee shirts and loose trousers, with the Predators in scarlet tee shirts the cast took roles as African, Indian, European and British children and of their families and tormenters. Working with immense vigour, concentration, precision and control this team left us in no doubt at all about what happened and is happening to these children. The title is that of the charity Stop the Traffik and the catalyst of the story is a small group of brightly and ‘normally’ dressed social workers who work to get one million signatures to present to the UN. In common with many others I prefer my plays with a message to have rather more subtlety and allow me to make up my own mind but this cast is of the age to feel these moral issues with great intensity and rage (I remember my mother asking my teenage self not to be so intense - especially at breakfast!) and this feeling , enthused and motivated their performances and, skilfully directed, gained them the John Maude winner’s Trophy. They will be representing England at the British Final in East Kilbride on June 25th and 26th. The Paul Dyson Trophy (Adjudicator’s Discretion) went to Matt Savage and Charlie Wheeller, the Predators in One Million to STOP THE TRAFFIK and the Irene Gartside Trophy for Stage Decor to Total Arts Community Theatre.

The whole festival was a resounding success Burton-on-Trent is well served by this delightful civic Arts Centre with its welcoming foyer, dance and drama studios, and theatre space with a strongly raked auditorium that when you stand on the stage seems to stretch up and back for ever. However all four teams succeeded in communicating to the packed houses (it was a sell out) and we were all made very welcome by enthusiastic and friendly hosts. Councillors from both Staffordshire County Council and Burton Town Council were Central Area’s guests and I

am sure welcomed the many appreciative remarks, both formal and informal, made about their councils’ support of the arts and drama in particular. Also greatly appreciated was Amateur Stage’s sponsorship of this event, and it was good to meet the Editor in person, and not just as part of a telephone or e-mail exchange.

EDITORS NOTE: My thanks to everyone who made our visit to the AETF England Final so enjoyable. It was great to see so many great companies delivering such a great array of brilliant work.

Thank you to all the subscribers who took the opportunity to make themselves known

and say hi.

My congratulations to Oasis Youth Theatre, Matt Savage and Charlie Wheeler and Total Arts Community Theatre for their well deserved wins and to all the other groups who took part.

Thanks also to Roger, Jean and Ann for their continued support of Amateur Stage.

It was our pleasure to support this event and we look forward to next years final.

AETF.indd 4 14/06/2010 20:26:01

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THE MUSICAL PRODUCED



Once in a while there is a musical that comes along that changes the face of musical theatre forever. Showboat, Oklahoma, West Side Story and Les Miserables to name a few. Another to add to this list would be the Tim Rice / Andrew Lloyd Webber classic Jesus Christ Superstar which is enjoying a well deserved re-release to adult amateur societies to help celebrate the 40th anniversary of the show.

DarlingtonOS were very fortunate to be one of just a few UK societies to secure the rights to perform this emotionally charged show in April 2010. Fortunate in so far as we were all systems go to progress the planning of our chosen show of 42nd Street. One eagle eyed member of the committee saw an innocu-ous news item on the Really Useful Group’s website that the full amateur rights had been released and decided to set the wheels in motion. All plans for 42nd Street were put on the back-boiler as the entire committee felt this was an opportunity too good to be missed.

JESUS CHRIS SUPERSTAR

THE MUSICALThe premise for this emotionally charged

piece of theatre is, of course, the greatest story ever told. The last seven days in the life of Christ. However, the twist is that the story is told through the eyes of Judas (the real ‘star’ of the show), and instead of a narrative of Christ as the Messiah, the Son of God…. we are faced with the hopes and fears of simple men and women who know they have a call-ing but fi nd it diffi cult to understand why they have been chosen. Human emotions trying to understand a divine process…. powerful stuff indeed.

Jesus Christ Superstar is billed as a ‘rock opera’ - slightly out-dated terminology for the 21st Century, but it is a genre unlike any other, a fabulous mix of heavy, repetitive themes interspersed with some beautiful ballads. Requiring a small but powerful band combined with a stage full of actors and singers with huge vocal ranges, this musical is a massive challenge for any society.

CASTINGWhen a Society announce they have the

rights to perform Jesus Christ Superstar, news quickly gets around and you fi nd many, many people want to be involved. New member enquiries into the website shot through the roof and the Society eventually took in a record 18 quality new members - such is the draw of this show.

Being a sung-through piece, it was a strange feeling not having to learn any dia-logue for your audition…. but the lyrics are so well crafted, they offer so much scope to show a range of emotions within a short audition piece. With a passionate membership simply desperate to be a part of the production the audition day was a lengthy affair. The Direc-tor, Scott St Martyn, wanted to audition every member for the production - requiring only 36 to stage his vision of the show - competi-tion always bringing out the best in people. Even with an early morning start it was late afternoon when the full cast list was eventually

In celebration of the 40th Anniversary of Jesus Christ Superstar, Darlington OS staged an ambitious production of the hit musical. Julian Cound relates their experiences.

muiscal produced jcs.indd 2 14/06/2010 21:07:59



15


complete. A fine mix of existing members and new talent - Jesus played by Neil Harland in just his second show with the Society and Mat-thew McCabe as Judas - a newcomer to the Society and to musical theatre in general.

REHEARSALSScott St Martyn had directed for Darling-

tonOS several years ago so was no stranger to us. Having been in the professional production of Superstar with Paul Nicholas, it was clear that his understanding of the piece would be

incredibly detailed…. so it came as a surprise to learn that this would be the first time he had ever directed the show. How Scott directed the company was wonderful to watch. Almost workshop style but interspersed with deep thoughtfulness and an insight into historical fact allowing individuals to take from the piece their own deep-rooted emotional experience. Building a number, layer on layer… adding another fact or emotion for people to tap into, constantly striving for more, constantly encour-aging… it was clear from an early stage this

was going to be something special.

Rehearsals obviously started long before Scott arrived - with Musical Director Michael Trotter having the unenviable task of teaching 90 minutes of solid music in just 12 sessions. With the dedicated cast of 36 we soon had the harmonies cracked and were able to ‘run’ the show vocally ensuring we were ready for Scott to start floorwork.

It is often easy to let the emotion of the




piece overtake the performance and we have to admit to a lot of tears being shed throughout the rehearsal period.

COSTUMESA wonderfully colourful set of costumes were

made for us by X3 Costumes near Loughbor-ough. The set we were to use was the modern set from Scenic Projects. With the modernity of the set it was clear that costumes and creative lighting would be necessary to add the appropri-ate colour and feel for each different scene. So, we have the followers and crowds in beautifully ornate reds, blues, golds, greens and creams… 4 priests in full length black cloaks, Pilate in knee length leather boots, leggings, breast-plate and robes while Herod was resplendent in red top hat and tails.

SETAs previously mentioned we used the ‘SLX’

set from Scenic Projects…. A simple looking set but a huge piece of engineering. Two wide set of treads lead up to a platform which houses a huge triangular light-box. Each staircase has a second set of treads beneath them which are winched on tracks on and off stage to create a full width set of treads when fully closed. So simple but so effective. The light box offering

endless possibilities to add mood and colour.

Obviously this causes all kinds of problems when (as with all amateur societies) you only get to ‘see’ the set on technical rehearsal…. So all the moves you had planned to get you from down stage right, up the treads over the platform, down the stage left treads to end up down stage left usually took 10 bars of music in the rehearsal room… now it takes 18 bars on the actual set!

The cross - an integral part of every produc-tion of Superstar, was a major concern during rehearsals…. a heavy, solid cross which had to be choreographed into position then attached to a special hydraulic power-box placed within the treads. Christ is ‘nailed’ to the cross as it lays on an angle on the treads, when safely in position Roman guards lift the cross and Christ up to a vertical position…. Hydraulics then kick in and Christ is lifted 16 feet up above the stage… such a powerful image.

PROPSOriginally the Director wanted live sheep,

goats, chickens and doves for the ‘Temple Scene’ but having looked into the logistics of

this it would have meant reams and reams of paperwork from the Ministry of Food and Agriculture to ensure we got licenses to move the animals every night to and from the thea-tre… with the way legislation is going the term ‘never work with children or animals’ will soon turn into ‘you are not able to work with children or animals’.

SOUNDThe score for Superstar is completely differ-

ent to any other show on the amateur circuit. We used the services of a new sound team who balanced the orchestra and performers brilliantly. With a shallow pit there was some natural over-spill of sound into the front of the stalls but this was unavoidable.

CONCLUSIONJesus Christ Superstar is a very special

show. There was closeness, a special bond between every member of the cast which is still evident some 3 weeks after the final cur-tain fell. A production which will live long in the memory of each and every person involved, on stage, back stage and front of house…. and by the reaction from the fabulous audiences it attracted, by everyone who came to see it too.


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FIRST NIGHT INSURANCE

19


I have just had an Amateur Dramatic Society contact me, particularly concerned about one aspect of the Insurance package we provide. Apparently it came up at a recent committee meeting in that the committee members felt that the benefits provided under the Personal Accident Section of the First Night Policy were low and inappropriate to current day needs.

I accepted what the Chairman of the Society was saying to me, but then tried to explain the rationale behind why the benefits were at the current levels.

It is interesting that the Society are, I would point out at this juncture, not alone in raising their concerns but the main point at issue is that the Insurance Policy is designed to cover what is, in effect, a hobby. As I am sure you are all now well aware, the main reason for the existence of the package is to provide Societies with the opportunity of arranging Public Liability Insurance at a reasonable price.

The Personal Accident extension is a fringe benefit and must be treated as such. It cannot be any more than that for the following reasons:

1. The Insurance premium itself is a package premium, with various component sections, all of which have to be costed by the Insurance Company. A vast majority of the premium is used to buy the Public Liability and Material Damage (Property Insurance) Sections. The Cancellation and Employers’ Liability Sections use up quite a small element of the cover, which leaves the Personal Accident Section as the least expensive element.

If I was asked to place a Personal Accident Insurance for a company, the Underwriters would need certain information in order to correctly rate the risk. The most important question is the proposers occupation. This is because Underwriters need to gauge the likelihood of an accident taking place at work and, if you stop to consider this for a moment, you will see that where you are dealing with an Amateur Dramatic Society, the members’ occupations can be many and varied, ranging from a non-hazardous occupation such as secretary, accountant or lawyer to something that could be considered extremely hazardous such as a North Sea Oil Rig worker and this is the problem because you do not know what the occupations of your members are, nor the degree of hazard to which they are exposed.

2. As far as the level of benefit is concerned, again we are not trying to replicate cover that is suitable to an individual’s needs. If that individual feels that they should have Personal Accident cover then they should have a Policy in their own name and not be reliant upon the cover provided by the Amateur Theatre Package. The weekly benefit which we provide is not designed to replace somebody’s income, it is there as an out of pocket expenses item.

One of the other underwriting criteria when providing a quotation for Group Personal Accident Insurance is the level of benefits required by the individuals. This is normally shown as a percentage of someone’s salary, the standard level being somewhere between 75-100% of their Gross Weekly Wage. When you think about all the different members of your Society and their salary range, you can see that it is impossible for you to adequately provide a level of cover under the Personal Accident Section that will be suitable to everybody’s individual needs.

Of course, the overwhelming argument is why should an Amateur Society provide this level of benefit for their members? Why should the member feel that, just because they are engaged in their hobby that

they have any more cover than if they were out shopping and had an accident in the supermarket?

Going back to the original telephone conversation I had with the Chairman of the Society, having discussed this matter at great length with him, he fully appreciated the situation and was referring back to his Committee and this is, of course, the major point and the reason why I am devoting part of this particular article to this issue. I would suggest that your members are made aware that the Personal Accident benefits under an Amateur Theatre Policy are not substantial and that, if they are concerned about it, they effect their own individual Policy that would be tailored to their specific needs.

There is a small article in this week’s “Stage” newspaper indicating that Equity Council are being instructed to negotiate a new clause in an actor/musician’s contract to cover the cost of hire, maintenance and insurance costs should the actor/musician be asked to provide their own instruments in a production. I am pleased to say that the First Night Insurance Policy automatically insures such instruments as long as you are responsible for them and that the overall sum insured covering all equipment is adequate.

PERSONAL ACCIDENTINSURANCE QUESTIONSRobert Israel ASCII from Gordon & Co discusses the latest insurance issues affecting amateur theatre.

insurance.indd 3 14/06/2010 21:10:01

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3 Plays: Don’t Mention the DreaM, Moving on, & there’s soMething about bernarD22 - 24 July 2010Lancing Repertory PlayersLancing Parish HallLancing, W. Sussex01903 243558

42nD street31 August - 04 September 2010Bridport Musical Theatre CompanyBridport Arts CentreBridport, Dorset01308 424204

aDventures of huckleberry finn16 July 2010Weymouth Drama Club Curtain RaisersPavillion TheatreWeymouth, Dorset01305 783225

alaDDin Jr08 - 09 July 2010New Directions Theatrical SocietyTheatr ElliLlanelli, Carmarthenshire0845 226 3510

alice in WonDerlanD17 - 17 July 2010Centre Stage North EastSunderland EmpireSunderland, Tyne and Wear0844 8472499

all that Jazz14 - 17 July 2010Runnymeade Drama GroupRiverhouse Barn TheatreWalton-on-Thames, Surrey01932 253354www.rdg.org

allo ‘allo02 August - 14 September 2010Kidz R UsSt Ives TheatreSt Ives, Cornwall01736 797007

alls Well that enDs Well07 - 10 July 2010Castle PlayersGrounds of the Bowes MuseumBarnard Castle, Durham0800 074 7080

anD then there Were none14 - 17 July 2010Shawbury Village PlayersActon Reynald HallShrewsbury, Shropshire01743 281287

annie01 - 02 July 2010Glow Theatre GroupBarn TheatreOxted, Surrey01883 720167www.barntheatreoxted.co.uk

29 - 31 July 2010Bradford Stage and Theatre SchoolLord Kalms TheatreBradford, W Yorks0871 230 0010

art11 - 14 August 2010Wick Theatre Co.Barn TheatreSouthwick, W. Sussex01273 597094www.wicktheatre.co.uk

baD girls13 - 17 July 2010HUMDRUMNew Theatre RoyalPortsmouth, Hampshire023 9264 9000

bare - the Musical19 - 21 August 2010Giselle AcademySt. Peter’s TheatreSouthsea, Hampshire023 9264 3385

beauty anD the beast23 July - 01 September 2010Kidz R UsSt Ives TheatreSt Ives, Cornwall01736 797007

29 - 31 July 2010Billboard Ensemble BarryMemorial Hall & TheatreBarry, Vale of Glamorgan01446 733625

25 - 28 August 2010Present CompanyBuxton Opera HouseDerby, Derbyshire0845 1272190www.derbyartsandtheatre.org.uk

billy elliot22 - 24 July 2010Llandudno Youth Music TheatreVenue Cymru ArenaLlandudno, Conwy01492 872000

blooD brothers14 - 21 August 2010HIADSStation TheatreHayling Island, Hampshire023 9246 6363

boyfrienD, the25 - 28 August 2010Centre Stage TheatreBuccleuch CentreLangholm, Dumfriesshire01387 381196

bugsy Malone02 - 04 July 2010NOMADSNomad TheatreEast Horsley, Surrey01483 284717www.nomadtheatre.com

15 - 17 July 2010Musicality Academy of Performing ArtsPenyrheol TheatreGorseinon, Swansea01792 897039

cash on Delivery22 July - 02 September 2010Whitby Amateur Dramatic SocietyWhitby Pavilion TheatreWhitby, North Yorkshire01947 604855

charley’s aunt07 - 10 July 2010Staines PlayersRiverhouse Arts CentreWalton-on-Thames, Surrey01932 253354www.stainesplayers.com

chess25 - 28 August 2010Dionysis Theatre CompanyGala TheatreDurham01388 815105

Disco inferno03 - 07 August 2010Worcester O & D SSwan TheatreWorcester, Worcs01905 423809

Dog in the Manger, the22 - 31 July 2010Chelmsford Theatre WorkshopThe Old Court TheatreChelmsford, Essex01245 606505

Don giovanni13 - 17 July 2010Somerset OperaKings CollegeTaunton, Somerset01823 324025

Dracula14 - 17 July 2010Zenith Theatre CompanyKingswood TheatreBath, Somerset01225 835301

Dracula sPectacula08 - 10 July 2010Thornton Cleveleys A O SLittle TheatreThornton Cleveleys, Lancashire01253 860856

Dresser, the14 - 17 July 2010Rustington PlayersWoodlands CentreRustington, West Sussex01903 774849www.rustingtonplayers.org.uk

farnDale avenue hous-ing estate toWnsWoMen guilD DraMatic society’s ProDuction of a christ-Mas carol01 - 03 July 2010Leighton Buzzard Drama GroupLieghton Buzzard TheatreLeightong Buzzard, Beds

faWlty toWers12 - 17 July 2010South Shields Westovian Theatre SocietyWestovian TheatreSouth Shields, Tyne & Wear0191 456 0980

fiDDler on the roof02 July 2010Livewire Opera CompanyQueen HallWatton, Norfolk01953 851543

03 July 2010Livewire Opera CompanyPublic HallBeccles, Suffolk01953 851543

fings ain’t Wot they useD t’be28 - 31 July 2010The Nomads & Mid Surrey Theatre Co.Nomad TheatreEast Horsely, Surrey01483 284747www.nomadtheatre.com

footloose08 - 10 July 2010Footloose MusicalsCivic HallEllesmere Port, Cheshire07712 674862

gilbert anD sullivan14 July 2010Tunbridge Wells O & D SThe Opera HouseTunbridge Wells, Kent01732 355363

going for golD24 - 25 July 2010The Nomads Nomad TheatreEast Horsely, Surrey01483 284747www.nomadtheatre.com

gonDoliers28 July - 01 August 2010Opera OptionsHever CastleHever, Kent01732 866114

granD night for singing, a16 - 17 July 2010Tynemouth Amateur Operatic SocietyKings Hall SchoolTynemouth, Tyne and Wear0191 252 1827

guys anD Dolls15 - 17 July 2010Erewash Musical SocietyDuchess TheatreLong Eaton, Notts01332 875350

hay fever01 - 04 July 2010John Lewis Partnership D SOdney ClubMaidenhead, Kent07977 070211

26 - 31 July 2010Marlowe PlayersDarley Abbey Village HallDerby, Derbyshire07961 607372

high school Musical13 - 17 July 2010St Andrews PlayersAshville CollegeHarrogate, N Yorks01423 883070

high school Musical 215 - 17 July 2010The Kings Lynn PlayersSpringwood High SchoolKing’s Lynn, Norfolk01553 765260

22 - 28 August 2010Trowbridge A O STArc TheatreTrowbridge, Wiltshire0845 299 0476

honk!11 - 18 July 2010Centre Stage Theatre ArtsMill Hill SchoolRipley, Derbyshire01332 232940

JaMes anD the giant Peach02 - 03 July 2010HIYAStation TheatreHayling Island, Hampshire023 9246 6363

Jesus christ suPerstar20 - 24 July 2010Wisbech A O & D SSt Peter and St Pauls ChurchWisbech, Cambs07857 887059

20 - 24 July 2010Day 8 ProductionsPlayhouseWhitley Bay, Tyen and Wear0844 277 2771

Journey arounD the WorlD16 - 18 July 2010Combined CompaniesSt. Peter’s TheatreSouthsea, Hampshire0845 293 9350

lieutenant of inishMore02 - 03 July 2010Portchester PlayersAshcrodt Arts CentreFareham, Hampshire01329 223100

little night Music, a18 - 21 August 2010Revellers Music & Dramatic SocietyPeterborough High SchoolPeterborough, Cambs01733 755176

SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>

diary june.indd 4 14/06/2010 21:12:33

AMATEUR STAGE | JUNE 2010 21

Rumours performed by The Petuaria Players

SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>LittLe Shop of horrorS22 - 24 July 2010The Quay PlayersEdward Alleyn TheatreDulwich, London020 8690 4925

09 - 14 August 2010Padiham Performers SocietyShuttleworth CollegePadiham, Lancs07854 069040

Man of no iMportance, a14 - 17 July 2010Good CompanyBarn TheatreOxted, Surrey07583 035709www.barntheatreoxted.co.uk

MichaeL frayn coMedy doubLe biLL28 - 31 July 2010Forest PlayersParish HallEast Grinstead, W. Sussex01342 323640

MidSuMMer night’S dreaM28 July - 07 August 2010Eastbourne O & D SItalian GardensEastbourne, E. Sussex0871 6630031www.eodsinfo.co.uk

Mikado, the28 June - 03 July 2010Havant Light OperaSpring Arts & Heritage CentreHavant, Hampshire023 9247 2700

MuSicaL MayheM01 - 03 July 2010The Orchard PlayersVillage HallChapel St Mary Ispwich, Suffolk07761 782456

My fair Lady08 - 10 July 2010Havering Music MakersQueens TheatreHornchurch, Essex01708 762256www.haveringmusicmakers.co.uk

night at the MovieS, a18 July 2010Starzmarkerz Theatre SchoolBarn TheatreOxted, Surrey07771 595171www.barntheatreoxted.co.uk

night at the MuSicaLS, a08 - 10 July 2010Lees Street CC AMDSLees St. Church HallManchester, 0161 231 0004www.amdram.piczo.com

oh What a LoveLy War13 - 17 July 2010Dynamo Youth TheatreSt Faith’s ChurchHavant, Hampshire023 9245 4244

okLahoMa!01 - 03 July 2010Tipton ARTSDormston Mill TheatreSedgley, W Mids01384 816389

oLiver!20 - 24 July 2010Weymouth Operatic SocietyPavilion TheatreWeymouth, Dorset01305 783225

our houSe07 - 19 July 2010Whitworth A M & D SCurtain TheatreRochdale, Lancs07947 609277

05 - 07 August 2010Centrestage Productions Youth TheatreThe PointEastleigh, Hampshire0238 065 2333

pajaMa gaMe13 - 17 July 2010Appeal Theatre GroupThe New Wolsey TheatreIpswich, Suffolk01473 295900

paStiche & LaSt bread pudding01 - 02 July 2010HATSMechistoun HallHorndean, Hampshire023 9259 7114

pirateS of penzance jr14 - 16 July 2010Crigglestone Theatre CompanyLupset Lodge Social ClubWakefield, W Yorks0795 600 1834

16 - 17 July 2010The Elizabethans A O STown HallOssett, W Yorks01924 265248

pLay in a Week19 - 25 July 2010The Nomads Nomad TheatreEast Horsely, Surrey01483 284747www.nomadtheatre.com

rent06 - 10 July 2010Gallery PlayersNew Wolsey TheatreIpswich, Suffolk01473 295900

rope18 - 21 August 2010The Nomads Nomad TheatreEast Horsely, Surrey01483 284747www.nomadtheatre.com

roSeS of eyaM, the08 - 10 July 2010Henfield Theatre CompanySt Peter’s Church and ChurchyardHenfield, W Sussex01273 495220

SaLad dayS15 - 17 July 2010Sunningdale Savoy ChorusSt Mary’s SchoolAscot, Berks01344 297347

diary june.indd 5 14/06/2010 21:13:01

The ST UrSUla PlayerS - The lady in The Van


Sauce for the GooSe13 - 17 July 2010Carlton dramatic Societynew Wimbledon Studio TheatreWimbledon, london0844 871 7646

Secret Garden, the21 - 24 July 2010harlow Theatre Co.Victoria hall TheatreOld harlow, essex01279 460062

ShowStopperS15 - 17 July 2010South downe Musical SocietyFerneham hallFareham, hampshire01329 231942

SinGin’ in the rain13 - 17 July 2010Torbay O & d SPrincess Theatre, Torquay, devon01803 290371

Suddenly laSt Summer07 - 10 July 2010harrogate dramatic Societyharrogate Theatre Studioharrogate, n yorks07770 630299

Summer holiday07 - 10 July 2010highbury little Theatrehighbury little TheatreSutton Coldfield, W Midlands0121 373 2761

21 - 24 July 2010Starlight Theatre Companyloughborough Town hallloughborough, leicestershire01509 231914

11 - 14 august 2010Kenley holiday WorkshopBarn TheatreOxted, Surrey01883 331400www.barntheatreoxted.co.uk

that’S life30 June - 03 July 2010Stage door Theatre Co.Windmill enetertainment Centrelittlehampton, W. Sussex01903 722224

tonS of money31 august - 04 September 2010halifax Thespianshalifax Playhousehalifax, W. yorkshire01422 365998

twelfth niGht30 June - 03 July 2010Mikrokosmos Theatre Co.Theatr ClwydMold, Wales01691 777074www.mikrokosmos.co.uk

Verdi - a maSked Ball01 - 03 July 2010Southgate OperaWyllyotts TheatrePotters Bar, herts020 8372 2383

waitinG for Godot21 - 24 July 2010lighted Fools Theatre Co.riverhouseWalton-on-Thames, Surrey01932 253354www.lighted-fools.co.uk

waitinG in the winGS05 - 11 July 2010The Progressive Playerslittle Theatre GatesheadGateshead, Tyne& Wear0191 478 1499www.littletheatregateshead.com

wannaBe07 - 09 July 2010Formby youth TheatreFormby little TheatreFormby, Merseyside01704 875821www.formbytheatre.com

weSt Side Story14 - 17 July 2010Upstagers ilkleyalbanbra TheatreBradford, West yorkshire01274 432000

wizard of oz, the01 - 03 July 2010Our lady Star of The Sea a O & d SOur ladys Social Centrelytham St annes, lancashire01253 721060

07 - 10 July 2010College amateur Operatic SocietyKenneth More Theatreilford, essex020 8553 4466

03 July - 07 august 2010young GenerationThe PolyFalmouth, Cornwall01372 375756

wyrd SiSterS27 - 31 July 2010really necessary Travelling actorsnew Theatre royalPortsmouth, hampshire023 9264 9000

yeoman of the Guard08 - 10 July 2010downland SingersStation Theatrehayling island, hampshire023 9261 7097

SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>

diary june.indd 6 14/06/2010 21:13:47

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WEST END

25


Women BeWare Womenolivier TheaTre, naTional TheaTre

There might not seem much humour in mur-der, rape and incest, but Thomas Middleton’s classic 17th-century play comes to life in the hands of director Marianne Elliott who draws out its comic potential. Inspired by the Medicis as well as scandals closer to home, it opens lightly with newlywed Leantio bringing home his young bride Bianca to live with his mother. While he is away on business, the two women are sucked into the corruption of the Duke of Florence’s court, where Bianca is seduced and becomes part of the dark world of deception.

At the heart of the depravity is Livia, a widow who plays people as cunningly as she plays chess, performed with feline charm by Harriet Walter. She not only helps the duke seduce Bianca but also tricks her own niece, Isabella, into a relationship with an uncle, before she herself seduces the much-younger Leantio, setting in motion the wave of murderous destruction that engulfs the play. Despite the moralising of the title, it is the female charac-ters who provide the most psychological depth. Lauren O’Neil has to portray Bianca’s descent from coy young bride to cunning adulterer, while Vanessa Kirby’s Isabella manages to balance her disgust at incest with a carefree willingness to commit adultery.

Middleton’s language is rich in wit and irony, making the audience delight in the subtly crafted intrigues of the plot. Elliott’s produc-tion brings out the amorality of the characters who go out of their way to undermine family values, encouraging us to laugh as we witness a world where corruption and hypocrisy are out of control.

DeBBie reynolDs: alive anD FaBulousapollo TheaTre, lonDon

London has suffered a recent spate of diva disappointments: Julie Andrews sitting on the sidelines at the O2, Shirley Jones cutting short her poorly received West End show and Stephanie J Block cancelling due to food poi-soning. But legendary Hollywood star Debbie Reynolds proved how it could and should be done, with her Alive and Fabulous show. At 78, she toured 15 towns and cities around the UK before a two-week run in the West End.

Despite her age, she sang and danced like a woman many years younger, reminding us still of the star who first shot to stardom in Singin’ in the Rain in 1952. With her own band on stage, she belted out standards from the Great American Songbook as well as some more modern ballads, including her one chart-topper Tammy – “my greatest hits”. As well as giving us anecdotes about her co-stars, she showed clips from some of her screen roles, providing witty and touching commentary and even sing-ing along with her younger self.

It made it truly a celebration of a career spanning over 50 years, offering nostalgia for fans who know her from her films and entertainment for those who may only know her as Grace Adler’s eccentric mother in Will and Grace. The show also provided one of the most surreal moments in musical theatre when the Hollywood legend re-appeared on stage in a straight wig and false nose to treat us to a remarkable Barbra Streisand impression, com-plete with adenoidal Brooklyn Jewish accent. For the rest of the show, she flitted around in a sparkly outfit daringly slashed up to the waist, proving that she is very much alive and fabulous.

WEST END.indd 3 14/06/2010 21:16:20

PLAYSCRIPTS


PLAYSCRIPT REVIEWS - JUNEDavid Muncaster reviews the latest playscript releases.

PLAY OF THE MONTHCLING TO ME LIKE IVYAUTHOR: Samantha EllisPUBLISHER: Nick Hern BooksISBN NO: 9781848420656CAST: 3M 3FRECOMMENDED RETAIL PRICE: £8.99

Cling To Me Like Ivy was inspired by Sheitel-gate; an event that, I admit, passed me by but that had huge impact in the orthodox Jewish world. Incredibly, the whole thing was sparked by a chance remark from Victoria Beckham when, during a TV interview, she was asked if the hair in her extensions came from Russian prisons. She made light of it but it sparked an investigation into the origin of the hair that makes up the wigs, or sheitels, worn by married orthodox Jewish women who cover their heads according to rules of modesty. It was a Rabbi who discovered that much of the hair came from a Hindu temple in India where the hair was removed from women’s heads as part of a religious ceremony. As Hindus worship Idols it was suggested that the wearing of these wigs contravened Jewish law.

Samantha Ellis’ play centres around Rivka, a young Jewish woman who has just bought her fi rst sheitel ahead of her impending wedding; her relationship with her father, a Rabbi, and her best friend Leela who is Hindu. Rivka’s grandmother, fi ancé and Leela’s tree-saving boyfriend, Patrick, make up the rest of the characters, all of whom play an important role as the story develops. The play is beautifully written: the dialogue has pace and humour, the characters are engaging and the storyline is sharp and elegant.

The turmoil caused by Sheitel-gate leads to Rivka questioning her faith until, full of doubt, she crosses a line. Then, having taken that small step, she rushes headlong into a world that she barely knew existed. She joins Patrick in his tree protest. The pair drink kosher wine followed by beer and Bourbon Creams before making love. In the morning she is arrested and then brought home by her father to answer for her behaviour. She has no answers, only questions, but in an emotional climax a father’s love for his daughter defeats all other concerns.

Cling To Me Like Ivy is an intelligent play. It educates and informs yet is accessible, witty and always entertaining: A remarkable piece of theatre from a supremely talented playwright.

A CANTERBURY TALEAUTHOR: Richard MacaulayPUBLISHER: Drama Association of WalesISBN NO: 1898740860CAST: 7M 3F

A Canterbury Tale is set in the parlour of The Hope Inn, Canterbury, in 1388. Geoffrey Chaucer has been summoned by his friend, Sir Simon Burley, to warn him that they are in danger. A group of Barons are bringing charges of treason against anyone who had been close to the young Richard II. Before leaving the city, Chaucer had been comptroller of the Port of London, whilst Burley was the Constable of Dover Castle and Warden of the Cinque Ports. Although Chaucer does not believe his former position is important enough to justify his arrest, Burley is preparing to fl ee, but just as he is pulling on his boots, the Kings Marshall arrives and he is arrested.

They had been joined in the parlour by a haphazard assembly of pilgrims and local characters, one of whom, the slimy Stoate, points out Chaucer to the Marshall who concurs that he is, indeed, ‘on the list’. However; the others make a fool out of the Marshall and Chaucer is spared.

A Canterbury Tale is an ambitious one act play. The dialogue feels authentic, yet is easy to follow and the story is, at least in part, based on historical fact. The clever thing, though, is that the persons assembled in the inn are the characters that are featured in Chaucer’s Canterbury Tales.

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CALENDAR GIRLSAUTHOR: Tim FirthPUBLISHER: Samuel FrenchISBN NO: 9780573110672CAST: 4M 10F

Tim Firth is responsible for one of my own more memorable experiences in theatre. Some years ago I played Gordon in an amateur production of Neville’s Island. At the end of one evening the Front of House Manager informed me that a couple had walked out during the interval vowing never to return to that particular theatre again. When she enquired what had angered them they replied, ‘That Gordon!’ Well at least it wasn’t the acting. I cannot see Calendar Girls causing such offence, even allowing for that one thing that everyone knows about this play.

The nudity is brief and hidden from the audience but, all the same, any society planning to put this on will need to ensure that they have a game bunch of girls in their number as well as a theatre that is free from draughts. Well, they will once this play becomes available for amateur production: it is not possible to obtain a licence at present, though that fact has not harmed sales of the script.

The play is, of course, based on the true story of a group of ladies from a Women’s Institute in Yorkshire who created a nude calendar to raise money for leukaemia research. As the action starts we are in Knapeley Church Hall where Cora is belting out ‘Jerusalem’ which is doing nothing to enhance the atmosphere of ‘Eastern Mysticism’ that Chris is attempting to enjoy as part of her t’ai chi class. Time passes and the girls celebrate each new season in their own unique way. As Chris wryly points out, ‘If more people did WI, there’d be half the need for hallucinogenic drugs’.

There are plenty of laughs but amongst them are huge dollops of pathos. Anne’s husband, John, has ‘got his results,’ as the play begins and with the passing of time his treatment intensifi es and his condition worsens. Anne’s visits to Skipton Hospital are not improved by the dreadful sofa in the waiting room and, when her husband dies, her modest ambition is to raise enough money from the sale of next year’s WI calendar to buy the hospital the ‘John Clarke Memorial Settee’. With Chris at her side she presents the group with a selection of calendars that have outsold pictures of churches in recent years. In short, the proposal is that, instead of producing a WI calendar of spectacular views, they will produce a calendar of spectacular views of the WI!

We get the photo shoot out of the way at the end of act one, just in time for any outraged members of the audience to storm out. Act two deals with the media frenzy, the fame and the effects that the girls’ actions have on the lives of complete strangers who fi nd, to their astonishment, that they are able to smile at a picture on a page that has the word ‘leukaemia’ on it. The play ends with the revelation of how much money they have raised – the target was fi ve hundred and nineteen pounds – and, though I won’t be giving anything away by saying that they raised considerably more than that, it is impossible not to be moved by the warmth, compassion and downright decency of these women.

CONVERSATIONS IN HALLWAYS AUTHOR: Carole BuggePUBLISHER: www.productionscripts.com ISBN NO: noneCAST: 3M 3F 1M Voice

Conversations in Hallways is a warm and funny play about relationships. Harry and Carl are best friends: Harry is seeing Michelle but things are not well between them; and the three of them are all currently rehearsing a musical that has great music, but dreadful lyrics written by the ultra-confi dent Steve. Michelle fl irts with Carl but Harry seems unconcerned. He considers ‘Jealousy (to be) an outmoded expression’. Exasperated, Michelle asks Carl, in front of Harry and Steve, if he would like to sleep with her. He would, of course, and Harry refuses to stand in his way. Carl almost begs him to tell him to ‘keep my hands off your girl’. But, to Harry, it is politically incorrect to consider another person as a possession.

Just as we become convinced that Harry is an insensitive fool the story takes a turn and we realise that his behaviour is an attempt to help Michelle overcome her deep seated insecurity. Then we learn that Michelle is not quite what she seems, nor indeed is she how Harry describes her. As the characters reveal hidden depths they become

Tracy Beaker Gets Real!A musical for children and young people

Book and lyrics by Mary Morris Music and additional lyrics by Grant Olding

Based on The Story of Tracy Beaker by Jacqueline WilsonCast M2-5 F4-11. Chorus

sCene Various simple settings

The most popular teenager in Britain comes to the stage! Tracy Beaker Gets Real has been adapted by Mary Morris with music by Grant Olding from one of the

most successful children’s books ever, Jacqueline Wilson’s The Story of Tracy Beaker. We join Tracy, aged 15, as she returns to the “Dumping Ground” and looks back on the last four years of her life, from being fostered — and dumped, to finding a happy home with writer Cam. When Tracy’s mum unexpectedly reappears in her life, Tracy hopes that her days of being passed around like a parcel are over, but she

soon comes to realize that the people she has always tried to push away are the ones she really needs the most. Touching and very funny, this play brings Tracy Beaker’s trademark talent for troublemaking, fun and friendship to any production.

Libretto £8.95

Music - vocal score, chorus books and backing tracks are available on hire

Perusal material is available.

For this and over 2000 other plays to perform, visit our secure website:

French’s Theatre Bookshop52 Fitzroy St London W1t 5JR

Tel: 020 7255 4300 Fax: 020 7387 2161Email: [email protected]

NEW RELEASE!

most successful children’s books ever, Jacqueline Wilson’s Beaker15, as she returns to the “Dumping Ground” and looks back on the last four years of her life, from being fostered — and dumped, to finding a happy home with writer Cam. When Tracy’s mum unexpectedly reappears in her life, Tracy hopes that her days of being passed around like a parcel are over, but she

samuelfrench-london.co.uk

Samuel French LtdThe play publisher

theatre again. When she enquired what had angered them they replied,


http://www.samuelfrench-london.co.uk

PLAYSCRIPTS



more real and this makes the somewhat surprising twists in the tale more acceptable. I enjoyed this play: it is uplifting, engaging and written with great skill.

DISCONNECTAUTHOR: Anupama ChandrasekharPUBLISHER: Nick Hern BooksISBN NO: 9781848420854CAST: 3M 2F

A couple of years ago the newspapers were full of stories about call centres based in India where the staff were taught to speak with English accents and watched episodes of Eastenders and Coronation Street in an attempt to fool customers into believing that they were based in the UK. These stories encouraged us to be either amused or scandalised (depending on the newspaper) that the operators knew precisely what the weather was currently like in our part of the country but had no idea whether Newcastle was north or south of London. Then, as more British companies started to ‘offshore’ their call centres, and people started to lose jobs, there was a noticeable backlash against this practice. A friend of mine, who worked on a help desk, was once challenged by a caller as to where, precisely, the help desk was located. The answer to that question was ‘Crewe’ and my friend is, in fact, Welsh.

Disconnect is based at a call centre in Chennai, India, where the operators are chasing payments owed to an American credit card company. Avinash is one of the supervisors and is being given a dressing down by his young boss Jyothi. The problem is that he is under-performing and cannot be allowed to remain in his section that is responsible for collecting payments from customers in New York. He is, effectively, being demoted and moved to Illinois – a small team on the fourth fl oor.

Life in Illinois is frenetic. Ross, Vidya and Giri are constantly on the telephone trying to persuade their ‘delinquent’ customers to make payments on their cards whilst there is much chat amongst themselves between and even during calls. Avinash doesn’t like what he sees. He believes in doing things by the book and this team, Ross in particular, breaks all the rules.

For the workers in the call centre one day is pretty much like the next. It’s the same old thing day after day and, unfortunately, I felt that the same could be said for the many scenes in this play. As the plot develops, Ross foolishly falls for one of his customers and commits a serious breach of policy; Vidya is devastated to learn that one of her customers took his own life soon after her call demanding payment and Giri eventually escapes life in the call centre, but there was too little variety to keep me interested.

DUETSAUTHOR: Peter QuilterPUBLISHER: Samuel FrenchISBN NO: 9780573111112CAST: Min 1M 1F

Duets is a collection of four short plays that may be performed individually or as a single production. Each play examines relationships and features just two characters, hence the title and the suggested link music to bridge the scenes.

The fi rst of the plays is ‘Blind Date’ which introduces us to an elderly pair seeking romance. Although the bespectacled Wendy and the toupee’d Jonathan were both clearly economical with the truth when they described themselves in a dating magazine, when Wendy arrives at Jonathan’s apartment, clutching a huge block of cheese, she does not seem too disappointed. Quilter beautifully captures the nervousness of two strangers trying to make light-hearted conversation, and the scene works very well if one is able to put aside the idea that it is unlikely that any woman would agree to meet a stranger at his apartment.

The second story concerns Barrie, a successful gay man who cannot live without the organisational skills of secretary, Janet, who is looking for a husband. The trouble is that she doesn’t want any old husband, she wants Barrie and, despite the obvious impediment, the arrangement does seem to have its advantages.

In ‘Holiday’, Bobby and Shelly have decided to go to Spain and consume a large number of cocktails before discussing the fi ner points of their forthcoming divorce and, in the fi nal story, Angela is about to embark on her third marriage regardless of the fact that all the signs are that this is a very bad idea.

In all four plays the characters are believable and endearing whilst the dialogue is entertaining throughout. My one reservation is that, at times, the script reads like a series of gags. For example, Wendy’s vegetarian ex-husband and Barrie’s order for a new bed have no relevance to the plot and were forgotten after a couple of funny lines which would have been more at home in a stand up comedy routine than a piece of theatre.

LIFE IMITATES ARTISTAUTHOR: S. W. SenekPUBLISHER: www.productionscripts.com ISBN NO: noneCAST: 3 not specifi ed

Life Imitates Artist is a short play in which three painters seek to achievethe notoriety of the recently deceased Vincent Van Gogh. They have already each cut off an ear and they are now deciding which of their number will take his own life; thereby allowing the other two to benefi t from having been associated with the tortured artist. Artist A has, literally, drawn the short straw but he is none too happy about it, whilst the others try to persuade him to do the honourable thing.

There is plenty of Three Musketeers type silliness, with paintbrushes in place of swords, and the play is entertaining throughout. However, this said, the ten minute play market is rather saturated, particularly in America, and I don’t feel that Life Imitates Art is exceptional enough to make it stand out.

MEDEAAUTHOR: Tom Paulin from the original by EuripidesPUBLISHER: Nick Hern BooksISBN NO: 9781848420946CAST: 3M 5F plus chorusRECOMMENDED RETAIL PRICE: £8.99

A married couple spilt up. He has given into lust and the chance to do a bit of social climbing. She is left with the kids. Punished for something that was not her fault she extracts a terrible retribution. This is the synopsis of Medea which earned Euripides third place in a playwriting competition in Athens two and a half thousand years ago. Actually, only three playwrights entered the competition so, in effect, Euripides came last. Since then, Medea has become a most popular Greek tragedy featuring, as it does, one of the strongest female roles in the history of theatre and has been adapted many time into many different forms.

Shortly after Medea takes the stage she is ordered to leave the city of Corinth by the king, who happens to be the father of the woman that Jason, Medea’s husband, is now planning to marry. She begs him for one more day in the city to make her plans, and her wish is granted. As the king leaves she vows to ‘turn their marriage into darkness’, and ‘blacken the day they chose to banish me’. She makes a fool of the king of Athens, the city where the play was fi rst performed, then sets about her murderous revenge.

Northern Broadsides toured with this version of Medea early in 2010 to mixed reviews but I found the script compelling, modern and accessible.

MRS AFFLECKAUTHOR: Samel AdamsonPUBLISHER: Samuel FrenchISBN NO: 9780573112898CAST: 5M 4F 4 Other

Henrik Ibsen’s Little Eyolf debuted in Berlin in 1895 and tells the story of the Allmers and their disabled son, the Little Eyolf of the title. His disability arose when he fell from a table as a baby whilst his parents were too busy making love to care for him. Samuel Adamson’s adaptation moves the story to 1950’s England: The Allmers are now Rita and Alfred Affl eck and their son is Oliver; the Rat Woman of the

introduces us to an elderly pair seeking romance. Although the

years ago. Actually, only three playwrights entered the competition so,

of Corinth by the king, who happens to be the father of the woman that Jason, Medea’s husband, is now planning to marry. She begs him for one more day in the city to make her plans, and her wish is granted. As the king leaves she vows to ‘turn their marriage into darkness’, and

of Athens, the city where the play was fi rst performed, then sets about

encouraged us to be either amused or scandalised (depending on

retribution. This is the synopsis of Medea which earned Euripides third


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original is replaced by ‘Flea’, an enigmatic and charming teenage boy, but the substance of the tale remains, as does the unusually affectionate relationship that Alfred has with his half sister, Audrey.

Alfred is something of a dreamer: he writes poetry and reads Shakespeare to his son, but whilst away in Scotland he began to see things differently and has decided he is now going to devote himself to Oliver. Flea visits the house and asks if there is anything bad that they want rid of, but he is sent away. After this Rita’s jealousy of the attention Alfred lavishes on Oliver and Audrey leads to an argument during which Oliver leaves the house. Once again his parents are too busy to care for him and he makes his way down to the sea where he drowns. Audrey’s discovery that she and Alfred do not, after all, share the same father leads her to believe that they have a future together but, in the end, it is Alfred and Rita that are reconciled.

Ibsen is celebrated for the challenges to Victorian values and morality that characterised his dramas: Adamson’s adaptation attempts to modernise the story by making Rita the centre of the action, but it left me with a feeling that I would rather just watch the original play.

WHAT WE KNOWAUTHOR: Pamela CarterPUBLISHER: Nick Hern BooksISBN NO: 9781848420922CAST: 3M 3FRECOMMENDED RETAIL PRICE: £8.99

The fi rst thing to strike one when picking up this script is that the author obviously doesn’t believe in capital letters. She follows the tradition of the character names being in upper case but everything else is lower case including the fi rst letter of words that begin a sentence and “i” when referring to the fi rst person. I really don’t understand why playwrights feel the need to stylise their scripts in this way. A script is a tool used by a group of people to create a piece of theatre. Making it harder to read is hardly doing them any favours.

The story begins with Jo and Lucy cooking and discussing their relationship. This is diverting enough but we are a quarter way through the script before anything really happens: Jo suddenly disappears and Lucy is thrown into confusion, compounded by the appearance of a teenager who seems entirely at home. Lucy tries to make sense of what is happening but only succeeds in making a sandwich for the teenager who eats, shoots a few words of wisdom and leaves. He is replaced by Charlie, a neighbour, and Helen, an emergency call handler. They in turn are joined by Cal, who went to college with Lucy, and a dinner party commences as Lucy tries to keep up. The truth about what has happened is gradually revealed and Lucy, herself, begins to understand who these people are, why they are in her kitchen and, most importantly, what happened to Jo.

After a slow start the pace of this play picks up and, in the end, it all works rather well. I just wish that the unconventional approach had been reserved for the storyline and not the grammar.

TO HAVE YOUR SCRIPT REVIEWED SUBMIT A COPY TOPLAY REVIEWS -NEXT PHASE MEDIASUITE 404 ALBANY HOUSE. 324- 326 REGENT STREETLONDON W1B 3HH

and “i” when referring to the fi rst person. I really don’t understand why


THE LAST WORD


Wisteria Cottage

Garrick Road

Campton Royal

Dear Thespian Friends,

As I announced last time, that very next Sunday, I girded my loins, gritted my teeth and put my best foot forward –which I’m sure you’ll agree is a great deal of exercise on what is supposed to be a day of rest – and braved the morning service. The experience reminded me why I have not set foot in the place for more than a year and that was for Daisy Bootle’s wed-ding. I only went then because I didn’t believe she would go through with it. Well, would you change your name to Lawne with a Christian name like that?

For a start, Vera Derby was ensconced at the keyboard that passes for an organ and Jeff, my Charles Condomine, was standing behind her apparently poised to turn the pages. I say apparently, because three bars into the first hymn his hand found its way to her shoulder and everything went down from there –the playing, not his hand. Reverend Wilson delivered the prayers with as much feeling as a shopping list and the sermon was rattled off like machine gun fire. At least it was mercifully short.

I was ready to bolt for the door by the end, but restrained myself. I had come to meet and greet after all. I saw Crispin Featherstonehaugh step into the aisle and decided to intercept. I too, stepped out of the pew and contrived to tread on Mar-jorie’s foot. This may seem a little drastic, dear reader, but Marjorie is one of those people who simply has to make herself look important, so I knew it was only a matter of time, and a little orchestration, before she would effect the introduction that I desired. My profuse apologies and ensuing chaos caused a convenient log jam, the chivalrous Crispin, who also ap-pears to crave the limelight, thrust himself forward to assist the damsel in distress. (Damsel is something of a misnomer for Marjorie, but it has a nice ring to it.) And hey presto, I am shaking hands with my target. This resulted in an invitation to ‘drop by’ rehearsal the following week.

On the appointed evening, the heavens opened, so I telephone Marjorie and persuaded her to give me a lift. This proved a shrewd move, for I discovered that due to a double booking of the church hall with the martial arts class, the rehearsal was to be at Crispin’s mansion. I would not have been best pleased to have found myself among all those sweaty, grunt-ing bodies who probably think a Shakespeare is some sort of oriental weapon. However, worse was to come. We arrived to discover the cast shivering on the expansive lawns and the director cavorting amongst them, shouting, “This is Tempest weather! Soak up the atmosphere! Feel the power of the elements!” ‘Soak’ was the operative word, Crispin eschewed um-brellas, demanding that we ‘get in touch with nature’ and consequently we were drowned.

I did discover to my horror that Crispin had cast himself as Prospero. Firstly, one should never act and direct unless, of course, one is as experienced as myself. And secondly, he is decidedly short, with the result that he looks more like Paul Daniels than a wizard of great power. I was further shocked to discover that Ariel had been completely cut. The spirit is apparently to be represented by the stage manager’s torch and the lines will be spoken by Crispin as reported speech. I am familiar with the concept of growing your part, but this takes the biscuit!

As always, I will keep you well informed.

Yours,

Doris Richardson-Hall

P.S. Rehearsals the following week were abandoned due to an unsurprising epidemic of coughs and sneezes.

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“Musicality”

is for those who think that a night of old Musicals leads to little other than sugar-coated despair! Pulling on the

latest of the modern musicals that have taken the West End & TV by

storm over recent years, “Musicality” presents a collage of all that’s best

from shows such as “Wicked”, “GLEE” and “We Will Rock You”,

to name a few.

This is a evening not to miss if you like your show tunes with attitude.

At St Paul’s Catholic College. Burgess Hill

7.30pm - 18th September 2010

Only £ 5.00 - Box Office will be on the door £ 2.00 - St Paul’s and Ariel Drama Academy Students

For the Queen Elizabeth II Special Needs Drama Project Charity

for more information contact

01444 250407 www.arielct.co.uk

38-39.indd 3 14/06/2010 21:30:39

http://www.arielct.co.uk

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Amateur Stage Magazine June

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Transcript of Amateur Stage Magazine June