Insight November 2014

Chairman’s Letter 2

Grease 3

Legally Blonde 6

Meet Our New Members

10

News and Events 12

Committee News 15

The Committee 16

NOVEMBER 2014

Inside this edition

Chairman’s LetterChairman’s LetterChairman’s Letter

17th December 2013 was a big day for me as it was the day that I was elected Chairman of the Society for the third time. I became a member of the Society in 1981 and immediately joined the cast of one of my favourite Rodgers & Hammerstein’s musical, South Pacific. For those of you who have recently joined I welcome you not only to a wonderful Society but to a way of life.

Over the last 33 years I have seen the Society blossom from the more traditional repertoire of operetta to a much wider range of musical theatre. Our more recent choice of shows is a long departure from the original productions staged by the Society in the 1940s–1980s. Who’d have thought when I joined that I’d enjoy performing in or being involved behind the scenes with such a variety of exciting productions such as Pal Joey (1997), Crazy for You (2002), Candide (2002), Anything Goes (2005), West Side Story (2006), Chess (2008), 42nd Street (2009), The Producers (2010), Jesus Christ Superstar (2010), Beauty and the Beast (2012) and Sweeney Todd (2013). Grease is yet another first for the Society.

Grease is indeed a big challenge for the Society and calls for not only youthful enthusiasm, vitality, exuberance but also plenty of experience, and we certainly seem to have all of these qualities in abundance in this production.

I take my hat off to the tireless commitment of the entire cast, creative team, production team and musicians, who have worked tirelessly for the past 6 months. We pride ourselves in our attempts to provide you with the very best in amateur entertainment in Oxfordshire.

I especially would like to thank our

Creative Team—Dave Crew as Director, Chris Payne as Musical Director, Jo Cook as Choreographer and Nia Williams as Assistant Musical Director, who have all worked tirelessly for the past few months, and I am confident that their hard work will be reflected in yet another amazing production on the New Theatre stage. We may be amateurs but we strive to produce a professional performance.

Special thanks must also go to the unseen and unsung members of the team who support the cast behind the scenes, whose contribution is so crucial to our continued success. It is unfair to name individuals, but I would like to extend my thanks to Dan Halsall, who has excelled in the role of Production Manager, and also to Phil Rumsby, who has now dedicated so many years to the Society as Stage Manager. We should all be proud of ourselves in the way we dedicate our free time to support each other and what we have achieved over the years.

In a few days’ time we will be auditioning over 50 new hopefuls who have expressed a desire to join us as performing members as we begin rehearsals for one of my favourite musicals—Rodgers & Hammerstein’s charming Carousel—which is being performed at the Oxford Playhouse in November. This production will, I’m sure, show the wide-ranging talents of our growing membership as we welcome a new Creative Team led by Hannah Grainger Clemson as Director, Frankie Alexandra as Musical Director and Margaret Milton as Choreographer.

Keri Williams

Go Greased Lightning!Go Greased Lightning!Go Greased Lightning!

DAILY INFO

David Crewe’s Oxford Operatic Society production took [it on] with professionalism and wit, to the delight of the audience of all ages. Pensioners sang along with peascods scarcely into primary school. Musical Director Chris Payne was generous with the finale encores as he twirled his baton hand exuberantly throughout. The orchestra’s sparkling performance was perfectly in keeping with the fancy footwork onstage; Joanne Cook and Sally Chase’s choreography being one of the many pleasures of the night.

Nicola Caldwell’s Sandy and Libby Holcroft’s Rizzo excelled at ballads, and their showdown had all the drama of their operatic roots. Bad boy Kenickie (Phil Weller), looked, danced and strutted the part, oozing sexuality from his greased hair downwards, while Danny (Anthony Gibson) was believably more eager to please, taking up track to impress Sandy.

Mike Fernott’s Teen Angel, Matthew Lock’s Vince Fontaine and Amy Malloy’s Frenchy gave entertaining, well defined performances, and the ensemble dance numbers - with a stage so full of performers, you could hardly slip a vinyl sleeve between them - were spectacular. Andrew Stott and Frankie Alexandra’s deliciously awkward ‘Mooning’ earned the biggest applause of the night.

The dinner ladies’ were a masterstroke, while Stephen Piper’s Eugene was a neat, turbo-charged vision of un-cool, who almost stole the show.

NODA

How could Oxford Operatic Society resist the opportunity to mount their own version on the very stage so often used by the Grease professionals? The great advantage possessed by an amateur company is immediately apparent in this production. As the testosterone-fuelled male pupils at Rydell High School first swagger on to the stage, there are plenty of them — entirely in character, they seem a little nervous to start with but they rapidly gain in self-confidence. An amateur company doesn’t have to keep the numbers unrealistically low because it’s paying union rates to professional performers. And there’s a

very full complement of girls too. All these teenagers look on as the rocky romance between

cont’d...cont’d...cont’d...

Danny and Sandy develops.

In her first role with Oxford Operatic, Nicola Caldwell makes a terrific Sandy: her big solo number Hopelessly Devoted to You is movingly delivered, and she achieves a startling transformation from blushing virgin to sparkling sexpot. Antony Gibson’s big solo Alone at a Drive-in Movie is also most affecting. Libby Holcroft and Phil Weller provide strong support as bitchy Rizzo and sidekick Kenickie. But it’s the chorus work that makes this a five-star show. Under Dave Crewe’s direction, singing is strong, but Joanne Cook and Sally Chase’s choreographic exploitation of the huge numbers on stage is sensational. You will never forget, for instance, We Go Together or Shakin’ at the High School Hop.

NODA REPORT

I am astounded how your Society managed to come up with such a high standard of production time after time. Last year I was ‘swept away’ by The Sound of Music and again you produce a production, which is equal to, or even better than some of the professional shows that come to Oxford. Over the past six years the standard of your Society has gone from strength to strength, and this is reflected in the calibre of members who want to join you, and in turn they have the opportunity of performing on a professional

stage. None of this could happen, without the ‘forward thinking, and planning of your committee’, who in turn select the three important people they select to take forward a particular show, in this case, Director Dave Crewe, Musical Director Chris Payne assisted by Nia Williams, and Choreographers Joanne Cook and Sally Chase. All these people have proved themselves to you over the years, and are well known to your members and are respected for their talents. It was obvious to the audience that a lot of preparation for this production had taken place by the ‘key’ personnel way before rehearsals started, and the vision Dave had of how he wanted to portray the show was very interesting to read in his Director’s Notes.

It was obvious that the entire cast had enjoyed the show, they gave it their ALL, and the enthusiasm, and vitality shown by all was a joy to watch, and was appreciated by the audience. Some comments I heard on my way out, “how do they do it” and “they are only amateurs”, well in my eyes they are not. They may be amateurs in one sense of the word, but they are dedicated individuals who enjoy what they are doing, as their hobby! On this occasion time and space does not permit me to write something about each individual principal. Suffice to say that each one of you had studied your role in detail, and knew exactly how to get it across to the audience. The accents were there, diction was excellent and I understood all that was said.


Legally BlondeLegally BlondeLegally Blonde

Hi folks – here is some information I have put together for you, all about Oxford Operatic’s next exciting theatrical venture – Legally Blonde The Musical. There will be more information to share with you all at the talk-in but hopefully this is something to whet your appetites.

Legally Blonde The Musical first opened on Broadway in 2007 and transferred to The Savoy Theatre in the West End in 2009 – where it was awarded the Olivier for the best musical the same year. It is based on the novel by Amanda Brown and the subsequent MGM film of the same name, starring Reece Witherspoon, which many of you will remember. It contains some of the best story-telling through song ever written in a musical.

It tells the tale of sorority president Elle Woods in her quest to win back her boyfriend Warner Huntington III, who has left her and the sunshine of California to pursue a more ‘serious’ path in life, as trainee lawyer at Harvard University. Distraught, Elle uproots herself and manages to gain a place on the same course; such is her determination to win him back. Unsurprisingly, Elle is not taken seriously by the Harvard establishment; her propensity for wearing nothing but pink and carrying her pet Chihuahua ‘Bruiser’ round in her handbag may have something to do with this!

Anyway, while she is there she meets law teaching assistant, Emmett Forrest and as their relationship develops he shows her that she is not just a pretty face and helps her realize that there is much more to her than the vacuous, blonde sorority girl that her snobby classmates see. Through the twists and turns of the story we meet a host of hilarious characters including hairdresser Paulette Bonafonte and Warner’s new girlfriend Vivienne. As the plot unfolds, Elle with the help of Emmett and Paulette, discovers that actually she’s a pretty damn-good lawyer and a bright intelligent young woman who doesn’t need a man to justify her existence. The final scene takes place at Elle’s graduation ceremony where her success as a lawyer has helped her achieve the honour of class valedictorian.

Our vision:

The break down of principal characters and audition pieces are detailed in the audition schedule, if you require further information or would like more than just the character ‘sketches’ we have provided, please feel free to ask at the talk-in on December 4th, or alternatively email Julie or me

As this is a largely ‘sung-through’ musical it has been difficult to identify many lengthy pieces of dialogue for the auditions. At your audition you should aim to demonstrate your acting / characterization through the song choices.

This is a very modern musical in every sense of the word and has a very current pop / musical theatre style. This is difficult to teach – it has to come from within! The best thing you can do is to get hold of a copy of the London Cast recording featuring Sheridan Smith and listen to the style of singing needed for this production. In fact for all the singing in the production you will need to have a very clear sense of how each number fits together before each rehearsal – the soundtrack will help with this.

There are a huge number of parts (some very small) in the show and lots for the chorus to do. Overall the show has a very ‘young’ feel to it and we need to stay true to this to maintain the integrity of the show.

To my knowledge this is the most modern show Ox Ops has ever produced both in style and setting. As the setting is present day, I am hoping to call on the cast to help out with the costuming of the show as much as possible. I will tell you more about this at the talk-in.

Julie and I have looked at all the ways we can include as much chorus work as we can. I am very keen on giving the show a strong ‘look’ with each section of the chorus defined by their clothing and costumes. The chorus largely divides itself up into the following groups:

The Delta Nu’s – sorority girls. Very Californian, very Beverly Hills 90210 - fit, gorgeous and slightly shallow. They act as a kind of Greek Chorus and represent Elle’s conscience in several scenes – they appear throughout the show.

Lots of body hugging ‘designer’ clothing, lots of pink!! There may be some cross-over with Harvard students depending on the number we get. An ability to sing and dance well is essential for these girls.

Frat Boys – the male equivalent of the sorority girls. Fit, gorgeous and up for a party! They feature at the beginning of the show and may also appear in later sequences where we are in a state of heightened reality – e.g. Bend & Snap number.

Harvard students – earnest, intellectual and sometimes slightly snobby towards Elle. They feature throughout the show. They need to look ‘studenty’ lots of tweed, a more disheveled and worthy look than the Californians!

Harvard professors (male and female) – the cream of Harvard’s elite teaching staff. Slightly uptight and East-Coast. A tweedy but smart look is essential. They have limited work in the show but are an important element, which we have built in. Would suit older chorus members.

Others – a selection of ladies in the hair salon, shoppers, shop-assistants. We will use ensemble members from other groups to fill these parts.

It is true that this show deals in clichés; clichés of what it means to be a sorority girl, a frat boy or a student at Harvard. We have to celebrate these for the show to work. It is full of bright, vibrant and well-defined characters. We need to see some of this at the audition and aim to bring the most out of you through the rehearsal process.

Because this show was written for a modern theatre, there is an expectation that scene changes and transitions will run seamlessly. In the original production there would have been hydraulics and tracks to help pieces of the set glide on and off effortlessly. Obviously we do not have this luxury, which makes my job as director and Phil’s job as Stage Manager doubly difficult. In at least one of the numbers in the show there are four scene transitions taking place in one 10 minute long number. Therefore it is my intention in so far as is possible to use cast members to move pieces of scenery, trucks and props around the stage so that it becomes part of the action. Please be

prepared for this!

Above all I aim to run a happy ship during rehearsals. I like to work collaboratively with my cast so we can see the story and characters unfold and develop together. Please don’t come to rehearsal expecting every move, entrance or exit to be pre-blocked. Please do come prepared to work hard and share your ideas and thoughts with me. That way we get the best of all worlds and can make this a fantastic show.

Because of this approach, many of you will know that I like to work chronologically through the show. You may be called twice in one week and then not at all the next week. Having said that Julie and I have endeavoured to ensure that the ensemble are called on a regular basis and that most principal rehearsals are on Tuesday and most larger ensemble rehearsals are on Thursdays but this may not always be the case.

Many thanks and looking forward to seeing you on December 9th!

Guy Brigg


Production Team

Director: Guy Brigg

Musical Director: Julie Todd

We are auditioning for the following main characters. Smaller parts (of which there are a lot) will be cast following these auditions and during the rehearsal process. The Delta Nus have quite a lot to do – anyone who wants to be considered for one of these (and we will have around 10, though final number will be confirmed after the auditions) MUST audition for Margot/Serena/Pilar. They will also be asked to do scales, as we require some Delta Nus with a strong high range as well as the belt tested in the audition. Kate may or may not be one of the main group. There are several sung/said parts for older men and women (sales managers, professors etc etc) – we are auditioning these generically as Elle’s Mum and Dad, which includes a very short amount of lib and some singing. We will also be looking for a volunteer to shadow Elle – attend rehearsals where possible, stand in in case of illness, and be prepared to learn the songs! We realize this is a lot to ask as this is an understudy rather than an “alternate” role, but could be a good way to gain confidence/experience. This could be one of the Delta Nus, or a Harvard student. Elle (playing age 18-24) | Range low F #to E flat (great belt sound needed)

Blonde!! Superficially ditzy, but actually has great people skills and hidden depths (discovered as show unfolds). Huge stage presence, and beautiful in obvious Californian way. Almost never off stage. Margot / Serena / Pilar (playing age 18-24) | Key Delta Nu range G# to D. Must be able to hold harmony.

Delta Nu. Sorority girl – tanned fit Californian Kate (playing age 18-24) | Range Bflat to Dflat Scholastic chair (sorority girl with brains). Singing + in What You Want Paulette (playing age 25-40) | Range low A to D Hairdresser. Has made a lot of bad choices in men, glamorous in over made up way, romantic dreamer, American working class.

Enid | Range low B flat to E Harvard student - becomes intern, so appears throughout. Serious, earnest, intense, wants to “save the world”. Sings in Harvard variations.

Vivienne (playing age 18-24) | Low A to top E

Warner’s new girlfriend – posh, smartly attractive. Initially snobby, East Coast. An antithesis to Elle.

Brooke (playing age 30-40) | Low A to top G (rock top)

Fitness instructor - female. Ex Delta-Nu. Must be physically extremely fit! Warner (playing age 20-24) | Range D to high G Preppy frat boy. Needs pop sound (boy band voice), Must be good looking enough to make us believe he could quit law for modeling. Callahan (playing age 40-65) | Range low A to to F Older lawyer. Dapper, smart, killer instinct. Initially likeable rogue, but reveals his womanising side.

Emmett (playing age 22-30) | Range D to top A

3rd year student. Heart in the right place, unassumingly clever (is he geeky??), tweedy outside, had to work hard, because background impoverished, but has to transform into handsome attorney. Elle’s Dad (playing age 40-60) | Range D to F Rich, Malibu lifestyle (singing for Elle’s mum and dad may be interchangeable) Elle's Mum (playing age 40-60) Rich Malibu lifestyle (singing for Elle’s mum and Dad may be interchangeable). Said and sung in What you Want Aaron (playing age18-30) | Range D to E Student - rich/pompous. Sings in Harvard variations

Padamadan| Range D to E

Student - racial origin Arabic? Sings in Harvard variations


Kyle aka Brendan (playing age 20-40)

(A delivery god) Has to look good! Ability to Irish dance could be handy and must look good in shorts! (Please wear shorts and include walk in and out!)

Nikos / Carlos | Low B To G (optional B) Low B to G (optional B)

Both are “Gay and European”! Appear in the Court Room scene. Anyone playing these can appear as a frat boy, Harvard student in other scenes.


Important Dates

Talk-in & first rehearsal: Tuesday 9th December

Dance assessment: Thursday 8th January

Principal auditions: Sunday 11th January

Christmas break: 23rd December—1st January

Sunday rehearsals: 1st February 1st March

29th March 19th April 10th May

Show week: 27th-30th May

I moved to Oxford from the US 5 years ago post-university with my husband who’s doing a doctorate in philosophy. I work as a Literacy Specialist for the Easyread System, an amazing start-up that provides dyslexia intervention software for school-aged children. (FYI for any teachers in the society with struggling readers in your class, we run free pilot trials in schools!) I also help run a faith-based charity called the Besom, which facilitates projects to meet the practical needs of vulnerable families in local council

estates. Music-wise, I’ve sung with Jubilate choir at Keble College, and played Gianetta in AOS’ The Gondoliers. My all-time favourite role was playing Susanna in Figaro a few years back, though Julie is giving her a run for her money! Thanks to all for the warm welcome. It’s an honour to perform with you!

Gill recently moved back to Oxford and is thrilled to once again be a member of Oxford Operatic, having

missed it so much whilst living in Milton Keynes. Gill has performed previous shows with us including Jesus Christ Superstar, Mikado and Carmen. During the day Gill works for the Planning department at Oxford City Council. Gill is excited to be back with her friends and performing on stage in Carousel.

Sarah Forrest

Our New MembersOur New MembersOur New Members

Gill Baines Emily Lewis

I studied Drama and Contemporary dance at the University of Lincoln from 2007-2010. Whilst there I took part in a number of musical productions including Barnum and

The Wizard of Oz. I am currently a teacher of Performing Arts, Dance and Drama in Oxfordshire.

Whilst working as a teacher I have been involved in directing and choreographing several musicals including a Chicago/Producers medley, Hairspray and more recently High School Musical.

I am really enjoying being part of Carousel and can not wait to perform on stage with The Oxford Operatic Society and looking forward to future


Holly Taylor

Nancy Marsh

Nancy is delighted to join OOS having been so impressed watching Sweeney Todd and Grease. She comes from a mixed theatre/music theatre background but is rusty after

several years of trying to find the time. Nancy trained with the National Youth Theatre of Great Britain, Stockport groups (under a dance scholarship) and university societies. Credits include Electra (Electra), West Side Story (principal dancer), Bugsy Malone (girl singer), Oklahoma (Laurey dance double), Oh What a Lovely War (various), Twinkle Twinkle Little Star (Princess Twinkle) and Macbeth (Witch). She also enjoys directing and choreographing. Nancy’s show, Louis de Bernieres’ Sunday Morning at the Edinburgh Festival was designed for a visually impaired audience and received national press coverage. When not dressing up on stage, Nancy dresses up in court. She spent five years in wig and gown as a criminal defence barrister and now prosecutes healthcare regulation cases.

Karen Mead is a graduate of the American Musical and Dramatic Academy in New York City. Since completing the program in 2010, she has

worked with several production, casting and theatre companies both in New York and in her home town of Milwaukee, Wisconsin. She has been fortunate enough to work on several shows, including Guys and Dolls (Sgt. Sarah Brown), The Chosen (Assistant Stage Manager) and Joseph and the Amazing Technicolor Dreamcoat (Assistant Director). When she is not on stage, she is working as the Practice Manager at Beaumont Street Chiropractic Clinic, and spending time with her husband, John.

Holly grew up in Oxford and performed with many local youth companies including MYCO and Sands Theatre Arts School. She then went on to the Oxford School of Drama to train on their Acting in Musical Theatre course. Oxford Operatic's production of Sweeney Todd inspired Holly to audition for the company and she has loved being part of such a big community and making up part of their powerful chorus. Holly is so excited to be performing as the Aerial Silk artist, a new skill which has proved incredibly demanding but also amazing fun. Recently Holly started a full time Acting course in Woking, which focuses on Peer education through Drama; she has been juggling Carousel rehearsals with her coursework.

Karen Mead

A tribute to Skye Benjamin HallA tribute to Skye Benjamin HallA tribute to Skye Benjamin Hall

All of the Society (and thousands of others all over the world) were desperately saddened by the death of Skye Benjamin Hall in August, after an incredibly brave fight against a brain tumour. As Skye’s godfather, words can’t describe

how immensely privileged I feel to have been involved in his life from day one. Well, day four to be precise, when Sally – who was midway through choreographing Chess for the Society – came straight back into rehearsal, with Skye of course! And so began his association with the Oxop family. Skye was part of the family in every possible way, whether it was appearing onstage when he was only weeks old, or coming to see the shows, or selling Percy Pigs to raise money to fight the terrible disease he was suffering from. And Skye inherited that same incredible zest for life as his mum: that same determination to make the most of every last second. And so many of us saw it in the past few months, as he launched his Loom To The Moon campaign, determined to be involved in it as

much as possible, for as long as possible. Skye never asked why he was ill, never complained about the gruelling treatment he went through – he just wanted to make the most of every second for both himself and for everyone else. One of his last actions sums him up: he insisted that Granny go and buy the pink guitar he wanted to get his devoted brother Jesse for his upcoming birthday. But that won’t be Skye’s last impact: Jesse is now ensuring that Skye’s mission to the moon will succeed. There are no words to describe the loss of Skye, but we hope Sally, Andy and Jesse know that their Oxops family will always be there for them, and to get Skye to the moon, and above all, to remember a wonderful, brave boy, with an unmatched zest for life.

Dave Crewe

Baby Boom

It has been an autumn of babies this year within our society membership. Many congratulations go out to Sarah and Dan on the birth of their baby daughter Lydia on 11th September. Chilina and James on the birth of their daughter Farah Sophia on 19th September, Susanne and Mark on the birth of their son Charlie and Clare and Andy on the birth of their daughter Edith on October 13th. Oxford Operatic Society Christmas Concert As you are all hopefully aware the Society are putting on a festive concert on December 13th and 14th and it is hoped as many people as possible will attend. It is at the Wolfson Auditorium, Wolfson College, Linton Road, Oxford. This is a new venue for the society that is not only easy to get to by car or bus but it is also stunning! The programme includes some wonderful well known festive treats including Deck the Halls, Gaudete and Joy to the World and lesser known delights like A Christmas Song and Sparklejollytwinklejingley. Tickets are £10 for adults, £5 for under 12's and £8 for patrons. Please contact Andy for tickets [email protected] .

Carols at Oxford Castle Many faces very familiar to Oxford Operatic Society will be performing with BMH Production in two more festive offerings this December. December 6th will see Carols at Oxford Castle an interactive carol concert featuring readings and lots of festive fun. This is a first for BMH and the castle and is going to be a fantastic evening. Tickets are available via www.oxfordcastleunlocked.co.uk at £10 for adults, £6 for children 5 to 15 and under 5's free. Truce On December 18th and 19th BMH Productions present Truce a brand new play written by Ox Ops member Andy Blagrove and with a cast that includes Dave Crewe, Dennis Garrett, Laura O'Mahoney, Ed Blagrove and Jen Smith there are some more members to show your support to. Truce tells of one man's experience at the Truce of Christmas 1914 and the lasting impact of the First World War. Tickets are available from www.wegottickets.com/BMHproductions

News & EventsNews & EventsNews & Events

G&S Festival

Robin Wilson gave an invited illustrated lecture on ‘Arthur Sullivan in the 1880s’ in the International G&S Festival in Harrogate in August, and took part in a production of The Sorcerer at the glorious Buxton Opera House.

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http://www.oxfordcastleunlocked.co.uk/�

http://www.wegottickets.com/BMHproductions�


On becoming a NODA Rep

Now just why did I become a NODA Rep? It was quite by chance really. One day late last year I was talking to a friend who knew that my region’s current rep was wishing to stand down. ‘I wouldn’t mind having a go at that’ I heard myself saying (foolishly?) and things are now, as they say, ‘history’!! I have taken over the reins from the very capable hands of Gareth Jeremy who has served the region for more than twenty years, I believe. Gareth is very dedicated and passionate about amateur theatre and took his role as NODA Rep very seriously. I hope I can continue his good work.

Actually, Gareth and I go back a long way - appearing in My Fair Lady together for Banbury Operatic Society in the early 80’s. However, that did not stop me being in fear and dread when I knew he was coming to review a show in which I was appearing! So I know that it is a big responsibility to give positive yet (hopefully) constructive feedback on a show. But, and it’s a big ‘but’, it is only ever one person’s view-point and should be taken in that spirit – “one man’s meat is another man’s poison” as the old saying goes.

I have written a couple of reports now (having taken over officially in July this year) and it is quite a responsibility to make sure all aspects are reasonably covered as so much time, effort and commitment goes into producing a show - be it large or small. I must say though, it is very nice to be given the ‘red carpet’ treatment as the visiting NODA Rep. I could get quite used to it!

My own credentials are fairly modest but none-the-less worthy I hope. I have been ‘treading the boards’ since about the age of nine! I studied to become a music teacher which I did for 28 years and have been a member of various societies and Am Dram groups along the way. I’ve been lucky enough to have played many leading roles - the most recent being ‘Julian Marsh’ in 42nd Street for Abingdon Operatic Society. I have also donned my directors hat on several occasions so I think I have quite a wealth of experience and knowledge to draw upon. However, we shall see!

Thanks to all who have made me so welcome and I hope I can serve my region and groups to the best of my ability. Wish me luck!!

Rob Bertwistle

Committee NewsCommittee NewsCommittee News

New Member Auditions

Know anyone who would like to join the society? New member auditions will be held on Thursday 4th December. Please

contact Palli Dent at [email protected] for more details.

The following Committee posts will become available at the next AGM.

Marketing Officer:

This role helps get our shows publicised. The marketing officer is responsible for organising publicity artwork and materials, liaising with the theatres for inclusion in their own publicity materials, arranging for radio and press coverage, and tracking sales. Online activity, including email and social media, is becoming an important part of marketing activity. The post holder will manage the marketing budget to make best use of marketing materials and activity.

Social Secretary:

(Changing to Concerts and Fundraising Officer, if the new role title is accepted at the AGM)

This role helps to raise much needed funds for the society. Recent jobs have included organising concerts throughout the year to ensure all members have the opportunity to perform as much or as little as they wish outside of the usual ‘big shows’ and to raise the funds we need as a society to keep the bank balance as healthy as possible. The role will continue to include arranging social events such as the after-show party and other events as and when appropriate.

Communications Officer:

This role aims to keep the membership informed of news and events within the society and publicise events of interest. Regular emails are sent to the members, patrons and associate members and also seperate emails sent to the cast of the current show. You are responsible for maintaining the mailing lists, the society website and compiling the bi-annual newsletter Insight.

If you are interested in standing for any of the roles and want to find out more, please email the Committee at [email protected]. Alternatively, please submit your name on the form sent out recently wtith the AGM pack.

Forthcoming Shows

Legally Blonde New Theatre

26th-30th May 2015

Sunset Boulevard Oxford Playhouse

23rd-28th November 2015


Your CommitteeYour CommitteeYour Committee

Keri Williams: Chairman

78 Chorefields Kidlington

Oxon OX5 1SY

01865 461193 07906 311904

[email protected]

Katie Bedborough: Treasurer

52 St George’s Manor Mandelbrote Drive

Oxford OX4 4TW

07815 936245

[email protected]

Marilyn Moore: Secretary

Courtfield House Milton

Oxfordshire OX14 4EU

01235 831305

[email protected]

Ed Blagrove: Development Officer

40 Stonhouse Crescent Radley

Abingdon Oxon

OX14 3AF

[email protected]

Alex Williams: Marketing Officer

26 Sutton Road Headington

Oxford OX3 9RB

07960 582321

[email protected]

Palli Dent: Membership Secretary

46 Besselsleigh Road Wootton

Abingdon OX13 6DX

07905 097426

[email protected]

Marie Hadaway: Communications Officer

22 Town Furlong Appleton

Oxon OX13 5JW

07545 211465

[email protected]

Andy Blagrove: Social & Fundraising Officer

4 Cherry Tree Court Witney

OX28 1GQ

07921 179364

[email protected]

Ron Hewitt: President Ann Southwell: Vice President



Insight November 2014

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Transcript of Insight November 2014