playscriptssept11.indd 1 09/10/2011 20:20

www.amateurstagemagazine.co.uk | 7

EVER ONWARD

As we approached our 65th Birthday issue, we decided to take a long hard look at the magazine and the industry in which we operate. We asked readers and audiences a range of questions from what they wanted to see in the magazine, to how they participated in amateur theatre, to where they saw things going in the future.

One thing that became apparent very early on was that whilst audiences are expecting us to keep up with the times and with

new technologies, amateur groups have a tendency to stay rooted in their comfort zones, hesitant to move forward into unchartered territory.

The results of feedback and further conversations with respondents has led us to believe that amateur theatre must start to develop

a policy of looking forward. This won’t be an easy process for many as it involves each and every one of us moving out of our comfort zones. It involves each and every one of us regardless of age being prepared to “go back to school” and start opening our minds to learning new things.

Your audiences are quite an amazing group of people. If you bother to ask them what they want they will tell you in great detail.

It’s also interesting to speak to amateur audiences who have stopped attending and even to those who might attend but for some reason don’t.

Some of the points raised during our survey period including the following:- “Credit Crunch” – many questioned said they were more likely to attend an amateur show during times of austerity simply because

compared to West End or Professional productions amateur theatre in most cases represented value in their minds. 65% said they would be prepared to try an amateur show for the first time.

“Websites” – many survey respondents and we’ve noticed this as a magazine point to the fact that many groups either do not

have a website with information on their latest show and the group itself, or if they do have a website leave it unattended or woefully out of date. The development of the World Wide Web is developing a culture where immediacy rules. People don’t want to wait, they want information immediately and they don’t want to spend hours looking for it. Just imagine how you would feel if you went shopping online only to find the thing you wanted couldn’t be found or couldn’t be bought online when you found it. We know from experience that in 70% of cases groups websites (if they have one) are sometimes up to 6 months out of date. Emails to group requesting information invariably fall on deaf ears with no response or if a response is forthcoming can take weeks to eventuate. Most importantly groups need to know that a Facebook page does not constitute a website.

“Online booking”- Survey respondents said that being able to book tickets to a show online was one of the most important factors

when considering whether to attend. 70% said that online booking would be their preferred choice of booking method. A large number complained that old practices of phone or mail booking during restricted hours would usually result in a no sale. It’s an interesting equation when you consider it. What proportion of your audience isn’t related to onstage cast members? Could you build an audience profile where 50% or more are actually general public members who will come to see the show no matter who is in it? Time is a valuable commodity and we need to help our audiences when they want to come and see us to make it as easy as possible.

The Next Generation – One thing that greatly concerned us in early surveying was that most of our respondents were aged over 55.

This is a trend that we had noticed when venturing out to certain sectors of the amateur community across the country. Involvement of youth in the business side of theatre is vital if amateur theatre is to continue. Old arguments that youth are disinterested won’t cut it anymore. If that is truly the case then we need to adapt and find new and interesting ways to get youth involved behind the scenes. There’s no doubt that there are some very talented young amateurs out there who could really help some amateur groups become exciting and vibrant places. It’s time to develop that talent.

As a magazine we too were open to scrutiny and we’ve taken many factors on board from the feedback received. Some of things

you told us included:- Technology – Older readers wanted more of the same but it was our younger potential readers who really started debate going here.

Loads of requests for new media platforms including mobile phones, tablets, and online content came flooding in. Logistics – You’ve told us that we need to look at our distribution methods, that we need to look at alternate purchase points for

those who don’t want a long term subscription and we’re taking all that on board. Content – Whilst it was great to know that certain sections of the magazine scored above 90% approval rating (Doris congrats!),

you gave us very strong feedback on what you wanted removed and new sections you wanted included. Starting next month we’ll be implementing some of those new sections.

One thing that kept coming up again and again was for more opportunities to be made available for groups. To this end we are

continuing with our plans for the Amateur Stage Expo where groups, exhibitors and audiences came come together to celebrate amateur theatre. Whilst our first big venture will be in London, plans are underway to present an event with northern focus each year. However, for these events to succeed we need support. Events like Expo don’t pay for themselves, we need participation and support.

There are a large number of groups out there who are exceptionally pro-active. As a magazine it’s amazing to see how frequently

some groups talk to us, or how quickly they respond to a call for material or photos. Over the coming months we will be publishing a series of articles aimed to help groups look at how they could improve their services, build their audiences and develop their practices for the future.

We’ve all got a great opportunity in the coming years to really sharpen up the way we do business. So let’s start moving forward.

As we get going give us your feedback. Talk to us about the challenges you face or the problems you find it difficult to solve. We’ll do our best to help and support you in anyway we can.

From The Editor

from editorsept11.indd 1 09/10/2011 14:37

www.amateurstagemagazine.co.uk | 11

It saddens me to say it, but there is really only one subject that I can devote my article to in this month’s Amateur Stage and that is the dreadful riots that swept across the country a couple of weeks ago.

The Insurance position is, in some ways, quite straightforward but, as with everything Insurance related, there are a few issues that one needs to address quite carefully.

The first point at issue is under what element of cover would the damage caused be covered? Well, the consensus of opinion is that the peril of Riot is the heading under which the Policies are most likely to respond. You probably don’t know, but there is actually a Riot Damages Act of 1886. Under the Act, the owner of a building or a person responsible for property belonging to another has a right to compensation for the destruction, damage or theft of that property which is caused by “any person riotously or tumultuously assembled together” and, if it is proven to be a riot within the terms of the Act then the relevant Police Authority are liable to pay compensation for the damage, even if the Police were not at fault.

Within the terms of the Act, individuals wishing to make a claim have to lodge their claim within 14 days of the event occurring. I am, however, pleased to tell you that the Government have now extended this period to 42 days.

Ah, but you say, I have got riot covered under my House Insurance or Business Insurance and therefore I will make my claim to my Insurance Company. Yes, that is correct, but you still need to submit the relevant form to the relevant Police Authority within the specified time-period for 2 reasons:

a) There may be elements of your claim that are not covered by your Insurance Policy, such as an excess.

b) What will usually happen is that your Insurers will settle your claim and then they will step into your shoes to try and recover their money from the Police Authority and, in order that you do not prejudice your Insurer’s position, you must submit the relevant form within the stated time.

The definition of riot states that, where 12 or more persons who are present together use or threaten unlawful violence for a common purpose, and the conduct of them taken together is such as would cause a person of reasonable firmness present at the scene to fear for his personal safety, each of the persons using unlawful violence for the common purpose is guilty of riot. The interesting issue here is what will the Police Authority do if there is close circuit TV to prove that there were, say, only 10 people in the vicinity of your property at the time it was damaged? Well the short answer at the moment is that I do not know what will happen, but to be honest I think you need to let your Insurers worry about that particular point.

My understanding is that the Act only compensates for physical damage, i.e. to a house or a building, together with the theft or damage of any property contained within the building arising from the riot. It is therefore unlikely that a claimant would be able to claim for losses arising from, say, personal injury or to any property that is not located within a building. However, I think that the most likely problem area is that, whilst it is not specifically excluded, there is no mention anywhere in the Act for a right to compensation for consequential losses, i.e. Business Interruption.

I do hope that anyone who has been caught up in the riots will, by now, have submitted the relevant form, but one does wonder what will happen to anyone who, for instance, is on an extended holiday and is unaware that their property has been damaged and/or does not submit the form within the specified timeframe. In any event, you must contact your Insurers at the first

possible opportunity to see what help and advice they are able to provide. My advice as far as Business Interruption losses, the re-claiming of your excess, etc. is to certainly complete the Government form, which can be found at www.directgov.uk

Who ends up footing the bill for all this damage, and at the moment the Association of British Insurers think that the total bill could be in the region of £100 million, is unclear so, whatever you do, you must make sure you fill in the relevant form within the time period and, just as importantly, notify your Insurers. Certainly, as far as the Insurers of First Night are concerned, the standard Policy requires you to notify your Insurers within 7 days of the incident, however, in respect of these incidents only, this has been extended to 30 days.

RIOTS 2011!!!!FIRST NIGHT INSURANCE

Robert Israel ACII talks about insurance updates relating to amateur theatre.

insuranceSEP11.indd 7 09/10/2011 15:05

1 2 | www.amateurstagemagazine.co.uk

ONSTAGE

weste

nd

Mark Ludmon looks at the latest West End offerings.

ONE MAN, TWO GUVNORSNational Theatre

Carlo Goldoni’s mid-18th-century Venetian play, A Servant of Two Masters is a classic of high comedy, coming out of the physical theatrical tradition of Commedia dell’Arte. Its tale of the feckless Truffaldino’s attempt to get paid twice by serving two masters at the same time has been updated to 1963 Brighton in a brilliant new version by Richard Bean. In the National Theatre production directed by Nicholas Hytner, it becomes a slapstick farce recalling Carry On films and Benny Hill with its cheeky humour and some hilarious set pieces.

Truffaldino has been reinvented as Francis, whose two masters are a woman disguised as her dead gangster twin brother and a man who murdered the brother but is also her secret lover. However, the convoluted plot takes second place to the opportunities for the tirelessly funny James Corden as Truffaldino to engage in tightly choreographed physical comedy and to charm with his regular addresses to the audience.

Oliver Chris is superb as Francis’s arrogant but engaging toff of a master and Daniel Rigby is perfect as the over-dramatic romantic Alan Dangle, while Suzie Toase stands out as Francis’s buxom crafty love interest. The production is full of pace and energy, seemingly effortless but clearly faultlessly planned, broken up with performances by a 1960s-style skiffle band. Its success at the National has led it to transfer to the Adelphi Theatre from November.

MUCH ADO ABOUT NOTHINGShakespeare’s Globe

Shakespeare’s Much Ado About Nothing offers one of the great partnerships in British comedy. The sparring between Beatrice and Benedick has attracted some of our best actors from Zoe Wanamaker and Simon Russell Beale at the National in 2008 to Catherine Tate and David Tennant at Wyndham’s Theatre this summer. The play has also been part of the season at Shakespeare’s Globe this summer, with Eve Best and Charles Edwards bringing their finely tuned comic skills to bear on the two lead characters.

The Globe’s production, directed by Jeremy Herrin in period costume, takes a broad, audience-pleasing approach that suits the venue, but with added subtleties and a fine attention to detail. There are some strong nuanced performances, not just from the leads but also from Philip Cumbus as the swaggering but fragile Claudio, Ewan Stewart as an avuncular Don Pedro and Lisa McGrillis as the cunning Margaret. The comedy is at its broadest and most crowd-pleasing with the night watch, led by Dogberry and Verges. Paul Hunter turns Dogberry’s malapropisms into an odd, and at times irritating, body-shuddering tic that recalls Jack Douglas in the Carry On films.

Despite some weaknesses, this is an entertaining and lucid

production where the two leads have a real rapport and sense of fun that carry you along and make you want to cheer when they get together.

DOCTOR FAUSTUSGlobe Theatre

If you look at the central story, Christopher Marlowe’s Doctor Faustus is a tragedy of a man who sells his soul to the devil for riches and power and is then hurtled off to Hell. Despite this, much of the classic late-16th-century play is made up of comedy and masque, and this is brought out to the full in Matthew Dunster’s production at Shakespeare’s Globe.

It has a wonderful theatricality from prancing scholars in the opening scene to the depictions of devils, ghosts and angels. There are quieter moments when the excellent Paul Hilton as Faustus can agonise over his soul, but otherwise it is a production that is more about spectacle.

The play comes alive with the comic scenes, whether it is Faustus and Mephistopheles tormenting the pope or the lower-class characters arguing and being drawn into the devilry. Among these, Pearce Quigley brings much-needed humour as Robin with his shallow grasp of necromancy. Arthur Darvill is suave and playful as Mephistopheles but too genial to be a threatening figure of evil. It is in the moments of high comedy and spectacle when Doctor Faustus really shines, aided by Jules Maxwell’s music and, of course, Marlowe’s rich language.

Doctor Faustus. Photo: Keith Pattison

westendsep11.indd 2 09/10/2011 15:09

pantodames.indd 1 21/02/2011 13:32:48

insuranceSEP11.indd 7 10/10/2011 00:01

www.amateurstagemagazine.co.uk | 6 3

ONSTAGE

With more company numbers than most musicals, dozens of costume changes, huge set and a score with more brass than a monkey house in the middle of winter… 42nd Street is a classic piece of theatre for any amateur society to get their hands on.

THE MUSICALOK… so the story is thin, has more holes in it than Swiss cheese but who cares? 42nd Street is THE feel-good musical. Indeed, the original film of 42nd Street was created as a way of getting the American public to forget about the Great Depression - if just for a couple of hours. The stage musical, brought to life on Broadway in 1980, won the Tony Award for best musical and has never looked back since. Requiring a good mix of strong tappers, actors and singers of all ages, the show opens up so many opportunities for theatre societies, and with show stopping numbers such as “We’re In The Money”, “Lullaby of Broadway” and the title track “42nd Street” it is well known and well loved by audiences too.

CASTINGThe first response you get from most people (particularly your men) is that 42nd Street is not for them as they “can’t dance” and particularly “can’t tap”. The rumour is that 42nd Street is a Tap Show…. Not so. OK, there is tap in it BUT, in the show’s 15 musical numbers, there are only 4 that necessitate tap… and one of these numbers is done by the 4 main girls. So… eleven ‘non-tap’ company numbers…. Compare that to, say, Beauty & The Beast where there are just 5 company numbers… and how popular is that show?

So… you have spoken at length to your men and calmed their nerves. You then have to prepare for the onslaught of female members who are desperate to dust off their tap shoes.

What is clear is that you need a leading lady who is a triple threat. No hiding place for the girl who gets to play ‘Peggy Sawyer’… as a line in the show sais “She’s got a voice that will panic ‘em and she can dance rings around (Dorothy) Brock”. The show may revolve around the quality of your leading lady but there are so many wonderful characters within the piece you can have so much fun with it…. And, more importantly, there is no real limitation of age for these parts. OK, Julian Marsh has to look as though he is an established Broadway director and Dorothy Brock a seasoned performer… but Bert, Maggie, Mac, Andy, Abner…. All can be played at any age (which opens up the possibilities to a huge percentage of your company).

REHEARSALSTap takes time to perfect. Although there are relatively few tap numbers in the show, this is what the public wants to see and you have to come up with the goods. Director and Choreographer Joanne Hand started work on the tap routines during rehearsals for our previous show, Beauty & The Beast. What Joanne is absolutely brilliant at is

42nd StreetDarlington Operatic Society discuss their recent production of 42nd Street.

acorn antiques.indd 3 10/10/2011 10:03

6 4 | www.amateurstagemagazine.co.uk

ONSTAGEworking to the strengths of individuals while keeping everyone involved regardless of level of ability. Part of being a member of a theatre company is to learn, and if you stick at it you will surprise yourself how much tap you can learn in a relatively short period. With her unique style of choreography paying homage to the Busby Berkeley routines in the original film it was clear from an early stage that this production was going to be visually stunning.

COSTUMESFor this show our costume department chose to ‘self-costume’ which meant hours upon hours of trawling Ebay and the internet for the styles laid down by the Director as well as hand embellishing others to create a stunning, colourful set of costumes. Certain items had to be hired (no way were we gong to be able to find several matching tail suits and top hats to fit our men on ebay). What all the months of hard work does mean is that we now have a number of costumes we can utilise in future productions but also that we have an excellent set of 42nd Street costumes we can hire out to other societies. Further images of the costumes can be found on our website (www.darlingtonoperaticsociety.org.uk).

One word for 42nd Street…. “changes”…. Whatever space you could find, a dark corner here, behind a truck, IN a truck… half way up the stairs…. Changes…. quick changes were taking place seemingly every minute of the show. If you want to lose a few pounds then do 42nd Street!

SET42nd Street is a huge, huge show with more than double the amount of scene changes for a ‘normal’ show. We hired the set from Scenic Projects who (as ever) came up trumps and supplied a first class set. As ever with just one technical and one dress rehearsal… all those moves, routines, crosses you had done time and time again in rehearsal had to be adjusted when the enormity of the set became evident. Oh to have the luxury of three weeks worth of previews just to get it right.

SOUNDFor the last three productions, DarlingtonOS have hired in the services of sound specialists AP Audio who specialize in professional pantomime productions. The team worked tirelessly to not only balance the sound for each individual character but also each instrument in the pit – not an easy job with so much brass.

MARKETINGMarketing is something we all have to work hard at – there are no guaranteed bums on seats shows out there, not when you have 10,000 tickets to sell over eleven performances. On top of our usual print marketing and advertising we really started to push Social Network marketing – email, Facebook, Twitter in a way to continue communicating with our existing market but also starting to grow a new audience base who will become our core audience in several years time. Word of mouth is still a hugely important method of marketing so get people talking about the show well before it has even started.

CONCLUSIONSo many unsolicited messages of congratulations, messages into the website, emails and texts…. Standing ovations…. Praise from local media critics…. All these are the pat on the back we strive for and which give us the energy and enthusiasm to pack 42nd Street away in a box marked ‘success’ and move straight on to The Producers.

acorn antiques.indd 2 10/10/2011 10:03

SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>SHOWdiary>>14th Youth one Act PlAY FestivAl0 1 - 0 2 O ct o b e r 2 0 1 1S ke g n e ss P l a yg o e r sT h e E m b a ssy T h e a t r eS ke g n e ss, L i n co l n sh i r e0 8 4 5 6 74 0 5 0 5

39 stePs, the2 4 - 2 9 O ct o b e r 2 0 1 1K e i g h l e y P l a yh o u seK e i g h l e y , W e st Y o r ksh i r e0 8 4 5 1 2 6 78 5 9

42nd street3 1 O ct o b e r - 0 5 N o ve m b e r 2 0 1 1N e w ca st l e M u si ca l T h e a t r e C o m p a n yT h e a t r e R o ya lN e w ca st l e U p o n T yn e , T yn e a n d W e a r0 8 4 4 8 1 1 2 1 2 1

2 4 - 2 6 N o ve m b e r 2 0 1 1R u n n ym e d e D r a m a G r o u pR h o d a M cG a w T h e a t r eW o ki n g0 1 78 4 4 6 2 3 5 8

Accent on song0 6 - 0 7 O ct o b e r 2 0 1 1A l l S o u l s’ A m a t e u r O p e r a t i c S o ci e t yS q u a r e C h a p e lH a l i f a x, W e st Y o r ksh i r e0 1 4 2 2 3 4 9 4 2 2

Acorn Antiques - the Musi-cAl!2 7 - 2 9 O ct o b e r 2 0 1 1W e st o n - su p e r - M a r e O p e r a t i c S o ci e t yP l a yh o u se T h e a t r eW e st o n - su p e r - M a r e , A vo n0 1 9 3 4 6 4 5 5 4 4

Allo, Allo!0 2 - 0 5 N o ve m b e r 2 0 1 1T h e L yr i c C l u bT h e M i t ch e l l T h e a t r eG l a sg o w , S co t l a n d0 1 4 1 8 8 9 0 1 77

And then there Were none0 4 - 0 8 O ct o b e r 2 0 1 1T yl d e sl e y L i t t l e T h e a t r eT yl d e sl e yM a n ch e st e r ,0 1 2 0 4 6 5 5 6 1 9w w w . t l t . o r g . u k

Annie1 1 - 1 5 O ct o b e r 2 0 1 1K L O S M u si c T h e a t r eW i n st o n C h u r ch i l l T h e a t r eR u i sl i p , M i d d l e se x0 2 0 8 8 8 6 4 0 9 6

AnYthing goes1 0 - 1 5 O ct o b e r 2 0 1 1D i n n i n g t o n O p e r a t i c S o c i e t yL yr i c T h e a t r eD i n n i n g t o n , S o u t h Y o r ksh i r e0 1 9 0 9 5 6 9 3 4 0

2 5 - 2 9 O ct o b e r 2 0 1 1S t r a t f o r d M u si ca l T h e a t r e C o m p a n yC i vi c H a l lS t r a t f o r d u p o n A vo n , W a r w i cksh i r e0 1 6 0 8 6 6 4 2 0 3

Audition, the1 4 - 1 5 O ct o b e r 2 0 1 1B o n ke r s T h e a t r i ca lT h e M a sq u e T h e a t r eK e t t e r i n g , N o r t h a m p t o n s h i r e0 78 5 7 1 8 6 0 0 5

BAck to the 80s1 9 - 2 2 O ct o b e r 2 0 1 1H e yw o o d A m a t e u r O p e r a t i c & D r a m a t i c S o cH e yw o o d C i vi c H a l lH e yw o o d , L a n ca sh i r e0 1 70 6 3 6 8 9 0 4

BAd girls the MusicAl1 3 - 1 5 O ct o b e r 2 0 1 1C r i g g l e st o n e T h e a t r e C o m p a n yWakefield Arts CentreWakefield, West Yorkshire0 78 1 3 4 0 70 1 7

Be our guest - A celeBrAtion oF disneY0 7 - 0 8 O ct o b e r 2 0 1 1N e w t o w n M u si ca l T h e a t r e C o m p a n yT h e a t r H a f r e nN e w t o w n , P o w ys0 1 6 8 6 6 2 5 0 0 7

BeAutY And the BeAst2 5 - 2 9 O ct o b e r 2 0 1 1T h e H a sl e m e r e P l a ye r sH a sl e m e r e H a l lH a sl e m e r e , S u r r e y0 1 4 2 8 6 4 2 1 6 1

Best little Whorehouse in texAs, the1 5 - 1 9 N o ve m b e r 2 0 1 1W o ki n g A m a t e u r O p e r a t i c S o ci e t yR h o d a M cG a w T h e a t r eW o ki n g , S u r r e y0 1 4 8 3 72 5 779

BillY liAr0 3 - 0 5 N o ve m b e r 2 0 1 1T h e a t r e m a sk P r o d u ct i o n sL l w yn yp i a C o m m u n i t y T h e a t r eT o n yp a n d y , R h o n d d a C n o n T a f f0 1 4 4 3 775 3 3 1

BillY the MusicAl0 8 - 1 2 N o ve m b e r 2 0 1 1H e r st m o n ce u x A m a t e u r T h e a t r i ca l S o ci e t yH e r st m o n ce u x V i l l a g e H a l l0 1 3 2 3 8 3 2 1 1 7

Blithe sPirit0 5 - 0 8 O ct o b e r 2 0 1 1Y e a d o n A m a t e u r O p e r a t i c & D r a m a t i c S o ci e t yY e a d o n T o w n H a l lY e a d o n , W e st Y o r ks h i r e0 1 1 3 2 5 0 3 0 3 2

Boogie nights - the Musi-cAl0 2 - 0 5 N o ve m b e r 2 0 1 1S t N e o t s V a m p sT h e P r i o r y C e n t r eS t N e o t s, C a m b r i d g e sh i r e0 78 6 6 2 2 4 76 9

www.amateurstagemagazine.co.uk | 71

I T h o u g h t I H e a r d A R u st l i n g . P h o t o s: G r a h a m S m i t h

costuMes

C O S T U M E H I R E , S H O W SK I N G & I , P H A N T O M , L E S M I Z , O L I V E R , F I D D L E R ,

K I S S M E K A T E , F O L L I E S , P I N A F O R E , A N N I E , A L L

P A N T O S U B J E C T S , O R I E N T A L C O S T U M E S

www.bpdcostumes.co.uk

P: 01273 481004

diarysept11.indd 5 09/10/2011 20:04

BoY Friend, the1 2 - 1 5 O ct o b e r 2 0 1 1E l st r e e P r o d u ct i o n sT h e R a d l e t t C e n t r eR a d l e t t , H e r t f o r d sh i r e0 1 9 2 3 8 5 9 2 9 1

BrigAdoon2 3 - 2 6 N o ve m b e r 2 0 1 1M i d A r g yl l M u si ca l S o ci e t yA r d r i sh a i g V i l l a g e H a l lA r d r i sh a i g , A r g yl l0 1 5 4 6 6 0 3 4 1 2

Brighton BeAch MeMoirs2 5 - 2 9 O ct o b e r 2 0 1 1P o t t e r s B a r T h e a t r e C o m p a n yT i l b u r y H a l lP o t t e r s B a r , H e r t f o r d sh i r e0 79 8 5 5 4 2 2 0 4

BroAdWAY - PirAtes oF PenZ Ance1 1 - 1 5 O ct o b e r 2 0 1 1B r i t o n F e r r y M u si ca l T h e a t r e C o m p a n yT h e P r i n ce ss R o ya l T h e a t r eP o r t T a l b o t , N e a t h0 1 6 3 9 76 3 2 1 4

Broken glAss1 8 - 2 2 O ct o b e r 2 0 1 1H a l i f a x T h e sp i a n sH a l i f a x P l a yh o u seH a l i f a x, W Y o r ks,0 1 4 2 2 3 6 5 9 9 8w w w . h a l i f a xp l a yh o u se . o r g . u k

BugsY MAlone3 0 N o ve m b e r - 0 3 D e ce m b e r 2 0 1 1S t a g e D o o r T h e a t r e C o m p a n yT h e W i n d m i l l E n t e r t a i n m e n t C e n t r eL i t t l e h a m p t o n , W e st S u s se x0 1 9 0 3 72 2 2 2 4

cABAret1 7 - 2 2 O ct o b e r 2 0 1 1T a l i sm a n T h e a t r eT a l i sm a n T h e a t r eK e n i l w o r t h , W a r w i cksh i r e0 1 9 2 6 8 5 6 5 4 8w w w . t a l i sm a n t h e a t r e . co . u k

2 5 - 2 9 O ct o b e r 2 0 1 1L o n g E a t o n O p e r a t i c S o ci e t yM a y H a l l T r e n t C o l l e g eL o n g E a t o n , D e r b ysh i r e0 1 3 3 2 8 74 3 5 2

cAlAMitY J Ane2 5 - 2 9 O ct o b e r 2 0 1 1F a l ki r k B o h e m i a n sF a l ki r k T o w n H a l lF a l ki r k, S t i r l i n g sh i r e0 1 3 2 4 5 0 6 8 5 0

1 4 - 1 9 N o ve m b e r 2 0 1 1B i n g l e y A m a t e u r O p e r a t i c S o ci e t yB i n g l e y A r t s C e n t r eB i n g l e y , W e st Y o r ksh i r e0 1 2 74 4 3 2 0 0 0

cAlendAr girls2 9 - 2 9 O ct o b e r 2 0 1 1B r a ssn e ck T h e a t r eY e a d o n T o w n H a l lY e a d o n , W e st Y o r ksh i r e0 1 1 3 2 5 0 5 0 1 1

cArousel1 9 - 2 2 O ct o b e r 2 0 1 1S & J P r o d u ct i o n sT h e S t o ke - o n - T r e n t R e p e r t o r y T h e a t r eS t o ke - o n - T r e n t , S t a f f o r d sh i r e0 1 4 77 5 0 0 4 4 3

0 9 - 1 2 N o ve m b e r 2 0 1 1W h i t l e y B a y O p e r a t i c S o ci e t yW h i t l e y B a y P l a yh o u seW h i t l e y B a y , T yn e a n d W e a r0 8 4 5 2 772 771

cArPe J uguluM1 3 - 1 5 O ct o b e r 2 0 1 1T h u r r o ck C o u r t s P l a ye r sT h a m e si d e T h e a t r eG r a ys, E sse x0 1 3 75 3 8 2 5 5 5

ceMetrY cluB, the2 7 - 2 9 O ct o b e r 2 0 1 1P e t u a r i a P l a ye r sE l l o u g h t o n B r o u g h V i l l a g e H a l lB r o u g h0 1 4 8 2 6 6 6 9 0 8w w w . p e t u a r i a p l a ye r s. co . u k

centurY oF song, A0 1 - 0 2 O ct o b e r 2 0 1 1G u i sl e y A m a t e u r O p e r a t i c S o ci e t yG u i se l e y T h e a t r eL e e d s, W e st Y o r ksh i r e0 8 4 5 3 70 5 0 4 5

christMAs cArol, A0 8 - 1 2 N o ve m b e r 2 0 1 1B i l st o n O p e r a t i c C o m p a n yT h e G r a n d T h e a t r eW o l ve r h a m p t o n , W e st M i d l a n d s0 1 9 0 2 4 2 9 2 1 2

2 7 - 2 9 N o ve m b e r 2 0 1 1L l a n d a f f M u si ca l S o ci e t yW a l e s M i l l e n i u m C e n t r eC a r d i f f , S o u t h G l a m o r g a n0 2 9 2 0 6 3 6 4 6 4

christMAs cArol, the1 5 - 1 9 N o ve m b e r 2 0 1 1N o r t h S t a f f o r d sh i r e A m a t e u r O p e r a t i c S o ci e t yR e g e n t T h e a t r eS t o ke - o n - T r e n t , S t a f f o r d sh i r e0 1 78 2 3 3 6 1 2 9

cinders2 9 N o ve m b e r - 0 3 D e ce m b e r 2 0 1 1C i vi c H a l l A m a t e u r P l a ye r s S o ci e t yC i vi c H a l lC o n w y , G w yn n e d0 1 4 9 2 5 8 4 73 8

coMFort And J oY2 3 - 2 6 N o ve m b e r 2 0 1 1A ve n u e T h e a t r eS i t t i n g b o u r n e , K e n t0 1 79 5 4 71 1 4 0

coMPAnY0 2 - 0 5 N o ve m b e r 2 0 1 1B r e n t w o o d O p e r a t i c S o ci e t yB r e n t w o o d T h e a t r eB r e n t w o o d , E sse x0 1 2 77 2 2 3 71 0

conFusions0 3 - 0 5 N o ve m b e r 2 0 1 1S t a i n e s P l a ye r sJo h n C r o o k T h e a t r eH a l l i f o r d S ch o o l , S h e p p e r t o n0 1 2 76 2 5 2 0 8

coPAcABAnA1 8 - 2 2 O ct o b e r 2 0 1 1H a ve r h i l l & D i st r i ct O p e r a t i c S o ci e t yH a ve r h i l l A r t s C e n t r eH a ve r h i l l , S u f f o l k0 1 4 4 0 71 4 1 4 0

coWArd & cole2 7 - 2 9 O ct o b e r 2 0 1 1Y o r k M u si ca l t h e a t r e C oJo se p h R o w n t r e e T h e a t r e , Y o r k0 1 9 0 4 6 2 3 5 6 8

dAd’ s ArMY0 5 - 0 8 O ct o b e r 2 0 1 1T h e H a r r o g a t e D r a m a t i c S o ci e t yH a r r o g a t e T h e a t r eH a r r o g a t e , N o r t h Y o r ksh i r e0 1 4 2 3 5 0 2 1 1 6

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

72 | www.amateurstagemagazine.co.uk

A V i e w F r o m T h e B r i d g e . K e i g h l e y P l a yh o u se

diarysept11.indd 6 09/10/2011 20:05

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

into the Woods1 8 - 2 2 O ct o b e r 2 0 1 1T h e S a i n sb u r y S i n g e r sL e i g h t o n P a r k S ch o o lR e a d i n g , B e r ksh i r e0 1 1 8 9 8 8 2 5 1 0

iolAnthe0 4 - 0 8 O ct o b e r 2 0 1 1S i d m o u t h A r t s C l u b O p e r a t i c S o ci e t yS i d m o u t h M a n o r P a vi l i o nS i d m o u t h , D e vo n0 1 3 9 5 5 79 9 77

2 5 - 2 9 O ct o b e r 2 0 1 1I n g a t e st o n e M u si ca l O p e r e t t a G r o u pI n g a t e st o n e & F r ye r n i n g C o m m u n i t y A sso ci a -t i o n T h e a t r eI n g a t e st o n e , E sse x0 1 2 77 2 3 4 5 8 1

J esus christ suPerstAr0 3 - 0 8 O ct o b e r 2 0 1 1T a u n t o n A m a t e u r O p e r a t i c S o ci e t yT a cch i M o r r i s A r t s C e n t r eT a u n t o n , S o m e r se t0 1 8 2 3 4 1 4 1 4 1

0 5 - 0 8 O ct o b e r 2 0 1 1T a m w o r t h A r t s C l u bT a m w o r t h A sse m b l y R o o m sT a m w o r t h , S t a f f o r d sh i r e0 1 8 2 7 70 9 5 8 1

1 2 - 1 5 O ct o b e r 2 0 1 1B r i e r l e y H i l l M u si ca l T h e a t r e C o m p a n yB r i e r l e y H i l l C i vi c H a l lB r i e r l e y H i l l , W e st M i d l a n d s0 8 4 5 0 6 5 8 0 8 0 3 5

1 2 - 2 2 O ct o b e r 2 0 1 1C o l ch e st e r O p e r a t i c S o ci e t yT h e M e r cu r y T h e a t r eC o l ch e st e r , E sse x0 1 2 0 6 5 73 9 4 8

1 8 - 2 2 O ct o b e r 2 0 1 1B a cu p A m a t e u r O p e r a t i c a n d D r a m a t i c S o cT h e R o ya l C o u r t T h e a t r eB a cu p , L a n ca sh i r e0 1 70 6 8 74 0 8 0

1 8 - 2 2 O ct o b e r 2 0 1 1T h o r n b u r y M u si ca l T h e a t r e G r o u pA r m st r o n g H a l lT h o r n b u r y , B r i st o l0 1 4 5 4 8 5 3 9 4 7

2 5 - 3 1 O ct o b e r 2 0 1 1F e l l i n g S t a g e S o ci e t yD r yd e n C e n t r eG a t e sh e a d , T yn e a n d W e a r0 74 1 1 9 8 0 5 6 0

1 5 - 1 9 N o ve m b e r 2 0 1 1W e st W i ckh a m O p e r a t i c S o ci e t yC h u r ch i l l T h e a t r eB r o m l e y , K e n t0 2 0 8 6 5 8 5 1 1 7

king & i, the0 7 - 1 2 N o ve m b e r 2 0 1 1M A O SM i d d l e sb o r o u g h T h e a t r eM i d d l e sb o r o u g h ,0 1 6 4 2 8 1 5 1 8 1

0 7 - 1 2 N o ve m b e r 2 0 1 1M i d d l e sb o r o u g h A m a t e u r O p e r a t i c S o ci e t yM i d d l e sb r o u g h T h e a t r eL i n t h o r p e , M i d d l e sb r o u g h0 1 6 4 2 8 1 5 1 8 1

1 5 - 1 9 N o ve m b e r 2 0 1 1R e d d i t ch O p e r a t i c S o ci e t yP a l a ce T h e a t r eR e d d i t ch , W o r ce st e r sh i r e0 1 5 2 7 5 2 73 6 3

kiss Me kAte0 8 - 1 2 N o ve m b e r 2 0 1 1T h e M i n e r va C l u bM i t ch e l l T h e a t r eG l a sg o w , S co t l a n d0 1 4 1 9 4 2 4 2 4 5

lA cAge Aux Folles1 6 - 2 2 O ct o b e r 2 0 1 1S t o u r b r i d g e A m a t e u r O p e r a t i c S o ci e t yS t o u r b r i d g e T o w n H a l l T h e a t r eS t o u r b r i d g e , W e st M i d l a n d s0 75 0 4 3 0 1 76 7

1 2 - 1 9 N o ve m b e r 2 0 1 1B u r n l e y L i g h t O p e r a S o ci e t yT h e M e ch a n i cs T h e a t r eB u r n l e y , L a n ca sh i r e0 1 2 8 2 6 6 4 4 0 0

2 2 - 2 6 N o ve m b e r 2 0 1 1C l e ckh e a t o n & S p e n b o r o u g h A O & D SC l e ckh e a t o n T o w n H a l lC l e ckh e a t o n , W e st Y o r ksh i r e0 1 2 74 8 778 2 8

let’ s FAce the Music And dAnce2 6 - 2 9 O ct o b e r 2 0 1 1E l l e sm e r e P o r t M u si ca l T h e a t r e C o m p a n yE l l e sm e r e P o r t C i vi c H a l lE l l e sm e r e P o r t , M e r se ysi d e0 1 5 1 3 3 9 4 3 9 0

lillies on the lAnd2 7 - 2 9 O ct o b e r 2 0 1 1L o u g h t o n A m a t e u r D r a m a t i c S o ci e t yL o p p i n g H a l l , L o u g h t o n0 2 0 8 5 0 2 5 8 4 3w w w . l a d s . o r g . u k

lion, the Witch And the WArdroBe, the1 6 - 1 9 N o ve m b e r 2 0 1 1L e e d s C h i l d r e n ’ s T h e a t r eT h e C a r r i a g e w o r ksL e e d s, W e st Y o r ksh i r e0 1 1 3 2 2 4 3 8 0 1

little shoP oF horrors1 8 - 2 2 O ct o b e r 2 0 1 1

tton Coldfield si al heatre Co an tton Coldfield o n alltton Coldfield, West idlands

0 78 5 6 5 3 71 6 8

www.amateurstagemagazine.co.uk | 75

S h a d o w l a n d s. H a ye s P l a ye r s

little shoP oF horrors0 1 - 0 5 N o ve m b e r 2 0 1 1K e n d a l A m a t e u r O p e r a t i c S o ci e t yK e n d a l T o w n H a l lK e n d a l , C u m b r i a0 1 5 3 9 72 0 1 72

little WoMen1 6 - 1 9 N o ve m b e r 2 0 1 1Whitfield A ate r erati ra ati oR a d cl i f f e C i vi c S u i t eR a d cl i f f e0 1 6 1 2 78 8 1 78w w w . w a o d s. co . u k

MAck And MABel1 8 - 2 2 O ct o b e r 2 0 1 1M u r t o n & E a s t D u r h a m M u s i c a l T h e a t r e G r o u pE a st D u r h a m C o l l e g eP e t e r l e e , C o u n t y D u r h a m0 1 9 1 5 2 6 2 5 3 2

Me And MY girl0 4 - 0 8 O ct o b e r 2 0 1 1G l a sg o w L i g h t O p e r a C l u bK i n g ’ s T h e a t r eG l a sg o w , S t r a t h cl yd e0 1 4 1 9 5 6 6 75 3

1 7 - 2 2 O ct o b e r 2 0 1 1kinfield A ate r erati ra ati

S o ci e t yG e o r g e L a w t o n H a l lM o ssl e y ,0 1 6 1 3 3 0 2 9 4 4

1 8 - 2 2 O ct o b e r 2 0 1 1W a l n e y Ju n i o r A m a t e u r O p e r a t i c S o ci e t yT h e F o r u mB a r r o w - i n - F u r n e ss, C u m b r i a0 1 2 2 9 8 2 0 0 0 0

2 5 - 2 9 O ct o b e r 2 0 1 1T h o r n t o n C l e ve l e ys O p e r a t i c S o ci e t yM a r i n e H a l lF l e e t w o o d , L a n ca sh i r e0 1 2 5 3 8 6 0 8 5 6

diarysept11.indd 9 09/10/2011 20:05

SHOWdiary>>SHOWdiary>>SHOWdiary>> CLASSIFIEDS>>CLASSIFIEDS>>CLASSIFIEDS>>Me And MY girl0 1 - 0 5 N o ve m b e r 2 0 1 1H e r e f o r d M u si ca l T h e a t r e C o m p a n yT h e C o u r t ya r dH e r e f o r d , H e r e f o r d sh i r e0 1 4 3 2 3 4 0 5 5 5

1 5 - 1 5 N o ve m b e r 2 0 1 1A yr e sh i r e P h i l h a r m o n i c O p e r a S o ci e t yA yr T o w n H a l lA yr , A yr sh i r e0 1 2 9 2 4 773 8 1

2 2 - 2 6 N o ve m b e r 2 0 1 1P o l d e n P r o d u ct i o n sE d i n g t o n V i l l a g e H a l lE d i n g t o n , S o m e r se t0 1 2 78 72 3 0 9 5

MikAdo, the0 5 - 0 8 O ct o b e r 2 0 1 1Chesterfield il ert and lli an o ie t

o e ranate heatre ChesterfieldChesterfield, er shire0 1 2 4 6 4 1 8 8 8 7

Murder is Announced, A2 2 - 2 6 N o ve m b e r 2 0 1 1T h e N o m a d sT h e N o m a d T h e a t r eE a st H o r l e y , S u r r e y0 1 4 8 3 2 8 4 74 7w w w . n o m a d t h e a t r e . co m

Music through the YeArs0 5 - 0 8 O ct o b e r 2 0 1 1dle ha kle heatre roT h e L i t t l e T h e a t r eB r a d f o r d , W e st Y o r ksh i r e0 1 2 74 4 1 1 0 8 0

MusicAl MeMories0 8 - 1 2 N o ve m b e r 2 0 1 1F i n ch l e y & F r i e r n B a r n e t O p e r a t i c S o ci e t y

illfield heatreE d m o n t o n , L o n d o n0 2 0 8 4 8 2 6 9 2 3

MY FAir lAdY2 5 - 2 9 O ct o b e r 2 0 1 1S t o ckp o r t A m a t e u r O p e r a t i c S o ci e t yS t o ckp o r t P l a za T h e a t r eS t o ckp o r t , C h e sh i r e0 1 6 1 4 2 7 71 2 1

night Must FAll1 8 - 1 9 N o ve m b e r 2 0 1 1T h e P r i n ce ss T h e a t r e C l u bT h e P r i n ce ss T h e a t r eH u n st a n t o n , N o r f o l k0 1 4 8 5 5 3 2 2 5 2

nightWAtch1 2 - 1 4 O ct o b e r 2 0 1 1B o u r n e P l a ye r sT h e C o r n E xch a n g eB o u r n e , S o u t h L i n co l n sh i r e0 1 778 4 2 0 1 4 1w w w . b o u r n e p l a ye r s. co . u k

oh, WhAt A lovelY WAr1 4 - 2 2 O ct o b e r 2 0 1 1L a n e E n d P l a ye r sL a n e E n d V i l l a g e H a l lL a n e E n d , B u cki n g h a m sh i r e0 770 6 4 2 6 3 2 0w w w . l a n e e n d p l a ye r s. co m

oklAhoMA!1 2 - 1 5 O ct o b e r 2 0 1 1Z o d i a c M u si ca l S o ci e t yM a g n a C a r t a A r t s C e n t r eS t a i n e s, M i d d l e se x0 1 9 3 2 2 2 0 1 6 70 9 - 1 2 N o ve m b e r 2 0 1 1N e w E a r sw i ck M u si ca l S o ci e t yT h e R o w n t r e e T h e a t r eY o r k, Y o r ksh i r e0 1 9 0 4 76 8 1 8 2

oliver!1 8 - 2 2 O ct o b e r 2 0 1 1C o n g l e t o n M u si ca l T h e a t r e

aneside heatreC o n g l e t o n , C h e sh i r e0 1 2 6 0 2 76 3 71

2 5 - 2 9 O ct o b e r 2 0 1 1ta ord istri t erati o iethe ateho se heatre

S t a f f o r d , S t a f f o r d sh i r e0 1 78 5 2 2 2 8 3 4

2 5 - 2 9 O ct o b e r 2 0 1 1T a vi st o ck M u si ca l T h e a t r e C o m p a n yT h e W h a r f T h e a t r ea isto k, e on

0 1 8 2 2 6 1 1 1 6 6

2 2 - 2 6 N o ve m b e r 2 0 1 1e ills A ate r erati ra ati o

T h e A r t T h e a t r ee ills, er shire

0 1 2 9 8 2 5 75 0

our house0 5 - 0 8 O ct o b e r 2 0 1 1N e w b u r y N o m a d s M u si c a l t h e a t r eT h e C o r n E xch a n g eN e w b u r y , B e r ksh i r e0 1 6 3 5 5 8 2 6 6 6

2 6 - 2 9 O ct o b e r 2 0 1 1A e t eneration

Q u e e n M a r y’ s H a l lB a si n g st o ke , H a m p sh i r e0 79 1 9 5 9 778 5

0 8 - 1 2 N o ve m b e r 2 0 1 1A rin ton heatre roO sw a l d t w i st l e C i vi c C e n t r eO sw a l d t w i st l e , L a n ca sh i r e0 79 4 7 75 71 5 7

0 8 - 2 0 N o ve m b e r 2 0 1 1S t o ke M u si ca l T h e a t r e C o m p a n yS t o ke R e p e r t o r y T h e a t r eS t o ke - o n - T r e n t , S t a f f o r d sh i r e0 1 78 5 8 1 5 5 4 0

PAck oF lies1 8 - 2 2 O ct o b e r 2 0 1 1H e n l e y P l a ye r sK e n t o n T h e a t r e , H e n l e y O n T h a m e s0 1 4 9 1 5 75 6 9 8

PAJ AMA gAMe, the2 5 - 2 9 O ct o b e r 2 0 1 1H a t t o n O p e r a t i c S o ci e t yM a g n a C a r t a A r t s C e n t r eS t a i n e s, M i d d l e se x0 1 78 4 2 5 6 3 2 0

PAtience2 0 - 2 3 O ct o b e r 2 0 1 1K i n g sb u r y A m a t e u r O p e r a t i c S o ci e t yK A O S T h e a t r eK i n g sb u r y , M i d d l e se x0 8 4 5 0 2 0 4 2 4 0

0 8 - 1 2 N o ve m b e r 2 0 1 1B u r y S t E d m u n d s A m a t e u r O p e r a t i c &

ra ati o ietT h e a t r e R o ya lB u r y S t E d m u n d s, S u f f o l k0 1 2 8 4 76 9 5 0 5

PickWick3 1 O ct o b e r - 0 5 N o ve m b e r 2 0 1 1Wal sle Ch r h AW a l m sl e y P a r i sh H a l l T h e a t r eB o l t o n , L a n ca sh i r e0 1 2 0 4 3 0 5 8 1 2

PirAtes oF PenZ Ance, the1 2 - 1 5 O ct o b e r 2 0 1 1S t Jo h n ’ s ( si d cu p ) A m a t e u r O p e r a t i c S o ci e t yS t Jo h n ’ s C h u r ch H a l l , S i d cu p , K e n t0 2 0 8 4 6 7 9 4 3 8

1 8 - 2 2 O ct o b e r 2 0 1 1ea in ton a era ro

R o ya l S p a C e n t r eL e a m i n g t o n S p a , W a r w i cksh i r e0 1 6 76 5 3 4 4 77

2 5 - 2 9 O ct o b e r 2 0 1 1S a d d l e w o r t h M u si ca l S o ci e t yS a d d l e w o r t h S ch o o lO l d h a m , L a n ca sh i r e0 1 4 5 7 8 75 9 1 7

0 1 - 0 5 N o ve m b e r 2 0 1 1E r d i n g t o n O p e r a t i c S o ci e t y

tton Coldfield o n alltton Coldfield, West idlands

0 1 2 1 3 6 0 6 6 2 7

2 3 - 2 6 N o ve m b e r 2 0 1 1W o o d l e y L i g h t O p e r a t i c S o ci e t yK e n t o n T h e a t r eH e n l e y- o n - T h a m e s, O xf o r d0 8 4 4 8 8 0 1 8 4 6

PlAY on1 7 - 1 9 N o ve m b e r 2 0 1 1

renoside irle Carr la ersC o m m u n i t y C e n t r e

renoside,0 1 1 4 2 4 6 0 5 2 2w w w . g b cp . co . u k

PoPPies1 6 - 1 9 N o ve m b e r 2 0 1 1M i l t o n M u si ca l S o ci e t yB r o cke n h u r st V i l l a g e H a l lB r o cke n h u r st , H a m p sh i r e0 79 71 1 0 6 1 3 7

PrescriPtion For Murder1 0 - 1 5 O ct o b e r 2 0 1 1L o u t h P l a yg o e r s S o ci e t yR i ve r h e a d T h e a t r eL o u t h , L i n co l n sh i r e0 1 5 0 76 0 0 3 5 0w w w . l o u t h p l a yg o e r s. co . u k

Producers, the0 4 - 0 8 O ct o b e r 2 0 1 1L o u d o u n M u si ca l S o ci e t yP a l a ce T h e a t r eK i l m a r n o ck, A yr sh i r e0 1 5 6 3 5 5 4 9 0 0

2 6 O ct o b e r - 0 5 N o ve m b e r 2 0 1 1arlin ton erati o ietarlin ton Ci i heatrearlin ton, Co nt rha

0 1 3 2 5 2 4 4 6 5 9

2 2 - 2 6 N o ve m b e r 2 0 1 1a ilton erati ra ati Cl

H a m i l t o n T o w n h o u seH a m i l t o n , S o u t h L a n a r ksh i r e0 1 6 9 8 3 8 5 6 2 7

2 2 - 2 6 N o ve m b e r 2 0 1 1W e st B r o m w i ch O p e r a t i c S o ci e t yN e w A l e x a n d r a T h e a t r eB i r m i n g h a m , W e st M i d l a n d s0 1 2 1 5 5 0 3 6 6 7

rent1 5 - 1 9 N o ve m b e r 2 0 1 1B r a ssN e ck T h e a t r eY e a d o n T o w n H a l lY e a d o n , W e st Y o r ksh i r e0 1 1 3 2 5 0 5 0 1 1

return to the ForBidden PlAnet0 6 - 0 8 O ct o b e r 2 0 1 1S o l i h u l l O n S t a g eS o l i h u l l A r t s C o m p l e xS o l i h u l l , W e st M i d l a n d s0 1 2 1 70 4 6 9 6 22 2 - 2 6 N o ve m b e r 2 0 1 1O xt e d O p e r a t i c S o ci e t yT h e B a r n T h e a t r eO xt e d , S u r r e y0 1 8 8 3 72 3 0 8 4

roAd hill house Murder, the0 9 - 1 2 N o ve m b e r 2 0 1 1S t a f f o r d P l a ye r s

ta ord ateho se heatre0 1 78 5 2 5 4 6 5 3w w w . st a f f o r d p l a ye r s. co . u k

roBinson crusoe And the cAriBBeAn PirAtes1 6 - 1 9 N o ve m b e r 2 0 1 1

e o th istri t Co nit Yo th heatre ro

E ye m o u t h ( O l d ) H i g h S ch o o l H a l lE ye m o u t h , B e r w i cksh i r e0 1 8 9 0 75 0 5 8 5

2 2 - 2 6 N o ve m b e r 2 0 1 1W h i ckh a m T h e a t r e C l u bS t M a r y’ s C e n t r eW h i ckh a m , T yn e a n d W e a r0 1 9 1 4 8 8 1 6 2 9

rogers & hAMMerstein - their storY in song0 7 - 0 9 O ct o b e r 2 0 1 1T h e S a vo y S i n g e r sT h e C a m b e r l e y T h e a t r eC a m b e r l e y , S u r r e y0 1 2 76 70 76 0 0

roots1 9 - 2 2 O ct o b e r 2 0 1 1C r o m e r & S h e r i n g h a m A m a t e u r O p e r a t i c &

ra ati o ietS h e r i n g h a m L i t t l e T h e a t r eS h e r i n g h a m , N o r f o l k0 1 6 9 2 6 78 0 1 0

rosencrAntZ And guilden-stern Are deAd0 5 - 0 8 O ct o b e r 2 0 1 1W i ck T h e a t r e C o m p a n yB a r n T h e a t r eS o u t h w i ck, W e st S u sse x0 1 2 73 5 9 70 9 4w w w . w i ck t h e a t r e . co . u k

roYAl BAccArAt scAndAl, the

o e er e e er T h e S t U r su l a P l a ye r sN e w m a n H a l lW e st b u r y O n T r ym , B r i st o l0 1 1 7 9 6 2 4 4 3 1w w w . st u r su l a p l a ye r s. co . u k

ruddigore, or the Witch’ s curse0 9 - 1 2 N o ve m b e r 2 0 1 1Ju l i a n L i g h t O p e r a t i c S o ci e t yQ u e st o r s T h e a t r eE a l i n g , M i d d l e se x0 2 0 8 5 6 75 1 8 4

o e er e e er P u r p l e T h e a t r e C o m p a n yT h e C o m p a ss T h e a t r eI cke n h a m , M i d d l e se x0 1 8 9 5 6 73 2 0 0

ruMours1 3 - 1 5 O ct o b e r 2 0 1 1

hoeni heatre roT h e a t r E l l iL l a n e l l i , C a r m a r t h e n sh i r e0 8 4 5 2 2 6 3 5 1 1 0

scrooge0 7 - 1 2 N o ve m b e r 2 0 1 1A d l i n g t o n M u si c a n d A r t s S o ci e t yA d l i n g t o n C o m m u n i t y C e n t r eC h o r l e y , L a n ca sh i r e0 1 2 5 7 4 8 0 1 6 6

serenAde1 7 - 2 2 O ct o b e r 2 0 1 1H a r r o g a t e O p e r a t i c P l a ye r sT h e S u n P a vi l l i o nH a r r o g a t e , N o r t h Y o r ksh i r e0 1 4 2 3 8 1 9 8 1 1seussicAl J nr2 6 - 2 9 O ct o b e r 2 0 1 1Yo n ast o rne erati ra ati oE a st b o u r n e C o l l e g e T h e a t r eE a st b o u r n e , E a st S u sse x0 1 3 2 3 4 1 2 0 0 0

2 6 - 2 9 O ct o b e r 2 0 1 1Yo n ast o rne erati ra ati oE a st b o u r n e C o l l e g eC o l l e g e R d , E a st b o u r n e0 1 3 2 3 4 1 2 0 0 0w w w . e o d si n f o . co . u k

shell seekers, the2 0 - 2 2 O ct o b e r 2 0 1 1C o sm o p o l i t a n P l a ye r sT h e C a r r i a g e w o r ksL e e d s, W e st Y o r ksh i r e0 1 1 3 2 2 4 3 8 0 1

shoW BoAt0 7 - 1 2 N o ve m b e r 2 0 1 1O u r L a d y’ s H i g h S ch o o l F P A L i g h t O p e r a S o cM o t h e r w e l l T h e a t r eM o t h e r w e l l , L a n a r ks h i r e0 1 6 9 8 73 3 5 0 2

76 | www.amateurstagemagazine.co.uk

diarysept11.indd 10 09/10/2011 20:06

78 | www.amateurstagemagazine.co.uk

CURTAIN CALL

the last word

W isteria C ottage G arrick L ane

Darling T hespians,

I fear the w riting is on the w all and C am pton R oyal A m ateur P layers is in danger of be ing run by com m ittee. N ikki w as as good as her w ord and called on m e a scant four days after m entioning the dreadful concept. She thrust a sheaf of paper at m e, dem anding that I read it then and there. T his w as obvi ously an im possibi lity be cause I had m islaid m y reading glasses and could only m ake out a bl ur of grey paragraphs. I w ent in search of the m issing spectacles, but I doubt ed I w ould m ake a great deal of sense of the docum ent eve n w hen I found them . T he w retched things prove d elusive . I w as sure I had them in the larder w hen I w as checki ng the date on a tin of cling peaches, but could I find them? I even looked in the washing basket, which has concealed missing objects on numerous occasions. They finally surfaced in the peddle bin, along with the peaches w hich w ere w oefully out of date.

When I returned, I was more than a little surprised to find Marjorie, Jeff, Vera and Kath, draped about my parlour. To be precise, Marjorie was wedged into my rocking chair, so much so that I feared she would not be able to extricate herself; Kath occupied the sofa, together with Vera and Jeff. And, my dears, it was Vera that was doing the draping – all over Jeff! Immediately, I apologised for the inadequate dimensions of my sofa and offered to fetch another chair. Vera said she would not dream of putting me to any trouble and Jeff said they were ‘quite comfortable, thank you.’ Kath moved forward to perch precariously on the edge, thus m aki ng a little m ore room . T o m y surprise, neither Jeff, nor Vera moved an inch! I was forced to raise a quizzical eyebrow.

N ikki w as cross- legged in the m iddle of the A xm inster surrounded by papers and scribbl ing in a note book. N aturally, I aske d w hat had transpired in m y abs ence and was told that everything would be in the minutes. Minutes! There is a misnomer if ever I saw one. Why are they called minutes when meetings go on for hours? To cut a long story short, they had decided that Nikki would be secretary, Marjorie would be treasurer because she was good with figures (her own being the obvious exception), Jeff would handle the membership, which I thought apposite in the current circumstances. Vera w ould look after publ icity, presum abl y b ecause she w as the m ain source of gossip in the village and Kath would look after social events, not that she had been to an event, social or otherw ise, for m onths. F orgive m e if I sound a teensy bi t irritated, but the P layers have be en going for m ore than 60 years w ithout any fancy titles and I really do not see w hy w e should start now . A nd I said so.

T he response w as heart- w arm ing. I t seem ed that they w ere all appreciative of m y activi ties but felt that it w as tim e I had som e help w ith m y onerous bur den and w ould I act as chairman? Of course, I would. The dear ones will need guidance, and who better than myself to have her hand on the tiller. I don’t know what I was worrying about, a com m ittee w ill m ake abs olutely no difference at all to the glorious future of dram a in C am pton R oyal.

I shall celebr ate w ith a B ristol C ream .

Y ours contentedly,

Doris Richardson-Hall

dorissept11.indd 2 10/10/2011 10:59