1 spotlight Let down your hair this Christmas As we enter the festive season, the pantomimes begin! The beginning of December marks the start of the pantomime season for thespians across Somerset. Indeed, a glance at What’s On shows that Quantock players were the first out of the starting blocks this year with their pantomime, Robinson Crusoe, kicking off on 28 th November. And, while most pantomimes are done and dusted by the end of February, we can always expect the odd one that is performed as late as March. So the next three months represent the busiest time for the Cinderella Trophy Team. In this month’s Spotlight we talk to the team and find out what makes them tick. We will be following this up with similar profiles of the teams responsible for the other competitions in future publications. It is always interesting to see the variety of pantomimes on offer. This year, as well as the traditional favourites, you can let your hair down with Rapunzel at Cannington or spin a golden tale with Rumpelstiltskin at both Roadwater and Wells (who are performing two different scripts). And at Wellington Alice ventures into Wonderland once again! And although it is not a traditional pantomime (there is no dame for a start!), Merlin Theatre Company is performing a musical version of Pinocchio, a show for all the family. In terms of authors, so far this year Alan Frayn is leading the way with four scripts in production followed by Graham Barraclough with two. But just because it’s Christmas, it doesn’t mean that pantomime is the only show in town. Admittedly you have to search them out but Tom Stoppard’s Heroes is being performed in Yeovil in January and at Taunton School you can see Progress by Tony Cottrell in early December. Moorlight Productions of Street and Minehead Panto People, whose runs start immediately after Christmas into the New Year, deserve particular praise. Putting on a show when the cold turkey sandwiches are still being eaten not only requires huge personal commitment from everyone involved, but also very understanding and supportive families! You can check out all the details in What’s On on page 13. The magazine of the Somerset Fellowship of Drama Charity No.1084863 In this month’s Spotlight… In Brief 2 Editorial – Getting the Message Across 2 Not so Much a Hobby More a Way of Life 3 In the Spotlight: Richard Derry 4 Meet the Team: The Cinderella Trophy 6 A morning with Freddie Greenop 9 Unsung Heroes: Dona Bullion 11 What’s On 13 Letters 16 Auditions 17 Reviews 17 A Panto in the Country by Charles Berridge 18 Adjudications Interpreted 20 December 2012 We talk to Freddie Greenhop – Honorary Life Member as he shares his views on life, love and the SFD Page 9 Donʼt Forget… The deadline for submissions to Spotlight is 21 st of the previous month. Email: [email protected]
Transcript
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spotlight
Let down your hair this Christmas As we enter the festive season, the pantomimes begin! The beginning of December marks the start of the pantomime season for thespians across Somerset. Indeed, a glance at What’s On shows that Quantock players were the first out of the starting blocks this year with their pantomime, Robinson Crusoe, kicking off on 28th November. And, while most pantomimes are done and dusted by the end of February, we can always expect the odd one that is performed as late as March. So the next three months represent the busiest time for the Cinderella Trophy Team. In this month’s Spotlight we talk to the team and find out what makes them tick. We will be following this up with similar profiles of the teams responsible for the other competitions in future publications. It is always interesting to see the variety of pantomimes on offer. This year, as well as the traditional favourites, you can let your hair down with Rapunzel at Cannington or spin a golden tale with Rumpelstiltskin at both Roadwater and Wells (who are performing two different scripts). And at Wellington Alice ventures into Wonderland once again! And although it is not a traditional pantomime (there is no dame for a start!), Merlin Theatre Company is performing a musical version of Pinocchio, a show for all the family. In terms of authors, so far this year Alan Frayn is leading the way with four scripts in production followed by Graham Barraclough with two. But just because it’s Christmas, it doesn’t mean that pantomime is the only show in town. Admittedly you have to search them out but Tom Stoppard’s Heroes is being performed in Yeovil in January and at Taunton School you can see Progress by Tony Cottrell in early December.
Moorlight Productions of Street and Minehead Panto People, whose runs start immediately after Christmas into the New Year, deserve particular praise. Putting on a show when the cold turkey sandwiches are still being eaten not only requires huge personal commitment from everyone involved, but also very understanding and supportive families! You can check out all the details in What’s On on page 13.
The magazine of the Somerset Fellowship
of Drama
Charity No.1084863
In this month’s Spotlight…
In Brief 2 Editorial – Getting the Message Across 2 Not so Much a Hobby More a Way of Life 3 In the Spotlight: Richard Derry 4 Meet the Team: The Cinderella Trophy 6 A morning with Freddie Greenop 9 Unsung Heroes: Dona Bullion 11 What’s On 13 Letters 16 Auditions 17 Reviews 17 A Panto in the Country by Charles Berridge 18 Adjudications Interpreted 20
December 2012
We talk to Freddie Greenhop – Honorary Life Member -‐ as he shares his views on life, love and the SFD Page 9
Donʼt Forget… The deadline for submissions to Spotlight is 21st of the previous month. Email: [email protected]
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In Brief… Committee Christmas Dinner Postponed Every year the SFD committee like to get together with the adjudicators from the various competitions for Christmas dinner. It’s a great opportunity to meet people who are involved in other areas of activity within the SFD and swap stories. This year we were planning to meet in the Shrubbery in Ilminster on 13th December but unfortunately other commitments mean that too many people could not attend and so this year’s festivities have been put off until the New Year. Admittedly my tummy could probably do without any more turkey and Christmas pud, so maybe it’s not all bad!
Getting the Message Across How we communicate in the modern eraEditorial by Sam AllenA fascinating letter in last month’s Spotlight got me thinking. It was sent in by Nicola Dawson who is the publicity officer for Taunton Thespians and it was seeking members’ thoughts on the effectiveness of various marketing methods. I do hope she was inundated with ideas but somehow, I doubt it. We thesps are great when it comes to putting together a show but sometimes I feel we lack commitment when it comes to some of the other equally important but peripheral activities. So using the Phillip Schofield in-‐depth investigation technique, I spent three minutes online to see how well (or otherwise) member societies use the Internet as a communications tool. The results, while not surprising, are interesting. Some fairly sizeable societies do not have a website at all while some of the smallest village groups have great websites. But having a website is only half the battle. The trick is having a good website. Here, I think it is fair to say it is a mixed bag. There are some great sites with online booking facilities and some that are a little, shall we say, in need of updating.
It’s a worse picture, though, when it comes to societies’ Facebook pages. Because all and sundry can add comments, there are all sorts of caustic contributions that, in my opinion, are best not aired in public. We don’t need to know that last night’s rehearsal was, er, not very good or that next week’s rehearsal has been cancelled due to lack of interest! I think theatre works best when it maintains some of its mystique. In my tiny village group we have a website with a public section and a private password-‐controlled section. That means we can let off steam in private if we wish but still have somewhere for us to portray ourselves in a positive light to customers and potential members. Having said all this, I think Nicola is on to something when she intimates that it deserves something more than a Schofield three minutes. Just as Nicola is doing some research for Taunton Thespians, maybe we at SFD should think about our own means of communications for the future. Something to consider in the New Year, perhaps.
Dates for your diary in 2013 We now have confirmed diary dates for important events next year. Saturday 9th March 2013 David Beach Awards Somerset Cricket Club, Taunton Saturday 13th April 2013 County Drama Festival The Merlin Theatre in Frome Saturday 11th May 2013 Cinderella Trophy Awards Westlands Sports and Social Club, Yeovil Saturday 21st September 2013 The AGM Edington Village Hall Saturday 19th October 2013 Phoebe Rees Awards The Shrubbery Hotel, Ilminster
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Not so much a hobby more a way of life! …at a cost we can afford to bear By Sam AllenThe very fact that you are reading this probably means that amateur drama is an important part of your life. But in modern Britain, are amateur thespians just a bunch of would-‐be luvvies in a declining niche hobby, or part of a much-‐loved and thriving sector of our communities? The National Operatic and Drama Association (NODA) is the main national body representing amateur theatre in Britain. Its website shows that it currently has a membership of over 2,500 amateur groups. It has been estimated by NODA that over seven million people attend over 25,000 performances by affiliated groups every year. But this may represent only a quarter of all amateur productions in the country. However, to suggest that 30 million different people are watching amateur shows every year is probably to overestimate the true picture. While aficionados attend again and again, most people in the country never see either an amateur or a professional live show. Nevertheless, based on their ‘Taking Part’ survey of 2005/06, the Arts Council estimated that 42% of English adults attended some sort of live theatre every year, and that the participation rate in amateur theatre is about 2%. Here in Somerset, we have just under one hundred member societies in SFD covering an area of approximately one million people. We know, of course, that there are active groups in the county which are not affiliated to the SFD making it difficult to assess overall active participation in amateur dramatics, but there is little reason to assume it is significantly different from the national figure of 2%. NODA is trying to find out more. It has a major new survey running (which finishes on 6th January 2013) to analyse the current state of UK amateur theatre. You don’t have to be a NODA member to take part and obviously, the more people who participate, the better their findings will be. But, of course, these are hard times. According to a report commissioned by the Charities Aid Foundation, charity donations are down this year by 20%. So will a lack of readies deter people from coming to our performances? Will people be
reluctant to put their hands in their pockets for an amateur production? Well, like everything else, that will depend on the value people perceive they are getting. Societies are working hard to keep prices down. But it is a difficult balance to maintain high quality shows with lower box office receipts and reduced sponsorship as local businesses also cut back. And recent reports show that council funding for the arts has been reduced by 40%. Add to the mix the increasing cost of theatre hire and it is no wonder that many societies are struggling financially. For participants, amateur drama is a great escape. It is possible to leave behind all the worries of the world when we enter the rehearsal room. And, as hobbies go, it is reasonably inexpensive. According to a survey published by M&S Bank in August, 38% of us are members of a gym at an average monthly cost of £38 and 8% play golf with a monthly outlay on average of £82. OK, for amateur thespians there are club subs to pay and some costumes to provide, but it pales into insignificance compared to the golf club, the tennis club or the gym. And a hard night’s rehearsal can be just as energetic! But, for all the camaraderie and fun of rehearsing, the reason we all do it is for the thrill of performing in front of a live audience. And so we need to consciously keep down costs and keep up standards in order to bring our audiences back time and time again. Perhaps it is true that amateur societies enjoy a more loyal following than professional theatre as family, friends and colleagues loyally turn out to support local groups. But even the most loyal audiences are still demanding. All of this is important. Although 2% active participation may seem small compared to gym membership, amateur drama has an important role to play in the mix that makes up modern living. It is not for everyone. Some people prefer sports activities, computer games, bingo nights, stamp collecting or just going down the pub. But of course, most people weave together a tapestry of activities in their lives and amateur dramatics can fit right in there with the best of interests. Continued on Page 5…
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In the Spotlight… Richard Derry SFD Treasurer
Richard, how did you first get involved in amateur drama? It all started at Sunday school in Surrey when they wanted to start a junior drama section at Weybridge Congregational Church (now United Reform Church] and I became part of it. The hall in which we performed was well dated by the early 1960s [long since gone] and my interest in amateur dramatics took off from there though like some things in life I later lost interest. Then in 1981 my niece got a part in the panto 'Humpty Dumpty' at the same church and I ended up being stage manager/general dogsbody and once again I was hooked. The company was now the 'Weybridge United Reformed Church Players' and I was Treasurer here for a couple of years. Though I took part in a number of plays my happiest memory is of playing Sergeant Ping in Aladdin in January, 1987. We had a forward-‐looking vicar at the time [Revd. Norman Kew] and while the church hall was being rebuilt he let us use the church for a number of performances which included the uplifting Salvation Army productions 'Jesus Folk' and 'Spirit' [one of the evening performances was in 1985 when MUFC beat Brighton 4-‐0 in the FA cup replay and while my sister was at Wembley I had to appear in the church! I'm a staunch MUFC fan.] And one January we performed a fun version of the Christmas story.
And what brought you to Somerset? Once again life changed and in 1999 circumstances meant I had to move, I could not afford to carry on living in Weybridge, Surrey as I wasn’t earning enough. So I moved down to Minehead with the idea of joining the Minehead Panto People [I was already a volunteer on the West Somerset Railway] but being a stranger to the Regal Theatre, Minehead at first I couldn't work up the nerve to go along. I am involved because a good friend Dianne Turner [her D.R.E.A.M.S dance school, Watchet, is a member of the Fellowship] said if I didn't turn up to one rehearsal I wouldn't get a part in 'Around the World in 80 days' at the Regal Theatre in 2005. From then I've become more involved with the Regal Theatre, working with various companies at different times of year. But my favourite art form is pantomime and 2013 sees my 8th panto with the ‘Minehead Panto People'. I have also served on the committee for a number of years, and, when required, I help backstage and volunteer in the Regal Bar; so I've a lot to thank Dianne for. Why did you volunteer to become Treasurer for the SFD? I didn't want to see the Fellowship wind up so at The Cinderella Awards last year where the MPP's table was next to the Fellowship Table, I fell into conversation with some of the committee. By then I had two large whiskies inside me and I said I'd like to help out, mentioning the word Treasurer! From then fate took over! You mentioned that you were Treasurer in Weybridge. Do you have any other experience as a Treasurer? I was treasurer for 'The Seaward Community Group' in Minehead for a number of years until
Richard Derry was appointed as our new Treasurer at the Annual General Meeting, taking over from Monica Nicholls. In one of our occasional “In the Spotlight” interviews, I asked Richard about his involvement in amateur thespianism and found out a little bit more about his love for am dram, sport and railways.
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the group had achieved what it had set out to do and was wound up. Whilst living in Surrey I was also Treasurer for a good number of years for the '35025 Brocklebank Line Association', a steam locomotive in the process of restoration. I became involved because I had seen the locomotive at work in the early 1960s on the main line that runs through Weybridge, and it was a favourite of mine; I gave this up because I felt that living in Minehead would isolate me from the rest of the group. If I'd had a PC then I might have continued in the role. What are your first impressions about the financial health of the SFD? The previous Treasurer of the Fellowship, Monica has left the Fellowship in a good financial situation and I must congratulate her on a job well done. I hope to keep her good work going and as I've only been in the job a short time I cannot at present see any need for change.
And finally, tell us a bit about yourself outside the world of amateur drama. I am a single man, love sports, and have been a railway enthusiast all my life but only talk about railways to people who show an interest; it can be a rather boring subject if you're not interested! I am also a published Railway author [look me up on Amazon] especially with The Irwell Press. In September I decided to give up volunteer signalling on the WSR after 25 years; instead I am now Junior Lad Porter on Dunster station where I enjoy talking to our visitors and watching our resident rabbit sun bathing! Finally I have a big fat, tabby tomcat called Robbie who nags me to death for food but has still to learn how to answer the phone!
Not so much a hobby more a way of life!Cont. from page 3… There are few hobbies that so readily cut across so many boundaries. It includes young and old, people who love treading the boards and those who are happiest nailing together a few bits of plywood to create a pirate ship, a thirties kitchen or a medieval castle. It encompasses painters, dressmakers, lighting technicians, marketing experts; they all have their role to play.
The recession may even bring some benefits. The need to watch the pennies forces us all to think more imaginatively about how we can do a bit more for a bit less. And amateur thespians are experts at innovation, creating entire new worlds across time and space right there in the village hall. So if anyone can rise to the challenge, surely we can.
What did they say…? “I didn't like the play, but then I saw it under adverse conditions - the curtain was up.” − Groucho Marx
If you want to take part in the NODA survey, State of Amateur Theatre, then visit their website at: http://www.noda.org.uk/stateofamateurtheatre You have until Sunday 6th January to complete the survey online.
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Meet the Team A look inside the minds of the team behind the Cinderella TrophyBy Sam Allen
The Cinderella Trophy is, as its name implies, a competition for pantomimes! Pantomime has been associated with Christmas since the nineteenth century and so the months of December, January and February are when it all happens. The adjudicators have to squeeze their activities into a hectic three-‐month period and the moderator, Ron Roberts, has a very busy time indeed travelling the length and breadth of the county seeing every single show. The February half-‐term week is the peak performance period and Ron, and his wife Jacqueline, often visit six shows that week, including matinees! As we enter a new panto season it is a good time to meet the Cinderella Trophy team and to ask them what it’s all about. Why do they do it? How can they be fair and equitable? And what is the point of it all anyway? The team comprises moderator Ron Roberts, coordinator Sam Nicol , and six adjudicators. Sam is the person who holds it all together; in many ways she is the backbone of the team. She starts the ball rolling by inviting societies to take part and then processing the entries and, most importantly, forwarding the money to the SFD treasurer! Sam then creates a diary of all the shows and allocates each production to an adjudicator, which is not always as easy as it sounds! “This can be tricky when so many pantomimes are on similar dates,” she explains. “And, of course, all our team are passionate about pantomime so are involved in their own productions.” In addition, she tries to ensure no adjudicator visits the same society more than once every five years. Fortunately everyone in the team is aware of the problems. “All the adjudicators are really flexible and know that I try my best to spread out their pantos as much as I can.” Inevitably at times there can be a flurry when it is difficult to avoid some adjudications being close together. The adjudicators attend up to five performances each every year and write a detailed adjudication for each performance. They mark
each show according to an agreed set of criteria and, where appropriate, nominate people for awards. When asked, all the adjudicators said that they do it because they enjoy doing it, but also because they think they are doing some good. Chris Roberton summed it up in one word: encouragement. And Nigel Ford added that he aimed to “offer a personal opinion on a pantomime that might benefit from some practical suggestions based on years of amateur theatrical experience.” So, why do adjudicators feel they have the right to sit in judgment on their peers? Nigel is very clear on this. “I don't feel I have a right -‐ or sit in judgment. I have been invited to assess pantomimes, largely in a positive light, but also to suggest ways of improving”. In essence, societies receive an objective assessment of their productions. This is invaluable for smaller village productions in particular, where friends and families always give a glowing critique in the foyer even if that is not always what they say in the car on the way home! Another concern sometimes expressed by members is that adjudicators are usually involved in their own societies, which might lead to a conflict of interest. All the adjudicators were adamant that this was not the case but each of them deals with it in their own way. Doug Craig does not enter any of his shows into a competition where he is adjudicating. “I do feel quite strongly about this -‐ it's one or the other. If any club of which I was a significant player wanted to enter a competition where I was adjudicating, then I either leave the club or leave the adjudicating team for that year.” But not all the adjudicators agreed with this, although they all agreed they would never dream of adjudicating their own society. Chris Roberton said, “I judge every show on its merits and favouring my own society wouldn’t even cross my mind.” When it comes to deciding
In the first of a series of interviews with the moderators and adjudicators of the SDF competitions, we find out what makes them tick, what they are looking for in a good pantomime and what they really loathe.
Sam Nicol , coordinator; adjudicators Sam Allen, Nigel Ford, Doug Craig, Chris Roberton; & moderator Ron Roberts
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awards, all adjudicators are scrupulous about declaring an interest and offering no opinions when it comes to any group where they have a close involvement. What about the difficulty of comparing large theatre societies with small village groups? Nigel says, “The litmus test is whether or not a show is well integrated (on stage and back stage) and whether or not it displays flair and cohesion. The size of the theatre may be irrelevant.” Doug relies on his instincts. “My gut tells me how much I enjoyed it and this automatically allows for the resources that the company has to deal with (it's a pretty big gut!).” Chris Roberton put it simply: “Big does not always mean better or more entertaining.” While the team tries to make the process as objective as possible by having clearly defined objectives, inevitably there will always be certain specific aspects of panto that each adjudicator particularly enjoys. Nigel says, “Enthusiastic audience participation is what marks a show out. A pantomime is not meant to be solely a 'Quality Street' tableau. What distinguishes a panto from, say, a musical is that liminal space between the stage and the audience.” Both Chris and Doug agree that good comic timing is important. Doug enthuses, “To see a really good linkman and dame play off each other skillfully with a really good script -‐ well, I've enjoyed that literally all my life.” Chris nods in agreement, “I like to see good slick comedy delivered with pace and perfect timing”, he says, adding, “I also like to see a confident cast obviously enjoying themselves.” And what gets their goat? They all agree that they do not like to see unsuitable pop songs sung in an American accent! And Nigel raises the basic lessons of the stage that sometimes people seem to forget: Performers who do not project their voices into the auditorium and characters who turn their back on it. There are lots of pitfalls societies can fall into. Sometimes they don’t understand the particular role of the dame and end up trying to be a female impersonator, which it specifically is not! Sometimes not enough thought goes into choreography for the chorus who just stand around looking lost. And Doug warns about the specific pitfalls of the ‘broker’s men’ roles. “Authors tend to use up all their best material in other places -‐ dame, linkman, etc. The Broker's men are then left running around and trying to pull off weak slapstick. Likewise directors use
their best comedians in the same order of preference.” Doug smiles wryly, and admits that, while this is a frequent danger, he has seen some terrific broker’s men performances over the years. And, of course, that is what the adjudication process is all about, making observations that help societies to avoid pitfalls in future years and so help standards to rise. And everyone agrees that the standard of pantomimes in Somerset is very high. The moderator’s role is different. As well as setting the overall standards and keeping a watchful eye on the team, Ron watches each and every show, makes notes and awards marks both for the overall show and the individual categories. Although he doesn’t write adjudications, he submits to Spotlight a light-‐hearted report of his visit. When the season is finished the team meet to consider the thorny question of awards. Each adjudicator submits nominations and overall marks for every show they have seen and those marks, together with Ron’s assessments, are used to compare performances. Sometimes there is such an outstanding performance that the decision is a ‘no-‐brainer’ but more often considerable discussion takes place, weighing merits and comparing skills. These are not decisions that are taken lightly and the moderator’s role is crucial. Having seen all the shows, Ron is well placed to make the final decision in any close-‐run contest. Inevitably, societies do not always agree with the final decisions, but the team is clear that they make their decision based on what they have seen on the night. Sometimes clubs suggest awards are made on the time-‐honoured basis of ‘Buggin’s turn’ but the team emphatically refutes this pointing out that it is not unknown for societies to win the same award several years on the trot. After the nominations and awards have been agreed Sam’s administrative skills really come to the fore. “I type every nomination and winner into a database to go to the printers,” she says, “and then type all that same information into the script for the night and then a potted version for the press release.” This is a time consuming process and Sam’s least favourite aspect of the role. She has a special plea to make: “If there is any clever soul out there who knows a way of cascading such information so I don’t have to keep repeating it -‐ please get in touch!!” Sam organises the printing of certificates, sorts
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them for the big night and puts them in envelopes. She collects the trophies (making sure they are all engraved and clean!) and helps with setting up and rehearsals for the presentation evening itself, where she helps onstage by ensuring the right certificates are given to the right people. So why does she do it all? “I wanted to adjudicate, there was no need for new adjudicators at that time, but June Jenkins had been trying to give up the Coordinator role for 2 years so I took it on.” The role has its good points, she says, “I'm nosey so I like to know what's going on around the county! And I enjoy knowing the results early!” She also says she enjoys working with a great, passionate
team of people. And the low points? “Getting the trophies in, engraved and cleaned on time. Also, sadly, some folk can be quite impolite. I'm doing this on my own time, so please and thank you is always appreciated.’ And so, as the team prepares for another season, it is worth remembering that they are all doing it for the benefit of amateur dramatics in Somerset. The overwhelming feeling is that this is a team that wants to help people, that is passionate about ‘am dram’ and that is never more pleased than when they see societies acting on their advice and getting better and better.
What did they say…?
“Without wonder and insight, acting is just a trade. With it, it becomes creation.” − Bette Davis
What did they say…? “The theatre is the thing I love doing most.” − Judi Dench
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Freddie Greenop is a man with a story to tell. Well, quite a few stories to tell, in fact. Freddie enjoys recounting the many fascinating chapters of his long and interesting life. He is now a sprightly ninety-‐one year old with a sharp mind and an engaging turn of phrase. He is one of only four honorary life members of the Somerset Fellowship of Drama, an accolade he was very pleased to be offered a little over two years ago. He still takes a very active interest in the goings on of the SFD. I first met Freddie when I sat beside him for dinner at the Phoebe Rees Awards where he entertained those around him with his witty interjections. And when he discovered I was the new editor of Spotlight, he invited me to his lovely Somerton home for coffee and a chat, I was only too happy to oblige; Freddie is an interesting chap and his stories are well worth the listen. I arrived on a beautiful autumnal morning and was greeted by a smiling Freddie waiting at the door. We went into the kitchen for Freddie to make the promised coffee and after forty minutes we were still standing there as Freddie, spoon in hand, recounted episodes of his life, coffee unopened! During the war he served in the Royal Navy in Africa, amongst other places. After he was demobbed in 1946 he yearned to go back abroad and, Freddie being Freddie, he soon found himself in Dar es Salaam in Tanzania where he lived for seven years. It was there that he first became involved in amateur dramatics. When I ask what attracted him to thespianism he looks sideways at me as though I’ve asked the silliest of questions. His answer is a single word: “Crumpet!” I was to find he used that sideways look a lot! Freddie regales me with tales of performing in cinemas, trying to avoid damaging the screen, the delights of changing in confined spaces in close proximity to the girls, and the privilege of living in what were the last days of the empire. As fate would have it, however, he did not meet his wife, on the stage. He was introduced to her at a party in Dar es Salaam and thought, “That is the girl I am going to marry.” And he did. Pauline had been out there with the Colonial Office at the time.
Later he was telling me about the time they lived in Nairobi where Freddie mentioned in passing that he directed TV shows. I asked him how he got into that and he gives me that look again. “I asked!” he exclaims. Freddie achieved a lot in his life by asking. He is a great believer in making your own way in the world and not expecting the world to come to you. Freddie is a man who makes things happen. He got into broadcasting by offering to commentate on cricket. In 1955, when Freddie and Pauline were living in Uganda, there was a test match coming up between Uganda and Tanganyika. In order to prove he could do it, Freddie dragged the heavy recording equipment to a routine cricket match, recorded his commentary and played it back to the producers. He got the gig! And so he entered the world of broadcasting which he somehow managed to fit in with his full-‐time job, his amateur dramatics, his family life and all the other hectic pursuits of ex-‐pats in fifties Africa. So from there he migrated to TV, while always keeping his hand in on the radio. He even did odd bits for the BBC at six guineas a throw! He covered the East African Coronation Safari for the BBC and Canadian Broadcasting. For his services for sponsors Peugeot, instead of cash payment he persuaded them to let him have a car. They agreed, although since it was Freddie I’m not at all surprised! Amongst other things, he presented a series called The Flip Side where he interviewed the wives of important people in Nairobi. One of the women he interviewed was Diane Delamere and it was not until after the programme aired that he realised he might have been conversing with a killer. Born Diana Caldwell (1913 – 1987), she had moved to Kenya in 1940, together with her new husband, Sir John "Jock" Delves Broughton. She almost immediately began a very public affair with the unofficial leader of the ex-‐pat community, Joss Hay, Earl of Erroll. She planned to divorce Broughton and marry Erroll, supposedly with Broughton’s blessings. Erroll was discovered murdered in his car in January 1941. Broughton was charged with his
By Sam Allen
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murder but was acquitted at trial. Diana stood up for her husband, but after the trial accused him of being the murderer and abandoned him. Speculation was rife that she had covered for Broughton, worked as his accomplice in the murder or been the murderer herself. Following her divorce from Broughton, she married Gilbert Colville in 1943, one of the wealthiest and most powerful landowners in Kenya and, by the time of Freddie’s interview she had married the 4th Baron Delamere and increased her land fortune. By the time of Delamere's death, she was possibly the most powerful white woman in Africa, dubbed the "White Queen of Africa". Freddie’s life is littered with interesting stories like that. While in Uganda, he lived on the Princess Elizabeth National Game Park where he was General manager of Fishery. The elephants used to wander in at night and steal the tomatoes and flowers that Pauline grew in their garden. When that happened Freddie would rush out with a flare gun to frighten off the thieving pachyderms. On one occasion, the couple were having dinner when they heard an elephant at the back of the house. Pauline picked up the dinner bell and ran out, ringing the bell to ward off the elephant. Whereupon the beast lumbered round to the front of the house and Freddie, grabbing the flare gun, ran out after it. He raised the gun to fire but pulled the trigger too soon and the flare, instead of shooting off harmlessly into the sky, walloped straight into the side of the poor elephant. With a trumpet of alarm the elephant made a sharp exit. Fortunately no permanent damage was done, but the elephant didn’t hurry back! All of which is a timely reminder not to get on the wrong side of Freddie. He tells me the old canard about trying to book a restaurant table, and swears he has used it himself: Freddie: Can I book a table for four for this evening? Restaurateur: I’m sorry, sir, we’re fully booked. Freddie: Well, if I were to tell you I’m phoning on behalf of the Duke of Edinburgh could you find space for him? Restaurateur: Well, in that case, sir, I think we could find a very fine table in a discreet part of the restaurant. Freddie: Well the Duke of Edinburgh ain’t coming so I’ll have his table! After his forays in Africa, Freddie and Pauline returned to England (much to the delight of elephants everywhere, I should imagine) and settled in a little village on the border of Essex and Hertfordshire. There, through a neighbour, Freddie
was offered an interview at Pitney Bowes, the communications company best known for their franking machines. He smiles and tells me that he got through the interview without swearing so he reckoned he had done pretty well! Freddie loved his time at Pitney Bowes which, he says, was a marvellous company to work for. He was Marketing Development Manager for Africa, the Middle East and Europe until he retired in 1986 at the age of sixty-‐five. Two years after retiring Freddie and Pauline moved to Somerset and Freddie joined the Ilminster Entertainment Society (IES). He was impressed by their enthusiasm and dedication. Freddie says, with his tongue only slightly in his cheek, that in those days they used to take the set home with them and store it under the bed because they had no other storage facilities! When they had the opportunity to buy the old banana warehouse, members raised the necessary funds in all sorts of imaginative ways with some people stumping up their own cash. And then Freddie helped to put together a Lottery bid (“seventeen pages of foolscap”) that resulted in an award of £25,000, which enabled them to carry out significant improvements to the 155-‐seater theatre. He had started at IES when he saw an advert looking for someone to direct Noel Coward’s Hay Fever. A life-‐long fan of Coward, Freddie phoned up and offered his services and found that the company needed a replacement director because the original director was pregnant. And so started another chapter in Freddie’s varied life. He then became involved with the SFD as an adjudicator and then moderator of the Phoebe Rees competition which in those days only had three awards: best actress, best actor and best production. Freddie was instrumental in increasing the number of awards and there are now over twenty awards reflecting the many disciplines involved in staging a successful play. Then Freddie reveals the cunning plan behind his invitation to me. He produces a letter for publication in Spotlight. You can read it on page 16. Yes indeed, Freddie continues to take an active interest in the SFD. And long may it continue.
Freddie gives one of his knowing looks!
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Dona Is Worth Her Weight In Gold! Dona Bullion positively bubbles with enthusiasm when I meet her at ‘The Place’, the home of Taunton Thespians. She shows me round the costume store with boundless delight, occasionally jumping with excitement as she leads me from rail to rail into her lovingly maintained world of costumes, accessories and props. Photos on the wall act as a reminder of the bad old days when costumes were strewn everywhere and were being damaged and lost. The Thespians resorted to hiring costumes because they couldn’t find anything in their store! Today, everything is categorised with a view to easy access. It’s still very full in the store but there is a place for everything and, to coin a well-‐worn cliché, everything in its place. And Dona (the single ‘n’ reflecting her Spanish heritage) intends to keep it that way. She says, “I set out the props to make it easy, visual, and common sense.” But people still leave things in a mess unless she keeps on top of it. “It is difficult getting people to keep it in line. In fact, I would rather people gave things to me and I’ll do it.” The alternative is that things are returned to the wrong place or just left in bundles on the floor. Without constant vigilance it is easy to see how things could quickly revert to chaos. Dona’s labour of love started in August 2011 when she was made redundant and set about sorting the wardrobe. Taunton Thespians has not had a dedicated Wardrobe Mistress for forty years although Jacqueline Roberts did the best she could with limited time because of her other commitments. Dona says, “I knew I just had to bite the bullet and go for it. I have spent over seven hundred hours of my own personal time on this. For the first three months I spent four days a week. And the job is still not finished!”
She shows me her ‘control centre’ where she has all her reference books and records. She has a record of all the costumes she has hired out to other SFD groups and occasionally schools. Dona had six years training as a fashion print textile designer and thirteen years’ experience working in London as a designer. She is assisted by Dinah Rawle and Rose Humphries and they have made all sorts of costumes trying
to be as accurate as possible as they replicate costumes from all over the world in many different periods of time. In addition to her reference books, Dona trawls the Internet to find appropriate look for the Thespians performances. And since every year their repertoire includes three major shows, a Summer Tour, two drama festival plays, in-‐house performances and murder mysteries, there are plenty of costumes required! The work that Dona has done in the last few months has saved Taunton Thespians a lot of money and time. They no longer have to hire as much and because people feel that the costumes are being cared for, they look after them better themselves during productions. Also, they can now offer a hire service to other people. Dona says they try to keep the costs down and at £3 for a costume and £1 for accessories, it does indeed seem reasonable. They only hire to other bona fide drama groups because Dona explains that costumes hired out for fancy dress are quickly ruined! While it is great that people recognise the hard work that she has put in, Dona would love more people to step forward to help. She says, “The wardrobe is a particular skill. People need to be able to sew and have a good eye.” But, with an increasing wardrobe and lots of productions every year, more help would be great to continue the excellent work that Dona has done. In proposing Dona as our unsung hero, Alison Jenkinson said, “The Taunton Thespians has an
Unsung Heroes
The guardians of the wardrobe are clearly important people in any drama society although all too often their contribution is taken for granted. Dona Bullion was much appreciated, however, when she tackled the storage in The Place, Taunton Thespianʼs rehearsal facilities. Profile by Sam Allen
Dona Bullion and the Taunton wardrobe as it used to be
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amazing supply of costumes and props, these were in a complete mess, piled on the floor, not on hangers and in general a nightmare to find anything! Dona Bullion found herself out of work and so took it upon herself to sort it out. She has spent hours upon hours sorting out the mess. Now
everything is on hangers in designated areas, clearly signed, in size order and you can find what you are looking for easily. She really deserves thanks for this.” We all agree with that!
A Place for Everything and everything in its place… Right and Left: Hats are carefully stored according to type and suitably labelled Right: racks are clearly sorted and labelled Left: Dona checks out some of the props all clearly set out on display for ease of identification Left: Clear plastic hangers mean jewellery is clearly visible and also well protected Right: Dona amongst the clothes rails Left: Ties, scarves, etc are carefully sorted and stored in drawers Right: Accessories are boxed and clearly labelled
To hire from Taunton Thespians contact Dona on 07778501629 or 01823 279362 Email: [email protected]
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What’s On… November Nov 28th -‐ 30th & Dec 1st ROBINSON CRUSOE By Jim Sperinck Quantock Players Nether Stowey Village Hall at 7.30pm mat. 1 Dec at 2.30pm Robinson Crusoe, driven from home, finds adventure on high seas, under the sea and on his deserted island; he meets Man (United) Friday, finds treasure and an unexpected surprise for his mother! Directed by Mike Onions BOX OFFICE: 01278 733197 Cinderella Trophy entry Nov 29th & 30th & Dec 1st THE VICAR OF DIBLEY By Ian Gower & Paul Carpenter Athenaeum Limelight Players The Athenaeum Centre, High Street, Warminster Adapted from the original TV series by Richard Curtis and Paul Mayhew-‐Carpenter. With the kind permission of Tiger Aspect Productions and Comic Relief. The performances are by non-‐professional actors BOX OFFICE: 01985 213891 www.theath.org.uk 29th Nov – 1st Dec COMIC POTENTIAL By Alan Ayckbourne, ST. GREGORY PLAYERS The Williams Hall, Stoke St Gregory, at 7.30pm An Adult Comedy Directed by Mike Linham BOX OFFICE: 01823490155 or Stoke Stores
December Dec 5th – 8th PROGRESS By Tony Cottrell Taunton School The Main School Theatre, Taunton School at 7.00pm This play takes its inspiration from Hogarth's "The Rake's Progress" where we follow the downfall of the original 18th century character on his journey to Bedlam. It is funny, cheeky, alarming and thought-‐provoking. Not to be missed. Directed By Jane Harris Dec 5th – 8th ROBIN HOOD, MEN IN TIGHTS By Rob Sissons Trull Players Trull Memorial Hall at 7.30pm. Sat Matinee 2.00pm This pantomime is an invitation to enjoy a frolic in the forest! Watch heroic Robin battle the evil Sheriff of Nottingham in his bid to obtain justice for the poor and the hand of the winsome Maid Marian. As ever he will be ably supported by his Merrie Men and somewhere a Dame will be found! A recipe for high drama, comedy and romance (aaah!). Directed by Mavis Holdsworth BOX OFFICE: 01823 336150 or 01823 256687 www.trullplayers.org.uk Cinderella Trophy entry Dec 5th – 8th UNORIGINAL SIN By David Tristram Civic Players Swan Theatre in Yeovil at 7.45pm each night. Eve is in her twenties and never been kissed; Bill is rich, alcoholic and with the sex drive of an adolescent. Bill is married to Jenny who is having an affair with Jeremy but remains utterly devoted to Bill's cheque book. Eve is engaged to Neville. Miles is or
was Bill's best friend and then there is Father Tomlin whose daughter Eve claims has taken a lifelong vow of celibacy! All this means it is a very funny play... "The comedy with a little extra bite!” Directed by June Colledge BOX OFFICE: 01935 421772 Dec 5th – 8th CINDERS – THE TRUE STORY by David Tristram IES The Warehouse Theatre, Ilminster 7.30pm, matinee (8th Dec) at 2.30pm This fun-‐filled pantomime is the classic Cinderella story with a few delightful twists! A great night out for all the family! Directed by Dave Goodall BOX OFFICE; Lanes Garden Shop, 17 Silver Street, Ilminster or 07943 779 880 Dec 6th – 15th PINOCCHIO By Paul Boyd Merlin Theatre Company Merlin Theatre, Frome at 7pm Weekend matinees at 1.30pm and 5.30pm This enchanting new musical version has all the charm of Walt Disney's enduring classic but also retains some of the darkness found in Carlo Collodi's original story. It is full of excellent new songs, comedic characters, lots of spectacle, and quite a bit of magic. A wonderful treat for the whole family in the run-‐up to Christmas this year! Directed by Philip de Glanville BOX OFFICE: 01373 465949 www.merlintheatre.co.uk
Dec 11th – 15th RUMPLESTILTSKIN By Allan Prentice & Bill Tindall Roadwater Players Roadwater Village Hall 7.30pm. Based on the story by the brothers Grimm we have once
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again set about to try something ‘different’ for this year’s Panto. Will the Miller’s daughter be able to spin straw into gold? Will Rumplestiltskin claim her first-‐born child? Will there be a happy ending? Will the brothers Grimm forgive Bill and Allan for taking liberties? Directed by Allan Prentice BOX OFFICE: www.roadwaterplayers.org Cinderella Trophy entry Dec 12th – 15th MOTHER GOOSE By Alan Frayn Timsbury Theatre Group Conygre Hall, Timsbury 7.45pm plus 2.30 mat on Saturday. TTG’s pantomime, Mother Goose, promises unbeatable fairytale fun, magical enchantment and eggs-‐cruciating jokes and japes by the dozen. This fun packed festive show guarantees good value and great entertainment. Directed by Patrick Bridges BOX OFFICE: 01761 470471 www.thettg.org Cinderella Trophy entry Dec 15th – 22nd (not 17th) RUMPELSTILTSKIN By Vicky Orman Wells Little Theatre The Little Theatre, Wells at 7.30 pm with matinees at 3.00pm on 15th, 16th, 22nd Dec. Rumpelstiltskin needs two more deals with innocents to conquer Fairyland. Will kick-‐ass Fairy Laura Norder and her friends (including Charlie the tap-‐dancing unicorn) be able to stop him? Directed by Richard Wright BOX OFFICE: 01749 6722280 Cinderella Trophy entry Dec 27th – Jan 1st JACK AND THE BEANSTALK By Alan P Frayn Moorlight Theatre Productions Meyer Theatre, Millfield Matinees 2.30pm on 27th 29th 30th 31st Dec & 1st Jan
Evenings 7.30pm on 27th 28th 29th Dec A traditional family pantomime with a strong cast performing a script by Alan Frayn will be a great success if the laughs we have had at rehearsals are anything to go by. Directed by: W. Wych BOX OFFICE: 00799713831 moorlighttheatreproductions.co.uk Cinderella Trophy entry SFD Concessions Dec 29th – Jan 4th BABES IN THE WOOD By Graham Barraclough Minehead Panto People Regal Theatre Minehead Sat Dec 29th 2.30pm & 7.30pm Sunday December 30th 2.30pm Monday December 31st 7.30pm Tuesday January 1st 2.30pm Wednesday 2nd NO PERFORMANCE Thursday January 2nd 7.30pm Friday January 3rd 7.30pm Sat Jan 4th 2.30pm & 7.30pm The traditional tale of double-‐dealing and daring do, where Robin Hood and His Merry Men cross swords with the scheming Sheriff of Nottingham, the good-‐for-‐nothing guardian of the two innocents abroad. Scatty schoolteacher, Dame Daisy Dunce, takes care of the Babes, but the Sheriff's hopeless hirelings connive a kidnapping, and leave their helpless victims in Sherwood Forest, where they become hopelessly lost. It's a race against time as Robin, Daisy, Maid Marion, and the Merry Men try to save the Babes, but there's a bear to beware of, and the Monster of the Moat to master, before good triumphs over evil, and the Babes find a new home. Cinderella Trophy entry January Jan 13th -‐ 19th DICK WHITTINGTON By Alan Frayn Wayfarers
The Brewhouse Theatre, Taunton. Matinees on Sunday 13th at 1.30pm and 5.30pm and Thursday 17th at 1.30pm and 5.30pm and Saturday 19th at 2.30pm. Evening performances Monday, Tuesday, Wednesday, Friday and Saturday at 7.30pm. Director: Brian Epps, Musical Director: Andy Collyer, Choreographer: Sheila Driver. BOX OFFICE: 01278 444733 Email: [email protected] www.wayfarers-‐pantomime.co.uk Cinderella Trophy entry Jan 21st – 26th HEROES by Gerald Sibleyras adapted by Tom Stoppard Swan Theatre Company Swan Theatre,Yeovil 7.45pm Set in a French retirement home for three First World War veterans, "Heroes" is a heartwarming, witty comedy. It is also the Swan's 200th production. Director: Beryl Snadden BOX OFFICE: 01935 462781/462782 from 3rd January Jan 22nd – 26th CINDERELLA By Alan P Frayn YAPS Octogon Theatre, Yeovil 7.15pm weekdays; 1.30 & 6.30 Saturday. YAPS have chosen Cinderella, best known pantomime of all, to celebrate their 30th anniversary. It has a very strong cast and very unusually a pantomime horse called Hagon. Directed by Jennifer Brewer-‐Holland BOX OFFICE: 01935 422884 Cinderella Trophy entry Jan 23rd – 26th ALI BABA By Graham Barraclough CUDOS Victoria Hall, Crewkerne 7.30pm plus 2.30pm Sat Ali Baba is a traditional Pantomime with all the usual suspects although they may not be as obvious as the good fairy or
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king rat. Set in the east the costumes are bright and colourful and the scenery is magical. Lots of songs to tap your foot to or sing on the way home. Director: Ann Brolly BOX OFFICE: 0146074380 Cinderella Trophy entry SFD Concessions Jan 23rd – 27th ALICE IN WONDERLAND By Limelight Scripts Wellington Pantomime Group Wellesley Theatre, Wellington 7.30pm (Weds -‐ Sat) 10am, 2.30pm (Sat), 12.30pm (Sun) Alice is tired from collecting strawberries and falls 'asleep' underneath a tree. When she awakes her intrigue entices her to follow a very late White Rabbit into Wonderland. There, the Knave of Spades has designs on marrying Princess Ruby of Hearts and ruling Wonderland, but first he must get his hands on a heart made of gold from the Wizard of Muddleup Wood’s magic goldmine. Will the evil prince get his way and marry the Princess of Hearts? Will Alice and her friends save Wonderland from the evil doings of the Knave? Will the Queen of Hearts ever stop shouting? There’s only one way to find out!!! This award winning panto set in Lewis Carroll’s fantastical Wonderland contains all the elements of traditional pantomime, also packed with high comedy and slapstick as well as plenty of song and dance BOX OFFICE: 0844 997 9000 www.w-‐a-‐a.co.uk Jan 24th – 26th SINBAD THE SAILOR, A PANTOMIME By Stephen Duckham, provided
by NODA Pantomimes Clevedon Comedy Club Princes Hall, Clevedon at 7.30pm (matinee 26th 2.30pm) Sindad the Sailor a merchant adventurer on his 7th sea voyage encountering fights with monstrous beasts, and set in a mystical province of Chandra, with love interests and festivals. A swash buckling pantomime for all ages. Directed by: Maureen Smith BOXOFFICE: www.clevedoncomedyclub.co.uk Jan 25th – Feb 2nd JACK AND THE BEANSTALK Burnham District Pantomime Society The Princess Theatre, Burnham-‐on-‐Sea February Feb 6th to 9th SNOW WHITE the pantomime By Doreen Moger Barrington Players Barrington Village Hall at 7.30 with Sat Matinee at 2.30 Lots of slapstick in this traditional pantomime with Mrs Mergatroyd and her son WOT with Lester the Jester providing lots of tricks. The Wishing Well Fairy is on hand to deal with the Wicked Queen when good overcomes evil and Prince Randolph is about to sweep Snow White off her feet. Directed by Byran Hallett BOX OFFICE: (01460) 241829 or email: [email protected] www.barringtonplayers.co.uk Cinderella Trophy entry
Feb 7th -‐ 9th TREASURE ISLAND By Chris de Vere Hunt Porlock Pantomime and Drama Society Porlock Village hall at 7.30pm and Sat matinee at 2.30pm Jim Perkins finds a treasure map in an old pirate's chest, which will lead him to fame and fortune but also into battle with the pirates who had it first! Directed by: Chris de Vere Hunt BOX OFFICE: 01643 862584 http://wegottickets.com/ Cinderella Trophy entry Feb 7th -‐ 9th CINDERELLA Castaway Theatre Group Swan Theatre, Yeovil at 7.30pm, With a matinee on Sat at 2.30pm Feb 8th – 16th THE PANTOMIME ADVENTURES OF ROBIN HOOD By Bradford and Webster Somerton Dramatic Society The Parish Rooms, Somerton at 7.30pm with Saturday matinees at 2.30pm Want to see attractive men wearing unfeasibly tight tights and beautiful women singing equally beautiful songs in front of fabulously painted scenery? No? Then don’t come to Somerton’s Panto. Directed by Ian Hurdman BOX OFFICE: 07885 489254 Cinderella Trophy entry Feb 13th – 16th RAPUNZEL Cannington Pantomime Society Cannington Village Hall at 7.30pm; Sat matinee 2.30pm. Keep your What’s On notices
coming. It would be great to keep publishing what is happening three months in advance to give SFD members a chance to buy tickets before they are all sold out! Send your details to: [email protected]
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Letters Is Phoebe Fading? Am I alone in thinking that the Phoebe Rees Awards evening has, over the last few years, deteriorated as an occasion of keen interest and entertainment? The recent evening was, in my opinion, a very lacklustre affair, not least the presentations; now made in a manner somewhat akin to raffle tickets being drawn out of a hat. What has happened to Phoebe? I venture to suggest that she has lost STYLE.
Freddie Greenop Honorary Life Member
The Cinderella Pinocchio: What is it? “It’s a shame” was the opening phrase of the last paragraph of Philip de Glanville’s misleading and mistaken diatribe in last month’s Spotlight letters, claiming that Merlin Theatre’s Pinocchio was not to be adjudicated as a pantomime. Misleading on three counts. First, PdeG omitted to tell you readers that it was he who had posed the question ‘Is it a panto’ as he delivered the script for an opinion, aptly illustrating his own doubt on the matter. Second, he omitted to tell us that, in subsequent discussion between he and I, he readily admitted the absence of pantomime’s standard, comedy characters. To state that, by tradition and in general expectation, a pantomime normally has a dame, a linkman and broker’s men is not ‘the Cinderella Panel’ being rigid – it is common sense. Third, the letter states ‘… it sure ain’t a musical’. Really? The script contains twenty-‐one musical numbers, most of them carrying the plot. That is the stock-‐in-‐trade of the David Beach panel’s adjudicating work: I know because I am one of them. Mistaken? Certainly! Philip also omitted to point out that the given advice was that it COULD be entered in the Competition. In consequence, it has been entered and is part of this season’s competition. (I hasten to add that this is nothing new: I have personally adjudicated previous Merlin ‘Christmas’ shows as part of the competition.) The letter does the Somerset Fellowship of Drama a grave disservice. The Fellowship’s Code
of Conduct ensures that all of its’ competitions are designed and directed to encourage entries and to give praise and creative advice in the production reports. To imply that ‘the Cinderella panel’ have a different agenda to the Fellowship or ‘a rigid approach’ is both untrue and defamatory in that it seeks to undermine the credibility of a dedicated, honest and well-‐qualified team. It’s a shame, indeed! Given that PdeG had the advice before his letter was submitted to Spotlight and given the mistaken and misleading nature of its’ content, what was the reason for it? To borrow from the start of the letter’s final sentence ‘ I am tempted to wonder’ if Philip can now tick the box that says ‘Plug achieved’.
Ron Roberts Moderator
Cinderella Trophy Competition
Pleas to Members Please may I use the pages of Spotlight to make two important pleas to all our members: PLEA NUMBER ONE: Could everyone check that his or her email address is up to date on the website, or if you prefer, just send Sherry an email: [email protected] (not forgetting to put your actual name if you have a “nickname email” – we might not know who “knobbly-‐[email protected]” is!) Also group contacts please clearly state the group you represent on the email, as society secretaries change from time to time and SFD is not always notified. PLEA NUMBER TWO: We would all love to see more of your photographs on the SFD gallery. I am sure you are not shy and I know some of you put them on your own group websites. Please will you share them with us? Just send to: [email protected] Thank you for your help
Sherry Briggs Membership Secretary
If you’ve got a comment, complaint, idea or something you just want to get off your chest, this is the forum for you. Email: [email protected]
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Auditions Warminster STEEL MAGNOLIAS -‐ by Robert Harling A beauty parlour somewhere in Louisiana and six Southern ladies face life's toughest challenges -‐ the gamut of friendship, marriage, birth and death. Can the lighthearted normality of daily trivia steer them away from these heart-‐wrenching realities to help them cope in the face of tragedy? Sparkling, hilarious and witty, Robert Harling was inspired by his sister to write this moving comedy which went on to achieve big screen success. This production promises to be strong and emotive -‐ a reminder of the human ability to overcome in the face of adversity -‐ handkerchiefs at the ready! This is the next great production from The Athenaeum Limelight Players. Audition Dates : Tuesday 11th and Thursday 13th December Audition Location : Athenaeum Function Room Audition Time : 7pm. for 7.30 each evening Performance Dates : 21st to 23 March 2013
Taunton Auditions for Allo Allo start this weekend .......... "So listen very carefully" Saturday 1st December -‐ 4pm to 8.30pm Tuesday 4th December -‐ 7.30pm to 9.30pm Venue -‐ Taunton Rugby Club, Hyde Park, Hyde Lane, Bathpool, Taunton, TA2 8BU If you are interested then audition pieces can be download via dropbox on the @2k Theatre website -‐ www.at2k.co.uk There are lots of exciting parts and it's hilariously funny, so if you are interested then come along you would be more than welcome. We are also looking for the Front of House team to play a much bigger part, so if you don't want to be on stage and would like to help there will be a part for you, and of course the play needs a strong back stage presences so if you up for Stage management or would like to make the tea then we would love to see or hear from you.
If you would like to know more details then contact David Northey (Producer) on 07545 857820 or email [email protected]
Reviews LEND ME A TENOR By Ken Ludwig TAUNTON THESPIANS
This very funny play would be a real challenge to any society and putting a set of this size and sturdiness into the Tacchi Morris centre was a triumph in itself. The play is basically a farce built around the fact that an opera star, Tito, (Ray Court) who is to make the fame and fortune of the local opera house, is ill. Later the impresario, Saunders (Mark Dawson) and his assistant Max (Adam Smith) believe Tito to have died and panic sets in. Max is persuaded to take his place and the ensuing mix up with Tito’s wife,(Jane Edwards) Max’s girlfriend,(Lucy Monaghan), the chairman of the board, (Nikki Court) a vampy soprano (Annette Balaam) and a hilarious camp bellhop(Andrew Williams) is the
stuff comedy dreams are made of. In the safe hands of director Ron Roberts the Thespians gave a terrific evening of entertainment. A really strong performance by Adam Smith in his first leading role set the standard for the evening and there were no weak links. Being based on the worlds of opera both Max and Tito should have been able to sing but Ron decided to dub the singing and I think that this rather took the edge off but none the less it was an excellent production with strong performances across the board. The set of a plush hotel suite was beautifully made and dressed and all the costumes worked well with the thirties setting. The final ‘scene’ is rerunning the whole play in 80 seconds and this was brilliantly done – I can only guess at the rehearsal mayhem. A thoroughly good night out – thank you Thespians.
Polly English
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A Panto In The Country One manʼs foray into the world of amateur dramatics in Somerset By Charles Berridge It's not easy being a thespian. Actually people get the wrong end of the stick when you tell them that you've become one. "Don't you mean you're gay?" was one response. Perhaps it's just the way I tell them. The last time I trod the boards was back in the '70's when I was persuaded to join the Kibworth Amateur Dramatic society. I took part in two productions. Oh What a Lovely War and the Dracula Spectacular. I think I played to the best of my ability in both. I remember that it was essentially rather fun. None of my roles were very taxing. As the vicar taking the church parade in one of the scenes from the Joan Littlewood play I thought that I was rather good. Even though I never knew him, my grandfather was a vicar and so I slipped into that role with the help of my DNA. "Waft waft ye winds, waft waft ye," I think was one of my best lines delivered as I thought my grandfather might have sounded. Playing the coachman in the Dracula thing, I drew on all the characteristics of the taxi driver that took my children to school every day. He was a surly old sod and the kids hated him. I remembered that they always used to put up a serious struggle so as not to have to sit in the front with him. Come to think of it he looked quite like the dark prince. At school as a member of the Dramatic society I played the clown to Alan Yentob's far more serious Mephistopheles in Dr Faustus. We performed in the North transept of Ely Cathedral and it probably became quite clear to most who saw us that Yentob would end up as rather an effective creative bod at the BBC while Berridge was destined to start a practical joke company. Both true outcomes. Fast forward to Winter 2012 and at the age of sixty three much has changed in my life. But once an actor, always an actor. So the ad in the local Frome rag asking for people to turn up to the Merlin theatre to audition for Pinocchio somehow acted like a bill board with my name spread across it. I could smell the make up, feel the lights, hear the over enthusiastic trumpet player hit that note just a beat too soon. I could hear the prompter, remember the curves of the leading lady, soak up the rapturous applause and taste the cider at the after show party. Besides all that, the Mrs thought
it might be a good idea to get me out of the house. So I went along. It was a bit like walking into a crowded Australian outback bar dressed in only a bra and knickers. The place went quiet. "Yes?" somebody on stage said looking up at me in the body of the theatre. "I've come for an audition." I said quietly. "Speak up" said the voice on the stage. Not a good start. "I'd like to be in your play." I said more boldly and feeling like that kid in the playground who is desperate to join in. "Which part?" asked the voice. "All of me." Anyhow after several more exchanges and a reading or two I ended up as the policeman. It's not a big part but more important than that it doesn't involve any dancing. There's music and movement in Pinocchio and even though they might have been looking for a tap dancing copper, my feet were not made for such exercise. The singing I can do all be it in my best church voice. My role model for the law is stereotypical. Dixon of Dock Green meets the laughing policeman with a hint of Keystone cop and quite a lot of Benny Hill thrown into the mix for some reason. We rehearse a lot: nearly every Sunday afternoon and on Monday and Wednesday nights too. Our director is a retired GP who has literally seen it all. Some of his patients were probably fantastic actors looking for a sick note so who better to tell when a performance is not up to scratch. Learning your lines helps. After a week or so of coming on, stage left, with my script in my hand, he had a go. "Learn your effing words." was how he put it. So I did. What I shouldn't have done was get cocky. Improvisation is all well and good in the right
Charles Berridge in rehearsal, notebook and helmet at the ready
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hands. Paul Merton is a master of the art. When I came on, stage left, and knocked on Geppetto's workshop door with more than a swagger in my police step and said in my best acting voice, "Ello, ello, ello," rather than the prescribed, "Good morning Geppetto" I could just make out the good ex doctor administering a blood pressure pill to himself. Actually it's Geppetto who has helped me the most or Laurie, the guy playing Geppetto. The thing about acting is that, for most parts, you have to act with other people around you. There's no I in actor. Geppetto and the policeman have to react to each other and look to the audience as though they are in a real situation. What I was doing was striding on, stage left, and delivering my well learnt lines without any real regard for the puppet maker. I know that this particular policeman is a pompous puffed up self important old buffer but nevertheless when it comes to theatre the scene which is supposed to raise a few laughs has to. It hasn't so far but Geppetto and I are working on it. The other thing I find that I need to help my performance is props. I've found an old wooden truncheon with its leather strap which not only looks the part but actually keeps the dancing
children in the crowd scene well away from me. I have the notebook with "Important Police Notes" emblazoned on the cover. I have the Acme Thunderer whistle which is more "Off side" than "What's all this then!" in its tone. I also purchased a plastic Metropolitan policeman's helmet, the sort favoured by hen parties (and plastic Metropolitan policemen presumably). This too doesn't really do much for the old Italian setting of the story. The moustache was a false one to start with. Black and French it didn't work and then Movember arrived and with it the chance to try legitimately for a real bit of something for the top lip. After a ticklish start, when I now enter the drawing rooms of those I'm invited to meet, the gentlemen jump to attention and raise their arms in the air like a rail signal, clicking their heels at the same time. "Hitler was more convincing," I overheard one of them saying. Let's just hope that he won't be one of the audience that comes to see me in Pinocchio in December. I certainly don't want to hear any murmurs about wooden acting.
Desperately seeking stories By Sam Allen
I was delighted a couple of weeks ago to receive the above fantastic contribution from Charles Berridge. If Spotlight is anything, it is the mouthpiece for members of the SFD. I hope that we can get more and more people becoming active contributors to the magazine, making it an interesting read but more importantly, letting all members know what is happening in amateur drama across Somerset. So if you are celebrating an anniversary, doing something a little bit unusual, or looking for help or advice, an article in Spotlight will help you to spread the message. And a few photos will work wonders. Of course, you don’t have to submit a fully formed article; we are not all such gifted writers as Charles Berridge. If you have a story to tell, give me the basic facts, and I can cobble together an article for publication. I’m also happy to come and visit you (time permitting) or to ‘interview’ you on the phone. And of course Spotlight is a great vehicle for getting things off your chest. If you have strong views (or even weak views) on any matters
related to the SFD or amateur dramatics in general, I would be pleased to receive your letters (or emails!), articles or telephone call. We already have some debates taking place in the Letters section about the Cinderella Trophy the Phoebe Rees. SFD is a dynamic organisation run for the benefit of its members and it is only right that the members should have a voice. Spotlight provides a platform for your voices. For this reason, I also hope that you encourage all your members to read it. I think it is helpful for people to realise what is going on in the larger am dram community. I am hoping that by sharing ideas and experiences, we can learn from one another and so raise still further the standards of amateur drama in Somerset. For this reason, I am still looking for your nominations for Unsung Heroes. Tell me about the folk in your group that simply get down and dirty and get things done: people without whom the show would not go on. And it doesn’t all have to be serious. Tell me the funny things too. After all, we can all do with a laugh.
Pinocchio is at the Merlin theatre, Frome from December 6th to 15th. Book tickets on 01373 465949
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At Last! Adjudications InterpretedAdjudications are a very helpful way for societies to learn the truth about their productions and to find ways to improve. But sometimes it can be difficult to be sure exactly what the adjudicator is implying. Whilst praise may be lavish, criticism is often cleverly veiled to avoid offence. So what are they really trying to say? Now, at last, following an extensive investigation by Spotlight, we can expose the
truth behind the adjudicator jargon; the reality of the message so often hidden between the lines. In our hard-‐hitting exposé we have left no stone unturned, no questions unasked and no clichés unused. Today, for the first time, we can tell you what the adjudicator says and what the adjudicator really means. Prepare yourself for the brutal facts.
What the Adjudicator Says What the Adjudicator Means An unusual interpretation of this classic song Out of tune Although not projecting her voice in the traditional way, she still could be heard clearly at the back of the hall
She was shouting
In the chorus, the smiling face of the dark-haired maiden was a joy to behold Everyone else was as miserable as sin It was brave of you to tackle this challenging play Brave, but stupid Slapstick works best when it is meticulously choreographed You should have rehearsed This performance benefited from a terrific costume Your clothes were better than you were I couldn’t quite pinpoint what part of Wales your accent was from Just outside Mumbai Your interesting accent took me on a journey to other parts of the country It started out in Aberdeen and ended up in Truro I would have liked to see more variety of delivery Wooden This very evenly-paced performance Wooden This characterisation had a certain unreal quality Very wooden Would make a good Pinocchio Block of wood In comedy, timing is everything Your jokes weren’t funny In slapstick, timing is vital Your slapstick wasn’t funny There were one or two unintentional laughs But your attempts at pathos were hilarious! There was a madcap aspect to this production that we don’t always see What the hell was going on? In my opinion the makeup was slightly too much Who went mad with the slap? Unusual use of the follow spot You’re meant to follow the action The dilatory rendition of the lighting plot was interesting Every cue was ten seconds too late The audience was slow to react The show was dreadful… The audience took a while to warm up …but you got the sympathy vote in the end Sometimes less is more The show was 40 minutes too long With more experience she will make a fine actress But she’s dreadful at the moment Set changes were slick but audible Tell the stage manager not to swear so loudly! The words were occasionally hard to understand Drunk The funniest show I have seen for a long time… …which is unfortunate in a tragedy The prompt was busy You were under-rehearsed There were one or two minor hiccups… You were under-rehearsed …but I suspect not too many in the audience noticed You had sent them to sleep The play was shorter than I expected… You skipped twenty pages… …and the plot was confusing …that were absolutely vital to the story This village is very lucky to have a drama group… …because it has no discernible talent The finale was the best part of the show Thank God it was over
If you, or anyone in your family, have been affected by this story you can phone our confidential helpline 01823 322600. Don’t have nightmares. Do sleep well.
