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NewsletterNewsletter AugustAugust 20152015

In This Issue

• New Chairman’s Letter P3 • Legal & Safety Alerts P4 • New Writing P6&7 • Theatre-in-the-Round Anniversary P8 • Planned Adventure P10

Vol.29Vol.29 No.3No.3 AugustAugust 20152015 LTG Newsletter Vol .29 No.3 August 2015

The Little Theatre Guild represents 8, 9, 10 April 2016 TOWER THEATRE, Islington 109 member theatres that control NATIONAL CONFERENCE & AGM Nicola Stanhope and manage their theatre buildings. Crescent Theatre, Birmingham 2 Arlington Avenue Our members are all amateur theatre 70th Anniversary Conference companies with an audience of over New LTG Reps N1 7AX 650,000 patrons with a turnover of Tel: Home: 020 7359 2242 approximately £4 million. Visit us at ABBEY THEATRE, ST ALBANS Work: 020 7006 2071 www.littletheatreguild.org John Querforth Mobile: 07717 542 515 20 Clunbury Court, Manor Street, Email: [email protected] LTG Diary of Events BERKHAMPSTED, Herts HP4 2FF (Retiring Rep Sheila Burbidge leaves her role 31 July, 1, 2 August Tel: 01442 862402 M: 07799106652 after at least 15 years! We all hope that she will NATIONAL COMMITTEE WEEKEND Email: [email protected] keep in touch at future conferences!) Great Asby, Cumbria (Retiring Rep Di Graham writes: “Many thanks to you all - it was fun and I have really missed And a Change of Name 10th October 2015 not being able to get to Conference days! Being CENTRAL REGION AGM a rep is most enjoyable! and if you are ‘nosy’ Hampton Hill Playhouse (home to Rose Theatre, Kidderminster even more fun being able to poke round other people’s Theatres, picking up tips, using their Teddington Theatre Club) has changed its ideas sometimes.”) name to HAMPTON HILL THEATRE. “There 16, 17, 18 October 2015 seems to have been some confusion among the SOUTHERN REGION CONFERENCE & AGM ROBIN HOOD THEATRE, AVERHAM denizens of Hampton Hill that a Playhouse was Studio Theatre, Salisbury Carolyn Drury a facility for little children to let off steam, and Robin Hood Theatre however true this description happened to be on 30, 31 October & 1 November 2015 Church Lane some occasions, it didn’t properly explain what NORTHERN REGION CONFERENCE & AGM Averham, Notts NG23 5RB we were really all about.” (Barry Hill writing in Grove , Wrexham Email: [email protected] the TTC Newsletter) A New Grey Paper

LTG Youth Co-ordinator Eddie Redfern has prepared a timely new Grey Paper for us – No. 25, Changes to Child Performance Licensing in England from 6th February 2015. Copies were sent out by email shortly after the Bingley Conference, followed by paper copies to all LTG Reps. Attached to the Grey Paper was a resume of the new Rehearsal and Performance restrictions, and a specimen Licence Application Form, which is meant to be used by all local authorities in England. As many of us are already in the throes of preparation of our Christmas Pantomimes, these papers make vital reading! Do make sure that they are read by all those involved with the children!

who have rubbed shoulders with him were delighted. He has been Sir Ian Steps Down as Patron hands on and visited many of our theatres, and I hope he feels that he is one of us now. It has been a personal delight to see him first Earlier this year we received the news that Sir Ian felt the time strutting the boards at Nottingham Playhouse many moons ago had come for him to step down as Patron of the Guild and hand and we wish him well with his new film “Mr Holmes” and his series over to a new person to carry on the torch! This was announced “Vicious” and “The Dresser”. Sir Ian, our lad from Bolton, you will to the delegates to the Bingley Conference; after the initial audible be sorely missed, we hope you’ll keep in touch and we wish you all shock, the hall resounded to enthusiastic applause as he was the best for the future.” thanked in person for his most generous contribution to the work Sir Ian replied that it was an honour to be presented with this not only of the Guild, but to amateur theatre in general. Not only and he remembered being involved with theatre with Mike Shipley has he given us most valuable advice and assistance on matters of in the 1950s and was pleased that he had later contacted him to be national importance – we remember in particular his support of our efforts to reform the Children in Performance regulations – but his our Patron. He went on to say that the Professional theatre is only extremely ‘hands-on’ approach to the role meant that he managed the best in the world because of the bedrock of amateur theatre. to visit 37 of our theatres (by his account) over the past nine years. He said that he also had other Charities of which he was Patron, Each visit left a vibrant legacy, not least with the younger members which now needed his help. He didn’t want to stay until he died. It whose activities he was always most keep to support. has been a joy even though he hadn’t visited all our theatres; it has In recognition of his work with and for us, he was presented at been good to find out what everyone Bingley with a certificate of Honorary Associateship – in some ways has been doing, the young ones too. a totally inadequate gesture of our thanks and appreciation. He said that our next Patron should Kevin Spence presented Sir Ian with an Honorary Associate be someone younger who will have a certificate and commenced by saying “it was a bitter sweet occasion connection to the younger members of as at the end of the year Sir Ian would be stepping down as Patron, our theatres. He said he would help find now that his career is setting off! It had been a delight to have him us someone as he knew we would make as Patron, a hard act to follow: just look at what happened when them welcome whoever it was next. So he walks in a room, it gives everyone a lift and the young kids lots of Love and Goodbye. Little Theatre Guild of Great Britain www.littletheatreguild.org Newsletter Editor: Michael Shipley National Secretary: 121 Darwen Road Caroline Chapman Bromley Cross Satley House Bolton Satley Lancashire Near Bishop Auckland BL7 9BG County Durham Tel: 01204 304103 DL13 4HU Email: [email protected] Tel: 01388 730042 Email: [email protected] The contents of this newsletter are not necessarily the official views of the Little Theatre Guild. Contributions are always welcome. Last date for copy for the next issue: 15th October 2015.

2 LTG Newsletter Vol .29 No.3 August 2015 Letter from the Chairman In my first letter as Chairman I Conferences of course also need your support. have a few people I would like to The strength of like minded people coming thank on behalf of the Guild. together can be powerful, make a date now to attend your local conference. If possible Firstly our immediate past encourage more of your own members to chairman, Kevin Spence. Kevin attend these events I am keen that we spread did an extended term as Chair the benefits of these Conferences to a wider and will certainly be a tough act audience at your theatres. to follow. He has been extremely helpful to me on a personal level, As a new Chair I am keen to ensure we not particularly as we moved ever closer only continue the good work of the organisation but also make it to the day I took over the Chair. relevant to the issues of today and how you face these challenges The LTG of course owes him a huge at your local theatres. I appreciate there is always an expectation debt of gratitude for his hard work from a new Chair. Mike and I are keen to try and meet you at your across the many issues he tackled Hub meetings and find out what you feel are the important issues on behalf of the organisation. Kevin that we should champion. Managing a theatre is more complex will still be around as immediate past chairman so we can get the benefit of his expertise. than ever and I genuinely believe that being able to access the knowledge and experience the Guild offers is of huge benefit to Next and very importantly a huge thanks to Sir Ian McKellen. members. The promotion of the Guild to a new generation and Sir Ian was a truly inspirational Patron who has given up a great how we best encourage them to take an active role is an area I deal of his time to visit a number of theatres and fly the LTG flag am keen to explore. How do we improve our communication to nationally for amateur theatre. It was great to see Sir Ian at the the younger members for instance? I want to ensure that our Bingley National Conference where Kevin made a presentation to strong standing as a national organisation continues to develop him on behalf of the LTG. We of course will miss his visits but I and we continue to forge beneficial links on behalf of our members. know he will keep in touch. Discussions are in progress to appoint This is a key area for me and I am keen to promote the LTG at a a new Patron. national and international level. The area of theatre governance is a big subject but one where I feel we can assist by co-ordinating As I take on the mantle of Chair I would like to introduce your open discussions across a whole spectrum of topics. As I have new Vice Chair namely Mike Smith. Mike has been a National travelled around the various regional conferences I have had Committee member for three years and I was delighted when he many conversations about the management of theatres and best agreed to be my Vice Chair. Mike is a member of Durham Dramatic practices. I know for instance many member theatres now have Society and has been a key member of the 2016 70th Anniversary paid staff, which brings a raft of responsibilities and legislation. Conference organising committee. Mike is the Durham Theatre We are considering a seminar to cover personnel issues, both for LTG Rep and is an active member both on and off stage. Thanks theatres with staff or considering going down this path. to Rhys Jones who has retired from the National Committee, Rhys was a great asset to the team and I am sure we may see Next year we will celebrate our 70th birthday and I want to him again on the Committee. It is good to have Sandra Simpson use this great achievement to further lift the profile of the Guild elected back onto the National Committee and hopefully develop across the UK. We of course will have our National Celebration our community links. We welcome a new member to the team – in April 2016 but equally it would be good if every member Robert Gill of the Barn Theatre, Welwyn Garden City, I am sure theatre promoted the LTG at a local level and share in the birthday Robert will find the experience rewarding and we look forward to celebrations. Plans for the 70th Anniversary Conference are well in his contribution. These new appointments join an already strong hand and details will be released over the coming months. National Committee and I am sure we will have lively debate as we further the interests of the LTG. Your new National Committee will be meeting for a long weekend at the beginning of August to I am very pleased and proud to be your Chairman and in the progress a whole range of initiatives and decide priorities for the course of the next two years it would be my hope that I meet many coming year. I encourage you to feed any ideas to your local Rep of you on my journey around LTG map. It is a privilege to support for inclusion at our National Committee Meetings throughout the the LTG and continue promotion of high quality theatre in the UK year. and overseas.

The successful National Conference at Bingley may be a distant In conclusion, I hope that you all have a very pleasant summer memory but what a excellent weekend it was – huge thanks to all and whilst the roller coaster of staging productions continue many at Bingley. Very informative workshops, fantastic hospitality from take a well earned break to recharge the batteries. the members of Bingley and great entertainment on Friday and Saturday, all added up to a memorable weekend. The Regional Andrew Lowrie

Dewsbury Arts Group has been producing plays for over 50 years, WELCOME TO A NEW MEMBER in their very own purpose-built Studio Theatre at Artspace. Ever since performing “The Bear” at the Dewsbury Drama Festival in Dewsbury Arts Group 1963 they have brought a diverse mix of theatrical entertainment to Lower Peel Street audiences. Their season runs from September to July and comprises Bradford Road Dewsbury WF13 2EP 6 ‘Main-House’ productions covering all genres. Alongside these Phone: 01924 452274 6 productions, they also have a one act play evening, Christmas Contact: Jacky Fletcher ([email protected] shows, film nights and host touring professional companies. Recent productions have included Sunday in the Park with George, A View The Theatre is based in premises at Lower Peel Street, Bradford from the Bridge, Spring and Port Wine, and Sweet Charity. Road, Dewsbury, which includes a theatre, rehearsal rooms, art- space, recording studio and exhibition space. The Group presents Dewsbury Arts Group will of course be joining the Northern Region. a regular season of plays, musicals, visits by professional groups It was good to see them at the Conference in Bingley, where they and art exhibitions. received their membership certificate from Sir Ian himself.

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Mohra Samuel from Theatres Trust reminded delegates that the Your New National Committee Trust’s Small Grants Scheme for capital projects was continuing, with three more tranches to be allocated before the end of the At the AGM held at Bingley Arts Centre on 30th May 2015, the following officers were elected: year. She also advocated using the advice and support services on Chairman: Andrew Lowrie (Crescent, Birmingham) offer, especially if members were faced with potentially threatening Vice Chairman: Mike Smith (Durham City Theatre) development projects nearby. Secretary: Caroline Chapman (Royalty, Sunderland) Despite the failure to engage member theatres with recent Treasurer: Brian Stoner (Bingley LT) PRO: Michael Shipley (Bolton LT) national and regional projects for Youth Theatre, those present NLO: Tom Williams (Chesil, Winchester) were keen for the topic to be continued – what they wanted was Theatre Reps: plenty of notice! Members were told to expect a new Grey Paper, Jo Matthews (Questors, ) by email and by post, in the immediate future, dealing especially Robert Gill (Barn, Welwyn) Sandra Simpson (Bolton LT) changes to the rules relating to child performance. Regional Secretaries: Anne Gilmour reminded the delegates of the opportunities for Margaret Mann (Southport LT – North) international co-operation available through IATA. Jackie Blackwood (Crescent T – Central) Carl Hayhurst told the delegates that he was rejuvenating the Eddie Redfern (Archway, Horley – Southern) Mike Smith Past Chairman: Kevin Spence (Doncaster LT) Vice Chairman LTG Script Service, so that we could expect some important news shortly on this. New Chairman Andrew Lowrie outlined some of the plans for A few points from the AGM Forum the 70th anniversary conference at Crescent Theatre Birmingham in April 2016. He wanted it to be as wide-ranging and inclusive as It was apparent that the present website was attracting many possible, attracting many delegates who had never been to a Guild viewings, and enquiries about joining the Guild were increasing. The “Forum” was pretty well defunct, as users had moved to Conference before. It would provide value for money, and have a “Facebook”. very positive WOW factor! The play performed would be Hay Fever.

you with call services. If you have not performers’ performances. The standard A Legal Alert done so before now, you need to ensure position under copyright law is that use of that information about the cost of the a copyright work or a performance will be from UK Theatre service charge for calling these numbers an infringement of the owner’s copyright is included in your printed advertising or the performer’s performance rights (as Major change to the material and on your website, for example the case may be) unless consent has been cost of calling ‘non- by including the wording: “Calls cost given for such use. The use must be of geographic’ service numbers Xp per minute, plus your phone a “substantial part” of the copyright company’s access charge”. You do not work or the performance which will If you use a ‘non-geographic’ service need to disclose the amount of the access depend on the circumstances in each number for people to call you – this is any charge, as your customers will be able to case. There is nothing under copyright law number beginning 08, 09 or 118 – there find this information out for themselves by which automatically gives producers and/ has been a major change made by the looking at their bills. or theatres the right to use recordings of regulatory body, Ofcom, to the way that call rehearsal extracts for publicity purposes charges must be disclosed to customers. And advice on using ‘live’ extracts in without first obtaining consent. The use From 1 July 2015 throughout the your publicity: of such publicity will therefore depend on UK, the cost of calling a service number the nature of any consents which will have must now be split into two parts: an Tom Williams reports: access charge which goes to the caller’s At the AGM it was stated that permission been obtained from the relevant copyright telephone company and a service charge was not needed to use short extracts from owners and performers by the producer which includes any revenue going to you rehearsal for pre show publicity, including and/or theatre (as the case may be).” and/or the company which provides the Facebook and YouTube. I have been trying The LTG position must therefore be that number to you. to find written evidence that copyright law we inform all our members of what we is not being breached. The advice I have understand to be the legal position, unless What does this mean for you? received from UKTheatre legal team is as of course anyone knows something else follows. and can show written statements that take If you use a number prefixed with 08, 09 or “If you make a recording of an extract another line. 118, you should have already been advised from rehearsals from a production, you will I would not wish to interpret what of the service charge which applies to your be making use of both the copyright work the highlighted sentence means. (The contact number by the company providing included in the production and also the highlighting is mine).

3. A failsafe or ‘all clear’ cue is essential if the DSM is likely to Actors moving the scenery! be distracted or their line of site impeded when moving scenery is being cued. In this case a cuelight ‘all clear’ might have been The following guidance has been issued by the Theatre Safety incorporated on the actor’s exit through the door, but a verbal all Committee: clear from the ASM was chosen as the best way to allow for many “Reviewing some recent incidents (thankfully causing no lasting possible variables during the scene change, and to be sure that the harm to the actor or ASM) we should all consider the following space needed for flying was clear and monitored. points whenever scenery is moved with crew and performers on stage: 4. Cues taken from music cannot account for the variables which might occur in a scene change; a cuelight ‘go’ (or even a visual 1. Careful and repeated rehearsal is required - firstly at 1/2 speed cue) given by the DSM or ASM when the actors should enter stage would have been less open to risk. or less with good lighting and then building up to performance conditions - this should not be skimped or neglected The potential severity of a collision between crew and/or artists and moving scenery is high, and without properly planned steps 2. Sightlines and the lighting states on stage during changes should to mitigate it, the risk can also be significant. These points should be checked and if necessary adjusted so that the DSM and all those always be addressed in the risk assessment, and carefully explained on stage have the best view possible when scenery is moving. to all concerned.

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– in fact the RAODS presidency has been held by the owner of News from Member Theatres Broadlands for a total of 41 years (the late Lord Mountbatten from 1946 to 1979 and Lord Brabourne from 1980 to 1986). More Norbury Theatre were invited to participate in Droitwich Spa recently, the Presidency has been held by our three longest serving Royal Charter Day on 1st August. ‘It was in 1215 that King John members. But, particularly as Lady Brabourne was involved with found time to grant Droitwich the right to manufacture salt from the RAODS during the period that we successfully acquired the Plaza, brine stream that is still underneath the town.’ As well as mingling it will be great to welcome her back.” with the crowds in costume as nobles, serfs, traders and children, In June Richmond Shakespeare Society went to Stratford to Norbury members took part in an ‘Enactment’, playing King John, give two performances of Love’s Fool open air in The Dell, in the the Mayor and other speaking parts. grounds of the Memorial Theatre. Royalty Theatre, Sunderland has won the Queen’s Award for News from former member Bangor Theatre Club, NI: Laura Voluntary Service/ Voluntary Organisation Network North East. “So Gilbert writes - There have been developments in relation to Bangor we are very proud of ourselves.” Drama Club Studio Theatre. Those running the Club want to buy Plans are brewing at Abbey Theatre, St Albans for a major premises on Hamilton Road which is in the Town Centre. It is an regeneration project, involving structural renovation of the foyer old building - The Good Templar Hall - sandwiched between a Bank and bar areas, and a link building to the Studio, together with a and an Orange Hall and is owned by the local Council. The Council new building for rehearsals and commercial lettings. Getting the is prepared to sell it for £150,000. An outfit called Ulster Garden membership on board for this ambitious project will be crucial. Villages, which undertakes projects to revitalise town centres, is At Moulton Theatre major refurbishment of the theatre interior prepared to make a grant of £150,000 to Bangor Drama Club will take place over the summer. And at the Mary Wallace Theatre, provided BDC can raise £100,000 which is the amount necessary home to Richmond Shakespeare Society, the stage has now to convert the Good Templar Hall into a theatre. The Club premises been demolished, with contractors now moving in to construct the have therefore been put on the market for sale. The older members new one. are concerned about the proposals -- the management and running Summer work of a substantial nature is also taking place at costs of an older, larger building. My contribution to the debate New Venture Theatre, Brighton. Thanks to a grant of £15,000 was to advise that the Club become a corporate body ie. a company from the local Pebble Trust, repairs and renovations are being limited by guarantee because under the current Club constitution made to the roof, external walls, kitchen, studio floor, and other debts are the liability jointly and severally of the members. I trust miscellaneous areas, the balance of the total cost of £30,000 they are proceeding with this. So far there have been no offers for coming from reserves. the Club premises.” Richard Jones at Kelvin Players, Bristol has brought their Teddington Theatre archive and history bang up to date with Volume II: The Next Generation, 2005 to 2014; a dramatic and chronological account Club has re-named its of ten years in the life and times of a non-professional theatre theatre Hampton Hill company. The previous volume covered the years 1929 to 2004, Theatre; the front of the but Richard felt he could not wait until 2029 without recording the building was repainted, momentous changes of the last ten years! Copies are available @ with new signage erected £12.50. by the end of June. The At Chesil Theatre, Winchester there is now smart new flooring re-branding and re- behind the bar and in the toilets. Funding came from NATS (air printing on the various traffic control at Swanwick) Footprint Fund for charitable giving. marketing tools is taking “Another improvement shortly to take place is the acquisition of longer! off-site storage in the form of a container (yes, the kind you see Nomads Theatre, stacked up in Southampton docks), housed at Humphrey Farms. East Horsley ran their This will have an electricity supply so items stored there should be annual Play in a Week for dry. David James has already designed and allocated sections so young and disadvantaged we can find things easily and it will greatly alleviate the crowded people culminating in two conditions in the tower and elsewhere – as anyone trying to find a performances of King small chair at the very back of the first floor tower will know!” Arthur and the Quest for RAODS at Plaza Theatre, Romsey have been on the search for Camelot on 25th & 26th a new President, and are delighted to say that the search has been July. This year they ran successful, in that Lady Brabourne has agreed to take on the role. a special café for the “There is a long history of links between RAODS and Broadlands participants!

friendly ears listening in. Just Google Cross public. We will supplement this with talks New Radio Voices Counties Radio and listen on line.” which support forthcoming John Foreman, Harborough Theatre, productions, such as a programme on Also into local radio in a significant way reports on his new role: Shakespeare on Women to be broadcast is a group from New Venture Theatre, “A couple of months ago in advance of next year’s production of Brighton. “Actors are wanted for our radio I did an interview on Cross Twelfth Night. Radio Verulam is a not for drama group. We perform plays which are profit organisation run by volunteers. It Counties Radio to promote then broadcast by a Brighton charity Radio has an estimated audience of 10-20,000. my theatre. CCR are a Station, and on the Internet. Last year was As with Main Stage and Studio volunteer organization which our first term and we successfully recorded productions, CoT-on-AIR will be of the runs a community radio a play called “Alien Depths”, written by highest quality. We will trial up to three station based in Lutterworth, Jags Arthurson, a published author who plays this year. Broadcast dates are not yet covering Leicestershire, lives locally and is an actor in the group. agreed. Initially, I am looking at a small Warwickshire & Rutland I like to encourage people to write plays for troupe of actors - to include male and (although as they go out on line they can us, and once we have received plays, I send female, different ages and be heard nationwide). copies to all the members of the drama different voice tones. Potential Anyway, after the interview I was asked group to vote for or against performing.” if I would like to train as a presenter, and directors will be identified from June 5th you’ll find me on air between Abbey Theatre, St Albans also report: over the next few weeks. In 7:00 & 9:00pm every Friday evening with “We have secured a partnership deal with each case, there will be only a brief “to start the weekend with a bang” Radio Verulam. They will broadcast plays 2-3 rehearsals, followed by playing some of the best music of the last written and acted by our members. In a recording likely to take 3-4 50 years. It’s been great fun learning the turn, we will use the recordings as internet hours. Clearly, there is no line ropes and it would be nice to think of a few podcasts available free-of-charge to the learning required!

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of the monologues, brilliant as they writers. Auditions took place during are, do overbalance the play at times. May and rehearsals started in June. Yet it is clearly admirable material for All of which leads us to the production, the amateur circuit, providing excellent running for eight performances from acting roles, relatively modest technical requirements, and a satisfying ‘feel 17 to 25 July. We thank all those who good’ factor for the audience. So, keep entered the competition and it’s a a watchful eye open for its eventual shame we can only produce eight of release! the plays. Also thanks must go to our eight judges, from the NVT and Sussex Mark Campbell writes from the Playwrights, who had the huge task of Edward Alderton Theatre: selecting the shortlist. A complete list I recently adapted and directed the world première of ‘Some Mothers of the shortlisted plays can be found on Do ‘Ave ‘Em’ at the Edward Alderton the NVT website – www.newventure. Theatre. The author Ray Allen was fully org.uk. As with our previous 10-Minute involved from the start and came to see Play Competitions the overall winner a rehearsal as well as the last night - I is down to you, the audience. After each performance the audience will be New Writing invited to vote for their favourite play and the overall winning play will be The Ancient Secret of Youth announced on the last night.” and the Five Tibetans by Jim Cartwright Premiered at the Octagon Theatre, A new one man show - Forty Years Bolton Gone: My Life in Parts by John This brand new play, directed by David Griffiths - which began life at the Thacker, played to enthusiastic houses, Questors Theatre, Ealing and had and not just because the playwright its premiere there in February this year is a local man, and the play contains local references. The style and humour in a one-act format, has undergone am happy to say it was a resounding we affectionately remember from Bed, considerable revision and now is success. Two, and Little Voice are present in offered in a two-act version. This had I would very much like other theatres abundance, but the content is more to perform this, so would also like to its premiere in May in Swansea at the philosophical. As the blurb says: “Age give details of how they can contact Dylan Thomas Theatre; Griffiths had me with regards to the rights and the once been a member of Swansea Little payment. I think it would be a very Theatre. popular show for amateur theatres to perform, and I have deliberately Chesil Theatre, Winchester are adapted it with amateur budgets/ delighted to learn that Cecily O’Neill has facilities in mind. This is our trailer: https://www.youtube.com/ taken her Chesil sellout show Drinking watch?v=NlXoEZHMltI with Dorothy to New York where it was performed at The Players Theatre. At Abbey Theatre, St Albans there was a full rehearsed reading of a new one act play by member Stephen Cunningham, (writing as Stephen Tomas) – Fugue – ‘an elliptical study of loss and endurance’.

For New Venture Theatre, Brighton must come to us all. But what if there the Ten Minute Play enterprise goes from really was a path back to youth? Would strength to strength. “The competition you take it? One night, three old friends continues. Once again, in association who have known each other for forty with Sussex Playwrights, we present years discover an ancient book that our 10-Minute Play Competition. This offers up the secret of youth. Within its has proved to be a popular production dusty pages the book reveals a series in past years, so book early to avoid of rituals, that if followed sincerely – disappointment. The writing part and with absolute diligence – promise of this year’s competition ran from nothing less than to turn back the clock September 2014 until 31 January and give them youth once again. They 2015. Since then the 183 entries – Meanwhile Jonathan Edgington has take the challenge.” approximately 50% increase on the had a piece performed at the Royal The play is full of surprises, and 2013 competition – have been read Court Upstairs in the Grit Scratch offers excellent parts to three actors by our eight judges, who created a performance day, and his wife Deborah of a ‘certain age’. Perhaps it will be shortlist of eighteen plays. These went trimmed a little before publication – at to our eight directors, who chose their co- directed Athol Fugard’s My Children just over 2½ hours, it would benefit by preferred play. So now we have eight My Africa which is transferring to the some tightening up, especially as some directors with eight plays from eight Trafalgar Studio.

6 LTG Newsletter Vol .29 No.3 August 2015 A Better Way of Coping With the Election I do so very much agree with Michael Shipley’s view of 1990 which resulted in her resignation just three weeks May’s General Election campaign. Thanks to the absurd later. The only comparable resignation speech in recent Five Year Parliaments Act national politicians had had years was Robin Cook’s over the Iraq War in 2003. We almost nothing to do for at least twelve months except need more! fling meaningless and vacuous insults at each other Headlong’s timely revival of David Hare’s “THE during the farce that is P.M.Q’s, or repeat endlessly ABSENCE OF WAR” which I caught at the Rose at equally vacuous and equally meaningless sound bites Kingston examined the failures of a Labour leader - not about “long term economic plans” and “hardworking families” during what Michael rightly described as unlike Neil Kinnock - who, especially after the notorious “pointless debates setting out rehearsed platitudes”. It Sheffield rally, was never seen as a real candidate for was totally depressing. Prime Minister. Again - it sounds familiar. Where I disagree with Michael is his view that it “WHO CARES”, a promenade production of a verbatim provided an opportunity to get out to the theatre and play by Michael Wynne at the Royal Court dealt with the cinema to take “mind and body away from the relentless past present and possible future of the NHS through the bombardment of insults and pointless statistics”. Over voices of those personally involved rather than those of the period of the campaign I was fortunate enough to see Health Secretaries or their shadows. at least 12 productions which between them examined “LAMPEDUSA” by Anders Lustgarten at the Soho and explored most of the issues which ought to have Theatre used two intercut monologues to examine both been - but were not - at the heart of the political debate. immigration and welfare. As a result, by the time I cast my vote, I was much wiser and certainly much better informed. “MULTITUDES” by John Hollingsworth at the Tricycle Putting them in historical order Theatre, but set in Bradford, debated immigration - rather than the order in which I policies, military action in the Middle East and who gets saw them - they begin with Caryl to call themselves British. Churchill’s “LIGHT SHINING “TEMPLE”, by Steve Walters at the Donmar IN BUCKINGHAMSHIRE” in Warehouse, examined the 2011 conflict between the the Lyttleton. Although it was Occupy protesters on the steps of St. Paul’s and the seriously over cast and over church hierarchy within. More than one reviewer has designed, its depiction of the described it as “a clerical High Noon”. 1647 debates in Putney Church “DEPOSIT” by Matt Hartley at Hampstead explored between Cromwell and the the financial and personal problems of Generation Rent. Levellers did more to expose the democratic deficit than anything “BEYOND CARING” at the National’s Shed - a in the 2015 election campaign. devised piece by Alexander Zeldon dealt with people The R.S.C.’s “OPPENHEIMER” living on the edge of society dependent on the minimum which enjoyed a short run at the wage and zero hours contracts. Vaudeville - about the director And, finally, another James Graham play - this time at of the Manhattan Project which the Donmar - “THE VOTE”. Hopefully a number of Guild developed the first atomic bomb members were among the 555,000 viewers to watch it in New Mexico in 1945 - said on More 4 during the last 90 minutes of voting before more about nuclear weapons everyone - politicians and public alike -was stunned by than anything said about Trident the BBC’s exit poll. during the campaign. In his article Michael quoted - with apparent approval “THE ANGRY BRIGADE” at the Bush by James Graham - Charlotte Higgins of “The Guardian” when she wrote told the real story of how a “perhaps the most radical thing theatre is doing this young urban guerrilla group spring of 2015 is not airing the issues of the day”. She mobilised in the early seventies too was wrong. And fortunately her colleague Michael “against a background of Tory Billington proved her wrong by reviewing almost all of cuts, high unemployment and a my political 12 in “The Guardian” arts pages. I have re- deregulated economy”. Sounds read those reviews in “Theatre Record”. As a result I am familiar? certainly even better informed. “DEAD SHEEP” at the new Park Martin Bowley. Theatre explored the resignation (Obviously quite a feast for politically minded theatre- of Geoffrey Howe from Margaret goers in the London area – in the provinces we had Thatcher’s cabinet in November precious little to get our teeth into! – Ed.)

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today, after 25 60 years of ‘Theatre-in-the-Round’ years, the Forge productions are It was on 14th July 1955 that Stephen Joseph opened Britain’s the more popular. first permanent professional Theatre-in-the-Round in Scarborough. Across the Guild Earlier experiments, especially by John English of Highbury Theatre as a whole, this and Tyrone Guthrie in Canada had caught the imagination of theatre- lack of adventure goers, but Joseph’s commitment was special, and soon gathered with our spaces momentum. Joseph also helped to start the Victoria Theatre in (many of which Newcastle-under-Lyne under Peter Cheeseman, where the young one has to admit Alan Ayckbourn began his playwriting career before moving on to are difficult to Scarborough. Then came Manchester’s Theatre 59 Company, later adapt) may be re-formed into Theatre 69, and then The Royal Exchange Theatre contributing to Company, as well as the short-lived Granada Theatre. lower audience So, living in Manchester at the time, I quickly became enthusiastic figures and a about this new and exciting form of theatre. Using the then new lack of appeal to M6 it was so easy to motor down to Newcastle and back for the the young. Which evening to see classics and new plays, increasingly supplemented makes it all the by great productions in Manchester itself. But convincing friends more important and members of my theatre and in the Guild that this new form to celebrate the of presentation was an essential way ahead was hard work. After all, proscenium arch theatre seemed to be built into the very work of Stephen fabric of their theatre-going. In Bolton, fortunately, we soon had Joseph. The Man of the people... Stephen Joseph in 1961 the experience of The Octagon, a new flexible theatre space, and son of publisher in the Guild Crescent Theatre built a similar experiment which Michael Joseph and actress Hermione Gingold, his life was steeped they proudly showed off at a national conference. Questors too in theatre, and he was a leading advocate that theatre should be pioneered the way into working with different theatre spaces in ground-breaking rather than a rehash of tried-and-tested formulas. the 1960s. Yet amateur work by and large remained resolutely Fifty years later, we need another visionary – someone who can go proscenium-bound – indeed, it may still be, when one considers back to basics, rather than stun us with ever increasing technical the many refits and rebuilds within the Guild over the past 50 years wizardry beyond the reach of even the most advanced amateur! which seem to have stuck to proscenium theatre like limpets!. Yes, the visual excitement of The Curious Incident is totally At Bolton Little Theatre there was much resistance to change. compelling, but does it really match the simple, compulsive magic It needed the experience of taking an annual summer production of watching a great play well produced in-the-round? My eyes were in the 70s to Smithills Hall, where we played either in the round truly opened with a production of Miss Julie at the Victoria in the or deep thrust to a very appreciative audience, to bring members early 60s – an experience hard to forget. round to the prospect of change. In the 1980s we started to plan Michael Shipley the reconfiguration of our building into two auditoria, retaining the proscenium stage, and creating a ‘studio’ space, our ‘Forge Theatre’ (This little piece was prompted by reading an article by Tim Auld in which opened in 1989. For a large percentage of our audiences The Guardian on 11th July worth catching up with if you can find it!)

and said the Leveson Inquiry into media the DCMS. However, many in the arts world A New Culture ethics “strayed” far beyond its remit. are braced for further funding reductions Media correspondent David Sillito as the government seeks to eliminate the Secretary commented: budget deficit without raising VAT, income When it comes to understanding the tax or National Insurance. John Whittingdale has taken over from brief, you would be hard pressed to find The continuation of theatre tax relief and Sajid Javid as UK culture secretary. He anyone better. Previous appointments a frozen BBC licence fee are among the has been chair of the House of Commons have suggested the department was pledges made by the Conservative party, Culture, Media and Sport select committee seen as a post to test out rising stars which has won a majority in the House of for a decade. One of his first duties will to see if they were up to running one of Commons after the general election. be to oversee negotiations for the BBC’s the big government departments. John Tax reliefs for the creative industries, charter renewal. He has described the TV Whittingdale’s appointment is different. He including theatre, were introduced by licence as “worse than a poll tax”, although is there to do a specific job - decide the chancellor George Osborne in 2014 and he has said it is likely to survive until at future of the BBC. He is no fan of the licence look set to continue under a Conservative fee, but has said he accepts it will probably least the 2020s. government, with the party’s manifesto survive for the next 10 years. He will also face the prospect of cuts to his pledging to “expand them where possible”. And secondly, almost forgotten now - department - the Department for Culture, The Conservative manifesto also pledged to the issue of press regulation lurks. His Media and Sport (DCMS) - as the new freeze the BBC licence fee at £145.50. By summoning of Rupert Murdoch to the culture government seeks to eliminate the national freezing the fee for members of the public, committee was one of the key moments in budget deficit. And press regulation will be BBC finances are likely to come under the hacking scandal. But anyone waiting on his agenda. He has previously argued scrutiny ahead of the BBC’s royal charter for further action to enforce a “Leveson- against statutory regulation of the press compliant” system of press renewal, which must take place before the regulation will probably have end of 2016. to wait a good while longer. The previous coalition government came Last November, Mr under fire for severe cuts to the arts after Whittingdale’s committee its election in 2010. However, prior to also published a report into the recent election, culture minister Ed the way Arts Council England Vaizey defended the party’s arts policy funds cultural organisations. of the previous five years, maintaining It concluded that there was that the government had not cut the arts a “clear funding imbalance” “horrendously”. “People have got to get in favour of the capital, and out of this mentality that if the arts council urged Arts Council England budget goes up, the arts are healthy and to “restore some balance” if the arts council budget goes down, the across the country. Arts arts are in crisis, because it is complete Council England is funded by nonsense,” he said.

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including Panter Hudspith Architects, Burrell Foley Fischer LLP, and Bennetts Associates, working with the latter on The Theatres Trust the Transformation Project for the Royal Shakespeare The Theatres Trust, the National Advisory Public Body for Company. She has experience working on new build and Theatres, is pleased to announce the appointment of Claire refurbishment projects, both within the arts sector and on Appleby as the Trust’s new Architecture Adviser to provide heritage buildings. Projects include work on the Royal Hall in expert advice on the architecture, design and heritage Harrogate, Norwich Cinema City and various refurbishment conservation of theatre buildings. Claire joins the advisory works for Picturehouse Cinemas. Most recently she has team, which includes our Planning Adviser, Theatres Adviser held the post of senior architect at David Morley Architects and Resources Adviser. involved with projects at the Hurlingham Club in West Claire will deliver high quality theatre building architecture, design and heritage conservation advice to theatre owners, London. operators and developers, members of the public, and local The Theatres Trust provides expert advice to theatres authorities. Her role involves advising on theatre-related in order to promote the better protection of theatres. This capital redevelopments, refurbishments, restoration and advice includes: preparation of design briefs, analysis and rebuilding projects, providing one-to-one advice, and interpretation of the architectural plans being prepared delivery of the Trust’s Advisory Review with the advisory by capital projects; assessments of Lottery funded and team. self-funded capital projects; case studies; contextual As Architecture Adviser, Claire will also have a lead role information and comparator projects and their design in co-ordinating and advising on work to secure theatres at teams; heritage conservation, ownership and property risk, in association with our Theatres Adviser. issues and environmental sustainability. Claire studied architecture at the A small change in Planning Guidance on Noise University of Sheffield Theatres faced with new residential development taking obtaining a diploma place close by that might give rise to complaints from new in architecture before residents about noise coming from the theatre, can in moving to London to start advance at the planning stage now refer to Paragraph 6 of her career. Qualifying as the Planning Practice on Noise which advises planners to an architect in 1997, and a member of the consider appropriate mitigation on the developers, including Architects Registration optimising the sound insulation being proposed for the new Board, she has worked building. Further guidance can be obtained from planning@ for renowned practices theatrestrust.org.uk. Visittheatres.org Have you taken a look at this website? Launched in January 2014, it promotes tours of theatre buildings in Great Britain, Belgium and the Netherlands. It is part of the European Route of Historic Theatres, a project that has been growing since 2007. The Theatres Trust took over the “Channel Route” in 2012, and with a very small budget from the EU Culture Programme, is promoting the architecture and history of theatre buildings. Visittheatres. org provides information on theatre tours in the three countries, linking in with Twitter and Facebook. There are 23 theatres currently featured on the website, including in Britain the Adelina Patti Theatre, the Brittania Panopticon Music Hall, City Varieties Music Hall, Gaiety Theatre, The Georgian Theatre Royal, The King’s Theatre Glasgow, The , Normansfield Theatre, the National Theatre, , Shakespeare’s Globe, Theatre Royal Bury St Edmunds, Theatre Royal Drury Lane, , Theatre Royal Newcastle, and Wilton’s Music Hall. Each theatre provides tours of their buildings, either regularly or upon request. Watch out for activity during Heritage Open Days between 10th and 13th September 2015. For more information you can go to [email protected] Ten Reasons to see Much Ado About Nothing 1. It’s Shakespeare’s funniest comedy; 6. And there are no twins; 2. It’s also his most understandable comedy; 7. There’s a proper sun-kissed set; 3. And it’s more suspenseful than any comedy has a right to 8. The costumes are period and gorgeous; be; 9. Dogberry and his Watch are an Elizabethan Dad’s Army; 4. Beatrice and Benedick are Shakespeare’s only real grown 10. The director’s last local Shakespeare won awards! up romantic couple; 5. Nobody disguises herself as a boy; (from the Newsletter for Teddington Theatre Club)

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of the whole of our artistic policy - something 25 Years Ago - A Peep into the Past which had not happened for nearly ten years. I am convinced of the importance of Peeping into the LTG Newsletter for Summer 1990, here are a such an exercise at regular intervals. The few interesting snippets! wider theatre world is constantly changing * Bingley Little Theatre had just reported a serious fire in the and developing, and if we do not change and area of their bar, rehearsal room and studio stage. Smoke and develop in response to these outside pressures and influences, we water damage to the rest of the building had been extensive. will become increasingly isolated and irrelevant. I would ask you * The secretary was appealing for reports on the use of professional - how long is it since you last took a long cool look at your artistic fund-raisers and the use of computers in box offices. policies and practices? I would suggest that if you haven’t done * Martin Bowley reported that Questors Theatre had to make anything for the last ten years, then you should consider getting a huge effort to get rid of a large bank overdraft, as interest down to it as a matter of urgency! was running at 2½% above the base rate of 15% (!). They had We embarked on what I believe was the widest consultation appealed for ‘Interest Free Loans’ from members and friends, and process in our history, and I have no doubt that the consultation were offering a special life membership rate! Within six months, process was itself of the greatest benefit to the Theatre. We posed substantial success was reported. and had posed to us a number of very basic questions. One * Christine Hewson at Leicester Little Theatre reported that thing we were all sure of from the outset was that we didn’t know their Music Hall had been running almost every year since 1967, all - or perhaps any - of the answers. We sent out questionnaires consistently playing to full houses and raising much needed funds to all our active members, and to all members of the Guild. We for the theatre. commissioned a number of ideas papers. We held three active * The ambitious extension to Ilkley Playhouse had been members meetings, and we met with smaller groups representing completed, and the theatre had played to 95% capacity for the actors, directors, technicians and students. That process took 15 season just ended. months, but during that period members of the working party were * Lace Market Theatre, Nottingham had recently hosted two busy acting, directing etc. At least no-one could suggest that they visiting companies from their twin-town of Karlsruhe in Germany. were out of touch with the life of the theatre. Finally a piece from Martin Bowley that deserves a reprint: The Report was eventually completed on April 1st. What we tried A POLICY OF PLANNED ADVENTURE? WHY NOT! to do was to provide the theatre with an AGENDA FOR ACTION, and A short extract from Martin Bowley’s contribution to the debate at a checklist against which we can monitor our progress. I would the Bolton Little Theatre Conference in April : suggest that the basic principles are seven-fold: “What I do suggest is that if we are to survive and prosper we * Firstly, draw the working party from as wide a range of your all need to inject a sense of adventure, of excitement, even of theatre as possible. danger into our work and into everything we do. It is that sense * Secondly, draft its terms of reference with care and precision. of adventure, that excitement, that danger which alone will attract * Thirdly, ensure that it consults as widely as possible, both within new directors, new designers, new technicians, new actors with the and without the theatre. new ideas which are the lifeblood of any theatre. * Fourthly, make sure that the eventual report produces very I believe that any theatre which allows its programmes of plays to specific recommendations backed by reasoned argument, and be dictated entirely by box-office pressures and audience demands directed at specific individuals or groups for action. is quite literally doomed, for its audience is getting steadily older. * Fifthly, provide time and space for general debate before the It is, quite literally, dying! We must all be looking for a new and report is considered by the management committee. younger audience. Every theatre should try to stretch its audience * Sixthly, make provision for regular checks on the extent to which - to introduce it to something new and challenging. Don’t be the recommendations have been implemented. disappointed if the initial reaction of your audience is discouraging. * Seventhly, don’t rush the exercise - it’s too important for that. You’ll be surprised how many of them secretly welcome a more Above all, never forget that you are dealing with a living and, challenging evening in the theatre. You’ll be delighted by the hopefully, lively organisation where people and personalities are number of young people who will be attracted by such a challenge the major resource and where the key to acceptance is to be into your theatre. I speak from experience. persuasive and pragmatic rather than doctrinaire and dogmatic. The key to success lies in careful preparation and detailed planning. If at the end of such an exercise there were no recommendations At Questors I was convinced of the need for a fundamental review for change I would be very surprised!”

This year’s theme will follow on from on Sunday night. We have a field all to Membership Bonding our July open-air production of The Jungle ourselves away from busy traffic, with Book at Hamptworth, so we can continue portaloos and a large marquee in case the LTG Member Theatres are continually swinging from the trees down in Dorset! weather is unkind! coming up with new ‘Bonding’ ideas – take We hope to create our own Jungle village, More details, prices, directions and this one from Maskers Theatre Company bushcrafts, drumming, and anything else Booking Form are on the members section in Southampton: you think of! of the website. For those who have not had the Camp Down in the Jungle Camp – experience before, the rough outline of NB – Maskers Camp is not part of the Friday 28 August – Tuesday 1 September the weekend includes: - walks and pubs usual activities of The Maskers Theatre 2015 – with optional extra camping nights with good grub, beaches, crafts, camp Company and therefore is not covered by Wed 26 and Thurs 27 August - A secluded fires, singing, games, a communal camp their insurance – all activities are at your camp field near Wareham, Dorset. supper on Saturday night and a cabaret own risk …..

TVs live sound, Do we overwork our ‘Techies’? recorded sound, lip sync, click Some of us in amateur theatre, particularly in the world of the Guild, are long used to the regular accusation of overworking our track etc.. 4 days techies to the point of resignation. But I am coming to think that late opening for the thrill and adrenalin from such repeated hard work is the very previews, press essence of enjoying and staying at the job. A now elderly friend night now on the of mine went into the business professionally – he is still happily 12th Just done beavering away, as a recent email explains: 14 consecutive “Life hectic at the moment, Just finishing teching Dusty at the , a Dusty Springfield musical. Technically very 12 hour days challenging and the set mainly a vehicle for the technology. Tracking so a bit brain video wall, projection, 3D holographic projection, retractable floor, damaged.”

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cast of Anne Boleyn were indulging in their with some of our acting members. However, Bits and pieces from own version of ‘The Great British Bake- as in most aspects of life, sometimes you Off’ so much that costumes had to be let have to compromise to achieve success.” out and the stage reinforced. Maybe they (from the Chairman’s column in the Your Newsletters could consider sharing the product of their Newsletter for Ilkley Playhouse) culinary expertise with the starving in the “I’ve discovered a new means of stalls?” (from a letter to On Stage, the communication called “The telephone”; Newsletter for Miller Centre Theatre, unlike e-mail, this unique invention enables Caterham) correspondents to communicate —yes, “Catherine Acklam is very keen to communicate - with another person, when remind you that you will be unable to they can impart information, ask questions audition unless you have paid a 2015- and receive answers; this wonderful device 16 subscription of £25. She will be at lets one have a two way discussion with the audition to check you off her list. We the other person, It is simpler, quicker and don’t have card facilities, so please bring virtually infallible as a method of exchanging a cheque (what’s one of those??) or cash information. May I urge all members of – or we will send you to the nearest cash the Company to make use of this magic machine (at the RBS on Pillory Street)!” device instead of a succession of e-mails (from the Newsletter for Nantwich which, apart from the possibility of the “Right now, the Miller wardrobe Players) recipient failing to receive them , ignoring department is unable to accept any more “We must never forget that the financial the contents or writing an over-hasty items because it is full! However, if you have health of the Playhouse is very much linked reply or disseminating opinions to a wide anything of great interest to offer, please to the quality and popularity of the plays circle of Nomads, who may be surprised call.” (from On Stage, the Newsletter for that we produce. I am very aware that or upset to receive such missives.” (from Miller Centre Theatre, Caterham) sometimes the plays that are popular with the Newsletter for Nomads Theatre, East “It has come to my attention that the our audiences are not always as popular Horsley) Why Theatre Matters One Childhood Experience

Roger Rees died on 10th July. He was a Vice-President of In a recent article in The Guardian, Julian Barnes had little time Questors Theatre, Ealing, and a few years ago he wrote to them as a child for the various pieces of ‘art’ hanging on the walls at his supporting an appeal as follows: home: by being solemn, they took the excitement out of life. “Truth told, no matter how many the advances in technology, “There was further evidence that this might be art’s purpose there’s little can better the thrill of “live” performance; a film is and effect: the boring amateur finished and done; ever beautiful – but always the same; but a play! dramatics my parents would Oh, goodness – a play changes every night; and why? Because of take my brother and me to once you, the audience; we actors can’t do it without you, and of course, a year; and the dreary discussion we’d look pretty silly trying. And, here we arrive at the point of this programmes about the arts they little note – I want you to help us even more! Will you? used to listen to on the wireless. Firstly, never stop supporting this great, historic theatre, through By the age of 12 or 13, I was a the thin and the thick. And, while you’re at it, always, always tell us healthy little philistine of the what you think. Respond to the work in a frank, loving and honest kind the British are so good way that’ll make The Questors Theatre even better still. If you like at producing, keen on sports what you see, if the play moves you – say so; equally well, if you and comics. I couldn’t carry don’t think we’ve got it right, tell us that too. We can take it. a tune, didn’t learn a musical Secondly, the goal of the Questors “Renewal Fund”, is to raise money to refurbish and modernize our site. I’ll be forthright here, instrument, never studied art and urge you to give what you can; a little, a lot or very much at school, and never acted more! We need it, rather desperately, and future generations of after my cameo (non-speaking) Theatre lovers will praise your names to the Dramatic Gods in appearance as Third Wise Man at thanks for your insight and generosity. the age of about seven. Though Is theatre important? Certainly theatre won’t stop a war – but I was introduced to literature as it might well educate someone not to start one. Theatre is about part of my schoolwork, and was communication. Help the Questors, and while you do, listen to beginning to see how it might simple, funny, moving, meaningful stories that can change our have connections to real life, I lives, and the lives of those around us, forever. thought of it mainly as a subject Thanks in anticipation, the wonderful Questors needs your help. on which I would have to pass As my Drama Teacher said – “Act now!” examinations.”

understand a great deal more about the plays of that period when The Guild visit to the they see them performed in authentic surroundings. But I must confess (not being myself of a scholarly disposition, nor an historian) of missing the home comforts I have become accustomed to at Hampton Hill. My aging back is not equal to Here is another view of the two and a half hours on a hard bench, my failing eyesight finds it event: difficult to discern what is going on in the gloom, or who is who and “This was, undoubtedly why they do what in the complicated plot. an interesting experience, But don’t let me put you off going to this fascinating playhouse which particularly for the more is well worth a visit, especially if you like to collect performances scholarly amongst us who of little-known period plays. ‘The past is another country. They do know more about Jacobean things differently there.’ But there’s a lot to be said for comfortable drama than I do. Theatre seats, a good view and lighting you can see by.” historians, too, can, I believe, Barry Hill, Teddington Theatre Club.

11 LTG Newsletter Vol .29 No.3 August 2015 Some Recent Production Photos Richard II - Maskers Theatre The Weir - Lewes Little Theatre

The Gate Escape - Oast Theatre

Dinner Ladies - Stables Theatre

The Arsonists Amadeus - - New Venture Norbury Theatre Theatre

Compleat Female Stage Beauty -

Yes Prime Minister - Southport Dramatic Club

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