in Action issue No 1 - 2012 £2.50

News Reviews Tameside Hippodrome May Fair - Disney Insurance One-Act Festival

The Magazine for the Association of Community Theatre

From the Chair A message from John

We said we will do it and we have! Your magazine “ACT in Action” is here, the magazine that you have been waiting for. All your production reviews, news, ACT business and much, much more. It is up to you now! ACT is run by its members for its members; it is now time for you to take the lead. Only through your input will ACT grow and grow. Let us know how you want your association run? What areas of community theatre you want discussing? How do you want the ACT website to develop? We want to hear from you via the ACT website, Facebook, ACT Newsletter, blog, ACT Magazine or e-mail. ACT is the new voice for community theatre and only you can let it be heard loud and clear.

Thank you for your invitations to your productions. I have enjoyed the opportunity of meeting committee members and cast, and finding out how important it is for you to have a magazine tailored to your needs. Enjoy this first issue and don’t forget let us know your thoughts.

Cover picture: Yssy Pierce-Higham as Maureen in Curtain Up’s production of Rent

3 Contents Index to Shows Reviewed

From the Chair 3 Breezeblock Park PADOS 10 Who’s Who 3 Broadway Rocks PADOS Youth Theatre 19 The Lost Theatre of Ashton 5 Camelot Ulverston AOS 11 Sullivan at the Pavilion 6 Chess South Manchester AOS 22 Royal Exchange 7 Cranford Burnley Garrick 18 Golden St Lukes 7 Flint Street Nativity, The Burnley Garrick 12 A Spoonful of Disney 8 Hey Diddle Diddle St Luke's ADS 11 CHYPS Youth Panto 8 High School Musical Mossley AODS 16 Show Reviews 9 - 22 Hot Mikado TEMPO 19 Show Pictures 15 In Praise of Love Worsley Intimate Theatre 17 Curtain up 26 Jekyll and Hyde PADOS 21 Final Curtain 25 King and I, The Acton AOS 9 Pendle One-Act Festival 27 King and I, The Romiley OS 19 Late Edwina Black, The PADOS 16 Index to Advertisers Little Shop of Horrors Urmston MT 22 Lord Arthur Savile's Crime Worsley Intimate Theatre 22 adb Live 26 Love Affair Burnley Garrick 20 Burnley Garrick 2 Me and My Girl Dukinfield AO&DS 10 Charades 2 Natural Causes Burnley Garrick 9 Oliver! Urmston MT 12 Costume House 26 Once Bitten South Manchester AOS 11 Curtain Call 27 Out of Sight, Out of Murder Worsley Intimate Theatre 13 Curtain Call Youth 27 Puss in Boots Antrobus Village Pantomime 13 Dukinfield AOS 2 Rise & Fall of Little Voice, The Mossley AODS 9 Prosceneium 14 Sleeping Beauty Urmston MT 17 Stage Safe 28 Snow White & the 7 Dwarfs CHYPS 16 TSA 25 Sweet Charity Crewe AMS 20 Urmston MT 2 Wedding Singer, The Mossley AODS 21

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4 The Lost Theatre of Ashton ..... ameside Hippodrome began life as the Ashton iscussions were held with members of the Empire in 1904. Through various changes of name Executive Cabinet and the various heads of the T and changes of ownership it presented live theatre DCouncil’s relevant departments. The plans were almost continuously until it closed on 31 March 2008 when ambitious and included not only the re-opening of the 1262- the current owners, Tameside Metropolitan Borough Council, seat flagship, theatre but also for the building of a 60-80 seat failed to find a suitable bidder to take on a new lease. Since café and restaurant, an 80-seat studio theatre and a gallery then the theatre has remained empty and unused. space for local contemporary artists.

It was awarded a grade 2 listing by English Heritage in The proposals were unanimously agreed in principle and the November 2009 for the almost intact 1932/33 remodelling of Trust was instructed to fine-tune its figures and proposals and the auditorium and circle foyer, carried out when the “golden provide a five-year plan at the next meeting which is due to age of Hollywood” reached Ashton–under-Lyne Behind the take place in 4-6 weeks time. proscenium arch the theatre retains many of the original 1904 The Council granted the Trust full access to its own detailed features. reports and surveys and to the building itself.

At the moment various people from structural engineers, to theatre suppliers, to sound consultants are making their appraisals and costings. So far there have been no major surprises and the proposals are on track and on budget.

The reopened theatre and its studio satellite will house all aspects of the performing arts from major commercial tours to dance schools, the two leading operatic societies, youth theatre, community presentations, new writing, experimental works and so on. The Trust is working in collaboration with Tameside College, not only to involve performing arts students but also to give students in the Building Services department, hands-on experience of working on a major community project. In December 2011, following the Royal Assent to the

Localism Bill of 2011, the Tameside Heritage and Arts Trust The motto of the Trust is “Rebuilding a Community” and we (T.H.A.T,) was formed to protect, preserve and, where hope that the people of Tameside will very much see the possible, reuse the heritage buildings of Tameside. Tameside building as “Our Theatre.” A very large number of them will Hippodrome forms its first project. be able to say “I helped to build that and get it reopened.”

The Trust carried out a feasibility study which agreed with Prepare for the Spring of 2013! the findings of the Theatres Trust that the Hippodrome is viable as a theatre. Further studies were carried out into the viability and sustainability of such a venture. With all the financial boxes ticked, the Trust approached the Council with a view to acquiring, refurbishing and reopening the Hippodrome as a full receiving theatre. The bid had the backing of English Heritage, the Theatres Trust, The Architectural Heritage Fund, the Arts Council and many others. Bill Kenwright Ltd confirmed their support for its use as a No 1 receiving theatre stating that all their productions for the next two years would fit into the Hippodrome and by this time the Trust had registered over 900 Friends of the Theatre.

5 ARTHUR SULLIVAN APPEARS AT ‘THE PAVILION’, MIDDLETON.

Prestwich A.D.O.S. (PADOS) has, for a number of years, By 1928 a there was a growing waiting list of musicians been welcomed at ‘The Pavilion’, Middleton. ‘The and actors for membership. The answer to the problem was Pavilion’ I hear you say,. “Never heard of that Theatre”. for the Lodge to found and sponsor a daughter lodge which took the (musical) name of Madrigal Lodge 5039 (currently Well, that’s because meeting at Hemsley House, Salford) with a continuing ‘The Pavilion’ in interest in music as the name implies. question is the home for Middleton Freemasons and provides an RTHUR Sullivan Lodge 2156 has onsistently excellent venue for the maintained its interest in theatre, orchestral members of PADOS to and choral singing and regularly attends let their hair down at A the Buxton ‘Gilbert and Sullivan Festival’. their annual ‘Awards Among the many familiar Dinner Dance’. names to feature in the list O.K. so where does of past members is Henry Arthur Sullivan come Watson. Any members of in? Amateur Musical Societies will know of the Henry ell, displayed in an anteroom is a large and Watson Music Library interesting collection of Masonic artefacts. To situated at The Manchester Wany devotee of the wonderful music of Sir Reference Library Arthur Sullivan (G and S to you and me) there is an (currently housed in interesting item in the form of a framed original-hand various locations during written letter dated March 1886 from the collaborator in the renovations to the Central operettas. The letter records that he accedes to the request of Library). Many past and professional musical members to the formation of a Lodge present members of the in his name. Manchester Cathedral Choir feature amongst the membership. In addition the membership embraces members The Arthur Sullivan Lodge 2156 still in existence and within the realms of Amateur Theatre (Actors, Singers and currently meeting at ‘The Pavilion’ and has a most Musical Direction). interesting history. The founders of the Lodge were members of Richmond Lodge 1011 (who by coincidence All of this is not surprising as Music and Drama have been also meet at The Pavilion’) and were anxious to form a new warmly embraced widely at Masonic meetings and there Lodge to be composed of members from the musical, have been attracted innumerable famous names within its orchestral and dramatic professions since they embraced ranks from all the leading professions. It would be such callings themselves. impossible to extract even a small proportion of these from the world of Music and Theatre and Film. The Arthur Sullivan Lodge 2156 was summarily consecrated in June 1886 with the blessing of Sir Arthur Most are aware of the involvement of Mozart and Sibelius. Sullivan and quickly embraced, although it was not Just a handful (and it really is only a sample) of other restricted to, the leading musicians and vocalists based in interesting names are Count Basie, Irving Berlin, Bud Manchester and involved in the thriving theatres at that Flanagan, Burl Ives, Al Jolson, Alfred Marks, Joe Loss, Bob time. Monkhouse, John Wayne - I could go on and on ad so infinitum. The first meeting was held in Masonic Rooms in King Street with Ben Brierley, the celebrated Lancashire Poet, as urther information on the Arthur Sullivan Lodge can be its first Secretary. The Lodge has a continuing history of Fobtained by telephoning 0161 766 4510. making generous donations to non-Masonic causes which began in 1911 when a grant was made to a young disabled ‘TREBLE CLEF’ musician.

6 A RIGHT ROYAL PARTNERSHIP ACT is delighted to be able to announce that it has entered an informal partnership with the Royal Exchange Theatre Company in Manchester.

As a result of the Royal Exchange Costume Hire’s joining ACT as Crew members, a contact was made within the theatre and over the past few months ACT secretary Sarah has been in dialogue with Clare Simpson, the Exchange Marketing Manager about developing a relationship with the theatre.

Although early days, a ticket offer for ACT members was shared in March for the Exchange production of Saturday Night, Sunday Morning and other offers will be available to ACT members in the future. We are also hoping to arrange a tour of the theatre exclusively for ACT members.

Vanessa Walters from the Exchange said “We’re always keen to develop closer relationships with groups of enthusiastic theatre goers in the Manchester and surrounding areas. It makes sense for us and ACT to work together and I’m sure we will come up with plenty of activities that are mutually beneficial over the next few months and beyond”

Over the next few months the Royal Exchange has production’s of Lady Windermere’s Fan running until the end of June and A Midsummer Night’s Dream which closes the current season. The Autumn and Winter season has been announced and can be seen at www.royalexchange.co.uk Golden Anniversary St. Luke’s Amateur Dramatic Society celebrates 50 years

ACT God, Brian Thorpe was delighted to be included as part of the SLADS celebrations in May. Both Brian and Anne, as Honorary Members of the society, were invited to two events to celebrate the success of this family society based at Saint Luke’s Church in Salford. The celebrations started with a Masked Ball at Buile Hill Hall in Salford where, after a three course meal, Chairman Sonia Whittle took the guests through the history of the society started by the late John Hughes. Sonia was able to introduce four of the original founder members who are still batting; June Linaker, Glenys Brady, Beryl and Alan Hall. New and old members spent the night talking over old times and future plans, which include a production of Tutankhamen which was written by long standing society member and past Chairmen Paul Whittle. This was followed up a few weeks later with an especially dedicated church service where the Reverend C. Gorton gave a blessing on the society. Founder members were honoured for their contribution, each being presented with the Society’s own Long Service Medal by Brian.

7 A Disney Spoonful of Sugar

he YSD Theatre School once again headed off to Walt Disney World Florida to take part in their musical theatre workshops. “Mary Poppins” and a set piece called “Broadway” T were to be studied and performed. The Disney director and choreographer took the students through their paces. Students auditioned for selected scenes from “Mary Poppins” and “Broadway” and parts were allocated. Then the rehearsal / workshop process began. Each session lasted up to three hours singing, dancing and a show routine were covered and all loved every second of their tuition. There was a big bonus when at the end of the dancing, Goofy joined in. The performance took place in a heat of 110 degrees which tested the students. They had costumes on top of costumes because of quick changes. It has to be said they were all very tired and happy but were glad to get back to their hotel and jump into the swimming pool.

YSD has been invited back in 2014. We had such a wonderful time and the students learnt so much. A special mention must go to Sandy Lechtra, the Disney rep, who made everything run so smoothly: she has become a good friend.

May Fair Youth CHYPS (Cheshire Youth Panto Society) took pride of place at this year’s Alderley Edge May Fair on Saturday 19th May. The Fair celebrates Alan Garner’s famous children’s fantasy ‘The Weirdstone of Brisingamen’ which created the legend of The Wizard of Alderley Edge. Christine Munro, the Fair organiser, asked CHYPS to provide the Wizard and two Knights to lead the parade of 33 community groups through the streets of Alderley Edge to the village park and to declare the Fair Open in front of massed crowds in the park.

Sam (19), a member of CHYPS since we started in 2007, played the Wizard with great character and was a spectacular figure, very different from the brilliant dames he has played for CHYPS. Almost 30 other CHYPS members paraded behind the Wizard, proudly holding the CHYPS banner, specially made for the occasion, and wearing panto costume and make up. We distributed hundreds of flyers to the crowd advertising our next panto ‘Beauty and the Beast’ in January 2013. Our teenage cast had a wonderful time and we had a hard job persuading Sam to part with his new costume!

The May Fair gave us a tremendous opportunity to raise the profile of CHYPS and network with other community groups.

8 THE RISE AND FALL OF and furniture had been in her misery, she was Hollywood film versions LITTLE VOICE consumed by it. shown light at the end of the makes the task of any Mossley A.O.D.S. Looming over the whole tunnel by the poor Billy, and attempt at putting one’s own story was the dreadful suddenly this magnificent interpretation into any of the In the years when I have Harrison as a mother, voice mesmerising her performance characters, been coming to Mossley in bawdy, wheedling, sensual, imagined and her real difficult, or does it? various capacities, mainly as ugly, foul-mouthed and audience. Whether as Robert Earl brought a thrilled member of their pathetic. It was no wonder Shirley Bassey, Marlene reality to the role of King audience, I have watched that LV took shelter in her Dietrich, Edith Piaf, Marilyn Mongkut; he put so much them push back the frontiers father’s recordings. Mandy Munroe, et al, this was an truth into the dialogue. His of amateur theatre. Mallinson’s performance unforgettable performance. Anna was played by Debbi A fiendishly difficult play was absolutely magnetic, Congratulations to James Cornock who gave a to tackle requiring such were the intensity and Schofield, as Director, A beautiful and well observed characterisations of great the dramatic extremes, allied standing ovation from the performance. The tragic emotional depth, this to the coarse humour she audience at the end showed journey of the ill fated interpretation had it all. It brought to the role. As one what a memorable evening lovers, Lun Tha and Tuptim, felt, looked and exuded watched the heart-rending this was. Well done. was delivered with everything that it was. emotion of the final scene in particular impact by Matt Upstairs and downstairs the ruins, when LV finally THE KING AND I O’Donnell and Gemma with forlorn kitchen, rebelled, it was impossible Acton A.O. S. Robertson. Other characters cluttered, ugly unsightly, not to feel a slight degree of working equally as hard tasteless yet bulging in its sorrow for her. Director - Sheryl Haydock- were: Jennifer Hall (Lady untidy clutter, contained Mandy was surrounded Howorth Thiang), Bradley Smith every single item that it by a superb cast: Paul Musical Director - Ann (Kralahome), and Darren should. After the fire we Allison, the dissolute boy Sleigh Thornhill (Ramsay). Prince were shown the incredible friend, gave a thrilling Dance Director - Sarah Chulalongkorn, played by burnt out shell: you could performance. Lisa Kay, as Mould Dominic Steel, and Charlie almost smell the damage. Sadie, was hilarious as the To give the opulence and Edleston as Louis played out What an achievement of greedy, not too bright friend. magnificence of the Siamese their roles with conviction. design and ingenuity the Matt Hassell played Billy, Royal Palace and Court, Enter the Siamese whole conception of before the tongue-tied assistant Scenic & Property Hire and children who were full of and after, turned round in electrician and gave a Triple C costumes provided youthful charisma, and the the time it took Ray Say to moving, sensitive all the illusion of grandeur. audience responded with dramatise Roy Orbison’s performance. John Crebbin The talented team assembled deserving applause. All the ‘It’s Over’ - a telling brought his experienced for this production gave this other members of the cast moment. presence and command, full turned in excellent ensemble of humour and timing, to the .performances. role of the third rate club The choreography was owner Mr Boo. Matt inventive and there was Hepplestone was very good use of the stage. The believable in the supporting ballet was executed with role of the telephone style and brought freshness engineer. to “The Small House of I have left to the end the Uncle Thomas”. title role, Little Voice. Sofi- Jo Bennett brought NATURAL CAUSES everything to the Burnley Garrick performance, which was memorable in so many John Flay had whetted ways: repressed, sad, iconic musical a my appetite for my first visit The fire effect was uncommunicative, a presentation for today’s to your magnificent new superbly achieved. I would prisoner of her wretched audience. venue: it is always exciting have sworn that the walls environment, heart-rending Historical characters and to visit companies for the

9 first time and I was to see a audience’s sheer joy at To accomplish this play totally unknown to me. Withers’ attempted kiss of successfully is no small What more could one ask? life - quite unforgettable in achievement given plenty of The theatre certainly action and reaction. space. To achieve this within lived up to John’s There was so much to the limited confines of enthusiastic description. You remember and this is only a PADOS House was nothing have fabulous, state of the review so it is not in my short of a masterpiece, and art and comfortable facilities remit or my desire to thanks and admiration go to for your company to work in comment individually on all the people - director, cast and for your audience to performance. We saw team and others who worked so enjoy and appreciate your playing of the highest degree hard and so efficiently - to work in. and congratulations must go create the illusion so to Mark Storton who effectively. Getting quarts masterminded such a into pint pots springs to memorable evening’s character Bill Snibson. His mind. entertainment for the girl was played by the ever audience. watchable Laura Bryant, He coaxed from his cast who gave an effective performances deep in belief, performance as Sally Smith. realism and sheer comedy Lisa Kay as the Duchess, brilliance that one would and Simon Pickup, as Sir have to go further and could John, portrayed identifiable still fare worse. Saying well characters. They had great done to all involved, seen fun grooming the would- be and unseen, seems Earl of Hareford. Lady We walked in to a inadequate but is honestly Jacqueline, the temptress, revealed set subtly lit, and meant. was given all the right what a luxurious set it was. My thanks go to the ingredients by Beverley It was a fine example of how Garrick for their friendly Davies and David Noble’s a proscenium arched stage welcome and hospitality, comedy foppishness, as can be made to look without The goodwill and and also for their Gerald, proved that timing is the building of a boxed set. bonhomie of the ritual explanatory piece in the everything. As the lights came up to family Christmas Eve get- programme about A.C.T. It The family solicitor, indicate the play opening together was well was much appreciated. Also played by Kevin Siddall, there was a well deserved established and, as the story a personal thank you to outrageously hopped and round of applause from the unfolded, the actors did a everyone concerned in any skipped a little with the rest audience. super job of showing us way in a quite remarkable of the family. Trying to keep Five talented, what a thin facade it was and evening. I look forward to some order in the experienced actors bestowed how soon events, “The Flint Street Nativity” household, Charles, (the on their individual personalities and dark with bated breath. butler) played by Andy characterisations a natural secrets can shred it apart. Gibson, alongside those realism which made us It’s a deep play, with all the ME AND MY GIRL other members of the believe we were in a real life characters’ hopes, dreams, Dukinfield A.O. & D,S, household, created credible situation rather in one where failures, misunderstandings, ensemble playing. The we were watching actors yearnings, abilities to make Director: Steve Mallinson Lambeth Walk was one of pretending. The play itself is the best of things and Musical Director: Dave the highlights of the a black comedy and billed as pretence for everything to Chapman production and was a “Comedy Thriller, full of seem and cost more and be Dance Director: Jean delivered in true Cockney mistaken identities, hilarious better than it is. All this was Ashworth style. consequences and great told with infectious earthy To create the il,lusion laughs”. It was all that and, This production of the humour which emphasized and jollity for the piece in the hands of Mark “Lambeth Walk” musical each character and made the those unsung heroes, the Storton, the director, and his was given so much camp it audience realise it actually technical team, had their super cast, much more. knew people like this. Each oozed fun, fun, fun. The work cut out, but all went The cast played their role was a worthwhile acting director captured all the smoothly. Each department roles for all they were worth, experience for an actor. gaiety of the 1930s. This contributed to the overall extracting every last inch There were no weak links. was underpinned by the success of the show. The essential Liverpool from their characters. Their M.D. who moved the score command of their dialogue accent was maintained well along apace and, as if this BREEZEBLOCK PARK was nigh perfect, comedy throughout and, although wasn’t enough, the P.A.D.O.S. timing impeccable, occasionally the timing of choreography clinched the lines and where to take a movement always realistic Willy Russell’s play set, style of Noel Gay’s musical dramatic pause were not and in no way contrived, the as it is, on a Liverpool physical bits believable, folly. spot on, I felt throughout Housing Estate in the 1970s, laugh lines punched across In the driving seat that I was the fly on the wall presents a considerable and all five of them were Michael Jones-McCaw in these two houses, privy to challenge to any company born story tellers. brought all that is required real people’s lives, not choosing to perform it. I shared in the of the “cheeky chappie” actors pretending to be real

10 people. There were times of HEY DIDDLE DIDDLE! delivered with great other party guests played stress when voices became St Luke’s Arts & Drama Society enthusiasm. Choreography their parts well. strident and too high pitched was clean and tidy and the The narrative was helped (What’s the rule? Start low Director Sonia Whittle look of the production was along by The Vampettes, an so you’ve always got Musical Director Colin Powell enhanced by Debbie Lowe’s all singing girl band. These somewhere to go), where Dance Director Sonia Whittle costumes. bloodthirsty temptresses longish story- telling bits Co-produced by Natalie & were a graveyard smash were not always clearly Georgina Grundy thanks to Christina enunciated, and laugh lines Demetriou, Marie McNulty could have been punched With just weeks to go and Rebecca Keeping. There across more, but these are there had to be a cast was strong and detailed only carping comments and change, not just any cast playing from the band and there wasn’t one member but the Dame. Tilly the audience went home performance that wasn’t Poole stepped in, never singing “Halloween Once honest, believable and not stopped working and was More”. characteristic of these never fazed even by the All on stage would have people’s feelings and antics of ‘Mr Pantomime’. won best fancy dress standards. Paul Whittle didn’t get the costume and the set gave best of her. Speaking of this, the maximum space for the Congratulations to all the Mr Whittle was on top form: drama to unfold. cast for their total he even turned a sore throat ONCE BITTEN Choreography was stylish, commitment and belief in to his advantage. South Manchester Amateur and it was obvious that this showing us moving, yet at Diddles the cat survived Operatic Society production was directed the same time, hilarious all the slapstick meted out to with great affection. family life at that level. It him by Billy Diddle. He Directed by Ross Keeping was team playing of the very nearly used his nine Musical Director Richard Townhill CAMELOT highest degree with a lives. Well done Jack Dance Director Lisa Bradshaw Ulverston AOS personal well done to Adam ‘Diddles’ Seddon: there are Bowler who, I believe, took very few who can survive The “Best Halloween Party Director - Brenda Hindle the part of John with barely two acts of ‘Mr Pantomime’. in Town” is going on over at Musical Director - Doreen a week’s rehearsal. The good fairy Sapphire, Bella’s house. Bella is the Dunlop Congratulations also go to characterised by Adele Hall secret love of Zac but Bella is Dance Director - Louise Carole Taylor, who, as and supported by her in love with Flash. Justine Walton director, masterminded the cohorts, played by Nicola Moore as Bella extracted all whole project. Using her Hartley and Olivia Hartley, the facets of her character. The only word to describe vast theatrical experience, fought the good fight. Now, Zac has been bitten by this presentation of Camelot allied to her considerable The opposition wicked a vampire and to complete his is lavish. Costumes from personal talent as an actress, Fairy Bloodstone played by transition to the un-dead he Molly Limpet were exquisite she created a memorable Kerrie Sollinger and her has to bite someone else. and created the right evening’s entertainment for supporters (Rachel Roberts Unfortunately, Zac is shy and Arthurian look. They were the audience. She provided a and Megan Hall) were awkward and will now have worn well by the cast, who slice of life, both comic and thwarted every step of the to get his fangs into Bella. Ed were framed by atmospheric emotional She coaxed from way. Alex Whittle brought Owens was in splendid form scenery by Scenic Projects. her cast all the required swagger and as Zac and engaged with the The use of cloths, keeping performances, thigh slapping to audience. the shifting of flats to the deep in Prince Phillip, Making sure Zac doesn’t minimum, enhanced the belief and and his Principal stray, Max and Val, vampire pace and continuity of the realism, girl, Lucy Jayne council reps, keep an eye on piece. which they Hough, provided his progress. Eleanor Ford Stage manager Paul Hester so the traditional made particular impact as Val and his crew changed each obviously love interest. The and was supported well by scene without a hitch. The enjoyed prince’s aid Tim Collier as Max. Enter show was lit OK but it was playing, and Tony, played by Flash (who loves himself too shame Gordon Crayston’s provided for Katy-Jayne much) with his sidekicks Biff, the Davison, was Chav and Grant. All four of totally audience, them, Dominic Penney, Dan convincing. the Argent, Gareth Brewerton Squire Rotter, enjoyable and Pete Mosley, had fun Ralph and with their characterisations. telling of a story, parts of Rodger Rotter earned their The vampire hunter,, Buffy which were too close for hiss-n-boos, thanks to the Van Helsing crashes the comfort. efforts of Colin Powell, party, ready to eliminate the My thanks go to PADOS Ashley Owen and Alex Bell. evil un-dead. Looking the for their friendly welcome All the other residents of part and with a thick Eastern and hospitality and to Clover helped to create a European accent, Lela everyone concerned in any fun-packed pantomime. Keighley was commanding in way in a quite remarkable Song selection was good her portrayal of Buffy. The evening. and all the music was

11 lighting design didn’t have they clearly enjoyed their Sally Beaman pushed most we aware we were watching the same creativity as the stylised performances. I of the buttons with her anyone other than seven rest of the production. Alex have to give a special interpretation of the ill-fated year-olds. Linney on sound gave the mention to Connor O’Hara heroine. She was well Leading the proceedings musical its clarity. supported by Sophie Brown for the delivery of his lines was the narrator of the The director enhanced the as Bet, the Nancy in as Tom. script’s many dramatic training. nativity story, played by Ken The essence of the moments and her production The double act of villain Entwistle, who was in total certainly bathed in a positive Arthurian legend was and villain, Fagin and command of his role. light. Equally, the M.D. captured by one and all. Sykes,were played by Anyone who has had made sure the orchestral Steven Cooper-Bagnall and children, or who has OLIVER! playing glistened with Matthew Darsley watched seven year-olds’ Urmston Musical Theatre respectively, and were energy, with a great reading behaviour will have engaging in their of the score. appreciated the interplay of performances. The Choreography was enthusiasm from the rest of the characters and how so executed well but there the cast and chorus moved many of their attitudes and wasn’t enough content. the drama and music to behaviours were dictated by We have seen, over the make this Oliver! a very their parents. years, so many actors special celebration Gabriel, played in true playing the characters of bossy style by Laura Yates, King Arthur’s court. Did manipulated her acolytes, this revival churn out THE FLINT STREET Lynne Atkinson as Wise stereotypical portrayals? No! NATIVITY Man Gold and Gillian Burnley Garrick This cast allowed the script Fontaine as Angel, playing to do its job. Director - Alan Titley Directed by Steve Grist one against the other as she Steve Freeland showed all Musical Director - Deborah Musical Director: Brian became ever more the naivety, and latterly the Holmes Townend determined to become Mary. strength of Arthur, giving a Dance Director - Sally Wild Accompanist: Noreen Lobo The twins, Paul particularly striking Thompson as the Innkeeper For its centenary production performance. The actor Sell-out performances, of Oliver! a very simple but and Angela Boult as a playing Gunevere has such a throughout the run of this Shepherd, sparked off one effective set was constructed Tim Firth play, indicates a hard job being the minx with a revolve. It worked another, causing much mirth with male members of court, very successful production extremely smoothly and by the Garrick. And what a and laughter from the showing her love for two moved the action on swiftly. fun evening out it was, audience while enlivening men and being able to Costumes depicted the era; too. Mizzis Horrocks’ class the script with the deliver the musical numbers. there was appropriate of seven year-olds preparing knowledge only seven year- Ailsa Mcintosh was more lighting and good sound, for and putting on its annual olds can deliver. Angela’s giving atmosphere to than credible and made the nativity play, in the class- description of how babies part her own. Anyone Dickensian London. room because the school A score in which most are born was beautifully playing Lancelot has quite a hall wasn’t finished, as the people could “name that delivered, very funny and challenge and, to top it all, builders had discovered an tune in two notes”, was impeccably timed. Paul’s came that great song “If ever endangered species of great handled well by the M.D. crested newt, was a laugh subversive Innkeeper was a I would leave you”. Steve and band. The solo violinist, delight to watch. Low worked hard but had Jessica Hall, played Gary Leonard, as the Star difficulty at times exceptionally well, leaving of Bethlehem and the Ass, maintaining his character. the audience wanting more. gave a fine performance of Direction and choreography Richard Rowlatt breathed this dual role, and what a created an enjoyable life into his characterisation lovely singing voice, too. of Merlyn and Steve Lewis production. íIn the title role, Dillon His scene in the playground gave a nice light comedy Burgess was convincing and with Wise Man touch to Pellinore. Where Aidan Burgess, as Dodger, Frankincense, played by there is good, there is delivered his musical Wayne Brankin, was funny, destruction; James Farrow numbers with gusto. yet moving at the same was entirely convincing as Christine Perry gave an time. Wayne gave an Mordred and Barbara effective portrayal of excellent performance as the Springthorpe played Morgan Widow Corney, sparring lisping king who tried so Le Fey with conviction. well with John Walker as from beginning to the hard to overcome this Between them, Camelot was Mr. Bumble. Nancy has to end. The final twist was impediment. doomed. have the sympathy of the superb. Of course, the seven year-olds were all played by Anne Chadwick played All the Knights, Ladies audience and move them, adults and it was testament Mary and created such a and Courtiers provided with that point of all point numbers, “As Long As He to the combined skill of the believable character that we recognisable characters and Needs Me”. In the main, players that, at no time, were were always on her side in

12 her spats with Gabriel. She Thank you, Steve Grist, her faultless ability to be PUSS IN BOOTS was a perfect match for the director, and The Garrick interesting in the story- (The cat in the chemist’s telling in this long and Steve Cooke who played for putting on such a shop) demanding part. Antrobus Village Joseph, and a very reluctant wonderful production. Mike Jones played Community Panto Group Herod. Steve was hilarious, Thank you, too, for the foyer Cogburn the butler ‘wot did with his faultless timing and display showing the well it’ a master class in Director: Bob & Ingrid lovely controlled deserved ACT presentation underplaying, deadpan, Cleverly performance, and was of Spotlight Awards for last subservient demeanour, that Musical Team: Janet always thoroughly season’s offering of Habeas is, until he achieved his Featonby, Phil Pugh & Bill believable. His A Question Corpus. ambition of yelling out in McIntyre of Sport game was rough Cockney ‘Reading of Dance Directors: Debbie & perfection itself. This was an OUT OF SIGHT - OUT the will down ‘ere. Get a Freya Sutton outstanding performance. OF MURDER move on!’ in his best The final scene is where Worsley Intimate Theatre Sergeant Major voice. For its second pantomime the children become their Hilarious. venture, the group put on a parents. And it is in this This company produces Ivy Griffiths, as the feisty most enjoyable production scene that we realise just its plays in the beautiful character lady, gave us all a of an old favourite which what a superb writer Tim period surroundings of the lesson in movement. poise, was well received by packed Firth is. This was where we Worsley Courthouse and the timing and clarity of houses. Accommodating dialogue. In fact, this such a large cast on the saw how the children turned venue was the ideal setting vastly experienced actress is Village Hall stage was out as adults and finally we for this particular play. a role model in how to use skilfully accomplished and fully appreciated the detail The plot, reminiscent of every sentence, word, each character was well Pirandello’s Six Characters of the children’s characters. syllable even, to the greatest portrayed. in Search of an Author, is It also gave us those effect. It is a privilege to Humour galore was about an author who is moments of pathos which watch her at work. Esme provided by Ray Collins as stand out. Anne Chadwick writing a murder story when Mather and Nick Eccles Dame Ada in some and Ken Entwistle, talking a weird electrical storm played the ingenue and the outrageous frocks and Chris in the playground, were brings to life the characters dauntless hero to the Tratalos as the Palace gofer, beautifully observed and in his story, about whom he greatest required O.T.T. Bobby, with his stage girl- played. has not yet written and yet effect. Much of their posing friend Maisy played The set was very well who know that, in all and delivery would have delightfully by Sarah designed, staged, not in a probability, they will be gladdened Noel Coward’s Flannery. modern school building but murdered too. There was heart. The romantic aspects were portrayed in true pantomime in a rather old fashioned, in literally no weak link in the Lisa Hanson was Minna and Lindsay Tyson was the fashion by Anna Walton, as need of up-dating, old playing of any of the pregnant serving girl. and Princess Coral and Helen school building. What was characters. Newby, as the brave Once the second half got both added lustre to the particularly well thought out play. I would like to have principal boy Colin. King under way, things began to was the final scene where seen more of Simon Stoneybrass (Paul Harrison) happen. The pace became everything on stage shrank Griffiths who took on the and Queen Visa (Nicola to child size. Even the fast and furious, characters small part of Jordan Tratalos) ruled the Court drawings pinned on the wall began to die and the cast Dillingham, the wily lawyer. regally, with Maggie Pinfold had been reduced in size so kept up the realism and their It says much for the as Doddering, the stuffy that, to a child they would believability in the plot company and the actor, Court Chamberlain, and look big, but not to an while so obviously enjoying when such an experienced Kim Dodson making her adult. Such attention to and relishing what they were player will add his strength pantomime debut as Hank detail is to be applauded. doing. Well done all round. to a relatively small part for the herald who deafened The musical Pace was superb, acting the overall quality of the everyone with tuneless accompaniment was effortlessly natural, production. blasts on her trumpet. I thought the music used Well booed villainy was absolutely perfect and at just characterisations well was very appropriate and the provided by Phil Pugh as the the right volume, always achieved and barely a sound effects spot on. Ogre and side kick evil Eric supportive of the singers on prompt all evening. portrayed by Janet Featon in David Griffiths, as the A final word to the person stage. Noreen and Brian are who masterminded the her first treading of the author, was the core of the to be congratulated. whole production, drew out boards. They were countered whole story, holding You will have gathered from her cast excellent by Sue Richards as the Fairy that I really enjoyed this everything together with a performances and gave such Queen who gave magic production of The Flint natural, flowing pleasure, Joanne Dawson. I powers to the boots made by Street Nativity, as did the performance, rich in detail, cannot believe it was her Menden (Brian Taylor) the audience on the night I so much so that one could debut production. Very well owner of the village shoe attended. easily believe he lived in done indeed - the future is shop, whose royal patronage Was the play this house and was actually bright indeed at W.I.T with was proclaimed on his shop successful? Undoubtedly. Was faced with this situation. Joanne around. You will sign “Cobblers to the King the play perfect? Very nearly Barbara Griffiths, as the have gathered by now that I & Queen”. so. Would I see it again? other woman, lit up the enjoyed the evening. Well Puss, the wearer of the Certainly. stage with her radiance and done to all involved. magic boots, was played by

13

CLOCKWISE from top left:

Burnley Garrick’s production of Cranford at the ACE Centre, Nelson; PADOS’s production of The Late Edwina Black at Prestwich; The Rise & Fall of Little Voice by Mossley ADOS; High School Musical by Next Generation; Love Affair from Burnley Garrick at the ACE; Hot Mikado from TEMPO (formerly SCAMPS); The King and I by Acton AOS; Dukinfield’s production of Me and My Girl at Ashton; Kate O’Donnell, who were mesmerising and the HIGH SCHOOL MUSICAL school musical was maintained a faultless cast caught their attention Mossley: MAODS memorably played by Abey French accent throughout from the tabs opening and Bradbury. Now He, who will her sterling performance. held on to them until the Director: Lee Brennan not let anyone stand in his The ensemble numbers Musical Director: Simon way, Ryan, was given a final walk down. were lively and well sung, Pickup cutting edge by Sam Lack of facilities made with well executed dance Dance Director: Gary Jones- Maurice. The leader of the routines from members of staging challenging McCaw school Scholastic Decathlon The Sutton School of continuity was achieved by Team Taylor and Chad Dance. swiping multiple cloths. Before the show started, I Troy’s friend were made real Costumes, designed by This was carried out with was greeted by a thrust stage and rounded by Stephanie Debbie Sutton, and set, expertise by stage manager which extended into the Jane Mead and Kit Phillips. designed by Kathryn Ken Redfern and crew. audience. Audience All the other characters Cleverly, gave the Lighting and sound members were in awe, as and dancers were very production that pantomime enhanced the production they realised that the thrust enthusiastic, colourful and magic, alongside good was set up as a basket ball along with excellent all accomplished very strong lighting and sound. court. Lighting was American accents. As the costumes especially the This presentation of a cast sang “We’re in This “under the sea” costumes beloved institution Together” you could really pantomime was Community made by society member feel the energy in the room Theatre at its best. Sue Hardy. being passed to the Direction brought out all audience. the necessary pantomime The overall enthusiasm elements and the and strong teamwork of all choreography was executed cast members and directing with enthusiasm. The song team is what made this show selection was good, but immensely enjoyable. This lacking some contemporary production was a brilliant example of fine ensemble numbers. All the music, playing. from pit to on stage, was in very safe hands. Graham colourful and enhanced the musical, bringing it to life, Barraclough’s script was THE LATE EDWINA BLACK and I extend my P.A.D.O.S. served well and the ‘Health congratulations to the and Safety’ sketch was very lighting team for adapting to A traffic incident on the funny. accommodate the thrust. SNOW WHITE AND night meant that the All the cast members were Leading back to the stage, THE SEVEN DWARFS motorway, main roads and strong. Beth Fitton, as there was an extremely well CHYPS (Cheshire Youth minor roads leading to the Fairy Tinkle, delivered her constructed set, boasting Pantomime Society) theatre were all blocked, so two spiral staircases. This lines with clarity. The story the opening of the play was Director: Sally Hunt was driven by Rikki gave the impression of an delayed somewhat to allow Musical Director: Phil Hanson-Orr as a dashing American school, which set Millar Dick Whittington and, in the the scene for the enthusiastic Dance Director: Ellie skin part, Ruth Hardy cast and dancers. Anderson created an entertaining The director really enhanced the script, Thomas the Cat. Zara Snow White is a difficult bringing fun, laughter and Fernley brought all the right pantomime to get right. energy to all aspects of the elements to the role of Alice. However, Alan Frayn has performance. The There was plenty of hissing delivered a script that ticks choreographer used all and booing for Majella all the boxes. The levels of the stage to full Moriarty’s mischievous production team, with their potential, and considering Queen Rat. Gerard Riley the large cast size, made the cast of 11 to 19 year olds, routines look effortless and extracted everything from presented a traditional dame and he knows how to work vibrant. the script. The cast had a All the well-known hand in choosing the an audience. Gerard didn’t have it all his own way: the characters were clearly the audience to arrive. musical content which was recognisable. Ben Cupit as comedy was shared with Missing the beginning of the much appreciated and Troy and Beatrice Hewitt- story would have Matthew Cox as an connected with the young Lee as Gabriella delivered immeasurably detracted entertaining Idle Jack. All audience. The M.D. has to committed performances. from their enjoyment of the be complimented his band the other roles were They took Troy and play. The delay also enabled of young musicians, who supportive including Gabriella through all the those of us who made it on were Beavers, Brownies, enthusiastic juniors and highs and lows of their “will time, to get a good look at Scouts and Guides, most of chorus helping to make this they?won’t they” the excellent set. them having their first pantomime a festive treat. relationship. Sharpay who There only seemed to be experience of theatre. They always takes the lead in the one source of light - a gas

16 lamp which was Elizabeth Graham, Edwina SLEEPING BEAUTY IN PRAISE OF LOVE supplemented by discreet Black’s companion and Urmston Musical Theatre Worsley Intimate Theatre stage lighting. There were Gregory’s lover. Full of life, still dark shadows DR where affection and imagination, Director Sally Wild It is always an interesting actors’ faces became she showed her slowly Musical Director Neil experience to see a play for indistinct until they moved. realised, disenchantment and Ravenscroft the first time. Particularly in the first half, doubts about Gregory Dance Director Sally Wild The story takes place in there were fairly long waits convincingly, as she the living room of the between scenes, caused, I responded to his suspicions. Like many pantomime imagine, by costume Stephen Moss, as tales, Sleeping Beauty has a changes. That will no doubt Gregory, dealt with his huge long history which has led tighten up during the run - part well. Hardly ever off to a Tchaikovsky ballet and otherwise lighting and stage, he showed all his a Disney cartoon. This script sound plus the music created mood changes, explanations honoured the story but not and justifications, and he just the right atmosphere. the necessary pantomime worked hard at keeping us ingredients. A young guessing as to his actual role There are only four actors in audience has to be engaged this play so the audience in what had happened at all the time and doesn’t have much choice in Amberwood House. His contemporary music is deciding whodunit. The marking of the class exercise needed. If you don’t win actors have to keep us books was remarkably well guessing and glued to our done. them with pantomime Crutwell’s flat in Islington. seats. The fact that the John Flay’s direction of business you can get them The story involves the audience was with the cast this challenging play with the music. relationships between the all the way, and never lost showed much thought and The production team had characters and the moral meticulous planning. He interest once, is a tribute to obviously worked hard with dilemmas they find took his audience step by all four of them. Well done! the cast and the look of the themselves in when step through the story and impeccably and there were a pantomime was good, confronted with terminal lifted them from one level to lot of them. Characters were illness, two men loving one the next as each enhanced by effective well established and woman, a son making a development unfolded, costumes. maintained, pace sustained, career for himself and the keeping them guessing right Casting is always lines pointed well and some up to the lonely figure of consequences between with lovely, gentle humour difficult,t but the main emotion expressed and Gregory at the end. characters were well cast. and overall, a feeling of a Incidentally, I felt that a emotion concealed. (quoted Principal girl Victoria cast prepared, working diminishing spot on him, from your programme). together with a tangible finally extinguished on the Harrison, as Aurora, and Rattigan sets each of his four team spirit. There were last word of “I’ll be left on Principal boy Rebecca characters a most difficult occasions in the longer my own with Edwina” Jones, as Prince William, task. He equips them with interviews and duologues would have been ultimately brought out all the right superb dialogue to help them when endings of some lines `spot on’ (sorry). aspects of their characters. and they have to apply this disappeared into mumbles. John had prepared his cast To have an ease with an to show the whole gamut of It is not an easy play to well, the atmosphere of audience and to connect emotions anger, joy, fear, do. It was written a long suspense enhanced by with them is no easy task. love, strength, weakness, time ago, and was very menacing sound effects. He Richard Gaffney showed a grief, sorrow and to pepper demanding on all had designed a superb set natural ability to do this and all of it with wit and (well done to the builders, departments. You can be his performance as Plonker humour. All four had stories proud of your interpretation decorators and everyone was very much enjoyed. to tell so they had to listen of it. involved backstage). I felt A new Dame put on the and respond. All four were Moira Carr played Ellen, his production provided a great story-tellers, with frocks. Matt Fox, as Olive the housekeeper and gave a memorable experience for plenty of significant pauses, Oliver, delivered a chilling, sinister, almost his cast and an interesting timing, rise and fall, light traditional pantomime cross menacing performance. She evening for the audience. and shade, and all four were dresser. Experience is all made every word count - Many thanks for your good listeners. They had to commanding and hospitality. that is needed for him to be: there was a lot to say and authoritative, with good develop a very watchable a lot to listen to. emphasis and timing. pantomime bloke-in-a-frock. Simon Griffiths played Howard Jaffe, as the tea- Anita Partridge acquitted Sebastian, the confused, loving policeman Henry herself well and delivered a mixed up, belligerent, wise- Martin, aroused our interest suitably wicked Arachnia. cracking, emotional critic, from his first entrance. These performances were grimly hanging on to a life Shining through everything supported by an enthusiastic full of pressures of work, the was a perfectly timed laid company. knowledge of what was back sense of humour. His The evening was rounded happening to his wife and all interview with Ellen, off with the time-honoured the other slings and arrows without ever taking his eyes “song sheet” where the being thrown at him. off Gregory, was very well audience joined in with the Sarah Kirk played Lydia, pointed. action packed `Y.M.C.A.’ Sebastian’s wife, who is Elizabeth Flay played 17 suffering a terminal illness. CRANFORD overall there were many herself out of various faux Her character was born in Burnley Garrick moments of gentle humour. pas was just masterly. Anne Estonia and her slightly There is only one word Baron played the Hon. Mrs. accented delivery was I was interested to read in really to describe the Jamieson for all that beautifully and eloquently your splendid programme costumes: magnificen tand character was worth. On her done. Her moves were the historical background to the hats, too, definitely splendid initial entrance in natural, her gestures Elizabeth Gaskell’s life and Ascot standard. I liked the resplendent dress, the look expressive but not overdone. Knutsford in 1830. The caps left on when the hats on her face made us acutely Mike Rimmer’s portrayal notes about the period are were taken off: so typical of aware of her character of Mark Walters was essential reading if one is to the period. before she opened her sensitively and naturally understand something about Miss Matty was played by mouth. When she did, not played. This was a life then and so derive full Susan Mullen, and in the one word was wasted and role she had to run the performance full of charm, enjoyment from the play. her natural use of the pince- resolution and a desire to be whole gamut of emotions. With a cast of 11, and 3 acts nez was spot on. She fully involved or help. Well done. That she was so convincing spread over 6 scenes, their justified the super build up Nick Eccles played the in all she did is a fitting task was not an easy one; the cast created for her, so son Joey and on his first tribute to her ability as an and the fact that the we knew what to expect and entry he brought fresh air in actress. were certainly not with him. He used every Mary Flanagan played the facet of emotion in his very rebellious yet lovable maid, disappointed. truthful portrayal. His love with great panache. Sticking Marie Cassidy and Shirley for his mother, in spite of all out like a sore thumb from Bateson played Miss Barker and Mrs. Forrester the bickering, his respect for the accepted airs and graces respectively and provided his dad, his nervousness as of the time, she played her great support to the story. the broadcast time drew part with a great sense of near, the humour he got out They were all excitement humour and natural timing. of his mother’s attempt to and flutter when necessary, Her remark that “There is persuade him to stay with while Kathleen Riley’s Lady nothing like a bit of Sebastian while she was Glenmire in black, brought away and the acute let-down bondage”, and the alacrity dignity and grace to her role. and disappointment he felt with which she produced Stephen Dixon, as Mr audience had such an when his father forgot to Jem, were worth the Hoggins, was ideally cast, enjoyable, interesting admission price on their turn up to watch his play full of attention, manners, evening is a tribute to the own. were all excellently courtesy, correctness, and ability and skills of the Barbara Cilgram played conveyed. A truly deference to the ladies; but director and her cast, backed Mary with truth and compelling performance. up so admirably and with a sense of humour and dedication. Full of support The final tributegoes to inventively by back-stage an understated, yet and sympathy for Miss the man responsible for it designers and crew. necessary air of mystery Matty, she organised, got all, the director, Ian Ralph. The action of the play about his wedding with involved with, and took part He took a little known took place in Miss Matty’s Lady Glenmire. in the entire goings-on. Her Terence Rattigan play, a parlour in Cranford, and the I enjoyed Richard very difficult play with lots decor and furniture were interpretation was full of Holley’s performance as of dialogue, a gripping story typical of the period. Well realism, enjoyment and Jem, the embarrassed and no end of difficult affection. boyfriend of Martha. Ruled emotions, and through his done, Noreen Lobo, and to the design and construction It is often said about by her, and loving it, he was ingenuity, understanding and team for a superb set. actors that sometimes you genuine, nice and self- skill, produced something Excellent lighting and sound metaphorically sit up when effacing, and, standing there quite memorable. He were evident throughout, certain ones enter, because cap in hand, we just knew he directed it from each and I particularly liked the you instinctively know you was going to be Martha’s individual actor’s point of illustrated scenes shown on are about to see something dedicated, dependable rock. view - they were in fact the gauze between scenes. special. From Anne The dignity with which he quite different. He had Very artistic and original: Chadwick’s first dynamic offered a future to Miss obviously spent time in full marks for technical skill entrance that was the case. Matty was movingly done. thought and preparation, and and invention. Lines had been learned I felt he not only directed Her character was such that Mrs. Gaskell herself nobody else could get a well, characters were and produced, but guided introduced the play. Cynthia established and maintained, and was sympathetic to all word in. Scuttling Sanderson did the job well: energetically about pace sustained, lines departments involved. He pointed, some with great a born storyteller, she used throughout, she showed allowed his actors to find humour, and overall, there her well modulated voice to great use of hands and arms themselves in a most was a feeling of a cast well sustain our interest in all and got every ounce of difficult emotional situation that was going on: a clever prepared, and working humour out of her character. and provided for us a use of a skilled actress, All together with a tangible How she was able to memorable evening. the cast have their moments team spirit. remember all that dialogue Well done to Roger in this kaleidoscope of There were occasions at such speed was an object Norman for his lighting and village life and all played when ends of lines faded lesson to us all; and the sound, and to everyone else their varying parts into mumbles. But when manner in which she involved in whatever admirably. Each character judged against the weight of capacity. was carefully defined and disguised and extricated dialogue some of the cast

18 had to contend with, put this option for the production Stubbs), were given all the down to one of my quibbles. team was a “Songs from the necessary vocal and The final scene was Shows” evening. Well not dramatic dynamics. Will reminiscent of a family quite, the concept had to be Poyser as the Lord High photograph: the baby and one that would fire the Everything Else, Pooh-Bah, imagination of the young parents, and everybody and Max Fone as Pish-Tush company. The latest offering smiling. It was a happy delivered their roles with picture of an enjoyable in the West End is “Rock of great conviction. Another evening for the audience to Ages” not forgetting well observed performance take home. “Tommy” and of cause “We came from Caitlin Goman as Finally, a word or two Will Rock You”. So an about the director, Lesley evening of musical songs Katisha. Caitlin pulled out Jackson. She was the was put together, all the stops. Full of mastermind who created this rearranging them with a rock youthful bite and charisma, excellent evening’s presentation. HOT MIKADO Dom Sutton created an The cast didn’t have SCAMPS (TEMPO) entertainment and brought entertaining Ko-Ko and characters to hide behind: all the various areas of made the most of the they had to present Director: Adam Whittle contributions together, on comedic moments. The themselves and take the Musical Director: Simon and off stage. She was energy of the show from the audience though the journey Murray obviously dedicated and young performers never of the songs. They had to Dance Director: Jane Wood faithful to the history of the learn a new stage craft of flagged and they gleefully story; meticulous in her working with hand held This joyous explosion of swept the audience along. preparation; ingenious in her mics, working an audience Gilbert and Sullivan’s ideas; and she drew from her THE KING AND I and supporting each other, Mikado was discharged with cast performances that were besides all the Romiley Operatic Society cool style. Sullivan’s music honest, dramatic, true to the choreography. This was the swung and swung, the band script, full of character and X Factor meets musical Director: Peter Birch humour, and played with an theatre and it was all carried not only accompanying but Musical Director: Claire enjoyable team spirit that off to the highest degree. being also a solo player. The Sweeney made the evening quite The staging was as a rock choreography endorsed the Dance Director: Tracy memorable. Well done to all concert with the band on mood and feeling of the Haslam involved. stage on three levels with piece “burning the floor”. Thank you for your warm lighting to suit the event. The director took the welcome and hospitality. Sound was well balanced production out of its but there were times when theatrical confines giving the soloists that they had, a the cast a free hand. There battle with the musicians. was an open stage with the One member of the band band upstage under a two was so loud and unsympathetic to the tier scaffolding structure performers they had at times which allowed the action to trouble pitching. There were continue while the company plenty of solo sections had the stage to feel the within the concert for the groove. Taking the show band so there was no need that extra mile, light and for the self-indulgence sound created atmosphere The Rodgers and The M.D. re-created the and mixed a “wall of Hammerstein’s library has music enough to suit the sound”. The final elements been neglected of late. The concept and the performers of costumes hair and make- shows are not historical BROADWAY ROCKS had to deliver. A very great up gave all the characters pieces of theatre; there is PADOS Youth Theatre deal of work had been put identity. always another way of Group into preparing the “The Gilbert’s script was left interpreting these iconic Rockers” and “The musicals. They do not Concept Production Design Rockettes”. They lived and very much intact and to hear belong in the past. The way & Choreography Helen breathed “Broadway Rocks” this young cast deliver it and they were presented was Wilkinson 24/7 for 4 months. Everyone get the audience reaction as Arrangements & Musical on stage was given an they did it was a tribute to right for that era of musical Direction: Scott Stait opportunity of being on the the quality of his work. Sam theatre. Additional Artistic front line and given a Berrie delivered an engaging Here, the director brought out all the drama and the Direction: Tim Platt musical number or section. Nanki-Poo, the one who he dialogue was delivered Additional Choreography: Everybody, from behind breaks all the rules for Yum- naturally, and not in that Amanda Ernest, Maria the scenes to backstage to Yum was performed with musical comedy style, Fallon those on stage, contributed great effect by Hannah to making a rocking good giving greater depth to the Lawson. evening’s entertainment. So characters. The M.D. carried Finding a show that can The other maids from accommodate and showcase “Another One Bites The this through in the school, Peep-Bo (Maia Van this group proved Dust.” What’s next? I can’t interpretation of the songs. Spall) and Pitti-Sing (Grace impossible so the only wait. These were not just the well

19 known lyrics but there was LOVE AFFAIR acting ability to make product and unhappy about thought behind the words. Burnley Garrick believable the preposterous Valentine’s life and his Although the choreography situations in which these wonderfully expressive face was good and well executed, Directed by Dorothy character find themselves. reflected all the highs and Spencer. more imagination was Your cast had all these lows of all those needed to complement the qualities in abundance. After This was my third trip to the vicissitudes. He pointed his rest of the production. a somewhat slow start lines to maximum effect. A Garrick to see a play which I through having to explain Scenery and costumes most enjoyable performance gave the right image of the had never seen before. the plot and lay the full of light and shade. luxury of the Siamese When the curtains opened, foundations of the fun to we were presented with an Alan Hargreaves, as palace. They were enhanced follow, they kept the expertly designed, Gerard the partner who has by the lighting. It was a audience bubbling all night. uncluttered set. Everything shame “blacks” were only Valentine was excellent been working away, and as was functional, necessary available for the ballet as when stepping out of the things turn out has been and well placed, giving the they detracted from the story so to speak to the unfaithful as well, gave a actors ample space in which drama.. The wigs were audience; so well did she do masterly performance. to move naturally as stereotypical for the Beautifully spoken, totally required by the changing it, that I for one, thought she ensemble and didn’t in character, utterly moods of the story. was addressing me complete the look for this The story, adapted from the personally. fresh interpretation. Sound believable he was, to watch French, was set in Paris in Playing the part of Valentine lifted the voices and was and listen to. A memorable the spring of 1925, in required a rather special, unobtrusive. performance. Valentine’s elegant experienced actress and that John Meachen delivered a James Bateman played the apartment in a fashionable is what it got in this play. very believable King with small part of Jerome, the area. As Dorothy, the Viv Thomber was quite feeling; the audience felt for director, intimates in the magnificent, showing the son, with style and laid back him. Sarah Thewlis gave a programme a fashionable full range of her acting ease. He looked comfortable much stylised Anna with a time of Art Deco and the ability. Rarely off stage, she in all he did. 1860s middle class R.P. introduction of jazz. It coped with everything The arrival of Brigitte, delivery. Her work with the revolves around Valentine, a thrown at her, from playing charmingly played by Royal Princes and mature lady who is the sexual tease to dealing Noreen Lobo, was of the Princesses was most enjoyable and was very beginning to be bored by her with her partnership required surprise and she nearly upstaged by 3-year relationship with her even breakup, planning a future, played it to the full, tongue old, Olivia Hartley. more mature partner Gerard; showing a mother’s love, in cheek, getting the most There were strong what happens when Patrick dealing hilariously with her possible out of the situation. brings her flowers and wants son’s girlfriend when she performances from David She extracted and made the an affair with her, what turns up and proves to be of Campbell (Kralahome), most of the humour inherent happens when her boss at her own age group, and David Ennis (Pra Alack) and in the situation and gave us Keith Dalby-Oldham the perfume factory is finally devising a workable an enjoyable cameo role. (Captain Orton/Sir Ramsay). desperately seeking a new future for all concerned. A final carp I feel the The ill-fated love interest of perfume and gets thrown. Very well done indeed and Tuptim (Susie Wright) and out by his wife; what what a memory. table was set too minimally. Lun Tha (Simon Murray) happens when Gerard Richard Holley played Expecting somebody round was sung and portrayed with returns from a business trip, Patrick, the young lover for a meal would I have conviction while has apparently been with gusto, full of passion, thought required more Chululongkhorn and Louis unfaithful and, of course, flinging gestures about, attention than it received. were suitable sparring meets Patrick; what happens using the stage to its full Congratulations to partners. when her son returns from potential, posing Dorothy Spencer for a most Number one wife Lady working abroad and dramatically and eventually entertaining production. She Thiang was charmingly confesses to having an affair sweeping Valentine off her marshalled a team of characterised by Kay with Brigitte who turns out feet. He played the difficult experienced, talented actors Edwards. The Kings to be as mature as his character with confidence, into giving a rivetingly Children, and members of mother, and what happens ebullience, realism and a entertaining production. the Royal Court, etc., etc., when Ghislaine, the maid, complete understanding of Much thought and etc., completed this expresses a longing for ‘a the part: no mean feat. preparation had gone into enjoyable revival. bit of rough” who wears Catherine Cox, as her direction and she took dirty overalls, the oilier the Ghislaine, positively lit up the most improbable better. Not complicated the stage, each entrance situation and turned it into a really nor farce either just a purposeful. Well played: this delightful frothy comedy à was a joyous performance. thoroughly believable and la Noël Coward, with much Steve Cooke played Jean, joyous occasion. I guess her fun, much talking to the the boss of Valentine’s rehearsals were great fun audience and some hilarious perfume organisation, with and also guess that she hard- lines. It needs playing for all true realism. He was worked her cast. They its worth with pace, worried, concerned, certainly rewarded her and situations, well honed dithering, full of problems, us with a great evening. timing and, of course, an bothered about a new

20 SWEET CHARITY them, was splendidly not for the faint-hearted. delivered the goods. Crewe Amateur Musical portrayed by Steven Each member of the cast is a This was a satisfying Society Turnbull. Her sidekicks, principal; all performances production that truly Nicki and Helene were have to be equal in entertained and endorsed the Director: Fiona O’Connor presentation. The script has importance of ensemble played effectively by Musical Director: Ian a weak section in Act 1 and playing. Bethany Fround and Jessica Pickford the cast has to put its foot on Dance Directors Heather Mullock. Bethany’s body the accelerator and drive the JEKYLL AND HYDE Taylor & Fiona O’Connor language and the mannerism show through that difficult PADOS Theatre Group of pulling down of the dress hoop. The production team David Walton’s scenery throughout the show added took the company to Director: Nick Angus enabled the story to flow, to her characterisation. exceptional heights. A sugar- Musical Director: Sarah Day The sub-plot of Vittorio coated script had to entertain Dance Director: Helen Wilkinson and Ursula was capably and keep an audience played out by Kevin interested. Songs had to be sold, ensemble numbers had For some reason this Whitfield and Barbara to be delivered, and show hasn’t been presented Tomlinson. choreography had to be in the West End. One might think it had been kept out on All the other characters dynamic. purpose. and chorus gave great This show is a high The musical enjoyed a support to this story of energy musical from the successful run on Broadway Charity’s search for love. opening bars to the final with a total of 1,543 curtain. Everyone on stage The structure of this performances. musical requires more than supported each other and Based on Robert Louis one dress rehearsal to find what emerged was an Stevenson novel The its “Rhythm of Life” but it evening of pure Strange Case of Dr Jekyll entertainment. was clear that this and Mr Hyde, in 1990 it The show was presented production will grow and became Jekyll and Hyde and, with so many scenes, on an inventive set with with music by Frank grow throughout its run. this was essential to the inserts to cover the 20 scene Wildhorn and words by success of the production. changes. All this happened Leslie Bricusse. THE WEDDING SINGER The costumes looked as without the show losing any Now released to amateur Mossley Amateur Operatic though they had been of its essential pace. and Dramatic Society designed for the set and, Costumes and make-up coupled with the wigs, the complemented the well- Director: John Wood 1960s was recreated. drawn characters. Lighting Musical Director: Paul Firth Lighting gave that extra enhanced the mood of each Dance Director: Garry dimension and sound gave scene, and sound gave the Jones-McGaw the cast confidence. show definition. The production team The West End has seen its As the wedding singer, delivered an ensemble fair share of well-established Robbie, Dominic Penney playing company. Musically films turned into musicals proved he could deliver they knew their dots - it was the latest being Ghost. This comedy and render a song in the orchestra, at times, that musical version of The any style. As the love had difficulty interpreting Wedding Singer kept mostly interest, Julia, Felicity the score. Dialogue and the to the 1998 film, harnessing Eccles a generous performer story telling were clear and all that is American. The gave her character all the theatre, the show gives a glorious challenge of moved along at a good pace. musical opened on necessary attributes and presenting a Victorian Choreography was inventive Broadway in 2006 to nailed every song. In the horror story of evil and love. especially in the “Big moderate success - 284 sub-plot, the other romance All the characters are so Spender” number. performances. The U.K. tour ‘or will they won’t they’ richly drawn, and every The hostesses of the opened at Manchester’s between Sammy, William “Fandango” club looked as Prestsell, and Holly, Justine scene is filled with drama. Palace theatre in 2008. The director gave little they should. You could To stage this musical is Moore, was an equally almost hear the heavy winning combination. allowance for character breathing of their customers. Gary Jones-McCaw structure and dramatic flow. Hostess Charity, who is played George, the keyboard It was the experience of the cast that gave the colour desperately seeking love and player of the wedding singer band. He dazzled and was to their roles. marriage, was brought alive The ensemble work was easily at home with comedy: by Heather Taylor. It was a well rehearsed; the the duet with Mandy concern that a little ageing movement/choreography Mallinson “Move That up was necessary was clean and precise and Thang” was a highlight of musically the show was very considering where Charity is the production. All the other in her life. Neurotic Oscar, strong. characters gave their all. The Under the careful eye of whom she is set to marry Las Vegas scene wouldn’t the M.D., there was an until her job comes between have worked if they hadn’t excellent reading of the

21 score, and he worked This hard-working cast Mr Podgers, the palmist, who show. The wonders with the orchestra. told this Victorian Gothic was the talk of high society, ensemble movement, In the title dual roles, Jeff tale of good and bad and read Lord Arthur’s hand. however, was Harpin showed the power of they were never ‘Lost In the That reading sent him into all well his vocal range and relished Darkness’. sorts of comic situations. rehearsed and the musical feast. He tried to commit a executed. murder, and didn’t succeed. The two women in the life LORD ARTHUR The strong of Jekyll/Hyde, Emma SAVILE’S CRIME It was all a ploy by Podgers cast was well- Carew and Lucy Harris, are Worsley Intimate Theatre to blackmail the gullible integrated, both destined to be victims Lord. with a galaxy of Dr. Jekyll’s experiment. Director Sally Griffiths Mike Jones, as the cunning of characters. On the front Kirsty Hatton brought a Podgers, needed a little more line, Ed delicacy to her well- A story by Oscar Wilde flamboyance. has been dramatized by That character had taken Owens, as conceived portrayal of Constance Cox, with one of the upper echelon by storm. Freddie Trumper, racked Emma Carew. From the his recognizable characters It had to be clear why they up the tension, never other side of the social Lady Windermere and all were enthralled by him, not allowing the pace to drop. spectrum, but equal in the humour of “Jeeves and to be confused with His lover, Florence, was dreams, Lucy Harris was Wooster”. eccentricity which was laid played to great effect by solidly played by Shelley Helen Attisha. Her vocal In fact the relationship on, but not too thickly, by Byrne. work proved that a song is between Lord Arthur and David Griffiths, as Herr Baines the butler was in the an extension of dialogue. The logistics of Bury Met Winklekopf, an anarchist stage and audience, require a style of that other famous Freddie’s chess challenger, trying to aid Arthur in his Anatoly (Mark Wood) had performer to be more than pair of lord and master. Simon Griffiths, as dastardly deed. all the bravado with the usually aware of body- Baines, the faithful man The technical aspects were opposition but there wasn’t language and facial servant, was every inch the good, and the costumes enough of a change in his expressions,and they were head of below stairs and depicted the period, and on relationship with Florence. not as descriptive as they eventually found his own the whole the cast handled Juliet Bowers had the could have been. life partner, Nellie the maid them well. difficult job of being Anatoly’s wife, Svetlana. All Kirsty’s and Shelley’s (Lisa Harrison). The direction brought out Juliet gave a well observed The other half of the duo, all the best in this comedy of musical numbers were performance. The duet “I convincing and their duet Nick Eccles, brought such manners. an innocence and naivety to Know Him So Well” was ‘In His Eyes’ was a musical well received by the the character of Lord Arthur CHESS triumph. audience. that it made his situation South Manchester A.O.S. The American and Asking no questions while believable. Russian entourage being that most supportive Savile’s fiancée, Sybil, Director: Eleanor Ford delivered recognizable of friends was Gabriel who was equally as Musical Director: Emma characters and kept the innocent, was played with Corrigan Utterson. He was brought to narrative moving. A much warmth and charm by Dance Director: Sally life by David Livesey. competition needs an Esme Mather. Ballantyne The relationship with arbiter and Sam McVaigh’s Jekyll was believable, Their wedding day was convincing characterisation To perform this musical in imminent and Arthur was never neglected the drama. showing such concern for the R.N.C.M. studio theatre visited by an array of aunts All the other characters his comrade Henry. Murder! presented extra technical and an uncle who was the contributed to making the Murder! comes by the hand challenges. Heloise Dean of Paddington. audience, as it left the of Mr Hyde to the hospital Graham’s black and white Neil Heydon, as the Dean, theatre, “Talk Chess”. Board of Governors for not set design made the best use has worn the theatrical “dog supporting Dr Jekyll. of the space. collar” before and has LITTLE SHOP OF All those characters were It was inventive and delivered each cleric so HORRORS interestingly portrayed. enhanced the production. differently. Costumes of black and white Urmston Musical Theatre Lady Julia, the future worked well, but at times the Director Andrew Kielty mother-in-law, was cast needed more of a Musical Director Debbie brusquely and demandingly character statement. The Holmes portrayed by Wendy lighting and sound gave the Dance Director Melanie Heydon. necessary elements, and all Drinkwater Lady Windermere scene changes were slick. (Barbara Griffiths) and Lady The direction was clear This musical must be one of Clementia (Janet Reidsman) and precise and musically, the first “films to musical”; originally a film that were presented with style. the M.D. extracted all the spoofed horror films. The Each character was well excitement in the score. The choreography wasn’t as style of the show is very drawn and they delivered inspired as it might have distinct the humour is dark their lines with truth. been - the ballet is and the music is in the style The charlatan of the piece, absolutely integral to the of Phil Spector and all the

22 movement has to be of that TUTANKHAMUN the Bell. They had great fun performed by Jess Mullock. genre. Musical with their number and Former flat-mate, Tom For young people to St Luke’s Arts & Drama delivered that much needed Collins, a computer expert understand and deliver all Society light relief that drama and partner to Angel, was sensitively portrayed by the finer points of the script requires. Director Sonia Whittle The choreography was Mike Bradley. and score is asking a lot. Angel, the drag-queen Composed & music pre- inventive and stylised. The This cast gave everything street musician is the recorded by Paul Whittle routine for the King’s pre- it could to achieve a very wedding celebration was character that gives colour entertaining production. Dance Director Sonia to the piece, incorporating Whittle raunchy without being Chiffon - Emily Tasker, crude. both comedy and tragedy. Joel Harper was entirely Crystal – Caitlin Willis and This musical adaptation of convincing in this role. Ronnette - Niamh Mulvihill the tragic story of Yzzy Pierce-Higham was were more like the Beverly Tutankhamun was a fresh Maureen and Jo Butterworth Sisters than the groups of offering for musical theatre. Joanne, her lesbian lover. their character names. Their Both actors understood performances, though, were RENT good and Niamh gave that Curtain Call Productions extra. Director Joel Montague Dillon Burgess developed Musical Director Malcolm a convincing Mr Mushnik Forbes-Peckham and showed good vocal Dance Director Joel ability in his singing. Montague Seymour (George Bissett) was portrayed with This Rock Opera is based This revival is part of the understanding and the on Puccini’s La Bohème,a society’s 50 years’ story of poor artists. vulnerability of the character celebrations. To accomplish There has always been an an opening night and artistic movement living a because of the size of the Bohemian life style. Rent production, there were co- brings it all up to date with a how to make an impact. director, Kerrie Sollinger, story of a year in the lives of The most balanced and a chorus mistress, Adele a group of friends. character is Benny, one time Hall. It is a tale of love, drugs flat-mate, but he has married All of the production team and AIDS, set in the East into money and is now their successfully presented a Village, New York. landlord. very well-rehearsed show. A composite set created an Ryan Bearpark presented a Coupled with aesthetic excellent opportunity for clear understanding of costumes and scenery this exploring space. The Benny and his opposite musical opera was more lighting design enhanced views of the group’s than ready for an audience. each scene, creating Bohemian values. Not all the parts were cast All the other characters atmosphere. The M.D. and as before. acquitted themselves well in the band moved the score Playing King Tut, was this compelling and moving along. Each number was newcomer Ashley Owen, musical. was there throughout. well-performed. who gave a free and natural Young Krelborn has his The choreography for this DUETS performance. heart set on Audrey who is show is less pronounced but Burnley Garrick His advisor and friend searching for the American it had importance and was Rasha, was credibly Dream. well executed. Directors Martin Chadwick characterised by James Megan Collier played Direction allowed the and Kevin Kay Mashouri. drama to unfold naturally. Audrey enthusiastically. All the emotions of a Rent is very much an Peter Quilter’s Duets In the role of her on stage bride-to-be wife, expectant ensemble piece: each consists of four very boyfriend, the masochistic mother and widow were the character is interlinked and different plays about mature dentist was Tom Green- challenges facing Alex the audience is drawn into couples. Fuller. Whittle as Ankensaparten. their lives, especially their Firstly a Blind Date is set This show stands or falls She rose to the challenge relationships. The lyricist in Jonathan’s flat and the admirably and maintained on the puppetry of the plant states “RENT also means credibility. scenery conveyed this and of course the voice. The torn apart”. Everyone loves a villain nicely. Jonathan, a veteran plant was as good as any Matt O’Donnell, as the of the lonely hearts ads, and in this story there are and Philippa Anamoah was would-be film maker, Mark, gingerly works his way four. The would be Pharaoh, in fine voice. All the other had his moments. through his meeting with Aye, who was given a His flat-mate Roger, Wendy. characters gave solid sadistic twist by Paul whose experiences have left Alan Miller, as the support. Whittle, and who was him chilled to life was nervous and apprehensive The production team took partnered by Natalie Grundy realistically played by Joel Jonathan, was well cast. their cast as far as they as the devilish Kiara. Both Montague. Alan showed good timing could although the script actors gave the story depth. Roger is given hope by and was unselfish in the and score were not always Enter the Assassins played exotic dancer Mimi. This duologue. Facial fully served. by Colin Powell and Alex rock chick was feistily expressions and body

23 language underpinned his tense and this interrupted time is having last minute thoughts and feelings. the ebb and flow of the nerves. Toby, her brother, is Enter Elaine Taberner as dialogue. trying to reassure her. Wendy, who was equally The demands were The basic set was the same apprehensive and nervous overcome and the story but with a few changes. and another user of the unfolded. The manipulative Neil Tranmer, as Toby, and lonely hearts adverts. Elaine Janet didn’t get her man but Angela Foulds, as Angela, delivered an identifiable settled for a cruise. Both the bride-to-be, delivered character and captured all actors worked hard and they their lines with relish. The the aspects of the dialogue. captured the audience’s comedy situation built à la In the second play, attention. Stan Laurel with coffee Secretarial Skills, we meet The third play. The being spilt on the wedding Barrie, a gay wealthy Holiday, is about a recently dress leading to the area of businessman and his divorced couple who decide the stained dress area being secretary, Janet who’s to have the holiday they cut out, and finally being arranging Barrie’s birthday planned before the divorce. Her character husband saturated. bash at his flat. Once again the set was Bobby was portrayed by The laughs kept coming This was played on the moved round, this time for Steven Derbyshire, who because the lines were same set with a few changes the setting of the Spanish did well to balance the allowed to do their work. but not quite enough to hotel room. different moods of the The performers succeeded express his wealth and life It is quite a challenge to play piece. by making full use of the style. someone the worse for drink Shelley and Bobby’s well-crafted comedic Andrea Cawley, as and sustain the state of marital life and divorce was moments. Secretary Janet, was totally intoxication. Carolanne the topic of conversation These plays explore in control, a very Connolly met the challenge and the booze allowed their relationships and the accomplished actor. and delivered a well- tongues to be free. directors created an Stephen Dixon, as Barrie, at balanced portrayal of In the final play the entertaining well-paced times came over a little Shelley. bride-to-be for the third production.

Is there a review of your show? If not, has your ACT agent had an invita- tion to visit your society? Agents only visit societies by invitation so if you want your production reviewed do send your invitation to Sarah in good time. Her address in on page 3

24 Final Curtain .... Paul Mosley

We are very sad to announce that our chairman and founder member of G.O.D.S. (Glossop Operatic & Dramatic Society), Paul Mosley, has passed away, after a relatively short illness, born with great courage. Paul was a founder member of the society and was for many years the chairman and has held position of S.M. for many a top show and on several occasions M.D.

He was respected by many local societies and G.O.D.S. is very proud to have had a long association with such a respected individual. Paul will be greatly missed by the society for his leadership, enthusiasm, energy and musical talents.

Our thoughts are with his wife Jean and their family at this sad time.

TRADERS SUPPORTING ACT

25 NNETTE ETCHELLS, Head of Schemes at Curtain up on ..... Bridge Insurance Brokers Limited in Manchester, has been working in the Annette Etchells Insurance Industry for over 25 years and has Aseen many changes during this time. Annette has been based in the North West throughout her career and has worked for both Insurance Companies and Insurance Brokers. For the past few years she has worked in the broking profession, dealing mainly with affinity and scheme business.

Annette has worked at Bridge for over four years and her role there is to manage a very busy and diverse schemes department, She is also very much involved in the development of new schemes.

One such scheme is Stage Safe, which was launched over two years ago. It is a growing scheme offering excellent cover at a competitive price. Stage Safe cover can be tailored to fit most types of groups - wide-ranging policy holders go from small and medium sized theatre groups through to larger professional theatres.

The team at Bridge is very passionate about every one of its schemes and they are extremely focused on delivering great customer service. Bridge realises the importance of understanding the needs of their clients as well as anticipating their future requirements.

26 AN INVITATION… to an exciting new event on the North West theatre scene.

From 18th to 20th April 2013, The ACE Centre in Nelson will play host to the very first POAF - Pendle One Act Festival - a competitive event to be held at this new venue, with a total of nine one acts plays being presented over three evenings.

Your society is invited to take part in this inaugural event which will be adjudicated by Andrew Rawlinson (GoDA). At the end of each evening, Mr Rawlinson will give the teams a verbal adjudication (written adjudications can be requested) and after the final performance on Saturday evening, trophies will be awarded in six categories – Best Actor (male), Best Actor (female), Best Director, Best Production, Best Moment of Theatre, and The Audience Award.

We are very lucky to have a thriving amateur theatre network in the North West and we expect interest to be high. You should let the festival secretary know, at your earliest convenience, whether your Society would like to enter.

Full details of the Festival including conditions of entry, entry forms, etc., can be found at www.acecentre.co.uk/images/POAFPACK.pdf or www.festival.thegarrick.org. Beverly McKiernan, Festival Secretary, POAF, c/o The ACE Centre, Cross Street, Nelson BB9 7NN Tel: 01282 661080 Email: [email protected]

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