NewsletterNewsletter NovemberNovember 20152015

In This Issue

• Chairman’s Letter P3 • News from Member P4&5 • Theatres at Risk P6 • Top of the Pops P8 • New Writing P8&9

Vol.29Vol.29 No.4No.4 NovemberNovember 20152015 LTG Newsletter Vol .29 No.4 November 2015

The Little Guild represents Herts, SG10 6AP CV8 2PA 110 member theatres that control Tel: 01279 843621 Tel: 01926 855143 and manage their Theatre buildings. M: 07541 062002 SEAFORD LITTLE THEATRE Our members are all amateur theatre Email: [email protected] Lori Boul companies with an audience of over COURTYARD THEATRE, CHIPSTEAD c/o Seaford Little Theatre, 650,000 patrons, with a turnover of David Perry 4 Steyne Road, approximately £4 million. Visit us at 86 Reddown Road Seaford, www.littletheatreguild.org Coulsdon East Sussex BN25 1HA LTG Diary of Events Surrey Tel: 07961 390206 CR5 1AL Email: [email protected] 10th October 2015 Tel: 01737 555298 CENTRAL REGION AGM Email: [email protected] TALISMAN THEATRE, KENILWORTH Rose Theatre, Kidderminster Neil S Vallance DEWSBURY ARTS GROUP Flat 1 Kenilworth Hall 16, 17, 18 October 2015 Sue Saville, Bridge Street SOUTHERN REGION CONFERENCE & AGM 5 Stonedene Court, Kenilworth Studio Theatre, Salisbury Heckmondwike, CV8 1BQ 30, 31 October & 1 November 2015 Tel: WF16 9RJ. NORTHERN REGION CONFERENCE & AGM Email: [email protected] Tel. 07866087985 Grove , Wrexham Email: [email protected] TODMORDEN HIPPODROME 22nd November 2015 MOULTON THEATRE Barbara Evans NATIONAL COMMITTEE MEETING Max Howse 44 Mons Rd Bear Pit Theatre, Stratford 13 Harvey Lane Todmorden 8, 9, 10 April 2016 Moulton OL14 8EF NATIONAL CONFERENCE & AGM Northants Tel: 017068 15377 Crescent Theatre, Birmingham NN3 7RB Email: [email protected] 70th Anniversary Conference Tel: 01604 645505 (Some, if not all, of these changes of LTG Email: [email protected] Reps were discovered for the LTG Secretariat New LTG Reps PRIORY THEATRE, KENILWORTH by Tom Williams from the early Year Book COMPANY OF PLAYERS, HERTFORD Dixie Atkins returns. The LTG secretary Caroline Chapman Barry Lee, 38 Upper Rosemary Hill had not always been notified! Newsletters and 1 Laureldene, Kenilworth emails were therefore not going to the correct Much Hadham, Warwickshire people – very frustrating!) Year Book The Information is there - if you know Tom Williams, editor of the Year Book, reports: where to look for it! “A big thank you to all who have helped to get the Year Book to Some recent correspondence: the press and particularly to the hard pressed LTG Reps in theatres “I am investigating using Gift Aid and cannot seem to find the and to the Regional Secretaries who have cajoled the ones who fail answer to one question. I know that we can claim gift aid on to grasp the concept of deadlines. membership fees. We offer a discount on tickets to members and This year for the first time in many years we have had returns I cannot seem to clarify if giving a benefit the membership fee is from all 110 theatres in the UK. still eligible for gift aid.” Can I remind everyone that in July 2016, you will again be asked for Year Book copy. You can help yourself by beginning to prepare “There is a grey paper covering this which lays out the actual NOW. Some simple tips: calculations. Grey paper number 18. The level of benefit, at which * Keep a copy of this year’s entry on your computer and insert the point Gift Aid can no longer be claimed is quite low. Brian Stoner.” plays your group are performing this season, with the correct name “We came across this problem many years ago and recast our of the playwright. membership structure. In order to get the discount, members sign * After each show ask your box office/treasurer for the capacity up to the Ticket Club at £6 per annum. They are the entitled to as figures and record them. many tickets as they wish for themselves, family and friends at a * Keep a note during the year of significant happenings for your £2 discount per ticket. By this means the membership fee of £30 group for inclusion in the theatre report. odd is totally eligible for gift aid and provides a good deal at the * Record changes of personnel, emails and telephone numbers end of the day. Tom Williams.” during the year. “GreyPaper 18 is dated May 2012. As we seem to need some * If there is a change of LTG Rep, pass all the information kind of reminder/update, I suggest that it goes in the Newsletter. Michael Shipley.” to the new rep and inform the National Secretary of the change of rep. “Thank you all for your replies - sorry did not realise there was a Grey Paper.” So far, I have found no fewer than 37 instances of the play name or the name of the author being incorrect, including 10 entries that called “Perhaps we should just say in the newsletter: the author of The Ladykillers Graham Lineham. While I have a pretty “If you have a question about any theatre related subject, good knowledge of plays and playwrights, I cannot possibly know all of check the Grey Papers listed on the Backstage section of the them and some wrong names may have crept through.” Website.” Tom Williams. Little Theatre Guild of Great Britain www.littletheatreguild.org Newsletter Editor: Michael Shipley National Secretary: 121 Darwen Road Caroline Chapman Bromley Cross Satley House Bolton Satley Lancashire Near Bishop Auckland BL7 9BG County Durham Tel: 01204 304103 DL13 4HU Email: [email protected] Tel: 01388 730042 Email: [email protected] The contents of this newsletter are not necessarily the official views of the Little Theatre Guild. Contributions are always welcome. Last date for copy for the next issue: 15th January 2016.

2 LTG Newsletter Vol .29 No.4 November 2015 Letter from the Chairman As I write I had hoped that I last few years. It is great to see this in action would have been able to give some at many theatres. Embracing the digital age feedback to points raised at the is important, our audiences lead busy lives October Conferences but Newsletter bombarded with emails from all corners; how deadlines means I am unable to do do you make your communication get noticed? this in this edition. I will endeavour Thanks to Tom Williams for his enormous to cover these points in the next work on the Yearbook, this is no easy Newsletter. task and Tom manages to get the required Most theatres will have commenced information from theatres with a degree of their autumn/winter season and it arm twisting on occasions. This publication is would appear that from reading the very important to us and promotes the organisation to the outside press that live entertainment is very world and demonstrates our size and scale. much back in vogue. As I travel I It is pleasing that we have a few new members theatres join us am encouraged by the wonderful in the last year. Expanding our network is one of my priorities theatre produced by the member and we have prepared a short one page document that can be theatres of the LTG. It can be downloaded from the website to forward to potential members. extremely challenging at times but we continue to produce high Please use this to promote the Guild. quality theatre for local audiences. The “top ten” of productions Backstage on the website can be interesting, have you had staged last season is interesting. a look? The Backstage Area on the website is where you will find The Conference season is in full swing and I hope to meet many Grey Papers, Information on Legislation, Best Practice Advice and of you over the coming weeks. What makes a good conference many other topics to help you manage your theatre. It is regularly workshop is always a difficult debate for the host theatre? What updated and is there to help you. Plus if you have any production sessions to have, what will stimulate debate and what is of interest pictures you wish shown on the banner page of the website send to the delegates? I was pleased to attend the Central Midlands them direct to me. On the subject of website, I have had a few conference where a workshop on running your theatre was a requests to try and locate particular props or sets. If you want to popular choice. Yes, I hear you say it’s been done before, but do this use our facebook page, it is a better medium for this type this workshop got underneath the skin of managing a theatre, and of enquiry. managed to cover many business items not normally tackled at The world of theatre continues to move at a pace, it must be conferences. Running our theatres can be challenging but with more inclusive, our audiences are more diverse and we now don’t the support and wonderful networking opportunities the LTG offers hopefully problems can be shared – and maybe even solved. At even need to visit a theatre it will be streamed to a local cinema. the same conference it was good to see some younger members How do we tackle this, we need to make the whole experience of attend a conference for the first time and I noted in discussions coming to your theatre enjoyable, we need to keep entertainment with them they weren’t aware of the many things on offer from the live. This will form a session at the next National Conference. Guild, our communication must be stronger here. We are still seeking a new Patron following Sir Ian McKellen’s How do you communicate to your members about the decision to stand down. No news as yet, but irons are in the fire as LTG? I detailed in my letter in the Yearbook that Mike Smith and they say – watch this space! myself are keen to revive the Relationship Meetings which The new Logo to celebrate our 70th Year will be sent out to all were a successful format in previous years. At the conferences in theatres in the next few weeks: please use this on any publicity October and ahead of these meetings I would ask you to consider and marketing materials for 2016. Use it in your programmes or three key issues that as member theatres you would like the Guild season brochures to promote the LTG. to help you with. Feed them back to your Regional Secretary and Once the October Regional Conferences are over we will send we can include them in these meetings. Or better still grab Mike out information on the National Conference in April 2016. and me at a Conference – talking is good and we are keen to listen. “Thinking back – Looking forward” will be the theme. It is very What can we do to help you? We want to make the LTG even more important to recognise the past and acknowledge the great work relevant to you. that has been done by many people to make the LTG the strong Many of the challenging management issues are now about organisation it is today. Equally we must be forward thinking to employment or new legislation, rather than the traditional “bums embrace the new challenges we all face. on seats”. We have become much more professional in running As we all start another season I wish you well with your productions our operations and the branding and marketing of our theatres, and hope you all enjoy making great theatre! particularly in the digital world, has developed enormously in the Andrew Lowrie

Theatre Club, who had WELCOME TO A NEW MEMBER been members between 1966 and 1974. Formed CHESTER THEATRE CLUB in 1944, they acquired The Little Theatre their premises in 1962, Gloucester Street when they converted a Newtown former C of E Primary Chester CH1 3HR Tel: 01244 322674 School. They now have www.chestertheatreclub.co.uk a 126 seater traditional main theatre space, and LTG Rep: a 60 seater adaptable Margaret Bennett studio, presenting 6 3, Webster Close shows each season. Broughton Recent productions have Chester CH4 0SR Tel: 07779260099 included Entertaining Email: [email protected] Angels, Habeas Corpus, The Real Thing, Hedda It is a great pleasure to welcome the return to the Guild of Chester Gabler and Macbeth.

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The Drama Group are very much like any little theatre and put on a programme of plays and have their own theatre and is staffed News from Member Theatres entirely by volunteers. They returned to us the following year and Members of Bolton Little Theatre journeyed to Paderborn, since then there has been an exchange every 2 years. This year Germany in early September, where Bolton’s Twin Town was we asked them to bring a Classic American Drama and they came celebrating the 40th anniversary of partnerschaft and the 50th with Cat on a Hot Tin Roof which played over two weekends for six birthday of the local Anglo-German Club. The play performed in the performances. The host company build the set and supply props so everything is ready when they arrive, we also pay the royalties. ’s new Theatre Studio was Heroes, following a short run in Bolton The visiting company pay their own air fare. The theatre members at the end of August. Getting the dog to Germany posed a problem! provide accommodation in their family homes. The venture has The group also presented a reading, The English! The English! to been very successful and we have made many friends and we value senior students at the local the artistic and cultural experience of the American exchange. The Gymnasium, but what they Stables will return to Chicago in 2017 with a play by an English really wanted was help with author. their pedagogic study of Emptying the theatre before the builders move in, members of Macbeth! The group helped Theatre had a busy August schedule. Starting on by preparing a couple of Saturday 8th with an initial throw-out of the obvious, and a selection short scenes for them. of things that could possibly be sold, the process continued on Is this a co-incidence? the following Saturday until they reached ‘deep-clean’ Saturday Just as Teddington Theatre on the 22nd when they tackled those spaces untouched for years. Club were announcing that By Saturday 29th August they had the final push – “If it’s got dust they had re-named their on it and we can’t sell it, IT GOES!”. Arrangements are now finally Hampton Hill Playhouse the Hampton Hill Theatre, came news that Halifax Thespians were giving their theatre new signage – it is now “The ”. Were they worried that passers-by might mistake them for a children’s playgroup centre? And what future for and Whitstable? Is the venerable term ‘Playhouse’ sadly now on the way out? At Southport Little Theatre work has been completed to install a new security system, with access by a key fob. It is expected complete for their relocation while their old fire-station premises that the new system will give a total record of when the building are completely restored. They have negotiated, in addition to two has been accessed as well as a permanent video record. The whole performing spaces, some rehearsal space, an office, storage and a security system is being monitored by Sefton Arc on a 24/7 basis room for their costume hire service at the Stanley Halls, South which will make the theatre much safer and more secure than Norwood. The rental deal also includes an element of box-office sharing. previously. As well as Dumfries and South London Theatre, Workington Ever vigilant, Archway Theatre, Horley held two ‘Fire Playgoers Club are temporarily without their home theatre while Awareness Workshops’ in August, to update active members on building renovations and improvements are taking place. “Following the newly revised Fire Procedures – especially important for stage a successful bid for Big Lottery Fund monies, and with generous managers and techies! grants from other bodies, July 2015 saw Workington Playgoers The Theatre Royal, Dumfries re-opens this November after Club begin its extensive £½ million programme of building work extensive rebuilding and refurbishment, and the first production at The Theatre Royal Washington Street Workington, with an initial will be of the panto, Beauty and the Beast. Since August the newly target date for completion of 8 December 2015. The building appointed Arts Programmer John Cairns has been planning a busy works will see a doubling of the size of the foyer, by moving the season ahead to restore the theatre’s position as the leading wall which separates the foyer and auditorium (there will be no independent arts venue in South West Scotland. reduction in seating numbers), whilst backstage sees an extensive Brighton Little Theatre celebrates its 75th Anniversary this development of all areas – dressing rooms, workshops, wardrobe month (November) with a formal dinner. and prop stores, with the installation of a lift to make movement of large items between levels a doddle. An adjoining property, already owned by the Club, will be transformed into a recording studio and be occupied by a charitable group which provides opportunities to participate in making music. The Club in future will share use of the performance spaces at the Theatre Royal, which will see it become available to other groups in the community, with improved facilities for making theatre and enhancing the comfort and experience of both members and audiences. As might be expected with such an old building, unforeseen items of work have been found (but no ghosts, as yet). Asbestos material has been identified in part of the structure, which will extend the target date for completion into 2016. During the building operations, the club is ‘On the Road’ with its productions. It has moved to a temporary base at the Moorclose Community Centre.” The Bear Pit Theatre, Stratford has bought seating from the Royal Shakespeare Company’s Courtyard Theatre, which is The new furniture store at currently undergoing a major renovation programme. Members are being asked to join a sponsorship scheme to cover the cost. The Miller Centre Theatre, Caterham Simon Allen, chairman, said: “The opportunity to acquire and install 100 original theatre seats from The Courtyard Theatre into Stables Theatre, Hastings has been running an exchange The Bear Pit was just too good to miss and reflects the special programme with The Drama Group of Chicago Heights relationship we enjoy with the Royal Shakespeare Company, which since 1999, when actors and crew from the Stables took Great owned and operated The Courtyard Theatre.” Expectations over there for a two week run. Peter Mould writes: This summer members of New Venture Theatre, Brighton

4 LTG Newsletter Vol .29 No.4 November 2015 have been busy spending about £30,000 on various building At Seaford Little Theatre the summer months saw a mass of projects, including the £15,000 grant from Pebble Trust. These activity. “Our theatre has a new look with smart new raking and projects have included substantial repairs to the roof and walls, redecorations of the outside walls, the South Hall and foyer, back seating now installed. After a grand clearance by the Workshop corridors and toilets, and refurbishment of the kitchen, green room Team, the spaces above the auditorium and above the dressing and garden and external walls. A new floor cloth has been laid in rooms have been emptied. Great work was done on EBay, selling the studio and painted by a further group of volunteers despite a flood at a crucial moment. old theatre seats and lights to raise funds towards our costs. “ At Priory Theatre, Kenilworth, LTG Hon Associate Keith Morris For Little Theatre “the most exciting development to has been made President of the Society; he is also celebrating his Ruby Wedding! The summer months saw one of the longest periods our theatre has been the installation of the revolve. The sight of of closure in recent times, whilst a significant amount of much our stage with a big hole in it awaiting the arrival of the revolve needed maintenance took place. “We now have a new roof over certainly gave a new perspective on our facilities. Our productions the stage, and parts of the foyer, and a brand new fire detection and alarm system.” should become more adventurous and given the opportunity to set Meanwhile at Talisman Theatre the death was recently a scene on the upstage side whilst playing on the downstage side it announced of Ann Brooks whom many older members will should make our productions slicker. The actlnq members will have remember as a regular LTG conference attender. Leicester Little Theatre is launching an impressive new great fun coming to terms with moving from a stationary part of building project: the aim is to transform the theatre into a modern the stage to a moving part or the other way around.” and sustainable theatrical complex suited to the needs and expectations of 21st century theatre practitioners and audiences. The plans include the creation of two additional rehearsal rooms, with full disabled access, the creation of workshop facilities at stage level, a new box-office, improved foyer and front of house facilities, again with full disabled access, and improvements to the Studio and wardrobe. The fund-raising target is £2M, with the work phased over five years, with phase 1 laying the foundations for the new building having started in August! You can see the latest news on www.littletheatre.net/build. Meanwhile the theatre is considering the inclusion of a visual tour of the interior of the theatre via Google Street View, and an archive of past productions on the public website. The call of the Edinburgh Fringe has been responded to by quite a few LTG member theatres, now as in the past: your Newsletters sent to me have revealed that South London Theatre and Teddington Theatre (Youth) have travelled north. There are other fringes to explore: Abbey Theatre, St Albans were performing at the Camden Fringe in August. Other theatres like Barn Theatre, Welwyn and Teddington Theatre Club organize their own lively Fringe events at home. And plans are already announced for the participation of both Brighton Little Theatre and New Venture Theatre in the Fringe Events for Brighton Festival in May 2016. At Lancaster, the Footlights Club are revisiting their original scheme from 2008 for a new foyer for which the planning permission has now expired. The new and refined planning proposal is for improving the front of house accommodation which is currently clearly inadequate. These works will provide much needed and upgraded facilities for an enlarged foyer, a rehearsal/ function room as well as disabled access, without touching the revered Matcham interior.

through, rehearsals in the Studio and on stage, set design and construction, painting and decor, props, sound effects and music, Lights! Camera! Action! lighting design, final dress rehearsals and the hand-over to the Stage Manager. Tom Black will direct the film and he has chosen The Miller Centre Film club is to make a documentary showing Noises Off as the template for this interesting and instructive just how a Miller Centre production reaches the stage, covering all documentary. (from the Newsletter for The Miller Centre aspects in the making of a play. Cameras will record the cast read- Theatre, Caterham)

Clough (Bingley), as well as regional secretaries Eileen Carlton (Central) and Ann Mattey (Southern), and co-opted member Clive A Little Anniversary Jones (Grove Park). It appears that Mike Rogerson (Northern Secretary) was absent. (Perhaps on reading this Mike will correct The LTG Committee met once again for a weekend of concentrated discussion and forward planning at Great Asby, Cumbria on 31st the record if it is wrong!) July/1st August. Research showed the first such meeting took Previous to this, the national committee had met only on over the weekend of 14th July 1985, thirty years ago! occasions of national conferences, and often discussion was Attending were Harold Mellor (Tower) in the chair, Marjorie restricted by the conference time-tables. The chance to get Havard (Caxton) as Secretary (and Vice Chairman), Robert together for a weekend of valuable discussion, reflection and Tebbett (Highbury) as Treasurer, and committee members Anne forward planning (not to mention bonding!) has continued almost Aldridge (Dumfries), Eddie McNamee (Westovian), Patricia uninterruptedly ever since!

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Wilton’s Music Hall and Alexandra Palace the value these theatres bring to their local can come back to life. Imagine how areas communities, their local authority owners Theatres ‘At Risk’ around the Winter Gardens in Morecambe, have transferred these assets, and their “Thirty-one theatres are at risk in the Dudley Hippodrome, Swansea Palace, future as theatres has been secured. UK today.” says The Theatres Trust, Brighton Hippodrome and other theatres The fourth theatre removed from the launching its on our Theatre Buildings at Risk Register Register is the Curzon Cinema/Redstack Theatre Buildings at 2015 could be re-animated if those theatres Playhouse in Bexhill-on-Sea. Despite huge were to be fully reopened. Whilst these Risk Register 2015. efforts by its local community to save it as buildings sit empty and underused all they The Theatres a cultural venue, and listing it as an Asset represent is an untapped opportunity.” Trust announced its of Community Value, the Playhouse was In the south of England the Grade II* 2015 Register at sold by its owners to the pub chain, JD former Brighton Hippodrome remains top the newly reopened Wetherspoon.” of Register. The Hippodrome has been Wilton’s Music Hall closed since 2007. With investment it in east London on Theatres Protection Fund could have a future as a thriving Brighton the 17 September. This Grade II* theatre, Theatre Royal Dumfries receives performance venue and be a focal point for which was once on the Theatre Buildings £5,000 towards its ‘Refurbishment and the regeneration of Brighton’s old town. at Risk Register, has now been beautifully extensions’ project to install sound-proof, Also on the Register is the Coronet in restored. custom-made auditorium and studio doors, Southwark in London which is currently More than half the theatres on the Register in-keeping with the category B-listed used as a music and entertainment venue. are located in the north of England and building, as part of a larger scheme of It is now under a very real threat of Wales, and lie unused and in a poor state works to refurbish and reopen the venue. demolition due to the Elephant and Castle Mhora Samuel said: “Our seventh round of repair – despite growing recognition that Town Centre regeneration proposals. theatres and culture can make a significant The 2015 Register includes 31 buildings of small grants includes the Theatre Royal contribution to growth in the region as part across England and Wales, with two Dumfries, one of the oldest theatres in of the Northern Powerhouse. additions, and four removals. the country. I’m proud that our Theatres Many of the theatres on the Register The two new theatres on the Register Protection Fund is helping to ensure are also listed buildings and could be are the Granada Theatre in Walthamstow, theatres can address urgent repairs and restored and reopened as theatres and London and Spilsby Theatre in Lincolnshire. provide long-term benefit.” make a real contribution to local cultural Their future as performance venues is The Trust’s Small Grants Scheme helps life and productivity. One such theatre is at risk. is trying to secure theatres in need and at risk address urgent the former Odeon. There is now performance use of the Granada after its building repairs, improve their operational genuine recognition of the potential of this sale to a pub chain, and Spilsby Theatre viability, introduce environmental building to be restored and used as a music is in the process of setting up a new Trust improvements, and enhance physical venue. which needs to raise funds urgently to accessibility. Mhora Samuel, Director of The Theatres keep the auditorium open. Trustees of The Theatres Trust will meet Trust, says: “Financial investment in Four theatres were removed from this in spring 2016 to consider further Small theatres at risk by the Heritage Lottery year’s Register. The first three, Felixstowe’s Grants Scheme awards. Deadline for Round Fund and other sources of regeneration Spa Pavilion, The Cryer and The Secombe 8 applications is 12noon Wednesday 3 funding, has shown that theatres such as in Sutton, have been saved. Recognising February 2016.

to those engulfed by it, the many ‘shapes’ which love can assume. Programme Notes Service - As if on cue, the very next scene brings out of a real ocean of water, the shipwrecked Viola, a character who decides to disguise her gender by taking on a masculine ‘shape’: she dresses in male Twelfth Night clothing and takes a male name, ‘Caesario’. In so doing, she will become the object of growing affection in the heart of Orsino, and Are you planning a production of Shakespeare’s Twelfth Night? of unlooked for desire in the heart of Orsino’s own austere object For Workington Playgoers Club’s October production Geoff Hall of desire, the Countess Olivia. has prepared some excellent and erudite programme notes, which 20th Century studies and productions of Twelfth Night have he is happy to share. Here is a taster: made it a commonplace to see in the character of Viola/Caesario Boys will be girls, and girls will be boys and her/his developing emotional relationships with both male Twelfth Night has one of the most famous and poetic opening and female admirers, a dissolving and questioning of conventional speeches of all Shakespeare’s plays. A lovelorn aristocrat announces assumptions as to gender and sexual identity. (The fact that a boy a novel if bizarre ‘cure’ for his unrequited love. He commands his musicians to keep playing, in the belief that an ‘excess’ of music actor played a girl (Viola) playing a boy (Caesario) in the original may so sicken the seemingly insatiable demands (‘the appetite”) production, would no doubt have added additional blurring of of his passion, that his passion will die (the word ‘die’, incidentally, gender identity.) The play’s treatment of what attracts one person would also have been understood by Elizabethans to refer to to another, is sophisticated and challenging, creating an empathetic ‘orgasm’). It is a ‘cure for love’ which quickly fails; after barely and thoughtful kind of comedy, in contrast to that of the bawdy six lines of verse, the tune is no longer “so sweet”, and the music sub-plot involving “Sir Toby and the lighter people”. The mixing of therapy ends abruptly. high and low comedy; the proportions of 62% prose to 38% verse; In this first speech of Duke Orsino, Shakespeare gives clues to the sudden changes of mood and tone - all these elements add to what is usually considered the dominating theme of Twelfth Night. our sense of Twelfth Night sharing the once-a-year anarchic folk Love is not only an overwhelming emotion, but has transformative holiday excesses implied by its title. power: like the vastness of the sea, love has immeasurable capacity to change and reduce the status and value of all who ‘enter there’, Just contact Geoff Hall if you would like to read the whole article exercising the highest power of imaginative creativity, as it reveals – [email protected]

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floor marked out to the dimensions of the masterclasses and backstage insights, RSC Play for a Nation Swan stage. After coffee and introductions tailor made for amateur theatre makers it was down to business with much wanting to develop their performance Despite the objections from Equity, the RSC information to be absorbed about the skills and learn more about how RSC actors is going ahead with its project of touring A logistics of mounting such an ambitious prepare, rehearse and perform. Midsummer Night’s project. The show will travel to 13 venues The weekend includes four workshops Dream in 2016 with and alongside the 18 professional actors covering voice and text, movement, acting all the mechanicals there will be 84 amateur actors and 580 being played by local children. and stage combat led by RSC practitioners amateurs. The tour The set has to fit through the smallest and leading industry professionals will involve a cast of the scene dock doors at the various (including the RSC’s Michael Corbidge), of 18 professional venues and a whole wardrobe full of a masterclass led by an RSC director, actors working with 13 costumes made to fit all shapes and sizes. a backstage tour, buffet lunches and a partner theatres, 84 Throughout the autumn there will be tasks ticket to Wendy and Peter, the RSC’s much amateur performers to be carried out together with training acclaimed re-telling of the Peter Pan story, and 580 schoolchildren sessions aimed at improving our voice, in the Royal Shakespeare Theatre. (for the fairies). It will movement and acting skills. Rehearsals Join us at the home of the Royal open in Stratford in proper start in early January. Shakespeare Company in Stratford-upon- February 2016, and Erica Whyman, the project director, spoke Avon, birthplace of William Shakespeare, enthusiastically and intelligently about the return there in June after a nationwide for an unforgettable theatre experience tour. play and gave us some hints as to the look working in the RSC’s own rehearsal rooms. Guild members participating in this and feel of the production. It was clear Sessions will cover our approach to experience are Tower Theatre of that her style is a collaborative one and we Islington, Nonentities of Kidderminster, will be required to explore many options performing Shakespeare but also a Bear Pit Theatre of Stratford, and in the development of the characters wide range of performance techniques. People’s Theatre of Newcastle. during rehearsals. Erica, together with Suitable for anyone wanting to develop The BBC will be capturing all of the action her associate directors Kim and Sophie, their performing skills for any production - in a documentary The Best Bottoms in directed actors from the two local Stratford modern or classical. All abilities and levels the Land for BBC One. teams in a scene from the play and we saw of experience welcome. Participants must Director David Taylor at Tower Theatre them getting the best out of the actors be 18+. describes the first event, kickstarting the with the use of perceptive questioning and Price £220 (does not include project with a weekend in Stratford-upon- encouragement. accommodation) Laptops ready loaded with relevant Avon. Places are limited and early booking is “Last Saturday directors of amateur programmes were issued because many of the rehearsals will take place through recommended. groups from around the country were To book your place please call the RSC invited to Stratford-upon-Avon to learn live streaming from around the country Ticket Hotline on 0844 800 1114. more about the Dream16 project. All and this equipment will be invaluable in Those who have already participated in companies were represented with people keeping in touch with the production team coming from as far afield as Belfast, and watching other groups in rehearsal.” RSC Open Stages (the RSC’s UK wide Glasgow and Truro. project engaging with amateur theatre The event took place at the RSC’s rehearsal And a reminder: makers) are very welcome and will be room – a series of unprepossessing The RSC Big Amateur Weekend offered new workshops to further develop industrial units next to a VW showroom. 21 and 22 November their skills rather than re-covering old The room itself was nice enough with the “Join us for a weekend of workshops, ground. Please mention when booking.”

But now the prices are totally unrealistic, except presumably for Can you afford to see shows well-heeled tourists and plutocratic families. The newspaper article concluded: “I suggest you spend a tenth of the money booking for the local panto instead. Then perhaps West End theatres will get in the West End? the message that reducing their potential audience to the super wealthy is bad for business and bad for show-business.” London I recently read that the cheapest tickets for a new West End show always was a special place apart, but now for ordinary theatre- – a musical titled Elf – are priced @ £51.80 rising to £240. For a goers it is largely as inaccessible as Shangri La! And as irrelevant family of four, that could set you back £960 for a night out! But that to ordinary life! might not be the end of it – the theatre will also charge you £15 per Perhaps I am only thinking about expensive musicals. How often ticket as a booking fee, and another £2.50 if you want the tickets I wonder does the ordinary theatergoer in the Greater London area held at the box-office. Theatre is supposed to be for everyone, get into the West End to see a straight play? Let alone a musical? but obviously not in London. As a youngster, the occasional trip For those of us in the wider countryside, add on the cost of a train to London for me always involved a theatre visit, at a cost that fare and a hotel, and you would need an overdraft facility! It is no was always within reach, even to Covent Garden for the opera! wonder that Live Screenings are growing in popularity.

then took over, asking questions like Why are you are member? Anticipating the 70th What do you expect the Guild to do for you? What are you prepared to do for the Guild?, emphasizing the enormous amount of voluntary work involved in running the Guild. After a Anniversary Conference civic tea, delegates then moved to the theatre to see The Venetian 8, 9, 10 April 2016 Twins followed by supper. Crescent Theatre, Birmingham The Sunday morning session was extremely lively when dealing with the future. Maintaining standards, attracting new members to Full details for this important conference will be announced in avoid looking like an ‘old boys’ club’, providing practical sessions the New Year, and covered in the January issue of the Newsletter. at conferences, reducing the length of the business meetings, In the meantime Michael Shipley is preparing a potted history of less conferences and more training weekends, closer regional the Guild which he is absolutely sure will be flying off the presses co-operation, more group sessions at conferences, reducing the before the meeting! Here is a little taster, to whet the appetite. expense of attending – these were the eight most important topics thrown up by the delegates in open discussion. It is clear that Another Snapshot each one of these points was addressed over the following years, In July 1976 nearly every member of the Guild sent a delegate to creating the shape of the Guild year that we enjoy today. a 30th anniversary conference at Highbury Little Theatre, Sutton The Sunday afternoon session went on to consider The Place of Coldfield. The theme was Yesterday, Today and Tomorrow. the Little Theatre in Community Arts. Very prescient! Sitting in the impressive Birmingham Council Chamber, delegates listened to Alfred Emmet and John English outline some of the Let us hope that the Crescent meeting will be as lively, and as history and achievements to date of the Guild. Marjorie Havard forward looking!

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7. The Railway Children, E Nesbitt, adapted by Mike Kenny; Nick Hern’s Bestsellers 8. Be My Baby, Amanda Whittington; 9. The Thrill of Love, Amanda Whittington; The top ten of Nick Hern’s list of scripts performed in 2014 were 10. NSFW, Lucy Kirkwood. as follows: With half an eye on the productions announced by Guild theatres 1. My Boy Jack, David Haig: 2. Blue Stockings, Jessica Swale and over the past 12 months, the only surprises are the plays by Ladies’ Day, Amanda Whittington; Jessica Swale and Lucy Kirkwood, which by all appearances have 4. Jerusalem, Jez Butterworth; yet to penetrate north of the London area! Perhaps the LTG ‘Top of 5. Arabian Nights, Dominic Cooke; 6. The Hound of the Baskervilles, Conan Doyle, the Pops’ list compiled by Tom Williams from the annual Year Book adapted by J Nicholson and S Canny; returns will reveal something similar!

10= Private Lives, Noel Coward (5) 10= Boeing Boeing, Marc Camoletti (5) Top of the Pops, 10= Blithe Spirit, Noel Coward (5) 10= Our Day Out, Willy Russell (5) and statistics 10= How the Other Half Loves, Alan Ayckbourn (5) The most often performed playwrights: Editor Tom Williams has collated the information from the Year 1= William Shakespeare (29 productions) Book returns, and tells us that the Guild now has 110 members, 1= Alan Ayckbourn (29) who presented 941 productions of 618 different plays by 456 3 Graham Linehan (22) playwrights over the year 2014/2015. 4= Noel Coward (20) Not all theatres provided audience figures; the 846 productions 4= Amanda Whittington (20) for which figures were given had total audiences of 618,074. 6 Patrick Barlow (14) 7= Peter Whelan (12) Top of the Pops 7= Willy Russell (12) The Plays with the most productions: 7= John Godber (12) 1 The Ladykillers, Graham Linehan (22 Productions) 10 J B Priestley (11) 2= The Thrill of Love, Amanda Whittington (14) Followed closely by Alan Bennett, Arthur Miller, Michael Frayn, 2= The 39 Steps, Patrick Barlow (14) Ronald Harwood and Agatha Christie. 4 The Accrington Pals, Peter Whelan (12) 5 Noises Off, Michael Frayn (8) Anything new and surprising here? Not perhaps in the tops of 6= Yes, Prime Minister, Antony Jay & Jonathan Lynn the pops, but read the Year Book and you will find many exciting 6= Entertaining Angels, Richard Everett (7) choices being presented across the UK, to stimulate and surprise 6= My Boy Jack, David Haig (7) audiences. But when you are looking for ‘bums on seats’ favourites 9 Abigail’s Party, Mike Leigh (6) when planning your next season, the above lists will give you a 10= Quartet, Ronald Harwood (5) starting point for the taste of the country at large. Two New Plays from The Globe Jo Matthews writes enthusiastically story which is cunningly wound around the about two new plays, premiered at The facts. This one is about the women who Globe on Bankside: studied at Girton College, Cambridge, under the same terms and conditions as Get those schools in ………… the men, but were not allowed to obtain How many little theatres, I wonder, can a degree. They were much vilified, and say they have cracked the schools market? indeed, one of the characters, both in the There is now a large number of set-texts, play and in real life, said that their wombs so that virtually any classic is on a list would dry up if they studied. It is enough somewhere. But there are administrative to make a 21st century woman bristle, and burdens in actually getting the young bums even men in the audience can be quite on the seats. One is persuading a director, surprised and shocked at what they learn. cast and crew that they need to put on a Following on fast behind it, playwright weekday matinee, meaning that members Jessica has now penned a play in the same who have day jobs have to take at least Blue Stockings genre, this time focusing on the life and half a day off. Another is reserving 40 or Photo - Manuel Harlan times of Nell Gwynn, who we all know as so tickets – but for how long? If a school is an orange-seller, actress and mistress of keen but not committed you may be losing sales while you wait. Then there is the Charles II. Her story is remarkable in that vexed question, debated before now in our she did not fritter her gifts, she invested Globe newsletter, of the ‘attention-span of wisely and her descents did well – indeed a gnat’ syndrome attributed to many of our when Prince William ascends the throne, youngsters. we will finally have royalty related to her, Ed-excel have just taken on Blue going back through the Spencer line. As Stockings by Jessica Swale a set-text, I write, Nell is playing at Shakespeare’s so if you have jumped the hurdles and Globe to delighted audiences, and is funny, welcome schools bookings, do consider witty and fast-paced. Nell would be thrilled this excellent play. And if you haven’t, it’s on all counts. still a great play. It is from the genre of Both plays are available from Nick Hern, historically fairly accurate plays, which keep and as you would expect, have terrific Nell Gwynn our attention by focusing on a very human parts for your lovely lady actresses. Photo - Tristram Kenton

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Tower Lite production will be Edith & Margueritte by Martin Mulgrew, for performance in the week commencing 20th October News of New Writing 2015 at the Gatehouse.” On the 1st August members of Questors Harborough Theatre are holding a one day workshop for Theatre, Ealing gave a rehearsed reading of a aspiring playwrights run by Gary Phillpott on 1st November. new play by Effie Samara – SARTRE. “It proved The evening of Ten Minute Plays at New Venture Theatre, that a play with 22 scenes set in 9 different Brighton was very locations doesn’t depend on a complicated set! happily received. “What New writing continues to be at the core of our kind of drama can you programming and this play (which was originally submitted for make in 10 minutes? the Paul Darby Prize for Dramatists) only fell outside the critera It’s not much longer for that competition because of its length. Mike Langridge and than a news bulletin or a others recognised its power and successfully persuaded Effie to queue for a beer. But the entrust The Questors with its first performance. The ability to forge answer from these eight relationships with upcoming and more established writers - like short new plays seems Effie Samara - proves that The Questors’ reputation is still a force to be ‘quite a lot.’ Take to be reckoned with and reinforces our position in the wider world a minimal stage, set up of theatre.” two or three characters, Ilkley Playhouse reports on the progress of the Walter Swan light the blue touch Playwriting Awards 2015: Well over 200 plays were submitted, paper, and towards the many of them really interesting. It was quite a challenge to arrive end explode a reversal to our expectations. That makes it sound at a short list for the final judging panel to consider to find the two too easy. All these plays had a gem of an idea at their centre”. winners. Meanwhile on 6th October there was a memorial lecture Bournemouth Little Theatre member and playwright, Les given by Nick Ahad as part of the Ilkley Literature Festival. The Clarke, has won the Geoffrey Whitworth Award for Best Original winning plays will be performed in the Playhouse Studio on 4th play in The All England Festival with his play I’m Still the Same December, and again on the 7th on the stage of the Courtyard Person Inside. The award is not given for the performance of the Theatre at West Yorkshire Playhouse in Leeds. play but is judged by a professional panel purely on the writing. Tower Theatre, Islington has joined together with The Proud This is the third time he has won this most prestigious of awards Archivist, a new venue in Dalston, to create a new writing project in now. The first time was in 2007 with The People that Live in October. “Tower Lite is designed to give members an opportunity Boxes and again in 2011 with Sinking. He has also recently to write, direct and/or perform in new material, which might not completed his musical Beth which is a love story set in a small otherwise find a platform at one of our traditional venues. The first Dorset village in 1920. under a moving lorry (“Betty, I’ve been Frank Spencer - Live on Stage! articulated!”). The only way I could do Mark Campbell, Edward Alderton that was by having my actor perched on Theatre further reports: stationary skates in front of a screen on It all started with a phone call. which the sequence would be projected. “Hello.” The filming of that became a project all by “Hi. Is that the same Raymond Allen who itself! wrote Some Mothers Do ‘Ave ‘Em?” I compiled an ‘autobiology’ of Mr Spencer, “Er yes…how can I help?” with the character talking about his life, “Well, I’d really like to adapt your scripts interspersed with well-known scenes from for a theatre show. Do you think that would the series, such as the RAF aptitude test, be possible?” There is a short pause. the holiday camp audition and the public relations class. 90% of the words were “Um, I don’t see why not.” bronze paint and it looked perfect. Several months later, I took a ferry over Ray’s own, either taken from the sitcom itself or from a fictional biography of Frank The most complicated scene was the to the Isle of Wight to visit Ray—he’s lived holiday camp one that closes Act 1. Frank there all his life. I discovered a spry young the author wrote in 1990. The idea was that (minimal) set changes does his ventriloquist act (‘Frank and 75-year-old who is very much the local Marvin the Monkey’), tries to sing ‘Early would take place in the dark as Frank celebrity. With his beetling black eyebrows One Morning’, blows up a microphone addressed his audience. In practice, these half raised in a permanent state of surprise, and then turns into a human volcano, proved distractingly noisy, so I ended up he seemed equally puzzled and amused whereupon he is doused with a fire using brief snippets of music to cover the by everything around him. When we extinguisher. Eschewing the fireworks of weren’t discussing the stage adaptation, changes. Over the course of the rehearsals, the BBC version—I didn’t really want to he regaled me with hilarious anecdotes these scene changes became faster kill my lead actor—we opted for a portable about his life, usually involving his own and slicker, helped by reusing the same smoke machine to achieve the volcanic clumsiness or absent-mindedness. It may furniture and props in different positions effect. The extinguishers, however, were seem an overly simplistic observation, but for different scenes. I even had Frank walk real. I bought a job lot of ten so we had he is the real Frank Spencer. on with his own confession ‘booth’! a new one every night. The result was Leaving Ryde with a clutch of precious I was faced with an unusual problem at organised chaos and brought the curtain BBC scripts, I spend the next few months the audition: two people were absolutely down with a bang every time (even when pondering which scenes to adapt. Re- perfect as the main character. What to do? the smoke didn’t materialise once.) watching the 22 episodes, what struck Simple—have two Franks. Not as daft as On the last night, we had Ray and his me was how good the dialogue is. Simple, it sounds because one could deliver the lovely fiancée Nancy in the front row funny, occasionally sentimental, but always monologues while the other could do the and the two Franks presented them with finely attuned to the nuances of real scenes. This would make for a faster show. flowers and a signed poster. It was a lovely speech. The stunts are what we remember, And to keep the other actors on their toes, moment, the culmination of a fantastically but without the truthful characterisation, I planned to alternate the two Franks each enjoyable—if occasionally fraught— the series would not have been so well- night. rehearsal period, followed by seven nights loved. As it turned out, after the third of blissful laughter. The world premiere would take place performance, we mutually decided that I am indebted to my lovely cast and at the Edward Alderton Theatre, a small because Steve Padgham was visibly older crew who made the show such great fun to amateur venue in Bexleyheath, Kent. than Daniel O’Brien, Steve would do the work on: Steve Padgham, Daniel O’Brien, This posed problems of its own. We have monologues, looking back on his life, while Louise Ody, Linda Gay, Michael Taylor, John hardly any space in the wings or above Daniel would play the younger version of Hyde, Kevin Coward, Darren Cullen, Gary the stage, a tiny props room and two very him. So we stuck with that, and it worked Heron, Roz Betts, Laura Cakebread and my small dressing rooms. The stage floor is brilliantly. Both of them worked incredibly wonderful Stage Manager, Sarah O’Hanlon. solid concrete, so no chance of trapdoors hard on impersonating Michael Crawford’s or holes to fall through. But I felt that if the unique take on the character. If you’d like to perform Some Mothers play could work here, then it could work We had two new scenes. One of them Do ‘Ave ‘Em, please contact Mark in pretty much any venue, large or small. saw Frank and Betty’s first meeting at a Campbell by email at mark.campbell10@ I was adamant that the one stunt I had to bell-ringing course. To end the scene I virgin.net or by post at 191a Trafalgar include was the famous roller-skating one: wanted a church bell to crash down on Road, Greenwich, London, SE10 9EQ. If two minutes of brilliantly choreographed Frank. Easy to write, hard to achieve—until you’d like a flavour of what the show is mayhem with Frank swerving between I had a brainwave and bought a massive like, go to YouTube and search for ‘Edward cars, hanging onto a bus and swooping plastic plant pot from B&Q. A touch of Alderton Some Mothers’.

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overwhelmingly middle-class - and, The Trust has agreed that the best Engaging with despite an influx of younger members - way to address this issue is to examine, on average, membership is towards the through conversations and partnering with older end of the age scale. Clearly, being other organisations, how we can develop the Community - middle-class and middle aged (or even the theatre into a Community Hub for the The Debate continues elderly!) doesn’t carry any stigma. Further, Performing Arts. This provides us with the the current situation gives us enormous basis for a clear vision for the future. If we At Abbey Theatre, St Albans Chairman opportunities actively to encourage other succeed with this endeavour, it will enable Martin Goodman raised the issue in a parts of the community to engage with the us to: recent Newsletter: Theatre. In fact, the Abbey Theatre Trust’s * Raise money to extend and improve our “My summer reading has included a Memorandum of Association actively facilities. review of the recent CoT Membership requires us to collaborate with others * Offer a better and broader range of Survey responses. One of the themes from because it states that the Theatre exists: the survey was the desire for the CoT and “To promote, maintain, improve and experiences for audiences, and the Abbey Theatre to be more “inclusive” advance education by an appreciation * Improve facilities for members. by seeking to become more repre-sentative of the arts...to co-operate with other These are exciting and ambitious of the community we serve. charities, voluntary bodies and statutory objectives. They will take both time and This is a big challenge. We have authorities operating in furtherance of [our effort to deliver. Are they achievable? Are always considered ourselves an objectives] or similar charitable purposes we raising expectations that can’t be met? “open” organisation. Yet we are, in and to exchange information and to advise I don’t believe so; and, in any case, we terms of membership and audience, with them”. won’t know unless we try!” Amateurs Reviewing Amateurs As quite a few of LTG members’ Newsletters contain production reviews from ‘non-professional’ reviewers, here are three tips from a contributor to the Newsletter for Teddington Theatre Club: Firstly, reviewers should never describe how they would have directed a scene, delivered a line or cast a part. A stricture of this kind really should be included in the guidance. Secondly, the view that the gender of a character cannot be changed is simply outdated. It can, and is, often. If an explanation is needed, it can be given. Finally, to imply that actors playing siblings or children should ideally be a genetic match is an incredibly antiquated attitude, even with a play about what we expect to get from our parents; and it suggests that those who have it haven’t seen many professional productions recently. Concentrate on the acting. Long may the policy of ‘blind’ casting continue. 65, and female. Not one person under 25 and ultimately actions. We have decided Those Surveys! even completed the questionnaire, and therefore that the next phase in our under 10% were under 45. The Chairman research will be to go out and ask residents A recent survey conducted by Ilkley reported: In my view this age profile needs Playhouse revealed what perhaps the to radically change in the coming years if of Ilkley what we need to offer in order members already suspected. They had 133 the Playhouse is to remain a vibrant hub to attract them to visit the Playhouse, responses split equally between visitors for the arts and culture in Ilkley. Whilst we hopefully as paying customers, since at and members. They were gratified that are providing an excellent service to those the end of the day we need to generate over 90% rated the Playhouse excellent or people to whom we currently appeal, we income in order to continue to provide the good for the overall quality of experience. are certainly not attracting people under However the survey confirmed that their 65. We need to find out why this is, and excellent service which existing members audience was predominantly aged over what can be done to alter perceptions and visitors so obviously appreciate. Were You Born in the 1970’s or 1980’s? If you were, then:- • you are in the age group that most roles are written for and • you are the generation that, over the next 25 years, will increasingly become the group that runs the theatre. So, how do we get more of your generation to join? And how do we get you more involved in running the place? Well, the best group to answer those questions has to be you! You are warmly invited to come along for a free drink and a light- hearted natter on Friday 4th September at 7.30pm in the Greenroom. As the only oldie in the room I really want to spend an hour (no longer) picking your rains-and then include what you all think in the Chairman’s report at the AGM. Please do come along. It’s your society- so do tell us what you want it to be... (from the Newsletter for RAODS, Plaza Theatre, Romsey) which is new, Stagescripts will undoubtedly scripts other than ‘in house’ productions’? A Service in be able to assist. For Martin’s part, he can Whatever you have done or would like take the headache out of trawling through to do, again, get in touch. We have all catalogues. Simply let him know what complained about there being nothing new the North West your casting, staging, logistics, budgetary to perform … well here’s your chance to requirements are and he will check out if change that, and writers for theatre have The following piece comes from the Stagescripts have something to fit your always complained that it is impossible to Greater Manchester Drama Federation: needs. How simple is that? get known, be listened to … well here’s Martin Roche has just taken on a And there’s more....Martin is also your chance to change that as well. role as the Acquisitions Agent for the interested in new writers, new works All you need to do is drop Martin a quick theatrical publishers Stagescripts. (obviously unpublished) for any aspect of Geographically he covers the GMDF area theatre repertoire. So are you an existing line via Facebook Messenger (Martin Paul and he is available to assist your society or aspiring writer? Have you written a Roche) in the first instance – how easy is in ways which you will struggle to find with piece you think has potential? Are you that? some other publishers/rights holders. If staging your new work imminently so Whatever your angle, it costs nothing you are looking to stage a play, musical, that it is available for Martin to come and and there is nothing to lose. Martin Roche pantomime, take part in a one act play watch? Have you written for the stage for (www.stagescripts.com or festival or are simply looking for repertoire years but never done anything with your www.martinpaulroche.com)

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and technically minded members to be theatre and so the opportunity to replace Some Quotes from involved with the maintenance of this our stage. However, there are still R.S.S. theatre equipment. Preferably small teams events happening in the coming weeks, need to be involved.” (from the Newsletter so we hope to see you – dates have been Your Newsletters for Whitstable Playhouse) carefully chosen to avoid Rugby matches.” (from Rumor, the newsletter for Richmond Shakespeare Society) “If you have followed the Rugby World Cup you would have regularly heard the shouted encouragement of the referees during a maul, or ruck (it used to be called a “loose scrum” when I played) - ”Use it or Lose It!”’ We have a very fine Theatre, unique in this part of the Country. Aren’t we lucky!. But, if you, our members, supporters, friends and audience, don’t turn out to see us, what is our future. The ball is in your hands (unlike. too often, the “During August the theatre is undergoing England team).” (from the Newsletter for a scheme of light refurbishment. Some of the work is being carried out by professional Nomad Theatre, East Horsley) tradesmen but the majority of the work “I’m looking for a small group of actors “Some of us will remember Saturday 8th can be carried out by volunteers. Any help to play members of The Loose Society August for two reasons. One, we regained that is available will be greatly received, of Elderly Women in the forthcoming the Ashes whilst, two, a bunch of us were whether it’s taking a lead in a small project production of The Ladykillers. The ladies painting the Barn. The weather was set or making the tea and sorting the tools don’t have to be loose, elderly or even fair and the entire (almost) outside of the out!” (from the Newsletter for women. There are no lines to be learnt.” building was given a fresh coat of paint.” Theatre, Droitwich) (from the Newsletter for Southport Little (from the Newsletter for Barn Theatre, “The time has come for the lanterns Theatre) Welwyn) above the auditorium and on stage to “Because of the Rugby World Cup and be serviced. Traditionally the theatre has the planned road closures on match days, ‘gone dark’ until all the lanterns have we long ago realised that it would not be been cleaned tested and rigged. It practical for us to have a production in is proposed that the theatre will not the Autumn – apart from performances, need to ‘go dark’. The servicing will rehearsals are likely to be disrupted as begin from the second week in August Twickenham is cut off from the rest of (Monday 10 August onwards) and will the world. This, of course, has proved to be an opportunity for the members who have a beneficial side-effect, in that it has attended the lighting training workshops given us a prolonged “dark” period in the

5. Use Facebook and Twitter three times a day and take your Twelve things you are absolutely mobile to bed with you. 6. Show everyone every photo of your latest holiday or most recent grandchild. not compelled to do! 7. Bring a three-course take-away into the theatre to eat during the show. 1. Get yourself a tattoo. 8. Dispose of chewing gum outside the privacy of your own home. 2. Have a private phone conversation in a public space sitting next 9. Drive your child to school. to a stranger. 10. Dominate your living space with an enormous screen. 3. Rise to give a standing ovation at the end of every performance. 11. Believe that following fashion will make you look stylish. 4. Carry a bottle of water with you everywhere. 12. Read silly lists like this.

buildings – up-cycling in a grand way – having a really good time. Often these What’s it like to be very trendy! I found it really fascinating members make really good ‘reps’ – as just seeing how other companies manage they are open to everything! Everyone can their theatres, wardrobe, sound & lighting learn something, in the many workshops the LTG Rep? being fitted into quaint holes in different on offer, whatever your own skills are in buildings. Even the Green Room comes in Di Graham, recently retired Rep for your local Theatre Group. many shapes and sizes. Rules are different In truth the younger you are the more Abbey Theatre, St Albans, writes: just as the members are! It gives you great “Do you ever wonder what another you have to learn, but those older still find ideas to take back to your own Theatre. there are many new tricks out there for Member The Annual Conferences or local Regional them to learn as well. Most of the job is Company’s Theatre looks like – behind the Meetings are always really interesting with easy – keeping the emails flowing to the scenes ? Find out? Do you enjoy going their workshops and productions and just most appropriate member in your group, to other Company’s Productions? Fancy chatting is great fun. Assistance is often passing on information received, and a weekend away – sharing jokes and given to help with costs, especially travel information with like-minded folk! Then and hotel bills, if some distance away – but often answering queries raised (or finding volunteer to be your Company’s ‘Rep’ for then you get to see another town. someone who can), and attending the the LITTLE THEATRE GUILD - It’s great As the representative of your Theatre National and Regional events, usually a Fun!! you receive a great welcome, it’s good to couple of times a year. I have visited many theatres – up and talk with members of that Theatre Group Over my time as ‘rep’ for St. Albans from down the country – in my time as ‘Rep’ – find out their thoughts and opinions! the ABBEY THEATRE, I have learned much, for Company of Ten in St. Albans. Every Your group can learn so much – meet with enjoyed many weekends in good company. single one was different. Some are brand like-minded folk – even people ‘new’ to the Conferences are a great way to make new new, others clever conversions from old world of ‘Am Dram’ will find themselves friends!”

11 LTG Newsletter Vol .29 No.4 November 2015 Some Recent Production Photos The Seagull - Chesil Theatre Rhinoceros - Questors Theatre Photo - Tony Rogers Photo - Peter Collins

Be My Baby - Dewsbury Arts Group Inherit the Wind - Lewes Little Theatre

The Taming of the Shrew - The Ladykillers - Southport Little Theatre Photo - Fletcherhill Photography Richmond Shakespeare Society

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