The magazine of the Somerset Fellowship of Drama spotlight January 2014 Charity No. 1084863 Happy New Year. Here’s to a great 2014! After huge success for Somerset drama in 2013, we are now looking forward to an even more successful 2014. With two In this month’s Spotlight… Somerset groups winning competitions at national level and with more societies Kindertransport at continuing to join the Somerset Fellowship of The Warehouse Drama, the outlook for 2014 is bright. Theatre This year we will celebrate sixty years of the See What’s On on Phoebe Rees Competition. The fact that the Page 9 competition has been going for so long is something to celebrate in itself but, more News 2 importantly, we are now seeing performances End of the Panto Dame? by Sam Allen 3 of very high standard on amateur stages all Review of the year 4 over the county. We will celebrate with a Musical Theatre Dichotomy by Sue Pomeroy 5 jubilee awards ceremony in October. What’s On 9 We will also host the Five Counties Drama Reviews 10 Festival this year. After a period when the Crossword 16 competition was down to only four counties, Hampshire is taking part this year bringing the total back up to five. There have been quite a few changes in SFD Dates for your diary in 2014 personnel in 2013 with two new moderators Saturday 8th March 2014 and coordinators and a number of new David Beach Presentation Evening adjudicators joining the fold. We know that we Somerset County Cricket Club will see further changes in 2014 as some committee members have already given notice Saturday & Sunday 22nd/23rd March 2014 of their plans to stand down over the next County Drama Festival Warehouse Theatre, Ilminster twelve months. The committee would love to see an injection of new blood and is hoping to Sunday 27th April 2014 see people coming forward to help keep SFD Five Counties Drama Festival going strong. Edington Village Hall

Saturday 17th May 2014 Submissions for Spotlight welcome. Cinderella Awards Evening Wintergardens, Weston Super Mare To [email protected] By 21st of previous month please. Saturday 20th September 2014 All entries are welcome: letters, The SFD AGM What’s On, comment, articles, Venue to be announced

photos etc Saturday 11th October 2014 Phoebe Rees Diamond Jubilee Awards Ceremony The Shrubbery Hotel, Ilminster

1 shows include Whistle Down the Wind, Decision to award Cinderella and Magic In The Music. In October the group also performed at Her Majesty's Theatre, London as part of a one-night show: Brewhouse lease Sunday Night Live. The Executive Committee of Taunton 2014 promises to be yet another busy year Deane Borough Council decided to award the and it kicks off with Sleeping Beauty from lease of The Brewhouse Theatre And Arts Wednesday 29 January - Saturday 1 February Centre to Taunton Theatre Association Ltd at The Swan Theatre, Yeovil. Producing a (TTA). pantomime for a cast of over 70 (and between the ages of 5 and 70) is never an easy task, The fine details of the agreement are to be however Castaways, as always, is rising to the negotiated but planning begins immediately to challenge and with a script written by Lynn Lee bring the theatre back to life on a permanent Brown which is full of cameo roles to give as basis. The anticipated opening of the doors is many children as possible their chance to shine April 2014. whilst telling this magical story. It promises to In a statement TTA thanked all those be a show to remember. organisations and individuals who have supported them over the past nine months, making this what they called a “truly a Tess in Taunton in June community venture.” Following hot on the heels of national A spokesperson for TTA said, “Contributions success with Burn Up, Taunton School’s Jane have ranged from professional advice, through Harris is now directing Tess of the D’Urbervilles to donations, offers of goods and services, which will be staged at the school in June. Burn people offering to become our volunteers, Up won Youth Award inthe National Drama others offering ideas and contacts. We are Festivals Association All Winners Festival 2013 especially pleased that a number of performers where they also scooped the Audience and performing companies have been in touch Appreciation Award. With such a track record, to say they want to return to the Brewhouse. their production of Tess is something to look We look forward with confidence and joy to an forward to. For more details, watch this space! exciting future for the Brewhouse.” Taunton Theatre Association received a David Beach Competition donation of £25,000 from The Mackintosh Foundation. The Mackintosh Foundation, of starts for 2014 which Sir Cameron Mackintosh is a trustee, has he David Beach Competition, for among its objectives the promotion of the T performing arts of music and drama. This musicals, kicks off at the start of every New donation will help support the start-up costs of Year. Societies intending to enter this popular Taunton Theatre Association. A spokesperson competition should send their entries to for the association said, “This is a real boost competition coordinator Di Dean as soon as and a recognition of our efforts to bring theatre they can. All details are on the SFD website. and arts to the forefront again in Taunton.” Competition Moderator, Ian Hurdman said, “We still have a vacancy for an adjudicator or two!” so if you are interested in being part of Castaway Theatre Group the adjudication team contact Ian for an informal chat. looking forward to 2014 Castaway Theatre Group, is a SFD welcomes new voluntary group run by Lynn Lee Brown and who meet weekly at The Octagon Theatre, member group Yeovil. Set up initially as a way to raise funds Membership Secretary Sherry Briggs is pleased for St Margaret's Hospice, the group has since to announce that we have another new Group: grown and grown and now has a total of over Portishead Players. The SFD committee warmly 70 children and adults participating. Recent welcomes them.

2 Is this the end of the pantomime dame? By Sam Allen Spotlight editor Sam Allen ponders recent reports about the death of the Pantomime That august publication, the Daily Dame Mail, has predicted the end of the pantomime dame. At the beginning of December the Mail Which is not only scant evidence for the reported: “With their outrageous frocks, demise of this much-loved tradition but also shocking wigs and wildly overdone make-up, reveals a dearth of understanding of the they have kept generations amused with their pantomime genre. Over the years I have seen antics. But the days of the pantomime dame many, many, Snow White productions, and could be – for want of a better phrase – behind every single one of them had a fully-fledged, us. Much-loved traditional elements of the festive all-functioning male playing a female, honest- shows, such as cross-dressing characters, have to-goodness Dame! Which all indicates that been done away with as productions become perhaps it’s time to look at the facts underlying more politically correct.” the story. The press articles are based on the Their analysis of professional pantos around National Database of Pantomime the country revealed that only around a tenth Performances. You can check it out for yourself of the pantos listed have female principal boys, because it has its own website: according the National Database Of Panto pantoperformances.info. Performance (NDPP). Excluding the ‘adult’ pantomimes and those Apparently it’s all to do with political where the gender of the Dame cannot be correctness. Well, it would be, wouldn’t it? identified there are 95 pantomimes listed for Young audiences, brought up in a world of this year. Of these, eight have no Dame at all, political-correctness-gone-mad (to give it its three have women playing dames and 82 have full title) no longer find cross-dressing comical! men as The Dame in good old panto tradition. As you might expect, comments on the website There are eight Snow Whites this year: five with showed that people were apoplectic. Hoss male dames; one with a female dame and two from London opined: Destroying English culture with no Dame, despite the papers’ claims that is multiculturalism's true agenda. While the performance of Snow White heralds the end Nutrock from Chadwell Heath blamed the of the Dame as we know her. practitioners: How can we let the luvvy luvvy set Perhaps the fact that only 86% of professional destroy another English tradition? Shameful! pantomimes have males playing the Dame is But hold on a moment! Let’s just take another something to be regretted. But these analyses look at this. It is undoubtedly true that, in fail to take into account the impact of amateur professional pantomime, there has been a drama. For every professional pantomime trend over the last twenty years increasingly to there must be twenty amateur productions cast the principal boy as a man – very often a (based on the good old tradition of plucking a handsome young minor pop star or children’s figure out of the air). And there, the tradition of TV presenter! Is this political correctness? Or is a female principal boy and man-dressed-as-a- it more to do with hard-headed woman Dame is very much alive and well. commercialism? Surely stars who appeal to Occasionally we have a female playing the young audiences must boost box office takings. Dame, but that is usually due to a dearth of suitable male actors in the village and not But the Dame? That very essence of because of political correctness gone mad! pantomime tomfoolery. The only evidence quoted in the Mail is: “And producers are What is heartening, though, is the continued increasingly choosing shows such as Snow popularity of our traditional pantomimes. White, which do not have a dame.” And the Daily Aladdins, Cinderellas and Snow Whites abound Telegraph pitches in with this nonsense too with a smattering of Peter Pans and Robin saying the analysis “suggests a growth in dame- Hoods for good measure! less pantos this year, as producers opt for To borrow shamelessly from Mark Twain, storylines, such as Snow White – the fourth most reports of the death of the pantomime Dame popular this year – which do not feature one.” have been greatly exaggerated!

3 SFD Review of the Year 2013 Month by month this is what we reported in Spotlight: January: Semi-final. The Swan Theatre Company celebrated their Taunton School’s Burn Up won the Four 200th performance. Counties Drama Festival held this year in There was ongoing debate about which shows Pewsey. should be eligible for the Cinderella Sam Nicol stepped down as coordinator of the Competition. Cinderella Trophy Competition. February: West Huntspill Players celebrated their fortieth The Original Playwriting Competition was anniversary. launched July & August: The Merlin Theatre in Frome celebrated an Spotlight not published £85,000 grant from the Arts Council September: March: Ron Roberts stepped down as Cinderella Taunton’s Brewhouse Theatre closes Trophy moderator to be replaced by Sam Allen. Eight entries announced for the County Drama Pam Price appointed as coordinator for the Festival competition. April: Troupers, from Frome, won the British Finals David Beach Awards announced with top prize Festival of one-act plays competing against the going to Weston Super Mare Operatic Society best that the UK can offer. for their production of Ragtime. Taunton School drama students who took Burn Troupers’ production of A Death in the Day of Up by Derek Bowskill to the Somerset County Joe Egg Act 1 won the County Drama Fetival Drama Festival where they won three awards with Taunton School winning the Youth and qualified for the Five Counties Final. Competition with Burn Up. SFD Secretary Pat Sollis announces her plans to Best Original Play was awarded to Nicola retire in 2014. Breeze for Office Antics. October: May: Gemma Benham awarded the Pat Hudson Ros Roderigo and Sandra Pittwood stood down Trophy for her contribution to Youth Drama. as moderator and coordinator respectively for Timsbury Theatre Group Celebrated forty the David Beach Competition to be replaced by years in ‘the business’. Ian Hurdman and Di Dean. November: Joe Egg won the Wessex Division of the One-Act Street Theatre won the Phoebe Rees Award for Play competition. their show: The Rise and Fall of Little Voice. Sue Pomeroy started her regular column for Ron and Jacqueline Roberts became Life Spotlight. Members of the SFD. June: Anna Bowerman was presented with the Sybil Yeovil Amateur pantomime Society won the Thorndyke Trophy for her contribution to Cinderella Trophy Competition with Coastline amateur drama in Somerset. Players picking up the Spotlight Trophy for Life Member David Beach celebrated his best village production. ninetieth birthday. A Day in the Life of Joe Egg Act 1, took top place December: in the All England Festival Western Division The pantomime season begins.

Of course, these are only the highlights. There was much more: information, comment, reviews, letters, articles, auditions, profiles and photographs! On the next page we have pictures of some of the key events and personalities involved in 2013. See how many you can recognise! But also, help to keep Spotlight alive by sending in your own items of interest. We love to hear from you.

4 2013 in pictures How many photos do recognise from the pages of Spotlight this year?

5 In 2013 Amateur Drama had something missing…! in the play) and is not gratuitous in any way. Perhaps the most notable feature of Clearly, our actors have to play close attention 2013 was something that wasn’t there. Clothes! to how these scenes are executed to make them The year was notable for the number of work effectively and to preserve the integrity productions in Somerset featuring some of the piece.” element of nudity. As Phoebe Rees Moderator, nd then the Civic Players in Yeovil staged Alex Webb noted at the awards ceremony in A November, he had seen five productions of Amy Rosenthal’s humorous, witty and thought- Calendar Girls which, of course, famously provoking play, Sitting Pretty. This is a story features members of the WI making a nude about a plump, self conscious and suddenly calendar to raise money for charity. On top of redundant woman who unwittingly stumbles that, at the end of November we had two more into a job modelling for eccentric drawing plays where nudity was essential to the plot. students. It is a bittersweet tale that was well received by the Yeovil audiences. Street Theatre staged an ambitious production suppose it makes life easier for the costume of Peter Shaffer’s Equus. Director Peter Wintle I said, “The nude scene is absolutely essential to department! the events that lead to the atrocity committed by Alan (the young, mentally-damaged patient

Photos from Civic Players’ recent production of Sitting Pretty. Thanks to June Colledge

What did they say…???

“Drama is life with the dull parts left out.” ― Alfred Hitchcock

“Has anybody ever seen a drama critic in the daytime? Of course not. They come out after dark, up to no good.” ― P.G. Wodehouse

“Actors search for rejection. If they don't get it they reject themselves.” ― Charlie Chaplin

6 Sue Pomeroy is a member of Bridgwater A Musical Amateur Operatic Society and author of the biography of Brian Buttle: Adventures in the Playground. In her regular feature in Spotlight she turns her thoughts to all things theatrical. Theatre This month she once again asks more questions than there are answers; indeed – most have many answers; some have none! Dichotomy . By Sue Pomeroy So as I have already commented, the principals It has come to my notice over many have always been prepared to travel. But now the years that members of musical theatre groups are dancers and the chorus will also travel for what prepared to travel to perform in a production ‘appears’ to be a more modern and fun show. This that attracts them. This is not a new happening, is understandable because the more modern well known amateur performing principals have shows can be complex, often challenging and always auditioned for many societies and indeed enjoyable. But, these shows are often smaller, and have enhanced productions to the advantage of less well known and not good box office. many groups and societies in Somerset. Societies have always looked for shows that will But! Something is changing. appeal to audiences...not so strange really, after Because I am a dinosaur who started performing all the ‘bums on seats’ provide the revenue for with Bridgwater AOS in 1968, I have a long the performers to act, sing and prance about a memory... please allow an ‘old lady’ her bit! reminiscences. From the mid 50’s until the late But with members on the move, come questions. 80’s/90’s most societies could rely on many How do societies choose a show that will attract playing members who would support a chosen audiences and cast members, both old and new? show because it was ‘their’ society and also How do they choose a show that will appeal to because that was the show that the committee, in both the small core of loyal members and the their wisdom, had decided to choose. members prepared to travel? How do they find a They accepted that occasionally a Billy Bigilow or show that appeals to both older and younger a Dolly Levi might not be chosen from among the performers? Whilst looking at all these issues the current members. Of course there were always show also has to have an achievable budget, fit disgruntled performers who thought it unfair that the performance venue and not been performed ‘strolling players’ could walk in and get the part. recently in the area. Not an easy ask for any But that’s life...as I said last month; in auditions committee! the best person gets the part, on the day! Question... is too much choice damaging older But over the past 20 years a slow change has amateur companies? New musical theatre come over our memberships. Those from the companies, especially youth companies, are 60/70’s have become older and leave, younger springing up all the time and these same clubs performers now move away to university and can get their hands on the modern releases from college and then find employment elsewhere, the rights holders. Shows like Les Miserable, Cats, women are marrying and having families later, Miss Saigon and Evita. The rights holders are not employment and shift work is an issue because of stupid... they must be laughing all the way to the risk of losing jobs, short term contracts etc. The bank. demographic has changed. In schools, children Another question- will this same plethora of ex are encouraged to become independent, thinking West End modern musicals ever become adults. They display a confidence that was often available to adult societies? If not, we cannot missing in much earlier times - they know what compete... fine for those societies who also have they like and dislike and they know what they youth groups... but not all do. Is this another nail want to do and refuse to do what they don’t like. in the coffin of amateur musical theatre as we This continues into adulthood. Thus societies are have known it? Who wouldn’t choose to see Les now faced with independent thinkers, not Miserable rather than Calamity Jane, who members who are just committed to one society.

7 wouldn’t choose to be in Witches of Eastwick amateur companies, of touring professional rather than The Sound of Music? shows both ancient and modern. Of course there are new musical releases such as Of course I make sweeping generalisations for JCSS that fit the bill of a show for both cast and the sake of this article, but by cannibalising audience, but they are few and far between and words from a song from Sweet Charity, ‘Where societies cannot always get a licence. Take the are we going, why do I care’.... because I love recent release of Sister Act, licensed almost amateur musical theatre, I know of the joys and certainly on the size of the performance venue. the heartaches and I want it to continue and to Don’t get me started on the availability to the thrive and prosper. ‘The times they are changing’ ... do you have any answers? What do you think? public and the subsequent withdrawal to

A sweet myth thrown out by HSE what they say: As I travel round Somerset pantomimes “Health and safety rules were blamed when a and talk to people involved, there are still some panto stopped throwing out sweets to the people who relate the old canard that they can’t audience. In fact they were worried about the throw out sweets for the kids any more. “Health cost of compensation if anyone got hurt. and safety don’t allow it,” I’m told, sometimes accompanied by a tirade about the eurocrats in Realistically, if a panto throws out sweets the Brussels passing laws to stop us Brits enjoying chances of someone being seriously hurt is good old traditional fun! Well the Health and incredibly low. It's certainly not something Safety Executive (HSE) is having none of it. On HSE worries about - as far as we're concerned, their website they expose this as just one of many this is a case of 'Oh yes you can!'” myths surrounding Health and Safety. This is So now you know.

8 big city. But he won't make it go to a safe but very foreign without your help! Be there to country. The play traces her What’s On cheer Dick on along his journey, experiences, and the effects of it 'boo' at the biggest baddie of all on her entire life. This is a January time - King Rat - and 'ahh' at the heartwarming, often affecting object of Dick's affections, the play - "not to be missed " 4th – 11th January beautiful Alice. Packed full of 2013 was the 75th anniversary of MOTHER GOOSE fabulous tunes, stunning dancing "Kindertransport " By Graham Barraclough plus lots of sparkle and chances Directed by Anna Bowerman Minehead Panto People to join in, this is going to be one BOX OFFICE: 07943 779800 Regal Theatre, Minehead at pantomime not to miss. www.thewarehousetheatre.org.uk 2.30pm and 7.30pm Directed by Steve Hentschel Cinderella Trophy Entry BOX OFFICE: 01935 422884 or 14th – 22nd February www.octagon-theatre.co.uk HUMPTY DUMPTY 20th – 25th January Somerton Dramatic Society A FINE BRIGHT DAY TODAY February Parish Rooms Somerton at By Philip Goulding 7:30pm with Saturday matinees Swan Theatre Company at 2:30pm Swan Theatre, Yeovil at 7:45 pm 12th – 15th February BOX OFFICE: Palmer Snell, Margaret Harvey's daughter is KINDERTRANSPORT Market Square, Somerton moving out to live with her By Diane Samuels Cinderella Trophy Entry boyfriend. So when Margaret The Warehouse Theatre, meets a stranger, Milton Ilminster at 7:30pm 18th – 22nd February Farnsworth, a mysterious In Paris, In November 1938, a ALADDIN American who is visiting the area young Jew shot and killed a By Samuel Lewin to paint the landscape, she German Embassy official. This set Puriton Players invites him to lodge with off an horrific series of pogroms, Puriton Village Hall at 7:15pm Margaret during his stay. So how all over Europe but most (2:00pm Sat Matinee) will their relationship develop? particularly in Germany. Pogrom Puriton Players transport you to Directed by Nick Holloway means "to wreak havoc" and this Pekin for their magical BOX OFFICE: www.swan- is exactly what happened to the pantomime. Join Aladdin as he theatre.co.uk or on the door Jews in Germany. The Nazis set battles evil sorcerer Abanazar in out to persecute and where a blaze of colourful costumes, 23rd – 25th January possible annihilate whole dynamic dances and truly communities. Many Jewish SLEEPING BEAUTY unmissable performances. families, fearing for the lives and By Ben Crocker Directed by Samuel Lewin future of their children, sought Clevedon Comedy Club Cinderella Trophy Entry ways to send them out of Princes Hall, Clevedon at SFD Concessions Germany to safety. 7.30pm with Saturday matinee In England, groups of people, at 2.30pm. 27th February – 1st March mainly Jews, Quakers and Red This modern panto, written in ALICE IN WONDERLAND Cross officials raised the funds 2011 by Ben Crocker, includes By Kate Perry and Karen Dolan- and obtained special permits to zombies, slap stick, modern Smith allow unaccompanied children to music and all the usual fun and Tatworth Amateur come into England. In 1938, two games. Oh no it doesn't! Oh YES it Pantomime Society trains a week left Germany, full does! Tatworth Memorial Hall at of Jewish children of all ages, sent Directed by Val Vella 7:30pm with Saturday matinee to be safe by their parents, but BOX OFFICE: 01275 873405 at 2:30pm www.clevedoncomedyclub.co.uk often never to see them again. In Alice and Mum meet a white 1939, when war was imminent, rabbit that talks and takes them the trains ran daily. When war 28th January – 1st February into Wonderland where they broke out in September the trains DICK WHITTINGTON meet good, evil and some strange stopped running but by then, By Alan Frayn characters: a supercilious cat 10,000 children had been Yeovil Amateur Pantomime and a mad tea party! brought safely to this country. Society Directed by Lesley Speed & Kim "Kindertransport" is not a Octagon Theatre Yeovil at Gaylord. holocaust play. It is the story, 7.30pm. Sat 1.30pm & 6.30pm. BOX OFFICE: 01460 220522 based on the memories of many, London's streets of gold are Cinderella Trophy Entry of one such child, Eva. Sent away calling and, with his faithful cat by her mother, having to leave by his side, our hero Dick goes everything loved and familiar, to searching for his fortune in the

9 Cinderella Trophy Moderator Sam Allen reviews December’s Reviews pantomimes

PETER PAN St Gregory Players Cat Wilson played Smee, the linkman in this Williams hall, Stoke St Gregory show. With her foil, Janice Holwill as Starkey, Fri 6th December and her burgeoning relationship with the Dame, this was a very funny performance, with some This was my first time at a Stoke St great facial expressions, from a player who really Gregory pantomime so I had no real expectation knows how to get a laugh. Bill Carpenter played one way or another but the packed village hall the Dame, Tiger Lily, in a wonderfully augured well. Audiences are very astute, and understated way, bringing out every ounce of sell-out performances are usually a reflection of humour from his often-corny jokes and really winning past performances. It’s what keeps engaging with the audience in a winning way. people flocking back. So the relaxed family But ultimately the bedrock of the show was the atmosphere, with plenty of excited kids, was a villain, John Penelhum as Hook . John’s mix of good omen. villainy, humour, audience repartee, musical And we weren’t long into this show before I talent and flying ability was delightful to watch! could see why the audiences kept coming. We Which brings me to the flying. Oh, yes. We had had an imaginative start to the show with flying. Real flying. Not just your namby pamby backlighting projecting the huge shadow of our jump-off-the-stage-in-a-comical-way flying. Ten hero sword fighting the evil Captain Hook and out of ten for trying. But since no village hall has cutting off his hand before our very eyes. And the capacity for real full-of-wonderment flying, then the gauze rose and we were off with an it’s best to make fun of it. It really is! It was funny energetic start from the chorus as Indians giving and it was fun. But it would have been even the show a vitality that never once waivered funnier if you had let us know you were in on the through the entire evening. The effective singing joke. and choreography that kicked off the show was Still, we were still laughing in the car on the way sustained throughout in both chorus numbers home, which is always the sign of a good show. and in the principal’s solos and duets.

This was a well-directed show with plenty of ALICE’S ADVENTURES IN WONDERLAND & pace, great staging and oodles of warmth as the THROUGH THE LOOKING GLASS audience was drawn in again and again with Merlin Theatre Company some great repartee. It was given strength too by Merlin Theatre, Frome the confidence with which every single Tuesday 10th December performer – chorus and cast – played their part. There were no fluffed lines or hesitant cues in Frome is lucky to have two Christmas this show. It was a well-rehearsed treat. shows. Later we will have a traditional The sets looked magnificent although the set pantomime at the Memorial Theatre, but in early changes were a bit on the noisy side and it really December we had another offering for the does help for the black team to be in black! Festive season: both of Alice’s Adventures Never mind! Although this was a distraction it moulded into one show. In terms of visual didn’t spoil the show. spectacle, this show did not disappoint. Becca Long had produced a wonderful set and there There were assured performances from the was tremendous imagination and vision in the younger players. Alice Browning was a fine Peter creation, by Robin King, of the Jabberwocky and Pan and Alice Marriott played a sweet and the Cheshire Cat, the latter being operated by six engaging Wendy accompanied by Luke Marriott people! The spectacle was supplemented by as Michael and Kit Wilson as John who both gave effective use of projection (including an amazing very believable performances. Daisy Wolfman sequence when Alice came through the Looking played a surly roller-skating Tinkerbell to Glass) and topped off by a superb set of tremendous effect.

10 costumes including as wide a range of animal In terms of acting, apart from the young Alice skins as you could hope to see. there were quite a few notable performances. I The show was remarkable too for the loved the contrast between the Red and White performance of Young Alice (played alternately Queens, played by Daisy Mercedes and Jodie by Megan Wright and Holly McPhee-Clarke) who Paget, as they made their moves on the was onstage constantly throughout the first Act. chessboard; I warmed to the quirky Mad Hatter It is a tribute to the talent of these young played by Pete White and I was impressed by Abi actresses and to the skill of the director that they Holmes who stood in for an indisposed White performed the role with such vitality and charm. Rabbit! But with forty different characters Director Anne Dimery has the talent, credited in the programme (for which many of the actors doubled up), it was nigh on impossible determination and enthusiasm to extract fine to get beyond the superficial cameo performances from this predominantly young characterisation that inevitably ensued. cast. Her task was undoubtedly made more difficult by the need to rehearse two different I sensed that the players were having a teams of juniors. But the spark and enthusiasm wonderful time. The staging was very effective from the cast was infectious and is a tribute to and it is a great tribute to all involved that that hard work. everything happened with a pleasing fluidity The nature of the story is such that, Alice aside, that gave it all such a natural feel. The songs and dances were ably supported by an effective the rest of the characters come on in a series of musical quartet under the direction of Harry essentially nonsense cameos so we do not get a Burt and choreographer Abi Holmes got the best chance to develop any empathy with them. out of the young performers. They’re there and then they’re gone. There is no meaningful storyline so we have nothing by way Yes indeed, all the ingredients were there. This of romance, plot development, surprise or was a show created by a very talented ensemble pathos. For anyone unfamiliar with the story I both on- and off-stage; there were no weak links would imagine this production was difficult to and it is a great way to get youngsters involved follow. For example, while it was obvious to the in theatre. A massive undertaking that, as the informed that Alice was meant to be shrinking King said, began at the beginning, went on to the and growing in the opening sequence, I fear it end, and then stopped! would have been lost on the uninitiated. I sensed that the disconnected series of encounters that OLD MOTHER HUBBARD Alice experienced led to bewilderment on behalf Timsbury Theatre Group of the younger members of the audience and by Conygre Hall, Timsbury the second Act many of them were becoming Wednesday 11th December slightly disengaged. The trip to Timsbury is just about the Which is a shame. Because so much hard work furthest we have to travel on our visits to had gone into this show and the performers pantomimes. And it’s great to report that the were playing their hearts out. It was well journey was well worth it. The Conygre Hall is a rehearsed with great timing, lovely fine, spacious venue and the Christmas trees and choreography and some nice singing. But accompanying Christmas music that greeted us ultimately, and very regrettably, it came across combined with the warm hospitality to make us as slightly self-indulgent. Perhaps the trick here feel very at home. was not to try to reproduce a script that is 65 years old, but to present a show that is modern This was an unusual pantomime, based very and accessible, so that the youngsters go home loosely on the nursery rhyme. Very loosely enthralled and turn to the original books with indeed, because we were quickly transported to enthusiasm and excitement. I wonder if it would the Wild West with all the accompanying have helped to use a script that had some sort of stereotypes: the gun-totin’ local villain and his narrator linking the sequences and explaining henchmen, the injuns and the old Yosemite Sam- what was happening. type prospector. We had saloons with swinging half-doors, desert backdrops, totem poles and

11 tepees. It was all delightfully politically We had bailiff’s henchmen, grizzly bears, fairies. incorrect! This was big cast and too many to mention by But most of all, it was funny! This was a well- name in this short review. rehearsed show with everyone delivering their But I do want to mention Carol Ali who was lines with confidence and excellent timing. The rarely off-stage as the spotty dog, Dandy and audience was drawn in early on and that rapport especially to Steve Turner who impressed as the was maintained throughout. There were no Old-Timer, Tumbleweed. His was a very obvious glitches or hiccups, which is great for competent and very funny performance. the opening night of a village show. Oh, at one I like a show that makes me laugh, and this one stage the Dame’s wig came off when she was had laughs aplenty. I was still chuckling on the being chased, but it was covered up to great long drive home. comic effect with the line: “That was a hair- raising experience!” Great panto stuff! PIRATES OF THE BACKWATER We moved quickly and effectively from one Roadwater Players scene to the next in this face-paced show with Roadwater Village Hall great backdrops and sets that included practical Friday 13th December doors and those wonderful swinging saloon half- doors. If the lighting was slightly over-reliant on Roadwater Village Hall may not be the the follow spot it was effective none the less, and biggest on the circuit in terms of space and the combination of recorded sound FX and seating capacity, but it is hard to beat in terms of percussive interludes by Graham Price on drums enthusiasm and warmth emanating from the worked well. expectant audience on a wintery Friday evening. Well before 7 o’clock, when the doors opened, he Dame wore an array of great costumes, T they were queuing outside and by curtain up at which served to highlight the good costumes that 7:30 the hall was packed to the rafters. This was were on display throughout, a tribute to Helen a good sign. A packed hall is a great indication of Worsley and her team. There was very effective a club with a good reputation! makeup too. And we were not disappointed! If it’s laughs you liked the range of songs and the very effective I want, you could do worse than go to a accompaniment although I think a little more Roadwater panto. There were gags aplenty. And attack in delivery would have made a huge if some of them were pretty corny, it didn’t really difference, as would some more choreography matter. There were a few new ones in there as for the ensemble numbers. Dancing was in large well: I liked the pirate with the iPatch because he part provided by a dedicated dance team but it is couldn’t afford an iPad! I also liked the local so much more effective when the entire chorus references and the inclusivity of the show. The moves in unison, however simple those audience was really made to feel a part of it right movements are. from the off and the rapport between all the cast Neil Moon was a very effective Old Mother and the audience was heart-warming. Hubbard and her son, Hughie, played by George This was a new panto penned and directed by Clark milked every ounce of humour from the Nigel McBrayne. It had an off-beat storyline with role. The romance was nicely played between some unusual, and intriguing, developments Bessie Eschle as Polly and Amelia Perry as Tex from the usual pantomime formula. Switch the Laramie. Witch, played by Jacqueline Heard, was both Special mention goes to thirteen-year-old Emily good and bad! One side was white (dress, Worsely as Little Deer, who was word-perfect makeup, the works) and the other black. So despite standing in at short notice. when she turned stage right she was a vision in white: good. Turning stage left she was all in There were fine performances too from Tamara black: evil. A cunning ploy! So from which side of Crain as Miss Lulabelle, the seductive siren of the the stage should she enter? No problem! She Silver Dollar Saloon, and Peter Buchanan as swirled on centre stage! Some other panto Chief Thundercloud, accompanied by his copy- traditions were flaunted too with the baddy cat son Little Drizzle played by Riley Whittock.

12 exiting stage right. According to tradition this is a no-no but nobody walked out in protest! Benedict Lintott played the Dame and certainly looked the part, although I would have liked a bit more punchiness. Lizzie and Captain Sparrowlegs, played by Sarah-Jane Cross and Clary Binding, were as convincing a principal boy and girl as you will see and One-Eyed Jim (he of the iPatch) was played to great effect by Clary Binding. I loved the coordinated silliness of Hamish Allan and Natasha Cross as Ping & Pong Wong. This pair was as close as this unusual production would get to the Broker’s Men. Their tight dialogue and synchronised movements were a tribute to their skill and concentration. If Roadwater’s strengths lie in their comedy rather than in their singing and dancing, then they certainly played to those strengths. I would have liked to have seen some sharper business: this was a pantomime of strong verbal dexterity contrasting with some rather loose stage movement (with honourable exceptions such as Ping & Pong) but the humour was certainly strong enough to carry it through. There were lovely backdrops and costumes to make the show pleasing on the eyes. We always like a good laugh at a panto, and we loved this one!

GOLDILOCKS AND THE THREE BEARS Simon Passmore’s Captain Gingerbeard was a Wells Little Theatre great creation and I loved the running gag about Wednesday 18th December his name relating to the colour of his beard. He It was the wettest and windiest night was ably assisted by his children, Knock & Down, of the year so far when we ventured to Wells for played by Callum Huges and Anna Beaven. this years’ panto, Goldilocks and the Three Cameo roles were played by Kenneth Cross as Bears. So we were glad of the warm welcome Tom Tom (a very funny creation with some great that awaited us in the Little Theatre and we lines) and Oliver Cole as Slap. Rob Hand wrung enjoyed the air of expectancy that permeated the every ounce of humour out of his character audience. Despite the inclement weather and the Angus (needless to say, a kilt-wearing Scot). fact that it was a mid-week performance, the Chris Marshall was not only a very effective and theatre quickly filled up - always a good sign. humorous Fishbait but also played alongside This was a script, by Damian Trasler, David Chris Davis as the hilarious mermaids! Lovesey and Steve Clark, that I was not familiar but I’ve liked other scripts of theirs and I’ve always enjoyed my visits to Wells, so hopes were high! It was director Sharon Edmonds directorial debut so I was keen to see how she would fare. It was a quirky and slightly offbeat show with very stylised characters. The principal girl, Goldilocks, played by Roberta Bass as a Violet Elizabeth-style character who kept asking if it

13 was time for her big solo! Cue ‘No’ placards from music, linking music and sound effects for the the band! In the end, her solo never materialised pratfalls. Great stuff! but she did have a duet with Gina Cleverley who I was impressed, too, by the sets and the speed played the thigh-slapping hero, Tom Tom. The with which some rather tricky scene changes show was notable for the predominance of were made, and also by props and lighting. All females in the cast with only three adult males in these ingredients came together in a rather total out of a credited cast of 16. We had Len wonderful UV sequence in which the world of Sweales as the Dame, Auntie Septic, who was Transformers met Godzilla in a Battle of the very funny but would have made even more World. What it had to do with the story, I have impact had he been surer of his lines; Mark no idea. Did that matter? Not a jot! This was Hutchinson played a stylised Daddy Bear with a great fun and the audience was thoroughly clear, booming and effective voice and Frank appreciative. Congratulations to the entire team. Bonnetti impressed as Kevin the Wasp, an interloper in the bees nest on job exchange! A funny script, some lovely singing and dancing, super society-made sets and props, good The other male principal was a junior, Baby costumes, fine acting. We drove home through Bear played by 12-year-old Ben Lynch on the the rain, happy to have made the journey. night I was there but he alternated with 10-year old Ryan Cooper. Ben impressed not only with CINDERELLA his clear diction and strong delivery, but also Moorlight Theatre Productions with his sharp dance moves. The Bear family was Meyer Theatre Millfield completed by Alisa Creaser as Mummy Bear. Monday 30th December 2013 With their great Bear heads, coordinated movements and stylised speech patterns, they You think you’ve seen it all and then made an imposing trio! something completely comes at you out of the Queen Bee was played to great evil intent by blue! I must have seen twenty different Kate Lynch ably assisted by her team of Lauren productions of Cinderella over the years and Best, Phoebe Lynch and Liz Carey. They really read many more scripts and the first act always, got the audience going and there was some fine I mean always, ends with the transformation booing and hissing going on! If the script had a scene. It just does. It’s the way it is. So needless weakness it was that there was not a clearly to say I was somewhat taken aback when defined ‘battle’ between good and evil, which Moorlight’s version continued after the meant there was a lack of suspense, and I think transformation and we had two more scenes this affected the overall pacing of the show. including the iconic ballroom scene that is Laughter was ably supplied by Myfi Hall(16) and normally the second act opener! That is, of Emma Hutchinson as Splinter and Choppit and course how the script is written and I felt it was by the rather dopey Ray played by Martha a pity. That may well be because it defied my Hale(15). Often these are roles that are taken by expectations, but it was also because Moorlight’s mature men and it is a tribute to all three, but transformation scene was so magnificent that I especially to the teenagers, that they tackled the wanted time to reflect on it and drink it in. In roles so well with wonderful diction and a great truth, I was also ready to drink something else in sense of comic timing all round. but that’s another story! But this show was not just about the principals. This was an interesting script, full of gags, The chorus entered into the spirit of things with although most of them have seen the light of day gusto and there was some tremendous dancing before. It departed from the usual storyline in from everyone. The junior chorus were that Dandini and the Prince did not swap roles, particularly notable in this respect and their and while in many other respects this was a energy and discipline was a great tribute to traditional show, it did have some interesting choreographer Ella Upham. The whole show was variations on the usual plot. We had a cracking ably supported by the six-piece band headed by Fairy Godmother played by Gail Chubb who was MD Nick Barlow which not only provided every little girl’s vision of a real fairy! We had the musical accompaniment for the songs but mood wickedness of the Cruel Stepmother portrayed by Sara Plant and the equally obnoxious and

14 even more absurd Ugly Sisters played by Richard deliberate delivery of some of the lines, which Carter and George Steer. In contrast we had had the advantage of clarity of speech but romance and beauty in the form of Francesca occasionally lost some of the essential comic Fallows as Cinderella, Zoe Davis as the not-quite- timing. There are some great voices at Moorlight so-charming Prince Rupert and his (her?) foil, and though it is tempting to use them, I felt that Dandini played by Kayleigh Wall. Not quite so the show would have benefitted from shorter charming? Well this prince was played as a songs and dances and a little judicious trimming rather self-centred and difficult character who here and there. The show did not finish until was transformed only once he had fallen for 10:20pm, a tad late for the kids even though it Cinderella. was a school holiday. Usually much is made of Buttons’ unrequited Still, it was a lot of fun. Credit to accomplished love for the eponymous heroine but although musical accompaniment under the steady hand mention was made of that, it was only in passing of MD Joel Lloyd-Carter and to the lively and not much was made of it. Fair enough, I say! choreography of Holly Passmore and Julie Buttons was the energetic and enthusiastic Webster. They really got the most out of a talented and enthusiastic chorus. Glynn Webster who got us all going as a convincing Elvis Presley. Don’t ask! His bounding Back, then, to that transformation scene. We had about the stage was in sharp contrast to the slow a lovely illuminated coach and a real live pony to and deliberate, and ultimately hilarious, draw it. But most spectacularly, in a flash movements of Vaughan Williams as Baron Cinderella’s ragged dress changed into a Hardup. sparkling ball gown before our very eyes! It was Visually, this was a cracking show. Lighting, one of those pieces of true pantomime magic that will stay with me for many a year. A real costumes, sets and makeup combined to make delight. We spent the journey home trying to this a veritable treat for the eyes. There were work out how it was done. And we still don’t some delightful slapstick moments and great use know! It’s the moments like that that make it all was made of percussion to enhance the jollity. worthwhile. All of that was in contrast to the rather

15 The Spotlight New Year Crossword – to give you a headache worse than your hangover! Here’s a specially developed crossword predominantly on a drama theme to start 2014!

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Across: Down: 1. Are the route maps about to get to a 2. Iridescent stone in flop Aladdin. (4) long running Agatha Christie play? (9) 3. Have to strike after scenes? (4) 8. Does the gaffer use this? A sticky 4. In neck or back in that. (6) question! (4) 5. Kid you not, you’re all grow’d up. (6) 9. Ecstatic audience response? (9) 6. Singer, I never eyeball a deer. (9) 10. Happy musical comedy series in which 7. A famous person or a mixed-up rebel in you ogle everyone. (4) city? (9) 13. Bug in the post office? Oh, yes it is! (5) 11. Backing curtain shortened sounds like you’ll 15. Cultured from Daisy? Yo! Gurt lush psych me out! (9) lunch! (6) 12. So gaining confusion is painful. (9) 16. Pride’s amiss for this spinner. (6) 13. Feeling pleased French gold is back in 17. The cast for the curtain call might be in dessert. (5) a police inspection. (6) 14. Carmen, perhaps, twisted a rope. (5) 19. Intensely devoted within hard 18. Punctual cue. (6) entertainers. (6) 19. Non-professional theatrics confused Mr. 20. The District Attorney contains random Adam. (2,4) access memory which should not be 22. Sounds like a sore area of mixed race. (4) made out of a crisis. (5) 23. You leave an ounce to start the fairy tale. (4) 21. Sire, switch round the curtains at the start of the show. (4) 24. Them braces hug tight I see. (9) Answers next month! 25. Small car or skirt? (4) 26. Rushes confuse step dames. (9)

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