Amateur Stage Magazine

Calling ladies aged 70 and over

An independent film Director/ Writer is currently researching his next short-film and is looking to speak to women aged 70 and over, who have had performing experience (with either amateur or professional credits) and who consider themselves to have lived an interesting life!

He wishes to speak to women, ideally London born-and-bred, who are comfortable talking about their lives, offering individually funny and sad stories, general anecdotes and historical facts from times gone by.

What was it like growing up in post-war Britain? Was it exciting courting during the ‘swinging sixties’ revolution? Or were you getting married and having children? The fictional film he is working on is loosely based on a true story, but the writer is looking for further tales that will help him build a strong narrative.

They say ‘everyone has a story in them’ but often people believe they have not. It is sometimes the small details that are the most interesting though, so if you’re even a little intrigued, do get in touch!

All conversations and information supplied will be kept confidential and only if you give your permission will your name be added to the film credits thanking you for your involvement.

Interviews can be done in person if you live in or around London, or via telephone if that is more convenient. 

Please contact silvermoonresearch@gmail.com with your details (including how old you are) and very brief details of who you are. Alternatively, call 0203 006 2514.

 

Pass this on if you know someone who may be suitable!

A SPECIAL ANNOUNCEMENT REGARDING OUR AUGUST ISSUE.

In recent months Amateur Stage has been undertaking a radical expansion of our retail sales outlets.  This expansion has lead to a few publishing issues which we need to address to get the magazine out to the widest retail audience.

It has therefore become necessary to cancel the August issue of Amateur Stage this year to allow a new publishing schedule to take effect.

The September issue (our 66th Birthday issue) will be published in the later half of August and will be available to our subscribers and the general public before September 1st.

The September issue will be a great issue featuring even more amateur theatre information and some great new sections that we hope you will enjoy.

Subscribers will be given a month extra on their subscriptions as compensation.

We hope that you will be as excited as we are when Amateur Stage returns in September to our largest ever readership. This is a great development which we hope will get news of amateur theatre and your shows in front of even more interested people.

Issues in June and July will be unaffected.

For further information or to book advertising space in the September issue please contact editor@asmagazine.co.uk.

We read with interest a recent report from the Arts Council that announced an overall increase in the level of participation in the arts between January 2011 and December. We are keen to look at how this report stands up against experience in the amateur theatre market.

The Key findings from the report are:

• in 2011, 78 per cent of adults surveyed had engaged in the arts in the last year, a 2 per cent increase on figures from 2005/06
• nearly half - 48 per cent - of those who took part in the survey in 2011 said they had paid a visit to a gallery or a museum in the last year, a 6 per cent increase on the five years previously (2005/06)
• for people from Black and minority ethnic groups, the figure has risen by 8 per cent in the same period - to 43 per cent
• arts engagement increased by 8 per cent between 2009/10 and 2011 for the most deprived 10 per cent of the people surveyed - from 60 per cent to 68 per cent
• engagement by adults aged 65-74 and 75 plus has increased significantly since 2005/06 - from 71 per cent to 75 per cent for 65-74 year olds and from 58 per cent to 63 per cent for aged 75 and over. However, adults aged 75 and over still have significantly lower arts engagement rates compared to other age groups

Phil Cave, Director of Engagement, Arts Council England said: 'These figures and the increase in the number of people taking part show just how important the arts and culture are to the public - and that they are becoming even more so.'

This seems to vary greatly with the feedback we get from the amateur theatre community as a whole. Tell us about your experience. Are you houses up or down? Do you feel that participation both onstage and audience wise is better than it was 2 years ago?

Given that no official figures on the state of play in the UK amateur theatre industry exist, it is difficult to get a feel for how the industry.

 You can read the full Taking Part survey report on the DCMS website.

Let us know your thoughts.

Recently, Darlington Operatic Society encouraged the Editor of its local paper to take part in their production of Titanic. This week, show concluded Peter Barron, wrote about his experience.

It's great to see that taking part was such a revelation for him. It has to encourage others to do the same. The only way to realise just what amateurs do is to take part yourself so we challenge groups to take a leaf out of Darlington's book and encourage participation by someone in your community who could take up your cause. Who knows you may get results like this.

"At the end of his 11-show run in Titanic: The Musical, editor Peter Barron reflects on the importance of amateur theatre to local communities

AND now, the end is here – and so I’ve faced the final curtain. The Northern Echo’s reviewer may have cruelly described my performance as “wooden”, but, hey, I did it my way...

When I agreed in February to play the role of former Northern Echo editor WT Stead in Darlington Operatic Society’s lavish production of Titanic: The Musical, I didn’t quite realise what I was letting myself in for.

But having survived an epic voyage – unlike the great man I portrayed – I will look back on it as one of the most enjoyable and memorable experiences of my life.

It was smart planning by the society to mark the 100th anniversary of the world’s most famous maritime disaster by staging Titanic: The Musical at Darlington Civic Theatre.

And, let’s face it, it was a public relations masterstroke to grasp an historic connection by getting the local newspaper editor to appear in the role of his illustrious predecessor who died when the great ship sank on April 15, 1912.

Originally, the intention was that I would appear in a single scene in just the first show. But that initial agreement grew into several scenes in every show as weeks of rehearsals took shape and showbusiness seeped into my veins.

It has always been my view that editors should immerse themselves in their communities so that they can understand them better.

For 13 years as editor of this newspaper, I have failed to understand the value of Darlington Operatic Society and the many other amateur theatre groups which exist throughout the country. But my Titanic journey has made me realise how much they need to be cherished.

For a start, the word “amateur” needs to be kept in perspective. Darlington Operatic Society has been bringing top quality, affordable local theatre to the area for 60 years. The members may include teachers, accountants, dentists and students, but the only thing that is amateur about them is that they don’t get paid to put on their productions.

The level of dedication and professionalism has to be seen to be believed, with each show costing about £85,000 to produce.

Figures for 2009-10 show that Darlington Operatic Society productions contributed £30,000 to the Civic Theatre budget – more than any of the professional touring shows. In these days of public sector cuts, where would the Civic Theatre be without the two shows produced every year by its local society?

On average, the society donates £12,000 a year to local charities, including St Teresa’s Hospice, Darlington Samaritans, Darlington Hospital Radio, Darlington and District Talking Newspaper, Guide Dogs For The Blind, and the Great North Air Ambulance.

The organisation brings together people of all ages, giving them confidence, teaching them teamwork, and building relationships which often blossom into lifelong partnerships.

There are opportunities to not only perform, but to understand the many facets of stage management. Everyone is part of a team whether they are on stage or backstage.

The society also provides a springboard for performers to learn their craft before turning professional.

For example, Darlington lad Peter McGovern appeared with the society in West Side Story in 2001 and went on to appear in a recent production of The Madness of King George III at the Apollo Theatre in London’s West End.

In my short time with the members of Darlington Operatic Society, I have learnt some important lessons:

• Amateur theatre groups play a crucial role in community life;
• They do not get the support they deserve and local authorities – and local newspapers – need to do more to help;
• Genuine talent is by no means limited to the professional ranks;
• There is room for even those of us with limited (even wooden) ability;
• It is not easy to get through a two-hour show with a horribly itchy moustache and beard glued on;
• Bad reviews hurt and great reviews are a cause of celebration. When a woman I’d never met greeted me outside the stage door after one of the shows, took me by the arm and said “You’re not wooden love”, it meant the world.

I HAVE made new friends and been touched by the camaraderie that comes with sharing a dressing room and performing together.

I admit that when the curtain began to come down for the last time on Saturday night, I had a somewhat misty view of the audience.

I set out with three objectives: to rekindle the memory of a pioneering editor; to help publicise a great show; and to appear in it without getting in the way of those with real talent. I hope those aims have been achieved.

It has been a privilege to sail with the wonderful characters who make up Darlington Operatic Society.

My final act is to plead for more support for local amateur theatre groups, which do so much to enrich our lives...

... the end

Reprinted with kind permission of The Northern Echo
For more information please visit Darlington Operatic Society

SPRING AWAKENING
Presented by SEDOS
Bridewell Theatre
May 9 - 19th, 2012.

Having seen the “professional” production of Spring Awakening both at the Lyric and Novello theatres in London, it was interesting to revisit Spring Awakening  in the intimacy of London’s Bridewell Theatre.

Based on Frank Wedekind’s original play of the same name originally published in 1890,  Spring Awakening deals with the coming of age and the angst of youth. It’s pretty heady stuff and quite intense at times but altogether moving and extremely emotional.  This is not a fluffy musical, it explodes on stage giving the characters a driving rock score to bring home the tragedy of their story.

Spring Awakening is a musical for any youth who has ever played air guitar and dreamed of being  a rock god in his bedroom. Characters switch between outer and inner monologues with ease, using their inner monologues to vent their frustrations and feelings.

SEDOS have wisely chosen to strip this production down to its basics giving focus to the characters. Sets are minimal with a few different levels providing different locations and sinewy tree trunks bringing nature into the frame.

 

This is a youthful cast lead by powerful performances by  Joe Penny (Melchior) and Aisling Ridge (Wendla) who discover their sexually without ever fully understanding what consequences may result.  Duncan Sheik and Steven Sater (the shows composers) have given the cast incredible challenges and no-where is this more obvious than with Anthony Hagan (Moritz) and Lisa Pilkington(Ilse) stunning Act Two number Don’t Do Sadness / Blue Wind. It’s haunting, powerful and the feeling of regret at the end palpable.  Jason Thomas and Maria Waters (the only two “adults” in the show) deserve high praise for bringing to live at least half a dozen characters who interact with the young characters.

Musically, Spring Awakening is no mere rock musical, it is rich with complex harmonies, and credit must go to Musical Director Ryan Macauley for bringing out the best in this cast including an incredible a cappella section in the shows finale that must be heard!!  My only comment would be that this production might benefit from being louder giving more intensity to this exciting score. That said, the energy and enthusiasm of this cast more than makes up for it.

Chris Warner (Director) and Max Wolf (Creative Director) should be justifiably proud of this production. They have chosen not to carbon copy the original production but instead create their own vision and that is to be applauded.

Spring Awakening may not be everyone’s cup of tea (sometimes the language can be a bit strong) but the reactions of the audience speak for themselves. On the night I attended, mature adults were visibly moved to tears. This is a show that seems to attract younger audiences who come and see the show again and again, treating its cast like pop stars.

If a musical can evoke an emotional response from an audience, then I’m all for it. I’ve been a fan of the show for quite a while and can only applaud SEDOS for tackling it with such gusto and such impressive results. 

Book a ticket now at www.sedos.co.uk

Photos: Michael Smith

Tickets are still available for New Stagers’ forthcoming production, THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMEN’S GUILD DRAMATIC SOCIETY’S PRODUCTION OF ‘MACBETH’, by David Gillfray and Walter Zerlin Jr.  Performances are taking place from Wednesday 25th to Saturday 28th April, at St Anne’s Hall, St Ann’s Crescent, London SW18 2LR.  Tickets can be booked by calling 07814 611239.  They cost just £9 and £5 for concessions.
 
The Farndale Macbeth is one of a series of backstage comedies featuring the fictitious amateur theatre group, whose ladies’ enthusiasm is not matched by their expertise.  Unfortunately, being unable to judge the quality of their own work, the Farndales endlessly endeavour to put on the great classics.  Their effort at Macbeth is dogged by a Lady Macbeth who got on the wrong bus and is lost, a witch/Macduff with a broken leg, and of course, the small matter of none of them being able to act.  But this doesn’t stop the group’s matriarch, Mrs Reece, and her band of thespians from putting on a show.
 
This is the first time New Stagers has put on a Farndale play in its 40+ year history, and its director, Orna Joseph, is well aware of the challenges.  “Getting actors to act badly in a convincing way is harder than it looks.  If, as hey say, comedy is hard, then farce is even harder, and backstage farce is hardest of all.”
 
Prominent amateur theatre group New Stagers is one of SW London’s longest-established groups, and is the winner of the 2009 NODA Flame Award for its double bill of One for the Road and The Dumb Waiter by Pinter.  But this week, they’re focused on making the Birthday Boy Bard spin in his grave.

For further information visit www.newstagers.co.uk

FULL STEAM AHEAD IN BATH THIS WEEKEND

Get a kick out BLOG’s “Full Steam Ahead” The Guildhall, Bath Thursday 26 – Sat 28 April 7:30

Amateur theatre group Bath Light Operatic Group (BLOG) brings their ever popular songs from the shows to The Guildhall Bath this week.  Under the direction of Scott Rogers the evening is a mix of song from musicals that celebrate “a bygone age”

Capturing the luxurious decadence of the era the group will perform songs from shows such as Anything Goes, Cabaret, Sunset Boulevard and the Titanic the musical. Classic musical theatre songs and characters will provide a fitting tribute to mark the centenary of the sinking of The Titanic within the fitting surroundings of one of the sumptuous venues in Bath.

Scott Rogers brings a highly talented 40 strong company together with Matt Finch as Musical Director; this will no doubt be an evening of nostalgia, transatlantic travel and an opportunity to see some of the finest members of the award winning company in action. Don’t miss the boat!

Tickets £14 / £11 are available on the door or in advance from the Box Office: 01225 863740

Performances nightly from Thursday – Saturday 7:30

ARE PLAYS BASED ON HIT FILMS ASSURED OF SUCCESS?

There’s no doubt that the feeling around amateur theatre companies in the UK is that stage versions of popular films are  almost guaranteed of financial success.

That assumption is being put into question this week with the announcement that the current West End production of The Kings Speech is to close early less than two months after its West End premiere.

Based on the film starring Colin Firth and Geoffrey Rush, producers this week admitted that the play had followed too quickly on the heels of the Oscar-winning film. "At the start of this year, we believed that enough time had passed between the film and our opening," said a producer statement on Friday. "This clearly was not the case."

Written by David Seidler before the film version, The King's Speech opened at London's Wyndham's Theatre on 27 March to strong reviews following a critically acclaimed season at the Yvonne Arnaud Theatre in Guildford.

The full statement from the producers said: "Two years ago, originating producer Michael Alden was ready to put the play on and the film came along and blocked its path.

Seidler began researching his storyline for The King's Speech throughout the 1970s and 80s but abandoned it after the Queen Mother asked him not to pursue the project during her lifetime.

After the Queen Mother died in 2002, Seidler returned to writing the play. It was in 2007, at a script reading in London, that film director Tom Hooper's mother spotted its movie potential and told him she'd found his next project.

The film was an international hit, making $414m (£261m) at the global box office. It won four Oscars in 2011.

The question now raised is one of timing. There’s not doubt that the play itself was well written and well produced but the problem seems to be that the potential audience was oversaturated with the story through its film version.

What are your thoughts?Would the pull of a play like The King's Speech be different from its West End experience?

RSC searches for amateur actors for new production

As part of RSC’s Open Stages project the RSC is looking for amateur actors from across the Midlands to create an ‘RSC Amateur Ensemble’ of actors to perform Shakespeare’s Pericles at the RSC.

The Royal Shakespeare Company Amateur Ensemble is a new and exciting collaboration between amateur theatre makers and the RSC’s professional creative and production teams. Pericles will see a cast entirely made up of amateur performers working with RSC directors, designers, stage managers and technicians to create an exhilarating new production of Shakespeare’s tragic romance Pericles for performance in the Courtyard Theatre between 5 and 7 October 2012.

Auditions for the Amateur Ensemble will be held on the weekends of 12 and 13 May, and 19 and 20 May. Rehearsals begin on 20 August, with rehearsals evenings and weekends at the RSC’s rehearsal spaces in Stratford-upon-Avon.

The production process aims to share skills, practice and resources between amateur and professional theatre makers. The production itself looks to be a beacon of collaboration and to celebrate the idea that Shakespeare belongs to everyone to perform as well as to watch.

Those wishing to audition should be over 18, have a background in amateur theatre and live within a one hour drive/public transport of Stratford upon Avon (to attend rehearsals). Those auditioning should also be available for rehearsals from the 20 August. No previous experience of Shakespeare is necessary.

Deadline for applications 2 May 2012.

For further information visit HERE