Hallowe’en has become much more ‘Americanised’ in the UK since I was a nipper, but as most theatres have resident ghosts, it’s probably in our interests to observe the festival – just to be on the safe side. We are supposed to have three – a man, a woman and a little girl – although they have never been seen at the same time and aren’t believed to be a family. The man has been seen in the rehearsal room known as the dungeon while the woman and little girl have only ever been seen in the auditorium as far as I am aware, with the woman usually seen on the sound balcony. She has, however, been seen at least once on stage during a performance, whispering in the ear of a musician in a band.
People do say that major building work in old premises like ours can disturb the spirits and increase the likelihood of ghostly activity. While this didn’t seem to happen here, there have been several slightly spooky goings-on over the last 12 months in the part of the theatre known as No 47, which consists of a ground floor committee room, an office and costume store on the first floor and a rehearsal room on the second floor. There is also access into the cellar.
Last summer, an electrical tester was working in the top rehearsal room and was convinced he was being watched. Every time he looked round, he saw nothing. He mentioned this to me afterwards while he was testing the wiring in the swimming pool area and said it was probably his mind playing tricks from hearing someone moving around the room below…except, of course, there was no one else in that part of the building at the time. Mary never left the box office and I was in the back alleyway spraying the weeds!
Last year, I was in the office in No 47 and thought I heard my name being called by a woman’s voice. I guessed it was merely noise from outside or next door, until I heard it a second and third time. I went down the stairs, assuming it was Mary. Perhaps the intercom between the box office and admin office wasn’t working, so she’d had to come across and find me? No, the intercom was working and Mary had again never left the box office and had actually been on the phone for some time. Added to that, only a fortnight ago, I heard the sound of chairs being moved around in the committee room beneath the office several times over the course of a morning – on every visit downstairs, there was no sign of anything having been moved and no one else around.
Were these all noises from outside merely sounding as if they were coming from within the theatre, or genuinely ghostly goings-on? Happy Hallowe’en!
Friday 31 October 2008
Wednesday 29 October 2008
Notes from Epsom Downs
We now go over to the racecourse and a commentary on the soon-to-be-run Epsom Downs – not from Sir Peter O’Sullevan but the play’s director, Steven Rayworth:
“And as we approach the final two furlongs…
Yes, indeed, Deep End Theatre Company’s production of Epsom Downs is just two weeks away and you bloggers out there may just like to know how it’s going.
Howard Brenton’s play is a theatrical treat. It is also a bit of a challenge: the staging of a day at the Derby in Silver Jubilee year. Forty-odd characters converge on the downs for the great day. Originally, as performed by Joint Stock Theatre, the company comprised nine actors with multiple role-playing in the true Brechtian style. Here, I’ve expanded it to 22 actors with some multi-various role-playing. The result, I think, is a theatrical entertainment of sustained variety throughout. By opening out the play in order to absorb more actors, I’ve been able to achieve an age range appropriate to the idea that Derby Day (and, indeed, racing in general) is for everyone.
Mike Kingston has designed the set that will convey the undulations of the Downs; he has also assured me that the special effects which I imagined difficult won’t be! Martin Oakes is gearing up on the lighting and sound front and there are already a couple of effects planned which will add a frisson of verisimilitude to the production.
Forty-odd characters to contend with has meant some pre-occupation with costumes: some easy to get hold of, others less so. Liz White is on board to help although many of the cast have been rooting amongst their own clobber. One way or another, the play will look colourful – as Derby Day should.
And what of the actors? Some I knew beforehand, others I have encountered for the first time. Some of them are acting out of their skins! We have been able to move forward considerably with the play because much line-learning has been done prior to rehearsals and what a boon that is! And oh boy, have we had a laugh!
Epsom Downs is both extremely funny and poignant; there are a number of personal stories to follow throughout the play and a rich revelation of character along with identifiable social types. I defy you not to have a good time when you see this marvellous play. Howard Brenton can be regarded as a political playwright of some renown and Epsom Downs is, arguably, his most accessible play. I’m enjoying it as much as I’ve ever done. Rehearsals have confirmed that you can have a laugh (my number one aim) and be creative. At the time of writing this blogette, the ‘vibe’ is extremely positive and a feeling that we’re close to doing this play justice.
Oh, and I have deliberately not mentioned the company’s research trip to Cheltenham Races on 18 October (courtesy of Edward Gillespie – a BIG thank you). My wallet is still reverberating from the pounding of losing bets it received…”
EPSOM DOWNS 12 – 15 November at 7.45 pm
Tickets £9 (£6 concessions except Saturday)
“And as we approach the final two furlongs…
Yes, indeed, Deep End Theatre Company’s production of Epsom Downs is just two weeks away and you bloggers out there may just like to know how it’s going.
Howard Brenton’s play is a theatrical treat. It is also a bit of a challenge: the staging of a day at the Derby in Silver Jubilee year. Forty-odd characters converge on the downs for the great day. Originally, as performed by Joint Stock Theatre, the company comprised nine actors with multiple role-playing in the true Brechtian style. Here, I’ve expanded it to 22 actors with some multi-various role-playing. The result, I think, is a theatrical entertainment of sustained variety throughout. By opening out the play in order to absorb more actors, I’ve been able to achieve an age range appropriate to the idea that Derby Day (and, indeed, racing in general) is for everyone.Mike Kingston has designed the set that will convey the undulations of the Downs; he has also assured me that the special effects which I imagined difficult won’t be! Martin Oakes is gearing up on the lighting and sound front and there are already a couple of effects planned which will add a frisson of verisimilitude to the production.
Forty-odd characters to contend with has meant some pre-occupation with costumes: some easy to get hold of, others less so. Liz White is on board to help although many of the cast have been rooting amongst their own clobber. One way or another, the play will look colourful – as Derby Day should.
And what of the actors? Some I knew beforehand, others I have encountered for the first time. Some of them are acting out of their skins! We have been able to move forward considerably with the play because much line-learning has been done prior to rehearsals and what a boon that is! And oh boy, have we had a laugh!
Epsom Downs is both extremely funny and poignant; there are a number of personal stories to follow throughout the play and a rich revelation of character along with identifiable social types. I defy you not to have a good time when you see this marvellous play. Howard Brenton can be regarded as a political playwright of some renown and Epsom Downs is, arguably, his most accessible play. I’m enjoying it as much as I’ve ever done. Rehearsals have confirmed that you can have a laugh (my number one aim) and be creative. At the time of writing this blogette, the ‘vibe’ is extremely positive and a feeling that we’re close to doing this play justice.
Oh, and I have deliberately not mentioned the company’s research trip to Cheltenham Races on 18 October (courtesy of Edward Gillespie – a BIG thank you). My wallet is still reverberating from the pounding of losing bets it received…”
EPSOM DOWNS 12 – 15 November at 7.45 pm
Tickets £9 (£6 concessions except Saturday)
Wednesday 22 October 2008
Notes from The Gut Girls
Dave Wheeler is one of several members who trod the boards at The Playhouse as an amateur and eventually decided to go and train and turn professional. He still keeps his hand in down here when time permits – he was last seen as Chairman/Charles Warren in Jack the Ripper and his last stint in the director’s chair was for the musical Kiss of the Spider Woman – and, at present, he is directing The Gut Girls, the next production from The Playhouse Company. Here, he tells us a little about the play:
“I first came to know this play through hearing a monologue from it and I was immediately hooked. That was eighteen years ago and now I finally have the chance to direct the piece. There are ten roles for women and six roles for men and, never having directed a play about women with just a few men involved – the majority of plays require more men than women – I have got the men to double up and play more than one role each.
Set at the end of the nineteenth century the Gut Girls themselves are a group who love the financial freedom their job gives them even though they are considered one step away from whores. Their job is sorting the livers, lungs, kidneys, hearts and various other bits of animals' insides! At the end of the day, go for a drink or three and generally have a great time. The men do not mess with the Gut Girls!
With the play’s theme of female independence, her contemporaries have considered Sarah Daniels a feminist playwright – although she herself denies the allegation – for championing the cause of female emancipation and equality with men, the progress of which has been painfully slow and is a struggle that continues into the present day.”
THE GUT GIRLS, SAT 1 - SAT 8 NOVEMBER at 7.45 pm
(No Sunday performance)
Tickets £9 (£7 concessions Mon & Tues)
“I first came to know this play through hearing a monologue from it and I was immediately hooked. That was eighteen years ago and now I finally have the chance to direct the piece. There are ten roles for women and six roles for men and, never having directed a play about women with just a few men involved – the majority of plays require more men than women – I have got the men to double up and play more than one role each.Set at the end of the nineteenth century the Gut Girls themselves are a group who love the financial freedom their job gives them even though they are considered one step away from whores. Their job is sorting the livers, lungs, kidneys, hearts and various other bits of animals' insides! At the end of the day, go for a drink or three and generally have a great time. The men do not mess with the Gut Girls!
With the play’s theme of female independence, her contemporaries have considered Sarah Daniels a feminist playwright – although she herself denies the allegation – for championing the cause of female emancipation and equality with men, the progress of which has been painfully slow and is a struggle that continues into the present day.”
THE GUT GIRLS, SAT 1 - SAT 8 NOVEMBER at 7.45 pm
(No Sunday performance)
Tickets £9 (£7 concessions Mon & Tues)
Monday 20 October 2008
Off to the Races
In 1977, Howard Brenton was working on a play that would eventually be titled Epsom Downs, providing a glimpse of the state of the nation in Silver Jubilee year through a day at the races (Derby Day, in fact). As research, the cast were invited down to Epsom so they could get to see the various character types that Brenton was reproducing in the play and help their understanding of what a busy race meeting is like. Among the younger members of staff at Epsom racecourse then was one Edward Gillespie.
Fast forward some 30 years and Edward Gillespie is now managing director of Cheltenham racecourse and he well remembers the visit from the original Epsom Downs cast. With extraordinary generosity, Edward invited the cast of our forthcoming production of this play (all 20 of them), to spend last Saturday at the first meeting of the season as his guests.
“Many of the actors had, surprisingly perhaps, never visited the races before and found it enormously useful,” says the play’s director Steven Rayworth. “And while 30 years have passed since the play was written, it was fascinating to see that most of the character types in the play are still with us! Our actors playing the bookies seem to have got it spot on and a lot of racegoers are as ‘larger than life’ as we’ve been portraying them in rehearsal.”
Fast forward some 30 years and Edward Gillespie is now managing director of Cheltenham racecourse and he well remembers the visit from the original Epsom Downs cast. With extraordinary generosity, Edward invited the cast of our forthcoming production of this play (all 20 of them), to spend last Saturday at the first meeting of the season as his guests.“Many of the actors had, surprisingly perhaps, never visited the races before and found it enormously useful,” says the play’s director Steven Rayworth. “And while 30 years have passed since the play was written, it was fascinating to see that most of the character types in the play are still with us! Our actors playing the bookies seem to have got it spot on and a lot of racegoers are as ‘larger than life’ as we’ve been portraying them in rehearsal.”
All had a fantastic day and almost the entire cast had a winner or two – or at least won some money on each-way bets – with the exception of the director himself, while Deep End treasurer Rod Holliman was the most successful punter of the day. Obviously the right man to be in charge of the finances! And no, John Roberts doesn’t normally go round with a hanky on his head, he’s just getting into character as Grandpa, a cross between Alf Garnett and Uncle Albert Trotter! Monday 13 October 2008
Young musicians
Just over a week ago, our green room was filled with some ninety teenagers enjoying the music of three local young bands. Now we turn our auditorium over to the talented youngsters of the Cheltenham 'branch' of Clive's Easylearn Pop Music School.
Run by Nick and Ceri Smee, who may be known to people through their performing experience with Cheltenham Operatic & Dramatic Society, Clive's provides weekly lessons in learning and performing in a rock band, with tuition on guitar, drums, bass, keyboards and vocals. These lessons take place at nearby St Luke's Church Hall and twice a year the kids present a showcase in our auditorium - the next of which is this coming Sunday, 19th October.
The details have been changed slightly from the published brochure, with doors opening at 6.15pm for a 6.30pm start. Tickets are available on the door at £5 but can be purchased in advance for £3.50 by telephoning Nick or Ceri on 01452 530683 (the box office does not tell tickets for these showcases).
Anyone interested in joining Clive's - especially after seeing the show on Sunday night - may like to know that if you sign up this month, your first four lessons will be absolutely free! More information can be found at http://www.clivesmusic.com/
Run by Nick and Ceri Smee, who may be known to people through their performing experience with Cheltenham Operatic & Dramatic Society, Clive's provides weekly lessons in learning and performing in a rock band, with tuition on guitar, drums, bass, keyboards and vocals. These lessons take place at nearby St Luke's Church Hall and twice a year the kids present a showcase in our auditorium - the next of which is this coming Sunday, 19th October.
The details have been changed slightly from the published brochure, with doors opening at 6.15pm for a 6.30pm start. Tickets are available on the door at £5 but can be purchased in advance for £3.50 by telephoning Nick or Ceri on 01452 530683 (the box office does not tell tickets for these showcases).
Anyone interested in joining Clive's - especially after seeing the show on Sunday night - may like to know that if you sign up this month, your first four lessons will be absolutely free! More information can be found at http://www.clivesmusic.com/
Wednesday 8 October 2008
Email problems again
Yet again we find ourselves with internet access but no email service. This is due to our ISP and not our internal servers. This is apparently affecting Virgin customers across the UK and the anticipated fix time is 16.00. Time to switch provider, I think! We apologise for any inconvenience this may cause. Please call 01242 522852 if your enquiry is urgent.
Tuesday 7 October 2008
Pro vs Am
It is true to say that there has always been a slight ‘snobbishness’ surrounding amateur theatre (hence why many of us try to use the term ‘non-professional’ or ‘community theatre’, although the latter is something of an Americanism). In fact, I know of a case whereby the chairman of a local Cheltenham society refused to countenance a move to holding their meetings here because they didn’t want to be aligned with ‘the amateurs’! What a dreadful lot we must be!
Now we all know standards in non-professional productions – whether here or in any other venue – vary considerably. We often have to ‘make do’ and certainly aren’t able to have intensive rehearsal time. But most of us have also gone to see professional shows that have left much to be desired. The general blanketing of non-professional as sub-standard is both unhelpful and often untrue.
And while we may not be getting paid for taking to the stage, many groups spend a considerable amount of money on their shows here – sometimes as much as £12-£15,000 for a one-week run of a musical – and the venue itself is now anything but ‘amateur’. In fact, I have just given a guided tour to a lovely couple that thought the theatre deserves an award for the successful transformation.
We are now hosting some professional productions and we hope to increase the number further in 2010 and beyond – NOT because professional is necessarily better, but because we want to bring to Cheltenham performances that might otherwise pass our town by and host these alongside the best in locally-produced drama.
However, the tide may perhaps be turning slightly. It seems that some professionals are now rallying to the defence of what we do – including Michael Boyd, artistic director of the Royal Shakespeare Company no less, who in a recent article in The Stage said he wants to “take away the crucifix and garlic that we have held up in the profession against the non-professional theatre movement in this country.” You can read the full piece by clicking on the link to The Stage newspaper on the right and searching the ‘News’ section.
Now we all know standards in non-professional productions – whether here or in any other venue – vary considerably. We often have to ‘make do’ and certainly aren’t able to have intensive rehearsal time. But most of us have also gone to see professional shows that have left much to be desired. The general blanketing of non-professional as sub-standard is both unhelpful and often untrue.
And while we may not be getting paid for taking to the stage, many groups spend a considerable amount of money on their shows here – sometimes as much as £12-£15,000 for a one-week run of a musical – and the venue itself is now anything but ‘amateur’. In fact, I have just given a guided tour to a lovely couple that thought the theatre deserves an award for the successful transformation.
We are now hosting some professional productions and we hope to increase the number further in 2010 and beyond – NOT because professional is necessarily better, but because we want to bring to Cheltenham performances that might otherwise pass our town by and host these alongside the best in locally-produced drama.
However, the tide may perhaps be turning slightly. It seems that some professionals are now rallying to the defence of what we do – including Michael Boyd, artistic director of the Royal Shakespeare Company no less, who in a recent article in The Stage said he wants to “take away the crucifix and garlic that we have held up in the profession against the non-professional theatre movement in this country.” You can read the full piece by clicking on the link to The Stage newspaper on the right and searching the ‘News’ section.
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