Season 67 Issue 4 Jul

B INGLEY LITTLE THEATRE
NEWSLETTER
June 2015
67th SEASON
From the Chair
Can I firstly thank Tony Leach, and his consort Judith Hill, for
his Chairmanship last year. My first duty as your Chairman was to
attend, along with others from BLT, the funeral of Mavis Lawrence.
Our thoughts are with Derek Lawrence and his family at this time.
I did have the privilege of handing out the LAMDA
Certificates to the Kaleidoscope pupils. Congratulations to all who
were awarded certificates. There were such a lot of Merits and
Distinctions and our thanks to Sally Edwards and her team whose
hard work was instrumental in the passes.
It has been a busy start to the year with Coarse Acting in the
Studio, more of which elsewhere, and welcoming over 100
delegates to the Theatre for the Little Theatre Guild’s Annual
Meeting and Conference. We were delighted to welcome Sir Ian
McKellan to the Conference. During the AGM of the Guild Sir
Ian said that he thought Bingley Little Theatre “An amazing
building and enterprise”.
I would like to thank everyone who was involved in all the
preparations for and in all the work over the weekend of the
Conference itself. There was a considerable amount of work that
was carried out. It was very exhausting but hopefully very
enjoyable. It gave us a splendid showcase for all that has been
done within the building since the Guild last visited us. We received
many compliments on a job well done. Thank you.
At the AGM I said that we needed to look ahead 5 to10 years
to see what we would be doing in the building, how we would be
doing it and most importantly who would be doing it. All theatres in Our new Chairman Brian Stoner, with his
the LTG are facing the same question. “Who will take over from Vice-Chairman Rosemary Grainger.
us?” I don’t have the solution which will make all such questions
redundant but I do believe that we need to run the building as a
Community, each bringing their own abilities and encouraging new people to come on board wherever possible.
We also need to take a long hard look at the building as a whole and ask whether we are making best use of
it. We must have a shortage of space as I find Committee Meetings taking place in the Bar because there is no
where else, but we have the whole building at our disposal – and we should utilise it.
I would like to start a conversation with the members as to what improvements we can make within the whole
building, we need all sorts of ideas so that we can spark off each other. I would contribute some ideas to get the ball
rolling.
We do not have any disabled access to the first floor and I believe that the space above the Coffee Lounge
could be utilised along with the Squire’s Room to produce a Studio Theatre capable of providing a place where our
own Studio plays can run for more than two nights, where we can have visiting acts who need a more intimate
space, where rehearsals could be held. The largest benefit of this move would be to free up the upstairs room to
enable our social life to carry on without interruption and where the public would rarely come. The number of
Theatres in the LTG that have had specific Studio Theatres is growing fast
There are all sorts of questions that need to be raised. Do we really need two Admin Offices? Can our
Departments be organised differently in terms of the space they occupy. I know that different suggestions may clash,
they almost certainly will, but in putting the ideas together we may well find that the whole could be greater than the
sum of its parts. We would need to get professional advice as to the practicalities. We would need to seek grant
funding for such a major overhaul, but our current financial position means that it will be easier to seek funding than
it has been since 2012.
There will of course be objections to such work but what we cannot do is to do nothing as this will merely
continue the issues we currently have and hand them on to our successors. I do not believe that we would be
thanked for that.
Brian Stoner
Please send your copy for the next Newsletter to
Robin Martin or Judy Robinson by Thursday 17 September 2015
Stuffing will be in the small rehearsal room on Monday 12 October 2015
1
SEASON 68
2014 - 2015
Cast List for Next Plays
14 - 19 September 2015
The Decorator
by Ronald Churchill
THE LADYKILLERS
Director Jacquie Howard
Harry Julian Freeman
26 - 31 October 2015
The Ghost Train
by Arnold Ridley
One Round Paul Chewins
Louis Laurie Toczek
Professor Marcus Lee Russell
7 -12 December 2015
Ring Round the Moon
by Jean Anouilh
(adapted by Christopher Fry)
Major Courtney James Margerrison
Mrs Wilberforce Julie Boldy
Constable MacDonald David Brett
18 - 23 January 2016
The Turn of the Screw
by Henry James
(adapted by Ken Whitmore)
Mrs Tromleyton
Nadine WalkerBowman
THE DECORATOR
Director - David Templeton
Marcia Laura Campbell
29 February - 5 March 2016
Sugar Daddies
by Alan Ayckbourn
Walter Julian Freeman
Jane Julie-Marie Hinton
Contributions please to:The Newsletter Editor,
Bingley Little Theatre,
Main Street,
Bingley, BD16 2JZ
10 - 12 March 2016
Nil Desperandum
by Edwards and Gaul
11 - 16 April 2016
Scales of Justice
by Peter Saunders
Emails: Robin Martin
[email protected]
or
Judy Robinson
[email protected]
23 - 28 May 2016
An Ideal Husband
by Oscar Wilde
4 - 9 July 2016
Brassed Off
by Paul Allen
..or in their pigeonholes at
BLT.
By 18 September
2
Bingley Little Theatre Election Results - May 2015
President
John Eaton
Director
Chairman - BLT
Brian Stoner
Director
Vice Chairman - BLT
Rosemary Grainger
Director
Past Chairman - BLT
Anthony Leach
Director
Secretary
Anne Lakin
Director
Treasurer/Business Co-ordinator
Graeme Holbrough
Director
Honorary Legal Adviser
Artistic Coordinator
John Eaton
Director
Jonathan Scott
House and Social Coordinator
Martine Illingworth
House Manager
Assistant House Manager
BLT Front of House Manager
Ron Hardy
Head of Studio
Jan Darnbrough
Social Committee (4 to serve)
Judith Hill
June Driver
Margaret Wilcock
Anna Tate
Faye Hardy
Lighting Manager
Effects
David Pedrick
Properties
Yvonne Templeton
Wardrobes
Debbie Linton
Workshop Manager
Assistant Workshop Manager
Godfrey Elliot
Publicity Manager
Anthony Leach
Asst Publicity Manager
Kate Harris
Publicity Committee
(6 to serve)
Glyn Turton, Judy Robinson; Margaret
Barrans; Rosie Brooks; Ian Smithson,
Charlotte Johnson
David Templeton
Yvonne Templeton
Wendy Broadbent
Rosie Crabb-Wyke
Mark Brown
Deborah Mouat
Phil Holbrough
Gilly Wilkinson-Rogers
Patricia Clough
Box Office Manager / Ticket Secretary
Asst Ticket Secretary
Membership Secretary
Reading and Casting
Committee
(5 to serve)
LTG Representative
Stage Committee
(4 to serve)
Richard Stageman
Pam Heywood
Leigh Bowman
Rosie Brooks
Richard Stageman
Ron Hardy
Margaret Wilcock
David Templeton
Jan Darnbrough
Tony Cross
Jeff Peacock
Bingley Arts Centre Committee (7 to serve)
3
June Driver
At the AGM, our President, John Eaton, invited June Driver to
step forward and become the 52nd Hon Life Member of BLT. An
extract from his speech awarding this honour....
Nothing can give greater pleasure than when the individual is as
delightful and deserving as this particular person. “Delightful and
deserving” sounds like a line from Cole Porter’s “Kiss me Kate”! I
am not certain if this lady is delirious but she is certainly
delightful and delicious!
I remember seeing Hugh Whitemore’s moving play “Pack of
Lies” in 1987, and remember seeing an extremely vivacious and
attractive blonde whom I hadn’t seen in any plays before. This
was probably for the reason that it was her first appearance on
BLT’s stage.
Since then, her middle name might have Vesta Tilley …..Versatility ……… so varied are the roles which
she has played. These have included a maid – a hairdresser – a nun – a vicar’s wife – a doctor’s wife – a
scold – a murderer – a ghost – a retired opera singer – and (twice) the sister of a missionary.
Her contribution as an actress over the last 28 years might well have justified hon life membership on its
own, but her stage appearances are only a small part of her BLT activities.
She was ASM for what she describes as “several plays under Wheater Smith”; she could perhaps have
phrased that more felicitously (!) – but having had such an excellent role model, she stage- managed one
or two productions and also helped out behind the scenes with props and wardrobes.
After two spells – on the Reading and Casting Committee, it became clear to her that finding prompts was,
in itself, a time-consuming job for the committee so, never one to hold back, she promptly (no pun
intended) volunteered to be prompt finder.
Not only was she active on the stage and behind the stage, but was equally active at the bar for many
years (the Victoria Bar, that is!).
In 1996 the outcome of her consistently active, cheerful and dedicated commitment to all aspects of the
theatre resulted in her inevitably becoming chairman in 1996-97.
And she modestly but proudly reminded me recently that in 1997 she also helped Jean Stuckey write the
book which has become the seminal history of the theatre, and which Etain (Laurie Geoghegan’s daughter
who spoke so movingly at the Chairman’s Supper) was so delighted to receive - “A History of BLT”.
As a member of the Social Committee her cheery smile has accompanied all those trying to keep up with
the demands for cups of coffee by audience members on Wednesday evenings.
They say that some people give pleasure wherever they go, and some give pleasure whenever they
go....June definitely falls into the former category!
At the recent LTG conference, the Publicity workshop heard from some Little Theatres who turn
around their Newsletters, from copy date to publication, in two days. Ours takes nearly a
month!
This set me thinking. A lot of what we do at BLT is based on precedent. This newsletter has always appeared
occasionally (currently four times a year)...and has always been called a “newsletter”, although I’m aware that many
people refer to it-probably more accurately, as a “magazine”. With a “turn-round” of just under four weeks, we are
inevitably behind with the news!
Editorial
But this style appears to suit us. I know that Ilkley Playhouse, for instance, publish their own news sheet with every
production, tucked inside every programme.
This appears to suit them. The bonus is that they can be more up-to-date. What I like about our own version, though,
is that it can perhaps be more considered. We, for instance, make a point of reflecting on events such as the LTG
conference, the AGM, and on our own productions. And I believe that this is welcomed by members, giving a
theatrical and very Bingley slant to events of the last Quarter. Do you agree?
Another feature which surprised some “foreign” delegates is that we post out approximately 250 newsletters to our
members. They told us that they don’t. You pays your money…
Anyway, on the above theme I am once again looking for play reviewers for the coming season. The playlist is on
page 2. If anyone would like to take on what one member recently described to me as a ”very difficult job”! , please
get in touch with me via the usual channels. I am happy to chat about it, if you’re mulling it over. And, although, as
Editor, I’m indebted to our regular hoary old contributors, I always welcome virgins!
Robin Martin
4
The BLT Annual General Meeting
This was held on 8 May and attracted an excellent turnout with over 100 members attending. All the more
remarkable given the atrocious weather conditions outside. The retiring theatre Chairman, Anthony Leach,
presided over the early business, which comprised the officers’ reports for 2014-15, before handing over
the chain of office to Brian Stoner, the Chairman for 2015-16.
In his report Anthony thanked the many members who had made contributions to the operation and to the
well-being of the Theatre and The Arts Centre during his year of office. He noted the continuing
programme of improvements to the Arts Centre during the year, and in particular the installation of the
new light and sound systems. He commented that his legacy as Chairman is in ensuring that the Theatre
has more control over its own destiny by having more rehearsal time on stage. This will give directors,
actors and the ‘ever decreasing’ backstage teams more breathing space in their preparations for
performance.
The Treasurer/Business Coordinator’s report from Graeme Holbrough, which was read in Graham’s
absence by Margaret Wilcock, showed the Theatre to be in good health financially, with 2014/15 being
financially successful. During the year the Theatre reported a profit of £34,000.
The Publicity Manager, David Helliwell, reported on the ongoing work of the Publicity Committee and its
members, which this year had included the recruitment of Glyn Turton as Press Officer. The Committee
has framed plans for 2015/16 for advertising our plays more prominently outside and inside the Arts
Centre.
The Artistic Coordinator, Gilly Wilkinson-Rogers presented a comprehensive review of the
performance and production side of the Theatre’s work during the year. The volume and depth of Reading
& Casting Committee’s work was illustrated by the fact that 192 members had been offered parts to play
38 male and 25 female parts in the season’s 8 plays. Already 82 people have been offered parts in next
season’s plays. Gilly noted the difficulties experienced when people who are offered parts delay making a
response. She also urged any members who would like to act but feel that they may have been
overlooked to contact the Chair of the Committee to state their interest, particularly where they have not
added their name to the ‘interest’ list posted in the downstairs corridor. Gilly reported that 288 readings of
82 plays was conducted in the selection of next year’s 8 play programme. The 2014/15 programme had
been well received by audiences, with two plays (Fawlty Towers and Inspector Drake’s Last Case)
moving into the top 10 of the 62 plays performed over the last 7 1/2 years. Stage Committee, Studio
Committee and Kaleidoscope had all had a successful 2014/15. Gilly announced she would not continue
in the role for 2015/16.
The Theatre’s LTG representative, Patricia Clough, reported on the plans for the LTG Annual Conference
which is to be held at BLT at the end of May. Conference members will arrive at BLT on the evening of
Friday 23 May. There is a need for more members to assist in looking after visitors during the Conference
and particularly to act as ‘meeters and greeters’ on that evening. It is possible that Sir Ian McKellan might
be present for part of the Conference.
Martine Illingworth, the House and Social Co-ordinator, reported on the very active programme of
social events conducted during the year. The programme depended heavily on the contributions of a
relatively small group of members, who were thanked for their special efforts.
Tony Cross, as Chairman of the Arts Centre Committee, reported on a very successful year. The
new lighting and sound systems are fully established and are working well. A growing number of external
professional promoters are booking the Arts Centre as a venue and our support of local community
activity continues extensively. Some further improvements to the building are in the pipeline including
enhancements of the Coffee Lounge and the Entrance Foyer. Of particular note is the plan to commission
the installation of a fully automated revolve to the stage. All these works will be completed before the start
of next season. The proposal presented at last year’s AGM to introduce live screening of major
professional productions by satellite has proved to be too expensive to undertake at this stage.
In an amusing address the President, John Eaton, celebrated another successful BLT year and extended
his thanks and congratulations to Officers and Committee members for their work in achieving the
success.
The President presented the award of Life Membership of the Theatre to June Driver for her varied
contributions to BLT over many years.
In his address Brian Stoner, the incoming Chairman, stated that two of his priorities for the year would be
firstly to start a conversation about how BLT uses its accommodation, to lead to the framing of more
efficient space utilisation strategies; and secondly to give consideration to improving access to BLT’s
premises, particularly with regard to people with disabilities.
The meeting drew to a close with Jean Stuckey proposing a vote of thanks to all those who have brought
their care, knowledge and talents during their last years to ensure its continuance. She reminded the
meeting of a quote made by the late Laurie Geoghegan, a past President of the Theatre, that ‘There
cannot be a better Bingley without a Little Theatre’.
Gordon Lakin
5
LITTLE THEATRE GUILD WEEKEND – 29/30 AND 31 MAY 2015
What a marvellous weekend! The comments from the 110 delegates were very
complimentary on every aspect of the weekend. Over all the play was rated extremely highly
as were the workshops, the warmth of the welcome and the outstanding hospitality.
The addition of the children at meal times was appreciated as a very nice touch. A continuous supply of
coffee and tea and biscuits was very important – vital for many of our delegates.
I have organised or worked on every LTG Conference Bingley has held since we joined the Guild in the
late 60s and it was super to know that once again, we were rated as one of the best hosts in the Guild.
On Friday night two ladies from Bolton told me that it had been the best Friday night at a Guild
Conference for years.
The comments from Michael Corbidge of the RSC were especially flattering to our play and our theatre.
Just for the record he did his two wonderful workshops at no charge to BLT.
Happily Sir Ian McKellan did arrive and charmed everyone he spoke to including Mary Newton to whom
he chatted twice.
The Lord Mayor and her husband were very appreciative of the warm welcome afforded to them
especially as it was so early in her taking up the office.
Everything that happened can only be a good thing for our theatre and I would like to offer my personal
special thanks to everyone who assisted in any way whatsoever.
Brian Stoner worked extremely hard throughout the planning and presentation but how proud he
must be to be Chairman of such an outstanding theatre.
Patricia Clough – LTG Representative
Bingley Little Theatre
Letter to the Editor
Dear Editor
Re LTG Conference
What a great conference – such friendly and warm members, great workshops and a
very fine production. So well done to all – a large pat on the back and a big tick in the
10/10 box.
Some pictures on my Flickr account:
https://www.flickr.com/photos/madam-secretary/sets/72157653828610445
for your general interest.
Thank you Patricia for your fine presentation and truly awesome humour and delivery.
Best wishes
Anne Gilmour
(Anne is from Questors Theatre, Ealing)
And a visitor’s view of Bingley. The Exhibition boat
“Kennet” at Five Rise Locks, seen during the
delegates’ guided walk. Photo: Anne Gilmour....led
by David Helliwell. It’s always good to see how wellappreciated our town is by visitors. Take a look at
There was plenty of time to mingle and to
network in the Arts Centre coffee bar, looked after Anne’s “Flickr” page (see the link in her letter, above)
for some stunning views of Bingley”.
by Rosemary Grainger and her helpers.
See overleaf for more photographs of this highly successful event.
6
7
8
Review
BINGLEY AT WAR or Journey’s End
The Battle of Bingley reached its climax for me on Tuesday 14th April after 9 o’clock in the evening when
Jamie Rogers breathed his last in the arms of Mike Smith (Captain Stanhope), demonstrating the
lack of purpose, blind injustice and sheer absence of glory in dying for the sake of obedience to the orders
of Jeff Peacock who vacillated brilliantly by masterly underplay of his vapid role. The hostilities rumbled on
for another four days ending in total demolition of the trench with all its mud, corrugated iron, kitchendining quarters and sandbags for real when the play
was over.
I had the honour (seriously) to be part of the frenetic
chain in the gang which barrowed a full-size skip of
soil and stone into the outer darkness through the
emergency exit stage right, while the other working
party removed the buildings and makeshift
fortifications to reveal, lo and behold, the BLT stage
in pristine cleanliness. Everything from the beginning
of the rehearsals to the sounding of the ‘all clear’ at
11.30 on Saturday night had been achieved with
military precision under Commanders Heywood and
Stageman, all subject to Supremo Williams; and
Lieutenant Wilkinson (Osborne), still in his khaki
fatigues and magnificent muscles, flashed up and
down the narrow planking to hurl our loads into the
waiting skip as if his life depended on it.
Ian Wilkinson, Jamie Rogers, Rick Hoddy, Julian
Freeman and Mike Smith
The first time, fifty years ago, I saw 2nd Lieutenant Raleigh I knew straight away he was the sacrificial
lamb to the slaughter. Jamie Rogers was just as assured in his heroic naivety this time, in complete
contrast with the ambiguity of the other characters whose true motivation in the heat of war you could
never vouch for, amidst the fear, courage, inebriation, cowardice, ambition and exhibitionism which
accompanies the actual carnage and gunfire of a living and dying front line. For instance when I was
moved by what I took to be Stanhope’s genuine sadness mixed with the inevitable feelings of guilt for
being involved in the circumstances of Raleigh’s death, the person next to me was despising Stanhope for
seeming to find a reason for not going out into the danger zone. However you interpret the actions in the
play, and they are very subjective responses, there was no question about the ironical difference between
the Captain holding his ex-pupil’s dead body when he had chosen him to go over the top of his trench in a
raid resulting in proper casualties, compared with the simulated battlefield facing a school rugby team or
The Harlequins when they went out to play matches, which they discussed in Act 2, Scene 1.
But it is always unfair to single out performances as I have done. This play worked consummately well
because the whole cast came together to bring about a stunning performance of a potentially strong play
that can in the wrong hands become sentimental. There was nothing sentimental about this one. It hit you
hard below the belt and was I believe true to its author’s intentions. R C Sherriff had after all experienced
his subject at first hand; his triumph was to encapsulate the sorrow and camaraderie for us in dramatic
form.
To conclude: the set was the most absolutely absorbing I have ever seen at Bingley in its dim, noisy,
squalid atmosphere of real war. I’ve seen many good ones, but this with the effects from our new sound
system and compelling lighting, was in a class of its own.
Tony Reavill
Dear Editor
Letter to the Editor
This play (Journey’s End) was absolutely brilliant, marvellous. Challenging yet funny but
so serious - a serious subject. Acting fantastic-everyone. Great ending - Couldn't have
been right for "Usual" play ending. The set - well what to say? Stunning! Really got the
mood, tone for play. Special effects-superb. Loved how action went on as one entered start and after the interval. This must surely be one - if not the best plays I've seen BLT put on. Fabulous!
Well done! Now from the "sublime" to the "Ayckbourn". No, not hammering another show - that is totally
different. One has to appeal to all people’s tastes. I like how BLT have so varying plays. This one was just
worth telling you how good it was!
Andrew Taylor
9
A. Gordon Sugden (one of many, as Gordon pointed out!)
Another in our occasional series of reminiscences shared with our longer- serving members. In a career
spanning 46 BLT years to date, from The Workhouse Donkey to Inspector Drake’s Last Case Gordon
has been Chairman, Trustee, Bar Accountant, has acquired four children, ten grand children and so far
one great grand child.
I recently visited Gordon at his Harden house, as he and
Margaret prepared to set off in their camper van.
We had a enjoyable couple of hours leafing through his
scrapbooks, reminiscing about BLT times long gone, while
Margaret was sent out to the garden, occasionally popping in
to provide coffees and biscuits....
Gordon's first play at BLT was in 1969, The Workhouse
Donkey. A neighbour, Robert Shaw (who many will
remember), got him involved, as they were short of men in a
'cast of thousands'..."I ended up with 4 parts, 5 costumes,
and maybe two words! I'd done a little amdram in Youth
Clubs etc. I had moved up to Bradford to work at the
University".
His first major part was in The Real Inspector Hound with Ron Pearson (see above photo). I had to make
my entrance from the audience. Marilyn Baines came up to me and said " You shouldn't be here, Gordon,
you're not even in costume!"
There was a dead body on stage throughout the evening, and Donald Clough and Peter Heaton shared
the responsibility. The job was to stay "dead" until the last audience member had left...."a couple of old
ladies stayed behind one night very concerned, until Peter drummed his fingers on the stage! Peter and I
were at Sheffield University together, along with Bernard Gallagher of Downton Abbey".
Gordon played in the first play at the new theatre,
Vivat Vivat Regina in October 1974. (" if you
look carefully you'll see me at the back of this
photo ...!")
We mused on how some plays ...and playwrights.
have fashions. Vivat's author, Robert Bolt, is not
much performed these days (with the obvious
exception of A Man for All Seasons) yet a talented
playwright!
I asked: “Did you discover that your forte is
comedy?”
"I don't know that I have a forte! Big parts are ego
trips for all of us. It's wonderful to make people
laugh, and you get an immediate response. On
the other hand you can sense a hold on the
audience with dramatic parts. But...it's all
ephemeral anyway! Basically the approach to
acting is Remember it, try to say it intelligently,
and make sure you're heard. What else is there?!"
Gordon and I were on stage together in a few plays. Stirrings in Sheffield - He got shot by Ron Pearson! Ludd, and our highlight of Puss In Boots, one of the last children's plays for Christmas. Gordon
was Puss ("How could I resist the costume?!). He remembers that there were often problems with teachers
keeping the children quiet.
In Trudy and the Minstrel in 1971, another children's play, at the old theatre, "I had to run around the
audience. I played Weissbart-Whitebeard, and one night, as I ran around the aisles, the delightful children
tried to snatch my beard off. One night they succeeded!"
Rex Squires directed A Flea In Her Ear. " At one rehearsal he stormed out, saying he wasn't going
to carry on! Although I only had few lines, I felt it was all my fault!"
Looking through Gordon's scrap books - "So much of this is coming as a surprise!" - we recognised familiar
old BLT faces - Laurie Cooke, Harry Chapman, "In Kidnapped at Christmas Harry and I had to throw
sweets out to the children in the audience. The review said that he and I were " in control of things" By
midweek the children had got wind of this, and were throwing them back! By the end of the week we'd cut
that part of the show!
The accompanying photo (see above) shows two heavily disguised leading actors.
We'll have more from Gordon's reminiscences in our next issue
Robin Martin
10
Review
Coarse Acting Strikes Back
There was an appreciative audience at the BLT
Studio production of Coarse Acting Strikes Back on
Saturday, 23 May. The evening’s entertainment
consisted of three short, very daft pieces by Michael
Green, deftly directed by BLT Chairman, Brian
Stoner. The three pieces presented were A
Collier’s Tea, Pride comes to Southanger Park
and Cinderella and were all dedicated to disastrous
amateur theatricals and everything that can and does
go wrong. All the technical aspects, lighting and
sound went smoothly thanks to Richard Walsh, Sean
Webster and team. The cast all played their parts
well and were ably supported by Mark Brown as the
Vicar/Compere who worked the studio audience to
Pride Comes to Southanger Park with Laurence
good
comic effect. There were several cast members
Oliver Marjoribanks, Chardonnay Perkins, Joan Olivia
well
known
to BLT (Jan Darnbrough made a great
Marjoribanks and Ashley Merriweather.
Brummie fairy godmother and Yvonne Templeton’s
Blimey!
comedy timing was really good) alongside some new
faces who deserve a mention. Chris Low, Emily
Broadwith, Hannah Taylor and Cassie Fonth were
all strong actors and I hope to see them in Main
House productions in the near future. The café style
seating generally works really well for Studio events
and gives a pleasant ambience. However, as I was
sitting near the back, I found it difficult to see the floor
of the stage and some of the comedic moments could
not be seen properly from there without tiered
seating. Whilst I found the script amusing in places
rather than hilarious there were plenty of audience
members guffawing with laughter and at £5 a ticket it
made a pleasant alternative to the Eurovision Song
A Colliers’ Tuesday Tea with Daniel Obadiah
Contest – well done and thanks to all involved.
Hepplethwaite, Albert Ezekiel Adolphus
Hepplethwaite and Joseph Constantine
Cleghorn…….apparently.
Sally Edwards
Healthy Eating.
Turkeys and chicken are a bit dodgy with the bird flu. On my way here tonight I was overtaken by a turkey
with three legs doing about 80 mph. 'Wow! Did you see that?' I said to this guy on a tractor. 'Yes!' He said,
'It's one of mine, it's escaped.' I said 'Why three legs?' 'Well,' he replied, 'I like a leg, my wife likes a leg
and my son likes a leg.' 'What do they taste like?' He said 'I don't know, we've never caught one.'
Meat pies are a big No. I passed a butcher's shop who had a sign - 'Eat our pies, you'll never get better.'
An elderly BLT member ran into a butchers, dropped to the floor and did 60 press ups. 'Guess how old I
am! 55? 60? 65? No 85!' and off he went. After charging up and down he passed this lady at a bus stop.
He immediately flopped down and did 60 press ups. 'Guess how old I am ? 'Stick your tongue out.' she
said. 'You're 85.' 'Crikey.' he said, 'you can tell my age from looking at my tongue?' 'No' she replied 'I was
in the butchers.'
And what about Vitamin Pills? Do you know, I line my pills up and I line my dogs pills up. He's on the pills
as well. I have one, he has one. Good Boy. But I think I got them mixed up. He's started going to the
theatre and I've started cocking my leg up.
So summing up, what with healthy eating, Vitamin pills and exercising at BLT plays during intervals, can
you see any flaws? 'What's that?' you say. 'We may have to start Physiotherapy classes!'
John Taylor
11
Peter Bennett’s Letter From London
"Many London theatres are now not fit for purpose." I think Lord Lloyd Webber said this recently and I wholeheartedly
agree.
Firstly, there is the scrum in the tiny foyer. Then the waving of £7 glossy souvenir programmes in your face. Often we
are held in cattle stalls until the house is open. The bar prices are a joke and the number of servers usually woefully
inadequate. In summer, the temperatures swelter us and if you are sitting off-centre many of the sight lines are poor.
The queue for the "ladies” snakes back into the bar and if you are sitting in the back half of the stalls, the circle
overhang can obscure your view of the top half of the stage. If you chose the upper circle there is a safety bar in view
or the people in front are leaning forward to see properly and blocking your view. Even in a £60 stalls seat you are
not guaranteed a clear view if a tall person sits in front. Or a lady with a hat. Or a man with a hat for that matter. I
have had to request people in front of me, remove said items many times. And don't get me started on mobile
phones, Malteser boxes and chattering.
This applies to so many of the Victorian London theatres now that I sometimes don't bother with a play because of
the theatre it is in.
You have it lucky. You can park outside BLT. You are welcomed by a friendly house manager. The bar and
programme prices are fair and most of the seats give you a clear view.
I guess the only way to force the theatre owners to remedy the problem would be to boycott them. But with many
"house full" signs going up still I suppose they don't have the appetite .
Modern theatres provide a much more relaxing experience. Talking of which, at The National I saw Tom Stoppard's
new play The Hard Problem. I booked the ticket without thinking about the subject matter or who was in the cast, just
because it was his latest play. And gosh was it a hard problem. I won't go into details but I was fortunate enough to
talk to him at a theatre charity event last summer and he told me that he had submitted this play to Nicholas Hytner
at The National and it had been sent back to him because some of the references were thought too intellectual for a
modern audience to understand. Well I can only say that after struggling with the "dumbed down" version I'm glad I
didn't have to decipher the original. It did sell out but I don't think it received the plaudits of his earlier masterpieces.
You might have seen it at the cinema as part of the NT live showings? Any views?
You put on Arthur Miller's A View from the Bridge recently and there has been a marvellous revival of it here in
London with Mark Strong and Nicola Walker in the leads. Staged in the round within a kind of perspex square with no
props, no interval and no shoes. It allowed the text to shine through in its simplicity and it has been a huge sell out
success. Catch it at your local cinema showing if you can .
The National is currently showing Shaw's Man and Superman with Ralph Fiennes, who sounds to me increasingly
like Leonard Rossiter. I was in Bingley's version many moons ago and I hated being in it. Those who can remember
it might recall a vintage car made its appearance (photo ed?) which was wheeled up into the wings and majestically
shunted onto the stage during a scene.
I hated my part because I stupidly accepted wearing a costume with a pair of brogues 2 sizes too big for me.
Wardrobe told me to wear extra socks. All I can say is that I never felt right in the part because of those shoes. I think
there was a famous actor who said that they always start with the shoes when searching for character and I now
know what they mean. I should have worn my dads old golfing shoes.
There has been a revival of the musical Spend, Spend, Spend here recently, based on the pools winner Viv
Nicholson's life. I think the original production was work-shopped at West Yorkshire Playhouse. Sadly she died
a few weeks ago, fairly poor, and she used to go and see as many of the productions of the show that she could.
Barbara Dickson played her in the original London version. I kept thinking during the show how perfect this
would be for Bingley. Can I suggest to Casting an enquiry to see if it's available? I tried to buy the CD of the music
and was shocked to discover it selling on line for £750. The original recording never had a record label and was only
sold in the theatre foyer. Anyone out there have one for sale?!
I told myself last year that I had seen enough productions of Sondheim's Sweeney Todd to last a lifetime. I even
decided not to go see the concert version recently staged at The ENO with Emma Thompson and Bryn Terfel.
However there was a production of it recently staged in an actual pie shop in Tooting, a south London suburb. It
seated only 70 people and punters were shunted into a
barbers shop in the street opposite, first for a snifter of
London Gin and then promenaded into the pie shop for the
production. So taken with this idea and its small scale
beauty, Cameron Mackintosh decided that a West End
audience should experience it. So he rebuilt the pie shop
exactly in a spare room in one of his Shaftesbury avenue
theatres. It only held 70 seats and it was a sell out.
Sondheim, himself came to see it and also Angela Lansbury
who was the original Mrs Lovett on Broadway. A friend
offered me a ticket and it was such a lovely experience. Lit
by candles and flour in the air, the cutting of throats and the
splashing of blood a few feet away . What fun.
I moaned about celebrity casting last letter. But I've fallen for
it. I have tickets for the American film star Bradley Cooper's
West End debut in The Elephant Man opening soon. I will let
you know.
Man and Superman (April 1986) Peter Hall, Guy
Wilman and Peter Bennett in his big brogues with the Happy theatre going !
1903 Panhard Lavassoir Tonneau, star of the show Best wishes .
Peter Bennett
and courtesy of Peter Black .
12
A Tale of Two Cities
Kaleidoscope drama students gave us another ambitious and
entertaining evening as their annual showcase. They chose the
version of this great novel by Steve Barlow and Steve Skidmore,
two ex teachers who are successful performers and writers of
fantasies and parodies for children. This adaptation had all the
main elements of the story and Jason Perkins’ clever set
maximised the space available enabling the cast of about 40 to
move with freedom and expression. The period flavour was given
by the costumes of Debbie Linton and Amanda Miers with the
citizenry’s many shades of grey effectively contrasting with the
brocades of the well-to-do. It is not easy to light our stage at
Bingley when the designer utilises the apron, but Phill Smith
solved the problem and the subtle use of red spotlights
highlighted the most dramatic moments, in particular the storming Jude Connolly (left) as Sidney Carton
of the Bastille.
and Harry Longbottom as Charles
Darnay
Sally Edwards’ direction took us through the momentous events
with gusto and bravado. She had expertly marshalled the cast so that the action moved effortlessly
between frenetic choreographed activity and intimate discussion. She asked a lot of the cast: that they
perform with a controlled energy reminiscent of the original professional productions of Nicholas Nickleby
or Les Misérables. They responded as an ensemble with highly disciplined performances that did justice
to the epic scale of Dickens’ canvas. Central to the production was the chorus of eight citizens speaking
alternate sentences with such vitality and expression that theirs was the outstanding performance of the
evening. They moved the story along, gave us Dickens’ social commentary and were the core of the
show’s momentum.
The script condensed the story and left out most of the sentimentality, leaving little room for
characterisation, but still the principles found the core of their characters. Sam Brown was the upstanding
citizen Mr Lorry and made a very believable representative of the middle classes. Matthew Perkins
conveyed the transition from broken, disturbed prisoner to cultured aristocrat and back again. Molly
Ingham had exactly the right poise as his devoted daughter. Jude Connolly played Sidney Carton
(surely the first anti - hero), with subdued pathos and sensitivity as the script included little of Carton’s self
loathing and sardonic wit. His alter ego was played by Harry Longbottom with constrained nobility. The
villains of the piece all managed to convey evil without going over the top. Jacob Leeming was the
disdainful despot loathed by Defarge, the innkeeper obsessed with revenge, played by Jack BeckettMeegan. Alice Roberts stood out his constantly knitting wife who gave us Dickens’ melodrama but
with real menace. I also particularly enjoyed the contrasting cameos given by Katherine Brinkworth as
Miss Pross and Martha Wilson as The Vengeance.
However it was essentially an ensemble piece played with energy and enthusiasm by a highly motivated
and superbly directed cast. The continuity was given by the brilliant, but never intrusive, music by Katy
Gaul, played by her on keyboard and Keith Lander on percussion. It flowed like a Philip Glass film
score and was fundamental
to the success of this
excellent production.
David Gilman
The ensemble with highly
disciplined and energetic
Chorus. In rehearsal
13
A Tale of Two Cities - Director’s Commentary
I’ve been asked to write a few reflections about our production and the preparation leading up to it
and answer a few questions about various aspects of the rehearsal process. So, while it is fresh in my mind …
When choosing the script, we have a small group of people from the Kaleidoscope Committee and BLT who meet
and suggest scripts to consider. We need a script that caters for a huge cast (45 this year) with enough roles to have
crowd/chorus scenes and several significant characters. We also need something different from the previous year
that will both challenge and engage our young people as well as teaching them a thing or two – we are a training
section after all. Some like comedy, some like serious drama, some people like both. Some think we should stick to
light material, some think we should do heavy weight theatre. The general consensus seems to be that variety is
good. You won’t be able to please everyone all of the time. So we chose A Tale of Two Cities – very different from
last year.
The script was aimed at schools and youth theatres but at the start of the rehearsal process in January, I still had
concerns about the difficulty of the dialogue for the young people. However, they actually coped really well with the
difficult language and line learning was not a massive problem (some of them learn the lines early but most
teenagers leave it to the last minute). The understanding of the complicated plot was slower but they got to grips
with that well by the end. I did make some minor cuts but mostly this was because the play would have overrun
otherwise (we have to get under 16s off the stage by 10pm). I probably should have made more.
Regarding staging, I decided that it would be a simple set with
a raised area – the script suggested this and I thought this was
a good idea as it provided seating for the cast in parts of the
play and you can’t have 45 stools/chairs in the wings. I ignored
other suggestions for staging that I thought would not work or
did not fit with my ideas for the production. I wanted to make
use of Jason Perkins’ creativity as set builder though so I
asked him to build a grindstone and some climbable
barricades. He was very willing to provide these and makes
absolutely no fuss when you ask him to change things – a real
asset to any director. We did have to scrap my idea of
barricades that spin and were prison walls on the other side
and also reduce the size of the barricade that we kept as there
wasn’t enough room in the wings, especially with such a large
cast. The script suggested using a projection for the guillotine
but Jason’s real working guillotine was just brilliant. Although
A Dress Rehearsal shot showing the simple set.
the staging looked simple, some of the moves were
complicated and created difficulties. I don’t think I’m the first
director to have original plans that just won’t work in reality. I simplified a few things but skilful stage management
from Nadine, Louise and teams made it work. I wanted the music and lighting to provide the atmosphere and mood
and Katy and Phill certainly didn’t disappoint. You can’t have a good production without a good backstage team and
we have the best props trio in Louise, Sarah and Liz. Regarding costumes - Debbie is amazing at appearing
completely unphased at her mammoth job here. You know that she has everything in hand and she gets on with her
job without fuss. With Nadine’s great stage management as well, the team really made the production look and
sound great and were very supportive of me. We even got Jason and Dennis on stage.
As a team, we have work hard on discipline at Kaleidoscope and we have had a lot of positive comments about the
behaviour of the young people on and off stage this year. Inevitably, I did encounter problems during the rehearsal
process which I will from now on call ‘challenges’ as it sounds more positive! Older members of the cast are more
familiar with the amount of rehearsals that they will need to attend than newer Kaleidoscope members. The number
of hours that had to be put in was a shock to some and there has been some eye rolling from some of the cast and
some grumbling from a few parents about the number of rehearsals. It is difficult for some people to believe that so
many rehearsals are justified but with an ensemble of 45, and in order to get the standard of production that
Kaleidoscope’s reputation rests on, a punishing schedule and hard work from everyone is necessary. I have had to
be strict with some of the cast at times and give lectures on taking responsibility. Everyone’s hard work paid off in
the end but we are all pretty exhausted. Two weeks before opening night my stress levels were sky high. With the
demands of three of my own children, running workshops during the day, insomnia and feeling criticised about
decisions I had made, I was not feeling at all positive. When we got on to the stage there were technical problems
(there always are) and I was struggling to believe that I had any ability as a director. I could only see everything I
had done wrong. I was tired and stressed and felt that no one was enjoying it. I decided it was too hard, I had done a
bad job, was incompetent and unable to take criticism. But then it all came together, everyone upped their game and
did themselves proud and I told myself off for being such a thin-skinned diva. I would love to be able to have fewer
rehearsals to avoid the fatigue and despondency and still end up with a high quality production but I just don’t think it
is possible – no pain, no gain. At the end of the day, I was pleased with what we had achieved and am so proud of
our young performers. Feedback has been positive, the young people enjoyed the performances and we all learned
something from each other – can’t ask for more than that. Mission accomplished.
Sally Edwards
14
Review
If I Were You
Sir Alan Ayckbourn seems to have a rather dim view of ‘husbands’. In If I Were You we have two of
them, Mal Rodale (David Helliwell) and Dean Snaith (David Elliott), both of whom have major failings in
the ‘husband’ department.
Dean, almost a protégé of Mal, is the darker character given the
strong suggestion of domestic violence in his marriage with
Chrissie (Laura Hawkyard). David Elliott played the part well
(despite the odd hesitant line) and we, the audience, ended up
hating him evidenced by the round of applause when Mal (in the
guise of Jill) punched him.
Mal is the principal ‘husband’ of the play, superbly played by
David Helliwell. We also ought to hate this belching, uncaring,
wife cheating, sexist pig but we don’t – mind you, we don’t have
to live or work with him. You have to admire a man that can
reduce the entire works of Shakespeare to something like “it’s all
about men poncing about in f***ing tights”.
Jill Rodale (Gilly Rogers) and her daughter, Chrissie Snaith were
both trapped in bleak marriages. Jill had a fairly uninspiring
existence, rarely going out, staying in her dressing gown and
watching daytime TV. The scenes between mother and daughter
were fantastically moving. In one of them, Jill looked out into the
audience for several minutes and, as her daughter was speaking
behind her, the mental anguish she was going through was
subtly built in her facial expression. Terrific work from Gilly.
Laura Hawkyard handled her role as the younger, but also
Laura Hawkyard sermonising,
troubled wife, with great sensitivity. A really strong performance. and Gilly Rogers depressed-eyes-ing
Mal and Jill wake up one morning and inexplicably their
personalities have swapped. The audience did not question why, we just enjoyed the comedic confusions
and self realisation that ensued. David and Gilly handled this transition really well. The male/female
stereotypes came thick and fast but they were both funny and thought provoking in equal measures. It
was a simple but very effective plot device.
Fifteen-year-old son ‘Sam’ (Ben Pearson) had to endure his father’s narrow-mindedness. Sam, for
most of the play a ‘stroppy teenager’, took centre stage and sensitively performed a monologue from a
Shakespeare play for his mother (but who was at that stage his father!). This proved to be a life changing
moment for Mal. An impressive performance from Ben in his first principal main house role.
The structure of the play is far from simple with many short scenes, numerous entrances and exits. The
cast, production team and director handled this challenge well. Lighting and
sound (Richard Stagemen) helped create the scene and mood changes. An
excellent set design (Anthony Leach) did its job well; there was a home and
three departments of ‘BFRS Retail Furniture Warehouse’ all in one. The
compromise of the ‘doubling up’ meant that the Rodale family home was a
little ‘stark’. Stage management (Leigh Bowman and his team) meant that
everything was in its right place at the right time. I am aware that Leigh had to
miss some rehearsals after an accident so a ‘thumbs up’ for getting it right on
the night!
Huge credit is due to Director Jonathan Scott for his direction of what I would
imagine is a difficult play to stage. Mal and Jill’s personality swap forced the
characters to see their partner and family members in a different light. It may
well have been that some ‘pennies dropped’ for some of the couples in the
audience – good theatre can do that.
David Helliwell
moisturising
If I Were You was an excellent BLT production, both funny and thought
provoking. Amateur theatre at its best. Well done to everyone involved.
David Brett
15
Musings of a Roving Sound Man
With the arts centre technical upgrade complete it’s time to look to the future of BLT tech.
By the time you read this the technical upgrade will be complete and we’ll be the proud owners of an enviable array
of lighting and sound equipment some of which I’ve managed to include in the photo here, however the best way to
experience it is from the comfort of your seats in the auditorium - let me know what you think! (Especially of the
sound)
Since the last newsletter I’ve been elected Head of Effects and with it inherited the legacy of the late Jim Brooks. As
I’m sure you’ll all agree it was a privilege even to know Jim but to have been taught by him and mentored was an
unbeatable experience. His passing left a huge hole in the theatre but not least in the department he gently, lovingly
and quietly steered for so many years - I can but try to do him justice.
There are challenges ahead: the stalwarts of the department have disappeared in the last few years for a variety of
personal reasons the knock on effect of which was that this current season has been a disaster for the Effects
department. We simply didn’t have the staff nor enough talent to pull off what transpired to be a seriously complex
set of effects requirements despite sterling efforts from all on the stage committee especially Andy Bailey who was
caretaker Head of Effects during Jim’s illness. We are lucky therefore that Season 68 is less gruelling and that we’ve
also had interest from a couple of new members - a couple is literal and it’s not enough although the lighter work
load will give us a fighting chance to lick our wounds and re-group. I have to be brutally honest however, there is no
fall back available, no plan B, no relief technician and that therefore will have an effect on the quality of the
department’s work should anyone have to drop out or requirements change.
It’s not all doom and gloom though! (I promise!!) The
new tech is a great calling card for recruiting young
and talented people and BLT will reap the benefit of
that talent but NOW is the time for YOU to say “I’ve
always wanted to have a go”. Far from being overcomplicated, the new system makes it a doddle to run
lights and sound - all you’ll have to do is commit to
attend rehearsals and press the go button on the desk!
And if you really want to learn the nitty-gritty Richard
Stageman, Matthew Norward and I will happily
teach you! This equipment gives us the tools to bring a
very modern standard to our productions but it should
also foster a legacy of training and shared benefits for
View from Stage Right - Work in Progress
the whole of BLT, so watch your emails and notice
boards for details of taster sessions we’ll be running
over the summer and into the winter.
Lastly let me share some geeky passionate musings from my journey to record sound for Ladykillers, the closing
play of this year. The new sound system means that our sound effects have to be better than ever so over 95% of
the sound in the play I’ve recorded from new rather than relying on archive effects. Now I was taught film sound at
University and that means you start with how the thing actually sounds – in this case a steam train going through a
tunnel - and then embellish it. So picture me then crouched in the “Railway Children” tunnel on the Keighley &
Worth Valley Railway setting up my sound gear before retreating to the lineside and watching a magnificent
steam loco charge the heavy gradient to the tunnel. This was just one experience from a wonderful day of behind the
scenes access I was granted by the railway and I’m grateful to Phil Smith, Charles Hall and Wayne (Oakworth
station master) for allowing me get the sound I needed to make the play extra special. For now, that’s all folks but if
you see me around and have questions then by all means let’s have a chat.
David Pedrick June 2015
Playing Strollers and
Walkers are Welcome
organiser Christine
McCabe (on a recent
Strollers walk
The Playing Strollers
meet on the first Sunday
of each month normally in
BLT’s car park at 9.30.
Watch the notice boards
for details. If you want any
more information or want
to put yourself on the email list you can contact
Christine - [email protected] or
01274 496675. The next walk will be on Sunday
5 July.
Many thanks to you all for your support of Bingley Walkers are Welcome
and with that in mind I hope you don't
mind my promoting some of our
walks. Also, why not ‘like’ our Facebook page:‘Walkers are Welcome in Bingley’,
and find more information.
Watch out here and on Facebook, for details of our
website, which is coming soon.
Walks are planned for the second Sunday of each
month, 10.00am outside BLT, and next are:Sunday 12 July led by Ronda Christensen
Sunday 9 August led by Cedric Farineau
Sunday 13 September led by David Smith
Hope you can Join us!
Christine McCabe
16
A VIEW FROM THE BRIDGE
At Bradford Alhambra Theatre - March 2015
BLT members Mavis and Richard Walsh were selected, after an arduous interview and audition process,
to be part of the Community Ensemble for this professional touring company production.
At each of the seven venues around the country, local actors are employed to provide eight additional
neighbourhood characters in this famous play by Arthur Miller.
Richard briefly describes the highlights during an intense week of seven performances.
Rehearsals took place on the day before the first public performance and it was then we realised how
very skilled and professional the Touring Consortium Theatre Company is.
Right from the beginning there was attention to detail and the characterisation of each and every part, no
matter how fleeting some of our appearances on stage were.
We met the cast and crew and what a friendly and welcoming team they were. The two main characters,
Michael Brandon as Alfieri, (some may recall him playing Dempsey in the 80’s classic TV series,
Dempsey and Makepeace), and Jonathan Guy Lewis as Eddie Carbone were particularly helpful and
supportive.
Before each performance the famous fight scene was rehearsed every time to its bloody (very!) end to
ensure there were no accidents with the knife and to make this scene as realistic and dramatic as
possible.
We watched with interest each day, lasting for about an hour before beginners was called, as all the cast
went through their warm up process, both vocal and physical. You could see this helped not only their
voice projection but also set them up physically for the performance to follow.
I was mainly paired with Mavis as a married couple and we had several entrances and exits to make,
culminating in a really exciting moment in Act two when we had to confront Eddie Carbone following his
betrayal of his neighbours to the Immigration Authority. Centre stage at
the Alhambra with one of the nation’s leading actors; what more could
you ask for!
The week drew to a close and prior the Saturday evening performance
we joined all the cast and crew at the nearby Wetherspoon’s for a meal
and a soft drink. The cast and crew moved on to Coventry and finally
Edinburgh for the remainder of the tour and of course to welcome a
new Community Ensemble. We moved on to the BLT Studio for the
Course Acting plays in May!
What do I take from this experience? To see professionals working
close up and the dedication and effort they put in at each and every
performance. To see the ongoing control and input the Staff Director
has during the run of the play. (He was there every performance and
had notes each time, once I overheard him pointing out to a cast
member, “you missed an eye contact”!). Oh, and having wardrobe wash
your shirt three times during the week!
We both thoroughly enjoyed the week and would recommend anyone
to apply if a similar opportunity arises in the future.
Richard Walsh
At a Glance - July - October at BAC & BLT
6 to 11 July - BLT - The Ladykillers
15 to 18 July - Stage 84 - Oliver
16 to 19 July - Kaleidoscope Showcase (Studio)
27 July - Bingley Flower Club
27 August - Spooky Men's Chorale
14 - 19 September - BLT - The Decorator
25 September - Tony Wright - Thoughts an’ All
27 September - Buddy Holly Tribute
8 October - All Star Comedy Show
26 - 31 October - BLT - The Ghost Train
17
Tony’s Chairman’s Supper
...was a jolly affair with excellent food from Margaret W and the hard-working staff. Particular
congratulations in your Editor’s tummy’s view to the apple pie!
We were entertained with a speech from Tony, who struck a melancholy note by counting the days till he
had to relinquish his “bling” to Brian! He then added to the bling count by presenting a brand new badge of
office to Brian, to be used for the identification of future Vice Chairmen.
His guest speaker was Etain Barrett (daughter of Laurie Geoghegan, a former chairman & president, & his
wife, Mona). Some of you may recall her and brother Hilary’s contributions to recent Newsletters.
She regaled us with stories of BLT’s early days, including an early production at Bingley Baths - which
were temporarily covered over for several winter events with what is now the floor of our Rehearsal Room!
Etain recalled the very early days of the move into the old Gem Cinema, inspired by the dreams of the
early founders. And in a theme for BLT the success of this early enterprise was down to so many
members chipping in. Your editor noticed many nods of mutual recognition as Etain told her tales.
Thanks were entertainingly given by our President John Eaton who we are sure would be stuck for ideas if
he hadn’t the useful foil of his lovely wife! But Margaret didn’t seem to mind.... And neither did “Only
Cheat” and “Up a Chaotic Girl”- to name two anagrams John offered us (you can work them out for
yourselves!)
No Brain Trim, Leeds Wite Torrent
Etain Barrett, our
guest speaker,
with VP Mary and
Chairman Tony
Pretty in Pink! New Chairman Brian Stoner
was dressed for the occasion. A good thing
he wasn’t wearing fuschia….
Etain puts our President right
Dear Editor
In reply to Pip Durant’s letter in the April edition of the Bingley
Little Theatre Newsletter.
I wonder how long it is since Pip Durant had the pleasure of seeing a production at
Bingley Little Theatre? He obviously did not see Thrill of Love which had a very innovative
set design or Journey’s End, the set of which could have easily have graced a west
end Theatre. The lighting designers are innovative and skilled and do rather more than just ‘simply raising
the lights up and down’. Having been involved in props for a number of productions I can assure Mr Durant
that Props do a lot more than just visit local charity shops. Hours of research are spent sourcing the correct period items and the same can be said of the Wardrobes team who diligently provide costumes worthy of all the plays in every season. Each season Bingley Little Theatre produces a wide variety of plays,
challenging our Directors with farce, thrillers, classic and innovative plays.
Mr Durant is correct in his assessment that we all, actors, directors and back stage workers need a challenge, and I feel we are given the opportunities to meet the challenge with many of the productions in a
season at BLT. As a Society we may not be perfect, what Society is; but I would suggest that Mr Durant
should take a trip to Bingley Little Theatre where I am sure he would be impressed with the level of commitment that ensures that our audiences come back time and again to see the best of local theatre.
Ian and Rowena Gillow
Letter to the Editor
18
Going! Going! Now almost Gone!
Soon the old Bradford & Bingley building will be
all but a memory, but what is to replace it? So far
no final decision has been made. Hopefully not
another Bradford ‘hole’!
Volunteers Needed!
We need more BLT volunteers to do
Front of House duties during
BLT play weeks
in order to reduce costs.
SUMMER SHOWCASE
Juniors & Intermediates present
The Princess and the Petit Pois
Intermediates Play - The Wizard that Woz
Thursday, 16th July at 7.30pm
and Saturday, 18th July at 2pm & 7.30pm
There are usually 2 people on duty, to
support the Arts Centre Duty Manager,
selling ice creams in the kiosk,
checking tickets, caring for the public
before, during and after the performance
etc.
Senior & Advance Groups
present their
Summer Showcase
‘Bags & Baggages’
on Friday, 17th July
and Sunday, 19th July at 7.30pm.
Can you help? If so, please contact Jan
Darnbrough
at the Arts Centre Office on 01274 519814
or [email protected]
or [email protected]
Tickets are available from the Box Office Details on back page
19
Notice Board
Tickets are available for all Arts Centre and BLT Studio events
From the Arts Centre Box Office
In person: at Bingley Arts Centre 11.00am to 3.30pm, Monday to Friday
By phone: 01274 567983, 11.00am to 3.30pm, Monday to Friday
Online: www.ticketsource.co.uk/bingleyartscentre
Bingley Show
Confirmed for 2015
Brass Band
Children's Fair
Falconry Displays
Small Animal Area
Stunt Riding Display
Showjumping Events
Farm Animal Displays
Traditional Craft Displays
Horticulture Competitions
Bingley Harriers 10km Race
and much more to come...!!
Saturday 25 July
in
Myrtle Park
Come and join in the FUN!!!!!
WANTED!
At Studio meetings, we are constantly looking for new ideas, events, plays, evening entertainments, new
people to direct, perform or work backstage, or write their own material etc.
Have you anything you wish us to produce in the Studio? Is there a play you are desperate to be
performed? Have you an idea for an evening’s event, but do not know how to develop it?
Do you want to ‘have a go’ at directing or performing, but think the Main House is too daunting at the
moment?
Are you a budding playwright?
Do you want to learn more about Lighting and Sound?
If the answer to any of these questions is YES –
then come to a Studio meeting on the
first Wednesday of each month at 8pm and join us
in the small Rehearsal Room, and TELL US!! Alternatively, please contact Jan Darnbrough on 01274
565596, or [email protected] or see me in the Bar!
? ? Fun Quiz ? ?
(usually the Thursday following Play Week)
Captain Prunes apologises to Members and advises you that there will be no
quiz following the last play of this season due to the whole bar area being
fully occupied with the first night of Kaleidoscope’s Summer Showcase. Why
not come and give them your support?
The Quiz will be back again next Season.
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