Mr. Bolfry

by James Bridie

May 9,10,11  1963

Directed by

Bess Blagden

M.E.P.B. wrote "For our last production  this season I had hoped to have produced The Queen and the Rebels, but I found through unforeseen circumstances I was unable to do so.  Mrs. Penney suggested Mr. Bolfry and after I had read it, I liked it so much that I decided to do it.  It has its pitfalls, and I hope that nobody will be upset.  Please remember that Bridie is putting a point of view - whether you agree with it or not.  To quote James Agate "It is an adult play.  Is the talk good?  We have all thought so in our time.  In any case it is good enough to make the amateur philosopher inside each one of us want to answer back."  For those of us who are not philosophers I hope , with the most willing co-operation of the backstage staff to provide enough alarums and excursions to keep you interested, and I hope that you will not have occasion to say with Conk; '..I'm bored bloody stiff.'"

Cast

A Review of the time

Thespis

"Credit Mark for the Wick"

The two soldiers are Cohen, known as 'Conk' from the Borough road, played with a keen sense of character by Raymond Hopper, and the intellectual Cully who is given an authoritative reading by Barrie Bowen.  As the niece, Jean, Sally Goldsmith gave the impression of being a little unsure of herself and this unnecessarily since, with a little more attack, her playing would have merited a mark of excellence.  The Minister, Mr. McCrimmon, was made an awesome figure by Ralph Dawes, inflexible in holding to the uncompromising tenets of his faith, bewildered by the specious and near-logical argument of Mr. Bolfry and impressive in the courage with which he faces his adversary.  As his wife, Clodagh O'Farrell contributed a gem of character acting.  Her quiet authority, her truly humble acceptance of the life to which she had been called, and her skilful but unobtrusive handling of the situation was really quite masterly.  Morag, the servant girl, easily persuaded yet forever fearing the wrath of the Minister was well played by Fay Sturt.  The difficult task of playing Mr. Bolfry was achieved with great ability by Ian Elliott.  The author has given to Mr. Bolfry a speech of inordinate length in which he expounds his Satanic philosophy but skilful handling made it of sustained interest.  The part, too, was well observed in detail.

John Perrett has designed and built an exceptionally good setting, and Bess Blagden has done a good job of production.  Despite the difficulties of a small stage I could have wished the Mr. Bolfry had shown more respect for the mystic circle by which the others were protected from his predatory presence.

Another review 

C.S.P.

"Play Brought the Devil to Life "

Producer Bess Blagden had assigned the contrasting rôles with discernment, and each player fully justified selection.  The admirable setting helped to make more creditable the total probability of the play.  There was a compelling performance by Ian Elliott in the title rôle and Ralph Dawes, as the Minister, Mr. McCrimmon, also sustained a difficult part with a fine sensibility of the requirements.  Clodagh O'Farrell, as his wife, brought real finesse to her performance, as did Sally Goldsmith, playing Jean, the minister's outspoken niece.  Raymond Hopper's droll study of Cohen, the disgruntled soldier billeted far from the familiar sights of crowded London, was a joy, and Barrie Bowen, as his comrade, Cully, with more brains and less gift of the gab, also impressed more than favourably.  Ably completing the cast was Fay Sturt, competent and the maid, Morag.

The setting was designed and built by stage manager John Perrett, and the decor was by the producer.  Assisting backstage were Elizabeth Courtney-King, Frank Hurrell, Morfydd Bowen, Margaret Perrett, Grahame Snow and Mary Chinchen.

The River Line

by C Morgan

Oct  3,4,5  1963

Directed by

Barrie Bowen

[This was Barrie's directorial debut]

Cast

A Review of the time

D.D.

"Conscience searching after a killing"

The company is to be congratulated on its choice of play, for it is a well-written work and provides the cast with an opportunity of displaying their acting prowess in an absorbing situation.  The story opens on the terrace of a Gloucestershire house where Julian Wyburton and his French wife, Marie, are entertaining guests.  One of these is Philip Sturgess, who with Julian became acquainted with Marie in wartime France four years earlier while trying to escape the Germans.  In the second act the play is set in their attic hideout, where the escape party of British servicemen is waiting for the word to leave on the last leg of its journey home.  The party includes a poet and scholar named Heron who, on being suspected as a traitor, is killed on Marie's orders.  The story then returns to the English house party.  Heron is the whole topic of discussion, for in the intervening years his assailants have discovered that he was a true British officer.  Each character searches his conscience in the light of the injustice committed, none more agonisingly that Philip, who has fallen in love with Heron's sister Valerie.

In this excellent production by Barrie Bowen, the part of Heron was played with authority by Ralph Dawes.  Raymond Hopper gave an equally effective performance as Philip; John Perrett acted with conviction as Julian; Clodagh O'Farrell gave a beautifully observed portrayal of Marie; and Valerie Collard gave a sensitive performance as Heron's sister.  There was strong support from Phyll Beard, Ross Workman and Peter Power.

Noc-Turne!

Dec 12,13,14  1963

Directed by

Ian Elliott

IE  wrote "I am pleased to welcome you to our second full length revue.  For me life in al its facets is immensely entertaining and I hope you will find our enlargement and interpretation of it underlines this attitude. In this context, however, I should mention that we are politically and religiously uncommitted!! 

I should like personally to wish you all a Happy Christmas and only GOOD things from the adverts for 1964."

[the programme carried adverts from
Andrew of London: 35 Southwick Square;  Reeves- footwear: 19 Southwick Square;  Iris White - Antiques: 88 Gloucester Road Brighton; F.H.Barker - Estate Agents: 44 Southwick Square; Famel Syrup; The Metal Box Company: Portslade; Carpenters - Butchers 71 Boundary Rd Hove]

Part 1

1. Knocking
2. Watch Your Language
3. Progress
4. Soft Shoe Shuffle
5. Bessie Plenderleith
6. The Sun is Burning
7. The Applicant
8. Mr. Henderson
9. Surly Girls

Interval

Part 2

10. Not of Two
11. Black & White Widow
12. Last of the Line
13. Peter Patter
14. Trouble in the Works
15. Self Portrait
16. Last to Go
17. Jewel Song
18. Gladly Otherwise
19. Sustained Objection
20. Modern Trends
21. Common Talk
22. Turning

Material by
David Climie.  H. Pinter.  Peter Myers.  Alan Melville.  
Alec Grahame.  John Pritchett.  John Mansfield.  Michael Flanders.  Donald Swan.  Ronald Cass.  Charles Zwar.  Ian & Betty Elliott.  
N.F. Simpson.  Arthur MacRae.  Richard Addinsall.  K.L. Williams.  Maureen Payne.

Cast

A Review of the time

Thespis

"Good vocal 'turne' was needed"

There was at least one item which I found in extremely doubtful taste.  The projected pictures which were so telling last time were less pointed when accompanying a corny piece of CND propaganda sung by Ray Hopper.  In fact, it was on the vocal side that the show fell down.

Those taking part, all of whom worked very hard, were: Ian and Betty Elliott, Maureen Payne, Phyll Beard (of the Southwick Players) Maureen Hammonds, Ralph Dawes, Ray Hopper and Peter Power.  There were good things in the revue, but a lot of tightening up, and a more critical eye to the material used, together with a good vocal 'turne', were needed.  The revue was presented by Ian Elliott, and Barrie Bowen and Clodagh O'Farrell did a masterly job of intricate stage management.  Music was provided by John Mansfield and Oliver Goldsmith on piano and drums. 

Another review 

B.W.

"Wick Company in Slick Revue"

Apart from Fay Sturt, the cast includes Betty Elliott, Ralph Dawes, Phyll Beard, Ray Hopper, John Perrett, Maureen Payne, Ian Elliott, Peter Power and Maureen Hammonds,  all capable of meeting the special demands of revue.  The material is very funny in parts - and why not?  After all, some of it was written by Alan Melville, Michael Flanders and Donald Swan, and Richard Addinsell, and has been heard before, with great success, on stage and television.  Gems, for instance, like Bessie Plenderleith in the first half, a satirical reflection on modern sculpture, or Peter Patter and Trouble in the Works in the second half, items packed with sustained wit.

John Mansfield is musical director, assisted by Oliver Goldsmith on the drums.  this is only the second revue of the company which describes itself as 'politically and religiously uncommitted!'.  We hope it is not the last.

Next Season - 1964