1964 Productions

Bell Book
and Candle

by John van Druten

April 9, 10, 11 1964

Directed by
Clodagh O'Farrell
and
Ralph Dawes

C O'F & RD wrote "In case things get out of hand this evening we have it on the authority of Annie Price, a 17th century witch, that a piece of red thread tied to the clothing is an excellent protection against witchcraft!"

[Thoughtfully a piece was taped inside each programme]

Cast

Sheelagh O'Farrell - Gillian Holroyd

Barrie Bowen - Anthony Henderson

Betty Elliott - Aunt Queenie

Colin Lydon - Nicky Holroyd

Peter Power - Sydney Redlitch

'Fred Baskerville' - 'Pyewacket'

Production Crew

Stage Manager - John Perrett

ASM - Frances Thorne, Jackie Mase

Lighting - Frank Hurrell

Effects - Maureen Payne

Wardrobe - Morfydd Bowen

Properties - Margaret Perrett, Susan Hayter

Decor - Clodagh O'Farrell

Stage staff - Paul Carpenter, Terry Mase

Set design & construction - John Perrett

Foyer Decoration - Elizabeth Penney

Front of House Manager - George Penney

Acknowledgement

We'd like to thank Peggy Milford of the St. Wilfred Players for lending us Fred Baskerville. [It was later reported, in the local press, that Fred, a Siamese cat of great character and dramatic ability passed to the feline nirvana. He will be missed.]

A review of the time

C.S.P

"The Lighter Side of Witchcraft"

Witchcraft, apparently, has a lighter side, Bell, Book and Candle by John van Druten, produced by the Wick Theatre Company at the Barn Theatre, Southwick, last week-end, turned out to be a first rate comedy. With the happy combination of a polished, well-written pl ay and a small but highly versatile cat, this production just could not go wrong. It can be chalked up as a winner by the company.

There were some improbable characters in the Knightsbridge flat so admirably depicted in stage manager John Perrett's set - a couple of 'upper crust' witches and the warlock brother of the younger, all dabblers in the supernatural with varying degrees of success. One just could not believe in them for a moment, but they were great fun none the less.

The play concerned itself with the efforts of a most attractive young witch, Gillian Holroyd, to steal the affections of a young man, Anthony Henderson, by casting a spell over him just when he was about to get engaged to another girl. It worked all right, with spectacular results, although Gillian let herself in for some heartache in the process and very nearly 'lost her man' when the spell was broken. Sheelagh O'Farrell played Gillian with fine verve and really sank herself into the requirements of this pivotal rôle. Whatever the mood of the moment she was more then equal to the occasion. Her sister, Clodagh, co-producer Ralph Dawes, did well to entrust her with the part. Barrie Bowen, as Anthony, also fully measured up to requirements, divertingly paying the young man so sure of him-self until entangled with forces beyond his control. As Aunt Queenie, the 'old hand' at witchcraft, Betty Elliott contributed apprecialbly to the frolic, and the cast was ably completed by Peter Power as Sydney Redlitch, a rather seedy writer on the Black At, and a promising newcomer, Colin Lydon, as Nicky, the warlock - not forgetting Pyewacket, the loaned Siamese cat, who never let the side down while on stage.

Assisting backstage were, Frances Thorne, Paul Carpenter, Terry Mase, Frank Hurrell, Morfydd Bowen, Margaret Perrett, Susan Hayter, Maureen Payne and Jackie Mase.

Another review of the time

THESPIS

"A Good Comedy Team"

JOHN VAN DRUTEN'S comedy of witchcraft, Bell, Book and Candle, was staged by the Wick Theatre Company at the Barn Theatre, Southwick, last week, with the part of the very charming and efficient witch, Gillian Holroyd, very well played by Sheelagh O'Farrell. Anthony Henderson, bewitched out of his engagement to another girl and into the arms of Gillian, was played by Barrie Bowen. The two players form a very good comedy team indeed.

Aunt Queenie, a lesser witch, somewhat demonstrative and ill-advised, gave well-taken opportunities to Betty Elliott. Gillian's younger brother Nicky, himself no mean warlock, was creditably played by Colin Lydon, with Peter Power as Sydney Redlitch, the author interested in the occult who gets himself rather involved with the real thing. Finally there was an excellent performance by Fred Baskeville as Gillian's 'familiar', Pyewacket. Fed Baskerville is a handsome and intelligent Siamese cat, loaned to the players by Peggy Milford. He did her proud.

This play would lose much of its fun if the various tricks did not work properly, but stage manager John Perrett, with assistance of Frances Thorne, had all the self-opening doors and cupboards and the self-extinguishing lights functioning with great efficiency.

An Arena Stage production of

Anna
Christie

by Eugene O'Neill

September 24,25,26 1962

Directed by
George Porter

F.M. wrote "For nearly 25 years Eugene O'Neill dominated the American Theatre. His plays had weight and power. He was the giant of the new realist theatre at a time when our West End was still dallying with drawing room comedies. Today we have the Kitchen Sink, the Theatre of the Absurd, Sex and Cruelty in the language of the back street and the Public Bar: but even in this company O'Neiil's Anna Christie still has punch and a certain full-blooded period flavour which we have endeavoured to pass on to you in this Arena production.

The seating for play is largely experimental and perhaps, in some instances far from ideal. We have done our best to meet he requirements for safety, fire prevention and accessibility whilst still preserving visibility. If you find the Arena Stage interesting and satisfying as a means of presenting plays, do please let us know."

Cast

Norman Hutchins - Johnny the Priest

Colin Lydon - 1st Longshore Man

Jeff Waller - 2nd Longshore Man

Colin Guy - Postman

Ralph Dawes - Larry

Brian Moulton - Chris Christopherson

Betty Dawes - Martha Owen

Clodagh O'Farrell - Anna Christopherson

Terry Mase, Paul Carpenter, Colin Lydon - 3 men of Steamer's crew

Bob del Quiaro - Mat Burke

Jeff Waller - Johnson

Production Crew

Stage Manager - Ralph Dawes

ASM - Margaret Perrett, Pauline Dorman, Terry Mase, Jean Porter

Production Manager - John Perrett

Lighting - Frank Hurrell

Sound Effects - Dorothy Burnside

Wardrobe - Morffydd Bowen

Front of House Manager - Barrie Bowen

"Arena Stage Setting Catches On"

This extract from a review of the day explains the 'arena stage setting'.

"For the first time, by way on an experiment, the Wick Theatre Company performed a play with the arena setting that is beginning to catch on among amateur societies. This new approach, with the audience seated round the set, greatly reduces the barrier between players and spectators. For the audience, stage and the environment portrayed on it are no longer out of reach, but there in the midst of them, providing a closer, less formal relationship."

Review of the time

"Anna Christie was a theatrical experience"

It is not often. perhaps two or three times in a period of years, that an amateur production occurs that can rightly be described as a theatrical experience. This happened last weekend at the Barn Theatre, Southwick, when the Wick Theatre Company presented an arena production of Eugene O'Neill's Anna Christie . It seemed to be a perfect mating of highly-skilled direction and inspired acting. Every effect was there, every point was made, and never for one moment was the reality of the characters in doubt.

Brian Moulton, played the drunken old seaman, Chris Christopherson, with a rare insight into the author's intention, and with deep-felt and real sentiment. he brash bragging Irish man, Mat Burke, torn between his great love for Anna and his primitive abhorrence of her former way of life, was made true elemental man by Bob del Quiaro. It is perhaps the most difficult of the three mina rôles, because of its inherent contradictions. Nevertheless, the character of Mat Burke was never in doubt.

Clodagh O'Farrell was Anna Christie, the by which Anna Christopherson was known in the 'house to which she had drifted after a life of slavery on a farm, and seduction at the age of 16. For the past to be so clearly seen in the present, and for the change from a tarty girl who comes home to her father to the real women in love with Mat Burke to be so truly evolved, require something more than expertise. Clodagh's Anna Christie will be long remembered.

Martha Owen, a likeable slattern, was played by Betty Dawes, and an assortment of barmen, postmen, longshoremen and sailors by Norman Hutchins, Colin Lydon, Colin Guy, Ralph Dawes, Terry Mase and Paul Carpenter.

In this production, the director, George Porter, and the Wick Theatre Company have set themselves a standard so high that they will be hard put to live up to it, but what a challenge!

Another Review of the time

C.S.P.

"Audience on three sides"

The Wick Theatre Company earned fresh laurels for itself at the Barn Theatre, Southwick, last weekend with three memorable performances of Eugene O'Neil's Anna Christie. Directed by George Porter, who filled a minor rôle at short notice, this highly dramatic story of American waterfront life more than 50 years ago was unfolded with a depth of realism and sensitivity which would have bee to the credit of professionals.

The experimental arena stage, with the audience on three sides and on the stage proper seemed to enhance the drama as it unfolded. The paucity of scenery mattered nothing, for the quality of the acting was sufficient to rivet the attention throughout. The background sounds of lapping water, ships' sirens and seagulls provided all that was necessary.

Three members of the cast really 'made' the play - the old Swedish seaman, Chris Christopherson, reunited in New York with his daughter Anna, whom he last saw 15 years before as a child of five, and the Irish stoker, Mat Burke, rescued by his coal barge. Inevitably, Mat fell in love at first sight with Anna, but bitter enmity ensued between her father and suitor. It transpired that Anna hardly merited the high pedestal of virtue to which they had both elevated her in their imagination, and there were moments of strong dramatic 'meat' before the play ended on happier note than had seemed possible.

Brian Moulton, as Chris, was admirably cast as the solid, stolid ex-bosun who wrongly idealised his long lost daughter. His whole performance rang with conviction, without any resort to over-acting, which must have been quite a temptation at times. Clodagh O'Farrell fully merited her selection for the testing rôle of Anna, displaying a whole range of emotions with utter conviction and sinking herself so completely in the part. Whatever the mood of the moment, she caught it exactly. The company is to be congratulated on finding a newcomer of the acting calibre of Bob del Quiaro, whose Mat Burke was portrayed with a red-blooded, fiery gusto which never over stepped the mark of reality.

Successfully appearing in supporting rôles were Betty Dawes, excellent as Martha Owen, Chris's big-heated 'woman', and Norman Hutchins, Ralph Dawes [also stage manager], Colin Lydon, Jeff Waller, Colin Guy, Terry Mase and Paul Carpenter. Assisting backstage were Margaret Perrett, Pauline Dorman, John Perrett, Frank Hurrell, Morffyd Bowen, Dorothy Burnside and Jean Porter

Bell Book
and Candle

by John van Druten

April 9, 10, 11 1964

Directed by
Clodagh O'Farrell
and
Ralph Dawes

[Thoughtfully a piece was taped inside each programme]

Cast

Sheelagh O'Farrell - Gillian Holroyd

Barrie Bowen - Anthony Henderson

Betty Elliott - Aunt Queenie

Colin Lydon - Nicky Holroyd

Peter Power - Sydney Redlitch

'Fred Baskerville' - 'Pyewacket'

Production Crew

Stage Manager - John Perrett

ASM - Frances Thorne, Jackie Mase

Lighting - Frank Hurrell

Effects - Maureen Payne

Wardrobe - Morfydd Bowen

Properties - Margaret Perrett, Susan Hayter

Decor - Clodagh O'Farrell

Stage staff - Paul Carpenter, Terry Mase

Set design & construction - John Perrett

Foyer Decoration - Elizabeth Penney

Front of House Manager - George Penney

Acknowledgement

A review of the time

C.S.P

"The Lighter Side of Witchcraft"

Assisting backstage were, Frances Thorne, Paul Carpenter, Terry Mase, Frank Hurrell, Morfydd Bowen, Margaret Perrett, Susan Hayter, Maureen Payne and Jackie Mase.

Another review of the time

THESPIS

"A Good Comedy Team"

John van Druten's comedy of witchcraft, Bell, Book and Candle, was staged by the Wick Theatre Company at the Barn Theatre, Southwick, last week, with the part of the very charming and efficient witch, Gillian Holroyd, very well played by Sheelagh O'Farrell. Anthony Henderson, bewitched out of his engagement to another girl and into the arms of Gillian, was played by Barrie Bowen. The two players form a very good comedy team indeed.

The Murder of Maria Marten or The Red Barn by Brian J Burton November 12,13,14 1962 Directed by Betty Elliott	B.E. wrote " When first they wrote of poor Maria's plight, All things were black, or pre-detergent white. Actors declaimed the tale in manner splendid And good must triumph when the story ended Now played to you, dear Audience of today Schooled in the shades of Psychologic grey Though you may laugh at All the deep dyed rage You still may boo the Villain from the stage."
Cast

J. Hopper - Alice
J. Perrett - William Corder [Squire's son]
P. Power - Thomas Marten [honest rustic]
R. Hopper - Tim Bobbin [simple rustic]
F. Cowling - Johnny Badger [aspiring swain]
R. Workman - Pharos Lee [officer of the law]]
M. Payne - Maria Marten [Thomas's daughter]
M. Hammond - Mrs. Marten [Thomas's wife]
F. Sturt - Anne Marten [Thomas's young daughter]
I. Pilcher - Meg Bobbin [Tim's sister]
J. Porter - Nell Hatfield [gypsy]
S. Porter - Rosa Post [gypsy]
D. Burnside - Petera Andrews [gypsy]
M. Perrett, F. Thorne, P. Carpenter, T. Mase - village folk

Production Crew

Stage Manager - Mr. Ian Elliott
Lighting - Mr. F Hurrell
Wardrobe - Mrs. M. Bowen
Property - Miss. P Dorman, Miss. D. Burnside

Music
At the piano Patrick Johnson

Review of the time	C.S.P
"Melodrama went hissing along"
A rich helping of real old Victorian melodrama tickled the palates of last weekend's large audiences at the Wick Theatre Company's production of a new version of he Murder of Maria Marten or The Red Barn, by Brian J Burton at the Barn Theatre, Southwick. It was their entry in the Sussex Rural Community Council's full-length Drama Festival, with an adjudication on the opening night by John Nicholson. Here was audience participation on the grand scale, for the specially produced old-fashioned programme invited boos for the deep-dyed villain, the squire's son who got the trusty village maid into trouble, poisoned their child and then shot the poor girl - plus a scheming gypsy woman out for revenge on him. It was great fun hissing him, but greater fn when he hissed back! There were frequent interjections such as "shame!" and "watch it" and everybody had a remarkably good time. About a century ago, of course this was the real stuff of the stage, but thanks to the delightful 'guying' of their rôles by the whole cast, this modern version was one long laugh - grim though the dark deeds were. Produced by Betty Elliott, with a keen appreciation of the wealth of comedy this period piece afforded for today's sophisticated audiences, and with Ian Elliott as stage director, the play reflected the highest credit on all concerned. The rustic, besmocked characters, some not too quick on the uptake, were ripe for ridicule on the grand scale, and top-hatted J. Perrett, as the villainous William Corder, more than justified his selection for this pivotal rôle. An admirable choice for luckless Maria was M. Payne, all big-eyed, trusting innocence, and R. Hopper, as simple Tim Bobbin, helped the production leagues on its merry way. There were diverting studies, vigorously over-played as circumstances demanded, by J. Porter [Nell Hatfield, the gipsy]. F. Sturt [Anne Marten], P. Power [Thomas Marten, the droll honest rustic], I. Pilcher [Meg Bobbin], F. Cowling [Johnny Badger]. R. Workman [Pharos Lea] and M. Hammond [Mrs. Marten]. Ably appearing as gipsies were S. Porter and D. Burnside; village folk were played by M. Perrett, F. Thorne, P. Carpenter and T. Mase, and new comer J. Hopper pleased as Alice. P. Johnson, at the piano, brought aural 'atmosphere' in tune with the lavish display of sentiment unfolded by the action. The varies scenery was excellent. Lighting was by Frank Hurrell, the wardrobe mistress was M. Bowen, and P. Dorman and D. Burnside were property mistresses. Each performance was a night to remember.
Another Review of the time	THESPIS
"Here was the real stuff of Melodrama"
From the delightful programme in the style of an old time playbill, to the final hiss at the villain, The Wick Theatre Company's production of The Murder of Maria Marten or The Red Barn was a sheer joy. A notable feature of the production was what we should now call 'mood' music. It was selected with skill and insight by Patrick Johnson who, resplendent in top hat and tails, played it on the piano. The artists showed themselves to be 'with it' in various degrees, and outstanding was Jean Porter as the sinister gypsy, Nell Hatfield. Here indeed was the real stuff of melodrama with snarled asides and extravagant gesture. John Perrett was the murderer, William Corder, smooth, suave and sinister, with scarlet-lined cloak and dashingly mustachioed. The unhappy victim, the dear, devoted and credulous Maria Marten, was charmingly played by Maureen Payne. Her honest parents were given, perhaps, not quite enough demonstration by Peter Power and Maureen Hammond. The comedy relief was in excellent hands. Ray Hopper's Tim Bobbin was the simple rustic to the life, but never forgetting to play to the audience, His 'intended' Anne was Fay Sturt who most ably abetted him in song and dance. Pharos Lea, former gypsy of the tribe of Nell Hatfield, now turned officer of the law, was played by Ross Workman. Susanna Porter was effective as the gypsy, Rosa post, and D Burnside was another gypsy of the tribe, Petra Andrews. Other parts were played by F. Cowling, I. Pilcher, M. Perrett, F. Thorne, P. Carpenter, and T. Mase. Production was by Betty Elliott with stage management by Ian Elliott.