You Never Can Tell
by  
Bernard Shaw

May 13, 14, 15, 16, 17  
1969

Directed by
George Baker

We extend a warm welcome to George Baker of the Southwick Players as producer of You Never Can Tell.  In the pat George has produced Agatha Christie's The Hollow and David Turner's Semi-Detached for the Wick Theatre Company.  He will soon be working on Carmen to be presented by the Southwick Operatic Society at the end of October/beginning of November.

GB wrote: "Shaw's prefaces to his plays were sometimes longer than the plays themselves, but You Never Can Tell is an exception.  He only says, in typical Shavian conceit, that this "was an attempt to comply with many requests for a play in which the much paragraphed 'brilliancy' of Arms and the Man should be tempered by some requirements of managers in search of fashionable comedies for West End Theatres.  I had no difficulty in complying, as I have always cast my plays in the ordinary practical comedy form in use at all the theatres;  and far from taking an unsympathetic view of the popular preferences for fun, fashionable dresses, a little light music, and even an exhibition of eating and drinking by people with an expensive air, attended by an if -possible- comic waiter, I was more than willing to shew that the drama can humanize these things as easily as they, in the wrong hands, can de-humanize the drama"!!   This was a play he is quoted as "having tossed off in my spare moments"  but is nevertheless excellently written and entertaining and likely as long as his other plays.  
Here then, is a comedy of fashionable manners in 1896 as the Wick Theatre Company's previous comedy The School for Scandal in this season of comedies was on of the fashionable manners of 1777."

Cast

A review of the time

.

"Wick excel with Shaw's characters "

Shaw's You Never Can Tell currently presented by the Wick Theatre Company at the Barn Theatre, Southwick, cocks a sly snook at the 'Rights of Women' movement and is as brilliantly witty as a Shaw play can be.  Producer George Baker [of the Southwick Player] and the cast have together done an excellent job of characterisation, and some scenes requiring precision of movement are handled with great skill.  There is, perhaps, as tendency for characters to march across the stage giving the play at times a restless appearance.  Valentine, reduced to being a 'five shilling dentist' with one patient in six weeks, is played with great verve by David Curtis.  His single patient, who involves him with the rest of the characters is Juliet Robyns, who gives a delightfully ingénue reading of the part and is never for a moment out of character.  Her brother is also well played by Anthony Deasey.

Their mother, estranged from her husband and a doughty champion of the modern woman, is sharply etched by Frances Moulton.  The elder daughter, whose maternal training in self-sufficiency breaks down before the wooing of Valentine, is Margaret Ockenden, who handles well the change of mood that the part demands.  Their father is very well played indeed by Brian Moulton, who once again shows his ability to convince as the older man beset with perplexities [Surely his playing in Anna Christie is still remembered].

Of the rest of the characters, Ralph Dawes is quite outstanding as the waiter with an inexhaustible store of tact and discretion.  His playing is a lesson in timing of lines.  The family solicitor is Jack Bingham, the Q.C. is Roy Davidson with Coral Guildford as a parlourmaid and Terry Mase as a young waiter.  Final performances tonight and tomorrow at 7.45.        

Another review of the time

R.R.

"Wick Theatre Co. Triumph in Shaw play"

Very rarely does a play merit unqualified praise.  Amateur productions are on a few occasions so successful that the audience forget to notice the little imperfections that cannot be avoided by a cast with limited rehearsal time.  So it is a special kind of triumph that the Wick Theatre Company scores in its latest production, George Bernard Shaw's You Never Can Tell, third in its series of comedies, which finishes a five-day run tomorrow [Saturday] at the Barn Theatre, Southwick.  The cast's obvious involvement with the play and the vigour of the production are two factors beyond criticism.

Shaw claimed that he 'tossed off in his spare moments' this story of a mother and three grown-up children who return to England from Madeira to meet, fight and finally come to terms with the long-separated head of the family.  But the very lightness of the plot lends it an added vitality which combines refreshingly with the characteristic sprinklings of Shavian social and moral comment. 

Producer

Guest producer George Baker, of the Southwick Players, is clearly in no doubt about the play's possibilities.  And his handling of the second act, set on the terrace of a hotel at Torbay, Devon, shows a skill in using the stage to its best advantage which is evident throughout.  Ralph Dawes must be more than happy to find himself playing  that endearing 'comic' waiter, William, a rewarding part given the benefit of a definitive version by Sir Ralph Richardson not so long ago.  Ralph Dawes, plays the rôle his own way, extracting every ounce fro William's many pearls of wisdom in a well-timed performance

Jack Bingham hits exactly the right style as family solicitor Mr. M'Comas, while Roy Davidson a member of Southwick Operatic Society, is suitably commanding as the eminent Q.C., Mr. Bohun.  Both show a highly-developed sense of stage relationships, dovetailing perfectly with the other characters.  Frances Moulton plays Mrs. Clandon, the liberal-minded mother who left her husband and took their three children to Madeira at an early age.  With a powerful and convincing performance she masters a demanding rôle that must have been the despair of many a good actress.  She is matched by Brian Moulton's crusty Mr. Crampton, the deserted husband so embittered by the experience.  He endows the part with a strength subtly concealing the weakness of the inner man.

Naturalness

The two younger children, Dolly and Phil, are given warmth and naturalness by Juliet Robyns and Anthony Deasey, nicely balanced against an ardent performance from David Curtis as Valentine.  His emotional scenes managed to sound both sincere and humourous, without tipping over into embarrassment.  But it is the subject of his attentions, Gloria, played by Margaret Ockenden, who steals many of the scenes.  Miss Ockenden's fine control of the part produces an outstanding, sensitive performance which rivets attention to the stage from start to finish.  Other parts are played by Coral Guildford, as a parlourmaid, and Terry Mase, as a young waiter.  The set was designed by Mike Harrington and stage manager is Barrie Bowen.

Another review of the time

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" 'Valentine' steals the show"

George Bernard Shaw's gift for taking a gentle rise out of 19th century respectability - with just a touch of acid - is abundantly illustrated in You Never Can Tell.  And the Wick Theatre's ability to make the sort of success out of this play which Mr. Shaw would have undoubtedly have applauded, is perfectly illustrated with their presentation this week.  At the Barn Theatre, Southwick, one character in particular makes the most of the great G.B.S. wit - David Curtis, as the earnest suitor Mr. Valentine.  His buoyant performance steals nearly every scene.  Much of the credit for the general smoothness of the play goes to producer George Baker who has been 'borrowed' by Wick from the Southwick Players.  High on the credit list with David Curtis is Frances Moulton, as the austere Mrs. Clandon; Juliet Robyns, as Dolly, and Margaret Ockenden's Gloria.  The play finished tomorrow. 

Boeing - Boeing
 by 
Marc Camoletti

translated by
Beverley Cross

July 8,9,10,11,12   
1969

Directed by
Angela Bolton

The programme note: Boeing-Boeing is the final production of the Wick Theatre Company's Season of comedy.  We hope you enjoyed the plays and look forward to your continued support.
Our next season is our twenty-first.  We hope to meet all our old friends and make new ones in celebrating the company's coming of age. 

Cast

A review of the time

Walter Hix

"A top-flight production"

Anothe review of the time

R.R.

"Scenery hold-up did not deter Wick Theatre Company"

An unexpected hold-up over scenery forced The Wick Theatre Company to put off Tuesday's opening night of its latest production Boeing-Boeing, final play in the company's successful season of comedy.  But by Wednesday the situation was back to normal, and the small cast of six had a chance to make up for the lost day by giving a performance that makes a triumphant finale to the comedy series.  The play, which runs until tomorrow [Saturday], has already prove its worth with continued success in the West End.  Written by Marc Camoletti and translated by Beverly Cross it has a simple, but effective plot - almost corny, but with that 'certain something' which makes some plays stand out a surefire winners.

With a flat near Orly Airport, Paris, bachelor Bernard has the perfect set-up for theoretically foolproof arrangement.  B y clever use of the airline timetables he has succeeded in finding himself a trio of girlfriends - all stewardesses with different arrival and departure schedules.  Of course, the situation is too good to last, and what happens when the lines get crossed, and all three girls turn up at the same time provides the opportunity for a good deal of high comedy, plenty of rushing in and out of bedrooms and some of those classic misunderstandings so beloved of French farce.  Angela Bolton's careful production copes well with the pace and the natural build-up in the last act  Her work has obviously been made easier by a cast with a strong grasp of the idiom, combined with good timing and a pleasantly light touch.

Accents

They even manage to handle the problem of accents with ease, often a stumbling block, with Margaret Ockenden's German stewardess Judith an outstanding contribution.  Wendy Rogers comes over equally well as Janet, the American member of the trio, while Sally Bacon makes a confident Jaqueline the English stewardess.  Full marks to Barrie Bowen as the flustered Bernard and Neil Shephard a the unnerved Robert.  Their performances, as they should be, are the mainstay of the production.  Audrey Baldwin adds some humorous moments as the long-suffering help, Bertha.  Christina Lemsal is stage manager, and the set wa designed and constructed by George Laye and members of the company.

Wait Until Dark
 by 
Frederick Knott

November 25, 26, 27, 28, 29   
1969

Directed by
Ralph Dawes

The programme note was written by Barrie Bowen: 
"A twenty-first anniversary represents a significant milestone.  The Wick is working hard on the plays to be presented to mark this anniversary year.  We have progressed over these years, but cannot deny it is increasingly difficult to operate with the required efficiency.  For this reason we have two other milestones we must reach this year.  
Firstly, an increase of experienced actors, youth to train, and those interested in performing behind the scenes - often more 'interesting'.  
Secondly, a permanent home theatre workshop is necessary to develop our productions to even higher standards.  This costs money, and although our reserves have increased through jumble sales and lotteries they are still insufficient, as you will have seen in the foyer tonight.  
I believe we must play our part in providing live theatre in Southwick.  I hope you will not think it impertinent to ask for your help in this.  However small, it will help to maintain Southwick Theatre, of which you and Wick are essential ingredients."  

Cast

Publicity ahead of the play

.

"On the stage"

A review of the time

.

"Good, gripping entertainment"

Not only is Ralph Dawes to be congratulated on his direction of the play, but the stage management team also.  Frances Moulton and Stephen Moulton do an excellent job, and Frank Hurrell and Ken Parsons take care of an intricate lighting plot with precision.  There are final performances tonight and tomorrow at the Barn Theatre Southwick at 7.45 p.m. and there is the opportunity of a good evening's entertainment     

Another review of the time

F.S

"A Performance of High Merit "

Amateur dramatic societies all over the country are faced with similar problems of presenting the right play to attract the largest audience and to ensure setting and staging measures up to professional stage productions.  People having a taste for the best in televisions and the stage, will not fall for less than the best in amateur productions.  One can be justly proud of Wick Theatre Company, who only present the best in drama or comedy and whose staging of plays in the Barn theatre, Southwick, is of great merit. 

The thriller, Wait Until Dark, by Frederick Knott, being presented this week, is excellently staged and well presented, containing all the drama and suspense that they story contains.  Superbly produced by Ralph Dawes, the scene is a basement flat in Nottinghill, the home of Susy Henderson, a blind girl.  This part is sensitively portrayed by Sue Brown, who holds the audience in a most compelling way.  Her husband Sam is played by Barrie Bowen.  Brian Moulton, in the part of Croker, gives a powerful performance as a crook, and there is good support from Neil Shepard, as Mike, another crook, and Anthony Deasey as the sly Roat.  For a girl so young, Barbara Moulton gives a surprisingly good performance as Gloria, the girl who helps Susy, but who can get into tantrums.  Jack Bingham and Ralph Dawes ably fill the parts of policemen.

Who cons who?

The story of who cons who is so exciting that it has quite a spell-binding effect on the audience.  This play has been entered in the 1969 West Sussex drama festival and will be adjudicated after the Wednesday performance by John White, a member of the Guild of Drama Adjudicators.  The two winning productions of the festival will be performed at the Esplanade Theatre, Bognor, on the afternoon and evening of December 13.  Other Wick Theatre credits: set design, Teddy Morrison; stage manager, Frances Moulton; stage lighting, Frank Hurrell and Ken Parsons; effects, Terry Mase and Terry Gibbs; properties, Frances Thorne and Margaret Perrett; decor, Elizabeth Penney; wardrobe, Morfydd Bowen and Carol Brand; display photographs, Ian Leavey; front of house manager, George Porter. 

Another review of the time

Adam Trimingham

"Improbable, but this critic lapped it all up "

Imagine you are a woman, recently blinded in an accident.  Your husband goes off for the day just after there's been a murder near your flat, and during that day the strangest things keep happening.  That's the theme of Frederick Knott's thriller Wait Until Dark, which is already threatening to become a classic such as Dial M for Murder.  Reason for the title is that, when night falls, a blind woman can cope better with her assailants in the dark.  This play is not an easy one for amateurs, because of the intricate timing and the complicated stage props and effects.  Yet the Wick Theatre Company at Southwick this week, under the direction of Ralph Dawes, are offering a truly professional production.  i saw this play during its West End run and I can honestly say that the Southwick performance suffered very little by comparison.

Mannerisms

Sue Brown has a long and arduous task rôle as the blind woman and manages to convey sightlessness very well, particularly in small mannerisms such as the way she uses a telephone.  But the star of the evening is undoubtedly Anthony Deasey a the crook, Roat, whose evil whisperings made my hair stand on end even more than usual.  His two henchmen, played by Neil Shephard and Brian Moulton, at first appear too decent for the mean, small time crooks they represent.  But as the play progresses and they con the blind woman respectively as an old school friend and a seedy detective, they get better and better.  Barbara Moulton plays a 12-year-old with all the haughty naughtiness and loyalty the part demands and Barrie Bowen is effective in his brief rôle as the blind woman's husband.

Smooth running

Mention must be Made of Teddy Morrison, Frank Hurrell, Ken Parsons, Terry Mase, Frances and Stephen Moulton, Terry Gibbs, Frances thorns, Margaret Perrett, Elizabeth Penney, Morfydd Bowen and Carol Brand, who, between them, ensure that the play runs smoothly.  One small mistake in lighting could have ruined it.  The play is improbable, but I willingly suspended my disbelief to enjoy it.  It is on at the Barn Theatre until tomorrow night.   

Next Season 1970