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last updated
19/03/08 21:48

Where The Rainbow Ends

How the Other Half Loves

Butterflies Are Free

Hobson's Choice

Where The
Rainbow Ends

by Roger Quilter

January  6 - 7 & 10 - 14
 1978


directed by George Porter 

 

It is not often that authors of plays find themselves under the heading 'plays and players' in our program but in this case Roger Quilter is of local interest.

Roger Quilter was born at 4 Brunswick Square, Hove on November 1st 1877.  Whilst he was to remain unmarried he held a remarkable love for children.  Quilter's most successful work is Where the Rainbow Ends and when it was first produced in 1911 it was remarked upon as "the best fairy music since Mendelssohn's Midsummer Night's Dream".  It says much for both Quilter's words and music that the play ran unbroken, apart for the war years, until the early '60s.

Our production has a cast full of youngsters many of whom answered our advertisement in the local press. 

Cast

 
Mortals
Sarah Titley - Rosamund Carey
Simon Gray - Crispian Carey
Audrey Laye - Matilda Flint
Bill Mack - Joseph Flint
Abigail Rowe - William
Antony Muzzall - Jim Blunders
Meriel Burge - Betty Blunders
Tim Cara - John Carey
Sally Bacon - Vera Carey
Wendy Smale - Cubs, a baby lion
 
Immortals
Barrie Bowen - St. George
Brian Moulton - The Dragon King
John King - Dunks, his Chief Minister
Beverley Harris - The Genie of the carpet
Alicia Sporle - Will of the Wisp
Jane Vrettos and Emily Reed - Sea Witch
Dennis Picott and Peter Joyce - Slacker
Karen Mitchell - Fairy Queen
Sarah Rose, Karen Dewey, Heidi Harrison - Fairies
Angela Paterson, Jason Lea, Melissa Lea - Elves
Cara Ticehurst - Woodmouse
Caroline Thomsett, Catherine Watt,
Samantha Sawyer, Nicole Fisher - Rabbits
Nikki Boniface, Colette Fisher - Frogs
Melissa Lea, Nicole Fisher - Dragon Flies
Sharon Tree - Spirit of the Lake
Neil Boniface, Tim Watt, Stephen Abraham - Hyenas
Debbie Broadrib - Black Bear
Nikki Boniface, Colette Fisher, 
Jonathon Dawes, Bruno Cass - Dragons
Amanda Dawes - Tree
Karen Mitchell, Bruno Cass, Emily Reed, Lee Topping,
Sarah Rose, Nikki Boniface, Caroline Thomsett,
Katherine Watt - Rainbow Children
 

Production Team

 
Director assisted by - Sheila Wright
Choreography by - Jeanette Goode
Music played by - Mary Radford
Stage Manager - Alan Upton
Assistants - Elizabeth Wrighton, Elizabeth Prince
Set Design & Construction - Antony Muzzall, Brian Moulton
Peter Joyce, Vincent Joyce
Lighting & Sound - Frank Hurrell assisted by Andrew Theaker
Properties - Frances Thorne, Margaret Davy
Front of House - Frances Moulton
 
Reviews
 

Frank Horsley

Wick Theatre Company proved there is still a demand for good, wholesome family entertainment with a near sell-out version of Where the Rainbow Ends, which completed a seven day run at the Barn Theatre, Southwick last Saturday.   Directed by Frances Moulton, the fantasy play by Hove-born writer Roger Quilter made a pleasant change from the usual Christmas pantomime romp.

The emphasis was on light and movement rather than boisterous humour with Wick's new-found host of child stars captivating their audience.  Mostly plucked form auditions, they appeared in countless guises to add great charm to the story of two children's search for their lost mother and father.  The quest sees Rosamund and Crispian Carey take a magic carpet ride to the land 'where the rainbow ends' - where their parents are imprisoned by the Dragon King after being presumed lost at sea.  Their nasty aunt and uncle give chase to try to drag them back under their strict control, but they cannot prevent the legendary St. George polishing of the Dragon King and happily re-uniting parents and off-spring.  Wick's production was a happy blend of youth and experience with the cast shrewdly deployed.

Brian Moulton was just the strong character needed to fill the hideous costume of the Dragon King and John King cringed superbly as his chief minister, Dunks.  Jane Vrettos came over equally strongly as the Sea Witch, while the upright figure of Barrie Bowen made him an admirable St. George.  

I felt some of the younger members could have spoken their ideals with more conviction.  Sarah Titley and Simon Gray did not always ring true as Rosamund and Crispian and the same went for their fellow adventurer Antony Muzzall (Jim Boulders), but Meriel Burge showed great promise as Jim's sister, Betty.  Their pursuers - Aunt Mathilda and Uncle Joseph - were well played by Sheila Wright and Bill Mack who were perfect caricatures of wicked guardians.  Although not having  to remember any lines, Wendy Smale showed potential as a mime artist in her lively portrayal of Cubs, the children's pet lion cub.  Good performances also came from Tim Cara and Sally Bacon as the lost parents, and Alicia Sporle as Will of the wisp.

Setting the tone for the whole production was Frank Hurrell's tasteful lighting and choreographer Jeanette Goode's skilful marshalling of the youngsters who portrayed everything from fairy ballerinas to elves, rabbits and hyenas.  the main accompaniment was by pianist Mary Radford.

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Well-drilled young performers helped make Where the rainbow Ends two very entertaining hours in the wick Theatre Company's production.  The beautiful set and costumed show, with a large cast, surmounted the space problem of the Barn Theatre.

Roger Quilter's story of four children who risk danger to journey to the land where the rainbow ends is steeped in symbolism.  The baddies are finally crushed - with St. George around to see that justice is done.  The colourful production was a delight to the eye, from the jungle scenes to the make-up, and with lighting superbly lurid for the wicked characters.   Of the youngsters, Sarah Titley was splendid as the resolute Rosamund, with capital performances from Simon Gray as her brother Crispian, Meriel Burge as Betty and Antony Muzzall as Jim.  Barrie Bowen's stalwart St. George was every child's idea of the dragon slayer, while Brian Moulton's dragon King, in fearful make-up, had the kids hissing.  Director Frances Moulton, assisted by Sheila Wright, wisely kept faithful to the author.  They also inspired a level of team work which was a credit to the large company

 

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How The Other Half Loves

by Alan Ayckbourn

May 2 - 6 1978

directed by George Porter

"If you're going to do a situation comedy - wrote Director George Porter in the programme - why not start with a really bizarre situation - why not mix up the Foster's and the Phillips' houses on the same stage - two in one so to speak!  And why not play tricks with time so that we can see events on Thursday and Friday at the same time! 

With such ingenuity Ayckbourn provides himself with a superb background to play out a series of hilarious situations.  He is a master of the comedy of everyday speech.  Ayckbourn's situations need good team work and casting.  I hope we've found the right balance and that you will be vastly entertained by these 'odd Ayckbourn people'.

Cast

 

Alan Upton - Frank Foster
Jean Porter - Fiona Foster
Roger Job - Bob Phillips
Miranda Bowen - Terry Phillips
Tim Cara - William Featherstone
Jeanette Goode - Mary Featherstone
 

Production Team

 
Designed by George Porter
Stage Manager - Peter Joyce
Assistant  - Margaret Ockenden
Lighting - Andrew Theaker
Properties - Frances Thorne, Margaret Davy
Set Construction - Wick's Workshop
Front of House - Frances Moulton
 
Reviews
 

Frank Horsley

 

Brighton & Hove Gazette  

Walter Hix

 

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Butterflies Are Free 

by Leonard Gershe

September 26 - 30  1978

directed by Brian Mouton
 

Brian Mouton wrote " Very few playwrights have the gift of combining comedy and pathos in a package that is neither sickly sentimental nor predictable.  I am sure you will agree with me that Leonard Gershe is one.

I fell in love with this play on sight and looked forward to the time when I could direct it for Wick.  The time is now and I hope we do it justice."

Cast

Peter Joyce - Don Baker
Jeanette Goode - Jill Tanner
Frances Moulton - Mrs. Baker
Barrie Bowen - Ralph Austin

Production Team

Stage Manager - Frances Thorne
Assisted by - Margaret Davy, Susan Whittaker and Jane Corbett
Lighting - Andrew Theaker
Set Design - Brian Moulton
Set Construction - Brian Moulton, Peter Joyce & the Workshop
Front of House - John King
Box Office - Sandie Joyce
Production Secretary - Peter Joyce
Musical Advisor - Patrick Johnson
Reviews

Frank Horsley

Wick Theatre Company opened a new season on Tuesday at its sophisticated best.  It again proved itself one of the few groups with the confidence and ability to tackle a play that requires the minimum of characters and the sparsest of settings.  Any weak link would have been  immediately obvious but this was not the case as Wick raised the curtain on Butterflies are Fee at the Barn Theatre, Southwick.  
Leonard Gershe's comedy is a deceptively simple tale of a blind American youth trying o set up home away from his domineering mother and his instant affair with a flighty actress from the apartment next door.  Set in 1960s New York, with liberal references to sex, drugs and the pop culture of the day, the play has a highly distinctive feel.  But above all, it is funny.

The humour is rather reminiscent of the that in The Graduate, a film of the same era and Peter Joyce might almost have been a budding Dustin Hoffman as he took the part of the blind Don Baker, his first major role for Wick.  Jeanette Goode, playing the girl next door, was also filling her most demanding Wick role to date.  Her flouncy, liberated approach was just right for the character, though she sometimes took the dialogue too fast and tripped over her lines.

The cast was completed by two of the company's most experienced members, Frances Moulton and Barrie Bowen.  Frances' immaculate sense of timing as Don's mother produced some of the heartiest laughs of the evening while Barrie made an impressive if all too brief appearance as the hip stage director.  
 

Ida Cole

Wick Theatre Company presented Butterflies are Free last week and regrettably there was a very small audience who missed many of the laughs.  This was partly because the cast did not allow time for them and partly because the hero was blind which confused the issue until one gets into the play's mood.  Brian Mouton directed it and designed the carefully planned one-room American apartment, in which the action takes place.  The piece de resistance was a very tall bunk bed, reached by a ladder.

Peter Joyce played the blind boy, Don Baker, most convincingly, never looking directly at anyone, but always turning towards a voice.  It was his first major part with the company and he brought to it much sensitivity though his American accent got a little lost.  Jeanette Goode was Jill, his dizzy dazzling neighbour with a dashing wardrobe which she seemed incapable of zipping up for herself.  She spoke too fast for clarity but kept up a good accent.  One found her irritating but that is what she was supposed to be and how she first struck Don's devoted mother.  Self-controlled, divorced and only 19, she came upon the blind boy as a refreshing draught dispersing the cobwebs of too much maternal care.

Frances Moulton was the mother who wrote idealistic best-sellers about a blind boy to encourage her son and was fearful when he tried to make a life of his own.  Suddenly she realised he had outgrown the cotton wool and needed to find his own feet. She left him to do it just when he seemed to need her most - and sent the audience home with plenty of food for thought.  Her accent flagged at times but it seemed immaterial.  She was the salt of the earth, turning up trumps with her forthright remarks and good common sense.

Whether Jill stayed with Don or went off, as planned to live with Ralph [Barrie Bowen] one was left to imagine.  
 

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Hobson's Choice 

by Harold Brighouse

December 12 - 16  1978

directed by Audrey Laye
 

Audrey Laye wrote " I am delighted to have been given the opportunity to direct Hobson's Choice - a long time favourite of mine.  It is written by Harold Brighouse one of three Lancashire dramatists who formed the 'Manchester School' and were responsible for the realistic plays of life in Lancashire at the turn of the century and into the early part of the 20th century.

The play was firs presented in America -were the British theatre goers of the early 1900s not prepared to accept the radical, contemporary theatre as presented by Brighouse and his colleagues?  However, it did arrive in Britain in 1916 and had its first premiere at the Apollo Theatre, London and since then it has been seen the length and breadth of the country.  It achieved success as a memorable film, starring the late Charles Laughton and Sir John Mills.  It has been presented by practically every repertory theatre in the country, it has been adapted for radio and more recently it has achieved its highest accolade by being presented at the National Theatre.

As a 'lassie from Lancashire' nostalgia could be part of my feelings for this play, but as a Director I have no doubt that it is one of the 'good, old plays, which has given enjoyment to all who have seen it and we hope that you, too, will derive the same pleasure from our efforts this evening."

Cast

Sally Bacon - Don Baker
Frances Moulton - Maggie Hobson
Sharon Tree - Vicky Hobson
Albert Prosser - Peter Joyce
Brian Moulton - Henry Horatio Hobson
Jean Porter - Mrs. Hepworth
Alan Upton - Timothy Wadlow [Tubby]
Bill Mack - William Mossop
Douglas Tucker - Jim Heeler
Joy Talmage - Ada Figgins
Dennis Picott - Fred Beenstock
John King - Dr MacFarlane

Production Team

Stage Manager - George Laye
Assisted by - Margaret Davy, Susan Whittaker, Frances Thorne, Amanda Dawes, Jean Porter
Lighting - Andrew Theaker
Set Design - George Laye
Set Construction -  Workshop Team
Front of House - Antony Muzzall, Betty Dawes
Box Office - Sandie Joyce
Programme design - Antony Muzzall
Reviews

Brighton & Hove Gazette

Walter Hix

An interesting point about Harold Brighouse's Hobson's Choice, presented by the Wick Theatre Company, is the way it has survived the years.  It stands favourable comparison with work of today's allegedly more enlightened playwrights.  Although first presented in this country in 1916 it still has a freshness that is most enjoyable.  What is more, it has all of the elements of a well constructed play.  It has humour, pathos, characterisation and plot.

The Wick Theatre company had the advantage of Lancashire-born Audrey Laye as Director and thus we were spared the stand-up comic type of Lancashire accent.  But it might have been called in to assist John King in the role of Dr MacFarlane.  In the main, the casting was meticulous and excellent playing of lesser roles contributed a lot to the overall success.  Alan Upton as the foreman bootmaker, Douglas tucker as Hobson's friend, Joy Talmage as Ada Figgins, and above all, Jean Porter as the wealthy customer, were all completely credible.  Young Vicky Hobson, played by Sharon Tree - promoted from the Wick's youth group - the snobbish Alice played by sally Bacon and the eldest Maggie by Frances Moulton were nicely differentiated in character and all played well.  The role of Maggie, running boot shop and house, is far from easy.  Frances Moulton succeed.

Brian Moulton, as the defeated Hobson did not put a foot wrong.  The character is sometimes seen as a caricature, but Mr. Moulton did not make the mistake of over-playing beyond the requirement of the part.  Willie Mossop was played by Bill Mack who achieved the transition from mouse to lion in a completely believable way.  It was an equally fine performance.

A special word for George Laye's set.  For the first time in an amateur production I saw a trap-door to the cellar that was a trap-door, an excellent piece of contrivance in the Barn Theatre which does not boast such amenities.

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