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Southwick
West
Sussex
reg. charity no.
263310
Tickets
£8.50
under 14's
£5
Box
office
online
Box office
01273 597094

Wick thanks
St John's
for their
attendance at
our performances
last updated
19/03/08 21:48
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Where
The
Rainbow Ends
by Roger Quilter
January 6 - 7 & 10 - 14
1978
directed by George
Porter
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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. |
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Cast
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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 |
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| 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 |
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Production
Team
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| 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 |
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| Reviews
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Frank
Horsley
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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
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"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'. |
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Cast
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| Alan
Upton - Frank Foster |
| Jean
Porter - Fiona Foster |
| Roger
Job - Bob Phillips |
| Miranda
Bowen - Terry Phillips |
| Tim
Cara - William Featherstone |
| Jeanette
Goode - Mary Featherstone |
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Production
Team
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| 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 |
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Reviews
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Frank
Horsley
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Brighton
& Hove Gazette
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Walter Hix
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Butterflies
Are Free
by Leonard Gershe
September 26 - 30
1978
directed by Brian Mouton
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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." |
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Cast
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| Peter
Joyce - Don Baker |
| Jeanette
Goode - Jill Tanner |
| Frances
Moulton - Mrs. Baker |
| Barrie
Bowen - Ralph Austin |
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Production
Team
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| 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 |
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| Reviews
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Frank
Horsley
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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. |
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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
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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." |
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Cast
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| 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 |
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Production
Team
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| 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 |
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| Reviews
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Brighton
& Hove Gazette
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Walter
Hix
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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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