‘If he had not relaxed the Grand Duchess Olga Katrins would not be selling baked beans today'
EDITED BY MARK WAKEMAN
HTML coding by Robin Hall
Mark Wakeman, BenchPress Editor
Greetings and welcome to another exciting, thrill packed Bench Press. The more eagle eyed among you will have noticed
that we have changed our format for this issue and no, that’s not due to the committee voting me incredible amounts of
Bench Cash in order to make this publication even more must have then it already was, but because my computer crashed
and was repaired by the wonderful Paul Millington. However this meant that all that had come before had been erased and
so now I am left fighting with this wonderful new set of tools. I hope to get it under control soon! However, despite what
it ends up looking like it’s the same Bench Press that you know and love and whether you use it for keeping informed with
the latest Bench gossip and excitement or for just wrapping your chips I hope you’ll agree there’s something for everyone.
(I have added a salt and vinegar concoction to the ink so that your chips have that added zest you require!)
What more could I do? But now, read on!!!!! It’s an exciting one this month because as usual when you write to me, you write in droves and when you don’t write I certainly save on ink! But this month it’s virtually a whole cartridge worth!
We hear from Tim, Sam, Andrew, Nathan, Neil and many many more. So set your phaser for excitement and read on, read on!
Footnote : The HTML version has not had such a drastic redesign but changes to the colour-scheme might creep in over the coming months...
| DATE | EVENT |
|---|---|
| Thursday 20th June 7:30 for 8 pm, Havant Arts Centre |
Club Night - Possible Plays for the Future (See elsewhere in Bench Press) |
| Thursday 4th July 7:30 for 8 pm, Havant Arts Centre |
Club Night - Room 101 (See elsewhere in Bench Press) |
| Tuesday 9th & Wednesday 10th July From 7:30, Havant Arts Centre |
Romeo & Juliet - AUDITIONS Contact Zoe 023 92 472 500 |
| TBC (Stop Press : Saturday 29th June + Saturday 6th or Sunday 7th July) | Advance Set-Build for The Handyman All helpers welcome - please contact Sam |
| Saturday 13th July Time TBC, Havant Arts Centre |
Get-In for The Handyman |
| Thursday 18th to Saturday 20th July & Tuesday 23rd to Saturday 27th July Havant Arts Centre, 7:30 pm |
The Handyman - performances |
| Sunday 28th July Time TBC, Havant Arts Centre |
Get-Out for The Handyman |
| Thursday September 5th Prompt 8pm start, Havant Arts Centre |
Club Night - AGM |
| Saturday September 7th 2pm performance. Leave Havant approx. 10am, leave London approx. 9pm.) | Theatre Trip : “Twelfth Night” at the Globe Theatre in London. Tickets : £15 standing, £37.50 seated. (including coach travel). Members, Back-Benchers and friends welcome! Please contact Tricia Cane at or before the June 20th club night if you would like to come. (see below) |
On September 5th it will be the AGM and time to vote for new officers and committee. At present the committee has six members and this seems to be a good workable number but there will certainly be at least one vacancy as Sam is having to stand down because of work commitments. It is not too early to consider whether you would be willing to join.
For those who missed John Scadding's piece for the Nine Days in May Festival, it was a great success that was very well received by the audience. John has also been asked to consider doing it again in Guildford, so definite are congratulations in order on both counts.
You may remember that one of the ideas brought up at our Play Selection review meeting was the formation of an
artistic committee to focus on bringing forward the right plays and directors to help create a good balanced season.
A few people expressed interest at the time in joining that and we are about to start putting it together. If anyone else
would like to take part, please give me a ring (Tim Taylor 023 9248 4730) and I can give you information on when it is kicking off.
Sam Emery, Stage Manager
Dear All,
Rehearsals for ‘The Handyman’ are well and truly underway and John tells me that all is going according to plan in the
acting department. This means that the time has arrived to bring together all the other elements of the show such as
the set and props. Below is a list of the items that I think we are going to need to beg, steal or borrow – as far as I
am aware, we don’t already have these in the Bench cupboard although I would be delighted to be proved wrong if you know better!
Anyway, please cast your eye over the list and get in touch if you are able to help with any of the items (number below).
As far as the building of the set is concerned, we would like to begin work on this 3 to 4 weekends before the get-in on July 13th. We are waiting for confirmation that space is available at the Arts Center to do this and I should have the information by the Monday 10th June.
So, if you are willing to give us a hand with building and painting pieces of our set please contact me on the below number for more information. This plea particularly goes out to those of you who wrote on your voting slips that you were interested in working backstage, but all help would be appreciated.
Other than that, we have stage management (Sam and Mark), lighting designer (Andrew Caple), lighting operator (Simon Walton), FOH organiser (Robin Hall) and publicity organiser (Sue Dawes) although these last two people will need volunteers to do the ground work in their two areas so please don’t be shy in offering your assistance.
Hope to hear from you soon,
Sam Emery (023 9247 3926)
Breaking News : Set-build will be at HAC on the 29th of June and also on the 6th or 7th of July
Neil Kendall
Neil Kendall has asked me to include this piece to explain why he felt he had to withdraw his proposed production of ‘Henry V’ for our November slot.
“With some regret I have decided to withdraw Henry V from play selection. There are two reasons for this…
Firstly, when I offered Henry V for the November slot I was under the impression that no alternative production was being offered. I was not aware of any one else’s intention to Direct until the night of the Henry V workshop. My commitment to The Bench has always been to enable good productions no matter what the play or who was in them. I feel very guilty that Henry V might prevent a first time director (someone who should be encouraged) having the opportunity to work on an excellent play (Romeo & Juliet). I do not want to be seen to block the worthy efforts of others. I honestly thought that November was an empty slot.
Secondly, to present The Bench with a choice of Shakespearean plays is to give them very little choice at all. When both productions have similar merits you run the risk of people making their selection based on non-theatre issues, which I feel would be an unhealthy route for The Bench to take. Also, such a selection runs the risk of splitting the membership’s opinion. A Shakespearean production is an ambitious venture and deserves to have the full support of every Bench member. For these reasons I would rather be seen to support Romeo & Juliet, then cause division by pursuing my own production.
I also feel that it is important that a resolution is reached before The Bench Night. I hope everyone will make an effort in backing the production of Romeo & Juliet.”
Andrew Caple
Now that we have selected for the remaining 2002 production slot it's time to cast our imaginations forward to 2003. So that's the theme for the 20th June Club Night.
So please bring along your play ideas. You don't need to be a director - just have a desire to see a play (or play style or playwright) performed on the Bench stage. You never know your luck, some of these may be picked up for further play selection discussion.
To put some focus on this exercise we would like people to think what would be a fitting follow-on to 2002. Looking through the usually diverse Bench 2002 season here are some of the terms that come to mind (a personal, not definitive, list - so no letters to the editor please!):
So what would be a fitting start to the 2003 season? Please bring along copies of a section of your proposed play that so we can have a short read through, say 10 minutes, and a few reasons on why it would make a good continuation to 2002. One constraint to bear in mind, the February slot (if confirmed) is likely to be a 1 week only so we will be looking for at least one simply staged production. The Spring and Summer slots will be the usual 2 weeks.
See you all with favourite scripts on the 20th.
Cheers,
Andrew
Hosted by your connoisseur of theatrical rubbish, Damon Wakelin
At last, the perfect use for the Orwellian nightmare that is Room 101. Bring along your dramatic and theatrical off-cuts,
cast-offs and dog-ends then attempt to persuade the company that they should be consigned forever to the artistic dustbin. It
can be a play, a character, a performer, a production, a playwright or an entire school of theatrical thought.
And if you could bring an excerpt to demonstrate the full awfulness of your choice, all the better. (Although I would ask
that brevity be the order of the day and that no excerpt be longer than 2 pages)
Be warned, unlike Paul Merton on the telly, I do not promise to be even-handed and impartial, (if anyone suggests Patricia
Routledge she's going in, no questions asked!), but I can promise an evening of lively debate and much hilarity.
See you there.
Shown at Ashcroft Arts Centre, Fareham, on Tuesday 28th May 2002
by Nathan Chapman
24 people left the Ashcroft Arts Centre on 28th May thinking an awful lot. They were thinking: "Is there a God?" "And if there is, what happens when even the angels stop believing?"
This, as far as I can ascertain, was the premise behind Base Chorus' The Corrupted Angel. A bizarre concoction of theatre, music and multi-media, that left this audience member at turns pensive, confused, disturbed and uplifted.
A cast of six performers explore the notion of faith in a cynical, dysfunctional netherworld that closely resembles our own, although not entirely. What prevents this production from being an outstanding piece of innovative multi-media theatre is the writer's refusal (or inability) to anchor his characters in a world that we are supposed to identify with and care for. The human characters are flawed, pathetic and uninteresting, not particularly worth the salvation that is so important, and the world they inhabit comes across as empty, characterless and disembodied thanks to a bare stage in which the actors move around dreamily and detached.
For the interest, we have to look to the divine. Paul Duckworth, as the “sick angel” Lucus who has abandoned his human ward for the sake of capital gain, gives and outstanding, virtuoso performance which is almost worth the price of the ticket in itself. Despite looking like a Young Conservative lost in a glam rock revival, he is extremely watchable and both vocally and physically dynamic – moving with such precision, economy and confidence that leaves most of his co-actors in the shade, with the exception of Tim Chipping’s Silphus, an arrogant, judicious Examining Angel sent to put Lucus on trial. Remarkable stage presence, exuding the type of otherworldly power that completely befits his character. The rest remain in the periphery, and Chris Curran’s preaching Tramp becomes simply tiresome with his pseudo-biblical ramblings. Not his fault – as The Corrupted Angel is quite clearly a play written and directed by a composer (Patrick Dineen), for what it lacks in stagecraft and characterisation it more than makes up for in the music.
And what music! Kal Ross’ lush sound design is the real star of this show, enveloping the audience in a continuous, ever-shifting soundscape that reaches every part of your body, punctuated by some fantastic and crisply delivered songs, varied in style and all wonderfully joyous, even when alluding to the darker themes in the play. (Note to self – see if they have produced a CD). All performers sing magnificently, aided by the fact that throughout the performance they wear radio-mics, which could have been a mistake in such a small space but really made the experience vital. If you could watch theatre like video, forward through the dialogue and crank up the volume for the musical numbers.
A flawed but occasionally ecstatic theatrical experience, owing much to Kafka and post-millennial tension that would probably leave a mainstream audience clamouring for refunds, but shows that this new-ish company may be moving towards some magnificent work in the future.
Another idea for a regular feature was given to me by the incredibly talented Derek Callum. The idea is for a Bench Member to answer some questions about themselves and their experience with theatre so that we might all learn a little bit more about each other! I shall be asking for Volunteers for future issues but to get the ball rolling Mr Callum has answered his own questions! Read on and learn.
The only thing we need now for this exciting new feature is a title, Derek suggests ‘My Life in the Theatre’, my own idea is ‘Bench Members Stripped Bare’ How about you the readers decide? Write to me and tell me what you think a good name for the regular piece should be?
What is your first memory of the theatre?
I was born and brought up in central London. At Christmastime my parents would take me “up west” to a pantomime. I remember seeing ‘Peter Pan’ with Sarah Churchill in the lead role. I was fascinated when she “flew” across the stage and I was scared stiff whenever Captain Hook appeared. It was probably about 1958 so I would have been about 19 (not!)
What type of productions do you enjoy most?
I like comedy and drama, and top-flight musicals. I like shows that have a good, straightforward storyline with a beginning, middle and an end (not necessarily happy).
… and the least?
I don’t like “arty-farty abstract” plays. I don’t like coming away thinking “What was all that about?” I’m afraid I’m not very deep!
Have you ever walked out on a performance?
Yes… and it was a Bench production unfortunately. It was ‘Glengarry Glen Ross’ and we had taken Sharman’s father, Phil, with us. We sat and squirmed as the swearing flew around, hoping that Phil’s hearing aid wasn’t picking it all up! At the interval we agreed “not to bother” with the second half. (Silly really… Phil was in the army during the war and would have heard a lot, lot worse… but somehow it’s different with family, isn’t it?!)
Have you ever had any embarrassing moments? When I was about 18, I took a younger girl on a first date to my local Arts Centre in Islington. The play was set in a South African gaol and opened with a black actor crouched in the corner of a dimly lit set. When he stood up and walked to the front of the stage, he was stark naked and, from our front row seats, “impressively built”! When I took my date home, her mother asked about the show. When I told her, she was aghast and said “My daughter wouldn’t sit and watch something like that… she would walk out!” to which I could only reply, “Well she did… and she didn’t!” (Footnote: that was also our last date!)
… and any funny moments?
A few years ago Sharman had a very bad back. I bought her a cushion with a battery-operated motor inside which vibrated and gave some relief. After a tiring day’s visit to London, we went to a show in the evening. Sharman was in great discomfort in the theatre so we took our seats and she switched her cushion on. It did rather amplify and a little boy about six seats away stood up in fright and said, “Mum… my chair is shaking!” We maintained a dignified silence!
When did you join the Bench?
December 1998.
Why did you join the Bench?
Injury and illness forced us to give up playing hockey at about that time and we wanted to find an alternative pursuit. We have always loved the theatre and were members of a few local arts centres. We liked the atmosphere at Havant and particularly enjoyed Bench productions. We brought some friends to see ‘The Odd Couple’, thoroughly enjoyed it and decided to “sign up”!
What involvement have you had with the Bench?
On stage is definitely not for me, but I enjoy most aspects of backstage work. I’ve expanded my carpentry skills by building the famous “throne on wheels” and stocks for ‘King Lear’, and the “ton weight” for ‘Old King Cole’. My scrounging skills were put to the test by an enormous props list for ‘Caucasian Chalk Circle’ whilst my electrical knowledge climbed a rapid learning curve as lighting operator for ‘Racing Demon’. My desktop publishing skills (where I am most comfortable and confident!) have enabled me to produce programmes for ‘Translations’, ‘Caucasian Chalk Circle’, ‘Wyrd Sisters’ and ‘Female Parts’… with the last three coming in a row it seems I’ve become typecast in my own little way!
What do you enjoy about the Bench?
I am always fascinated by the “life cycle” of our productions. It starts at play selection with background and excerpts of a play (I’ve usually never heard of!) by a playwright (who is equally unfamiliar!). I offer my humble services in some small way, watch the play develop during rehearsals and, 10 to 12 weeks later, sit spellbound by wonderful performances bringing it all to life. The talents and dedication of Bench members never ceases to amaze and always delivers the goods!
What has been your most exciting moment?
I was very excited for Sharman when she landed her first part in ‘Broken Glass’ in November 1999. She was very nervous, playing with such Bench “legends” as David Penrose, Ingrid Corrigan and Peter Woodward. She also had the opening lines… and in an American accent! I thought she did extremely well and I was very proud of her!
What has been your biggest nightmare?
My first (and so far, only) experience in the lighting box on ‘Racing Demon’! About 75 lighting changes were programmed into the system, augmented by about 20 manual (late decision!) overrides. On about the third cue, the wrong lights came up. I panicked! I pressed the forward programme button again… still wrong. Again – wrong! Try going backwards – 1 step, 2 steps, 3 steps… all wrong! Where are those floodlights for the garden scene??! I pressed the button one more time and plunged the stage into complete darkness as John Batstone, soldering on, delivered the highly inappropriate line “Lionel, how good to see you again”. I threw every light in the house on and the scene, and performance, completed without further mishap. During the interval (whilst changing my underpants!) I discovered that the fuse had blown on the floodlights which, thankfully, were only needed in that second scene.
What frustrates you about the theatre?
That more people don’t go! I try and encourage friends and work colleagues – with varying levels of success. I sometimes think they only think of theatre as “the West End” but they are often pleasantly surprised by non-professional productions performed in a small art centre they never knew existed!
… and what excites you?
Any visit to the theatre! You never know what the evening will bring forth. There is the occasional let-down, but very often we come out saying, “that was fantastic!”
What does the future hold?
Hopefully a lot more of the same for many years to come. We have been made very welcome by the Bench and have enjoyed all the contributions we have made, both on-stage and off. We have made many good friends and enjoy the company of such friendly, talented people!
Information in Bench Press goes stale ! - for up-to-date contact information please check the relevant page on our website.
Bench Theatre
Registered Charity No. 291935
Bench Theatre, PO Box 144, HAVANT, PO9 1XB