‘What cloying meat is love? When matrimony’s the sauce to it?’
EDITED BY MARK WAKEMAN
HTML coding by Robin Hall
His Gast is Flabbered
BenchPress Editor
Is it just me or does it feel like the world can’t stay still. This time last month, everything seemed so clear to me, then suddenly everything changes and your whole life changes with it.
The future looked as though it was to be full of heart break and disappointment for everyone, then suddenly, one small thing happens, one change and a whole new world opens up before you, something wonderful that had seemed impossible but now you realize, dreams do come true.
Yes. Britney Spears is single again.
So I’m very happy.
Oh and we had lots of meetings about revamping the whole club night and play selection thing, yada, yada yada. So read on, and discover the new excitement for the Bench.
So long farewell and Hello there!
What the future holds
First off, I would like to say goodbye to ‘Wyrd Sisters’, it was certainly an interesting production and gave me some wonderful and nightmarish new challenges as a director. So well done to my wonderful cast and my super backstage crew (Who really deserve so much praise for all their hard work on this show).
I’d also like to say once again ‘Get Well Soon’ to David Hill. (For those who do not know, Dave was taken ill during the production of ‘Wyrd Sisters’ but is now out of hospital and I’m sure eager to throw himself back into Bench business!) Can’t wait to see you on club night!
‘Female Parts’ is up and running and rehearsing well (At least the directors didn’t send me any messages to the contrary!) So prepare yourselves for that. But also The Bench is taking part in the 9 Days in May Festival again. Read on and admire……
| DATE | EVENT |
|---|---|
| Thurs 4th April | Club Night, 7:30 for 8pm |
| Thursday 18th April - Saturday 27th April | Female Parts (HAC, 7:30, not Sunday or Monday) |
| Thursday 2nd May | Club Night, 7:30 for 8pm |
| Thursday 16th May | Club Night, 7:30 for 8pm |
| Friday 17th May | 9 Days in May - Goodbye Mr Chips |
| Thursday 6th June | Club Night, 7:30 for 8pm |
| Thursday 20th June | Club Night, 7:30 for 8pm |
| Thursday 4th July | Club Night, 7:30 for 8pm |
| Thursday 18th July - Saturday 27th July | The Handyman performances (HAC, 7:30, not Sunday or Monday |
Following recent performances at Havant and Hayling Island festivals of his one-man versions of Dombey and Son, Scrooge and David Copperfield, John Scadding presents Goodbye Mr Chips, the famous story of a loveable schoolmaster.
The story was written by James Hilton in 1933, originally as a Christmas Special for a weekly paper, Goodbye Mr Chips was quickly published in book form and then filmed, twice: once with Robert Donat, once with Peter O'Toole. It is a magnificent story of a man who is not magnetic, never brilliant but neither was he bad or facing dreadful adversity. He was simple second-rate, utterly second rate and he knew it. And here is where the magic lies, in making such a mundane source into a tale so stirring and moving.
The performance will last about 90 minutes with one interval.
Hot off the Press: Rumours today (March 27th) of a new production in preparation with Martin Clunes as Mr Chips. You read it here first!
Many thanks for all those who voted for The Handyman as the July production. As I said at Club night I think it a good choice for a number of reasons. It’s a play which throws up a handful of issues which are sharply relevant today; it tells an intriguing story; it offers some nice opportunities for both actors and crew; it helps to complete a rounded programme of diverse productions for us during 2001/2.
The question of guilt and responsibility is central to the play and how far society should demand retribution for crimes, even if committed in another place at another time. How can we be sure that in seeking punishment we are not in fact seeking revenge and if so what does this tell us about our selves?
The particular situation in the play of whether Romka, the Ukrainian, participated in these atrocities fifty years ago is perhaps not capable of confident resolution. Strong evidence seems to be unearthed, but it is circumstantial. His own protestations of innocence seem equally strong but there is something uncomfortable in his recollected attitude towards the Communists and somewhat blurred distinction between them and the Jews in Eastern Europe in the early years of World War II.
The play is set in a lovely Sussex garden, itself a tribute to Romka’s labours. There is a powerful contrast as the play unfolds between what we are looking at and what we are hearing about – mass slaughter, trench-filled bodies, quick-lime. If Romka is condemned not only what will become of the garden but also what of the marriage of the couple who have sustained it and him? Julian and Cressida, at first seen as a conventionally well-heeled couple, City job, Glyndebourne visits, etc. grow to defy type and display the one vulnerabilities, the other strengths. Interesting parts. The collision between Cressida and Marian Stone, the forceful lawyer who comes to find her own attitudes challenged, provides a strong climax to the play.
The two Detective Inspectors, while they may have their own agenda, are more than just the driving device of the action. Certainly not P.C.Plods. And the two people, investigated from Romka’s past, each given a scene of their own, display an unapologetic certainty in the one and a dignified calm through the remembered pain in the other that will make their appearances, whilst brief, impactful for the audience. So, eight characters in all, all with something to offer. Three are certainly elderly but I don’t see this as an insuperable problem.
I’m hoping to have auditions in the week after the April Clubnight,, possibly 9th and 10th. If rooms are available. I hope to confirm this at the Clubnight. Meantime if anybody would like to ask me anything about the play and the characters and about any help they might provide do, please, get in touch. You can find me either on 01730/233392 0r e-mail johnbatstone@hotmail .com. Thanks! John
Editors Note, John has confirmed the above dates and they will take place at Bedhampton Arts Centre at 7.30
At the last club night Neil Kendall pitched a bold idea.
The idea was this... The Bench does Henry the Fifth.
He would like to direct his adaptation of the Shakespeare classic in our November slot but it was decided the Bench would like more information about the production and so Neil has been given the May club night to explain what he intends from this bold, challenging and exciting production. The following is an attempt to wet our appetite for the adventure to come.
The Plot: Henry V represents the culmination of the history circle that started with Richard II. Shakespeare shows the redemption of the English monarchy in the form of the once wayward, Henry. The play centres round his military exploits in the fields of France. Leading an impoverished band of warriors, Henry triumphs against all odds to achieve victory over the arrogant French.
The horrors of war and Machiavellian politics are juxtaposed with the nobility of the individual and self-sacrifice of brotherhood.
Director’s note: “One of Shakespeare’s longest and most action-packed plays, the challenge for this adaptation is to deliver a play of manageable length and coherency. I’ve deliberately merged several characters to strengthen the tension within scenes and still allow for multiple story lines. We will be relying on physical theatre as well as experimental vocal techniques. I’ve already commissioned linguistics experts and musicians to aid in the planning of this. The set and props are going to be very minimal (- I’ve completed both already!). In fact this production should provide a wonderful showcase of Bench acting talent. This will have the potential to please audiences, critics, performers and actually make some money! Ultimately this will be an ensemble piece and, as with all of my productions, will be conducted in a relaxed and enjoyable atmosphere.”
Opportunities for Bench members: Neil is looking for a cast of eighteen (any age, any experience, 6F 12M), plus a small back stage crew. Most roles are evenly sized. If anyone is interested, would like copies of the script or would like further information please contact Neil on 07764942799/evenings- 02392 797806/at work- 01403 210822 or at neilkendall@hotmail.com.
The Workshop: On 2nd May, Neil will lead a workshop designed to highlight some of the techniques that will be used in this production. Not only does this promise to be physical production, but Neil also intends to use choral work in enhancing the play. Please turn up and express your support because Neil would like to jump into rehearsals as quick as possible.
(Neil Kendall has been a member of The Bench on and off for the past thirteen years. He directed The Homecoming and Bench roles include “Oedipus” and recently “Mortimer” in Arsenic and Old Lace. He is currently Head of Drama at Richard Collyer’s College in Horsham.)
The first presentations in Havant of a playwright who is a new member of the BENCH THEATRE.
Jaspar Utley will be presenting extracts from some of his plays through readings by the BENCH members present. Some of the plays have already been performed or given rehearsed readings in India. They range from the black comedy of ‘Bum’, set several kilometres up Satan’s backside, through the comi-tragedy of ‘Trolley Rage’, set in a supermarket, to a thought-provoking examination of the existential view of death and free will in ‘A little death.’ There will also be extracts from a work in progress, ‘Judy’, which critically examines extreme moral relativism in the context of an attack upon a Punch and Judy man. But whether through comedy or tragedy, all the plays tackle serious issues relating to the human condition.
UTLEY, DAVID JASPAR
b. 28 October 1941
m. Megan Croxen 1965
2 daughters 1967 1970
Qualifications:
BA (Hons) English and Philosophy, Keele University 1965
Dip. Ed,. Keele University 1965
Dip. TEFL, London University, 1970
MA Applied Linguistics, Reading University 1975
Dip. In Modern Spoken Chinese, Ealing College of Higher Education, 1983
Experience:
1965-1969 Teacher, St Paul’s Co-educational College, Hong Kong
1969 Joined The British Council
1970-1974 Asst. English Language I, British Council, Bangkok, Thailand
1975-1978 Lecturer in ELT Methodology, University of Cape Coast, Ghana
1978-1982 English Language Officer, The British Council, Greece
1984-1987 English Language Officer, The British Council, China
1988-1990 Director, English Language Management Dept., London
1990-1995 Director, The British Council, Namibia
1995-2001 Director, The British Council, South India (Madras)
Interests:
Theatre: Acted in and directed numerous amateur productions in Hong Kong, Thailand, Greece, China and India. Dead Man’ and ‘Bum’ were performed in Madras in 2000. Two more, ‘Trolley Rage’ and ‘A little death’ were given rehearsed readings by the Madras Players in 2001.
Writing: I have written poetry, stories and plays as well as articles on ELT in Hong Kong, UK, China and Namibia and on the Anglo-French Carnatic Wars in India.
Three books have been published:
‘Allsorts and other stories’ (Gamsberg Macmillan, Namibia)
‘Ngoma and Click’ (Gamsberg Macmillan, Namibia)
‘The Bravest and the Best: the Rani of Jhansi’ (Macmillan, India)
Another, ‘Tall Tales’ will be published by Penguin, India in 2003
A pantomime, ‘Ali Baba’, was performed by the Little Theatre in Madras in 1999. Two plays, ‘Three Women and a Dead Man’ and ‘Bum’ were performed in Madras in 2000. Two more, ‘Trolley Rage’ and ‘A little death’ were given rehearsed readings by the Madras Players in 2001.
Contact Address:
7 Fifth Avenue, Denvilles, Havant, Hants, PO9 2PL
Telephone: 023 92484329
Email: megan@djam.freeserve.co.uk
Editors Note. All I can say is……..Wow.
But not only do we welcome Jasper to the company we also welcome his wife, the devine Megan who has already made a huge impact on our company by providing us with the costumes for both Caucasian Chalk Circle and Wyrd Sisters. To be presented with the costume list for Wyrd Sisters (Which included Witches, Kings and Queens, Demons, Peasants and a Court Jester) and to be able to produce them so wonderfully shows her incredible skill and talent.
Welcome to the Bench Theatre, both of you and long may you remain content within our ranks.
By Tim Taylor
For those who couldn't get there, we had a very enthusiastic (and well-attended) meeting on 3rd March to consider play selection processes and the implications of any changes. The general feeling was hugely encouraging and positive and I think we will rise out of this recent problem stronger and more vibrant than ever.
In brief, the feeling was that the membership is often asked to make choices for future productions with scant, perhaps inadequate, information and yet those decisions are binding on all of us. Sometimes, as has happened twice recently, the choice has not been implementable and we have then faced a panic to rectify it.
The solution is in two forms. First, the voting will be a recommendation to the committee rather than being decisive in itself. This means that if there are grounds to think that there may be problems either in casting, budgeting or perhaps that it is asking too much of the members over a short space of time, then the committee can resolve these issues before the company commits itself to a production. There should very rarely be a need for this, but the option is there when we need it.
Coupled with this, the voting forms have been redesigned to give space for more than a simple ‘yes/no' answer. First, members can indicate their availability for either on- or off-stage support. Second, they can give more detailed comments and views on the proposal. It can only help any would-be director (and the committee) to know why a proposal is unsupported, specially if it is something which can be readily altered.
The trial run for these forms at the March club night proved a success. We selected plays for the July and September slots confident that there was good support for them and that people were available at the right times to cast and crew them. More important, for the proposal put forward for the November slot, there was a clear expression of interest and so we go on to the next stage of exploring that play in confidence.
The second requested change in the selection process was that we should spend more time considering the productions before we take a vote on them. We are therefore looking now at ideas for November, and we need people to put forward their wishes and dreams for next year too. This means ideas for small productions as well as for big ones so that we can put together a season that is varied and balanced in terms of themes and styles.
Fired with this enthusiasm, we are going back to two club nights per month, which will be on the first and third Thursdays starting in May, but there is a cost to this and at the risk of sounding preachy, it has to be stated. The Bench needs people willing to contribute their time and energy to productions, to club nights and to other activities. Lots of people said they would like us to go on theatre trips: nobody volunteered to organise one. Lots of people said they wanted more frequent club-nights to look at plays and theatre skills: only two people volunteered to run them. We need more input if we are going to achieve the output you have asked for.
by Tim Taylor
During Wyrd Sisters we put out a notice board listing the productions we have done and showing off some of our archive. We have had good feed-back from that and given how much time our audiences spend milling round the foyer looking for something to read, this is the perfect opportunity to show off we what we have done, what we are doing and will do. We can tell them about us and recruit new members and BackBenchers and that was the idea of this noticeboard. It would be lovely to cover this not only with history, but also with stuff about the present show. Perhaps some rehearsal photographs, other snippets about the writer, the period or other companies' productions of the play. We can give more detail about the forthcoming shows: what we have decided on and what we are still thinking about. We can invite comments from the audience, requests, gripes and ideas. We can plead for elusive props or costumes.
Does anyone (or two) fancy taking this on? It would need you to prepare the board with interesting bits and pieces before the first night.
Thereafter the front of house staff will bring it out and put it away so it is something that can be fitted in to your own time as suits you best. It should take a couple of hours for each show, so five times a year. Anyone interested for this year? Please ring Tim Taylor (023 9248 4730) to discuss further.
Information in Bench Press goes stale ! - for up-to-date contact information please check the relevant page on our website.
Phew That’s it, a packed BenchPress as you can see. I’m sorry if the typeface has been a little smaller then usual on some of the articles but it was so that I could manage to squeeze everything in.
Please keep the articles and the contributions coming because they make my job easier and they make your newsletter more interesting to read. Exciting times ahead, let’s keep them coming...
Bench Theatre
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