Thurs 20 – Sat 29 April 2006
Directed by Sally Hartley
Born in 1925?
Born in 1945?
Born in 1965?
Born in 1985?
It doesn’t really matter...
Michael Peters is a boy growing up from the end of the Second World War to the late 1960s and, for him, the Golden Pathway Annual seems to be the perfect companion. But, as he grows up…he discovers the many contradictions that can wear out a grown-up person
For anyone who’s been a child, re-live the experience of growing up with Michael, his parents and the array of characters he meets along the way.
BE PREPARED - EDUCATION IS A DANGEROUS THING!
Although I’ve been a member of the Bench for nearly 20 years, this is my first substantive ‘go’ at directing, and I’ve plumped for ‘The Golden Pathway Annual’. It may not be that well-known, but is a play that had a big impact on me when I saw it over twenty years ago in my youth.
I like the play a lot. For some it may evoke nostalgic memories of the era in which it is set. Maybe you can identify with one or more of the characters, maybe scenes spark off a personal memory or recognition, but I like the play particularly because it engages the timeless and universal struggles with growing up: it is an enterprise of self-knowledge, both painful and funny. The play presents an ‘everyman’ journey from innocence to experience, the discovery of right and wrong, the slow painful realisation that there are so many grey areas and the ambition of finding system and reason in the apparent jumble of principles and goals that we respect, or say we do.
I love the way it’s written: fast, funny and poignant. It presents a huge challenge to the actors: who need to keep up with rapid scene changes, as well as time travel! I love the stylised, non-naturalistic structure, which appeals to me because of its simplicity: for example, there is no attempt to conceal the fact that the actor who plays Michael is a grown man in order to convince us he is a child, rather the play allows the actor to represent the qualities and sensibilities of the various ages he plays. Similarly, the set is a simple playing area in which the actors - and the audience – can use their imaginations.
I have been extremely privileged to have had a cast of four such good actors, who have been inventive, imaginative, resourceful and hilarious. They have been unerringly patient with my peculiar directorial attempts and I do hope that they enjoy performing the play as much as I know I will enjoy watching it. I hope you enjoy it too.
Sally Hartley
Characters in order of appearance
| The Officer | Darryl Wakelin |
| George Peters | Mark Wakeman |
| Enid Peters | Zoe Chapman |
| Michael Peters | Nathan Chapman |
| Collins | Darryl Wakelin |
| A Chicken | Darryl Wakelin |
| Vadia | Darryl Wakelin |
| June | Zoe Chapman |
| Miss Jones | Zoe Chapman |
| Owen | Darryl Wakelin |
| Mr Seth | Darryl Wakelin |
| Roger | Darryl Wakelin |
| William | Zoe Chapman |
| Lady | Zoe Chapman |
| Mademoiselle | Zoe Chapman |
| The Head | Darryl Wakelin |
| Girl Friend | Zoe Chapman |
| Irishman | Darryl Wakelin |
| Magistrate | Darryl Wakelin |
| Doorman | Darryl Wakelin |
| Director | Sally Hartley |
| Assistant Director | Jo Bone |
| Producer | Peter Woodward |
| Stage Manager | John Wilcox |
| Stage Crew | Julie Wood, Liam Penny, Chris Stoneham |
| Costumes | Sue Dawes |
| Props | Members of the Bench |
| Set Design | David Pensrose |
| Set Construction | Members of the Bench |
| Lighting Design | Damon Wakelin |
| Lighting Operator | Alice Corrigan |
| Sound Operator | Chris Stoneham |
| Poster | Peter Woodward |
| Publicity | Jaspar Utley and Sue Dawes |
| Production Photographs | Katie Anderson |
| Front of House | Ingrid Corrigan |
Act I : 1945-57
Act II : 1957-68
The play is about a boy - Michael - growing up from the end of the Second World War to the late 1960s, and for him, the Golden Pathway Annual seems to be the perfect companion
Scene 1 26th July 1945. Britain gets a socialist Government but ex-corporal George Peters finds some are more equal then others.
Scene 2 27th July 1945. A hero’s welcome and a bulge baby’s begetting.
Scene 3 1948. The Age of Austerity
Scene 4 1951. George and Enid ensure Michael’s future for less than the price of ten cigarettes a week.
Scene 5 1951. For the young child the world is full of dangers. Not least of these is the possessive parent.
Scene 6 1951. Michael wants to be Jack the Giant Killer and makes his mum and dad rich
Scene 7 1952. George and the Dragon. George asks for a rise and gets fired.
Scene 8 3rd June 1953. A Primary School Teacher takes her two small pupils to the Coronation and makes them loyal subjects
Scene 9 1955. Two ardent fans of Winston Churchill exchange their souvenirs of the great man
Scene 10 Summer 1956. The Peters family try to have a holiday.
Scene 11 1957. “And the hopes of the fathers shall be visited upon the heads of the sons”. A pep talk.
Scene 12 1957. Michael catches a thief with the Famous Five, but their enemies aren’t his enemies
Scene 1 1957 The Arnold Riley Grammar School for Boys.
Scene 2 1958. Michael imagines himself as a missionary saving sinners, and enjoys the delicious pain of self-sacrifice.
Scene 3 1961. “Don’t lark about with a girl whom you would not like your mother or sister to see you with. Don’t make love to any girl unless you mean to marry her.” – Baden Powell, Scouting for Boys
Scene 4 1961. “The Art of Conversation” is brought home by Michael from the grammar school. Its chances of survival are slim.
Scene 5 1963. Michael Peters, seeing himself as James Bond, takes on “The Head” and gives the French Assistante more than she bargained for.
Scene 6 1964. Speech Day.
Scene 7 18th July 1964. For the Arnold Riley prize-winner, honesty is the best policy. But the Arnold Riley prize-giver finds the truth inconvenient.
Scene 8 18th July 1964. Michael’s untried theory, that anyone who is prepared to make the necessary effort can succeed in life, doesn’t correspond with George’s lifetime’s experience
Scene 9 1966. Paint on a wall or paint on a person but not at the same time. Michael has a lot to learn.
Scene 10 1966. New Year’s Eve. Michael’s parents know something’s gone wrong and Enid tries to define it.
Scene 11 1967. Michael finds that like the pound his degree has been devalued.
Scene 12 1968. Michael meets the Famous Five for a second time. Their enemies are still not his enemies
The wonderful production photographs are now online.