WESTON MERCURY,

SOMERSET & AVON HERALD

FRIDAY, JUNE 30, 1978

DRAMATIC SOCIETY PRESENTED

OVER FIFTY PLAYS IN NINETEEN YEARS

IN LOOKING BACK over the sixty years' history of Weston-super-Mare Dramatic Society a striking feature is the immensity of its activity, not only in the number of plays produced but in other interests including play readings and lectures, and association with other local amateur theatre enthusiasts in special charity events such as the hospital fetes held in Clarence and Grove parks in former years.

There was its co-operation with the Red Triangle Players in presenting seasons of one-act plays, and who now remembers John English and his Intimate Theatre Group's Arena Theatre venture in a tented theatre opposite Ellenborough Park? This was a professional experiment, a brave one, carried on despite the tent being wrecked one season by a gale. It presented first-class theatre and the Dramatic Society, Red Triangle Players, and Alexandra Players rallied round to help as stewards and in other duties, including playing of minor roles.

John English, of Arena Theatre, incidentally, produced the Dramatic Society's 1950 The Rivals, in which Sylvia Sainsbury was Mrs. Malaprop. In my review was the following comment: "And what of Anthea Crundall, 21 this week, who plays Lydia Languish, around whose romance the play revolves? A charming, spirited young actress. I am sure that here is a performance the professional eye of Mr. John English especially appreciates." Among the small part players I stressed the impact of the maid, Lucy, played by Aileen Lundmann.

In 1950 there was also Walter Brown's production of Dear Octopus with Leon Godby and Gertrude Stannard (nee Church) as Charles and Dora. Leon Godby is so much in one's memories for his brilliant contribution to local music as Operatic Society producer, musical director, conductor of the former Apollo Singers, and talented professional violinist that one is inclined to overlook his able contribution as an actor.

In Dear Octopus, too, I praised the "eager, human playing" of Bernard Lloyd and Ann Watts, as Nicholas and Grace, and also acclaimed the mother and daughter triumph of Aileen and Gillian Lundman.

        Inaugural Meeting

If I may revert to the Society's origins, a little more information has come my way is that its inaugural meeting was held on January 8, 1918, at "Lorna Doone," Walliscote Road, and that those present were: "The Rev. I. Westhead, T.E. Bagley, E.E. Clark, W.B. Edwards, F.R. Growcott, P. Moore, C. Pollard, Mrs. Dimoline, Mrs. C. Tolley, Miss M. Dimoline, A.H. Dore, E.D. Moore, and E. Shattock.

I have also a cutting of the Daily Chronicle for June 17 1937, which in a Behind West Footlights series reported that the Dramatic Society had presented 55 plays in 19 years. It states that the then secretary, Leslie Titley, had five years experience on the professional stage and that "Another member of the society claimed by the professional theatre - permanently in this case - was Nesta Lloyd, daughter of a former Weston vicar."

The article recalls that Knightstone Pavilion where the society held its productions was notoriously draughty back-stage, so much so that the front curtains often had to be held together by a stage hand.

"Cecil Walker was doing this one night," the article commented, "and was a bit slow in responding to a warning from the wings. As the curtains were jerked up his arm was caught in a rope and he was lifted several feet off the floor - to the great delight of the audience." The four seasons of one-act plays presented jointly with the Red Triangle Players also got a mention.

        Combined Effort

In 1951 the Dramatic Society, Red Triangle Players, Alexandra Players and Wayfarers joined forces to present Priestley's United Nations play, Home is Tomorrow, in aid of United Nations charities. Don Mather produced, and the critic's spotlight was on the performances of brothers Reg and Bill Salisbury, Paul Dening, Aileen Lundman, and the small comedy role of Professor Chu by Tony Hughes, a player destined to make the professional stage and television commercials his career.

1951 was also the year in which the combined amateur societies of the Weston area, produced by Joyce Tidman, gave a week's run to a three act play I wrote to mark the Festival of Britain. It was Beside the Severn Sea in which I wove a fictitious plot around the actual events at Weston's celebration of Queen Victoria's golden jubilee day in 1887. Joyce, a one time member of the Dramatic Society, is especially remembered for her excellent as the Alexandra Players' producer.

In 1952 also, Weston Dramatic Society presented Pink String and Sealing Wax, in which Pearl Brookman, star of Weston operatics, had a part. Pearl, could so assuredly have made a career for herself on the professional stage.

In a small part, too, was Eric Hopkinson, who showed a special talent for stamping the smallest role with striking interpretation. His link with the local stage was all too short, but he is often still associated with it in the critic's chair as a Bristol Evening Post local representative.

        Peter Pan

"There should be a gold medal for whoever had the idea of negotiating for Weston Dramatic Society to produce J.M. Barrie's Peter Pan," I wrote in 1953. The production at Knightstone was the first amateur presentation in the country. Jean Jamieson was Peter Pan and Shirley Broderick was Wendy, Reg Salisbury, Mr. Darling, and Phyllis Cooksley, Mrs. Darling. Foster Tanner's dastardly Captain Hook made him the most hated man in Weston. Inevitably Walter H. Brown would warm to the part of Gentleman Starkey. "A villain, no doubt, bristling with strength. He'd be a very devil in a fight. And yet there is something of a gentleman about him. Wily though - yes, very wily. The sort of pirate who'd say, 'Watch the cuckoo,' and then hit you in the brisket.

"Smee (Leslie Titley) isn't in the same class as Hook and Starkey. There's something very lovable, something Falstaffian, yes indeed, about Smee. He's in the wrong company; one day he'll reform and be one of us."

Peter Pan, performed for charities was a big box office success. The society repeated the production two years later with an almost completely changed cast. Shirley Broderick was Peter Pan and Gillian Lundman Wendy. Paul Dening as Captain Hook probably stirred up more hate than Foster Tanner. Both productions were produced by Aileen Lundman.

Something different in 1953 was Bill Salisbury's relentless, full-bloodied production of Oedipus, in which his brother Reg, in the title role "had easily the most difficult part he has ever attempted, and it gave him his greatest triumph." Bill has since carved a career for himself in BBC radio presentation and management.

Arthur Borthwick was the prophet Teiresias, and I suggested "he must not be allowed to go on playing small parts in local theatricals - he is worthy of something bigger." It was a hint that was taken.

This was a production in which other societies helped, and Richard Graves specially composed music for it.

Leslie Titley marked his thirtieth year with the society in 1953 by producing The Giaconda Smile. On Reg Salisbury's Henry Hutton, I commented that his "performance in this play stamps him as best leading man in local amateur theatricals today." I also proclaimed Aileen Lundman's performance as Janet Spence, a role made famous in the professional theatre by Pamela Brown, as her best work ever. Brilliant too was Paul Dening's Dr. Libbard.

Connie Chapman stepped in to take over the role of Marie from Anthea Crundall in 1954 in The River Line, Miss Crundall having to relinquish it because of the illness of her mother. But Anthea was back for her greatest triumph the following year in the name part in Barrie's Mary Rose. "At last this clever young actress has the Anthea Crundall role," I wrote, "and contributes a performance which represents a brilliant consummation of all her talents and experience."

        Sally Alford's Saint Joan

In 1956 the centenary year of Bernard Shaw's birth the society

boldly had a crack at his Saint Joan, confidently giving Bill

Salisbury his first chance to produce for the society, and

choosing 15-year-old Sally Alford to play Joan. It called for a

cast of 24 players and six scene changes.

It was enormously ambitious - and stupendously successful.

I wrote, "Not only is Sally Alford word perfect but all through

there is a fine intellectual quality in her performance.

Perception of the meaning and weight of her lines flows

naturally, while her splendid elocutionary achievements are

of immeasurable help in enabling her to maintain the stature

of the role . . . In the resolute chin, the play of facial

expression, and the manly gait, she is also, physically, a

convincing Joan . . . One of the most exciting aspects of

amateur theatre is that one never knows when a new star is

going to appear in the local firmament. There is one twinkling

very brightly at Knightstone Theatre this week."

Sally went on to study at Bristol Old Vic Theatre School, had

her first professional stage engagement in Wolverhampton

rep., and later from the world of the theatre moved into that

of television in which we have the pleasure of still continuing

to meet her on HTV.

She is the daughter of the late Dr. Richard Alford, and her

mother Ruth (nee Dening) has had a long and successful

association with the Dramatic Society and was pictured in

photographs included last week. Paul Dening is Ruth's

brother and, of course, Sally's uncle, and in addition to his

being the society's chairman for many years, has often played

major roles.

This look at the society's history in its diamond jubilee year inevitably leaves much unsaid. There were so many other plays and players deserving mention, and I have not attempted to cover the many fine shows of recent years which are well remembered by local theatre-goers. It must suffice to congratulate the named and the unnamed on contributions that have given the society a record of which it can be proud, and which must be a great encouragement to those who are working for its future.                                                                   JOHN BAILEY.