Where has the year gone! I guess that is what every Chairman must think. As I’m writing this BLT is preparing for the festive season. The decorations are up (although I have heard reports that some have come fluttering down..... must try harder!!!) and the social committee is getting ready for both the Christmas and New Year’s Eve Party. You will be reading this article in January, and we will have raised a toast and ushered in the new year with all the wishes and hopes that it will be a good one. I decided to use my year as chairman to get a better understanding of the day to day workings of the “business end” of Bingley Little Theatre. I attend the weekly office briefings and the business meetings to keep up to date with what is happening and have seen at

first hand the hours put in by our volunteers undertaking all the admin tasks involved in hiring and supporting the *outside” events side of BLT. I have witnessed difficult

decisions that are made about choosing something that will be popular with the public, and all the negotiating that takes place around costings. Each event needs publicising and marketing with a close eye kept on ticket sales. The nail biting that can happen when, with only a few weeks to go, only a handful of tickets are sold. Do we go ahead or cancel? Profit margins are sometimes very slim with the bar takings boosting our profit. Fortunately, because of the flexibility and dedication of the Front of House Teams, cancelling an event rarely happens.Something that took us completely by surprise was the response to our Community Cinema. To say that we were overwhelmed by the public reaction is an understatement. The inaugural showing of The Guernsey Literary and Potato Peel Pie Society had people queuing outside the building and there has been a steady request of tickets for future films. The plan was to show one film a month but because of popular demand, the decision has been taken to show two films a month. Watch this space.In October, along with our representative Patricia Clough and David and Catherine Helliwell, I attended the Little Theatre Guild’s AGM and Conference which was hosted this year by Stockport Garrick. For those who don’t know, the LTG is an association that was founded in 1946 and is open to those amateur theatres who either lease or own the premises in which their productions take place. It was an opportunity to observe the workings of another similar amateur theatre and do a bit of networking. An interesting weekend, and I came away with the thought that BLT is not doing too bad at all. There is always room for improvement, but we have got quite a lot of things right and we are also so very fortunate to have such well-maintained and spacious facilities. December, sadly, saw the final Quiz Night run by our one and only quiz master Tony Leach, AKA Mr Prunes. Tony’s light hearted and amusing quizzes have taken place in the bar for over 10yrs and have become part of the BLT experience. He is handing over the quiz master’s microphone to the social committee. A difficult act to follow. The first production of 2019, Glorious! directed by Jan Darnbrough is now in rehearsal.

NEWSLETTER

From the Chair

Season 71January 2019

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Captain Prunes goes out on a high note, presenting our president with

the final star prize...a bag of prunes.

continued on page 5

Our Sugar Plum Fairy Chairman Pam.

2

A Passionate Woman - by Kay Mellor - 16 – 21 September 2019Betty, a passionate doting mum finds it hard to believe that her only son is about to get married. She finds herself surrounded by memories from her past, torn between a husband she never loved, a son about to leave and the man with whom she shared a passionate affair.

Hangmen - by Martin McDonagh - 28 Oct – 2 November 2019As the second best hangman in the country, Harry Wade is considered to be a local celebrity in his pub in Oldham. Amongst the sycophantic pub regulars, a peculiar stranger lurks. He befriends Harry’s teenage daughter, who promptly goes missing. Everyone is led to fear the worst as things get nastier and indeed funnier.

Absurd Person Singular - by Alan Ayckbourn - 9 – 14 December 2019A classic night of Ayckbourn. “It feels almost indecent to laugh but somehow you just can’t stop yourself”. – Charles Spencer – The Telegraph.Few plays expose the pressures of the festive season to such devastating effect: it’s as if all your worst Christmases have arrived at once.

Proof - by David Auburn - 20 – 25 January 2020Catherine, the daughter of an esteemed mathematician has laid him to rest. Hal, a devoted student, searches through the professor’s papers and finds some cutting-edge calculations. Catherine wrote the proof but how can she provide the evidence to support this?

Who’s Afraid of Virginia Woolf? - by Edward Albee - 2 – 7 March 2020A masterpiece of modern theatre. An explosive, tension-filled, wickedly-entertaining battle of the sexes. An American middle-aged married couple, having invited a young professor and his wife for drinks, tear themselves apart with their toxic verbal games which climax in a moment of devastating truth-telling.

Be My Baby - by Amanda Whittington - 13 – 18 April 2020It’s 1964 but the sixties aren’t swinging for Mary Adams. When 19-year-old Mary discovers she is pregnant, she has to leave her job and is forced by her domineering mother to go into a Church of England mother-and-baby home run by a formidable Matron.

Love Song - by Abi Morgan - 25 – 30 May 2020A new play about lifelong love, Love Song takes one relationship and visits it at its beginning, its end and points in-between; it intertwines a couple in their 20s with the same man and woman a lifetime later. Their past and present selves collide in this haunting and beautiful tale of togetherness.

Next season’s playlist

A fast-paced, hilarious farce that follows the mixed fortunes of Francis Henshall. Having been fired from his skiffle band, Francis is down on his luck and permanently hungry, then he suddenly finds himself employed by two bosses.

One Man, Two Guvnors - by Richard Bean - 6 – 11 July 2020

3

THE DARK DEPTHS OF THE SNAKE IN THE AYCKBOURNIf you do not wish to know the result switch off this Newsletter immediately.May I say at the outset that the last two plays presented on the main stage at Bingley Little Theatre gave me as much enjoyment as any I remember there, for two reasons: firstly – if I am reviewing a fresh play I go to great lengths to avoid being influenced by anyone’s opinions beforehand and I came to both of these without any preconceptions. Secondly – both of them led to satisfying conclusions which on reflection had been lovingly built up through the whole performances.

The one some other lucky person is reviewing, RC Sherriff’s supernatural White Carnation, ended with the heart-warming scene of a man making amends for his selfish neglect of a deserving woman. The play in my review, Snake in the Grass, is much harsher and finished in a meltdown of self-destruction. It calls itself a ‘Thriller’, but many of the audience came expecting a comedy; if this is one, it is black. A study of Ayckbourn’s humour in over eighty carefully crafted dramas would more than fill this entire Newsletter. He provokes many degrees of laughter, from polite recognition of his constant ability to hold a mirror to the amusing speech and body language of today’s mildly ridiculous social behaviour, right through to cruel swingeing swipes of heartless mirth at ironic suffering inflicted on the victims of society’s injustice and bullying. There are of course moments of comedy in our play but there is also an undercurrent of psychologically accurate character portrayal which goes beyond humour where the laughter is suddenly out of place. The ‘snake’ is deadly, the ‘thriller’ becomes menacing and spills over into its haunted denouement. At the bitter end two of the three characters

are definitely dead, while the other one screams out a crescendo of agonised terror as her deceased father, the perpetrator of all their problems, is invisibly rocking in his red floodlit chair. The play works so well because the three actors and the director are women who completely understand their task, which is to keep the audience guessing who the villain is till literally the last minute. At first we thought it was the father’s nurse, Alice Moody, ably played by a latecomer to the cast, Liz Hall – a sterling performance in any circumstances. She is trying to steal his house and money with a probably forged will-altering letter. Next it seems to be Annabel Chester, his elder daughter, who has returned from abroad to claim her inheritance - equally ably played by Geraldine Woodhouse. Miriam Chester, his younger daughter, played by Rachel Conyers, shows her true colours when she drags and drops Alice’s drugged body into the thirty foot deep well. It will not surprise the AA aficionados among you that none of this turns out to be wholly true and the villain is the completely ruthless father controlling the two daughters from beyond the grave, just as Ayckbourn has controlled us, the audience, from the beginning of the entertainment. There, if you saw it this time, you will have recognised the black centre of the thrilling suspense. If you were not there, but have in the future the chance to see this quite rarely performed work, then forget you ever read this and enjoy the intricate story unfolding in its own good time.Now, not only was the acting in this taxing three-hander of the highest quality, the Bingley crew behind them also deserves high praise. The fourth woman, Deborah Mouat, may not have been on stage, but as Director she must have raked over every detail of the complex plot to the nth degree, with her very theatre-savvy actors. From the outside one gets the impression that the rehearsals were a hugely productive quadrumvirate of equals. And what you might call the A team, of Stage Manager, and the three Designers, Set, Lighting and Effects, were top rank: Leigh (Safe pair of hands) Bowman, David (Multi-talented) Helliwell, Richard (Everywhere) Stageman and Graham (Director’s husband) Mouat.But the whole production team (named in detail in the programme) had obviously worked together to achieve what was an unusual practical set with half a tennis court and deep vista of grass and trees behind a summerhouse with a stone balcony containing a well, which had as I remember a rather fetching wooden owl perched near it. The costumes were admirably apposite to the characters and the sound and lighting rose effectively to the dramatic occasions as required. The attention to, and love of detail was worthy of the author himself. In particular all the remarkable changes of direction in the plot and the psychology behind the Father himself are prepared for if you are listening. You only have to stay awake and maybe see it twice and Sir Alan will do the rest!

Review Snake In The Grass22 - 27 October 2018

Tony Reavill

Gereldine Woodhouse, Liz Hall & Rachel Conyers.

4

This play by R.C. Sherriff, who wrote the seminal WW1 play Journey’s End and equally celebrated screenplays for Goodbye Mr Chips and The Dam Busters, is part ghost story, part philosophical study of identity and part moral fable. It was a success in 1953 with audiences drawn by Ralph Richardson in the lead part but has rarely been revived since. It does not make a strong emotional or dramatic impact and Rosemary Grainger’s production got over this by treating it light-heartedly and bringing out what humour was possible from stereotypical characters: brusque self-made businessman, plodding policeman, sensitive librarian, pompous officials, bewildered vicar etc.

The action begins and ends in 1944 by the railings outside Sir John and Lady Greenwood’s smart city home, when it is hit by a flying bomb that kills all the inhabitants. We found this out after the short introductory party scene outside the house where the host bossed and criticised his wife as they said goodbye to their posh guests. There was a short interlude, covered by Katy Grainger’s atmospheric music, while the set was deftly turned around behind the curtain. Now we see the interior, but no longer smart or lavish, for the room is dirty with peeling wallpaper and the odd item of junk. Robin Green’s superb set provided plenty of acting space. It is immediately apparent that this is the same house... we recognise the casement windows with the railings behind as being those of the same Georgian house, now unoccupied and derelict.

Sir John appears beyond the window, still in white tie with carnation buttonhole, only to find he is locked out. He climbs in and is alone in the wreck of his old home until a patrolling constable (remember those days?) notices the open window and climbs in to question the intruder. He was played by Tom Clayton with humour and a charming air of incomprehension. He is joined by his sergeant Elliott Matthews who works out that they have a ghost on their hands. He is performed by David Templeton with the intransigence, arrogance and bluster of a privileged and successful gentleman of the times. They are joined by a doctor John Howard and the coroner Stuart Hicks both exuding stuffy, know-it-all self-confidence. They tell Sir John that it is now 1951 and try to persuade him that he died seven years ago. They are joined by the young librarian Tegan Horsfall who manages to relax Sir John in an attempt to help him face his predicament. She gives a convincing performance that stood out as sensitive, with an awareness of period.

Sir John is visited by a government official David Helliwell and the vicar Graeme Holbrough who also lean on Sir John though his attitude fails to soften until a visit from a fussy neighbour Rosie Brooks who spills the beans on his true uncaring character.

Finally persuaded to take up the card trick he was avoiding, Sir John seems to accept the fact of his former boorishness and arrogance. The mortals visit the ghostly Sir John and show him his darker side in a reversal of A Christmas Carol. We return to 1944 for the final scene where Sir John has a touching moment with his wife under the mistletoe, where he promises that “we can be together forever”. The explosion which repeats now is, ironically, a “happy ending” which enables him to die with the others in the explosion that ends the action.

Review White Carnation3 - 8 December 2018

David Gilman

Spot the ghost! Robin Green’s excellent set provides a backdrop for a play full of surprises.

5

A play about American socialite and amateur soprano Florence Foster Jenkins and, judging from the sounds coming from the rehearsal room, all is going well!! I look forward to watching it.We start this year’s social calendar in the Arts Centre with The 309’s, a West Yorkshire 5 piece rocking and rolling swing band. Come along and have a swinging good time and chase away the winter blues. If dancing isn’t your thing, just come along and enjoy the music. The vocalist, Nancy Varo, is the daughter of Elaine Varo who was for many years a valued member of BLT wardrobe team. A fashion show and, back by popular demand, another demonstration of bread making are also on the agenda.See inside the Newsletter for further information on all the diverse events that are happening at Bingley Little Theatre.Thank you to everyone for your continuing support. Wishing you all a happy and healthy 2019.

From the Chair - continued from page 1

Hostess, Claire Greenwood

knocking back a few in

between tastings!

The loneliest man at the wine tasting evening... Keith Randle was barman for the night.

Our wine tasting evening October 2018

Many thanks to all who

attended. We managed to

raise £349.00 for Macmillan

Cancer Support.

World’s Biggest

Coffee Morning

Baker, Mike from

Sainsbury’s came to cook and entertain

us with his stories.

Our pictures show Mike with his

sausage plait.

A man who clearly loves his job,

he tells us that he still enjoys getting up

at 5 a.m. to bake.

Tasting finished the evening off,

and they were as good as they looked!

A Tasty Treat November 2018

Pam Heywood

The Keighley Playhouse present

29 September 2018

6

A Journey from Fiji & Nursed to DeathStudio Events

Richard Walsh’s two plays were very interestingly researched and written with engaging dramatic drive. The first play, A Journey from Fiji, is set at Morton Banks near Keighley , which became a war hospital. This story not only reminded us of the relevance of the war in our area but also of the terrible suffering of soldiers from Commonwealth countries on both the eastern and western fronts. The basis of Nursed to Death was the fascinating story of Hilda Clarkson from West Riddlesden Hall which Richard has embellished imaginatively and totally believably. There was narration by the old Hilda, Patricia Clough, and the young Hilda was sensitively played by Tracy Littlewood, as was her sister Hannah by Joanne Milnes who appeared in both plays. The narrator device often awkwardly interrupts the action, but not in this play where the story flowed effortlessly. George Scaife played the captain in charge of the field hospital, initially boorish but finally revealed as

sensitive. He did the transition well. The action of both stories revolved around young injured privates, beautifully acted by Ben Pearson and Theo Connolly. Both plays were entertaining and interesting thanks to good storytelling and to the strength of compassion conveyed by Tracy and Joanne.

David Gilman

To mark the centenary of the end of World War One, the Studio decided to present two new one act plays on Remembrance Weekend. Both plays were written and directed by BLT member, Richard Walsh, and were based upon true stories of local events and people.Richard comments, “The Studio committee decided we should commemorate this important period in our country’s history and I was very pleased when my two plays were accepted for this important weekend”.I have always had a great interest in local history and in particular the period around World War One. Being on the committee of Riddlesden War Memorial Institute I have completed research into the history and background of soldiers from Riddlesden and East Morton who had sadly not returned from the war.This research led me to two different but remarkable stories, each an example of sacrifice and bravery. I decided to bring these stories to life by writing a play about the two people involved. Not a story of fighting and front-line trenches, as many plays set in wartime are, but showing how people from around the world and in our own neighbourhood were called upon and wanted to, “do their duty”.After holding a workshop to try and encourage new members to be involved in the productions, we found a super cast from members new and existing and some new backroom staff. We were all set to go!The first play, A Journey from Fiji, follows the true story of a young man, Private Michael, from Fiji who came across the world to fight for King and Country. He was injured in France and transferred to a War Hospital at Morton Banks in Riddlesden. Unfortunately, he did not survive and became the first soldier to die at Morton Banks. My investigations into his life story began when I saw his name on the War Memorial in Morton Cemetery. It transpires he went to school in Manly, Australia, remarkably at a school opposite the school my grandson now attends! The play not only shows his bravery and sacrifice but also the good work done by staff at our local hospital. Hopefully this play has shown there are brave and remarkable stories behind the names etched in stone.The second play, Nursed to Death, concerns a young lady from West Riddlesden Hall. This seventeenth century manor house tucked away beside the canal was home to a solicitor and his family in the early 1900’s. One of the daughters,

The Theatre’s Tribute to WW1 Heroes

Continued ►

The cast of the two plays

Tracy Littlewood & Theo Connolly

7

Richard Walsh

A tradition which may no longer be at BLT's Christmas party....

For many years we made a glorious hash of this song at our annual binge.

Brian Baines and Tony Cross would lead our efforts, having picked this impossible round up at another event. I would wonder where it came from... until one December day a few years ago, I was at the local folk club and everyone burst out singing it. Perfectly!

It turns out that the song is a staple of the so-called Sheffield carols tradition, and I have since heard it annually in pubs around Sheffield, sung by a packed room of lunchtime revellers.

The traditional story is that the Church kicked this spontaneous singing out on the advent of the organ in the nineteenth century. So, the would-be singers went to the pub. And have stayed ever since, where they and anyone who cares to join them, can sing this and other obscure carols (24 versions of “While Shepherds Watched"!) to their hearts' content.

Below is the Wikipedia explanation.

Hail Smiling Morn, is a glee which is sung either as a Christmas carol or as an Easter carol, and features in the Yorkshire pub Christmas singing traditions found in several parts of the city of Sheffield. It is performed also by choral societies in Huddersfield and Bradford. Shape Note singers sing this song during the Christmas season from An American Christmas Harp

It was composed in 1810 by Reginald Spofforth and has been described as having been "possibly the most popular glee in the entire repertory".

Hail smiling morn, smiling morn,That tips the hills with gold, that tips the hills with gold,Whose rosy fingers ope the gates of day,Ope the gates, the gates of day,Hail! Hail! Hail! Hail!Who the gay face of nature doth unfold,Who the gay face of nature doth unfold,At whose bright presence darkness flies away, flies away,Darkness flies away, darkness flies away,At whose bright presence darkness flies away, flies away,Hail! Hail! Hail! Hail!Hail! Hail! Hail! Hail!

Hilda Clarkson, was determined to help in the war effort despite her Father’s wishes. Hilda typifies the way women at that time were beginning to realise they had an important part to play in life.Little did I know when starting to research her life what an amazing story was to unfold. Hilda could have spent the war in comfort, but she volunteered to serve as a nursing assistant and this took her on a remarkable and exciting journey. Surviving a hospital ship sinking and a time in a field hospital in France, her devotion to duty was recognised with a special award given at Buckingham Palace. I hope this Remembrance Weekend Studio Production did show our theatre’s respect for the dedication and sacrifice made by so many 100 years ago. Local history can unearth some remarkable stories, a play or book can bring these to life and importantly retain this information for the future. There are many more local heroes to write about, how about the East Morton man who

in the early 1900’s challenged the World Heavy weight champion to a boxing match in Paris? What was the outcome? Maybe one day a Studio play will tell you!”

Robin Martin

Hail Smiling Morn

8

Just before Christmas, I spent a happy few hours in the company of two lovely ladies, both longstanding BLT members.We looked through photos of old productions, reminisced about former friends and colleagues, and had a bit of a gossip!Marilyn (Manny) Baines has been a member since the 60s (that’s the 1960s! she assures me) and Norma Bartle similarly.Over the next few newsletters I intend to reproduce some of their memories along with photos which are sure to strike chords with members of my generation...Please, if these articles ring bells with you, if you have something to add, (or to deny!), do get in touch.I’m always keen to hear about our yesterdays....

Our first memory is from Norma. In February the new Arts Centre cinema will be showing the original Room at The Top film, starring Laurence Harvey and Simone Signoret.As many of you will know, the novel on which the film is based was written by former BLT member John Braine. A lot of the plot revolves around an amateur theatre group which our hero is involved with.Much filming took place in and around Bingley, and when extras were called for, you can imagine which group stepped forward!Norma provides us with the photo below and the ticket stub from the premier, which she and many BLT members attended.In an edition of ‘Picturegoer’ magazine from September 1958, Hugh Samson writes:One of the big location sequences was shot in Bradford Lister Park museum. It was in the sculpture department rejigged to look like the flowered foyer of a dancehall. On call was the full complement of eager amateurs from Bingley Little Theatre rarin’ to make their film debut. As the hours wore on so their enthusiasm wore out. “It’s a bit boring” said one dispirited Yorkshire lass.It is interesting to note that Samson was less than impressed with Harvey as a man (“a nonentity...the razzle dazzle Harvey of swish and swanky manner), though he admired his acting abilities.Didn’t he (Harvey) go on to become one of the ‘rat pack’ in and around Hollywood? So, I’ll be going along to the Arts Centre in February to see if I can spot any old familiar faces. And to enjoy a terrific film. See you there?

Robin MartinRoom at the Top will

be shown at Community Cinema, Bingley Arts Centre on Tuesday

26 February, 2019 at 2:30pm.

Room at the Top

Reminiscences

In our next edition we’ll have further memories of the filming of Room at the Top. If you have anything to add, please get in touch.

9

Mike McCabe proudly presents his latest dining recommendations for our readers.

On a damp and dull day we embarked on a long and arduous walk around the uplands of Settle taking in a pleasant coffee stop in Feizor. Our meal was booked at the Golden Lion in Settle and unfortunately we were late arriving. However the staff were helpful in dealing with our pre-booked meals which had been selected from a varied menu. Most of us enjoyed our food but there were complaints that it wasn’t hot enough. Perhaps allowances should be made for our lateness. Our rating 8/10.

The Golden Lion, Settle

The Playing Strollers Restaurant Review

We enjoyed a pleasant though damp walk from Burnsall to Grassington and back taking in Hebden and Grassington Dickensian Market. We lunched at the Craven Heifer Skipton and again we were a little late. However the staff accommodated with ease. Although there was a full menu to choose from all of us settled for the carvery and were very satisfied with everything. The choice of meats was perfect and a huge Yorkshire pudding and plenty of vegetables left us thinking we should go here again. Our rating 9/10.

The Craven Heifer, Skipton

Christine McCabe

Bingley Little Theatre Playing Strollers

The Playing Strollers meet on the first Sunday of each month, normally in BLT car park at 9.30. Watch the notice boards outside BLT entrance for details. If you want any more information or want to put yourself on the email list you can contact Christine or Michael on

christine.mccabe@intamail.com.

The bridge close to Ilkley Tarn on the October Strollers walk.

Many patrons of the Arts Centre would not recognise Rachel by name, but for a number of years she was a familiar figure, working as she did as a Duty Manager for Bradford Theatres. After BLT took over the running of the Arts Centre, and after a break, she returned to work in the Front of House team, often alongside her husband Mike. She suffered with health problems but was always optimistic and quietly friendly. Her early death through pancreatic cancer was unexpected and sad. We shall miss her.

ObituaryRachel Exley

David Templeton

10

The Arts Centre UpdateThe cast of our pantomime. The people who put the ‘am’ in amateur.

Our comperes for the evening, Rick Hoddy & Charlie Jagger.

Our ugly sisters.

Making a grand entrance in a silver

coach - Santa’s fairy to give out

Christmas presents.

June Driver leading her ‘choir’ supported by Katie Grainger at the piano.

The biggest event in the Arts Centre in recent weeks has been the launching of the Community Cinema project. Driven by the energy and vision of Ian Smithson and Michael McCabe, it has become an instant success, with large audiences turning up each time. If anyone ever doubted the demand for local cinema …From the local to the national. Stephen K Amos brought his Bouquets and Brickbats show to us (always nice to see “Bingley Arts Centre” as a venue on the posters and banners of national tours). A large audience enjoyed his wry observations and there were lots of good comments on the way out. I suspect a number of local restaurants and pubs would echo the comments. The promoter is looking to get other well-known comedians to us and Hal Cruttenden’s name has been mentioned as a possible for later in the year. It’s good, both commercially and for morale, to have these events but they can only keep coming if they’re supported: a 350-seat theatre can’t make a huge amount of money when it’s not full! David Templeton

Our Christmas Party

11

Eaton’s Mess

One of the incidents which will always remain in my memory – and a vivid example of “How to Make an Entrance” – was the memorable concert given many years ago at the Albert Hall, which was scheduled to be the highlight of the career of George Draper, my music teacher at school, and who also taught the subsequently famous jazz clarinettist and saxophonist Graham Lyons. George had been the conductor of our award-winning brass band, as a result of which he was honoured when they were invited to participate in a Brass Band & Orchestra Competition at the Royal Albert Hall.

Come the day, and George had proudly decked himself out in full military regalia, to make the most of his Big Moment. The rehearsal that afternoon had gone well, and George had familiarised himself with all the necessary physical arrangements – when the orchestra was in place in the orchestra pit, he was to walk out from the wings, walk towards the middle of the stage, behind the small railed “fence” across the front of the stage; halfway across the front of the stage, lift the latch to open the small gate in the railed fence, and step onto the short “path” leading to the circular podium in the middle of, and surrounded by, the orchestra members.

The only difference between the rehearsal and the performance that evening, was the fact that, in the performance (but not in the rehearsal) once the orchestra members were in place, the auditorium – and the whole of the Albert Hall - was blacked out – to increase the dramatic impact of the arrival of the conductors, who were to be floodlit by a single spotlight, as they made their way from the wings to the podium.

George had been unaware of these arrangements and was therefore also blissfully unaware of the result of being picked out by a single bright spotlight, as he made his entrance – namely the fact that he was completely dazzled by the blinding spotlight, and therefore couldn’t see a thing.

However, brilliant improviser as he was, whether with a clarinet or a baton, he simply adopted the practical step of fumbling his way carefully along the railed fence, trying not to make it too obvious that he was navigating by feel rather than by vision.

Things were going fine until he got to what he gauged was the middle of the stage, where the gate was – or should have been. George understandably assumed that his inability to open what he thought was the gate was because the catch had stuck, rather than because he had unfortunately misjudged the distance, and had stopped about 6 feet short of where the gate actually was. Despite his increasingly frantic efforts, he was unsurprisingly unable to locate and undo the catch – as a result of which, he decided to take the bull by the horns and simply climb over the gate and proceed to the podium.

The “climbing over the gate” part, he managed with ease – but not so the proceeding regally to the podium – since on the far side of the gate was not his expected path to the podium, but the whole of the timpany section. His planned elegant procession along the path to the podium therefore became a distinctly inelegant tumble - straight onto the kettle drum – which produced a most satisfying thud which could be heard at the back of the Albert Hall! Result? – a standing ovation!

As George ruefully remarked later, the applause of the audience was as loud and as long as that which greeted any performance at the Albert Hall, before or since – but despite that, he was never invited back to give a repeat performance!

Sic transit Gloria. (Latin for “Gloria was taken ill on the tube”!)John Eaton

HOW TO MAKE AN ENTRANCE!Our musical Past President John Eaton fondly remembers his old School’s Music Teacher describing

12

The Studio Theatre

Studio Meetings are held on the first Wednesday of every month at 8pm All members who wish to promote Studio

Productions are welcome!

Dates for your Diary

Please send your copy for the next Newsletter to Robin Martin (robungo@talktalk.net)

by Thursday 14 March 2019

Saturday/Sunday 2/3 March 2019 7.30pm

Two of Alan Bennett’s ‘Talking Heads’Bed Among the Lentils is a dramatic

monologue written in 1987 for television, performed by Dame Maggie Smith.

We will see Louise Button as Susan, as she returns to Bingley Little Theatre, having last been seen as Lady

Macbeth a few years ago.

The second play is yet to be confirmed. Tickets £5. £2 for Under 18s.

A donations of coat hangers for the Wardrobe Department but not wire ones, would be very much appreciated. Please drop them in at the Wardrobes department, or by the door in the props department.

Debbie Neal (Wardrobe mistress)

Saturday/Sunday 25/26 May at 7.30pm in the Studio:

Round the Kitchen Table - a Tribute to the Brontës.

It has been brought to our notice that some members are missing out on information that is sent out on a blanket e mail notice.

If you have not been receiving these e mails then we assume your e mail is not on our system. To rectify this please send your e mail address to the office.office@bingleyartscentre.co.uk

PLEASE NOTE: New Box Office opening times 10:00am-3:45pm, Monday-Friday

Have you any spare coat hangers?

Shake off the winter bluesCome and have a swinging good evening with

The 309sSaturday 9 February 7.30 in the Arts Centre

Can’t jive. No problem. Just sit and listen or for the first hour and learn the

basic jive with local teachers Sue and Nigel. Tickets £8.

01274 567983 Mon - Fri. 10:00 - 3:45ticketsource.co.uk/bingleyartscentre

4, 5, 6 April 2019Kaleidoscope presents

Featuring the seasons ‘high street’ trends, top quality chain store and branded labels together with a great selection of ‘boutique’ fashion offering something a little bit different. Accessories complement the fashion with a huge range of scarves, handbags and jewellery. All items will be on sale following the show, ensuring you leave with some fabulous bargains having had a great

night out.Tickets £5.00 including a glass of wine.

Fashion ShowTuesday 19th March 2019

by the Complete Clothing Company