All posts by Steve H

Based in the UK in glorious Yorkshire, retired from the food industry and spending more time with computers, photography and amateur dramatics and often combinations of all three.

Throwback #6

IMPROBABLE FICTION (2008)

Going back to 2008 and the very mention of ‘Improbable Fiction’ brings wry smiles to the cast as they think ‘costumes’. More of that shortly.

Alan Ayckbourn’s ‘Improbable Fiction’ was the final play of the season before our summer break that year. It had read well and we all found it hilarious and zany and we looked forward to rehearsals. Janet Drewery took on the responsibility for producing and directing this ambitious production.

It is a light hearted play that centres around Arnold, who runs the Pendon Writers Circle, a group of not particularly talented, unexciting, amateur, aspirational wannabe authors. Arnold himself is a writer of instruction manuals – which gives you an idea of the level of his creative imagination. With his unseen bedridden mother upstairs they meet regularly in his front room. Act One amusingly shows one of these meetings and reveals the characters and their planned novels.

Improbable Fiction by Alan Ayckbourn, performed in 2008

Where the whole play bursts into farcical dream-like fantasy is act two where by some mysterious means the ever sensible and boring Arnold finds himself living in those novels brought vividly to life. However, all five novels and genres become entwined in a comic saga of mayhem that leaves poor Arnold in a very confused state.

Now let me say up front that this was a successful and fun play to do, a production we are proud of. I say all this because behind the scenes we also have fond and amusing memories where things didn’t always quite go to plan……..

When I said earlier ‘costumes’ comes to mind that was related to the ambitious second act. Act one was normality for us. But I doubt the audience were ready for the zany antics of act two. Neither were we really. With no scene changes, just continuous action throughout the whole play, we knew that we were coming off and on stage as different characters with different costumes as we swapped continually between the interwoven five storylines of the writers’ imagination.

Slideshow: Act One

Only when we all went to a Leeds costumiers to select what turned out to be our largest collection of costumes for a single play and possibly our largest hire bill did we begin to realise what we had in store. It was only when the hire costumes arrived – in time for the tech and dress rehearsals – that the practicalities of everyone actually getting into various costumes at speed, to go on for a few lines, and then off and into another, did we realise the challenges we had. Rehearsals had involved no costume changes other than in our imagination. Reality, we discovered, took ten times as long.

The audience was subjected to such a frenzied fast moving confusion of zany characters and plots that they could never have known the tension, stress and sweat backstage, with just seconds to change; the shouts backstage of “which ******* character am I now?” and “Which ***** outfit am I supposed to be in?” We were very afraid of turning up for a three minute scene in the wrong costume. Indeed even our lines had us confused as we announced ourselves with wrong names…. It was, however, all in keeping with the manic plot and unless your name was Alan Ayckbourn the audience could never have known.

Slideshow: Act Two

And who can forget Dianne’s stunning portrayal of a squirrel. Our fondest memory, and hers, was the night she seemed to be wandering around the stage in a drunken fashion, seemingly having lost all sense of direction and had also forgotten to put on her squirrel paws. It turned out that in her frantic rush to change into the squirrel outfit backstage and rush back on in time for her entrance, she realised, too late, that she had thrown the paws into the squirrel head at her last costume change. As she dashed onto stage ramming the head into place the paws slid forward inside and over the eye sockets leaving her stumbling around blind. More suppressed laughter on stage.

As if this mix of characters and plot genres wasn’t enough – a children’s story, a romance, science fiction, crime detection and… a musical – we had to blast our way through a song and choreographed dance routine every night. The song and dance “There’ll be light at the end of the tunnel” took on a new meaning one night when the lighting cable suddenly disconnected plunging the stage into darkness. With a frantic and stressed Richard scrabbling and cursing in the pitch black under the mixer desk amidst a spaghetti bunch of cables we valiantly carried on in true showmanship fashion, our costume glitter sparkling in the pale green hue of the emergency lights. As full light was restored moments later to the line ‘There’ll be light….” the audience was no doubt impressed with our stunning and creative lighting design.

The cast L to R; Rob Newton, Phil Johnson, Gill Collins, Tina Addington, Rachel Miller, Steve Howland and somewhere.. Dianne Turner. Probably still lost in her squirrel costume or burying nuts.

But as I said, despite these humorous memories, we put on a great production and the audience only saw performances they thoroughly enjoyed.

Plenty of backstage and front of house support – it was needed! Anneka Stephenson (standing far right) was on hand to choreograph our dance routine.

More memories soon!

Keep following us or register your email on this website to keep up to date with future posts and news, when it comes, of when we can resume our productions. Fingers crossed!


Throwback #5

LADIES DAY (2008)

As the lockdown lifts and lowers, starts, stops, re-starts and hesitates our drama productions remain somewhere in the hazy and uncertain future. Which means enjoying the summer where we can and once again taking a look in the other direction – to the past and 2008.

Today we remember one of our favourites – Amanda Whittington’s Ladies Day. This was a play originally commissioned by Hull Truck and followed the exploits of four Hull ladies working in a fish processing factory who are determined to get themselves to the ladies day event in the year that Royal Ascot took place at York – an event where their relationships are tested and their fortunes change.

The original Hull Truck production was directed by Gareth Tudor Price who also took it on a twelve week tour of the UK.

Our own version, just three years later, and suggested to us by Gareth was produced by Richard Bateman and was an opportunity to create a modern minimalist set which quickly moved from a fish plant to various areas of the racecourse.

LADIES DAY by Amanda Whittington, performed in early 2008

The only negative about this wonderful production was that we had issues with getting our traditional dress rehearsal photographs taken. We did manage to grab a few and they are shown in the following slideshow – simply scroll through them to view.

The four ladies, played by Barbara, Jayne, Nic and Janet remained in character and the occasional various male roles were shared between Rob and Steve.

I remember a brief discussion – very brief – with the Producer about whether we should obtain real fish for the production line scene. Whilst the audience would have the convincing sensorial special effect of wet fish aroma drifting to the front rows, it would have been less convincing for the Royal Ascot at York scenes.
And by the last night this would be enhanced. Uncomfortably so.
And the subsequent users of the Village Hall in the following week or two would be asking questions…

The cast L to R; Steve Howland, Barbara Failey, Jayne Hewson, Nic Johnson, Janet Drewery, Rob Newton.

The other challenges that come to my mind certainly, was having to learn the bookies tic-tac sign language and run it without thinking and watching Rob in his jockey silks riding his imaginary horse to an Irish accented monologue.

It was such a refreshing play with so many laughs and poignant moments. We already knew of the sequel – Ladies Down Under – and were eager for it to be licensed for release for a future production.

Clearly Richard, our Producer, was busy when we took the backstage photo.

More throwbacks soon!


PETUARIA PLAYERS – NEWS

Don’t get excited. The news is that there is no news.

I was recently directed to the latest Covid-19 information on Government Guidelines for Performing Arts (click to link to the guidelines). It describes, at great length and detail all the restrictions that would need to be in place, what you cannot yet do and a roadmap towards a restricted world of what you cannot do later either, albeit a bit more than now. To read it all, however, would have taken so long that the guidelines will have been updated and out of date – so I abandoned the exercise and concluded from my brief scanning of the document that we won’t be performing anytime soon. No surprise there then.

As a group we are using Zoom a lot to stay socially connected and we recently used it to have an Extraordinary Committee Meeting. This was basically to discuss what we didn’t know and we formally decided that we could not make any decisions. Apart from that one.

The new guidelines for performing arts and the general guidelines show that performances are a long way off. Bearing in mind that to plan a production we need to obtain a licence and have three months of rehearsals in close (sometimes very close) proximity – and unless we run some monologues, like a run of Alan Bennet’s excellent Talking Heads, then social distancing is not possible. Then, of course, we would need to consider what form of audience set up we would need. The situation remains fluid and the goalposts keep changing and so we find ourselves unable to make any decisions about our future and potential play seasons.

Of course, we are constantly reviewing the situation and as soon as we can foresee a safe, meaningful and worthwhile means of resuming performances we will do so. Everyone in the group is hoping that we can get back to doing what we love as soon as possible.

At the moment we would normally be resting between seasons anyway, and enjoying our summer break.

Play readings have gone online thanks to Zoom

The Petuaria Players may not be able to meet up in person but, like everyone else, Zoom has come to our rescue. Regular group and subgroup social events are taking place online, with the added benefit of enjoying a drink or two since there is no driving involved!

Recently we have also resumed our play readings using Zoom. And it is working remarkably well. It means we can read various scripts together and review them afterwards without having to meet at the Forum.

So it is inevitable that our first play of the season, traditionally in October, will not take place. As far as the rest of the season is concerned, no decisions will be made for a while yet – but we will keep you informed.

Stay well folks.


Throwback #4

PLAZA SUITE (2007)

We are well overdue for this fourth look back to some plays from the past. This time we are still in the year 2007. Gordon Brown had recently replaced Tony Blair as PM, it was the Northern Rock crisis and a foreshadow of the financial turmoil to come, and the ‘worst ever’ floods to hit our area – before the words ‘worst ever’ became the norm.

Yes, it is thirteen years since we performed Plaza Suite and what fun we had.

About ‘Plaza Suite’

Produced by Rob Newton this was our first play of the new 2007/8 season, performed in October.

Plaza Suite by Neil Simon – a comedy in three acts, performed in October 2007

Plaza Suite first appeared on Broadway in 1968 before being made into a movie in 1971 with that stalwart of many Neil Simon plays, Walter Matthau, as the star. It is a play in three acts but feels like three one act plays because it is about three different sets of guests staying in Suite 719 of the famous Plaza Hotel in New York. Whilst Walther Mathau played the three different males in the movie it was an ideal opportunity for us to cast more of our members across the production.

That said, it also meant that we had to double up and Rob despite his directorial role had to be on stage for a couple of short appearances along with Tina who appeared as a bride but was mostly busy backstage.

Following on from Bedroom Farce with its three bedrooms and three beds crammed onto the stage it was a comparative joy to have just the one bed and the spacious sumptuous suite we needed.

The cast L to R; Rachel Miller, Phil Johnson, Gill Collins, Rob Newton, Tina Addington, Richard Bateman, Janet Drewery, Steve Howland, Jayne Hewson

The first act, Visitor From Mamaroneck, introduces us to not-so-blissfully wedded couple Sam and Karen, who are revisiting their honeymoon suite in an attempt by Karen to bring the love back into their marriage. The arrival of his secretary creates issues…

Scroll through the following three short slideshows….

In Act Two, Visitor from Hollywood, is a meeting between movie producer Jesse Kiplinger and his old flame, suburban housewife Muriel Tate. Muriel – aware of his reputation as a smooth-talking ladies’ man – has come for nothing more than a chat between old friends, promising herself she will not stay too long. Jesse, however, has other plans in mind and repeatedly attempts to seduce her..

Neil Simon always includes one act that is more farcical and the bigger laughs are saved for  Visitor from Forest Hills. This revolves around married couple Roy and Norma Hubley on their daughter Mimsey’s wedding day. In a rush of nervousness, Mimsey has locked herself in the suite’s bathroom and refuses to leave.

Backstage crew: Back row from left; Rob Newton (Producer), Tina Addlington Nic Johnson. Front row from left; Diane Turner, Barbara Failey.
IT SEEMS UNFAIR THAT WHILST ROB SHOULD BE REMEMBERED AS THE PRODUCER OF THIS MEMORABLE PLAY THIS VISION OF HIM AS THE BELL-BOY IS FOREVER IN OUR MINDS…. AND POSTING THIS PHOTO WILL ENSURE THAT IT IS NEVER FORGOTTEN (SORRY ROB…. )

More throwbacks soon!