October 2011 Club Meeting
SPC welcomed Chris Taylor, the Director of New Writing South, as guest tutor for its first ever writing workshop, aimed at inspiring not only currently active playwrights but also those who had 'lapsed' as writers, as well as those who had never tried writing before. Fewer than usual attended the meeting - which was a pity, as those present found the session both enjoyable and stimulating. Chris's message was about creating and getting to know a character (not just thinking about plot) and being aware of your character's 'arc' - the extremes of their emotions and their responses that are possible within your play. Again Chris, many thanks!
- Trevor Harvey
September 2011 Club Meeting
THE INTERVIEW and INSIDE MY HEAD
by Matthew Turner
PIECES AND BITS by Rex Baker
Matthew's recently written 15-minute piece INSIDE MY HEAD was given its first public reading. During a consultation, Peter (Andrew Allen) threatens his analyst with a gun - but is the gun loaded - and what anyway is 'reality'? Both plays were involved, in part, with either uncovering (or stripping away) an individual's guilt. However, some felt the purpose of the second play, what it was really about, remained less clear. For example, was it how an individual tried to cope with injustice in the world? One member felt that the analyst (Bea Mitchell Turner) needed to be given clearer characterisation as, at present, she was the catalyst but was not really developed. Matthew said he had purposely left questions open, as people respond differently; for example, does the analyst really exist - or is she a figment of Peter's imagination? Two fascinating scripts.
The play originally scheduled for the second half of the meeting was withdrawn by the writer, so Rex Baker kindly agreed to a reading of his one-act comedy, PIECES AND BITS, set in the Bellevue Home for Elderly Gentlefolk. James Brogan offers his neice a challenge: whether she will receive £10,000 to set up her proposed millinery business will depend on her making an exact replica of 'The Shrimp Girl' hat before he manages to complete the difficult jigsaw puzzle of Hogarth's famous painting - but then there's an unexpected twist. The play was very much enjoyed by members but, sadly, time constraints prevented discussion of the work. Comments from individual members afterwards included 'delightful' and 'a warm and gentle comedy'. It is a 'well structured play' and Rex has created some interesting and amusing character roles. PIECES AND BITS is published by New Theatre Publications for public performance. The readers were Patti Page, Jenny Leworthy, Bea Mitchell Turner, Anita Gilson, Hector Mitchell Turner and Rex Baker.
- Trevor Harvey
August 2011 Club Meeting
CHATELAINE
by Gol McAdam
Members were delighted to welcome Gol McAdam, who had travelled to Brighton to hear the first reading of her play.
Set in a convent in the late 1950s, the story concerns a young novice Julia (given the name Ruth) who tries to come to terms with her new life with the help of Sister Ignatius, their friendship meeting with the disapproval of Justina and others.
But the play is much more than that. Gol was congratulated by the cast for providing a play with interesting female roles for such a wide age group. Having the nature of love at the centre of the piece - that love can take many forms, including platonic, erotic, religious; that, together, two people may find they form a whole - is unusual and welcome. The dialogue is beautifully written (befitting the era and sounding both real and dynamic) and each one of the eight female characters is well drawn. A delicate subject - the abuse of Julia (Ruth) by her father - is handled with sensitivity. (However, why Julia had wanted to enter a nunnery at seventeen requires more explanation.) It was suggested the play needs 'dividing' into scenes on the page because, although it has a good structure and it is a dramatic piece, the writer needs to indicate a suitable climax for when the interval will take place. It was agreed that having the older Ruth and Ignatius (both of whom have left the convent) on stage as the 'narrators' for their story does work; but the final duologue lasts too long and probably needs cutting by half, as it is out of balance with the rest of the play. However, the purity of the love between Julia (Ruth) and Cecily (Ignatius) comes across powerfully. We hope Gol will work further on the script as everyone agreed that this is a very good play.
Quality readings were given by our guests Kitty Newbury ('Ruth' - Julia, aged 17), Sam Bolter (Rebecca), Shirley Jaffe (the older Cecily), and Peta Taylor ('Ignatius' - Cecily, aged 40), as well as by our regular readers, Patti Page (older Julia), Carole Bremson (Justina), Anita Gilson (Julia's mother), Cherie Cheirchie (Mother General) and Nicholas Quirke (Julia's father).
- Trevor Harvey
July 2011 Club Meeting
EXTRACTS FROM TWO PLAYS IN PROGRESSCarole Bremson had organised a very different and intriguing evening, with short scenes from two plays (both 'works in progress') being read and discussed in small groups and eventually reported back on for the benefit of the two writers concerned. It also provided the opportunity for all members to take part and contribute their thoughts and ideas within a small group situation, a spokesperson from each group summing these up. The writers were placed in groups with actors; the remaining two groups comprised other members of SPC.said they had found the evening very helpful, members raising many useful points.
It is hoped to repeat the format at a future SPC meeting.
-Trevor Harvey
RATHER FAMOUS by Peter Poole gave rise to much discussion as to how the play might develop, with the introduction of three well-drawn characters and various reference points (an architect's design model, an inhaler, comments on suicide, smoking, etc.) but, intriguingly, as yet no clear indication as to which might be of major importance. The dialogue in Scene One (between Margaret, who works in the media, and her friend John, the disheartened architect) was clever and often witty but the situation was probably too static. For many, the play came really alive in Scene Two (with John at the flat of his friend Adrian) and it was suggested this might make a better starting point, with the earlier material being incorporated. If not, the opening scene needs to be built up more. What is the disagreement that Adrian has had with Margaret? (It needs hinting at sooner.) Has John experienced disaster with an actual building rather than just with an earlier presentation at the design stage? There are many possibilities with this play.
Peter Poole an Daphne Wall
The groups had access to a slightly longer draft extract with WATCH MY FOOT by Daphne Wall, a comedy set in the consulting room of Stephanie, a podiatrist. The dialogue was amusing and flowed well but several felt Stephanie's purple passage on the virtues of Tim, the Medical Practice's manager, was too sudden and needed a slower build. More flesh was needed on Tim's character and more 'background' provided on Margaret, the elderly patient who demands her rights. On two occasions, there was some telescoping of time - but this is an early draft which will be worked on further. Several intriguing questions arose from the script, including who Stephanie was talking to on the telephone at the start of the play (and will it have any bearing?) and of the importance of the woman's face that appears on the computer screen.
June 2011 Club Meeting
If No Birds Sang
The play had been commended in SPC's one-act play competition. Bryony, a retired ballerina and now head of a ballet school, is confronted by Ben, her star pupil, who wants to drop out. Through the use of flashback, the struggles to succeed by Bryony are aptly illustrated.
Some members thought the writer had drawn on 'inside knowledge' for the setting and that the situation was convincing. The secondary characters were well drawn and although one member thought there was little need for the company manager Dickie to be included, others felt he was there to 'plant' certain ideas and to take a paternal role in leading the company. In general, the dialogue was good; but some speeches were perhaps too long and slightly in danger of moralising.
The playwright had considered the nature of art and the price that might have to be paid for such dedication. Members thought he was right not to provide 'answers' and to leave the audience to decide whether the young dancer, Ben, would continue with his training. It was also emotive to have the play end with Bryony and Ben looking at a photograph of the young Bryony dancing. Several members said it was refreshing to hear a play with the message that if you have potential you should set yourself goals but you don't always have to get to the top; being the lead may not prove the best or the right role for you. It was a mature, believable piece and Jeremy (who was present for the reading) was congratulated.
The readers wereJ enny Leworthy,Cole Quirke,Neil McKellar,Carole Bremson,Anita Gilson and Bea Mitchell Turner.
FAKING MY AUNT
by Daphne Wall
The play's dialogue was good and not over-written, short speeches being used effectively. There were touches of humour and a range of believable, well-differentiated characters. Simon was perhaps a caricature but, nevertheless, worked at that level. One person was unsure of Trevor's motivation - whether he was an all-round nice guy or inwardly very jealous. The plotting was very good (one member noted there had been a similar story in real life), short scenes moving the action along effectively and at a brisk pace and sound effects being cleverly used to suggest new locations. Some noted there was a tongue-in-cheek quality to the piece, not quite rooted in reality, and that this had worked well. Members congratulared Daphne on a most enjoyable and entertaining play.
Readers wereBea Mitchell Turner,Jenny Leworthy,Simon Jenner,Nicholas Quirke,Anita Gilsonand the many voices ofRex BakerandNeil McKellar.
-Trevor Harvey
May 2011 Club Meeting
Not Lost, Just Mislaid
by Brian WebsterThe play won second prize in SPC's 2010 One-Act Play Competition and deals sensitively with dementia. Mrs Watson is trying to cope with her husband Andrew's condition by soldiering on and is somewhat in denial. Their daughter, Katie, wants to leave home and live with her boyfriend - and for her parents to 'down-size' to more manageable accommodation.
Members felt this was a moving piece and that the mother's role was particularly well written and developed, her denial seeming true to life. There was considerable exposition which made the play static and more suited to radio than the stage. After some effective opening dialogue, Andrew was sent to his new armchair to watch television; one member felt an occasional sound or comment from him would help 'break up' the exposition and 'remind' the audience that he was there. Katie's change of character (from 'denial' to support) happened too quickly for some and was not completely convincing. However, the play was considered worthy of its second place and enjoyed by members, who were pleased to welcomeBrian Websterto the meeting. The roles were read byJenny Leworthy(Mrs Watson),Philippa Hammond(Katie) andMike Rowlands(Andrew).
MEETING SOMEONE
by Giles Cole
Giles's play was awarded first prize in the competition and tells how Peter only visits his sister and wheelchair-bound father in the family's Norfolk home each year on the anniversary of his mother's death and how they know nothing about his life in London. The father is dismissive of his son who is a disappointment to him ('a mummy's boy'), whereas he says that Ros ('an old maid of a daughter') has at least joined a camera club, 'hoping to be someone'. Later he describes Peter as a 'poofter' only keeping himself in trim for his London flatmate. Peter informs Ros that he is applying for the deputy headship at his secondary school; and, in a later scene, it is revealed that Ros has been attending a dating agency rather than a camera club, in an attempt to escape from the family home.
By the next visit, Peter has failed to get the new job but has published a book. Ros is seven months pregnant, having met Bob whom she tolerates but does not really love. From the past, it is revealed that their mother had run off with another man but had been dragged back by their father; and that a car accident on the way home had killed her and had also been the cause of their father's injuries.
Daphne Wallappreciated the sense of disappointment and the degree of revelation that gradually came across about the father.Rex Bakernoted that a new character (Bob) had been introduced late in the play. As we have come to expect from Giles, the piece contained excellent dialogue and dealt with a number of themes. Being set in Norfolk, the play had reminded some members of Wesker, in particular ROOTS. In the discussion that followed, Giles revealed that he had 'moved on' from this one-act piece (having ditched most of the material) and, instead, had developed a full-length play set twenty-five years later. We look forward to learning more!
The readers wereThomas Everchild(Peter),Carole Bremson(Ros),Terence Deadman(Bob) andTed McFadyen(with a lively interpretation of Brian, the father).
- Trevor Harvey
April 2011 Club Meeting
AGM + FOUR TEN-MINUTE PLAYS
The Treasurer, Jerry Attwood, reported that, although there had been an operating loss of £355 in 2010 (accounts circulated), reserve funds meant the Club was still in a healthy position. A question from Daphne Wall led to a discussion on the value of the annual play competition (as it had lost, rather than generated, income); it was decided to continue to hold it.
Having completed his three-year term as Chairman, Nicholas Quirke stood down from the post and was re-elected as Honorary Secretary. Carole Bremson and Trevor Harvey
were elected as joint Chair. Bea Mitchell Turner and Dennis Evans stood down from the Committee, having completed their terms of office, and Matthew Turner and Giles Cole were elected in their place. Patti Page and Rex Baker continue on the Committee, as does the Treasurer, Jerry Attwood. A vote of thanks was given to Nick for all his hard work last year (when he also acted as Secretary) and to the Treasurer and Auditor.
Under AOB, Ted McFadyen suggested a £500 donation should be made to NVT towards the cost of refurbishing its theatre and this met with the approval of the meeting. Cherie Chierchie enquired about having the newsletter on email. Thomas Everchild kindly agreed to set up SPC on Facebook.
The second half of the evening comprised four ten-minute plays, three having been entered for NVT/SPC's 2010 competition. Olive Holman's IT'S A GOOD LIFE, ISN'T IT was a poignant monologue from an elderly wife (read by Jenny Leworthy) looking back on her life. Neil McKellar's PLAYING AWAY involved a football manager moving to another club - and taking a player's wife with him (read by Giles Cole, Carole Bremson and Nicholas Quirke). Rex Baker's humorous piece, BOUNCY CASTLE, was set at a literary festival, where an interview with a writer did not go to plan (read by Philippa Hammond, Giles Cole and Thomas Everchild). Finally, Ted McFadyen's UNDER KING'S ROAD was an amusing 'take' on Dylan Thomas (read by Rex Baker, Giles Cole, Jenny Leworthy, Nicholas Quirke, Carole Bremson and Neil McKellar). Members enjoyed hearing these playlets - and they provided a light and pleasant ending to the evening.
- Trevor Harvey
March 2011 Club Meeting
Episode at Epidaurus
Members were delighted to welcome Ken Lucas, on a rare visit to Brighton from his home in France, to hear the reading of his play.
Andrew (a shy and troubled middle-aged man, with a stammer) and Caroline (a struggling actress with problems of her own) meet amongst the dramatic ruins of the world-famous amphitheatre in Greece. She offers to help overcome his stammer and coaxes him into revealing that his relationship with his problematic parents is troubling him from the past, as he believes he caused his father's death. After a year spent back in London, the pair return to Epidaurus - she to take part in a film (and work with an actor, Paul, who has become her new love) and he to uncover the 'truth' about his fears and memories.
Giles Cole and Carole Bremson were congratulated on their excellent readings of the two leading roles. Some felt the play might be better suited to radio, as it was mainly a two-hander; but others disagreed, saying that setting it in Epidaurus was a strength, making it visually attractive as a stage piece. Act One was particularly effective. Having other actors as tourists at the start of the play had 'set the scene'; however, they were not used again (unless a few 'doubled' as the three ghosts, conjured up in Andrew's mind in Act Two) and this might prove problematic for a production. (It was suggested that a couple might wander back on stage during the lengthy duologue between Andrew and Caroline, to provide a brief, 'natural' break in the proceedings.)
One member thought Caroline was a saint not to have walked away from Andrew; another felt the piece was perhaps too claustrophobic and at times the dialogue was repetitive (which Ken said was important to the plot). However, it was felt fitting that the situation was resolved in Epidaurus (rather than at the play's second setting, Caroline's flat in Hackney) and that, considering how philosophical the piece was at times, the dialogue seemed very natural. Several noted the subtle undertones of the Oedipus story running throughout; that they were not sure whether Andrew and Caroline would become lovers; and that the play was an engrossing engagement of minds. Ken had provided SPC with an interesting play.
The other readers ably participating were Patti Page, guest Joan Pimm, Anita Gilson, Nick Quirke, Cherie Chierchie, Mike Rowlands and Jerry Attwood.
- Trevor Harvey
February 2011 Club Meeting
Eating in the Streets
The play (second in our 2009 competition) was set in a small country town about 50 miles from Budapest in 1944, when Hungary was under Nazi occupation. A couple and their daughter (Rudi, Thea and Mim) have false papers and are lodging with a blacksmith (Joseph Klosz) and his wife (Ella) who do not know they are Jewish. Suspicion is aroused by a police officer who calls to check on a claim that they have been seen eating Matzo biscuits.
The audience was very interested in the play and its subject matter. The discussion gave rise to several suggestions, which it is hoped the writer will find helpful.
It was thought the play would benefit from some pruning as the dialogue in Act One was occasionally repetitive (especially between Thea and Rudi) and it involved telling rather than showing. Both monologues within the play (for Mim and Joseph) were appropriate and informative - but Joseph seemed to be addressing the audience directly, a very different approach from that used in the rest of the play (this might be overcome easily by having him appear to 'chat' aloud to the hens kept in the yard where he works).
There was a lengthy mainly anti-Semitic radio comedy broadcast at the start of Act Two (appropriate to the needs of the play); but as there had been no 'humour' previously, this seemed strangely isolated from what had gone before. It was suggested the radio programme should be included in Act One. (Perhaps the play could even open with a snatch of a similar broadcast, faded out, then have the longer section later?)
One member thought the play might be more suitable for radio, whilst another felt - as Act One was rather short and there wasn't a dramatic curtain line - it would be more effective if played without an interval, as a 75-minute piece. Another member would have liked more 'cross over' between the couples but others disagreed, feeling it was right they remained as separate, isolated pairings. Whilst the ending disappointed a few, most felt it was both appropriate and effective to leave the situation undecided as to whether the family would need to move on yet again in order to escape discovery by the authorities. An intriguing piece, producing a lively discussion - thank you, Betty!
The readers were Nicholas Quirke, Anita Gilson, Patti Page, Neil McKellar, Carole Bremson and Jerry Attwood, with stage directions read by Dennis Evans.
- Trevor Harvey
January 2011 Club Meeting
by Neil Mckeller
Einstein's Women
One of the Club's newest members, Pauline Suett Barbieri, submitted her play EINSTEIN'S WOMEN for a reading and it turned out to be a tantalising evening. The fact that it fell between two stools was almost a compliment to the author.
The prospect of Albert Einstein recalling former lovers during a seance was certainly an amusing one. The play was set in the sitting room of a Victorian boarding house in Everton where the scientist stayed during a lecture tour of the north-west in the 1950s. Chaotic appearances at the seance allowed for some comic touches but this also led to confusion that distracted from the play. Characters in the form of Mozart, a number of mistresses and one unwanted dead husband are also joined by the very real presence of a milkman seeking payment and an irate supermarket manager.
The play was short, lasting only fifty minutes. So, should it be extended to a full-length play or rewritten as a radio piece, where its compactness and atmosphere might prove a better option? A lot of discussion ensued, with mixed reactions from the members.
Einstein, lustily played by Nicholas Quirke (who also chaired the discussion) came across as a well drawn character. This couldn't be said at present of the three ladies, who lived for the appearance of the dead. Perhaps they need 'fleshing out' to be more believable. But the trio of needy, randy ladies were well read. Carole Bremson and Patti Page extracted humour from the dialogue and Jenny Leworthy as Mary gave a delicious reading of the third, managing also to preserve her Liverpudlian accent to the end.
Various Einstein theories were illustrated if not explained. These included the string theory and the permanent wave theory.
Ruth Tansey, Bea Mitchell Turner and Giles Cole completed the team of able readers.
It was a pity that Pauline wasn't able to attend the reading of her play, as she was recovering from a painful knee operation. We send her our best wishes.
December 2010 Club Meeting
by Trevor Harvey
Seasons Greetings
November 2010 Club Meeting
by Trevor Harvey
Patrick Garland Speaking at 75th Anniversary
For the Club's 75th anniversary, SPC was delighted to welcome as guest speaker the director and playwright, Patrick Garland (who proudly announced that he was also in his 75th year). During a long and distinguished career, Patrick has directed such productions as the musical BILLY (with Michael Crawford), the original FORTY YEARS ON (with John Gielgud) and a revival of MY FAIR LADY on Broadway (with Rex Harrison). He was Artistic Director at Chichester Festival Theatre, 1980-85 and 1990-1994. He wrote and directed the play BRIEF LIVES and recently has directed Simon Callow's solo presentation, THE MYSTERY OF CHARLES DICKENS. Earlier in his career he was a producer on BBC's Monitor and won the Golden Globe for his television film, THE SNOW GOOSE.
Patrick immediately engaged the audience with amusing anecdotes about the theatre and about the many personalities with whom he had come into contact, including Kenneth Williams and Dame Edith Evans who took a liking to Williams but on one occasion asked why he always spoke 'in that si-lly voice...?' Working with Dame Sybil Thorndike and her husband Sir Lewis Casson provided other humorous moments, as did his time at the National Theatre with Laurence Olivier and Maggie Smith.
Patrick Garland answered a wide range of questions from club members. He commented on the importance of an audience's response, such as the encouraging one that was given to Gielgud when FORTY YEARS ON came to Brighton prior to its London run. He agreed that the demise of repertory companies had deprived new writers of a platform for their plays and that actors no longer had the opportunity these once provided for them to learn 'how' to act. Acting and writing had tended to become 'small' these days and projection in the theatre was sometimes difficult; however, there were still many excellent actors, both on stage and on screen. A disadvantage of being a director was that he rarely had the chance to see others direct. His advice concerning rehearsals was not to give actors notes for 48 hours once they were on stage; Dame Peggy Ashcroft used to say that 'her feet would tell her what to do'. He was asked about his play BRIEF LIVES and said that it was very productive working with Roy Doctrice who would readily incorporate new snippets of material. When asked which had been his favourite production, he said there were many but that he had particularly enjoyed UNDERNEATH THE ARCHES at Chichester, with Roy Hudd and company recreating the Crazy Gang's hysterical routines and ad libs. The show went on to run for two and a half years at The Prince Of Wales Theatre, London, and was much enjoyed by the late Queen Elizabeth the Queen Mother.
Patrick Garland provided us with a most enjoyable evening and we are delighted that he was able to visit us.
August 2010 Club Meeting
by Trevor Harvey
Purple Ribbon
by Josephine Carter
The play takes place in June 1910, at a small haberdasher's shop in a village twenty miles from Reading. The shop is run by 22-year-old Beth Wilkins (Anita Gilson) and is part of a family concern, with an adjoining grocer and greengrocer's run by her mother, Agnes (Barbara Hendrick) and a butcher's run by her father, Albert (Nicholas Quirke). The local squire's daughter, Lady Jane (Bea Mitchell-Turner), wants Beth to make her a taffita skirt and a purple sash which she plans to wear at a Women's Social and Political Union rally, persuading Beth to join her.
Later, Beth and her friend Rose (Carole Bremson) prepare a banner to take to another rally, much to the displeasure of Beth's mother, Mrs Sykes (Jenny Leworthy). They are dependent upon her brother, the local vicar, for their accommodation and he is very much against the suffragette movement. When Beth gets arrested at the rally (whilst trying to protect Rose) and is kept in a cell overnight, the vicar orders Mrs Sykes and Rose to leave the vicarage - but Lady Jane hopes they will take over as teachers at the small village school. The play conveys the values and opinions of the time; the class, gender and social distinctions that existed; and the strugge that had begun for female emancipation.
Members thought that Josephine's storyline was good. However, Terence Deadman said he would have liked an added 'twist'. Ted McFadyen disagreed and felt that having Lady Jane play a leading part and with Beth's father being portrayed as far more liberal than usual, the play avoided cliches and this helped make it fresh and different.
Barbara Hendrick and Judy Upton noted that the play was informative, as young people might not know about the struggle over women's votes or about force-feeding, unless they had studied the period. Jenny Leworthy appreciated the viewpoint from which Josephine had chosen to present her characters and also that they were country people, rather than town based. Bea Mitchell-Turner felt it could be a radio play, perhaps divided into five fifteen minute episodes (as with the Woman's Hour serial).
Carole Bremson thought the piece contained a great deal of informaton and would be very suitable to workshop n schools, as a T.I.E project - and other members agreed. Josephine said she had received similar feedback from the Watermill, as it was originally a competition piece. She had also considered including other characters in the play - Beth's unsympathetic boyfriend and the vicar - but a cast of eight was too large. Carole said it would usually be a cast of four actors for work in schools.
Members considered the characters had been well drawn and Anita Gilson liked the play's occasional light touches of humour. Everyone thought the dialogue flowed well, reflecting the period without seeming stilted (with just one reference to 'brain-washing' being out of period). As usual, Josephine had provided the Club with a most enjoyable play.
July 2010 Club Meeting
by Anita Gilson
Short Time Dead
by Laurie Rea
Nick Rees (read by Laurie Rea) is a TV presenter dedicated to harrassing celebrities who annoy him. His main target is Eric Archer (Nicholas Quirke), a popular but fraudulent medium. Nick, a dyed-in-the-wool atheist, does not believe in life after death. Then, one day Nick dies, somewhat ignominiously, from a heart attack after trying to defecate, while suffering from chronic constipation. He comes round to find himself in the Spirit World, where a long-suffering French spirit, Finny (Rex Baker), endeavours to explain to Nick that he is dead (or, rather, has 'transcended') and at a very low level in the Spirit World - a mere Level 4.
To move to the next level, Nick has to become a 'spirit guide' to Eric. This is rather a tricky job since Eric has no more belief in the after-life than Nick. However, Nick himself is beginning to settle down in the Spirit World, especially after meeting his future daughter (Bea Mitchell-Turner). He also sees his still living wife (again read by Bea Mitchell-Turner) who misses him and senses his presence; and he meets John Lennon (Glen Richardson) who is now a spiritual cab driver and still preaching peace and love. In addition, Nick watches Eric's wife (Peta Taylor) who has 'transcended'. Every year, she puts on lipstick and perfume and comes to the graveyard to receive the flowers Eric brings.
Gradually, Nick persuades Eric to believe in life after death; he becomes a true spirit guide to him and Eric becomes a true medium. Greatly relieved, Finny gives Nick his pass for Level 5. Eric regains the happiness he lost at his wife's 'passing', since he now knows they will be reunited and he is able to pass on John Lennon's message of peace and love and the Spirit World's motto 'ONWARDS AND UPWARDS'.
Everyone greatly enjoyed the play and thought it had an amusing storyline. (However, in future it was suggested the playwright should not read in his own play as he cannot 'hear' it properly.) The opening scene was very well written. Some people thought that a bridge was needed between that and the next scene in which Nick had 'transcended'; others thought the sudden break between scenes worked well. Everyone thought the individual viewpoints of Eric and Nick gradually changing also worked very well and that the John Lennon character - cynical but spiritual - cleverly embodied the plot.
Apparently, Finny was based on a real 'spirit guide' but some listeners felt the character's dialogue was not written in the 'French idiom'. Another observation was that there was too much repetition of phrases such as 'I'm confused' and 'I don't understand' and too much explanation - but this was a small criticism as the play was enjoyed. We all appreciated the side references to CHRISTMAS CAROL, BLITHE SPIRIT and TV Medium shows. If music is used, the question of copyright might arise. The play didn't laugh at any particular beliefs and, therefore, would not offend anyone. The characters were well drawn and 'grew' and the dialogue was witty and fast.
June 2010 Club Meeting
by Giles Cole
The Murder Game
by Constance Cox
The unlikely occurrences pile up thick and fast. Within moments, it seems, of almost being run over in the driveway, the young man has concocted a dastardly plan to dispose of the inconvenient wife, for no advantage whatsoever to himself - except the thrill of carrying it all out (and wearing the aforesaid blonde wig quite a lot). The only gain is for Brian, the husband and former racing driver, whose wife Sheila has tired of his infidelity and is about to stop funding his lifestyle. Clearly racing drivers were not big earners in the 1940s.
The play creaks like an old oak door but, within the confines of Thrillerland (somewhere near Dorking in this instance), it is still thoroughly entertaining, especially when read with aplomb, as it was here, by Nick Quirke, Matt Beaumont, Bea Mitchell-Turner and Patti Page. The good old-fashioned stage thriller may be an outdated genre but it can still provide an object lesson in keeping an audience intrigued. Just who is the young man? What are his true motives? Will Brian get away with it? And so on. There was no discussion afterwards - what would have been the point? - but that was just as well, considering that the 'curtain' didn't come down till 9.45pm. They wrote 'em long in those days. All in all, a happy reminder both of a distant theatrical era and of the legacy the Club still enjoys.
May 2010 Club Meeting
by Trevor Harvey
When Autumn Leaves
by Stuart Pursell
Members were pleased to welcome Stuart Pursell who had travelled from London on a cold May evening to hear a reading of his play, which had won the SPC's full-length play competition in 2009.
Roy Kendall, a belligerent 71-year-old, is a resident at a nursing home. When his roommate dies, Ron hopes to be placed in single accommodation but, despite the attempts of his son David to help, the new manager (Meredith) claims there is nothing suitable. Angela, a young nurse, maintains a good rapport with Ron wheras Meredith seems more concerned with a forthcoming inspection and with balancing the books.
Ron's new roommate is 86-year-old Jack, who is dying of cancer and is an unwelcome face from the past. Both men recognise one another and, through flashbacks, Ron's nightmare memories of childhood sexual assaults by Jack are re-awoken. Ron is persuaded to confide in Angela who betrays his trust by telling both Meredith and David; however, Meredith doubts Ron's word and only provides him a camp bed in the lounge. As he is in such pain, Jack asks Ron to help him end his life - but Ron refuses and it is left to Angela to resolve the situation.
The first twenty minutes of the play had set the scene and introduced some humour but members felt it could benefit from a little cutting and reworking. Neil McKellar stated that, from the arrival of Jack and with Ron's subsequent nightmare scene, the play told a gripping story that was given a good reading by the cast. Characterisation was clearly established (including that of fellow resident Jim, who takes bets on which of the residents will die next!)
and the dialogue was well written and effective.
One possible challenge for staging is that the actor who plays the elderly, bedridden Jack has also to 'appear' as a younger Jack in several scenes. However, the difficulty of portraying a 'memory' on stage could be overcome by changes of lighting. Once we had discovered the nature of the horror that was troubling Ron, Giles Cole thought the script became a little repetitive and slightly drifted away again as we were back with the younger Ron and Jack. Anita Gilson said the news of David's adoption was a good development in explaining the uneasy relationship between father and son but perhaps needed to come slightly earlier.
Stuart Pursell thanked members for their comments and the cast for their reading. He agreed that the opening might need a little attention and said that he had found the comments about Ron's development particularly helpful.
Members agreed that the play was a worthy winner and wished Stuart every success with its future development and placement. We hope he will keep SPC informed of its progress.
The readers were Nicholas Quirke, Anita Gilson, Patti Page, Dennis Evans, Mike Rowlands and Giles Cole, with stage directions from Terence Deadman.
April 2010 Club Meeting
by Trevor Harvey
I'm On The Bus
by Olive Holman
Following the AGM, there was a reading of a radio play by Olive Holman. Set on a bus, it introduces a wide range of passengers making a journey on what turns out to be a far from usual day. These included various young children out with their father and their mothers, two elderly ladies on their way to enjoy a weekly hot lunch at a local Church, and a teenage girl and her mother who have been on a fruitless shopping expedition for shoes. Suddenly they find themselves caught in a traffic jam in one-way St George's Road and they gradually grow more agitated because of the lengthy delay. No one knows why the road is blocked, so some of the passengers decide to leave the bus and to make their way on foot. Eventually, the driver and two bus inspectors guide the remaining passengers from the bus and back down the road - at which point an explosion is heard.
The play aroused much discussion. Some felt that the dialogue - although often amusing - was, at present, too everyday and isolated and that there should be more cross-talk between the various groups of passengers. Others disagreed with this point and said they did not think bus passengers would behave in that way. A number wished the reading had included some sound effects (traffic, chatter on the bus, footsteps on the stairs, etc.). [I am afraid this was my fault, as I had persuaded Olive it would be difficult to arrange and carry out.] The production details for much of the current action, however, would make it very difficult to convey the images through sound alone. For it to become a radio play, some of the visual elements would need to be carefully incorporated into fresh dialogue and sound effects.
It was suggested that at least one of the passengers might be given a more dramatic reason for making the journey and that the play would benefit from having fewer characters. One member had found the ending - the explosion - distasteful (remembering the London bombings) but others disagreed.
Several said they thought it was an interesting idea for a play. Olive said she had intended it to be open-ended, for the audience to decide for themselves what may have happened.
The readers were Thomas Everchild, Philippa Hammond, Josephine Carter, Denise Boxall, Terence Deadman, Jenny Leworthy, Anita Gilson and Trevor Harvey. Olive said she was pleased with the play's reception and thanked the readers for their presentation.ng at the club on
Annual General Meeting
Twenty-six people attended the AGM and there were four apologies for absence. The Chairman, Nicholas Quirke, thanked members for their support during the year and also thanked the committee - making special mention of Dennis Evans, who has now retired as the Club's Secretary after thirteen years in the post; Jerry Attwood, who took over as Treasurer last year; and Trevor Harvey, who now edits the quarterly newsletter. Members will be pleased to know that Dennis is remaining as a member of the committee and the Chairman thanked him for all his hard work in making sure that the Club has run so smoothly. The role of Secretary is a time-consuming one and Dennis has always given of his time unstintingly. In appreciation of this, on behalf of SPC members, the Chairman presented Dennis with a card and gift tokens.
The minutes of the 74th AGM were then read and approved. Matters arising included Paul Moriarty's agreement to read the final ten scripts (instead of six) from those submitted for the annual competition. This received the meeting's approval. Dennis Evans reported that the request for readings of shorter plays had in part been met with TAKE SIX and three short pieces by Trevor.
Dennis Evans then gave the Secretary's report for the past year, which included the number of plays read, the number of entries received for the annual play competition (43), membership (51) and the average attendance (24) at meetings.
Jerry Attwood presented the Club's financial report and answered questions. These included a query about the low amount of interest that our investment had received in comparison with 2008. It was explained that this was due to the current financial situation and the fact that, sadly, accounts run by societies do not attract the same rates as personal accounts. The Club's deficit against income for the year to 31st December 2009 was £921, although the general reserve (£9,874) is still very healthy. The honorarium (set at £500 by the committee for 2009) will this year be reduced to £100. Jerry also kindly offered to arrange for someone to officially audit the Club's accounts.
As no-one at the meeting was willing to stand as Secretary, the post will be split so that the workload will be less onerous and it will be decided which members of the committee will take on these various duties. The Chairman and Secretary were re-elected unopposed, as were the remaining committee members (Bea Mitchell Turner, Rex Baker and Dennis Evans). Trevor Harvey (who had been co-opted onto the committee in September 2009) and two new committee members, Carole Bremson and Patti Page, were proposed and elected. Jenny Leworthy is standing down, having completed her three-year term of office.
Several items were raised under Any Other Business. The meeting decided that Membership Cards were unnecessary, as detailed records were kept of those who had paid. Nicholas Quirke felt frustrated that - as Chairman - he was not able to circulate at meetings because, during the interval, he was always serving at the bar. It was suggested that a rota should be set up - and Rex Baker kindly took over as barman at the meeting. Trevor Harvey suggested that we might have a practical writing session sometime, run by a guest tutor, with ideas and starting points for members to try. The meeting agreed this would be useful. Giles Cole mentioned the Club's excellent website and the need to keep the placing of monthly reports up-to-date, which was receiving attention. Philippa Hammond asked if some of the Club's reserves could be spent on advertising and trying to attract new members. Thomas Everchild , Anita Gilson and others suggested various publications, including The Argus, and Trevor Harvey said he was contacting BBC Radio Sussex. He has also written a short piece about the Club which had been accepted by WRITERS' NEWS for a future 'Spotlight' feature in the monthly magazine. Several members felt the Club should participate in next year's Brighton Festival, as had been the case in the past.
March 2010 Club Meeting
by Neil Mckeller
Monkey Jungle
by Mike Rowlands
The play reading at the club on Sunday March 7th was Monkey Jungle by Mike Rowlands. Written as a cartoon or animated film the script was slightly amended to accommodate a cast of thousands within the abilities of ten readers and a narrator.
Bearing more than a passing resemblance to 'Animal Farm' the story described the struggle between a variety of primates within a community, telling how they overcome human-like frailties while learning to live together.
Maybe, some of the audience felt, six groups were too many causing a difficulty in differentiating between them all. The readers did a good job in conveying the tribes by using dialect but I found it acceptable in almost every case. When I closed my eyes I could imagine the boisterous activity of the monkeys as they played with or fought against others in the territory.
The action built up from conflict over pathways, encroaching over each other's land, learning to understand each other and accepting others for what they were. All the while Man is eroding the territory in order to enhance his own agenda by cutting down the forest. As a result of urgent talks between the monkeys they decide that a Forest Council be formed to try and work for the good of the settlements.
This should avoid the anticipated bloodbath. However taxes rise with emergence of Satan, the leader of the Colobus Monkeys who usurps power.Thus we begin to understand that the play is an allegory for our times, a subtle analogy of civilisation with its political manoeuvring. It is not the survival of the fittest that counts, but the strength and ruthlessness of the Dictator. All is well when the Monkeys realise that what they have created is not the answer. Common sense prevails.
The discussion that followed the reading was spirited. Everyone felt the play was worthwhile and the author should persevere although his seeming reluctance to enthusiastically develop the piece was unfortunate.
With so many cartoons, new film technology dominating our screens and award ceremonies there is every opportunity for such a story to be told. It was inventive enough to become very successful in the commercial sector. Mike Rowlands was encouraged to develop his story still further.
A strong cast of readers were largely excellent with a fine ensemble playing which brought the characters to life. I could see them swinging through the branches with carefree abandon..
The dialogue moved the action along, including such gems as 'you can't have your banana and eat it.' The play's message that 'democracy doesn't always work' was somewhat Brechtian in this truly epic reading.