Happy Days Are Here Again! (Or Are They?)

Thursday. 8.25 a.m. 53 years ago today, I began my theatre career as a student A.S.M. at the Everyman Theatre, Cheltenham. I was thrown in at the deep end, as it were because that Monday was the technical rehearsal of a production of 'Jane Eyre.' It had Angela Richards playing Jane in it. I was very 'green' as they say. In those days, 'rep' or 'repertory' theatre, was in full operation. Most large towns throughout the United Kingdom had their own 'rep.' Plays ran throughout the year, except for a break of a fortnight during the summer for maintenance. Each play would run for two-three weeks, with the next play in rehearsal as a play was in performance. It meant that stage management had to search for props for the next play, beg, borrow or steal items to be used in the next play, so we would scour the town for these items. As the budget for each play was tiny, there wasn't money to buy these items. Most items would come from local businesses, and shops, mostly selling antiques in Cheltenham or quite valuable pieces of furniture. It's amazing. looking back, what we had on loan. These businesses who loaned items got a credit in the play's programme and got free tickets for the play as an acknowledgement. The theatre must have had insurance because some items were expensive antiques (at the time I am talking about, Cheltenham had plenty of antique shops, many quite keen to lend pieces of furniture and other items.) Without this sort of borrowing, the shows would never have been staged. 

It was fairly unrelenting work, because, with one show being performed during the evening, and the next play in rehearsals during the day, there was no let-up. I might be doing props for one show and then operating sound on the next, having to make up tapes of music and sound effects. I didn't get to do 'The Book' until I went to Colchester Rep in the following January as a fully-fledged A.S.M. The first 'Book' I did was 'Billy Liar.' It's quite a demanding job, being in rehearsals from the first read-through of the script, logging all the actors' moves and taking notes on such things as props, practical effects (i.e.: off-stage crases, door slams, gunshots.) and running the show when it goes into the theatre during production week, the technical, dress rehearsal and then opening night and then the actual run. Then, giving the actors their calls via the tannoy system, cueing lights, sound effects and so on and keeping a record of the show's timing, interval etc.

3.40 p.m. The day has been mild on the weather front, although it has been quite blustery. Not a lot else has happened. I have had problems with my Amazon Video connection. Attempting to watch the latest season of 'Clarkson's Farm and have reached the final episode, but it won't play. Technology is fine when it works, but when it decides not to work, then it's annoying and somewhat frustrating. I will leave it and have another attempt later.

6.55 p.m. I have at last managed to get the Firestick to work. I did the old trick which everyone does with anything electrical, and usually when there's a problem with a computer or anything vaguely connected with a computer, which a Fire Stick is. I turned the whole system off at the electrical point and after ten seconds, put it back on. This meant the Fire Stick rebooted itself and, hey presto! I managed to watch 'Clarkson's Farm'. 

I know Jeremy Clarkson is not someone to everyone's taste. He has come out with some controversial things, particularly regarding Megan Markle. But, having watched this show, he has at least had the guts to try something which he has actually got no experience of, that is, farming. He has made some stupid mistakes, but you have to admit, he has attempted to do some quite challenging things. It seems that West Oxfordshire District Council have made his life extremely difficult regarding planning permission, and it looks to me as if they are just being awkward and extremely petty in their actions. 

Saturday. 10.30 a.m. I had to buy some things at Sainsbury's, such as milk. So, having made out my obligatory shopping list, which I find is always best, as I don't want to forget anything I need and it saves time. This was my way of shopping during lockdown, particularly as there were so many restrictions, and it just made shopping faster. But when I went to start the car and back out of my parking space, the steering wheel would not turn, and I got a message on the digital screen saying 'power steering fault.' I also got a red light come on which told me to 'stop.,' which was exactly what I did. There was no way I was going to be able to drive it, so I left it in the parking space and walked to Sainsbury's, which is no more than a fifteen-minute walk. But I didn't buy everything on my carefully composed list, as I didn't want to have to carry heavy bags of shopping. Having now returned home and unloaded my shopping, I have been back to check the car and it seems alright and no problems with the steering. I'm not sure what caused the problem in the first place. Just makes me worry now that, if I drive anywhere, it will then decide to play up, making it impossible to drive.

1.55 p.m. No, I have no idea why I chose the title for this post. I sometimes choose song titles, but anyway, this one is actually not very appropriate at the moment, but I quite like it, regardless of it being totally not connected to anything. We just need some optimism at the moment, so leave it at that.

6.10 p.m. I was cooking my evening meal. Steak, chips, tomato, mushroom and a bit of onion. Well, you can't have steak without a bit of onion, I always say. I had the chips cooking in the oven, along with the tomato. It was time to sear the steak in a pan, which I did. But the oil got on the hot ring and produced smoke. I was annoyed as I knew what would happen next, which it did; it set the very sensitive fire alarm off. It is deafening, and Alfie doesn't like it. It continued to make it's noise, regardless of my waving a tea towel under it. No way of turning it off. I just sat in the lounge with the door shut. Then, around fifteen minutes later, I got a knock on the door and two firemen came in. They couldn't stop it, even with a glove held over the alarm. I was going to use the alarm system which each of the flats in Dexter House are equipped with, which can be set off by one of the red pull cords which are in all the rooms (although looking around the lounge where I am sitting and composing this, there isn't one. One of the firemen pressed the alarm button on the unit on the wall to speak to the operator, who knows who I am if I accidentally set off the alarm (which is reassuring if I had a genuine need for assistance, such as a fall or I had a medical need, such as a heart attack.) The fireman said that the mobile member of staff would turn off the alarm (which by now was giving me a headache, it was so loud.) About ten minutes later the alarm stopped, which was such a relief and I was able to complete preparing my meal and sit down and actually eat it!

I have already mentioned how I discussed having an extractor fan fitted, when the kitchen was refurbished back in July and how many times I have contacted Mears, the company who are responsible for maintenance at Dexter House. I am almost certain that when the extractor fan is eventually installed in my kitchen, then setting off the fire alarm should, in theory at least, be a thing of the past.

Foggy, But Sunny

 Friday. 7.45 a.m. I've been up since well before 6 a.m. Well, that's me. The early bird catches the worm, as they say. Not that I'm a bird, of any sort, you understand. It's just a saying. Well, I'm somewhat surprised to find it's foggy out as I take Alfie out. He doesn't hang around. Does a wee on the bit of grass just outside the door in Dexter House. Then he nips back in, bold as brass, and, as I write this, he's tucked up in his bed, fast asleep. 

It's now sunny, so hopefully, the fog will have dispersed. and we'll have a bright, sunshiny day. Well, I do hope so. BBC Breakfast this morning said that next week we'd have sun and it will be a good deal warmer. Good-o!

I've just put in a load of washing. Just on 8 a.m. Oh dear, we're not supposed to put on the washing machine until dead-on 8 o'clock, otherwise, we'll get our wrists slapped. I didn't mention that I had emailed a parish councillor regarding the lack of a washing machine as well as my non-appointment regarding my upgraded (or, as I write, not.) bathroom. I have been told by Barbara, our SHO, that a new washing machine is on its way, and via another email from the parish councillor, I will have to wait between six weeks and SIX MONTHS before my bathroom can be upgraded. I can't think why, but as they say, things grind slow.

An actor I worked with when I was an A.S.M. at Colchester Repertory Theatre in the early 1970s, Jeremy Child, has died, at the age of 77. I was wondering where it was, out of all the companies I worked with. I have a feeling he was in several plays there, probably 'Private Lives', although he would probably have been in several plays there.  I have, unfortunately, no way of researching, as there's nothing online. I did, at one time, have a large box that contained programmes from most of the plays I worked on, by now, sadly, lost. Many were signed by members of the cast of many of these shows, and they might have had some sort of value, although I doubt it.

One of the flats below mine is having a new bathroom fitted today. So, why have I heard nothing regarding mine? No hint that I might have my bathroom surveyed and me being questioned as to how I want it revamped, for example, having a shower or a bath. Definitely, a bath, as there's nothing better than being able to stretch out in your bath, which I can't do at present, as the bath isn't designed for someone over six feet in height (I know, crazy, but true.) Or a shower so I can actually stand under it. The current one must have been designed for a midget (although we're probably not allowed to say 'midget' or 'dwarf' as it's probably not politically correct.)

BBC Drama 'The Woman In White'

We have a new classic costume drama on BBC1 on Sunday evenings at the moment. It is 'The Woman In White,' by Wilkie Collins. It has been done several times before. What is unusual is the fact that it's on at this time of year, when we usually get these expensive productions in the run-up to Christmas, or at any rate, during the winter months, when it's dark outside and there's little else to do of an evening. Nothing better than a good old BBC costume drama, safe and somewhat predictable. I can remember there being some sort of costume piece on either of the BBC channels during the 1960's or 1970's, probably beginning with 'The Forsyte Saga,' probably the first big drama on BBC2 when it opened in 1967 or thereabouts. In those days we didn't have BBC2, so we had to wait for it to be rebroadcast on BBC1 to be able to see it. something like 26 episodes and in black and white, amazingly. Also, they did more costume dramas, which is probably where I got my interest in literature and drama in particular. I even waded through all of the John Galsworthy novels that made up the 'Forsyte Drama' and got a crush on Nyree Dawn-Porter who played one of the central female characters. Whatever happened to her? Where did her career go after that series? Also, Eric Porter who played her husband, Jolyon Forsyte. A nasty piece of work . . .  Eric Porter came to Colchester when I worked as an A.S.M. (my first actual, properly-paid stage management job, by the way, after I'd been a Student A.S.M. at the Everyman Theatre, Cheltenham.) to 'cut the first turf' or something to do with the Mercury Theatre, which was about to be built. I wasn't at the ceremony, but it was quite a big occasion, as the rep company was then housed in a converted art gallery in Colchester High Street. (Read my earlier blog on this period of my life.) Quite a few 'repertory' companies began life in converted buildings, and then had proper theatres built. The other one I could mention was the Wolsey Theatre, in Ipswich, which began life in a converted hall in the centre of the town. (Again, I worked there as a D.S.M. in the early 1970's. Mentioned in an earlier blog post on here.)

Why do they insist on doing these adaptations to death? There's nothing wrong with this new production of 'The Woman In White.' But surely there are other Victorian novels they can adapt for television. There can't be many Dickens novels left for television to get it's ugly mitts on. You can't keep on redoing Oliver Twist or David Copperfield. Just become rather over-familiar. I suppose they do them because they wouldn't have to pay royalties as you would with a modern novel.

Some while ago I did attempt to read 'The Woman In White,' but it was so slow and ponderous I gave up. Probably it was because the original was published in serial form, in the same way Dickens published his novels. Too many cliff-hangers every so often. But this new adaptation doesn't allow for too many of those, as probably a  modern audience hasn't the patience to wait to find out what happens next. People seem to have no attention span to put up with long scenes. They had lots of 'flash backs' and 'flash forwards' and we had several subplots intertwined with the central storyline. Just isn't a particularly adventurous adaptation, but I will continue to watch further episodes. This novel is described as a 'psychological thriller.' I can't see it being anything like how you'd describe a thriller. Supposedly the original of such a genre, but I don't see it somehow.

Working In Theatre- Stage Management Duties- Part 2

We had to find all manner of strange things for use as props in shows I worked on. Not only did me have to find, from whatever source, but sometimes we would have to make props. Particularly shows such as pantomimes, where you could let your imagination run riot and make things larger than life. Huge great clubs for hitting giants over the head with. Larger than life lollipops. Shopping trollies which had mocked-up petrol engines on them so that when the Dame appears on-stage it seems her shopping trolley is propelled by a lawnmower engine, complete with some  smoke coming out of the exhaust. You name it, we had to produce it.  I worked on a production of 'Macbeth' at Greenwich, and it was necessary to make a head of the actor who played Macbeth. If you know the play you must know that at the end he is killed by being beheaded and his head has to be brought on stage. We had to get the actor playing Macbeth, Alan Dobie, to agree to having his head cast in plaster. Not an easy thing, and not something that I would want as the thought of having my head covered in plaster of paris and straws put up my nose to allow me to breath wouldn't be pleasant. He did agree, and then, once the two halves of the mould were separated, the inside of the mould was filled with latex so a cast could be made. When it was finished the finished 'prop' head was very realistic, and it had stage blood applied, along with hair and it was extremely life-like.

In an earlier post on here I describe how, when I was working on a production of a play at the Century Theatre, Keswick, we had to create a dead chicken, which had to match exactly a live one which was on-stage and then is supposed to go off stage and be killed, and how we had to take some of the live chicken's tail feathers and put them into the 'prop' chicken (which, incidentally, has had its head chopped off, which made making the prop one easier!) Also, I mentioned in another post the production of a show called "Loot" by Joe Orton which I did at Colchester Rep where we had to build a set of coffins and caskets, one of which has to be built so that it can return to the stage burnt out and with a trap on the side which hinges down to reveal piles of burnt £5-notes inside, as well as the piles of Fivers as well as a convincing 'corpse' which is covered in a shroud and has to be articulated so when it is carried it appears as convincing as a del corpse, with articulated joints, limbs etc.

Food always caused a bit of a headache. Particularly when we were working with very little money. In a play we did at Liverpool Playhouse called "June Evening" (and which I did the book for, incidentally.) we had to produce an ox's heart. The play was by Bill Naughton, who wrote the plays "Alfie" which became the film starring Michael Caine as well as "Spring and Port Wine (which I was involved in at the Everyman at Cheltenham.) We did manage to find a butcher who could provide us with the real ox's heart, which we then had to cook before-hand and then put on stage. The set was a street, with two houses opposite one another, one being a home with kitchen and living room, and on a revolve, which turned round to show the interior at the correct time during the action of the play. The opposite house was a shop, rather like a corner shop, and probably a bit like one of the shops that are portrayed on "Coronation Street." As it was set during the 1930's we had to stock the shop with appropriate items and so had to contact various manufacturers who provided us with cans and packets, appropriate to the period of the play, in order to make the shop convincing. When this shop was fully stocked up and dressed, (again, on a revolved), it was quite heavy and to get it to revolve was quite an effort.

Alan Ayckbourne's plays nearly always have food in them somewhere. In "What The Other Half Love" at Keswick there was a meal at the end of one of the acts, we were supposed to produce avocados for the starter for one of the couples who are giving a dinner party. We couldn't afford to have avocados for every performance we did so we bought a real one and then cast it in a sort of papier mach material and then lined these halves with aluminium foil and then used mashed banana to fill these half 'shells' or 'skins' and it did simulate real avocado quite convincingly. In the same production the main part of that meal was supposed to be a casserole, but, again we were on a tight budget and had to use bread soaked in gravy to simulate the real thing. I don't think the actor's got to eat it, thankfully!

At Ipswich Theatre, the first show I worked on was 'Roots" (the second of the Wesker Trilogy of plays.) The whole play revolves around a character who doesn't actually appear. He is supposed to appear at the the end, and the mother produces an elaborate meal, which includes a trifle. As is wasn't eaten, we managed to construct it out out bread, cake and shaving foam. It was incredible to see how the glade cherries got bleached by the shaving foam, and made me wonder what on earth it was in shaving foam that could have that effect on glade cherries and what would it do to your skins if you used it to shave. We also had a large Victoria sponge on the stage, also never eaten, and it got so stale that it was like a piece of wood by the end of the play's run and it could almost have rolled across the floor like a wheel!

Working in Theatre- Stage Management Duties- Part 1

I will attempt to outline the various duties expected of a stage management crew, bearing in mind that this was during my time working in repertory theatre in the 1970's. I expect a lot of things have remained the same, but with such things as union agreements, financial factors and the fact that 'repertory' theatre no longer exists in the same way, there are bound to be a great deal of changes since I worked in this area.

A standard team of stage management would consist of a stage manager, and over all would inevitably be a production manager and over the whole lot would be an artistic director and general manager who would be responsible for the administration of the theatre. Stage management, going down the ranks as it were, would be made up of D.S.M. (Deputy Stage Manager) as well as A.S.M. There might be several D.S.M.s and A.S.M.s, depending on the size of the company. A.S.Ms could also be Technical and Acting, the Technical being responsible entirely for duties such as props, scene changes, generally looking after the actors on and off stage, whilst Acting A.S.Ms do a bit of both acting and stage management and would have been a route into an acting career. They would generally speaking get smaller parts,  (ie. butlers, maids, 'spear carrying' parts, herald, minor characters in Shakespeare productions etc etc.) doing minor stage management duties but they wouldn't have gone into theatre in order to focus on a stage management career. D.S.Ms generally used to be responsible for the 'Book' for shows, taking rehearsals and then, when the play goes into the theatre for a run, would be responsible for the running of the show from the prompt corner, giving cues for lighting, sound, and calling the actors on stage ready for their entrances etc. I did 'The Book' when I was A.S.M. at Colchester Rep, on a production of 'Billy Liar', my first shot at this particular job, but generally the more experienced D.S.Ms were responsible for 'The Book.' It was good to have been given the responsibility as you are totally in control of the show on stage. If there is a technical issue, an actor needs a prompt and he doesn't get one, a cue is late for something, such as sound or lighting, it is you, as being in charge of the prompt corner, who would take the responsibility.

When a play begins rehearsal, and it depended on how many weeks each play ran for, but generally they would run for two or three weeks, and the next play in the season was going into rehearsal, there would be a read-through of the play with all the actors present along with stage management, costume designer, set designer, lighting design, sound and so on. This gave everyone a chance to get a general 'feel' for the play. The director would discuss his approach to the text and then the company would see the set, given some sort of presentation by the designer, how the set worked, how scene changes are done, and generally, how the whole show will look and feel. The model is generally a full-scale replica and then there would be the ground-plans to look at.

Stage management would have 'marked up' the floor of the rehearsal room. Some theatres have their own rehearsal space within the main theatre building. At Liverpool Playhouse, for example, which could also be used for small-scale, studio performances, but generally most 'reps' had to make do with either rehearsing on the actual stage, that is, if the current show had space within it's acting area, but usually rehearsals would be held somewhere in the town such as a church hall or other convenient space where the floor-plan of the set could be marked out using coloured tape or even chalk. Doors, stairs and different levels of the set would be marked and then furniture placed in the position it would be on the set. This would most likely be stand-in furniture as most likely not all the furniture for the actual production would be ready for use in the rehearsal studio.

Then the 'blocking' of the play would begin. If actors were not required for a particular scene they wouldn't be 'called' until later, but whoever was responsible for running the rehearsals, generally the person doing 'The Book' would have to keep a tally of rehearsal 'calls' usually given by the director at the end of a day's rehearsal and then the D.S.M. would have to make up a call sheet giving calls for the actors for the next day or for the days ahead. The whole play would most likely be broken up into scenes or acts and the actors required for those scenes or sequences of the play would only then be needed for their scenes. You would most likely have to telephone those actors who were elsewhere to give them their calls.

'Blocking' is the initial direction given by the play's director, the moves the actors make around the stage. During this process the person on the book has to mark all these moves as precisely in the prompt copy so that, if needs be, the director or actors can be remind where a particular move is. At the same time, another member of stage management is plotting all props, what they are and where they are set on or off stage, if they come on from a particular entrance which is important so that at the beginning of the play stage management know where to set them. It is at this point, when there is a list of props, that stage management begin to find props. Some theatres have a properties department, a store-room which contains a fair amount of items which can be used in any particular play, be it a set of candle sticks, teapots, cups and saucers or smaller items of furniture, but if it's something more complicated, such as a stuffed bear (which is what we were supposed to find for a play I did in Liverpool.) or a samovar (which I had to find when working on a play in Cheltenham. Yes, I did manage to find one, in an antiques centre.) then you would be expected to walk the streets of the town in which the theatre was in and literally 'beg, borrow or steal' to get items to use on-stage. We seemed to have a regular selection of shops, mostly antique shops, who would be willing to lend items of furniture, and then we got on good terms with the display departments of certain department stores who used to provide all manner of items. On a production of 'Salad Days' at Cheltenham Everyman we needed to find a couple of hairdryers, the sort you would find in a hairdressing salon. I found out that Cavendish House, the large department store opposite the theatre, was modernising their hairdressing department and found that they were throwing out their old driers, so we managed to borrow them for the show. Perfect, and they even came on castors which made it easy during a scene change. They could then be simply wheeled on and off stage during the scene change.

Before the actual props are available (and some can be hired from a range of prop hire companies) we also had to provide 'stand-in' props, so the actors had something to handle during rehearsals. It's a bit difficult, for example, if a scene is set during a meal and the actors don't have plates and cutlery, or drinking in a bar and don't have something to drink out of. Once they have got their lines learnt and aren't carrying their scripts then they will want to have something to work with as regards props. The same goes with furniture. They need chairs to sit on and if there is a sofa, a group of chairs pushed together to stand in for a sofa which may not have been sourced.

Learning To Drive, Lorries and First Cars

I was learning to drive at the time I went off to work as a Student A.S.M. at the Everyman Theatre in 1969 (details of which are described fairly fully in an earlier blog post.) During the season break I returned home and did my driving test in Bedford but failed miserably. Not keeping up with the traffic and failing to turn either right or left when I should have done were the reasons for the failure. On returning to Cheltenham I continued with some more driving lessons and then passed successfully. My parents bought me my first car, a Ford Anglia which came in two shades of green and cost the princely sum of £75. Amazing when you think about it, but I suppose in 1969 with amount people earned per week, that was probably quite a lot of money. I think my first proper wage was somewhere in the region of £10 per week. The cost of a gallon of petrol would probably have been in the region of 30p. That little Anglia, christened Henrietta, got me about quite successfully. It had one peculiarity. When it rained and you needed to use the windscreen wipers, they went fast when you drove slowly and slowed down whenever you drove fast. Don't ask me why. Just the way the car operated. So, if it was raining and you were driving up a hill and in a low gear, the wipers sped up. Going down the other side of the hill and you went a good deal faster, they slowed down. 

It took me a good deal of time to pluck up courage to go off and drive on my own, probably because when you learn to drive you always have someone in the driving seat next to you. When you first learn to drive on the public highway, it takes some time to get used to having cars coming towards you, even if they are on he opposite side of the road. When I did eventually get used to driving myself then there was no problem. That little car lasted a few years. I had it when I worked at Colchester Rep, then Midlands Arts Centre and drove me up to Liverpool. I think that was the first time I'd driven on a motorway. At that time you had to drive through Birmingham because Spaghetti Junction hadn't been opened then so to get from the M1 to the M6 you had to negotiate the centre of Birmingham. It seems so simple now when driving north. When I went to work at Greenwich I had to drive into the centre of London, after one of the shows we did, because I had my own car, it was decided that I could use it to return some props to the suppliers around Covent Garden. I'd never driven into the centre of London before and had to go round Marble Arch during rush-hour which was not something I had ever contemplated doing before (and, frankly, don't really want to do now, as it happens.) I think I just more or less shut my eyes and just went for it (metaphorically, not really, you understand.) I do remember once when I worked at the theatre in Watford having to drive a large lorry into central London with a load of furniture on the back, including a piano. Unfortunately this lorry had a fault. You could only turn off the engine by stalling it. I went with another A.S.M. in pouring rain and we got lost in Covent Garden and went the wrong way down a one-way street and ended up having to reverse out, which wasn't something I wouldn't wish to repeat.

Working in Theatre- Part 3

I have talked about my first foray into stage management, starting at the Everyman Theatre, Cheltenham in February 1969 in an earlier post. I am working from memory, so excuse my lapses because what I am recounting took place a good 40-or more years ago. While  it's fairly fresh in my mind I have decided that I want to write something about my time in this before it all fades completely. Writing the last post, about summer holidays at Frinton-OnSea, has set my memory going as I used to drive from Colchester home to Bedfordshire  at weekends along the same road, the A120,  as we used to use on our way to Frinton  (Frinton is a relatively short drive from Colchester.)

 I finished in Cheltenham in the December and almost immediately got a new job working at the Rep in Colchester. I had Christmas at home and then went off in early January to begin work. The company was in the middle of a run of the annual pantomime, 'Aladdin.' I was able to see this from the audience, as I wasn't immediately called on to work on this show, which gave me a week or two to 'find my feet' as it were. Having been a 'Student A.S.M.' at the Everyman in Cheltenham, I was now officially a fully-fledged A.S.M. (Assistant Stage Manager) and now part of a team which consisted of several other A.S.Ms, D.S.M., Stage Manager and Production Manager. Michael Ashton, who had been Artistic Director at Cheltenham had also been Artistic Director of the Colchester Repertory Company. I like to think, but I'm not sure whether this is true, that it was because of this connection that I got the job.

Colchester Rep in those days was based in a very cramped building, converted from an art gallery in the 1930's.  This was located in Colchester High Street. It has since been replaced by the Mercury Theatre, built in the early 1970's. I remember it had it's foundation stone laid by Eric Porter, or else he 'cut the first turf' or whatever they call the first stage of  work on a building. He was in the highly successful 1960's  B.B.C. costume drama series "The Forstyte Saga" playing Jolyon Forsyte. The stage was very small. There was very little wing space and the back wall, which was curved, was as far as the stage went. If you had to cross from stage left to right, or vice versa, you had to go UNDER the stage. There was no stage door. If you wanted to get in to the theatre from F.O.H (front of house) you had to go through the men's toilets (!) There was a door which linked from front of house to back-stage through the toilets. When I was first shown the way, I thought it was very odd to be taken through the toilets, as you can imagine! You had to climb through a window in what was the 'props' room in order to get out of the theatre from the rear and go through a graveyard to get out to the street.There was no room above the stage for 'flying', that is, there was no grid on which bars could be suspended on hemp ropes so that scenery could be hauled up and hidden from the audience view. It was, of course, possible to suspend lighting and a certain amount of 'masking' as in other theatres, but if you were doing a show which required cloths, as in a pantomime, they had to be 'rolled' rather in the fashion of a window blind, but on a far larger scale. This was how most of the scene changes were done in 'Aladdin.'

The show which followed 'Aladdin' was 'Beyond The Fringe' which had been hugely successful in the early 1960's and launched the careers of Jonathan Miller, Alan Bennet, Peter Cooke and Dudley Moore. I got involved with the rehearsals for this, which included 'propping', going out and finding items which would be used during the show's rehearsal period, as well as setting, striking and generally stage managing the actual performances of the show.
"Beyond The Fringe" has some very famous sketches within it, including "Take A Pew", "One Leg To Few" and a really brilliantly funny pastiche of  Shakespeare. Of course we didn't have the original cast in our production. As with most 'rep' productions, which are, in effect, re-stagings of shows which have run in the West End, but have actors who have to be very versatile and play a range of different roles over a number of productions. I believe Giles Block was in the company when I was at Colchester, but I'm not sure whether he was in "Beyond The Fringe."
One of the productions in the season was "Billy Liar" by Keith Waterhouse and Willis Hall.  This was an adaptaion of a book by Keith Waterhouse, and has since been made into a film, starring Tom Courtney, as well as a musical, "Billy" which starred Michael Crawford and was quite successful when it ran in the West End in the mid 1970's. It was also the basis for a situation comedy starring Jeoff Rawle. This was the first time I was responsible for 'The Book" for a show. This is the duty of stage management and whoever is responsible for this is not only in charge of prompting during rehearsals and the actual performance, but also for the general running of the show from the prompt corner, giving cues for lighting and sound, but also making sure the actors are on stage in time for their entrances. You are responsible for the prompt copy which has all the moves the actors make which are given during the blocking stage of rehearsals, which usually take place in a space away from the theatre, such as a church hall, although most modern and well-equipped theatres have their own purpose-built rehearsal spaces within their main buildings or can be some way away from the theatre. You are responsible for making sure the actors get their 'calls' for rehearsal, costume fittings and other things connected with the production. Another member of the stage management is responsible for sitting in during rehearsals and taking note of where props are used as well as where they are set, and then, later on in rehearsal, producing these props, from whichever source, hiring, begging or borrowing from local businesses around the town and taking care they are not broken or even stolen and then set in the correct place during rehearsals and then when the play is running in the theatre.  During the run of the play you have to 'call' the actors via Tannoy, giving the actors time to get to the stage where they may be waiting to go on, in their dressing room or the Green Room, the actors waiting room or common room if you like. I still don't know why this is referred to  as a Green Room, but it is a tradition of theatre for it to be called that. It isn't generally because of the colour as most of the Green Rooms I've been in over the years have never been painted or at least decorated the colour  green. It may be that green is a peaceful colour, but I'm not sure.