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Dolgellau Amateur Dramatic Society
cwmni THEATR FACH company |
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DOLGELLAU AMATEUR DRAMATIC SOCIETY Cwmni Theatr Fach – Cymdeithas Dramadig Amatur Dolgellau Online Newsletter January 25th 2010
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There are so many exciting things to talk about this time. Things that have happened; are happening; or are planned to happen soon. It is difficult to know which to put on the front page. One of those ‘quicksilver moments’, but one of the most delightful recent happenings at the theatre recently is the appearance of a religious rodent. Pat Gill’s reading, in oh-so-believable mouse-voice, of John Betjeman’s Diary of a Church Mouse at the latest Poetry & Prose Evening was spellbinding. The big news is that we have been awarded a grant of £5,000 from the Big Lottery Fund. This means that we can go ahead with our theatre improvement plans, which, linked with the sponsorship appeal to members, friends, and supporters, will enable the theatre to have new seating. Other improvements are also possible including better facilities for disabled people. Our sponsorship appeal started off wonderfully well, and we know of several more people who are planning to donate to our theatre improvement project. A list of the subscribers will be shown on a plaque in the auditorium shortly. The new seats are on order and should be with us within the next few weeks, and planning work on other improvements is underway. Once the work is completed, we intend to hold an Open Day (Open Weekend) to acknowledge officially the receipt of the grant cheque; ‘launch’ the new seats; and promote all aspects of the work in the theatre, with guided tours of the backstage area, and the upstairs wardrobe and scenery preparation and store area. OZ1, our Christmas Show was an enormous success, and has put scarecrows back into the top echelons of society. Following the huge success of Blithe Spirit earlier in 2009, and the plans for Alan John’s play Match for Match this coming May, OZ contributed strongly to the DADS (Dolgellau Amateur Dramatic Society) prized reputation. There is also a very feasible project in hand for a popular summer production, with a plan to give performances once or twice each week from late July until early September. Poetry & Prose Evenings have gone from strength to strength, and we are consistently reaching high audience numbers. The programme is already planned through to July with a wide range of themes, and Ruth Nicholls and Richard Withers have exciting plans in hand to produce some CD recordings of DADS members reading extracts from famous plays. The Drowning Fish Theatre Company are appearing at Theatr Fach at the end of February with their new play I’m On the Train, and it is almost certain that the HiJinx Theatre Company will make their annual visit in November with their production of Ill Met by Moonlight. Membership numbers have increased hugely over past months, and show an increased of over 17%. Our Club Room is being used more and more, with the Meirionnydd Community Health Council now holding their meetings there; the Catholic Church having used the venue for a business meeting; and the new writing group using it as a base for its fortnightly gatherings. Incidentally, the writing group became fully subscribed almost as soon as it was advertised, and has a waiting-list. Following several criticisms, we plan to revise our picture gallery arrangements in the Club Room, and encourage more pictures, by more artists, with all exhibits to be on show for not more than three months. We are also planning table-top sales from time-to-time. There is a lot more about the things mentioned on this page further on in this newsletter – read on… Drowning Fish Productions began in Australia with training videos but moved on to the fringe theatre in Sydney and London during the last five or six years. The company’s first fringe production, Brenda Gottsche’s The Fulham Jesus, was a big hit at the Baron’s Court Theatre, and went on to productions in America and Australia. Their next two productions were Hot Property at the Old Red Lion Theatre in London and The Max Factor at the Baron’s Court Theatre. Andrew Syers’s You’ve Been a Wonderful Audience was the Drowning Fish production in 2009. Following appearances in Aberystwyth, Drowning Fish are performing their new production I’m on the Train at Theatr Fach on Friday 26th February for one night only. A funny, poignant and moving account of three women’s friendship, forged through sharing a life-threatening struggle – a struggle which they won’t all win – I’m on the Train is a new play, written for the Open Platform series at the Aberystwyth Art Centre, and directed by. Carmel George. Carmel is a local director and theatre practitioner who has been devising, writing and performing work since 1998. To reserve your seat contact the Theatr Fach Box Office 01341 422 680 www.theatrfach.com or email dudman.jones@talktalk.net
AND…TALKING ABOUT MACBETH (which we weren’t) Macbeth curse alive and well and living in Cardiff Members of the theatre group at Chapter Arts Centre in Cardiff have suffered two black eyes, a broken toe, a knee operation, nine cast changes and a 12-month delay during their preparations for Shakespeare’s ‘Scottish Play’ – Macbeth – said, by tradition, to be cursed. As we mentioned in our last newsletter, speaking the title out loud is considered unlucky, and actors even avoid quoting lines from the play (particularly the witches’ incantations) whilst anywhere inside the theatre. ‘Did Cawdor come to Cardiff?’one might ask.
Chrissy is still in need of photographs of productions at Theatr Fach - in particular, photos of pre-1999 productions but, she is much more in need of constructive feedback on the design and technical aspects of the website. Chrissy Moore-Haines 01766 540 382 chrissy@bbfly1q.force9.co.uk
The play was a success, but the audience was a failure. Oscar Wilde A theatre director is a person engaged by the management to conceal the fact that the players cannot act. James Agate - Sunday Times Theatre Critic
“I like the scarecrow best, he reminds me of my mum” were the overheard words of one young member of the audience enjoying the Theatr Fach production of Chrissy Moore-Haines’s Christmas Show OZ2last December. Certainly the scarecrow, played by Scott Wilson was one of the especially endearing characters, and one wonders if Scott has any bones in his body such was his lithe performance. The same goes for Emma Kelly as the Cowardly Lion whom nobody could resist loving. With great acting skill, Llinos Llewellyn-Ford, Sian Russell, Samantha James and Sophie Petford played the Munchkins who helped guide the story, based on L Frank Baum’s book ‘The Wonderful Wizard of Oz’ to its eventual happy conclusion; not helped by the Wicked Witch – portrayed with fearsome reality by Moira Welstead – but thanks to the magic of the Good Witch brought just as convincingly to the Theatr Fach stage by Lesley Holland. Marielouise Smith, with fittingly demure nuances, played the role of Dorothy whose silver slippers led her through the wonderland adventures and back to Dolgellau, accompanied at all times by her dog, Toto, played with consummate canine skill by Poppy and Gem in alternate performances. With Richard Withers as the Tin Man, Ed Penney as OZ, and Christine Speake as OZ’s gatekeeper, the show was narrated by Steve Holland. Lighting, sound and set-construction were by Theatr Fach’s own wizard, Dave Collins1; costume co-ordination by Christine Jones; properties were arranged by Evelyn Richardson; scene painting and stage design was by Leslie and Steve Holland, and Glenys Lawson; and Paul Baker handled the scenery changes. Several other willing hands looked after front of house and back of refreshment bar duties. Julian Jones, the director of the production said afterwards, “We’ve given five performances, and although the weather affected audience numbers on just one evening, the theatre has been very pleasingly full for the run. I’ve been extremely lucky to have exactly the right actors, for exactly the right roles, in exactly the right play, and the result has been a magnificent show. And what must be a record for any amateur company – our prompter did not have to prompt once during any performance” Urgent for our Spring Bank Holiday production
The late-spring production by Dolgellau Amateur Dramatic Society is Alan John’s play Match for Match based on R.C.Sherriff’s comedy of manners Badgers Green. It will be directed by John Bond.
The play includes characters of all ages, both male and female, and performances will be on Thursday, Friday, Saturday, and Monday May 27th-31st.
Auditions are being held at Theatr Fach on Thursday 4th February and Tuesday 9th February from 7.00pm, and are open to everyone.
Those interested in joining the cast or being involved with the production in any way are asked to contact John Bond on 01341 421 144
Whereas Badgers Green, first staged in 1930, was set in rural England, Alan John’s play is set in rural Wales and in more contemporary times. Nevertheless, social relationships, commercial interest, and tradition play an important part in everyday life, and rivalries around the cricket stumps hold great importance.
Perfect entertainment for late spring evenings.
As most people know, the National Gardens Scheme opens gardens to the public to raise money for charity. It has been suggested that when Hilary & Peter Nurse open their garden near Llanfachreth (date to be confirmed), volunteers dotted around the garden could read appropriate poetry. It’s a lovely idea. If you are interested in reading poetry in the gardens, or helping in any other way, please call Christine Jones on 01341 422 680. dudman.jones@talktalk.net
Old Theatre magazine – highly recommended by several Theatr Fach/DADS members – has a new address: Old Theatres Magazine (Terry Kirtland) Primrose Cottage, 20 Rife Way, Felpham, BOGNOR REGIS West Sussex PO22 7BW 01243 829 904 www.oldtheatres.co.uk Email: oldtheatres@googlemail.com
Richard Withers, our treasurer, announced with joy at our latest committee meeting that Theatr Fach/DADS has been awarded a grant of £5,000 by the Big Lottery Fund.
We can now move ahead confidently with our plan to make major improvements to Theatr Fach – most notably the installation of new seating. We have long been aware that the seating in the auditorium is uncomfortable for most people (particularly the back row), but, until now, the cost of replacement has been too high to contemplate.
In order to retain a wide theatre tradition, the seats will be of a burgundy red colour, and auditorium décor is to be enhanced with gold paintwork and decoration.
In addition to renewed seating, other improvements to the theatre will be redecorated toilet facilities, and improved disabled toilet arrangements. The help and advice of the Gwynedd Council Access Officer is being sought so that we shall be able to refurbish the disabled facilities to the greatest advantage and highest level within our budget.
As soon as the improvements have been completed we shall hold an Open Day (maybe an Open weekend) to acknowledge officially the receipt of the grant, and to launch the new seats. Theatr Fach personnel and members will be on hand to give conducted tours of the theatre, and to answer questions.
But, needless to say, we still need more money than we’ve received from the Big Lottery Fund if we are to fully complete our improvement plans, and our ‘Sponsor a Seat’ project – better named ‘Sponsor our Improvements’ project – still seeks sponsorships from members and friends of the theatre Our scheme got off to a superb start last year with several very generous donations. We ask for a minimum donation of £20 for private donations, and we also welcome corporate sponsorship from local business organisations.
A record of the names of those people and organisation making donations will be shown on a plaque to be prominently placed in the Theatr Fach auditorium. Sponsorship forms are available on the Club Room counter, and enclosed with this newsletter.
Theatr Fach chairman, John Bond, said, “This Big Lottery grant is enormously important to Theatr Fach and DADS. We strive to uphold our aims to be a value-for-money community art centre, but without financial support it becomes more and more difficult. We are all even more enthused now that we have this added financial stability; as witnessed by our plans for future events, groups and functions.”
Any organisations interested in discussing corporate support of Theatr Fach are invited to contact Richard Withers, 2 Caerffynnon, Corris Uchaf, SY20 9BU or call him on 01654 761 358
It is difficult to describe the emotional tension in the audience at the climax of Ruth Nicholl’s superb Poetry and Prose programme Remembrance of Things Past last November, when Christine Jones and Richard Withers read extracts from Christabel Bielenberg’s The Past is Myself. Writing about it cannot achieve even the remotest impression of the impact of the words and the poignant way in which they were read. Christine Jones’s soft tones balanced against Richard Withers’s guttural and Germanic tones produced an unbelievable frissance; and how clever of Ruth to have placed them at either end of the table so that the counter-balance of voices and character portrait should be so acute; and how skilful, too, of her to have broken the impact of Christabel Bielenberg’s words with Pat Jones’s reading of Siegfried Sassoon’s ‘Everyone Sang’. Magic – pure magic.
Nor can one over-state Julian Jones’s moving reading of the account of the second battle of Ypres 1915 as described by Private Albert Bromfield, of the 2nd Battalion, Lancashire Regiment. The description of the gas attacks over the dug-outs left one silenced. The account by mill worker Kitty Eckersley of recruiting in 1914, read so movingly by Pat Jones, underlined the intense stresses put upon ordinary people at such extraordinary times. Pat also read from the diaries and letters of Queen Victoria. Several other writings by Wilfred Owen, Siegfried Sassoon and Rudyard Kipling were given by John Bond .
Although the first half of the programme, which included Joyce Grenfell’s superbly sad Mulgarth Street; mysterious items such as Rudyard Kipling’s The Way Through the Woods, and the delightful Blackberry Picking by Seamus Heaney and My Last Duchess by Robert Browning, was vital to the overall balance of the programme, it is the war items in the second half that carried the greatest impact.
Ruth Nicholls’s thoughtful programme has to be acclaimed one of Theatr Fach’s best Poetry & Prose evenings ever.
The January Poetry & Prose evening was a collection of poems nominated by Theatr Fach/DADS members, friends and visitors. It was an eclectic collection of 31 items, and Richard Paramor who had co-ordinated the evening remarked on his surprise at the emphasis in the nominations of poems of a serious nature, rather than more light-hearted or traditionally sentimental works. It was, nevertheless, John Betjeman’s Diary of a Church Mouse that held the audience in thrall, and Pat Gill’s mouse-like rendition was superb.
Particular praise has to go to Pat Jones for her reading of the lengthy Intimations of Mortality by William Wordsworth. Apparently, it took Wordsworth two years to write the poem. Pat Jones’s very sensitive interpretation took almost a quarter of an hour – but every moment was perfect.
The programme ended with Richard Withers expounding Andrew Marvell’s protestations To His Coy Mistress, appropriately counter-balanced by Moira Welstead giving a spirited reading of Wendy Cope’s Bloody Men.
Other poets included in the programme were Christina Rossetti, Rupert Brooke, Dylan Thomas, Sir Heny Newbold, John Milton, Robert Frost, William Shakespeare, T.S.Elliot, Anerin, Alfred Noyes, Roald Dahl, Coventry Patmore, Anne Ridler, Carol Ann Duffy, Thoas Gray, W.H.Auden, w.B.Yates, Sir Thomas Wyatt, Hilaire Belloc, D.H.Lawrence,T.E.Hulme.
The February Poetry & Prose evening (February 19th) is all about LOVE. Well, it’s February, we shall not long have celebrated Saint Valentine’s day so love should still be in the air. But what do we mean by love? Is love a passing fancy, the feeling you get for your favourite hound or even pussy cat? Is love the insatiable craving of the starry-eyed teenager screaming at Robbie Williams, or the comfortable feeling of the couple married for sixty years? Love is anything you want it to be, whether it’s for a man or woman, our parents, our children, our pets or our country - as our evening will prove.
It is undeniable that there is a wealth of appreciation and understanding of poetry and prose across a wide spectrum of ordinary people everywhere, and the Theatr Fach Poetry & Prose evenings serve well in bolstering these.
Forthcoming Poetry & Prose evenings:
Friday 19th February THIS THING CALLED LOVE Co-ordinated by Chrissy Moore-Haines (01766 540 382)
Friday 19th March A NIGHT TO REMEMBER Co-ordinated by Pat and Julian Jones (01341 421 856)
Friday 23rd April FOR HARRY & SAINT GEORGE Co-ordinated by Richard Withers (01654 761 358) NB – This month’s Poetry & Prose evening has been moved the FOURTH Friday. This is to coincide with Shakespeare’s birthday and St. George’s Day.
Friday 21st May CURIOUSER AND CURIOUSER an evening of nonsense Co-ordinated by Christine Jones (01341 422 680)
Friday 18th June WATER Co-ordinated by Daffni Percival (01766 540 553)
Friday 16th July ALL CREATURES GREAT AND SMALL Co-ordinated by Bill Welstead (01341 422 011)
Ongoing Poetry and Prose dates are: August 20th, September 17th, October 15th & November 19th.
Some of the titles suggested for future Poetry & Prose Evenings include: JUVENILITY & SENILITY, LETTERS, IN SICKNESS & IN HEALTH, TIMES PAST.
Would you like to suggest a theme? Or even co-ordinate a Poetry & Prose evening? Let us know – we can always lend you a helping hand if needed.
My body and I were divorced years ago; it’s just that we’re still forced to live together. Quentin Crisp
Contributor this month: Moira Welstead
My interest in the theatre began in my early teens, when I competed in various musical festivals in the speech and drama events. I think that this came about because my father was keen for me to soften my local Lincolnshire accent. This had limited success, but my confidence in performing on stage flourished.
One of the highlights of these recitals was an invitation by a London adjudicator to visit the Central School of Speech and Drama. We understood that I would be offered a place there. Mother was keen, Father wasn’t. Mother had heaven knows what ambitions to see my name in lights – Father wanted me to go to university. When he died suddenly six months later, I decided on the uni course to honour his memory. I occasionally speculate on what the alternative option might have led to - perhaps shedding my clothes in ‘Hair’?
Alongside the festivals were the amateur dramatics – I was the teenager, the maid, the daughter whenever a young person was needed. Then as now, young people were in short supply. But there was a young man the same age as me. I am relying here on the memory of my Aunt Phyllis – she swears the young man was John Hurt, yes THE John Hurt. Well, although he certainly did live in Cleethorpes and attended an art college in Grimsby, I can find no press cuttings or old programmes with his name in. However as Mother said, with only a hint of sarcasm: ‘‘Your Aunty Phyllis is always right.’’
Fame indeed!
The Smell of the Greasepaint column is for members and friends to recall their theatrical experiences – from the distant past, the not-so-long-ago, or the recent. On stage, off stage, in the audience, pantomime, circus, music hall, professional, amateur, successes, disasters, on-stage comedies, back-stage dramas. We all have stories to tell – tell them here.
Criticisms have been made to the committee that the pictures on the Club Room walls are never changed from one year to another.
Well, to be honest, that is not strictly true. Nevertheless the comments have been taken seriously, and a new opportunity for artists is planned.
Starting shortly, any artist will be able to exhibit her or his painting on the Club Room wall, but a time limit of three months maximum, per picture, will apply.
We realise that some artists are anxious simply to have their pictures viewed, whilst others are keen to sell their work or wish to mount a specific exhibition. It is also realised that exposure to the public is very limited in our Club Room compared with display at a gallery or exhibition, so (as now) there will be no charge for exhibiting any picture, but in the event of a sale Theatr Fach will expect to receive a commission. Artists will be encouraged to exhibit their names and contact details, and will be able to leave flyers or cards in the Club Room.
We have yet to finalise how this new arrangement is to work, and we would welcome a volunteer to organise the project. Our vice-chairman, Moira Welstead, is intending to discuss the project with one of her contacts. Further information will be made available as soon as possible.
Thanks to a suggestion by Ruth Nicholls, Theatr Fach/DADS is embarking on plans to produce one, if not more, CDs of DADS members reading notable speeches and passages from plays.
Richard Withers is working with Ruth to bring this project to fruition as soon as possible.
The place for anyone to say anything - theatrical
Have your say - moan about the theatre - ours or anyone’s; criticise productions; make suggestions; send us theatrical snippets to inform or amuse; it’s your column, please use it.
Editor’s comment: In the last newsletter I bemoaned the fact that nobody ever contributes to this column. I challenged; I stamped my feet; I suggested that Theatr Fach newsletter readers were DEFICIENT in critical aptitude; I claimed they LACKED ability to make constructive suggestions, and that they showed LAZINESS with a pen; in fact I was very grumpy indeed. Was the result of my insults a deluge of submissions? Did anyone take up my pistols at dawn challenge? Did pigs fly over Dolgellau? PLEASE help to make this a lively newsletter. I need cheering-up – PLEASE write to me. Submit something, I BEG!
In the less hysterical meantime, did you know?…
Birmingham Hippodrome’s safety curtain is a unique piece of art, created by Balraj Khanna (born in India in 1940) and is one of the largest pieces of public art in Britain. Symbolic of the cosmic shapes from which the universe began, no two shapes are identical in design, yet they all clearly relate to each other. It measures the full area of the proscenium arch opening (13m wide and 8.1m high) and weighs 6½ tonnes! It is fire proof for 20 minutes, and is made from a steel frame, covered on the stage side with flat steel sheets and a metalised fire-resistance cloth on the auditorium side. By law, it must be lowered and raised in the presence of every audience.
Incidentally, the Birmingham Hippodrome is the fourth most visited attraction in the Midlands after Alton Towers, Drayton Manor and Cadbury World.
From Dolgellau it is easy to visit Birmingham Hippodrome for a matinee performance and be back in time for cocoa and bed. Leave Dolgellau on the 9.15 bus, and Machynlleth on the 10.07 train, you are in Birmingham by 12.30. It takes eight minutes at the most to walk from New Street Station to the Hippodrome. Come home on the 6.24 train to Machynlleth and the connecting bus will have you back in Eldon Square at just after 10. Try www.birminghamhippodrome.com, or call 0870 730 1234 for tickets (and it’s also worth treating yourself to lunch at the Hippodrome Restaurant –book a table when booking your tickets). The editor of this newsletter is doing it all the time. And the day out is less expensive than you might think.
for interest’s sake
Blocking: The setting of actor’s positions and moves at the beginning of rehearsals. Come down: In the theatre, a show does not finish; it comes down, i.e. the curtain ‘comes down’ to end the show. Corpse: An actor who gets an unintended and uncontrollable fit of laughter on stage is said to ‘corpse’. Off Book: The point in rehearsals when actors no longer need to use their scripts. Strike: To dismantle a set. Breakaway: A costume or prop that is designed to come apart easily
HIJINX THEATRE COMPANY VISITING THEATR FACH AGAIN
Hijinx Theatre is one of the UK leading small scale touring companies, with 29 years experience of producing theatre for a wide variety of communities. Based at the Wales Millennium Centre in Cardiff, Hijinx Theatre has become a regular visitor to Theatr Fach.
The date of the HiJinx visit is not yet confirmed, but it will probably be during November. The company’s production for 2010 is Ill Met by Moonlight. We’ll bring you details as soon as possible
The theatrical world is riddled with superstitions particular to actors or the theatre itself. Here are a few…
Flowers. To receive a bouquet of flowers at the stage door before the play begins is an omen of failure. However, it is very lucky for an actor to receive flowers after a performance. And it is disastrous to use real flowers on the stage. Apparently there is a closing night tradition for the cast to give the director and/or leading lady a bouquet of flowers stolen from a graveyard.
Make-Up. The upsetting of a make-up box is the certain forerunner of evil. Making-up with a new set of grease paints on an opening night is unlucky, and make-up boxes should never be ‘cleaned out’ as this will bring certain bad luck. However, all is not bad; should powder be dropped, dancing on it will bring good fortune.
Knitting. Knitting on the side of the stage, or on stage by an actor is regarded as unlucky.
Peacock Feathers. It is thought that the ever-open ‘eyes’ on peacock feathers are associated with the Evil Eye, a portent of horrible misfortune, including death. Needless-to-say, actors strongly dislike peacock feathers on the stage or in any part of the theatre.
Whistling. Whistling is expressly prohibited in the theatre. It pertains to all parts of the theatre but particularly the dressing rooms. It is said that if whistling is heard, someone (not necessarily the whistler) will soon be out of work.
Three Blind Mice. The tune ‘Three Blind Mice’ is considered particularly unlucky, as it ‘the Dead March’, and also ‘I dreamt I dwelt in marble halls’.
Candles. Actors dislike three candles on the stage or dressing room. Superstition has it that if only three candles are lit in a room, the person closest to the shortest candle will be the first to either marry…or die. To some, either outcome is hazardous.
Tripping. If an actor stumbles on entering the scene on the first night of a play, it is a sure sight of success, and if an actress trips over the hem of her dress, she should pick it up and kiss it. This, it is said, we bring a contract for the actress.
Rehearsals. Actors consider it a bad sign if a rehearsal is perfect. The play will have a very short run, or will go very badly. It is extremely unlucky to speak the tag line, or the last line of the play during rehearsals. The line which completes the play must not be spoken until the opening night of the show.
Pinch for Luck. Before making a first entrance, an actor should be pinched for luck.
Colours. Blue is unlucky for an actor to wear the world over, but probably instigated by thrifty theatrical managements as blue was a particularly expensive dye colour owing to the difficulty in creating it Certain shades of green or yellow are considered unlucky, particularly in a tie, waistcost, or a hat. During the era of morality plays, green and yellow were often considered the colours of the Devil. A devil in disguise might be identified by wearing a green or yellow tie or hat.
They’re an odd lot, these actor chappies!
Because of illness, pianist Robert Chesters who was to have given a recital at the Dolgellau Music Club on January 15th was forced to cancel his visit.
Robert Chesters’s concert has been rescheduled for Friday 9th April. Robert Chesters is a native of Formby and has studied piano from the age of five. He graduated from RNCM in 2008, The concert takes place at Coleg Meirion-Dwyfor starting at 7.30pm. Tickets cost £7.50 payable at the door. Further information about the Music Club from Anne Anslow on 01341 421 186
We are planning to hold occasional table-top sales, and members, friends, and others will be able to ‘rent’ a table.
Dates and rental details will be available soon, and will be notified in the newsletter or other bulletins we distribute from time to time.
DOLGELLAU AMATEUR DRAMATIC SOCIETY
Where to find us if you need us:
John Bond (Chairman) 01341 421 144 Moira Welstead (Vice-Chairman & Membership Secretary) 01341 422 011 Richard Withers (Treasurer) 01654 761 358 Anne Anslow (Secretary) 01341 421 186 Dave Collins (All Technical Matters) 01654 710 096 Richard Paramor (Publicity & Newsletter) 01341 422 984 Other committee members: Chrissy Moore-Haines Ben Ridler and Julian Jones
THEATR FACH, GLYNDWR STREET, DOLGELLAU, GWYNEDD, LL40 1BD www.theatrfach.co.uk
Cwmni Theatr Fach Company is grateful for assistance from: Big Lottery Fund, Cyngor Gwynedd, The Arts Council for Wales, and the Foundation for Sport and the Arts.
Registered Charity Number 518465
We try to bring you a full newsletter once each quarter, and for the intervening months we issue a bulletin with up-to-date Diary Dates page, and any other important information.
But this can only work successfully if lots of people contribute – particularly for the ‘Smell of the Greasepaint’ and ‘The (aside) Column’. Articles not exceeding 400 words are best (longer by arrangement), plus any short snippets to inform and/or amuse.
Send contributions to our editor: Richard Paramor, 6 Llwyn View, Dolgellau, LL40 1LD. 01341 422 984 r.paramor@btinternet.com.
Thanks – everyone
Theatr Fach is available for hire at very modest cost. The Club Room is proving suitable for several organisations, including the Meirionnydd Community Health Council and several other groups. The current scale of hiring charges is:
(1) Auditorium, stage, dressing room and working lights - £10 for first hour and £7.50per hour thereafter. (1a) As above, but for a performance - £50 per performance. (1b) Use of stage lights with approved operator - £10 per session (2) Club Room, kitchen facilities and upstairs toilet - £7.50 per hour. NB: If we supply and sell the refreshments there is no extra charge for the use of the Club Room and kitchen facilities during performances.
Minimum of 2 hours evening or daytime. Rates are negotiable for regular bookings. The Theatr Fach website shows available hiring dates, and bookings should be made with Richard Withers 01654 761 358
It is the enthusiastic support of our members that enables Theatr Fach and Dolgellau Amateur Dramatic Society to flourish.
Our membership has increased greatly (over 17% in recent months), and it would be a huge help if those loyal, and valued friends and supporters of the theatre who’ve not yet become a member, would consider being a Theatr Fach member. Membership does not imply a commitment to acting, or doing anything more than you’re doing already (although it would be warmly welcomed if you did decide to become more involved).
Currently membership* costs £10 per annum with a concession rate of £7.50 for senior citizens, and a young person (under 18) rate of just £2.00. Membership runs from April 1st to March 30th each year, so renewal of membership is due each year on April 1st (regardless of when in the year you first joined).
Our membership secretary, Moira Welstead, will be pleased to give you more information about Theatr Fach/DADS membership. Moira’s telephone number is 01341 422 011. moira.welstead@btconnect.com
* A modest increase in membership rates is likely to be introduced after the next Annual General Meeting |
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