This took place on December 7^th and despite careful planning we still managed to clash with several of your production weeks – either you were getting ready or getting over a show! We still had a respectable number and a report will appear in the next newsletter.

This WILL take place on a date to be confirmed – February 22^nd or 29^th – did you know 2004 was a leap year? Details / booking form to follow.

July 7^th AGM / Awards evening at Winsford Civic Hall. You will be pleased to know that we are determined to have a finish NO LATER THAN 10.30pm.

The Cheshire Theatre Guild Committee have many ideas to achieve this including a pre order service for drinks to save waiting at the bar. We have also discussed with the Civic Hall management the delays at the bar and we have suggested a “cans only” bar to save time pulling pints. We also complained (in the nicest possible way) about noise from the foyer – particularly distracting during the play etracts and all this has been taken on board. To ensure smoother running of the play extracts we shall have a stage manager to oversee this part of the evening. Any suggestions you may have will be welcomed.

This is the result of a conversation with last seasons adjudicator Robert Meadows. On his visits to your plays Robert had observed that plays with a dialect often failed in this aspect of performance – he suggested we might arrange a workshop on this subject.

Fortunately an old friend of mine from my early days in drama was the ideal person to contact on this possibility.

The idea of a workshop was considered as a far from ideal way to tackle the subject. What would be much more helpful would be a visit to your group to work on the problems of a particular play that you were planning to produce.

Here are some thoughts on the subject from the lady herself.

Thelma says that, in her opinion, much the best way is to hear an accent spoken. After all that is how we all learn to talk in the first place – by imitation. The alternative is to make an attempt to write the accent down. This looks very confusing, eg DH Lawrence’s The Daughter in Law, which is all apostrophes:

This kind of thing hardly leads to a fluent reading and an early stab at characterization may well go out of the window in an attempt to decipher the hieroglyphics.

A most important – because integral – part of dialect is inflection (the tune) of speech, we differ from accent to accent. This cannot be gleaned from the printed word but can only be picked up by the ear. A vocal session could be put on tape for future reference.

Thelma says she can’t by any means do all accents but can demonstrate the following: North of England (a few), Liverpool, Welsh, Southern Irish, Cockney, Mummerset, Edinburgh, Glaswegian, American (a couple), broken French / Italian / German, Birmingham and Geordie if she practices, but definitely not broken Indian ./ Pakistani!

The person to contact is Thelma Eastwood Angus B.A> Hons;L.L.A.M. (acting) Hons, A.L.C.M. (speech and drama) Hons member od the Society of Speech and Drama.

You can contact Thelma, who is looking forward to your calls, on 01270 625185 to discuss requirements and fees.

This direct to the public firm, offer a range of holidays geared to various hobbies. These include a small section on theatre, actors and authors. The four most likely to appeal are Much Ado About Shakespeare , Theatre by The Lake, Around the Globe and Theatre in the Hills. If you would like a brochure you can telephone 0108 905 9388 or email info@hfholidays.co.uk website www.hfholidays.co.uk. Other holidays featured – dancing, music, painting and craft (the one I booked for), photography, heritage, bridge, golf, mind and body.

“The Graduate” is set in 1964 – two decades before the arrival of the mobile phone.

Quote from the Gilbert and Sullivan Festival Newsletter

“I had more pleasure from the Gilbert and Sullivan Festival than from either of my husbands”.

(the G & S festival in Buxton runs from July 31^st to August 22^nd)

Quote from Sir Richard Eyre (formerly head of the National Theatre)

“When I re-read my diary from the National, I’m struck by the way I oscillate from deep despair about the production to elation barely a week later”

It was finally here – Tuesday 5^th August 2003 – After months of rehearsals, a review at the Zion Theatre in Manchester I was on my way to Edinburgh to take part in the “Fringe”. The weather was perfect, my excitement was hard tpo control. The city was alive with people from everywhere, it had such a buzz. I had rented a flat for two weeks which was only five minutes walk from the Theatre Workshop where the performances would be taking place.

Tuesday evening we were allowed into the theatre for a technical rehearsal. The workshop we were playing in was upstairs in a very intimate space which would hold an audience of fifty. A small stage, no scenery, just blacks and our furniture which consisted of two round tables, four chairs and a single bed. This done we retired to the bar downstairs and relaxed.

Wednesday was a free day, so we explored and visited other venues in Edinburgh. The atmosphere was electric and I felt part of something very exciting and couldn’t believe it was happening to me.

All this began in February when I auditioned for the part of ‘gran’ in a new play by Karlton Parris called ‘Guts’, a strong play with a cast of eight, played in two handed scenes and containing strong language

and violence. I went along for the experience, not knowing it would be going to the Fringe and I would get the part. The writer who was also the director, spent the first four rehearsals in finding your character and improvisation. When we finally went on stage, no one was allowed to use a script, and the amazing thing was – all eight characters knew their lines.

Thursday – 7^th August – 1^st night. Performance 10.30pm 10 day run. I walked to the theatre around 9.00pm. Nerves had already kicked in. Met up with the cast, all a little subdued. The heat of the day meant that the temperature in the workshop was extremely high. Space both in the dressing room and the small side room where you stood waiting to go on stage was, in the words of the director ‘brutal’. The audience of around fifteen started to arrive (which for opening night at the fringe is considered good). 10.30pm we were on. Can’t think what my opening line is. Walk on, sit at the table, turn to my stage grandson – ah that’s it “What’s the matter love?” Now I’ve got that over with I can enjoy the rest of the play. I’m ‘Gran’ playing at the fringe. Good audience response, good applause, take a bow, into the wings, a wonderful cast hug and I love it. By the end of the run we had a ‘full house’ – that was amazing – what an experience!

We had good reviews including one from The Stage. The Lowry have shown an interest, so who knows – it may not yet be over. It just goes to show that, particularly in my case ‘it’s never too late’.

Margaret Boschi
Cheshire Theatre Guild Treasurer.

Meg and Peter Cooper report on being an “extra” in the Royal Exchange’s “Playboy of the Western World”.