insight november 2014 v3
DESCRIPTION
Oxford Operatic SocietyTRANSCRIPT
Chairman’s Letter 2
Grease 3
Legally Blonde 6
Meet Our New
Members 10
News and Events 12
Committee News 15
The Committee 16
NOVEMBER 2014
Inside this edition
Chairman’s LetterChairman’s LetterChairman’s Letter Page 2
As many of you know, I have been a member
of the Society now for some 33 years and in
many ways has taken over my life. I am proud
to be celebrating my third term of office as
Chairman of the Society. To those of you who
have recently joined for Carousel I welcome
you to a wonderful Society.
Grease was a big challenge for the Society. I
especially would like to thank our Creative
Team - Dave Crew as Director, Chris Payne as
Musical Director and Jo Cook as
Choreographer, who worked tirelessly to
create a stunning show, which I enjoyed
immensely.
The young, new Creative team for Carousel
brings together many combined years of
dedication to musical theatre. Director
Hannah Granger-Clemson is a freelance
researcher and project manager in arts,
culture and education, having studied Drama
and Theatre Production
Musical Director Frankie Alexandra has been
on the wicked stage since the tender age of
3. She was the youngest Snow child in our 1997
production of Carousel at the Playhouse.
Since then she has gone on to pursue further
education in the Performing Arts which has
allowed her to find her calling as a performer,
Musical Director and Vocal Coach.
Margaret Milton trained in jazz and tap as a
youngster. Carousel is her first outing as
choreographer and we look forward to seeing
her skills come alive on the Playhouse stage.
I’d like to extend my thanks to the 14 children
who have contributed so much at rehearsals
and show week to the production. Let’s hope
that we will see some of them join the Society
in future years.
Special thanks go to the Production Team,
whose contribution is so crucial to our
continued success. It is unfair to name
individuals, but I would like to extend my
thanks to Cat Blagrove and Simon Wilkinson as
Joint Production Managers, and also to Phil
Rumsby as Stage Manager, who has ensured
that all aspects of the staging of the show is
put together before and during the week of
the show. My thanks goes to Phil for providing
a venue to which to accommodate the
revolving stage for the week prior to the show
to enable to cast to practice.
In a few days’ time we will be auditioning over
40 more new hopefuls who have expressed a
desire to join us as performing members as we
begin rehearsals for a new musical – Legally
Blonde the Musical - which is being performed
at the New Theatre in May. This production
will, I’m sure, show the wide-ranging talents of
our growing membership as we welcome
back the Creative Team of Guy Brigg as
Director and Julie Todd as Musical Director.
Further details such as Characters, Audition
Notes, and key rehearsal dates can be found
in this edition of Insight.
Don’t forget to make a note in your diary -
Thursday, 18th December – AGM.
Keri Williams
Go Greased Lightning!Go Greased Lightning!Go Greased Lightning! Page 3
DAILY INFO
David Crewe’s Oxford Operatic Society
production took [it on] with
professionalism and wit, to the delight of
the audience of all ages. Pensioners
sang along with peascods scarcely into
primary school. Musical Director Chris
Payne was generous with the finale
encores as he twirled his baton hand
exuberantly throughout. The orchestra’s
sparkling performance was perfectly in
keeping with the fancy footwork
onstage; Joanne Cook and Sally
Chase’s choreography being one of the many pleasures of the night.
Nicola Caldwell’s Sandy and Libby Holcroft’s Rizzo excelled at ballads, and their showdown
had all the drama of their operatic roots. Bad boy Kenickie (Phil Weller), looked, danced and
strutted the part, oozing sexuality from his greased hair downwards, while Danny (Anthony
Gibson) was believably more eager to please, taking up track to impress Sandy.
Mike Fernott’s Teen Angel, Matthew Lock’s Vince Fontaine and Amy Malloy’s Frenchy gave
entertaining, well defined performances, and the ensemble dance numbers - with a stage so
full of performers, you could hardly slip a vinyl sleeve between them - were spectacular.
Andrew Stott and Frankie Alexandra’s deliciously awkward ‘Mooning’ earned the biggest
applause of the night.
The dinner ladies’ were a masterstroke, while Stephen Piper’s Eugene was a neat, turbo-
charged vision of un-cool, who almost stole the show.
NODA
How could Oxford Operatic Society resist the opportunity to mount their own version on the
very stage so often used by the Grease
professionals? The great advantage
possessed by an amateur company is
immediately apparent in this
production. As the testosterone-fuelled
male pupils at Rydell High School first
swagger on to the stage, there are
plenty of them — entirely in character,
they seem a little nervous to start with
but they rapidly gain in self-confidence.
An amateur company doesn’t have to
keep the numbers unrealistically low
because it’s paying union rates to
professional performers. And there’s a
very full complement of girls too. All these teenagers look on as the rocky romance between
cont’d...cont’d...cont’d... Page 4
Danny and Sandy develops.
In her first role with Oxford Operatic, Nicola Caldwell makes a terrific Sandy: her big solo number
Hopelessly Devoted to You is movingly delivered, and she achieves a startling transformation
from blushing virgin to sparkling sexpot. Antony
Gibson’s big solo Alone at a Drive-in Movie is also
most affecting.
Libby Holcroft and Phil Weller provide strong
support as bitchy Rizzo and sidekick Kenickie.
But it’s the chorus work that makes this a five-star
show. Under Dave Crewe’s direction, singing is
strong, but Joanne Cook and Sally Chase’s
choreographic exploitation of the huge numbers
on stage is sensational. You will never forget, for
instance, We Go Together or Shakin’ at the High
School Hop.
NODA REPORT
I am astounded how your Society managed to
come up with such a high standard of
production time after time. Last year I was
‘swept away’ by The Sound of Music and again
you produce a production, which is equal to, or
even better than some of the professional shows
that come to Oxford.
Over the past six years the standard of your
Society has gone from strength to strength, and
this is reflected in the calibre of members who
want to join you, and in turn they have the
opportunity of performing on a professional
stage.
None of this could happen, without the ‘forward thinking, and planning of your committee’,
who in turn select the three important people
they select to take forward a particular show,
in this case, Director Dave Crewe, Musical
Director Chris Payne assisted by Nia Williams,
and Choreographers Joanne Cook and Sally
Chase. All these people have proved
themselves to you over the years, and are
well known to your members and are
respected for their talents.
It was obvious to the audience that a lot of
preparation for this production had taken
place by the ‘key’ personnel way before
rehearsals started, and the vision Dave had of
how he wanted to portray the show was very interesting to read in his Director’s Notes.
Page 5
It was obvious that the entire cast had enjoyed the show, they gave it their ALL, and the
enthusiasm, and vitality shown by all was a joy to watch, and was appreciated by the
audience. Some comments I heard on my way out, “how do they do it” and “they are only
amateurs”, well in my eyes they are not. They may be amateurs in one sense of the word, but
they are dedicated individuals who enjoy what they are doing, as their hobby!
On this occasion time and space does not permit me to write something about each individual
principal. Suffice to say that each one of you had studied your role in detail, and knew exactly
how to get it across to the audience. The accents were there, diction was excellent and I
understood all that was said.
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Legally BlondeLegally BlondeLegally Blonde
Hi folks – here is some information I have put
together for you, all about Oxford Operatic’s
next exciting theatrical venture – Legally Blonde
The Musical. There will be more information to
share with you all at the talk-in but hopefully this
is something to whet your appetites.
Legally Blonde The Musical first opened on
Broadway in 2007 and transferred to The Savoy
Theatre in the West End in 2009 – where it was
awarded the Olivier for the best musical the
same year. It is based on the novel by Amanda
Brown and the subsequent MGM film of the
same name, starring Reece Witherspoon, which
many of you will remember. It contains some of
the best story-telling through song ever written in
a musical.
It tells the tale of sorority president Elle Woods in
her quest to win back her boyfriend Warner
Huntington III, who has left her and the sunshine
of California to pursue a more ‘serious’ path in
life, as trainee lawyer at Harvard University.
Distraught, Elle uproots herself and manages to
gain a place on the same course; such is her
determination to win him back. Unsurprisingly,
Elle is not taken seriously by the Harvard
establishment; her propensity for wearing
nothing but pink and carrying her pet
Chihuahua ‘Bruiser’ round in her handbag may
have something to do with this!
Anyway, while she is there she meets law
teaching assistant, Emmett Forrest and as their
relationship develops he shows her that she is
not just a pretty face and helps her realize that
there is much more to her than the vacuous,
blonde sorority girl that her snobby classmates
see. Through the twists and turns of the story we
meet a host of hilarious characters including
hairdresser Paulette Bonafonte and Warner’s
new girlfriend Vivienne. As the plot unfolds, Elle
with the help of Emmett and Paulette, discovers
that actually she’s a pretty damn-good lawyer
and a bright intelligent young woman who
doesn’t need a man to justify her existence. The
final scene takes place at Elle’s graduation
ceremony where her success as a lawyer has
helped her achieve the honour of class
valedictorian.
Our vision:
The break down of principal characters and
audition pieces are detailed in the audition
schedule, if you require further information or
would like more than just the character
‘sketches’ we have provided, please feel
free to ask at the talk-in on December 4th, or
alternatively email Julie or me
As this is a largely ‘sung-through’ musical it
has been difficult to identify many lengthy
pieces of dialogue for the auditions. At your
audition you should aim to demonstrate your
acting / characterization through the song
choices.
This is a very modern musical in every sense
of the word and has a very current pop /
musical theatre style. This is difficult to teach –
it has to come from within! The best thing you
can do is to get hold of a copy of the London
Cast recording featuring Sheridan Smith and
listen to the style of singing needed for this
production. In fact for all the singing in the
production you will need to have a very
clear sense of how each number fits together
before each rehearsal – the soundtrack will
help with this.
There are a huge number of parts (some very
small) in the show and lots for the chorus to
do. Overall the show has a very ‘young’ feel
to it and we need to stay true to this to
maintain the integrity of the show.
To my knowledge this is the most modern
show Ox Ops has ever produced both in style
and setting. As the setting is present day, I
am hoping to call on the cast to help out
with the costuming of the show as much as
possible. I will tell you more about this at the
talk-in.
Julie and I have looked at all the ways we
can include as much chorus work as we can.
I am very keen on giving the show a strong
‘look’ with each section of the chorus
defined by their clothing and costumes. The
chorus largely divides itself up into the
following groups:
The Delta Nu’s – sorority girls. Very
Californian, very Beverly Hills 90210 - fit,
gorgeous and slightly shallow. They act as
a kind of Greek Chorus and represent Elle’s
conscience in several scenes – they
appear throughout the show.
Page 6
Lots of body hugging ‘designer’ clothing,
lots of pink!! There may be some cross-
over with Harvard students depending on
the number we get. An ability to sing and
dance well is essential for these girls.
Frat Boys – the male equivalent of the
sorority girls. Fit, gorgeous and up for a
party! They feature at the beginning of
the show and may also appear in later
sequences where we are in a state of
heightened reality – e.g. Bend & Snap
number.
Harvard students – earnest, intellectual
and sometimes slightly snobby towards
Elle. They feature throughout the show.
They need to look ‘studenty’ lots of
tweed, a more disheveled and worthy
look than the Californians!
Harvard professors (male and female) –
the cream of Harvard’s elite teaching
staff. Slightly uptight and East-Coast. A
tweedy but smart look is essential. They
have limited work in the show but are an
important element, which we have built
in. Would suit older chorus members.
Others – a selection of ladies in the hair
salon, shoppers, shop-assistants. We will
use ensemble members from other groups
to fill these parts.
It is true that this show deals in clichés; clichés
of what it means to be a sorority girl, a frat boy
or a student at Harvard. We have to celebrate
these for the show to work. It is full of bright,
vibrant and well-defined characters. We need
to see some of this at the audition and aim to
bring the most out of you through the rehearsal
process.
Because this show was written for a modern
theatre, there is an expectation that scene
changes and transitions will run seamlessly. In
the original production there would have been
hydraulics and tracks to help pieces of the set
glide on and off effortlessly. Obviously we do
not have this luxury, which makes my job as
director and Phil’s job as Stage Manager
doubly difficult. In at least one of the numbers
in the show there are four scene transitions
taking place in one 10 minute long number.
Therefore it is my intention in so far as is possible
to use cast members to move pieces of
scenery, trucks and props around the stage so
that it becomes part of the action. Please be
prepared for this!
Above all I aim to run a happy ship during
rehearsals. I like to work collaboratively with my
cast so we can see the story and characters
unfold and develop together. Please don’t
come to rehearsal expecting every move,
entrance or exit to be pre-blocked. Please do
come prepared to work hard and share your
ideas and thoughts with me. That way we get
the best of all worlds and can make this a
fantastic show.
Because of this approach, many of you will
know that I like to work chronologically through
the show. You may be called twice in one
week and then not at all the next week. Having
said that Julie and I have endeavoured to
ensure that the ensemble are called on a
regular basis and that most principal rehearsals
are on Tuesday and most larger ensemble
rehearsals are on Thursdays but this may not
always be the case.
Many thanks and looking forward to seeing you
on December 9th!
Guy Brigg
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Production Team
Director:
Guy Brigg
Musical Director:
Julie Todd
Page 8
We are auditioning for the following main
characters. Smaller parts (of which there are a
lot) will be cast following these auditions and
during the rehearsal process.
The Delta Nus have quite a lot to do – anyone
who wants to be considered for one of these
(and we will have around 10, though final
number will be confirmed after the auditions)
MUST audition for Margot/Serena/Pilar. They will
also be asked to do scales, as we require some
Delta Nus with a strong high range as well as the
belt tested in the audition. Kate may or may not
be one of the main group.
There are several sung/said parts for older men
and women (sales managers, professors etc etc)
– we are auditioning these generically as Elle’s
Mum and Dad, which includes a very short
amount of lib and some singing.
We will also be looking for a volunteer to shadow
Elle – attend rehearsals where possible, stand in
in case of illness, and be prepared to learn the
songs! We realize this is a lot to ask as this is an
understudy rather than an “alternate” role, but
could be a good way to gain confidence/
experience. This could be one of the Delta Nus,
or a Harvard student.
Elle (playing age 18-24) | Range low F #to E flat
(great belt sound needed)
Blonde!! Superficially ditzy, but actually has great
people skills and hidden depths (discovered as
show unfolds). Huge stage presence, and
beautiful in obvious Californian way. Almost
never off stage.
Margot / Serena / Pilar (playing age 18-24) |
Key Delta Nu range G# to D. Must be able to
hold harmony.
Delta Nu. Sorority girl – tanned fit Californian
Kate (playing age 18-24) | Range Bflat to Dflat
Scholastic chair (sorority girl with brains). Singing
+ in What You Want
Paulette (playing age 25-40) | Range low A to D
Hairdresser. Has made a lot of bad choices in
men, glamorous in over made up way, romantic
dreamer, American working class.
Enid | Range low B flat to E Harvard student - becomes intern, so appears
throughout. Serious, earnest, intense, wants to
“save the world”. Sings in Harvard variations.
Vivienne (playing age 18-24) | Low A to top E
Warner’s new girlfriend – posh, smartly attractive.
Initially snobby, East Coast. An antithesis to Elle.
Brooke (playing age 30-40) | Low A to top G
(rock top)
Fitness instructor - female. Ex Delta-Nu. Must be
physically extremely fit!
Warner (playing age 20-24) | Range D to high G
Preppy frat boy. Needs pop sound (boy band
voice), Must be good looking enough to make
us believe he could quit law for modeling.
Callahan (playing age 40-65) | Range low A to
to F Older lawyer. Dapper, smart, killer instinct. Initially
likeable rogue, but reveals his womanising side.
Emmett (playing age 22-30) | Range D to
top A
3rd year student. Heart in the right place,
unassumingly clever (is he geeky??), tweedy
outside, had to work hard, because background
impoverished, but has to transform into
handsome attorney.
Elle’s Dad (playing age 40-60) | Range D to F
Rich, Malibu lifestyle (singing for Elle’s mum and
dad may be interchangeable)
Elle's Mum (playing age 40-60)
Rich Malibu lifestyle (singing for Elle’s mum and
Dad may be interchangeable). Said and sung in
What you Want
Aaron (playing age18-30) | Range D to E
Student - rich/pompous. Sings in Harvard
variations
Padamadan| Range D to E
Student - racial origin Arabic? Sings in Harvard
variations
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Kyle aka Brendan (playing age 20-40)
(A delivery god) Has to look good! Ability to
Irish dance could be handy and must look
good in shorts! (Please wear shorts and include
walk in and out!)
Nikos / Carlos | Low B To G (optional B) Low B
to G (optional B)
Both are “Gay and European”! Appear in the
Court Room scene. Anyone playing these can
appear as a frat boy, Harvard student in other
scenes.
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Important Dates
Talk-in & first rehearsal:
Tuesday 9th December
Dance assessment:
Thursday 8th January
Principal auditions:
Sunday 11th January
Christmas break:
23rd December—1st January
Sunday rehearsals:
1st February
1st March
29th March
19th April
10th May
Show week:
27th-30th May
Page 10
I moved to Oxford from the US 5 years ago post-university
with my husband who’s doing a doctorate in philosophy. I
work as a Literacy Specialist for the Easyread System, an
amazing start-up that provides dyslexia intervention
software for school-aged children. (FYI for any teachers in
the society with struggling readers in your class, we run free
pilot trials in schools!) I also help run a faith-based charity
called the Besom, which facilitates projects to meet the
practical needs of vulnerable families in local council
estates. Music-wise, I’ve sung with Jubilate choir at Keble College, and played
Gianetta in AOS’ The Gondoliers. My all-time favourite role was playing Susanna in
Figaro a few years back, though Julie is giving her a run for her money! Thanks to all
for the warm welcome. It’s an honour to perform with you!
Gill recently
moved
back to
Oxford and
is thrilled to
once again
be a
member of
Oxford
Operatic,
having
missed it so much whilst living in Milton
Keynes. Gill has performed previous
shows with us including Jesus Christ
Superstar, Mikado and Carmen.
During the day Gill works for the
Planning department at Oxford City
Council. Gill is excited to be back
with her friends and performing on
stage in Carousel.
Sarah Forrest
Our New MembersOur New MembersOur New Members
Gill Baines Emily Lewis
Holly Taylor
I studied
Drama and
Contemporary
dance at the
University of
Lincoln from
2007-2010.
Whilst there I
took part in a
number of
musical
productions
including
Barnum and
The Wizard of Oz. I am currently a
teacher of Performing Arts, Dance and
Drama in Oxfordshire.
Whilst working as a teacher I have been
involved in directing and
choreographing several musicals
including a Chicago/Producers medley,
Hairspray and more recently High School
Musical.
I am really enjoying being part of
Carousel and can not wait to perform
on stage with The Oxford Operatic
Society and looking forward to future
Page 11 cont’d...cont’d...cont’d...
Holly Taylor
Nancy Marsh
Nancy is
delighted to join
OOS having
been so
impressed
watching
Sweeney Todd
and Grease. She
comes from a
mixed theatre/
music theatre
background but
is rusty after
several years of trying to find the time.
Nancy trained with the National Youth
Theatre of Great Britain, Stockport groups
(under a dance scholarship) and university
societies. Credits include Electra (Electra),
West Side Story (principal dancer), Bugsy
Malone (girl singer), Oklahoma (Laurey
dance double), Oh What a Lovely War
(various), Twinkle Twinkle Little Star (Princess
Twinkle) and Macbeth (Witch). She also
enjoys directing and choreographing.
Nancy’s show, Louis de Bernieres’ Sunday
Morning at the Edinburgh Festival was
designed for a visually impaired audience
and received national press coverage.
When not dressing up on stage, Nancy
dresses up in court. She spent five years in
wig and gown as a criminal defence
barrister and now prosecutes healthcare
regulation cases.
Karen Mead is
a graduate of
the American
Musical and
Dramatic
Academy in
New York City.
Since
completing
the program in
2010, she has
worked with several production, casting
and theatre companies both in New
York and in her home town of
Milwaukee, Wisconsin. She has been
fortunate enough to work on several
shows, including Guys and Dolls (Sgt.
Sarah Brown), The Chosen (Assistant
Stage Manager) and Joseph and the
Amazing Technicolor Dreamcoat
(Assistant Director). When she is not on
stage, she is working as the Practice
Manager at Beaumont Street
Chiropractic Clinic, and spending time
with her husband, John.
Holly grew up in Oxford and performed with many local youth
companies including MYCO and Sands Theatre Arts School. She
then went on to the Oxford School of Drama to train on their
Acting in Musical Theatre course. Oxford Operatic's production
of Sweeney Todd inspired Holly to audition for the company and
she has loved being part of such a big community and making
up part of their powerful chorus. Holly is so excited to be
performing as the Aerial Silk artist, a new skill which has proved
incredibly demanding but also amazing fun.
Recently Holly started a full time Acting course in Woking, which
focuses on Peer education through Drama; she has been
juggling Carousel rehearsals with her coursework.
Karen Mead
Page 12
A tribute to Skye Benjamin HallA tribute to Skye Benjamin HallA tribute to Skye Benjamin Hall
All of the Society (and
thousands of others all
over the world) were
desperately
saddened by the
death of Skye
Benjamin Hall in
August, after an
incredibly brave fight
against a brain
tumour.
As Skye’s godfather,
words can’t describe
how immensely privileged I feel to have been
involved in his life from day one. Well, day
four to be precise, when Sally – who was
midway through choreographing Chess for
the Society – came straight back into
rehearsal, with Skye of course! And so began
his association with the Oxop family.
Skye was part of the family in every possible
way, whether it was appearing onstage
when he was only weeks old, or coming to
see the shows, or selling Percy Pigs to raise
money to fight the terrible disease he was
suffering from.
And Skye inherited that same incredible zest
for life as his mum: that same determination
to make the most of every last second. And
so many of us saw it in the past few months,
as he launched his Loom To The Moon
campaign, determined to be involved in it as
much as possible, for as long as possible.
Skye never asked why he was ill, never
complained about the gruelling treatment he
went through – he just wanted to make the
most of every second for both himself and for
everyone else. One of his last actions sums
him up: he insisted that Granny go and buy
the pink guitar he wanted to get his devoted
brother Jesse for his upcoming birthday.
But that won’t be Skye’s last impact: Jesse is
now ensuring that Skye’s mission to the moon
will succeed.
There are no words to describe the loss of
Skye, but we hope Sally, Andy and Jesse
know that their Oxops family will always be
there for them, and to get Skye to the moon,
and above all, to remember a wonderful,
brave boy, with an unmatched zest for life.
Dave Crewe
Page 13
Baby Boom
It has been an autumn of babies this year
within our society membership. Many
congratulations go out to Sarah and Dan on
the birth of their baby daughter Lydia on 11th
September. Chilina and James on the birth of
their daughter Farah Sophia on 19th
September, Susanne and Mark on the birth of
their son Charlie and Clare and Andy on the
birth of their daughter Edith on October 13th.
Oxford Operatic
Society Christmas
Concert
As you are all hopefully
aware the Society are
putting on a festive
concert on December
13th and 14th and it is
hoped as many people
as possible will attend.
It is at the Wolfson Auditorium, Wolfson
College, Linton Road, Oxford. This is a new
venue for the society that is not only easy to
get to by car or bus but it is also stunning!
The programme includes some wonderful well
known festive treats including Deck the Halls,
Gaudete and Joy to the World and lesser
known delights like A Christmas Song and
Sparklejollytwinklejingley.
Tickets are £10 for adults, £5 for under 12's and
£8 for patrons. Please contact Andy for tickets
Carols at Oxford
Castle
Many faces very familiar
to Oxford Operatic
Society will be performing
with BMH Production in
two more festive offerings
this December.
December 6th will see
Carols at Oxford Castle
an interactive carol
concert featuring readings and lots of festive
fun. This is a first for BMH and the castle and is
going to be a fantastic evening. Tickets are
available via www.oxfordcastleunlocked.co.uk
at £10 for adults, £6 for children 5 to 15 and
under 5's free.
Truce
On December 18th and
19th BMH Productions
present Truce a brand
new play written by Ox
Ops member Andy
Blagrove and with a cast
that includes Dave
Crewe, Dennis Garrett,
Laura O'Mahoney, Ed
Blagrove and Jen Smith
there are some more members to show your
support to. Truce tells of one man's
experience at the Truce of Christmas 1914 and
the lasting impact of the First World War.
Tickets are available from
www.wegottickets.com/BMHproductions
News & EventsNews & EventsNews & Events
G&S Festival
Robin Wilson gave an invited illustrated lecture on ‘Arthur Sullivan in the 1880s’ in the
International G&S Festival in Harrogate in August, and took part in a production of The Sorcerer
at the glorious Buxton Opera House.
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On becoming a NODA Rep
Now just why did I become a NODA Rep? It was quite by chance really. One day late last year
I was talking to a friend who knew that my region’s current rep was wishing to stand down. ‘I
wouldn’t mind having a go at that’ I heard myself saying (foolishly?) and things are now, as they
say, ‘history’!! I have taken over the reins from the very capable hands of Gareth Jeremy who
has served the region for more than twenty years, I believe. Gareth is very dedicated and
passionate about amateur theatre and took his role as NODA Rep very seriously. I hope I can
continue his good work.
Actually, Gareth and I go back a long way - appearing in My Fair Lady together for Banbury
Operatic Society in the early 80’s. However, that did not stop me being in fear and dread when
I knew he was coming to review a show in which I was appearing! So I know that it is a big
responsibility to give positive yet (hopefully) constructive feedback on a show. But, and it’s a big
‘but’, it is only ever one person’s view-point and should be taken in that spirit – “one man’s meat
is another man’s poison” as the old saying goes.
I have written a couple of reports now (having taken over officially in July this year) and it is quite
a responsibility to make sure all aspects are reasonably covered as so much time, effort and
commitment goes into producing a show - be it large or small. I must say though, it is very nice
to be given the ‘red carpet’ treatment as the visiting NODA Rep. I could get quite used to it!
My own credentials are fairly modest but none-the-less worthy I hope. I have been ‘treading the
boards’ since about the age of nine! I studied to become a music teacher which I did for 28
years and have been a member of various societies and Am Dram groups along the way. I’ve
been lucky enough to have played many leading roles - the most recent being ‘Julian Marsh’ in
42nd Street for Abingdon Operatic Society. I have also donned my directors hat on several
occasions so I think I have quite a wealth of experience and knowledge to draw upon.
However, we shall see!
Thanks to all who have made me so welcome and I hope I can serve my region and groups to
the best of my ability. Wish me luck!!
Rob Bertwistle
Committee NewsCommittee NewsCommittee News
New Member Auditions
Know anyone who would like to join the
society? New member auditions will be
held on Thursday 4th December. Please
contact Palli Dent at
[email protected] for more details.
The following Committee posts will become available at the next AGM.
Marketing Officer:
This role helps get our shows publicised. The marketing officer is responsible for organising
publicity artwork and materials, liaising with the theatres for inclusion in their own publicity
materials, arranging for radio and press coverage, and tracking sales. Online activity,
including email and social media, is becoming an important part of marketing activity. The
post holder will manage the marketing budget to make best use of marketing materials and
activity.
Social Secretary:
(Changing to Concerts and Fundraising Officer, if the new role title is accepted at the AGM)
This role helps to raise much needed funds for the society. Recent jobs have included
organising concerts throughout the year to ensure all members have the opportunity to
perform as much or as little as they wish outside of the usual ‘big shows’ and to raise the
funds we need as a society to keep the bank balance as healthy as possible. The role will
continue to include arranging social events such as the after-show party and other events as
and when appropriate.
Communications Officer:
This role aims to keep the membership informed of news and events within the society and
publicise events of interest. Regular emails are sent to the members, patrons and associate
members and also seperate emails sent to the cast of the current show. You are responsible
for maintaining the mailing lists, the society website and compiling the bi-annual newsletter
Insight.
If you are interested in standing for any of the roles and want to find out more, please email
the Committee at [email protected]. Alternatively, please submit your name on
the form sent out recently with the AGM pack.
Forthcoming Shows
Legally Blonde
New Theatre
26th-30th May 2015
Sunset Boulevard
Oxford Playhouse
23rd-28th November 2015
Page 15
Your CommitteeYour CommitteeYour Committee
Keri Williams: Chairman
78 Chorefields
Kidlington
Oxon
OX5 1SY
01865 461193
07906 311904
Katie Bedborough: Treasurer
52 St George’s Manor
Mandelbrote Drive
Oxford
OX4 4TW
07815 936245
Marilyn Moore: Secretary
Courtfield House
Milton
Oxfordshire
OX14 4EU
01235 831305
Ed Blagrove: Development Officer
40 Stonhouse Crescent
Radley
Abingdon
Oxon
OX14 3AF
Alex Williams: Marketing Officer
26 Sutton Road
Headington
Oxford
OX3 9RB
07960 582321
Palli Dent: Membership Secretary
46 Besselsleigh Road
Wootton
Abingdon
OX13 6DX
07905 097426
Marie Hadaway: Communications
Officer
22 Town Furlong
Appleton
Oxon
OX13 5JW
07545 211465
Andy Blagrove: Social & Fundraising
Officer
4 Cherry Tree Court
Witney
OX28 1GQ
07921 179364
Ron Hewitt: President Ann Southwell: Vice President