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Recently Posted on the NoticeBoard

I'm a Celebrity

After almost 2 years off, I'm a Celebrity, Get me out of Here! is back in South Africa. This time for German television!

For more info on the series:
www.itvstudios.de

Please see advert, brief and application form attached below.
IAC15-Germany-Stand-in-Application-202111.doc
IAC15-Germany-Stand-in-Application-Form-202111.pdf
IAC15-Germany-Stand-in-brief-202111.pdf

The main criteria: 1) all Stand-ins must speak fluent German and 2) they must be COVID vaccinated. (Selected Stand-ins will be tested before entering the set)

Looking forward to hearing from you.

Many thanks,
Sally Rumball




Posted on 30/11/2021

Recently Posted Shows

Maple Newtown HS Drama

Maple Newtown HS Drama
MNDrama.org

Peter and The Starcatcher

Peter and The Starcatcher

Pennsylvania

Venue: Marple Newtown Performing Arts Center: 120 Media Line Rd, Newtown Square, PA 19073

Box Office: Tickets are $10 and available at http://MNDrama.org or at the door!

Dec 2, 3, 4 @ 7pm
Dec 4 @ 2pm

Peter and the Starcatcher provides a humorous and fantastical backstory for the beloved character of Peter Pan and his arch-nemesis Captain Hook. In this wickedly imaginative play, we meet a poor orphaned child on the high seas simply called Boy because, in the absence of a mother and a father, he was never given a name. His sad and lonely world is turned upside down when he meets Molly. The daughter of famous Starcatcher Lord Astor, our heroine is on a mission to save the world and protect a treasure trunk filled with magical star stuff from getting into the hands of evil and greedy pirate Black Stache. As they travel aboard the Neverland ship headed for a faraway land, Molly and Boy learn about love, friendship and forge an unbreakable bond.
Masks must be worn by all audience members while in the theater.

Posted 29/11/2021

Recently Posted Group Details

ANTHEM VOICES

ANTHEM VOICES

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Wolverhampton

Anthem Voices is a contemporary adult choir for members aged 16+. We cover a range of repertoire from pop and rock to classic and contemporary musical theatre! Our term runs from September to July with a full scale summer concert every June at the Dormston Mill Theatre plus other performance opportunities throughout the year. We rehearse every Thursday evening from 7.30 - 9pm at Christ the King Church, Aldersley, Wolverhampton. No audition necessary upon joining. Come and sing with us!

Contact: anthemvoices@hotmail.com or via social media

Recently Posted Events

Ballyduff Drama Group
ballyduffdrama.com


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Ireland
Ballyduff Upper Community Hall, Waterford

40th West Waterford Drama Festival

Friday 4th March to 12th March 2022

The festival line up and a synopsis of the plays being performed will be available shortly.
Bookings: On 058 60456 from Thursday 24th February 2022 - 2pm - 8pm
Festival Ticket prices - TBC

Posted 27/11/2021

 

Recently Posted Off/Back Stage Requirements

Woodhouse Players

Woodhouse Players
www.woodhouseplayers.co.uk

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UK
London

Panto

Our panto needs you!

We're looking for a back stage helper. Ability to be in person 1-2 evenings and Sat afternoon p/wk.
No experience needed, just enthusiasm!

Email: Jackie jcwithnall@btinternet.com



Posted 22/11/2021

Latest Review

The Dragon of Wantley by John Frederick Lampe, libretto by Henry Carey, arranged by Lindsay Bramley

Richmond Opera, at Normansfield Theatre until 14th November

Reviewed by: Mark Aspen https://markaspen.com/author/markaspen/

Review date: 15 November 2021


Take a bawdy late mediaeval poem about a raging dragon and a drunken knight, rewrite as an early Georgian burlesque opera, mount in a beautifully bijou mid-Victorian theatre, for a 21st Century audience; then you know you are in for a now-for-something-completely-different experience.

Johann Friedrich Lampe was almost completely different. Born in Saxony in 1703, he was a virtuoso bassoonist, who came from Hanover with Handel to a successful music career as a composer in England. Although now known (almost) as a hymnist, he was commercially canny in his choice of opera subjects for a London audience. Pyramus and Thisbe, based on Shakespeare, and Columbine Courtesan, based on a another Ovid story, Cupid and Psyche, chimed with the challenge to then the endemic Italian opera seria, a challenge made popular by Handel. The antidote was opera buffa with English libretti and earthy subjects and a tendency to parody the established genre. Lampe’s biggest London hit was his 1737 premiere of his The Dragon of Wantley, a risqué comic opera, a spoof on the Italian opera conventions and a political satire aimed at the Prime Minister, Sir Robert Walpole; just what theatre-goers wanted in 1737 (and arguably in 2021). This was Augustan drama par excellence, but with superb baroque music. Moving from the Haymarket and then on to Covent Garden, the production was the biggest commercial success at the time, beating even the hugely popular The Beggar’s Opera, which is far better known today.

Richmond Opera has a soft spot for The Dragon of Wantley, although it calls it “bonkers”. In its previous incarnation as Isleworth Baroque, it produced the opera in 2012 and had intended to revive it in May 2020, but the bigger dragon of Covid19 intervened.

The charmingly petite museum theatre at Normansfield is ideal for staging baroque opera, and with its exquisitely scenery, beautifully reproduced from the Victorian originals (held in cold storage in the basement), it sets off The Dragon of Wantley in style.

In that perfect style, the overture launches us into the full energy of the baroque, three sections that hint at the three acts, martial grandeur giving way to an anxious allegro and closing with élan. The musical director, Lindsay Bramley conducts with an infectious enthusiasm. I am told that the orchestra of twenty pieces, which include a copy of a 1644 Amatti violin, plus harpsichord, has had some last minute substitutions (including the timpanist lost to the Welsh National Opera) but it sounds seamless. Bramley had broadened the parts for timpani and for the alto and tenor trombones and oboe, and has composed additional parts for baroque flutes and tenor recorder, giving a comprehensive richness to the score.

So what is The Dragon of Wantley about? Henry Carey, Lampe’s librettist, had drafted the idea before developing it with Lampe, starting from an old Lincolnshire folk ballad first written down in the 1600s, about a fearsome dragon “as big as the Trojan Horse”, and living on Wantley (now Wharncliffe) Crags in the Peak District. It devours everything and anything. Then the drunken womanising knight, Moore of Moore Hall, emboldened with the promise of favours from a beautiful young maiden, slays the monster by a peculiarly unusual method. He commissions a Sheffield steelmaker to make him a special suit of armour bristling with spikes. He then goes off, unarmed, and kills the dragon with a well-aimed kick at the only part of the dragon’s body not protected with scales, as the ballad puts it … in his “arse-gut”!

The opera opens with the dozen strong chorus (of which five remain off-stage) crying for all to “Fly! Fly!” The villagers generally are petrified of the dragon coming, and for good reason. Gubbins, one of the elders of the village, played with agitated consternation by character bass John Rolt, and his younger daughter Marianne recount how the dragon is scoffing all the children of the village and snacking on their animals. Soprano Claire Doran, as Marianne, has a lovely clarity of diction and certainly knows hold to hold a note.

However, two young ladies, Mauxalinda and Gubbins’ elder daughter Margery, separately hit upon the same cunning plan. A knight, Moore, who lives nearby at Moore Hall (which still exists near Deepcar) will do anything for a beautiful maiden. He is “fearless” when drunk. They are sure they can convince him to slay the dragon, as Margery says “like St George”.

The villagers are really buoyed up by this notion and decide to go to Moore Hall. They sing

“Triumph Valour, Triumph Beauty” to finish the first act, a chorus that Bramley has inserted from another of Lampe’s works, The Perfections of True Love.

Then we are off to Moore Hall, where we find Moore carousing with a selection of the local toffs, the company transmogrified with a selection of wigs and gowns. Costume designer Ezra Rose pitches the apparel of the characters just right, the strong colours but attenuated to speak the period (and match the sets); the styles are right, and there are added twists to underline the feel that this is a satire and a spoof. Little anachronisms are thrown in, 21st century spectacles and footwear, and a seemingly self-perpetuating half-litre of wine that Moore uses to constantly refill his guest tankards, getting them well tanked-up in more senses than one.

Moore is a vain, dissolute and bibulous, but likeable, rouge. George Priestly, who plays Moore is too slim to be a Falstaff and too young to be a Don Quixote, but his acting pulls in something of each. Priestly has a rounded baritone voice and active facial expressions, and he is clearly enjoying playing the roué. When his sodden companions leave, to be replaced by the visiting delegation of villagers (courtesy of some lightning changes in the wings), Moore’s other predilection kicks in, his lustful appetite for young ladies of all ages.

However, when Margery enters, calling him “gentle knight”, he is rapidly smitten and is soon on his knees, drooling. They dance a brief minuet, and the proposition to tackle the dragon is put to him. “Inspire me with kisses and ale” is what he asks and indeed he is rewarded with a kiss, more materteral than carnal I thought, although she does coyly flutter her fan.

Moore’s extravagant claims to dragon-slaying and his promises of devotion to Margery are overhead by Mauxalinda who has been eavesdropping. Mauxalinda, is furious with Moore, with some justification, as these promises have been made to her. She forcefully reminds Moore that they are betrothed. He all too easily wins her back and she is content with his renewed vows (but they have probably been there before). “Men are bewitching fellas”, purrs Mauxalinda.

Nevertheless, Act Three opens with Moore’s emboldened attentions to Margery, checking her heart for “palpitations” and her décolleté for “sensations”, after she has come to see him fight on the field of valour. However, Mauxalinda also arrives. Sparks fly. Margery is played by experienced baroque soprano Dawn Rolt, whose singing voice holds a pleasurable ringing sparkle. As Mauxalinda, Erin Holmes is a consummate actress (you can read the plot in her expressions) and a powerfully beautiful singer, working here at the lower end of the soprano register. They fire off of each other in the ensuing catfight. Fur flies, and it is certainly catty. One is reminded of Rossini’s Duetto buffo di due gatti (The Cat Duet), but in Lampe’s baroque musical structure, there is a remarkable syncopation, which underlines the spiteful snarling. Eventually though the fight gets out of hand and Mauxalinda pulls out a bodkin from her bodice to attack Margery. Moore intervenes and, rather unfairly, takes Margery’s side.

Moore though, has to get ready for battle. He eschews the spear offered by Gubbins in favour of Dutch courage, calling for “six quarts of ale and one of aqua vitae”. (I calculate that as 70 units, getting on for a month’s recommended maximum in one session: what a constitution!) But he has his bespoke tailored suit of armour, as spikey as a silvered conker shell.

When The Dragon finally appears, one feels almost sorry for the poor beast. After the big puff (so to speak) he has had, he seems rather put-upon, not quite the anthropophagous monster we were led to believe. And rather fetching in red and green. It is Lampe’s stroke of genius to score The Dragon for a countertenor (maybe originally a castrato). The effect is quite other-worldly. It recalls the Royal Opera’s The Firework Maker’s Daughter (the last opera in the Linbury Studio before its rebuilding) in which the elephant is played by a countertenor. Mark Fletcher is superb as The Dragon, the clarity of his voice having a hint of pathos, in spite of the black comedy. It is pity that his part is so small, it would have been great to hear more.

Moore does his muscle warm-ups (de rigueur one might think when fighting a dragon) and the baroque battle commences. After a struggle, the fatal blow in the fundament does it for The Dragon. The creatures dying words ( “… your toe”) hang in the air long after his demise.

Baroque opera lends its well to fantasy and by extension as here to burlesque. Director Louise Bakker has boldly let this form run. The text of the libretto demands it, as to some extent the music. Bakker has had a wide experience of directing opera, including on Christopher Luscombe’s team for his opera debut with The Grange Festival’s Falstaff, and it happily shows.

Lampe’s score has all the key brightness and scintillation of typical highly decorated baroque opera music. And where would the baroque be without its harpsichord continuo. Much credit is due to Michael Keen for the foil to Bramley’s orchestra in his tireless performance on the harpsichord.

After The Dragon’s demise, the denouement is fairly rapid. Mauxalinda graciously (or maybe wisely) steps back to allow Moore’s unrestrained affection to devolve upon Margery.

Another hallmark of baroque opera is the directness of the text in distinction to the ornamentation of the music. Think Handel’s Acis and Galatea (where there are many similarities in the plot). Moore, now remarkably quickly sobered-up, declares “My sweet honeysuckle, my joy and delight, I could kiss you all day and hug you all night!”

The villagers shout “Huzzah” … and so do we.

See the full review here https://markaspen.com/2021/11/15/dragon-wantley/

Richmond Opera have shared a number of photos on their Facebook page here if you are interested: https://www.facebook.com/RichmondOpera

 

Posted on 22/11/2021

 

Recently Posted Auditions

Bidborough Dramatic Society

Bidborough Dramatic Societyengland/
bidboroughdrama.org



Four Winds, 109 Bidborough Ridge, Bidborough, Kent TN3 0XB

“WE’RE ALL ZOOMED” and “KEEP YOUR DISTANCE” Written by Andy Bennison

Auditions: TUESDAY 7th and THURSDAY 9th DECEMBER 7.30 prompt please
Performance: Thursday March 31st to Saturday April 2nd 2022


CASTS: Between them, both plays require 3 females, 4 males plus 1 M/F who does not actually appear on stage (?!?). The second play will require a number of non-speaking “extras.”
Please let either John Harries or Anna Novella know of your intention to attend and on which day. Contact either of them via our website for further information if required
REHEARSALS - will commence from Thursday 6th January at 7.30 and thereafter promptly at 7.30 every Tuesday and Thursday in the Small village Hall. Once the plays are cast, rehearsals will of course be arranged by the two directors – John and Anna – but these are the evenings when the hall is booked.
NEW MEMBERS MOST WELCOME

Posted 21/11/2021

 

Latest from our Advice Column
Click here for the complete Advice Column

Post 69
Recent Post from one of our readers - 18/11/2021
Name: Sheila Spatcher


Message:

From spatchersheila@gmail.com

I am looking for.my cousin Janice Parfitt. I know she used to be a member of a amateur group and she was a lead in quite a few productions.
If anyone knows her please could you ask her to contact me. I would appreciate it.

Peter's response:

Hi Sheila,

I'm afraid I don't have any knowledge of your cousin.

I will post your query in the #Advice section of www.dramagroups.com asking anyone who is able to help to contact you directly via your email address.

I wish you luck in your search and would be interested to hear if you are successful in tracking your relative down.

Best Wishes,

Peter

Would you like to comment on this? contact@dramagroups.com

Recently Posted Scripts & Playwrights

Danny Dice

Contact: dannydicewriter@gmail.com

AIBU?

AIBU?

A SERIOUS COMEDY ABOUT CONSENT. FOR REFLECTIVE ADULTS TO EXPLORE WHETHER IT CAN EVER BE ACCEPTABLE TO EXPECT SEX IN A LONG TERM RELATIONSHIP.

"A thoroughly enjoyable piece, not only for debating 'What is sexual consent?' but also in its originality ... Quick pace, highly impactful. I really enjoyed the unique way of storytelling...to create tension and conflict. Well staged." Comments from judges, 2021 International Windsor Fringe Kenneth Branagh Award for New Drama Writing.

Duration: 30 min.

Cast: 2F 1M

A woman is posting on mumsnet.com's AIBU thread (AIBU? - Am I being unreasonable?) from her kitchen. Is she being unreasonable for snapping at her husband who constantly pesters her for sex? Her invisible husband begins pawing at her then starts loading the dishwasher in a way not to her liking. The woman dismisses her husband’s reference to their mysterious ‘contract’ and orders him to sit with their children and his parents. Two mumsnet.com posters respond to her AIBU? question from diametrically opposite perspectives. One suggests that the woman's husband sexually assaults her; then that he has raped her.

We see the woman getting her invisible husband to answer the questionnaire he had to successfully complete prior to their marriage. His answer to one question enlightens us about the 'contract' she willingly signed, a contract which the most vociferous mumsnet.com poster describes as appalling. We also see this poster attending a counselling session before making the woman seriously consider leaving her husband. Her dilemma is resolved in an unexpected manner. The dishwasher's involved. The two posters who responded to the woman's post must now decide how to again give their life meaning now the woman no longer needs their online advice.

To buy the script: www.smithscripts.co.uk

Recently Posted Suppliers & Services

SWS Scaffolding Division

sws-ne.co.uk

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UK
North East

We are a North East based local scaffold company offering competitive rates for commercial and domestic scaffold services of the highest standard.
The company is newly formed, although i myself have over 20 years experience in the industry at all levels. We are fully insured, operate with a full Health & Safety package, TG20.21 compliant, CISRS compliant and offer a wide range of scaffolding expertise.
So if any of your upcoming projects require any Scaffold services at all, whether it be access, edge protection, woking platforms, supports, you name it. Please don't hesitate to get intouch for a free competitive quote.

Contact: scott@sws-ne.co.uk or via our website or social media

Recently Posted Musicians Required, Music Services, Music Swap

Orpen Players

Orpen Players

Facebook  


UK
Essex

Pianist/Keyboard Player Wanted

Rehearsals have started, and so has the fun but one thing that makes a good panto great is live music - we really need a pianist/keyboard player so if you can play or know someone who can then PLEASE get in touch.
If you have ever wanted to dip your toe into amateur dramatics then perhaps join our chorus for the panto- spaces are limited so let us know, young or not so young -age is not important and all you need is enthusiasm
In uncertain times very few things are guaranteed- but we GUARANTEE that if you join us you will have fun, meet a friendly bunch of people and give pleasure to hundreds at showtime.
Hope to see you soon.


Posted 21/10/2021

Recently Posted Performance & Rehearsal Space

Thundersley PCC

UK
Benfleet Essex

 

Available

Contact: 07763352857


Large church hall with excellent stage for hire. Flexible arrangements by negotiation.
Please call for further details. Robert Watersone email Treasurer@thundersley.org

Available: Sundays

Posted 15/10/2021

 

Recently Posted Publishers

Havescripts Blue Moon Plays


havescripts.com

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USA
Virginia

Havescripts Blue Moon Plays is a play publisher and licensing service serving English speaking theatre groups around the world, from amateur and professional theatre companies to church, school, college, university drama classes and theatre studies departments. Plays and musicals are written by award-winning playwrights and authors. Plays range from ten minutes to two hours. Some hand-picked plays are awaiting a premier production.

Play categories include, elementary school, middle school. high school, college, university, professional, theatre for the soul, spoken word poetry, children's theatre, family theatre and senior theatre.

Some playwrights are available for Zoom talks with groups and schools

Recently Posted Articles

Banbury Cross Players

Banbury Cross Players
www.banburycrossplayers.org.uk

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Banbury Cross Players

READ ALL ABOUT IT!

Press Release Oct 2021


The first of another new type of event in the BCP Calendar certainly proved a hit with members – both acting and non-acting - this week.

Professional practitioner, Richard Kidd, introduced us to the Laban Movement theory. We had plenty of opportunity to put our learning into practice on the night with pieces we had taken along. There has been so much positive feedback on the session, we will be inviting Richard back in 2022 for a further session. Richard is an excellent story-teller and tales of his experiences in the profession added to the entertainment for all who attended. The evening was inspirational and great fun! Be sure to keep an eye on the Calendar on the BCP website for details of the next session.

Useful follow up videos to watch as recommended by Richard
Actioning in Action with Max Stafford-Clark - https://youtu.be/wD9VXdFDeFk
Laban Movement Video Library - www.conductorsreference.com/movement

We know you all love to scream if you want to go faster so there will be no Thursday Session this week (14 October) as we step aside for the Banbury Michaelmas Fair. We will be back in the building on 21 October at 7.30pm where our own in-house expert, Terry Gallager, will be running a Character Development Workshop showing a variety of methods of developing your character for a show.

TWWCHH rehearsals move on apace. Over 50% of tickets have been sold currently so clearly word is getting out. With a cabaret-style layout, this is an ideal introduction back into a theatre if you’re feeling a little Covid-cautious. My sources tell me the set design team have begun to build, and I don’t know how true it is but there’s a rumour of a Juke Box. Rock ‘n’ Roll!

That's all the news that's fit to print for the moment. See you next time!



Posted on 10/10/2021

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Recently Posted CostumeSwap

North Tawton Guides



UK
Devon

Wanted

October 2021

2 Man Cow Costume


Having been let down by a local drama group we are looking for a 2 man cow costume for our Guide and Brownie pantomime in October, so are contacting theatres and drama groups to see if anyone can help us out.
Thank you.
JANE SIMONS janesimons368@btinternet.com


Posted 27/09/2021

Recently Posted Sets & PropSwap

Stephen O'Carroll



V94 V48R - IRELAND

Table and 6 chairs

Table and 6 chairs

Table and 6 chairs

FREE

Table and 6 chairs

We've a table and 6 chairs going free to a good home - just needs collecting - if any of the drama groups need a table and chairs for props?

Table in good condition. Chairs are useable (some bottom rungs have been attacked by the dog)

Our eircode is V94 V48R. My number is 0851531147.

Many thanks, Steve

Posted 31/08/2021

Recently Posted Script Swap details

Eileen Norton

UK

Available

I have a number of copies of well known plays, (in good condition) looking for a home. These include Noel Coward, ‘ Private Lives’ and Chekhov ‘ The Cherry Orchard’ and various others.

Do you know of any group that would like them? If so, please get in touch, my email is: elnorton49@gmail.com

Posted 03/05/2021

Recently Posted Theatrical Makeup

Make-Up Artist Work Experience Required


Hi.

I’m Amanda. I’m currently doing make up artistry at West College Scotland. I am in my first year level 6.

I am looking for any work experience I could do. Anything at all would be great. Any local groups who need makeup artists for their productions do please get in touch.

Thank you

Amanda
amandalindsay@live.co.uk




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