Spotlight Spring 2014

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The mbers
of
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The magazine of The Marlowe Friends
Issue 8 Spring 2014
Happy Days
Fonzie, Richie, Mrs C
and the rest of the
gang arrive at The
Marlowe for the
coolest show around
Swan Lake
Matthew Bourne’s
modern take on a
classic; coming to
Canterbury in May
Samantha Womack
From barmaids to beanstalks
and her first pantomime season
365 DAYS OF PANTO
FiND YOUR VOICE
A look into the intensive,
year-long job of putting
on a show over the festive
period • P16
The Marlowe’s new Literary
Associate Simon Mendes
de Costa talks about the
challenges of writing • P13
CANTERBURY
OPERATIC SOCIETY
More than a 100 years
old and not slowing
down • P8
Contents
4 News
6
Happy Days
Meet Fonzie, Richie, Mrs C
and the rest of the gang
when the musical comes
to The Marlowe
8 Canterbury Operatic Society
How they continue to evolve
and attract new members
10 Matthew Bourne’s Swan Lake
A look at the re-invention of
an iconic production
12 Special Events
Exclusive talks, workshops
and tours running throughout
the year
13
Simon Mendes da Costa
The Marlowe’s Literary
Associate talks about
the challenges of writing
Welcome
FREE
to me
The mbers
of
Ma
Friendrlowe
s
14
In the Spotlight:
Samantha Womack
Exclusive chat about her
first pantomime season
and her time in EastEnders
16
365 days of panto
A look at the year-long job
of Evolution Productions’
Paul Hendy and Emily Wood
Spotlight
Issue 8 Spring 2014
Contributors
Laura Kimpton
Dawn Kingsford
Amy Smith
Sarah Munday
Editor Sarah Munday
18 Staff Feature
Keeping the house in order;
Spotlight talks to the Front
Of House management team
21
Laura Kimpton
Columnist Laura Kimpton
on taking to the stage
22 D
iscounts and events for
The Marlowe Friends
Plenty of savings to be made
and events to be enjoyed
across Kent for our members
Design Cog Design
Photography Tim Stubbings
timstubbings.co.uk
ISSN 2046-4703 (print)
ISSN 2046-4711 (online)
The Marlowe Theatre
The Friars, Canterbury
Kent CT1 2AS
Follow us on Twitter
@marlowetheatre
marlowetheatre.com
Write to us with your
comments at spotlight@
marlowetheatre.com
Cause to celebrate
for The Marlowe!
Since October
2011, there
has been an
increase of 26
per cent in terms
of customers
coming through
our doors.
What did you do to celebrate your 21st birthday? I remember
mine well: I spent most of the day driving home to Brighton
from Nottingham University. I was in my Dad’s Mini, which I’d
borrowed to move stuff, and it was thick fog all the way to
London and rather scary.
When I eventually got home I had a quiet time with my parents,
although I remember Dad had got a bottle of champagne in.
Students were very different then – we hardly drank at all!
Turning 21 is a landmark occasion and I was honoured to join
in the celebrations at the end of the summer for The Marlowe
Friends coming of age. It was an evening of music, good
company and many memories (report on page 4). Here’s
to the next 21 years!
Another reason to celebrate: we have now just passed our
second anniversary of opening, and at the gathering of staff
it was a time to reflect on our amazing achievements. We
are “up” on all aspects of the business, and perhaps one
of the most impressive figures is that since October
2011, average attendance has gone up from 710
(in the old theatre) to 895, an incredible 26
per cent increase.
Many of these people will have been you, our
Marlowe Friends, so thank you, once again
for your loyal and continued support. Here’s
to the next two years – and the rest!
Page 6
2
Spotlight Spring 2014
Page 8
Page 14
Mark Everett
Theatre director
DAVID WEBB
MARLOWE PEOPLE
A Big Celebration
MARLOWE FRIENDS
Flag-waving and fizz were the
order of the day at The Marlowe
Friends 21st birthday celebration.
Marlowe first-anniversary
competition winners David
and Helen Webb enjoyed their
“intensive taster” of shows so
much they have decided to
become Friends.
The group’s coming of age
was marked at a Gala Night
At The Proms with the Kent
Concert Orchestra in September.
According to Friends Chairman
June Brewer, the evening
surpassed all expectations:
“To be part of a packed
Marlowe audience
SUPPORT IS NEEDED
FUNDRAISING
is always exciting but this was
very special. The concert was
superb and this was a real
party – we had fizz and we had
a cake and the atmosphere
was just what you expect at
a birthday party – joyful and,
above all, friendly.”
June is pictured cutting the
cake on stage with Theatre Director
Mark Everett.
Give a little extra: that’s the message
to Friends from The Marlowe
Theatre Development Trust.
Having supported the
redevelopment of The Marlowe,
the charity is now looking to
support projects and activities
developed and led by our
creative and education team.
From boosting the confidence
of young people through more
performances, nurturing more of
our local playwrights to create
new work, to providing an even
better educational resource for
our teachers and offering more
subsidised tickets to schools, you
can help make a real difference to
the range of cultural experiences
we can offer beyond our shows.
From donating as little as £2
at the Box Office, to regularly
giving £5 or more every month,
you will not just be helping the
theatre to develop and flourish
but have an even warmer, closer
relationship with your Marlowe
Theatre. For further details
contact the Development office
on 01227 862031.
David continues: “The shows we
have seen enhanced our love of
theatre and with such a variety,
have broadened our horizons.
We both thought it would be
a great idea to continue the
trend and attend on a regular
basis, making the most of the
benefits Friends get.”
DISCOVERY tickets
Anyone aged between 16 and 26,
plus full-time students, can now
benefit from reduced rate tickets
4
Spotlight Spring 2014
30
To date, more than 30 boys
have so far sung the hits of
the young Michael Jackson
in Thriller Live in the West
End and around the world.
The need to have six of them
at any one time has led the
producers to launch a training
academy to develop boys for
the role of the singer. Wouldbe MJs get classes in singing
and dancing every week, with
terms lasting three months.
Thriller Live is at The Marlowe
Theatre in February.
Meet Mia
The Sittingbourne couple
(pictured) won a pair of tickets
to each production of a week or
longer for a year last October,
enabling them to: “Enjoy the
hospitality and the excellent
London West End standard of
The Marlowe on a regular basis.”
Discover the
discounts
in numbers
Taking a closer look
TOURS
Theatre tours have been proving a big hit since they were reintroduced
earlier this year.
for top price seats. The discount
applies to most week-long shows
and also Studio productions, with
tickets around £8.
Simply book tickets in the usual
way, and collect them on the day
of the performance with photo ID.
Theatre Director Mark Everett
says: “This scheme gives young
people the chance to take a risk
and try something new, or to see
a West End show on a budget.
We’re excited to welcome
a younger audience, and
potentially our new generation of
theatre-goers, into our venue.”
To join the Discovery
Tickets mailing list and
for more information visit
marlowetheatre.com/discovery.
Responsible for the day-to-day
Friends administration and all the
Friend events taking place in the
theatre, Amelia (Mia), our
Friends Officer, is proud to be
part of one of the most successful
Friends schemes in the country
but says there is always room for
improvement: “Please contact me
anytime if you have any comments
or questions, if I’m not in the
office I promise I will get back to
you as soon as I can.” Call Mia on
01227 862309, or email her at
mia.power@marlowetheatre.com.
Lots of you have taken up the chance to have a look around the building,
including sneaky peeks at areas not usually seen by the public. Will Millar,
who also works at Stage Door, is one of the tour leaders, and says he’s
enjoyed meeting so many interesting and interested folk: “There is a
magic to theatre and people find it fascinating to get a taste of that
magic. As well as showing them the different areas, I also tell them a
tale or two about the place, like the story about The Marlowe ghost!”
The next tours are on Monday 23 December, Saturday 1 February,
Tuesday 25 March and Wednesday 23 April. They all start at 11am and
cost £10, which includes the tour, a hot drink and a slice of cake.
Places are limited; to book, call the Box Office on 01227 787787.
Summer 2013 Spotlight
5
Happy Days is a
timeless piece of TV
magic and the musical
will appeal to the
whole family.
Meet Fonzie, Richie, Mrs C and the characters from Happy Days
when the musical comes to The Marlowe Theatre in May. Dawn
Kingsford meets up with Sugababes’ singer Heidi Range, who’ll
be playing leading lady, Pinky Tuscadero.
THE COOLEST
SHOW AROUND
E
FACTS FROM
THE FONZ
Heidi Range as
Pinky Tuscadero.
Photo: Paul Coltas
6
Spotlight Spring 2014
Pinky is the older sister of
Leather Tuscadero, played
in the TV series by singer
Suzi Quatro, and only
appeared in two episodes.
Happy Days first aired
on January 15 1974, and
ran until September 24,
1984. It spawned hit TV
shows including Laverne &
Shirley, Mork & Mindy and
Joanie Loves Chachi.
The Happy Days musical
has been touring the States
since 2008.
Winkler’s leather jacket
in the series hangs in the
Smithsonian Institution (in
Washington, the world’s
largest museum and
research complex).
Morgan Fairchild, Tom
Hanks and Robin Williams
all made guest appearances
in the TV series.
yyyy… The Fonz is back!
And he’s in the first UK stage
show of the popular 1970s
American sitcom, Happy Days.
Henry Winkler (aka The Fonz)
takes up the mantel in this new
musical as Creative Designer, while
the talented Amy Anzel is producer,
and Sugababes’ star Heidi Range,
plays the show’s gorgeous loveinterest, Pinky Tuscadero.
Audiences will be catapulted
back to 1950s Milwaukee and to
Arnold’s diner for this milkshake
of music, romance and magical
family values, which will appeal
to all ages.
“As soon as I saw the script, I
loved it”, says Heidi, speaking
from her London home ahead of
rehearsals. A long-time fan of the
TV show, she adds: “The musical
is a tribute to the original series,
with all the usual characters, but
a much bigger part for Pinky.
“I’ve had the score a while and
just can’t stop singing it around
the house.”
Producer and actor Amy (who
also produced Legally Blonde) was
instrumental in bringing Happy
Days – A New Musical – to Britain,
and knew the 30-year-old singer
would be perfect for the part as
soon as she stepped up to audition.
Amy says: “We were looking for
someone who could sing and
dance, act and be naturally cool,
just like Fonzie, and Heidi was
good at all three.
“It’s also nice that Heidi’s
been performing for years with
the Sugababes, but hasn’t done
musical theatre since the band
formed and is really excited
about doing it.”
While Heidi, who trained as a
singer, dancer and actor, argues,
she’s far from cool, admitting:
“I’m a bit girlie, really”, her selfconfidence cannot be denied. She
performed in front of 90,000 fans
in Lisbon and appeared recently
in Dancing On Ice and Celebrity
Masterchef. The only thing that has
been difficult, laughs the broad
Liverpudlian, has been refining
her American accent.
“It really confuses my pug
Bessie when I start speaking
American to her!”
Beloved Bessie will join her
when she comes to Canterbury,
which the former Atomic Kitten
says she’s keen to explore.
“I’ve gigged in Canterbury, but
never got to look round; so, I plan
to explore while I’m here.”
The hardest part for Heidi will
be being away from her family;
she lives with sister Hayley and
calls mum Karen five times a day.
She muses: “Whatever happens in
life, it doesn’t matter as long as you
have your family. They make you
what you are.
“They all have plans to see the
show and are very supportive and
I will have Bessie with me, but I
will miss them. As for the rest of
the tour and the travelling, I’m
really looking forward to it.”
And of the show, she says:
“Happy Days is a timeless piece
of TV magic and the musical will
appeal to the whole family, whether
they’ve seen it before, or not.”
Completing the line-up will be
West End and Emmerdale actor
Ben Freeman as The Fonz, and
1980s pop legend Cheryl Baker
as Mrs Cunningham – whoa!
Happy Days – A New Musical is at
the Marlowe from Tuesday 27 to
Saturday 31 May.
Spring 2014 Spotlight
7
Formed in 1906, Canterbury Operatic
Society have been going for over a
century – and they show no signs of
slowing down, writes an impressed
Amy Smith.
ANYTHING GOES
The cooperation
and backing we
have received
has enabled us
to return to this
wonderful
venue again.
David Bedford (Moon) and Lara
Simpson (Erma) in Anything Goes.
Photo: Harry Klib
8
Spotlight Spring 2014
I
f anything, Canterbury Operatic
Society (COS) continue to evolve,
produce more contemporary
pieces of work and attract new
members each year.
Their next production, Sweeney
Todd, may seem a departure from
previous productions – with its dark
themes and an equally scary trademark
Sondheim score. However COS are
up for the challenge, with an exciting
creative vision, 20-piece orchestra and
experience of Sondheim from their
2011 production Into The Woods.
A favourite of Director Stephen
Cresswell, a huge Sondheim fan, the
show was chosen for its challenging
nature and popular appeal, with the
musical winning an Olivier Award
this year, and with the Oscar awardwinning film starring Johnny Depp
released in 2007.
The Marlowe Theatre has been
hosting the society’s performances
since 1952, the year after the old
theatre first opened. For one week
every year COS take over the theatre
and perform their musical. They
warmly welcome new members,
whether performers or people who
want to get involved behind the scenes.
With the economic climate providing
increasing difficulties, the company
appreciates the continuing support of
the theatre. Chairman Derry Martin
says: “The society have been fortunate
to have strong links with The Marlowe
Theatre, and the cooperation and
backing we have received has
enabled us to return to this wonderful
venue again.”
Young people are also an increasingly
crucial part of COS, as performer (and
Spotlight columnist) Laura Kimpton
(28) is keen to establish. She has been
a member for 10 years now, having
joined in her first year at university.
Over that time she has seen changes in
the society – most notably the change
in the demographic of the company.
On joining she was evidently one of the
youngest members. Now, at least a third
of the members are under the age of 30.
Laura says: “I enjoy spending time
with a group of like-minded people,
doing something I love. It’s great to
have a hobby which has an end result
you can share with others and I’m
really proud
to be a part
of our shows.”
Perhaps
it’s popular TV
programmes such as
Glee which have inspired young
people to get involved with the arts,
the all-encompassing marketing
methods of social media, or the appeal
of performing in the new Marlowe
Theatre. For Laura, it was simply seeing
a COS performance on stage and
wanting to be part of that – and she’s
never looked back.
Young people are a crucial part of
Canterbury Operatic Society, and any
amateur theatre society, to ensure that
membership does not remain static.
Essentially, in the future they are what
will keep the society going, and for
now, they provide fresh ideas and
new skills to the group.
It’s great to have
a hobby which
has an end result
you can share
with others and
I’m really proud
to be a part of
our shows.
Sweeney Todd plays at The Marlowe
Theatre from Wednesday 30 April
to Saturday 3 May. Information
on joining COS can be found at
canterburyoperatic.co.uk.
Spring 2014 Spotlight
9
Cheeky, funny and
slightly irreverent –
the 53-year-old’s work
has been credited
with bringing ballet
to the masses.
Swan Lake
gets the
Bourne
Identity
Grab the chance to see Matthew Bourne’s
modern take on Swan Lake at The Marlowe
Theatre in May. Dawn Kingsford looks back at
the re-invention of an iconic production that
ruffled the feathers of the dancing world.
The provocative all-male corps de ballet
in Bourne’s Swan Lake. Photo: Bill Cooper
10
Spotlight Spring 2014
I
f you fancy trying ballet with a
twist, then there’s no better place
to start than with Swan Lake,
Bourne style.
While his re-interpretation may have
shocked audiences when it premiered
with its all-male corps de ballet at
London’s Sadler’s Wells in 1995,
Matthew Bourne’s creation has become
one of the most popular productions
ever made, earning him Tony Awards
for Best Choreographer and Best
Director of a Musical (the only British
director to do this).
Cheeky, funny and slightly irreverent
– like Bourne himself – the 53-yearold’s work has been credited with
bringing ballet to the masses.
In a recent interview, he described
the music as the starting point for
his magical interpretations of the
classics: “I play it for hours on end,
walking around with a Walkman, on
the Underground, everywhere; and
just listen and try to feel something
that hasn’t been recognised before.
I wipe my mind of any memories of
versions I’ve seen and look at the
basic plot and try to pare it down to
what it’s really about. Then I find a
modern parallel.”
The outcome is a blend of dance,
humour and spectacle with extravagant,
award-winning sets and costume design
(Lez Brotherston).
What’s so striking is just how bold and
considered is Bourne’s rethinking of the
traditional story and how imaginative
his response to Tchaikovsky’s score.
Widely hailed as the UK’s most
popular and successful choreographer/
director, Bourne reflects on his own
dancing and acting careers and
influences including Fred Astaire and
Rodgers and Hammerstein, to deliver
his successful spin on the classics.
As Artistic Director of his own
company, New Adventures, he returns
to The Marlowe a year on from his
successful debut with Sleeping Beauty
to direct his very personal production
of Swan Lake, complete with its own,
unique Bourne identity!
Swan Lake is at The Marlowe Theatre
from Tuesday 6 to Saturday 10 May.
Spring 2014 Spotlight
11
The Marlowe Friends Special Events
The Marlowe Friends enjoy a range of exclusive
events throughout the year.
West Side Story
THEATRE TOURS
MON 23 DEC 11am
Tea and Tour
JACK AND THE BEANSTALK
FAMILY EVENTS
Matthew Bourne’s Swan Lake
Good companions
Meet other Marlowe Friends
for a drink (coffee or tea) and
enjoy a talk by one of the
company before the matinee.
SAT 29 MAR 11.30am
(talk 12 noon)
Evita
Parties, tours and talks
for you and your family.
TUES 25 MAR 11am
Tea and Tour
MON 30 DEC 5pm
Jack And The Beanstalk
Find Out About
Talk & Tour
(8-16 years)
WED 23 APRIL 11am
Tea and Tour
THU 2 JAN 4.45pm
Jack And The Beanstalk
Meet The Cast
SAT 10 MAY 12noon
(talk 12.30pm)
Matthew Bourne’s Swan Lake
FRI 21 FEB
Tom’s Midnight Garden
Post-show Q&A with
the cast after the 2pm
performance
SAT 24 MAY 11.30am
(talk 12 noon)
Dance Till Dawn
Sat 19 Apr 5.30pm
Peppa Pig
Meet The Cast
To book events, call our Box Office on 01227 787787
12
Spotlight Spring 2014
SAT 1 FEB 11am
Tea and Tour
FREE ARTIST TALKBACKS
Talks with members of the
cast and company, giving you
the chance to ask questions
and hear about life backstage.
THU 7 NOV 6pm
Fiddler On The Roof
THU 19 JUNE 6pm
Cats
THU 17 JULY 5.30pm
West Side Story
Simon Mendes da Costa talks to Spotlight about the challenges of starting
a writing career and his new role as The Marlowe’s Literary Associate
FIND YOUR VOICE
F
inding your own voice
takes time and I know how
difficult writing is, but it
is something you can do”, says
Simon Mendes da Costa, The
Marlowe’s new Literary Associate.
The playwright took up his
position in September, leading the
theatre’s playwriting sessions and
heading a script-reading panel.
Whitstable resident Simon (55)
is well qualified for the position:
his play Losing Louis premiered at
The Hampstead Theatre, London,
in 2005 and starred Lynda
Bellingham and Alison Steadman.
It went on to a West End run, UK
and international tours. It also
had a separate production on
Broadway.
However, Simon was a late
starter as a writer, working as a
computer programmer and estate
agent before embarking on an
acting evening class in London,
purely to “improve my social life.”
The acting bug had bitten,
and he worked with an amateur
company for three years, and,
at the age of 31, went to Bristol
Old Vic drama school. After
graduating, Simon worked in
repertory theatre, supplementing
his income as a computer
programmer. He also joined a
writing group: “I was there for
three weeks when I was asked
what I wrote – I said: ‘Do I have
to?’ and they said ‘It is a writer’s
group, you know!’
“Well, I had to write something
for the next week and that was the
first time I put pen to paper.”
Simon struggled to write a
short story, eventually giving up
and deciding to write a sketch
based on the breakdown of a
relationship instead. He was told
it was the best thing he had ever
written, so decided to develop
the characters and his first play
emerged. Table For One opened
at the Hen and Chickens Theatre
in Highbury, London, in 2001.
He never looked back, and in
2005 – the same year as Losing
Louis – he was nominated for
Most Promising Playwright at the
Evening Standard Awards. He has
written several more plays, and
he is now in development for his
next one.
Simon was delighted when The
Marlowe asked him to be its first
Literary Associate: “I very much
wanted to be part of something
again and this is an exciting
and interesting opportunity for
me, the theatre, and hopefully,
all those who take part in the
workshops and those who submit
new writing.”
This is an exciting and
interesting opportunity
for me, the theatre,
and hopefully, all those
who take part in the
workshops.
For details of the playwriting
sessions and script submissions,
go to marlowetheatre.com.
The Marlowe’s new Literary
Department is supported by
The Garfield Weston
Foundation.
Spring 2014 Spotlight
13
In the spotlight
SAMANTHA
WOMACK
Every year we
go to a panto as
a family and I’m
really lucky that
most of my friends
are actors so we
go to see a few.
Stepping into the
Spotlight for this
edition is Samantha
Womack, star of
stage and screen.
Spotlight: Jack And The Beanstalk is
your first pantomime season. Why now?
Samantha Womack: I did a one-off
panto for ITV in 1999 (Cinderella) and
I really enjoyed it. Panto is an oldfashioned tradition that really involves
all the family. Lots of actors are shy of
doing it because it is such a discipline.
Now I have the time and opportunity to
do a panto season here in Canterbury,
I’m really looking forward to it.
Evolution have a very good reputation.
There may be bigger hitters out there
but they are not as heartfelt. Every year
we go to a panto as a family and I’m
really lucky that most of my friends
are actors so we go to see a few.
S: You will, of course, be known to
most people as Ronnie Mitchell, from
EastEnders. What was it like going
back into the TV soap?
SW: EastEnders is lovely because I
know the character and now I get to
take her in a new direction. I was at
a loss as to where she would go next
[after the baby-snatch storyline].
How could you go through all of that
trauma? At first people were loving the
pain she was in but they got fed up of
seeing her crying all the time. Now I’m
back I’m hoping audiences will see how
Ronnie has changed and that she is
stronger. When you go back to a show
that is so successful you have to see
whether the character still has room
to breathe and develop.
14
Spotlight Spring 2014
S: During your three-year break
from EastEnders you toured with
an acclaimed production of South
Pacific. Was that a conscious move
away from television?
SW: I love musical theatre. My
grandmother was a choreographer
and she had lots of old VHS tapes
of Hello Dolly and South Pacific
that I used to watch all of the time.
I learnt every word to the songs
and I understood the scores and
thought there was really something
quite special about a story set to
music. I believe that, if done well,
they really do transport you for two
hours to a different, more romantic
place. I like to be able to control my
performance from start, to middle, to
the end, which you can’t always do in
television. After EastEnders I needed
to see if I could still do other things.
South Pacific was an absolute joy.
S: You feature 46th in FHM magazine’s
All-Time 100 Sexiest Hall Of Fame. How
do you feel about that kind of attention,
especially since you’ve turned 40?
SW: If somebody could transport me
back to my 20s and look at the FHM
photo shoots and interviews I gave I
would, with hindsight, have liked some
guidance. Now as I’m older I’m not sure
I would do the same again, especially
now I have a 12-year-old son (Sam
also has a daughter of eight). I think
perhaps with guidance I would not
have said certain things or done certain
shoots. But otherwise I’m proud of
what I did and what I achieved – and
at coming first in other polls!
See Sam play Fairy Sugarsnap in
Jack And The Beanstalk at The Marlowe
Theatre from Friday 29 to Sunday
12 January.
Spring 2014 Spotlight
15
NOT JUST FOR
CHRISTMAS
Pantomime may be with
us for just a few weeks over
the festive season (six to be
precise), but for Evolution
Productions, it’s a yearlong job.
Based in Eastry, near Deal,
Evolution – husband-and-wife team
Paul Hendy and Emily Wood – are
responsible for eight shows across
the country, including Canterbury.
The Marlowe panto, seen by 83,000
people last year, is the closest to
home, and they admit, closest to
their hearts. Here is a typical year.
JANUARY:
Pantomime performances
continue until the middle of the
month. Paul begins casting for
the forthcoming panto. He meets
with top talent agents to recruit
the stars he believes will deliver
crowd-pleasing performances for
Evolution Productions.
FEBRUARY:
Paul continues finalising details
with forthcoming panto stars who
will top the bill and their agents.
Emily deals with the far less
glamorous side of the business,
by completing the accounts for
the financial year.
Panto producer, writer and
director Paul Hendy – smokin’!
16
Spotlight Spring 2014
MARCH/APRIL:
Household names from children’s
television, light entertainment
and the music industry sign
contracts to appear in Evolution’s
various pantomimes.
MAY:
Actors are cast for the other key
panto roles. Emily plans the photo
shoots for publicity for all seven
productions. Liaising with agents
and cast.
JUNE:
A busy month of cast press and
publicity photo shoots. Costume
designer Helga Wood meets with
leading cast members to confirm
sizes for costumes.
JULY:
A hectic month designing
promotional images/programmes.
AUGUST:
The family take a break to
recharge their batteries, but their
phones and emails remain on.
SEPTEMBER:
Press launches are held at
theatres across UK for all the
pantomimes. Paul and Emily
will give interviews to local
and regional press about their
forthcoming productions.
The work on scripts begins.
Emily drafts the rehearsal and
performance schedules for the
300 children who will complete
the cast. Meetings are held with
musical and lighting directors.
OCTOBER:
Paul completes the scripts for all
productions. Scripts are edited
by Emily and all the sound effects
and sound cues are identified for
the musical director. Pyrotechnics
are ordered and goody bags for
the child cast members are put
together. Paul monitors TV and
radio to identify prospective cast
members for next season.
NOVEMBER:
Final publicity products are
produced. Rehearsals begin! Paul
directs the Canterbury and Sheffield
productions. Emily and Paul
travel across the UK to visit all the
productions at least twice a week
during rehearsals and performances.
DECEMBER:
All the pantomimes are open at
theatres and perform 13 shows a
week. A West End show will perform
six shows in a week. Paul and
Emily aim to see at least another
20 pantomimes by rival production
companies to identify prospective
stars of next year’s panto.
Top left: Emily Wood emerging from a
stint as one half of Daisy, the panto cow.
Top right: Paul Hendy directs Samantha
Womack during the filming of the TV
commercial for Jack And The Beanstalk.
Spring 2014 Spotlight
17
You have to see
individuals rather
than a crowd.
MEN ABOUT
THE HOUSE
“
W
hen it’s working, it isn’t
noticed”, says the man
responsible for getting more
than 350,000 customers through
The Marlowe’s doors in the last year.
Stephen Levine is the theatre’s Front Of
House Manager and while much of the
venue’s work goes on behind the scenes,
his is a very obvious, but subtle, presence.
The 43 year old, who lives in
Folkestone, has been involved in theatre
nearly all his working life: “I started off
as a trainee manager with Tesco, but all
I learnt was how to be a fishmonger and
how to make doughnuts, and then
I left!” he says.
Stephen was known at his local
18
Spotlight Spring 2014
theatre, The Playhouse in his
hometown of Harlow, Essex, because
his dad was the sound technician for
an amateur group, and started working
there behind the bar in 1989.
He was soon running the bar and
then things really took off. Theatre
jobs followed in York, Manchester,
Birmingham, London and Middlesex,
before he made the move to Folkestone.
In 2012, Stephen joined The Marlowe
Theatre. As a “career theatre manager”
his philosophy is simple: “You have to
see individuals rather than a crowd.”
And it is these individuals Stephen,
and his team of 30 ushers, plus his
deputy, Adam Wood, is responsible for:
Because we
have such a
wide variety of
shows, we have
very different
audiences.
“Customers and the building, which
auditorium, or The Marlowe Studio,
of course, involves safety.
and do an initial clean (ahead of the
“My team have to get people into the
housekeeping staff) and hold a debrief.
theatre and to their seats as easily as
The work’s not over for the Duty
possible. It’s a modern building and we Manager though, as they have to write
do it in a modern way – for example,
and send a show report, and walk their
tearing ticket stubs on the door slows
“route” around the building to confirm
things down, so we don’t do this.
there is no one left behind. One of the
“It’s all about planning and setting
technical team will do the same (taking
up your ducks and knocking them
a different route), and once they
over, one by one.”
have conferred,
Stephen says training for Front Of
the building
House is ongoing, which is vital: “We
can be shut.
go through the fire evacuation process
every week, and, of course, there are
several first aiders. Much of it is about
intuition though and having people
with different personalities
to deal with the different
customers. Because we
have such a wide variety
I do enjoy the
of shows, we have very
diversity of it all.
different audiences.”
Before each show, the
It’s not the same
Front Of House team will
thing week in,
be briefed by Stephen
week out.
(or Adam). They will be
told about that particular
performance: the number of
customers, if there are any access
requirements, or large groups, the
running and interval times, and where
they will work.
The staff then go to their “posts”
and as well as welcoming and advising
customers, sell ice creams, programmes
and any show merchandise.
Half an hour before the performance
is due to begin, Stephen/Adam get a
radio call from the technical staff to
say they are ready to “hand over the
house”. This means the house is open
and under the control of Stephen/
Adam and customers can start taking
their seats. When everyone is in, and
the ushers have closed the doors,
Stephen/Adam will give the house back
to technical and the show can begin!
After the performance when
everyone has left the building, Stephen/
Adam and the team will go into the
Left: Front Of House
Manager Stephen Levine.
Below: Adam Wood is the
Deputy Front Of House
Manager.
Spring 2014 Spotlight
19
Laura Kimpton
Above: Customers enter
The Marlowe foyer.
Left: Jordan Shingleton
and Nicki Walraven share
a joke with a customer.
Stephen says this sometimes can be
very late, and during the pantomime
season, it can be after a three-show
day, plus perhaps another show in
The Marlowe Studio, when as many
as 3,600 people have been in.
“Every so often, I wake up tired the
next morning and think, oh no, I’ve
got to do it all again, but then I think
I’ve got a job others would love and
it’s a job where I’m employed to make
people’s lives better.”
Adam (32), who lives in Gillingham,
started working in theatre, had a big
gap, and has now come back into it.
He studied law at the University of
Reading (“where the most important
thing I learnt was that I didn’t want
to be a lawyer”) and then went on to
do a degree in English Literature. At
his Hereford home one holiday, he got
a job in Box Office at the Courtyard
Theatre and went on to become
Deputy Box Office Manager.
After two years apart from his
girlfriend, Elizabeth, who he had
met at uni, he decided to join her in
her home town of Gillingham, where
she still works as a scientist. Adam
commuted to The Riverside Studios
20
Spotlight Spring 2014
in Hammersmith, for two years before
deciding to study for an English and
American Literature MA at Kent
university. At the same time, he took
a job in Box Office, working at The
Marlowe Theatre Arena during the
second pantomime (Robin Hood).
After graduating last year, he
took on his current role: “Having
a knowledge of the way Box Office
works helps me now – and I do
remember when I was on Box Office
looking at the Front Of House Manager
and wondering what he was doing
wandering around!”.
It’s the variety of shows – and
people – that keeps Adam focussed
when times get tough: “I do enjoy the
diversity of it all. It’s not the same
thing week in, week out: it can be a
children’s show and then burlesque,
and each brings an entirely different
audience and different demands.
“I admit I’m not a theatre person,
but sometimes when I am getting a
tray of ice creams, or looking at
customers in some bizarre outfit (for
shows like Rocky Horror or Priscilla
Queen Of The Desert), I think there
are far worse jobs!”.
I’ve got a job
others would
love and it’s a
job where I’m
employed to
make people’s
lives better.
Once more
unto the breach,
dear friends...
N
ext time you go to the
theatre, try taking a
moment to breathe in
the atmosphere in the auditorium
before the performance begins.
If you filter out those around you
anxiously locating mobiles to be
turned off or unwrapping sweets,
you’ll find that beneath the hustle
and bustle you can detect an air of
anticipation, a tension that becomes
almost palpable in the moments
just before the curtain rises.
As a keen amateur actress (see
pages 8 and 9), these are some of
my favourite moments. Hearing
the buzz of the audience followed
by that tell-tale hush that descends
as the house lights go down,
never fails to induce a blend of
excitement and adrenaline. At
this point props are set, costumes
laid out for quick changes and
the show becomes an entity in
itself. I’ve often heard professional
actors liken this feeling to jumping
on a train leaving a station –
there is no stopping until the
interval so you might as well,
or have no choice but to, throw
yourself on board.
This air of inevitability often
results in a strange feeling of peace
for the actor when they actually
step out onto the stage; their path
is set. It is in advance of this that
the mental battle is fought – to
focus, to capture the character
about to be portrayed, and, in
many cases, against self-doubt and
fear. Backstage, preparation comes
in a variety of forms: from quiet
contemplation to getting “psyched
up”, both physically and mentally,
or purely praying that those lines,
learnt inside out during rehearsals
will be recalled when required.
Most actors will face a preshow crisis of confidence at
some stage in their careers, and
indeed it is often said that the
best performances are fuelled by
a healthy dose of adrenaline, but
for some stage fright is a constant
enemy. Dame Eileen Atkins and
Hearing the buzz of
the audience followed
by that tell-tale hush
that descends as the
house lights go down,
never fails to induce
a blend of excitement
and adrenaline.
Sheila Hancock are amongst those
thespians who have confessed to
battling this familiar demon night
after night, developing their own
coping mechanisms along the way.
For others it strikes
unexpectedly, and on occasion
to a crippling extent. Strangely
this is more common amongst
experienced and mature actors.
Michael Gambon recently revealed
he was forced to pull out of an
Alan Bennett premiere a few years
ago after twice being hospitalised
for collapsing during rehearsals,
terrified he would be unable to
remember his lines, whilst Stephen
Fry famously suffered from stage
fright so severe during Simon
Gray’s Cell Mates he fled not only
the production, but the country.
As nerves are often thought of
something to be conquered, along
with the audiences and critics
who inspire them, it is perhaps not
surprising that there are several
battle-inspired phrases in popular
use in the theatre world (“slaying
them in the aisles” and “knock
‘em dead” being just a few) or that
thespians are a superstitious bunch
(but more of this next time!).
In the meantime, if on your next
visit to the theatre you do take that
minute to appreciate the pre-show
atmosphere, spare a thought for
the actors about to entertain you
for the next few hours – they may
well be fighting the fear to do so...
Laura Kimpton: Marlowe Friend,
passionate part-time performer,
and looking forward to jumping
onboard that train again soon!
Spring 2014 Spotlight
21
Discounts for the Marlowe Friends
The Riverside restaurant
at the marlowe theatre
The Marlowe Friends:
from 10% off food and hot drinks,
including pre-show menus
Platinum Friends:
from 15% off food and hot drinks,
including pre-show menus
The Marlowe Theatre
The Friars
Canterbury CT1 2AS
01227 862485
marlowetheatre.com
A Simmonds Jewellers
5% discount on all purchases
27 St Margaret’s Street
Canterbury CT1 2TG
01227 769842
Anthony Gray Clocks
10% discount on clock restoration
South Goodwin House
St Margaret’s Bay
CT15 6DT
0845 2601631
anthonygrayclocks.com
Build-A-Bear
10% discount on purchases of £15
or more (ask a member of our team
for terms and conditions)
Whitefriars, 7 Gravel Walk
Canterbury CT1 2TF
01227 769295
buildabear.co.uk
Butterflies Tea Room
10% discount on total spend
Stone Street,
Petham CT4 5PW
01227 709719
butterfliestearooms.co.uk
Canterbury Camera Centre
10% discount on developing
and printing (excl. digital)
Unit 4, St Georges Centre
Canterbury CT1 1UL
01227 763905
cant-cameras.demon.co.uk
Canterbury Cathedral
2 for 1 on entrance and guided tours
The Precincts
Canterbury CT1 2EH
01227 762862
canterbury-cathedral.org
Canterbury Tales
Special discount ticket
£6 per head on presentation of this
voucher, valid until 31 December 2013
St Margaret’s Street
Canterbury CT1 2TG
01227 479227 (info line)
canterburytales.org.uk
Cathedral Shop
10% discount (excl. online sales)
25 Burgate, Canterbury CT1 2HA
01227 865300
cathedral-enterprises.co.uk
Chromos Art Shop
10% discount on art and craft supplies
(excl. special offers and publications)
77 Stour Street, Canterbury CT1 2NR
01227 450836
chromosart.co.uk
Crowthers Music
10% discount on music and CDs
1 The Borough, Canterbury CT1 2DR
01227 763965
crowthersofcanterbury.co.uk
CUGLEYS OF HYTHE
10% discount on leather, suede
and sheepskin clothing and
small leather goods:
141 Hythe Street,
Hythe CT21 5JL
01303 268597
Espression
Paint Your Own
Pottery Studio
10% discount on creatives
29 Palace Street
Canterbury CT1 2DZ
01227 765665
info@espression.co.uk
espression.co.uk
Fudge Kitchen
10% discount
16 Sun Street
Canterbury CT1 2HX
01227 479399
fudgekitchen.co.uk
Funky Monks
Clothing
10% discount
21 St Peters Street
Canterbury CT1 2BQ
01227 781781
funkymonksclothing.co.uk
Kent Ballooning
10% discount on all Flight Vouchers
Yew Tree Studios
Stanford North
Ashford TN25 6DH
01303 812812
kentballooning.com
Leo’s Pride
5-10% discount on most holidays
259 Canterbury Road
Herne Bay CT6 7HD
01227 363636
leospride.co.uk
Madame Oiseau
Fine Chocolates
10% discount on all chocolates
(purchases over £10)
8 The Borough
Canterbury CT1 2DR
01227 452222
madame-oiseau.com
contact@madame-oiseau. com
Marlowe’s Florist
5% discount on all flowers
St Margaret’s Street
Canterbury CT1 2TH
01227 463275
marloweflorist.com
Ortwin Thyssen
Jewellery Maker
30% discount on any valuations
of jewellery carried out by a
registered independent valuer
53 Palace St, The King’s Mile
Canterbury CT1 2DY
01227 788200
info@jewellery-maker.co.uk
jewellery-maker.co.uk
Revivals
10% discount
42 St Peters Street
Canterbury CT1 2BG
01227 768033
revivalscanterbury.co.uk
Rituals
15% discount on full price items
(free hand massages and free
makeovers. We also offer free
group make-up lessons)
21a Marlowe Arcade
Canterbury CT1 2TJ
01227 458889
rituals.com
Team Buckley
10% discount on all treatments
2 Broad Oak Road
Canterbury CT2 7PW
01227 458430
teambuckley.co.uk
Shows: the marlowe Studio
Sun 10 Nov 7.30pm
An Evening With
Mandy Winters
The Dressing Room
10% discount on all purchases
74 Northgate
Canterbury CT1 1BB
01227 454712
dressingroomshop.co.uk
Sun 15 Dec 7.30pm
Tim Stubbings
Photography
Minimum 10% discount
01227 460604
photo@timstubbings.co.uk
timstubbings.co.uk
Whitstable Holiday
Properties
£20 discount on any holiday
Hillcross Estates
224 Tankerton Road
Whitstable CT5 2AY
01227 273318
hillcrossestates.co.uk
Wildwood Woodland
Discovery
One child per family goes free
(not available on bank holidays
or in conjunction with any
other offer)
Wildwood Trust
Herne Common
Herne Bay CT6 7LQ
0871 7820081
wildwoodtrust.org
Wilkinsons Taxis
10% discount
on all metered fares
Unit 4
Dunkirk Industrial Park
London Road
Faversham ME13 9LG
01227 450450
wilkinsontaxisltd.com
Woodlands Hair Beauty
& Holistic Therapies
15% discount on first treatment,
including pamper packages
26A High Street Bridge
Canterbury CT4 6EH
01227 830120
woodlands-bridge.co.uk
Tinsel Time With
The Totties
Carolyn Allen and Paul Smith
Tickets for both: £13.50, Concessions: £12.50, The Marlowe Friends: £11.50
Shows: MAIN AUDITORIUM
21 NOV 7.30pm
Showstoppers With
Cameo Opera
Tickets: £18, £16 Concessions: £2 off top price, The Marlowe Friends: £2 off top price
Noticeboard
Wine and Wisdom
The next quiz is at the Chaucer Club, Military Road,
Canterbury, at 7pm on Monday 11 November. For details and
to book a place/table, call Sandra Hooper on 01304 611470,
or email sandrahooper13@btinternet.com.
Reviews of our outings can be found on The Marlowe Friends
page of the website marlowetheatre.com
All discounts on presentation of your Marlowe Friends card.
22
Spotlight Spring 2014
Spring 2014 Spotlight
23