Unfortunately many societies receive scant reward for their labours. The recession has meant higher prices for them while the public cannot afford to spend as much on tickets. For some groups that means a low audience which will put them in the red and lead to their closure. Urmston has its own methods of keeping prices down. They try to offset part of their costs by holding a variety of fund raising mini shows, raffles and bazaars. Fortunately tickets for "Brigadoon" are going well - prompted by the society members "mass distribution" of publicity posters. There is still a lot of room for the first two days of the production, though. Since April the "Brigadoon" cast has increased its rehearsals from twice weekly to as many as is felt appropriate. At such a late stage the finishing touches are being put on the performance such as teaching members how to sword dance.
The company had hoped to bring in a Caledonian Society to "run them through" their paces but their schedules did not allow this. It was left to choreographer Jean Geddes who also plays Jean MacKeith, to teach them. Smaller problems includehow best to drag off one of the kilted members of the cast after his stage death, to avoid any embarassment. Also thwe timing of the dry ice machineto ensure the stage has an atmospheric look at the right time.
Before any production can start Urmston Operatic Society must choose what it wants to put on. They usually select a short list of three musicals and the stage manager decides whetherthey have the facilities to put it on. Scenery companies are always willing to chip in with advice if they think a society is over reaching itself. Society members are then auditioned to fill the parts. While it is usually easy to fill the women's roles, it is more difficult finding enough men because fewer are coming into singing.
When this method fails other societies are canvassed for suitable applicants, who again must go through auditions. If you would like to support a local arts group why not pop down to the grammar school on Bradfield Road at 7.30 pm Monday to Saturday from October 24
A pathetically poor attendance toned down the first night atmosphere, but one thing was certain, the cast's efforts came over loud and clear. Like the highlands, it's a show that grows on one, but it helped that Julian Grammar was in fine voice.
Peter CLough's splendid partnership with the presentable Brian Williams playing the young chap who stumbles upon a Scottish town that only appears for a day every 100 years also made for a memorable night.
Katie Doyle
A lot of hard workobviously went into the production, which showed a sensible use of the very large cast. All the characters displayed confident timing and movement in some really big scenes. Brian Williams and Peter Clough, fitted their parts perfectly, working well as two Americans who get lost in a small mystical village in the Highlands of Scotland. Brian who played Tommy Allbright, soon falls in love with Fiona McKeith, a girl in this village which only appears for one day every 100 years.
Fiona was played by Ann Alvey whose mature voice and strong acting gave her a good individual performance. She was well-matched by Jean Geddes who played FIona's sister, Jean. In a beautiful wedding scene, Jean marries Charlie Cameron, played by Julian Grammar, who gave an excellent performance with his strong clear singing. Anita Partridge played the lively and humerous part of Meg Brockie, who falls in love with Jeff Douglas.
When "Brigadoon," the name of the uncharted village, loses the enchanted spell it has held for years, the mood quickly turns sour, and the mood was conveyed well by Ray Wallwork as Murdoch, the Dominie. Alan Bray was very professional as the piper and John Yourston sang well as McGregor. Joe Holland as Angus McMonies, and Fred Cantliffe,as Sandy,both gave competent performances as the production raced to its grand finale.
Margaret Parker as Maggie Abernethy, did the show proud with her "funeral dance," and Dave Bamford, John Partridge and Eric Walsh gave convincing performances in important roles. Sword dancers Maxine Harrington and Wendy Robinson added the tartan touch to the production, and Chris O'Hanlon and Eileen Salt, acted well in the later part of the show. The dancers were lively and coped well with some difficult and demanding movements. They were Lisa Burbridge, Jean Geddes, Maxine Harrington,Susan Lane,Margaret Parker and Wendy Robinson.
The entire production was brilliantly directed by Cyril Bond with Paul Fletcher as Musical Director and Jean Geddes devising the dance routines. Bill Palmer was stage manager. Mr Palmer's assistants were Harry Moore and Joe Buckley. Neville Parkinson did the lighting, and Jean Cookson was the wardrobe mistress. Makeup was by Jean Corfield and Fred Hall. Jime Ridehalgh was the chief electrician and Jacqui Smith property mistress, assisted by Dawn Armstronge.
Brian Verity was the administration manager, Len Bold and Nancy Tinsley the pianists, Gordon Harrison the Society House manager with Fred Bell as his assistant, and Audrey beattie was the prompter. The calls were by Andrea Suthers and Martin Smith, and the stage crew were, Ian Murray, Claude levenson, Fred Winfield, Eric Lane, Joanne Lane, Caroline Footitt and Simon Artus. Supporting some good individual performances the chorus sang well and the orchestra played superbly.