Holmfirth Amateur Dramatic Society: 21 Years (1950)

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OFFICERS OF THE. SOCIETY SEASON 1950-51 President - - - Dr. C. F.J. CARRUTHERS Vice- Ellen Barber, Lucy Beardsell

Hon. nee A Lee, Mrs. B. Tinker, Mrs. J. W. Tine Mr. T. Brook, Mr. F. Higginson, Mr. W. Kemp, Mr. H. Newsome, Mr. G. Taylor, Mr. D. Tomkins, Mr. A. Wood, Mr. S Whitehead.

| Chairman Albert Haigh Publicity Manager Wylbert Kemp. Secretary Mary Green Stage Manager Dennis Green Treasurer - - - Elaine Coldwell Electrician Harry R. Smith Business Manager - George Taylor Elsie Houghton Committee :

Joseph H. G. Barber, Nellie Brook, Leonard P. Colley. Hilda Jenkinson, Harold Newsome, Joseph M. Whelan. Auditors: Norman Turner, John Robinson

COMMITTEES Emergency : Elaine Coldwell, Mary Green, Albert Haigh

Play Reading and Social: Ellen. Barber, Lucy Beardsell, Nellie Brook, Elsie Houghton oe opted: Edith Howard, Una Kilner, Rowena Lockwood, _ Enid Taylor

Play Selection : Lucy Beardsell, Elsie Houghton, Mary Green, Albert Haigh, George

Stage Staff: Dennis Green (Stage Harry R. Smith

(Electrician), Nellie Brook and Harold Newsome (Décor),

Mary Green, Hilda Jenkinson, Leonard P. Colley Co-opted : Frank ne Le Parker

Green Room: Joseph H. Barber, Elaine Coldwell ] Co- opted : June Day

- Elsie Houghton Co-opted : Edith ee Wardrobe: Nellie Brook, Elsie Houghton

Subscription Collectors : Ellen Barber, Mary Green | Co-opted: Harry Noble

Elsie Houghton (Librarian), Tayloe

Little Theatre: Leonard P. Colley, Dennis Greeti, Albert Haigh, vote OP Harold Newsome, George Taylor

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FOREWORD COUNCILLOR FRANK HIGGINSON Cradle Days .....to Maturity

OOKING back to the days of the birth of Holmfirth Amateur Dramatic Society, I am filled with wonder ‘by the knowledge that through aii these years it has flourished, and now, after many «worthwhile accomplishments, has attained its majority.

As long ago as 1928 I suggested to Mr. Joe Illingworth, an amateur comedian of no small merit, that at Holmfirth there was scope for a Dramatic Society. After many talks together on the subject, the two of us called. an inaugural meeting at the Co-operative Hall in the following year—1929—and in the season after that, the Society presented its first production, ‘‘ If Four Walls Choice of that Edwarg Percy play, with its homely comedy and pathos, was made on the advice of Mr. Alfred Wareing, then manager of Theatre Royal, who had agreed to become the Society’s. first president. An idealist, this kindly, lovable man who always put the drama before the box office, recognised better than the rest of us the limitations of a hew sotiety. Next to accept the presidency was Mr. Jatves R. the Yorkshire playwright, another man with an exceptional knowledge of the drama and dramatic art. 7

Though in the Society’s cradle days we had the advantage of such wise guidance as Mr. Wareing and Mr. Gregson could give, we made some of which must eave been pretty near fatal.

Fortunately, however, the Society kindled in the hearts of some oi its early adherents an enthusiasm that burned brightly year after year and in course of time they were by others no. less zealous. The devotion of this fairly small band kept the Society not only alive but usually in vigorous health,

From the outset most of the members, I am glad to say, took the art of the theatre seriously. They were painstaking in the study of their parts, they accepted the code of discipline laid down by the producer, and they strove to improve their knowledge of acting and stagecraft.

Some of them have become players who in certain parts aitain standards which would be extremely difficult to excel. A few have become talented amateur producers. Still others have acquired the ability .and technique needed to write for the stage, with the result that plays by Holm- firth authors have been seen on both the amateur and professional stage and heard on the radio.

Thus our local players and playwrights have carried the name of Holi far weyond this. Yorkshire yalley. festivals 4a Northern towns and cities they have brought back many trophies, one of which, incidentally, was washed away in the Holmfirth Flood in 1944 but was later recovered (rom. ine river bed:. What is. Perhaps most while finding fulfilment for themselves, they have given to thousands of others considerable enjoyment, fostering an understanding and love of the drama. What of the future ? Will the Society add to its many achievements by breaking into the new medium of television ? That remains to be seen. 3ut it is beyond all doubt that a Society with so many reasons for taking “pride in its past can with confidence face the future.

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TRE: PAST AND TRE. FUTURE

A HISTORY OF > THE HOLMPFIRTH AMATEUR SOCIETY GEORGE TAYLOR

OR AN individual a twenty-first birthday is a time to look forward, for a dramatic society a time to look back, not only for the satisfaction of notitie past achievements, ‘but to take warning. from past failures. Leading authorities of the Amateur Theatre have said that eighty per cent of amateurs are of no use to the theatre, but a society which has lasted twenty-one years must have members, not only with high ideals but withthe apity to cdrry them out.

The history of the Society has several phases, but phase the first must surely be the worst, for in this period the only work of creation was in form- ing’ the: Society. Popular play successes were chosen for production, a pro- ducer paid, scenery hired, and employed to erect it. Is there any reason then to question failure or to understand why the year 1934 was the stickiest in the Society’s history ? God in saying this we have to. allow for the fact that the end of this phase saw an entire c hange of policy in, which the work. of creation was begun in earnest, plays written by members being produced by their authors and performed, if not in proper settings, at least to a background which was home-made,

The annual general meepne of 1933 was delayed until’ the end of thi year so that the original play production could clear off the debt incurred by the three previous productions of ‘If Four Walls: Told,” ‘Lucky and “The Sport of Kings.” Following this meeting an effort was made to choose another bill of one-acters to open, the new season. This effort failed because of casting difficulties, and it seemed the Society was doomed, and when the next annual meeting was called, in the Spring of 1934, it appeared that it was only to Wind up the Society. But the President, James R. Gregson, came to this meeting and stressed the importance of giving new plays. This together with an appeal by the secretary for co-operation, backed by a promise to organise play-readings for non-actine members, did much to give the Society 4. new lease of life. 7

It was well also at this time that the spirit of drama was belig kept wlive at Cliffe by a few members of the Society, and it was at this time also that the Holme Valley Comedy Players were formed from members of the two organisations. The activities of this group caused some friction, but there is no denying their work in touring plays did sow seeds which are now beari lng fruit. Experience was gained by players who are now among the most valuable members of the Society, and amazing festival successes of the Comedy Players in later years did focus public attention on amateur drama in the The year 1934 brought efforts locally to raise funds for the Holme Valley Memorial Hospital and the society’s contribution was a wagon tour of Wylbert Kemp’s “Joe Badger’s Een,’’ and the success of. this gave the Society a standing with the public of Holmfirth,

The season following the wagon tour was the most suceessful to date. Three public productions being given in the Conservative Hall, bills of original one-act plays in October, 1934, and January, 1935, and a full. length comedy,

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“Thespevil a Saint,”-by the President, James R. Gregson, in March; 1985; In- addition, the Society accepted an invitation to perform two of their locally- written plays at the Royal Silver Jubilee Celebrations in May.

The following season opened with another One-Act Play Bill in the Conservative Hall, followed by ‘‘She Stoops to Conquer,’’ a choice which some members still think was a mistake. With the one-act plays it had been the policy to let Members or authors produce, but for “The Devil a Séint’’ J. T. Buckley, the Society’s first producer, had been recalled, and for a difficult play like “She Stoops to Conquer” Jack Haigh, of Huddersfield was engaged. The play was staged in the Zion Methodist Schoolroom, and the difficulties — of this hall helped in the general dissatisfaction over the production. The productions of the following season returned to the Drill: Hal—“The Skin Game’’ in October, 19386, produced by Jack Haigh, and a Bill of One-act Plays in December, produced by members. No productions were undertaken jn the early months of 1937, the time being devoted to festival work (begun in 1935 and continued successfully with a second prize at the Huddersfield Festival in 1936) bringing third and fourth places for the Society’s two entries which reached the ‘final round. |

The play chosen for the opening of the 1937-38 season was ‘“Laburnum This production was specially noteworthy for it was the first full length play produced by a member, Albert Haigh, now beginning his series of successful productions for the Society. Since then only members have produced plays. Unfortunately in some respects this was the only public production of that season but compensation was forthcoming in a_ triple success at the Huddersfield Drama in January, 19388 when the two entries were placed first in Drama and Comedy, and one took the Trophy for the highest marked team in the Festival. In spite of these successes there Was dissatisfaction among some members with the decision not to give another public production that season. These members were pressing for the producton of ‘‘White and when this play was turned down, they decided to call in outside help and put on the play under the name of Holim- firth Players. This caused some bitterness at the time but no real harm was done and the recalcitrant members returned perhaps better for an experiment which proved the wisdom of remaining united. 1938 was also the year in which the Holme Valley Comedy Players achieved their Festival triumphs, 3ritish Drama League Finalists, and winners of four other Open Festivals with “T’Second Time of Asking.’”’ So although only one public production was given, there was dramatic activity on a wide scale and it is safe to assume that the public made no distinctions,

No wonder then that scason 1938-39, the last full season before war broke out, was the busiest so far and brought to an end the second phase of the Society’s history, a period in which there was a growing realisation that the true function of amateur drama was to be creative. Inspired by festival successes as well:as by increasing. public interest, members were eager to eet to work, and they enthusiastically staged an Open-air’ Production in July. In the crowds who flocked to Victoria Park to see four one-act plays including the record-breaking “T’Second ‘Time of Asking” there must have been some converts but even so their support was only sufficient to make the next three indoor productions little more than on the right side financially. Following a bill of one-acters, ‘“Man About the House,” the first full-length play by a local author, was the high spot. Its production attracted leading

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newspaper critics and their glowing reports brought professional managers to see a performance. As a result the play was professionally produced at the Prince’s Theatre, Manchester, and then toured. The Holnifirth cast had the satisfaction of attending the premiere. The season closed with another Bill of One-act Plays, but the outbreak of war put an end to rehearsals of ‘Boyd's Shop,’’ the play chosen for the new season.

Third phase in the Society’s history is the period covering the war vears in which activity was at first confined to play-readings and Green-room productions, Later, as conditions inyproved, one-act plays were toured, and towards the end of the war and during the early post-war years two ful! length plays—‘When We Are Married” and ‘Ten Little Indians’—weié included in the repertoire. These were difficult times and those who had the opportunity to carry on dramatic work must be congratulated on keeping the drama alive.. But the war years had taken their toll, not in casualties, but in an inevitable lowering of standards, due to the absence of leading

spirits and io an.insularity bred by wWar--+lme conditions. The Society.

emerged from the war with a need to set its house in order. After having headquarters in Bridge Lane and later in the Crown Hotel, it was now without a home but soon the present headquarters in Victoria Square were acquired, and the first two public productions of “Quiet Week-end”’ and “Double Door” were given in Lane School, but difficult conditions of staging there were in part responsible for results which did not satisfy many members. It was only on returning to the Drill Hall, now rena:ned the Civic Hall, that rea! progress was made. Productions there are too recent to need recall but the quality of these productions and the support given to them has made this period the best so far.

But even a twenty-first birthday is no time for complacency nor for any slackening of effort. It is a time to look back and seek guidance for the future. What opportunities lie ahead ?) A number of things hold the Society in check. First the need for a suitable place in which to perform, a need which is underlined by the changing venue of its productions in past years. Ever since a Bill was passed through Parliament giving Local Authorities power to finance Civic entertainment the Society has worked hard to enlist Civic support, so far with little success. The Society does not seek this help for itself alone, but for all cultural bodies which bring the pleasures of the arts to people who live where opportunities to enjoy them are not otherwise provided. Much is being done by independent organisations both musica! and dramatic, but with full Civic help and co-operation they could become public institutions in the best sense of the word.

And lastly, the Society needs to do something for itself. It needs to put aside all petty strife, to eschew cliques and to make itself as entirely democratic as it is non-political, so that membership may be increased, par- ticularly acting membership, which will enable it to satisfy the public demand for more productions, A plan already under discussion which will. still further enlist public support is a Patrons’ scheme, but it is realised that work should be continually worthy of support. The best material will be sought, it will be given the best possible presentation, and members will develop their skill in all the arts and crafts which dramatic work so abundantly offers so that they may experience that pure joy of creation which they hope to share With their public.

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OUR SEASON’S WORK

1951-52

“The Rocking Chair ”’

A drama by George Taylor

First place and Trophy, Huddersfield Thespians’ Festival May 23rd.

“Th Owd Days A chronical Play of the valley in five scenes by. J. H. G, Barty TOURING THE DISTRICT ON A WAGON, JUNE 30th—JULY 7th.

A Bill of Three One-act Plays “Low Bridge ”’ “The Rocking Chair ”’ “Old

A Play A Drama A Comedy by Wilfred Massey by George Taylor by Wylbert Kemp HONLEY: SOUTHGATE: MEFHODIST CHURCH, SATURDAY, OCTOBER 20th.

‘Charity Begins ”’ A Comedy in three acts by Ireland Wood AT CIVIC AL, HOI Rad, THURSDAY and FRIDAY, NOVEMBER 29th and 30th, and SATURDAY, DECEMBER ist.

“Home At Seven” A Play in three acts AT THE CIVIC. HALL, THURSDAY, FRIDAY . and: SATURDAY, MARGH 27th, 28th: and 29th. It is also hoped, during the course of the season, to present

several Green-room productions.

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1930-31.—‘‘If Four Walls Told,” 1931-32.—*‘Lucky Dip.”’ 1932-33.—"The Sport of Kings.” 1933-34,--" Tbe Idol,”’. ihe Clipged pari: “The Rocking Cha‘ “Our Relations,” “Joa Badger’s, Een’’ (toured;. 1934-35.—““Beauty,”’ “Candles in the Wind,”’ “Bringing chap In; “r’second Teme of Asking,” -€ ompany,” “Sara Pullan,’’? “Comfortable Like,” 88 ite Looked,’’ ‘‘The Devil a Saint.”’ 1935-36.—"“The ‘“‘There’s Money Coming to rou,” Parsley. Grows,” “She Stoops to Conquer.’

1936- 37.—‘‘Jonathan’s “4H or Care.” “Thread. 0’ “On Tenterhpoks,’. Game.’’ 1937 ee Grove.”’ 1938-39.—'-The Ghildren-of Eve,”’ ““Gaspers,”. “An All Souls’: Nicht’s Dream,’ Second Tire ot Asking”. “Carrion Crow,” ‘Biack’ Night,’’ “The Patchwork Quill’. The. Dent ‘““Man About ie House,”’ et’s Do a “Trish Wisdom,” “Dark Far. kar Away.”

1969-49." Folk’ “Kil or Cure,’ "OUR M.S.,"' “The Chimney Corner,’ “The Mask; “Take This Man, ” 7 Happy ‘the bride,” “Bringing tChap oe Second Time of Asking” “Qué Tad. ‘Sarah Pullan”’ (all toured). 1945-46.—‘‘When We Are Married.”’ 1046-47.—"" Ten. Little Indians,”’ “Happy the “It’s Autumn | One Knows Everything.”’ 1947-48.—‘‘Quiet Week-end,’’ ‘“‘Double Door.” 1948-49.— Well,” ‘‘The Day Is Gone,” ly away Peter, ‘Jupiter Laughs.”’

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1950-51.— in Retirement, “Chance of a Life-time ”

1991-62.—""The Rocking Chair’ (Ist place Hudders‘Seld Thespians’ lestival). “‘Th' O@wd Days’’ Festival of Britain Touring Wagon Play. “Low <b he Rocking Chair,” “Old Broth,” produced. at Honley, “Charity at Seven” (in courseof pre paration),

FESTIVAL WORK 1935.—‘‘Sarah Pullan,’’B:D:L., Brighouse, Parsley Grows,’ Huddersfield. 1 936 .— ae second Time of Huddersfield, 2nd. 1937.—‘‘Kill or Cure,” Huddersfield, or: 1937.—‘‘Thread 0° Scarlet,” Huddersfield, 4th. 1938.—“ Bringing t’ Chap In,” Hudder sfield. Ist comedy and Cup for. highest marks in Festival, | i 1938.—‘‘Sarah Pullan, a Hudder ist: drama. 1947,— ‘Quiet . Week- end,’ B.D.L. Full Length. Play. Festival. the Bride,’’ B.D.L., Bradford, Ist. 1948.—“‘Happy the B ride, Bae i. SC arborough, 2nd. 1948,.—‘ “Happy the Doncaster. 1948. “Happy the Bride,’ Morecambe. 1949.—“‘The Rocking Chair,” Buxton, 2nd Drama Original Play Award. | 7 1951.—"“The Rocking Chair,’ Huddersfield Thespians’ Festival. Ist Place and Trophy,

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Holmfirth Amateur Dramatic Society present

“IF FOUR WALLS TOLD,” by Edward Percy. Producer J. T. Buckley. Hilda Jenkinson, Joe Harry Prideaux, Nellie Beardsell, Stanley Butterworth, Elizabeth Dixon, Adiah Lee, Frank Higginson, Norman Lee.

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1950-5 |

“CHANCE OF A LIFETIME,” by George Taylor. Producer George Taylor. Margaret Battye, Albert Haigh, Elsie Houghton, Jack Haigh. Also in the cast: Leonard Colley, Florence Hellawell, Hilda Jenkinson, Harry Noble, Nancy Wood.

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1933-34

fe

“JOE BADGER’S EEN,” by Wylbert Kemp. Producer, Wyibert Kemp. Harry Prideaux, Eric Hirstle, Meta Lodge, Percy Beardsell, Joe I!lingworth. Also in the cast: Billie Barrowclough, J. Richard Ellis, Mary Dyscn, Elsie Houghton, Hilda Jenkinson, Wylbert Kemp, Annie Mellor, Harold Newsome, J. Randall Sykes.

1936-37

“ON TENTERHOOKS,” by Wylbert Kemp. Producer, Mary Kemp. 4 Adah Lee, Joe Illingwerth, Isabel Bairstow, Joseph H. Brook. Also in the cast : Madge Gledhill, Mary Rigby.

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“| ABURNUM GROVE,” by J. B. Priestley. Producer, Albert Haigh. Mary Kemp, Joe Illingworth, Albert Haigh, Elsie Houghton. Also in the cast: Joseph H. G. Barber, Nellie Brook, Horace Day, Frank Higginson, Wylbert Kemp.

Sons, J. M. Bray and

Photographs by courtesy of ‘Amateur Stage,’ ‘Holmfirth Express.

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1938-39

“MAN ABOUT THE HOUS

E,’’ by George Taylor. Adah Lee, Joe Illingworth, Elsie Houghton. Also in the cast : Albert Haigh, Frank Higginson, Norman P. Lee,

Producer, George Taylor.

Mary Rigby.

. 1950-5 | “TH’OWD DAYS,”’ by Joseph H. G. Barber.

Producer, Joseph H. G. Barber. Co Producer (mumming episode), Elaine Coldwell.

Hilda Jenninson, June Day, Christine Day, Betty Beardsell, Albert Haigh. Also in the cast: Joseph H. G. Barber, Nellie Brook, Horace Day, Editn Howard, Elsie Houghton, Fred Marshall( Ernest Morton, Leslie Parker.

Players in the Mumming Play: Christine Hellawell, John Kemp, Richard Kemp, Tony Parker, Neville Roberts, Christine Strange,

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4 cast in mind, and providing their ideas coincide with those of the Producer, and his should be the final word for his interpretation of each character will appear on the stage, and providing the players are avail- able and willing to play, then this task is comparatively easy. Scripts are issued by the Librarian, and the Play becomes the sole responsibility of the Producer. Meanwhile the General Committee, having fixed dates for production, the Business Manager engages the hall, the Publicity Manager plans his advance publicity, and that indispensable trinity of unsung backstage heroes—Property Master, Prompter and Sound Eifects—receive their appointments. The machinery of a Major Production is in motion. Different Producers vary in their approach, here is the general pattern of my cwn. To take the play and work out from start to finish every necessary physical movement, then together with the Stage Manager to devise and design a stage setting wherein all such move- ments are possible, discussing details of design, period, and taste of the varicus appointments, relating all things to the Play, and our own peculiar stage, so that the whole may be an authentic and artistic setting for our finished picture. | The Stage Manager, armed with the resultant Blueprint and his own boundless. enthusiasm, hies himself off to the Workshop, there, along with his Stage Staff, that energetic band of craftsmen, artists and good, honest to contrive and build all the necessary flats, doors, windows, fireplaces and! backeloths, and for two nights a week until showtime they have plent sand to spare. For the Electr ican, the must then prepare a Lighting Pict, a full and detailed c call ot he required, leaving the expert to” work out tc acco ere 3 Next to co al sue division of the Stage Staff specialising in the art of stage decoration ,discussing colour schemes, soft furnishing and crnamentation, deciding on the right furniture in period ,taste Ba style, so that everything creates and blends with the atmosphere of the Play. Remembering that all such furnishings, if at all possible, are constructed in the Society’s Workshop, borrowing being the very last resort. ane Property Plot must now be prepared, listing every single article or ‘‘ Property ’’ that will be handled by the Play ers, that. is in anyway on or off-stage, essential to the business of the Play; stating when and where each item must be set, which Player will use, ‘and when to take away, so that every detail is to hand at the precise moment in the action of the play. No matter what the source, Property Cup- board, purchase, loan or manufacture, the Property Master must collect every ‘* Prop.,’’ study their application, and guard with his life. Finally to Costume, compiling a separate chart for each character, describing in detail every change of costume that the Player, Wardrobe Mistress or Theatrical Costumier must provide. So much then to Stage Presentation; back to the Play. Whilst all this organisation has been afoot rehearsals have been progressing steadily. ; First the Producer’s interpretation of each character in turn,

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then a straight read through, next on the “ set ’’ to plot each position and movement on the stage, through the Play again working on speech, setting inflexions, the turn and twist of each line. Positions and Lines—essential both—but what follows after sets the sear, the standard of final achievement. Any Play worth the name has Characterisation; “~heme-— Subject, what it’s about; and Plot—the way it works out, the chain of events as the story unfolds. From the Player then Characterisation, the art of acting, conception, creation, sincere portrayal plus the technique to put it across. For the Producer to ‘‘ lift out ’? the Theme and point each | twist and turn of the Plot, making all seem reasonable, feasible, real. To work then in earnest, call in the Prompter, dispense with scripts, rehearsing in stages, bit by bit. Coaching and coaxing the old player, teaching and. training the new. Moulding characters, relating each to each, and_ all to ‘cemtral theme. Inventing ‘‘business,’’ pointing the li e setting the laugh. Weeks of: slogging A fortnight to go, re out and book- ing begun. Programmes € hed and the Business Manager is enrolling Programme Sellers. In the Worksh i begun, the Stage Mana;

| Call in “Proper his attendant ‘* noises r form. Straight runs from no The Week of t igs Uw: nights for ‘‘setting up industry ingenuity and skill of ssembled

in one complete Stage looks and planning are answered Comes Dress Rehear into one. For the Stage M he is going to control. Fog sie Elect ye only chance to work the full Lighting Plot. For the Play (Oo get used to Costume and the changes thereof, to become familiar with the set, and to get the feet. of the e stage. For the Producer, his final touches. His work ts nearly done. the First Night ’—the night we hope everything will come true—the bustle of dressing, the nervous chatter and the ready laugh. The greasepaint, make-up and each character is complete at last. ‘‘ Props ’’ fussing about setting first Act. Audience arrivine— it’s always a shock. " 2 en minutes. to go,’’ the Stage Manager is in charge now, the link between Front of the House, Backstage and Stage. ‘Five ta go, the, Producer m@sters the Cast and utters his last words. A cheex by ~ Lights,’ Props,”’ and to o0,) Positrons everyiiody, a last little flurry and everyone's set, °° Stage lights. bated breath, * House, hehts down.’ Mopes, dreams, aspirations, this ‘is it. ‘“‘ Curtain Up,’’ and the show is all yours.

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THE SOCIAL “SIDE LUCY BEARDSELL and NELLIE’ BR@OK

Hie Play Reading and Social Committee are responsible for all socials, and the organisation of the various events which take place every Tuesday evening. From the earliest days of ‘the Society, Tuesday evenings have been kept as a club night to attract ALL members, but especially those who have no desire to act, but who are interested in plays. A three-monthly programme is drawn up and sent to all members, so they are kept informed of all activities, and for those who cannot come regularly this enables them to make a ‘note of everything of special interest. The reading and discussion of plays are very popular. Talks on various branches of dramatic art; criticisms of the public perform- ances, and Green Room Shows are all arranged for Tuesday evenings ‘Tea and biscuit are senvedsat, for which we charge 6d. Whilst money is not our prin | proud to say we contribute a fair share tov of t We give yearly about £20 to the AC ni, and | largely responsible for the by 3 ublic productions. ven | ns are an important part of the 1, and seats booked for | to. the players. These

parties 7 ast and are amongst some of the | pattern year by year. A Christa hristmas when the

yy members, charades, bonfire with fireworks In the summer nembers declare we never

programm ames, (ere. and ) we have a garden have a fine day we" If you are in welcome, and we’re sur :

Lhe, 's activities you will be very agi ee we do try to cater for everyone.

OUR BIRTHDAY GIFT TO YOU

O CELEBRATE our coming of age we invite a number of patrons to be guests at each of our next season’s productions.

On the front cover of this booklet is a lucky number. These

6 »)

numbers will be drawn and announced in ‘‘ Express ’’ advertisements and Programmes for our production of ‘* Home at Seven,’’ in March. Holders of booklets bearing identical numbers are requested to produce these at our booking office Messrs. Kemp’s Hairdressers, Hellowgate, Holmfirth, together with their name and address. Lucky patrons will then receive their free tickets by post prior to each of the season’s productions. Hoping that you might be one of the lucky ones, and wishing aii our patrons many happy returns to our shows

Yours most sincerely,

THE COMMITTEE.

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“THE GREEN-ROOM SECTION”

1. tits. BARBER E ARE often asked, “‘ What is this... Green-room ’ we. héar so much about ? The definition is a room in which actors actresses wait during the intervals of their parts,’’ in other words, a room to which, strictly speaking, the general public have not access! Our green-room has, of course, always been the ‘‘ club room,’’ and in it we have given many performances of plays strictly for the benefit of the members of our Society—new players have been “‘tricd out produce. nd sorrows) of new stage all get their oy: out.af a green-rog | not the fear of a p “especially for the nervy type @ given

v9,

by our. Society ala nding success, but always : of members willin eal for members ¥@ you

have hidden abilit me, the green-roor the chance! Ree Tinker’s Weddir miore recently 14 think we can clat exceptional

Pads ot

EE xperimental p production of the Chinese | past the burlesque of ‘‘ Le House With The Twisty Windows,’’ ‘‘ Trip fo B Jisdom ”’ all started as green-room and wéte o | ards as open produc- tions—in most cases without alteration in cast or producer—proving, despite the lack of experience in many cases, that the Green-room Productions are indeed the birthplace of the Sotiety’s achievements,

ber the outdoor f° and in the dim

The green-room section now ;rossesses a working committee of three members : J. H. G. Barber, E. Coldwell and J.. Day—any -of these will only be too glad to hear fon} persons willing to take part in green- room productions, produce shows, or stage thers. We have our own special green-room stage and settings, and our own lighting equipment, in fact, we have everything the has for its open prognc tions only ona smaller scale. ney along! Have a go!

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Page 18

A WORD FROM. THE SECRETARY Dear IRSTLY, may I thank you for your support, and express the hope that everyone has found something of interest) within this It may have surprised you to find that there are so many sides to our activities; if so, I hope that you will have been encouraged to come along and join in whichever may interest you: ALL talents have their place in the Society; but I appeal particularly to the would-be actors among you for, surprising as it may seem, out of 2 membership of ninety, only thirty are actors. Out greatest need is for YOUNG PEOPLE and«MEN! There should be many interesting: events in this, our year,

so why not swel a and he | rake it. & Year i. remember? S > ¢ leas ite to me or come alone to our Club- 1 7 : clock——when you will be sure of for adults, 2/6

for thos assurance that we will enc ie in the future.

'N ( Hon. Sec.)

for membership, i BUT THERE 2h WOULD, BE LIST. Appli- 7 Vendale, Cinder- hills Re \ ctoria Square (over

Bower i n-room productions are evenipe ar 8-0 p.m. i STAGE CRA a Members” si Stage staff a beg)

on. tion, pain ing the Stage Manager Phone 385, or any m

WARDROBE AND DECO | i The Society welcomes Sth and aecessories which lend eee? for adapting to stage oe furnishings, etc. Mra, Mellie Brook, Adeline Terrace, Hinchliffe Mill, Mr. Harold Newsome, 16, Burhouse Street, Honley, will be pleased to arrange for collection. Messages by should be Mnade to the Secretary, Phone 38, or the Publicity Manager, Mr. Wylbert Kemp, Hollowgate, Holmfirth, Phone 560. STEWARDS Ladies and gentlemen wishing to act in the capacity of Programme, Door and Seating Stewards are requested to forward their names to the Business Manager, Mr. George Taylor, Cinderbank, Holmfirth. PLAYS FOR PRODUCTION The Society is always pleased to consider suggestions for the plays you wish to see, It will be appreciated that suitability of our stage, the players available together with many other factors govern selection of any particular play. You may rest assured, however, that any suggestions forwarded to the secretary will receive most careful. consideration.

ie

erin: Road, Ho! mittee,

a

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“LOOKING BACK AND FORWARD. OR all our members, particularly those of us who were founder members of the Society, this is a great year. We have reached eur majority (of which this brochure is a memento) and can look back, perhaps with notalgic memories, on the trials and triumphs of seventy-four productions. It seems such a short while ago that the ‘ Express’’ announced the birth of lusty ms That: infant was, indeed, the Holmfirth Dramatic Society, and many I

nembers, can look. back with pride on their endeayours to help” rear the i fant in the struggle to reach its coming-of-age. T here ‘were times would have died but. for the “self-sacrifice and devotion. of” ‘the: lovers of drai ; who were determined that Holmfirth | should eat ich it pis be proud. Wi

The ou t vi r programme, details. of which Ww presentation of - this, our birthda manager, have | had ‘the privilege impossible to mention “everyone by opportunity of thanking all the mé make this brochure something to bone ae a et

our - 1951-52 on also the

Habry Prideaux, ey, cane lt ap ei Norman Haigh who lost his life in a tragic air Also the tuition of our first producer J. T. Buckley, and the i inspiring chairmanship of our late

President, Carlton Taylor?

] would also like to thank the many people who have helped bur publicity by exhibiting posters and talking about our productions, and finally the public who have so.loyally supported us. May we count on your support until the day we celebrate our GOLDEN JUBILEE in 1980? This is looking well ahead, but with your encouragement the Holmfirth Amateur Dramatic Society me still be a vital force presenting drama to. the people. you again, Yours faithfully, WYLBERT KEMP Publicity

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a, VME

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