Past Productions -
1968-1971
The policy of
performing works of a more serious nature from time to time
having proved so successful, it was decided to perform
Mendelssohn's 'Elijah' in the Town Hall for two nights in
April, 1968. Once again, the audience left the Society in no
doubt as to their appreciation of the performance. The
accompaniment was played, as an experiment, on an electronic
organ. The general feeling of those concerned, however, was
that oratorio gained from the atmosphere of a church.
The critics,
however, were unreserved in their praise. 'With the first
glorious rising notes from the chorus', said 'The Gazette',
'it became obvious that the Hitchin Thespians' production of
Mendelssohn's 'Elijah' would be a resounding success.'
'How do
Hitchin Thespians do it?' asked 'The Pictorial', in a
passage strangely reminiscent of a pre-war Press opinion,
quoted earlier 'Each production seems to be their best yet,
and then they surprise us all by achieving even higher
standards the next time.' For the November show - David
Henecker's 'Half a Sixpence' - the Thespians had engaged
Margaret Boyie as producer. She, however, finding unexpected
difficulties in fulfilling her commitments, asked to be
released from her contract and suggested that Sadie Sydney,
a. professional dancer turned producer, might be available
in her place, as, indeed, she proved to be. 'Half a
Sixpence' was just the show for the moment and the
enthusiasm of those who saw it was echoed by Keith Dobney in
the 'Hertfordshire Pictorial' who wrote 'Definitely one for
the album of Hitchin Thespians (who) . . . put the whole
thing across with terrific verve.
So to March,
1969, when the Society gave performances on two nights at
the Town Hall of Carl Orff's exciting and challenging 'Carmina
Burana', preceded by a first half of operatic excerpts. If
the audience had been attracted by the promise of the
operatic excerpts rather than the then comparatively
little-known German work, they were certainly stunned and
delighted by the impact of 'Carmina', to such an extent that
they gave it a standing ovation.
There followed
in November, at St. Francis Theatre, a production by Sadie
Sydney of Bizet's opera 'Carmen'. This was the Society's
first full stage production of a Grand Opera. All parts were
cast from within the Society - no mean achievement - and
every seat was sold. Even the most faithful supporters of
the thespians' wondered if a work of this scope would not be
too much for an amateur company. In the event, 'Carmen' was
an outstanding success and the Society's confidence was
confirmed by no less a person than a trustee of the Royal
Opera House, Covent Garden who, having seen the performance,
declared it to have been one which would not have disgraced
a professional company.
Certainly such
enthusiasm was much appreciated by the Society and the new
President, Muriel Bendail, who had succeeded to the office
vacated by Keith Guyton earlier in the year. Muriel, a much
loved and respected member, had been actively associated
with the Thespians since joining them in 1926. She had been
a principal in many shows - her last appearance on the stage
being in 'Orpheus in the Underworld' - as well as being a
hard-working member of the committee and the Society's Stage
Manager in a number of productions, and her appointment was
universally welcomed. Thus encouraged, the Thespians
presented Eigar's 'Dream of Gerontius' at St. Francis
Theatre, for two nights in March, 1970, with an orchestral
accompaniment. Laryngitis forced the withdrawal of the
baritone soloist at a late hour and a young singer from
Glyndbourne, lan Caddy, took over the part of the Priest at
the first performance without a rehearsal.
The autumn
show, produced in November by Sadie Sydney at St. Francis
Theatre, was in sharp contrast to the previous year, being
the colourful and exotic 'Kismet', with music based on
themes from the works of Borodin. It proved to be a popular
choice and demonstrated the Society's versatility in
unmistakable manner. It also offered a unique opportunity to
some members of the British Aircraft Corporation's
Weight-Lifting Club, who acted in the show as litter-bearers
for the voluptuous Lalume. It was now some years since the
Thespians had performed any of the Gilbert & Sullivan
operas, at one time their basic repertoire.
The need of a
new format for the spring concert was also felt. Vera
Mallett, as indefatigable as ever, undertook the task of
arranging and producing a programme of the best known works
of Gilbert & Sullivan in a presentation called, simply, 'The
Story of Gilbert & Sullivan'. This was given to an audience
seated, for the first time, at tables, in Hitchin Town Hall
in March, 1971. Richard Whitmore, the BBC news-reader, acted
as narrator. As well as the Savoy operas, 'The Lost Chord'
figured on the programme, as did what must be one of the
most full-bodied renderings of 'Onward, Christian Soldiers'
ever to have been heard in the town. Not all the members
were convinced of the box-office appeal of the music, but
the public quickly demonstrated the undiminished attraction
of Gilbert & Sullivan. At the end of the first day of
booking, request for tickets far exceeded the number of
seats available. The lack of tickets gave rise to an article
in the newspapers and street-interviews' with the
disappointed. The Committee, making a series of rapid
decisions, re-shaped the booking arrangements, added two
extra performances and thus enabled all - or nearly all -
its eager public to see the show.
Nor was the
October production of 'The Merry Widow', by Franz Lehar, at
St. Francis Theatre, any less of a success. The first sight
of the colourful and glittering opening scene of Act I gave
rise to spontaneous applause from the audience. The show was
performed to full houses and proved to be a most happy
introduction to the society for the new producer, Bill
Patenall. One member of the Saturday night audience provided
a direct link with the composer, whom she had known when he
lived in Vienna.
Bill Patenall,
a teacher of drama in the Bedford area, came with an
impressive record. Awarded the Clifford Bax prize as
Producer of the Year at the Royal Academy of Dramatic Art,
he had played in repertory all over the country, as well as
appearing in television drama and musicals.
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