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Radio Days – The Golden Age of Wireless
by Theatre Workshop Coulsdon

Gallery Review

Tune in to Theatre Workshop Coulsdon this March, and be transported back to a time when a young Princess Elizabeth was about to become Queen, the British Empire still covered the pages of your school atlas in pink, Dan Dare was the pilot of the future, and Dick Barton was Britain’s finest secret agent. In the post-war years, before the real coming of television, families would gather around the wireless to be informed, educated and above all, entertained. A magic combination of sound, music, voice and a sense of wonder spirited the listening nation to far-off lands, distant times or sometimes just around the corner. Bold adventure and stirring drama rubbed shoulders with surreal comedy. TWC’s ‘Radio Days’ is an affectionate recreation of those golden years of British radio, showcasing a series of short plays evoking the atmosphere of those times, with live music and live sound effects. An evening of laughter, songs and suspense*. Come along, and bring your imagination with you… *See the Radio Times for details (a pre-1957 edition that is).

Cast

Studio Manager
Barry Ring

Announcers
Bruce Montgomery and Paul M Ford

‘Slaves of the Sultan’ by Richard Lloyd

Felicity Buff-Orpington, wealthy heiress and socialite
Dawn Ford

Daphne Chichester, middle-class grammar school gel
Georgia Brooks / Rebecca Blanchard

Morag McGovern, working-class ladies’ maid from the Gorbals
Hannah Montgomery

Roger Burke-Moseley, a stalwart chap
Connor Nestor

Selim Jiz, a harem keeper
Tim Young

Kaesh Al-Gabouti, a pander and ex-public schoolboy
Joe Wilson

Sound Engineer
Luke Argles

‘Wrong Number’ adapted by Paul M Ford from a script by Don Negri

John Miller
Mike Brown

Phoebe
Eleanor Bowie

Gill
Emily Brown / Georgia Brooks

Sound Engineer
Luke Argles

‘The Night Mail’ by W H Auden

Read by
Dawn Ford

Sound Engineer
Luke Argles

‘The Crossroads’ adapted by Richard Lloyd from an original US Radio script

PC Daniel Seward
Connor Nestor

PC Tom Fallon / Sheriff
Joe Wilson

Sgt Alf Wheddon
Mike Brown

Inspector Eldon
Barry Ring

PC Pearce / Executioner
Tim Young

Rosie Fallon
Indianna Scorziello

Doctor Brewer
Bruce Montgomery

Hannah Fairfax
Rosa Ruggeri

Angry Villager
Aldo Piscina

Old Woman
Emily Brown

Sound Engineer
Chris Argles

‘Reginald Rare – Rocketeer Extraordinaire! (In the 21st Century)’ by Sean Young

Reginald Rare
Bruce Montgomery

Oliver ‘Oily’ Wragg
Barry Ring

Dr. Mary Honeydew
Hannah Montgomery

Pierre Devereaux
Luke Argles

Bruce McKenzie
Joe Wilson

The Evil Veneer of Venerea
Georgia Brooks

Sound Engineer
Mike Brown

Agatha Christie’s ‘The Lamp’ adapted by Paul M Ford from a 1933 short story

Narrator
Chris Argles

Mr Raddish
Barry Ring

Mrs Lancaster
Rosa Ruggeri

Grandfather
Tim Young

Geoffrey
Emily Brown / Carmen Rita

Doctor
Connor Nestor

Sound Engineer
Mike Brown

‘Murder at Monford Manor – A Harrison Harrison Mystery’ by Joe Wilson

Harrison Harrison
Luke Argles

George Monford / Sergeant Constable
Sean Young

Malcolm McIntosh / Jacques Lapideux
Bruce Montgomery

Lady Wilhelmina
Rosa Ruggeri

Arabella Delafontaine
Indianna Scorziello

Producer
Barry Ring

Sound Engineer
Hannah Montgomery

‘The Weather Forecast’ by Les Barker

Read by
Bruce Montgomery

The BBC Very Light Orchestra
Dawn Ford
Jeannie Lewis
Keith Lewis

Behind the Scenes

Overall Production and Direction
Paul M Ford
Dawn Ford

Set Design and Construction
Mike Brown
Steve Harris
Andy Hall
Chris Argles
Barry Ring
Paul Ford

Costume and Properties
Dawn Ford
Kath Dawes
Mike Brown
Paul Ford

Lighting Design and Operation
Steve North

Sound Design
Simeon Dawes for the Shadow Gallery Radiophonic Workshop

Sound Operation
Julie Montgomery

Original Artwork
Sean Young

Poster and Programme Design
Paul Ford

Publicity and Marketing
Paul Ford

Production Photography
Steve North
Paul Ford
Dawn Ford

 

Review by John Gass, for The Croydon Citizen

Having enjoyed Theatre Workshop Coulsdon’s previous production of The Producers, I signed up for news of future projects. Normally I prefer to attend a show close to the final night so the cast and crew have time to find their feet but, on this occasion, I opted for the first night so that I could write this review for the Citizen.

The theme of the evening was chosen to celebrate the seventieth anniversary of the BBC Light Programme, which took to the airwaves in 1945. As such, it promised us light entertainment in the form of eight pieces mixing melodrama and comedy, linked together with live performances of music from the 1940s and ’50s. So nostalgia for some but, with the advent of BBC Radio 4 Extra which re-broadcasts a wealth of gems from the BBC archives, an evening promising fun for all.

On arriving at the theatre, I received the same warm welcome that greeted me last time and my ticket was efficiently logged by a very junior member of the front of house team – it’s nice to see that the next generation is already being trained! I chose my seat and sat down to read through the beautifully designed programme (and here a note to the lighting crew – keeping the house lights low certainly adds to the ambience, but it does make reading the programme a bit of a struggle!).

This is a theatre company which refuses to play it safe!

Printed to resemble an old copy of the Radio Times, the programme notes also pointed out that most of the show had been written by the theatre company, with several writer/directors making their debut. This is a theatre company which refuses to play it safe!

The set designers and constructors had, once again, produced a very convincing setting which perfectly caught the feel of an old wireless studio. Radio presenters were in dinner jackets and evening dresses too – it takes a lot of effort to achieve this level of professionalism.

The show opened with a rendition of Ain’t Misbehavin’ – a perfect mood-setter, ably sung to the accompaniment of the ‘BBC Very Light Orchestra’; a great name for the trio of musicians of high standard who certainly helped to move the show along.

Some great performances and an enjoyable evening

The concept of the show is, in my view, both splendid and original, but it does create certain challenges which would not be present in a more traditional play. One danger is that any show consisting of eight separate pieces might come across as being fractured rather than a coherent whole. One act play evenings avoid this by completely separating performances, but here the intention was to provide a continuous flow, with one piece running into the next, linked by a song and on-stage background action. This, in my view, didn’t always work and I found myself having to pay closer-than-usual attention to make the mental jump between the separate broadcasts that each item represented. Perhaps, in addition to the individual directors responsible for each piece, it would have paid to have an over-arching ‘executive’ director.

Another challenge facing the performers is to appear to be reading from the scripts they are holding whilst actually delivering their lines in a convincing, lively manner. I enjoy attending BBC radio recordings – I recommend them as a great, and free, evening out – so I am familiar with the way this works and, whilst the cast had the method down to a tee, I couldn’t help feeling that some were still too reliant on the printed pages in front of them. Knowing the calibre of this theatre company, I suspect that a slightly temperamental sound system, along with first-night nerves were to blame, but it did slow things down a tad. Having said that, there were still some great performances and more than enough to make for an enjoyable evening.

I greatly prefer TWC’s creativity and flair to bland uniformity

I’m aware that I’ve avoided naming individual performers, particularly those I could easily single out for praise but, given that this was opening night and a celebration of the company’s emerging talents, I think it would, on this occasion, be invidious to do so. But it would be remiss of me to not report that the evening builds to a great conclusion with the gloriously deranged Murder at Monford Manor – A Harrison Harrison Mystery, followed by a rendition of Les Barker’s hilariously inventive and slightly surreal The Shipping Forecast.

So, a few rough edges, but a show which has great promise, brought to us by an inventive, enthusiastic and highly professional company. I’m trying to think how best to phrase my final summation: I think it’s like judging a top restaurant against a chain carvery. Whatever slight reservations I have, I’m judging to a very high standard and know I’ll always prefer flair, creativity and pushing boundaries to reliable, often bland, uniformity. Theatre Workshop Coulsdon eschews playing it safe and I applaud them for this. And yes, I am already looking forward to their summer production – Much Ado About Nothing, to be performed in an open-air setting at the Coulsdon Manor Hotel. See you there!

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