Silchester Players

Silchester Players presentation of the pantomime Robin Hood, written by one of their members Malcolm Flemington, is a brilliant piece of colour, wit and ingenuity, and serves as a model as to what can be performed in a village hall lacking all the trimmings to constitute a theatre.  For me, the chief reminder that I was not sitting in a more sophisticated surround was the hardness of the chair.

Robin Hood is a mixture of ancient and modern, for we introduced not only to that redoubtable legendary hero and to King John and King Richard, but see a startig pistol produced and watch all the techniques of modern theatre with the grotesque opening of the second act with figures cavorting around in the forest illuminated in the darkness.

But in pantomime the passage of time does not count, with all things possible for ingenious directors and script writers.

Co-producers Barbara Fairbrother and Janet Taylor, who are so often seen in productions at Silchester, have done a first rate job and have made the most of Malcolm Flemington's wit.

He also makes a fine contribution as Arrow, who, with his confederate Allen Betts as Bow, scores a hit with a surprising Punch and Judy show.

Paul Kelly is a very supple Robin Hood bounding on to the stage as if he was dropping in from the skies without a parachute.  The real quest of his mission is the beautiful Maid Marion played by the very attractive Queen Mary College student Jacqeline Bootman who is also the possessor of a sweet voice.

The nasty man of the show, always strictly in character, is John Davis as the Sheriff of Nottingham and for a partner in crime he has Ron Nelhams as the Earl of Leicester.

Ian Keetch, in his red and green costume, is Will Scarlett with Nigel Clarke as Little John — really is 'Big John'.  Brian Hope looks a most impressive Friar Tuck.  Ian Davenport is King John and Len Drinkall King Richard.

Often, a small part can be a very rewarding one in stage productions, and this is very true with Janice How using all her abilities as an actress to the jailer.  Janet Hope and Mary Fenner do all that is required as Agravaine and Grizelda.

There is a lovable cow in Buttercup and a real grizzly bear who terrorises those on stage and in the auditorium.  One of the innovations is an amusing crossword quiz but the greatest laugh comes when the Three Dungarees appear to take off the Three Degrees.

The scenery is very picturesque, especially that painted for the forest scene which has been brilliantly conceived and in which the junior chorus plays its part.

There is also a chorus of ladies, villagers, lords and merry men who are very effective in their supporting roles.

What is so good to know is that the residents of Silchester and surrounding area gives such fine support to the local company for practically everyone of the six performances has been a sell-out.  This the company well deserved.

Robin Hood closes tomorrow when there are matinee and evening performances.

Silchester Players presented their very own version of "Robin Hood", with an original script by Mack Flemington, and original music and lyrics by Stephen Oliver, and a highly entertaining production it proved to be.  Whilst leaning toward an adult humour, there was plenty for the kids, both in content and spectacle.

With tongues firmly in cheeks the characters romped their way through the witty script delivering their lines with aplomb and humour.  Paul Kelly as the title role came springing onto the stage, and played his part in an off-beat though successful way.  Jacqueline Bootman made an attractive Maid Marion, with a singing voice I would have liked to have heard more of.

The Band of Merry Men — Friar Tuck (Brian Hope), Will Scarlet (Ian Keetch), and Little John (Nigel Clarke) proved an impressive back up to the indomitable Robin, and all extracted humour from their parts.  Bow and Arrow (Allen Betts and Mack Flemington) deserve special mention; not only because the latter is the author of the script, but for their easy and humourous manner and the professional way in which they handled the audience.  The many other parts (some small but by no means less important) and the chorus all perfored with enthusiasm, making the panto go with a swing.

The scenery was artistic and efficiently changed, although continuity was poor between scenes — music would have been enough to keep the action going.  In all other respects, it was all harmoniously presented with attractive, co-ordinated constumes and effective lighting.

Stephen Oliver's music, was catchy; particularly pleasing was the duet between Robin and Marion.  In fact I came away feeling, that the highly original music had not been fully exploited in the show.  However, to write an original script, and compose music especially for it is not easy.  To realise this as a theatrical production is a challenge, and Silchester Players must be thrilled at the result.  My compliments go to Directors Janet Taylor and Barbara Fairbrother, and to all concerned.

The next production to be staged by the Silchester Players is 'Robin Hood,' which has been specially written by two members of the group.

Mack Flemington wanted to write a pantomime with a strong story line for the Players, and so chose Robin Hood.  He began writing the script five years ago and he completed all but the last scene in five weeks.  However, the final scene was not written until nearly two years later.

Following Mack's script, Stephen Oliver wrote an original main music score to go with it.  He wrote six songs to go into the pantomime, ranging from a 16th century folk song to a love duet between Maid Marion and Robin Hood.

The result is a traditional but original pantomime which will be held at Silchester Village Hall on January 24/25 and January 31 and February 1 at 7.30 pm.  Saturday matinees will be held at 2.30 pm.

Tickets are £2.50 for adults, £1.50 for children and OAP's, and are available from Valerie Hyde on Silchester 700349.

The Silchester Players' 1986 pantomime will be 'Robin Hood'.  The zany, yet believable script, has been specially written for the group by one of their members — Malcolm (Mack) Flemington — and the main musical score has been written by another member, Stephen Oliver.

Mack Flemington wanted to write a pantomime with a strong story line and this he has achieved with 'Robin Hood'.  He began writing this script five years ago and mananged to complete all but the last scene in a matter of five weeks.

The last scene was written some two years later.  He has submitted this script to the National Operatic and Dramatic Society along with a second pantomime, namely 'Dick Whittington'.

NODA have subsequently asked Mack to consider writing a play about 'Flora Dora' which was first published in approximately 1899 and the copywright for which has now lapsed.  The idea being to put it out as a musical for the professional theatre.

A third pantomime is also in the throes of completion but, due to lack of time, Mack is yet unable to complete the script for 'Goldilocks'.

Meantime, Stephen Oliver decided that, following Mack's original script, it would be a good idea if an original musical score could be provided to go with it.

He has subsequently come up with six songs to go into the pantomime, ranging from a 16th century folk song to love duet between Maid Marion and Robin Hood.

He has also gone into the realms of modern music and written a 'Rap' for Will Scarlett.

I am told that this is not a cloak in which Will wraps himself, but a form of jive talking, performed over the music!

With his experience as Conductor of the Hurst Centre Choir, Stephen has come up with some varied and lovely songs which should please people of all ages.

'Robin Hood' will be performed at Silchester Village Hall on January 24-25 and January 31 and February 1.  Inquiries Silchester 700349 or 700431.

All the thrills of high drama are to the fore in the splendid presentation of Francis Durbridge's 'Suddenly at Home' being staged at Silchester Village Hall by the Silchester Players.

Produced and directed by Mary Fenner the story, with its sinister plot, is so realistic that one becomes impatient to know just what will finally happen — this is always the sign of a good play well presented.

It is not a 'whodunnit' for we, in the audience, see it all.  What is so fascinating is to watch how the plot to kill Maggie Howard is perpetrated so cunningly and how the murderer meets the end he deserves, meted out by rough justice.

Keith Graham as the arch-fiend Glenn Howard is the murderer and I liked Keith's approach, acting as if covering up a crime is one of his specialities in life.  He finds a good confederate in Sheila Wallis, played so very well by Bryony Paton.

But even the most trusted ally can turn sour and Sheila certainly does.  Wendy Roper is only seen briefly as Maggie Howard but she plays her part effectively, but far more is seen of her sister Helen Tenby characterised by Janet Hope who appears very natural in the part.

I very much liked the businesslike manner of Brian Hope in the part of Sam Blaine, Maggie's former lover, one who is so confident in his whole approach and who holds a key to the whole plot.

But those seeing the last two performances today and tomorrow will have a surprise in the role played by the au-pair Ruth Bechler with Judith Ifould portraying the part with the minimum of fuss, but to great effect.

Tim Oliver as Appleton is the efficient detective displaying an air of indifference to sentiment in his cross-questioning.  There is also Len Drinkall in the part of another police officer, Superintendent Remick – or is there?  Patrons at the two final performances will find out.  They will surely agree, however, that he is a smart Alec.

Having seen the play one cannot but ask "To what extent will a man go for the fascination of a woman?"  The play had been well rehearsed and as regards continuity it was good except for one lapse during the opening night which I attended.