HISTORY of the GROUP

Although there is no record of it, it seems quite possible that some Anglo-Saxons living near this Stoney Ford whiled away some of their time in mumming. Oral tradition tells us that the Thespian Art was certainly alive and well, however, just before the Second World War. Practised by the Women's Institute of the village, it brought entertainment to local people two or more times a year. At that time, performances of one-Act plays, often accompanied by a turn by the Choir to fill up the programme, were given in the W.I. hall, a wooden structure which used to stand to the east of Church House.

Production in the early days was carried out by such as Maggie Sanderson and Molly Davison directing, naturally, all-female casts, which included from time to time Annie Barron, Agnes Baty, Evie Bolam, Connie Dodds, Effie Alexander, Vicky Meek, Maureen Clarke, Brenda Huntington (now Rutter), Magaret Telfer, Alice Wilson and Irene Eggleston, the last two of whom are still part of the Drama Group. In spite of staging limitations, for one shilling or one-and-sixpence, a good evening's entertainment of 'One-Acter', sketches, monologues and songs could be had. With the formation of the Adult Association by the Local Education Authority, outside producers could be provided and some productions were even put into local competitions. Audience numbers were high - Bill Telfer can remember on one occasion collecting as much as £10 at the door!

A new era began in 1974 when the Village School building, having been replaced, became the Village Hall. Here was a chance for expansion which was soon to be taken up.

It started with an Old Time Music-Hall staged specifically to raise funds to help run the new Hall. Irene Eggleston led the planning of an evening of sketches and songs, which now involved several men from in and around the village. At this point, staging was still limited - we made much use of draped curtains as backdrops - but now there were full stage-front curtains, portable footlights provided by the Clarke Brothers and a pastel-painted scene on the upstage wall reminiscent, it was hoped, of music-hall scenery.

The success of that production spurred the participants on to greater things, and so, Stamfordham Drama Group was formed with Irene as 'resident' director. Many of the original W.I. members remained, but were augmented by Bill Telfer, David Wallace, Frank and Simon Parkinson, and later by Bob Clemitson and me. Eleanor even brought Gordon along, but somehow he lost his opportunity to say very much! ('In' joke - ask an older member!)

The increase in available characters meant a broadening of programmes. There were still general entertainment evenings - often including an excellent supper - which were arranged to raise funds for specific things, but now the Group could get its teeth into Really Dramatic Productions. And so we became (locally) well-known exponents of the Lancashire Farce, which encompassed what might be called 'straight comedy', with its location anywhere north of Watford Gap and accents from stage Yorkshire to Ashington Colliery. There is still a nucleus of members whose favourite will always be When We Are Married (first version).

Other productions which were dramatic milestones are, firstly, Cinderella because of the sheer ambition of it: not only did we have to import a musical director (Alan Sleightholme), but we shudder even now at the prospect of twelve scene changes in three hours. Still, it was worth it, seeing an audience each evening packed literally to the window ledges.

Secondly, Murder at Deem House is often remembered both because it was directed by an ‘outsider’ (Rita Arnell) and it was the first serious play we had ever done. Nevertheless it went down well thanks to strict direction and good staging. It might be appropriate to enlarge on this latter, which is one of the Group’s strengths which has grown over the years.

Although the content of a straight play, such as Dear Octopus, may not have the audience rolling in the aisles, the stage management, a delegated operation, has given the finishing touches which ‘make’ the production. As lighting became more diverse and controllable, make-up had to keep pace with it under the careful ministrations of, originally, Irene, then Jan Sowerby and lately Carol Aitkenhead. Although there have been occasions over the years when costumes have had to be hired, by dint of careful collection and organisation (and often Rose Stanley’s slaving over a hot sewing machine), the Group is usually able to clothe itself. Scenery has changed from the early days when I used to knock scrap hardboard and roofing laths together and paint Disney trees on. Now the semi-permanent sets are designed and built by Gordon Smith and were painted expertly and with great effect by Shirley Neill. Finally, there is that last touch which turns a stage set into a home. Most of the props we use have usually been provided by Margaret Telfer from her own home. During the week of production, any visitor to Mainsbank may find himself lounging on an upturned bucket or eating off an oil-drum, because Margaret and Bill have donated their furniture and knick-knacks to The Art.

Life has not always been smooth. Perhaps we should not wish each other "Good Luck", nor mention Macbeth by name, just to prove to ourselves that we are not superstitious. Then we might not end up missing out anything from an odd line to a whole page, or totally losing an exploding umbrella. (Did the audience notice?) Or Sailor Beware! might not have contained an extra piece of ‘business’ when Howard Griffiths, during a frenetic, round-the-stage chase of a drunken Bill, managed to gash his hand on a broken vase. The next five minutes were fraught while backstagers tried to get a tourniquet to him to reduce his blood’s being applied liberally to all parts of the set.

The final problem is simply the way some of the older members are unable to learn lines easily any longer!

D.M.Stanley - 1989.

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