PART TWO 1986 - 2000

"Battling On"

By

ERIC STEVENS

1990: WHERE HAVE ALL THE PEOPLE GONE?

Diary

January: 12^th Night party, play titles theme.

February: Mini-panto "Jack Robinson's Cruise"; "And A Little Love Besides".

March: Club: reading "The Militants"; AGM; Jumble sale.

April: JAMBATS: Parents evening; National Theatre visit for "Sunday In The Park With George"; Lent play "In Three Days"; "The Lady From Maxim's"; Aristobats at the Gateway Club; Club: Words and Music.

May: Club: reading "Who's Afraid Of Virginia Wolf?"; "The Militants".

June: Club: reading "Anastasia".

July: Barbecue; JAMBATS drama workshop; Actors meeting; Visit to Minerva Theatre, Chichester, for "70 Girls 70"; 'Mad Jack' ramble; "A Midsummer Night's Dream".

August: Bexhill Theatre Supporters Club Garden Party.

September: "Worm's Eye View".

October: Club: Soiree; Barn Dance.

November: "Anastasia"; Jumble sale.

December: JAMBATS: "The Thwarting Of Baron Bolligrew"; Club: Workshop: 'Music and Movement'.

All societies have their troughs and their highs when membership falls or rises, and the BATS has been no exception. In the 1990's, fortunately, our numbers remained fairly constant, but not so our audiences. 1990 saw a decline in attendance at our shows, for no apparent reason. Can it be that new residents come to the town and indulge in what is on offer for a few years and then lose interest, or, more likely, become housebound or die, and we have to wait for a fresh influx? Whatever the cause, comments on our 1990 activities include "low turnout", "rather limited audience", "modest profit", "fair number", "small number" and "the audience might have been larger". The May production, Norman Holland's "The Militants" directed by Gordon Leonard, was particularly disastrous, having the lowest attendance for any production in recent memory. The theme of the play, the suffragette movement, failed to appeal and we made a loss of £169. We were not helped by an adverse notice in the local paper which implied that virtually all the cast were incapable of performing at the De La Warr. The Entertainments Manager of the Pavilion was concerned about the play's failure, following on from last year's poorly supported presentation of "The Crucible" and he asked for a discussion on our future programmes to avoid excessive losses. The Chairman met with him once our 1991 choices had been settled, and, happily, they gained his approval.

Three other plays fell below expectations: "And A Little Love Besides", "The Lady From Maxim's" and "Anastasia", though all made a profit. At the actors' meeting in July to discuss the suggestions for 1991, it was requested that better-known plays be chosen, and certainly the titles finally agreed were ones that people had heard of and knew about: "Ghosts", "The School For Scandal", "Rock-a-bye Sailor", "The dresser" and "Beyond Reasonable Doubt" (this last was a recent commercial success by Jeffrey Archer).

"And A Little Love Besides" by Alan Plater was directed in the round by Val Major in our February slot in the De La Warr Pavilion's Elizabeth Room. There was an extra performance on the Wednesday giving a run of five. It was well received, even by some, commented Chauve Souris, "who hadn't expected to enjoy it". The production went on tour in April to take part in the Grove School's Arts week in Hastings, where the audience was affected by inclement weather. However, the visit was felt to have been well worth the undertaking, and it carried our name outside our usual catchment area.

"Fizz Fell Flat" was the headline over the Bexhill Observer's review of our April production, Georges Feydeau's farce "The Lady From Maxim's" directed by Eric Stevens. At least the critic realised what we were up against: "It is difficult for both audience and cast to work up enthusiasm for some inspired 'silliness' when fewer than 100 are scattered where 11 times that number could sit." The attendance figures for the four performances tell all: 75, 95, 153, 171, total 494. Other statistics: a cast of 25, two sets ("one of our better efforts" said the Entertainments Manager), efficient backstage crew, evocative costumes, experienced director, tremendous energy and enthusiasm from the cast, including "an example of near perfect casting" (Obs) in Maureen Taylor as the 'lady' in question - but a poor return on our investment.

In November, Joan Jeffreys directed a French play by Marcel Maurette translated by Guy Bolton, "Anastasia", the story of a woman who claimed to be the only surviving daughter or the last Tsar of Russia. It had a very strong cast, but once again the customers didn't come, the attendance being somewhere between "The Militants" and "The Lady…" Happily it ended up in the black, but we wondered whether the coincidence with Guy Fawkes Night has anything to do with the low turnout.

The 1990 picture was not entirely bleak, however. The two remaining productions were both well-known and successful, one particularly so.

To celebrate the 50^th anniversary of the Battle of Britain and to boost the local RAFA Wings appeal, we mounted R F Delderfield's famous comedy, "Worm's Eye View" directed by Jean Barnett. The author takes a light-hearted view of the trials and tribulations of a group of servicemen billeted in the home of a far-from-sympathetic landlady and her pompous son. The attendance was up on Feydeau, but, for the local critic, the fizz fell flat again: "…the pace was that of a Blackpool tram, the characterisation as thin as the marge on Ma Bounty's bread and butter and the laughs few and far between." It was not a load of laughs behind the scenes, either. Gordon Leonard had to withdraw from the cast at the last minute owing to what he called 'a mysterious virus'. Denis Brooke stepped in and, script in hand, saved - and stole - the show. Alas, he did not get his just deserts. On the opening night he slipped and fell while scrambling through a window, losing his stage wig and glasses. He simply said to the audience 'I think I'll start again'! Worse was to come. During the striking of the set after the final performance the top of a window fell on his head and he had to be taken to hospital for three stitches to be put in. He was back next morning to help with the get-out. Jean Barnett's comment 'What a trouper!' was echoed by all concerned.

"The most insipid, ridiculous play that ever I saw in all my life". No, not a press opinion of one of our productions for a change, but Samuel Pepys' reaction to a Restoration production of "A Midsummer Night's Dream". Rob Kay's production blew the dust off this Shakespearean favourite and presented it in an Edwardian setting. It was not our first non-Elizabethan version of the Bard - we had had to set out first "Much Ado About Nothing" in Napoleonic costumes as those were all we could find. Later on we put on "Measure For Measure", a play with a very contemporary theme, in contemporary dress which some people found disconcerting, but for "The Dream" the audience were not put off and made it the best-attended outdoor play we had staged so far, with over 850 admissions. There was no scenery, just two heights of platforms, one gold, one green, obtained from the Winter Gardens in Eastbourne. However effective they were, they were extremely heavy and bulky to transport, necessitating two runs. The idea was sound, and Gordon Leonard persuaded his son Christian, to build some lighter, collapsible rostra for future productions. The Bexhill Observer gave the play an ecstatic welcome, concluding "When the moon looks down over Manor Barn and Bottom brays his ass's head off to Puck's delight, there is magic in the summer air."

Around the main productions there was the usual array of satellite presentations. Eric Stevens wrote his tenth mini-pantomime, "Jack Robinson's Cruise", which brought together for the last time himself, director Denis Brooke and Principal Boy/Musical director Doreen Carter. Doreen thought it was time to hang up her tights and retire gracefully; her boundless enthusiasm and tireless energy were sorely missed, though her expertise in getting reluctant singers to sing out was called upon on many further occasions. "Jack" was enjoyed, especially the "Corn flakes" song, which Eric had 'borrowed' from one of the post-war summer shows at the De La Warr Pavilion. Dorothy Osborne directed another Lent play, "In Three Days", which was much appreciated at its five church venues, and the year concluded with the JAMBATS performing Robert Bolt's "The Thwarting Of Baron Bolligrew" at St Peter's Community Centre, well supported and much enjoyed by a large audience of BATs and parents. The junior arm of the Society had a very successful year under Vanessa Hall's leadership, assisted by Maureen Lascelles-Spry, and earlier in July they held a drama workshop with parental involvement.

Social activities included a Twelfth Night party when the Barn was packed with BATs dressed as play titles, a walk (for just two!) round Jack Fuller's follies at Brightling, two theatre visits, a barbecue, a Barn Dance and regular Club Nights. To raise funds we held not one, but two, jumble sales organised by Dorothy Osborne, took part in Bexhill Theatre Supporters Club's annual Garden Party on the terrace of the De La Warr, Gordon Leonard circulated his Christmas catalogues in the height of summer, and, after many months of cajoling orders from members, the new sweatshirts finally made their appearance in April, smartening up the membership.

The A.G.M saw some changes at the top. Marion Clarke retired as Hon Treasurer after four years and Peter Bradbury as Hon Secretary after just one (owing to work commitments). Sally Allen and Len Jeffreys were elected in their places, and the ubiquitous Denis Brooke took over publicity from Len. He produced the standard format for programme covers - blue and white covers with our motif and bold initials - and posters - a huge bat at the top with the ungrammatical "the BATS present" printed on it in white, the title, the author, director and playing dates in the middle in a distinctive colour, and the other details at the bottom in black. Denis' designs lasted for several years until modern technology gave us scope to be far more ambitious.

The Lady From Maxim’s, 1990: Mark Allen, Jane Deudney, Barbara Brock, Maureen Taylor, Jean Barnett, Jonathan Clarkson

1991: BATS, bats, AND BATs ON THE BOX

Diary

January: 12^th Night Party; "Jack Up The Beanstalk"; Visit to Chichester for "A Christmas Carol".

February: Club: "Saints & Sinners"; Poetry evening; Panto at the Barn; In the Round "Ghosts".

March: Death of John Molecey; AGM; Lent play "The Circle"; Club: Play reading; BATS in "Jamaica Inn" at the Devonshire Park Theatre.

April: "The School For Scandal"; 'Shakespeare On The Platform'; We joined the Bat Preservation Trust.

May: Club: Photo session of members; "Rock-a-Bye Sailor".

June: Club: Make-up.

July: Club: Travels with a tape recorder; JAMBATS mini festival; Barbecue.

August: "As You Like It"; Garden Party; Bexhill Theatre Supporters Club Garden Party.

September: Club: 'The Art Of Acting'; 'Spring' clean of Barn; "The Dresser"; Acting Workshop; Visit to Chichester for "Henry VIII".

October: Club: Play reading; "Beyond Reasonable Doubt"; Barn Dance.

November: Visit to Theatre Royal, Brighton for "The Cabinet Minister".

December: JAMBATS: "Snow White and the King-sized Dwarfs".

Outsiders are often intrigued by our logo, especially when it is displayed on our sweatshirts, and mistakenly believe that we have something to do with the flying mammals. In 1991, Gordon Leonard had the idea of forging a link with our lower case namesakes by persuading the Society to join the Bat Preservation Trust. We soon discovered that the last mouse-eared bat (myotis myotis) had become extinct in Sussex as recently as last year. To prevent any other species suffering the same fate we bought a bat box which we put up near the Granary Barn, but we did not attract any tenants. Items were available for purchase through the Trust's Batalogue and soon BATs' cars began to display the sticker I ¤ BATS.

Another mammal in the shape of Porcupine Pictures came in to our lives when Gordon Green was contacted by Beryl Richards who was producing and directing "Where There's A Will", a television documentary on the bizarre conditions some people make in their bequests to their survivors. Beryl wanted people to take small parts in the film (no pay!) and so on one October afternoon a handful of BATs assembled for the shooting in and around Bexhill. Eventually the programme, now entitled "After You've Gone", and reduced to just 15 minutes, was shown on channel 4 in April 1993, and viewers were treated to Eric Stevens pretending to be an aeroplane on Beachy Head, and he and Brenda Stevens (no relation) playing with toy windmills on Bexhill seafront. Poor Gordon and the other BATs ended up on the cutting room floor, but that's show business!

Early in the year we were saddened by the death of one of our active members. John Molecey, an ex-professional though on the management side of the business, died suddenly at home, just as he had been cast for a role in "The School For Scandal". John joined us for "An Inspector Calls" in 1982, and he was a popular member who fitted in to the Society comfortably, although he was surprised that we did not do things as the professionals do. He appeared in "You Never Can Tell", "Anastasia" and "The Lady From Maxim's" inter alia, and in 1989 directed "See How They Run". In his memory his family donated £50 to the Society and after much discussion two flickering electric candles and an 'oil' lamp were purchased for use on stage.

The first production of 1991 was, as usual, the mini-pantomime by Eric Stevens. "Jack Up The Beanstalk" had already been seen several years earlier, but Denis Brooke had missed directing it then as he was on his way to New Zealand. This time round, with Denis at the helm so to speak, six performances were scheduled, of which two had to be cancelled due to heavy snow. The performance for members at the Barn was enhanced by music from our Aristobats and magic tricks by Philip Holloway.

In the Round in February was Ibsen's "Ghosts", translated by Michael Meyer and directed by Dominic Campbell. It is not a sure-fire crowd puller, but it fully justified itself. People who hadn't expected to enjoy the play went away enthralled and good-sized audiences attended. Chauve Souris thought the show would make a profit, but the Treasurer's figures eventually showed a loss of £160. However, later presentations soon recouped this short fall.

Dorothy Osborne, created a Life Member for her services on the House Committee over many years, once again produced and directed a Lent play in March. "The Circle" toured five local churches, including Ninfield Methodists, and was greatly appreciated by those who saw it.

Our season at the Pavilion theatre began in April with "the School For Scandal" by Sheridan, directed by Winifred Atkins. It proved to be one of those productions which have a very difficult gestation period. There was the death of John Molecey at the start, and another heavy blow fell on the eve of opening when Gordon Leonard's duodenal ulcer forced him to withdraw. A last minute scramble resulted in Len Jeffreys reading the part. The Bexhill Observer had some damning things to say about our efforts. Whilst acknowledging that stalwarts including Denis Brooke, Val Major and Meryl Beamont kept "the school open for lessons", "the sum of its better parts could not make this School as 'vastly diverting' as Sheridan had intended … His wickedly acerbic quill pen was blunted and left plucked of its finery." A member of the public did not agree in the following week's edition, commenting on "the excellency [sic] of the final performance."

Next came a complete contrast, a Philip & King Falkland L Cary comedy "Rock-a-bye Sailor", directed Joan Jeffreys. It drew an audience of 523 paying customers - "In these hard times that's a respectable figure" (Chauve Souris) - and made over £400 profit, half of which we donated to the Parkinson's Disease Society, our charity for the year.

The Shakespeare choice was "As You Like It", last mounted by us in 1981. Gordon Leonard was the director, with Julia Dance providing Napoleonic costumes. The idea of using rostra, introduced last year, was continued on the lawn below the rose garden, and voted a great improvement in terms of viewing, hearing and comfort - no insects from the pond! - the cast was the usual blend of new and seasoned players, but the show was stolen by a cat who made several unscheduled appearances on stage and in the audience, adding its wailing to a particularly sensitive love scene. It evidently thought it should have played the lion which savages Orlando in the Forest of Arden. 906 patrons saw the show in generally ideal weather, bringing in a profit of £1225, even after the deduction of our customary 'royalty fee' which we donate every year to the Globe Theatre Project in London. The general Committee had sanctioned the purchase of £100 of new sound equipment for the production, and this proved to be an excellent investment.

Back in the De La Warr Pavilion in September we presented Ronald Harwood's backstage play "The Dresser" based on his experiences with the late Sir Donald Wolfit. Val Major directed in the theatre for the first time after a number of In the Round successes, and she assembled a first rate cast of principals. "The BATS at their best" was the headline to the Bexhill Observer review which continued "Alan Bucksey's portrayal of the title role was a triumph of subtlety. And Leslie Adams as the actor/manager plumbed the depths of nervous breakdown with sustained authority." The Society had to be contented with these comments as the play did not attract the audiences it deserved, but the small profit was better than a loss of any dimension.

765 people came to our final presentation for 1991, brought in, no doubt, by the fact that it was a recent success by Jeffrey Archer, breaking away from novel writing: "Beyond Reasonable Doubt". Although we did not know it at the time, it was to be Alan Livermore's last production for us (a later attempt could not be cast). Alan persuaded Norman Baxter to come out of 'retirement' to play Mr Justice Tredwell. Like the crafty old pro that he was, Norman concealed his script among the papers on the bench and read from it instead of learning all his lines. He had joined the Society in 1971 for "Trap For A Lonely Man" and had acted and directed for us several times, including "Home and Beauty" (1972), "When We Are Married" (1973) and "Ring Around The Moon" (1980). His characteristic stamp of the foot and utterance "Oh bloody hell" when anything went wrong will long be remembered. He died in 2000 in his nineties. Gordon Green and the workshop provided excellent sets for Alan's play, and difficulties arising from a late get-in - Tuesday evening of the week of performance! - were overcome. The set was struck after the Saturday show and so the crew were very late at getting to the after-show party at the Granary Barn. A change of policy was suggested, with possibly having a modest get-together in the Green Room instead. This later became a standard practice.

The JAMBATS had a successful year in spite of a lack of response to Vanessa Hall's appeals for help throughout the year. Although Maureen Lascelles-Spry provided valuable support, Vanessa wanted someone who could run the Wednesday evening session when she was unable to attend. Vanessa herself had an eventful year as in August she became Mrs. Philip Osborne. Towards the end of the year two offers of help were gratefully received. In July, the JAMBATS ran a mini-festival and in December they staged an adapted version of Eric Stevens' first mini-pantomime, "Snow White And The King-Sized Dwarfs", which was much enjoyed by all who attended.

Various BATs 'guested' for productions elsewhere during the year, including a professional presentation of "Jamaica Inn" at the Devonshire Park Theatre in Eastbourne. Barbara Brock and Eric Stevens found themselves at the White Rock Pavilion in Hastings in a musical version of "Pride And Prejudice", Mark Pelham appeared with the St Peter's Players and Michael Turnbull was due to be singing and dancing in January 1992 for the Spotlight Players' "The Gingerbread Man". Talented younger members Dominic Campbell and Tamsyn Webb went off to further their education, returning after completing their courses, and there was news of Mark Feakins, now a professional. He appeared at Chichester and the Edinburgh Festival. A party of supporters went to see him in "A Christmas Carol" in January, but Edinburgh was rather too far. Another visit was paid to Chichester in the Autumn when we saw Shakespeare's rarely performed play "Henry VIII", and we also went to the Theatre Royal in Brighton. Two of our student members, Sophie Bradbury and Jonathan Clarkson (the latter also was to turn professional) took part in the local heat of 'Shakespeare On The Platform'. This was a nation-wide contest sponsored by the English Speaking Union and the Shakespeare Globe Project. Sophie and Jonathan won the heat with an excerpt from "The Taming Of The Shrew" and went on, with a group of BATs in support, to the final at Westminster School in London where they came third.

The usual range of Club Nights and social events was held: play readings; workshop sessions on make-up and acting, the latter being an interesting try-out of two one act plays written by Michael Sinclair who later became a member; a 'Saints and Sinners' poetry evening; a 12^th Night party in which we came in what we were wearing when the ship went down; a barbecue; a barn dance; and a Garden Party. We also supplied our traditional tombola stall for the Bexhill Theatre Supporters Club's Garden Party at the De La Warr Pavilion, and were rewarded by a nice donation from their takings. This helped towards a very large bill running in to thousands for repairs to the Barn roof, as did the £355 brought in by the Christmas catalogue sales organised by the hardworking Gordon Leonard.

Jack Up The Beanstalk, 1990: Julie Wilson, Sophie Bradbury, Eric Stevens, David Philps