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1. “At first the infant ....”
The Bexhill Amateur Theatrical Society was born in the same year that the De La Warr Pavilion was opened, 1935; this was not a coincidence and the association continues to this day.
During the 1920s and 1930s, amateur theatrical societies were being formed all over the country and Bexhill was no exception to the nationwide boom. Here amateurs produced plays in church halls, but also in a large hall on the sea front, and with the opening of the Pavilion discussions were held between enthusiastic local producers and actors about its use by amateurs. A town dramatic society was proposed, and an inaugural public meeting was held in the Sackville Hotel.
The meeting was organised by Major Ronald and Mrs Winifred Cargill, the parents of actor Patrick Cargill, who being amateur drama enthusiasts appealed to others of like mind to join them in creating the new group. The publicity was good, and a large attendance was achieved. The meeting elected Major Cargill as the first Chairman of the Society, the Countess De La Warr was elected to be its President, and the Committee of eleven contained several prominent citizens.
[A small number of founder members were still on the membership list when the 21st century dawned. Barbara Selby (see below) who died in 2001, Trixie Webber (later Morgan) one of the juvenile leads in the early productions, and Penelope Ellis-Fewster (née Wyvol-Thompson) who did much to keep the Society going during the lean years of the 50s and 60s.]
The objects of the Society were to be the promotion and presentation of plays and other entertainment, and the giving of assistance to charitable and philanthropic institutions. Two classes of membership were agreed: Subscribing Members paid £1 annually and received free seats for productions; Acting Members (who were auditioned before being accepted) paid a subscription of five shillings. [The subscribing membership scheme was not a great success. It was abolished in 1939 as the Committee thought “the work involved is not commensurate with the small amount of money received” (Annual Report).]
By early 1936, the fledgling players of the new theatrical society were ready for their debut in the town’s new theatre, with its large stage and auditorium, full dressing room facilities and up to date lighting. The Pavilion had opened only four months previously, and here were the BATS staging Walter Hackett’s comedy thriller “Road House” in April 1936. The Bexhill-on-Sea Observer gave the following review of the production: “To the Bexhill Amateur Theatrical Society, otherwise known as the Bats [sic], has fallen the honour of being the first body of local players to occupy the stage of the De La Warr Pavilion, and they have proved worthy of it. On Thursday and yesterday evening they presented Walter Hackett’s comedy-drama, “Road House”, and if they receive their due there should be a full house for the final performance this (Saturday) evening. Although the Society is making its debut under its present title, its leading members are already well known for their excellent work in plays which have been produced by Major Ronald J Cargill, the Chairman, and with the additions to their ranks of fresh talent, and the splendid facilities offered by the Pavilion, the new chapter opens with the brightest prospects. They have also been fortunate in having been able to enlist the services as producer of Matthew Forsyth, the Corporation Entertainments Director, who brings a long professional experience to bear in this capacity, as well as being an actor of distinction.”
[The BATS took some time to settle down as a Society. There were several resignations from the Committee due to disagreements over policy and business commitments. Sadly, Major Cargill died in 1937, and a series of short-term Chairmen took over. His wife, Winifred, however, continued to appear in productions for several years. A measure of stability was achieved by retaining the same Secretary and Treasurer until the Second World War: A H Oxenford and Captain E F N Lyte held these posts respectively. In an endeavour to keep members in touch with each other between plays, a series of social events were organised each year at one of Bexhill’s hotels. These were described as dance cabarets, at which sketches and individual items were performed by members. Another ‘tradition’ of the early years was the after show supper for the cast and Committee held in the De La Warr Pavilion café, some of which went on until 1am! Seat prices in those days ranged from 3/- (15p) to 1/- (5p), except on Saturday evenings when 4/- to 1/- was charged. Production expenses ranged from £138-£34, with a donation being given to charity each time. Everything was much later as well: evening performances began at 8.15, and AGMs at 8.30.]
A stage-struck teenager who saw an advertisement about that first public meeting was Barbara Selby-Lowndes, who became a founder member, and though leaving the town for a career as a professional dancer, helped out backstage during holidays and wartime leave; after retiring from the stage she rejoined the BATS for their Silver Jubilee production and has been backstage ever since.
Barbara, who had an uncle with Sybil Thorndyke’s company and an aunt at Covent Garden, became a member of the Tiller Girls dance troupe, and was in a chorus line playing alongside Bud Flanagan and the Crazy Gang. She was a student at Dorothy Purrott’s school of dancing when the BATS’ second production, “Eden End”, was presented at the De La Warr. The producer this time was a member of the committee, Alderman E Bowrey. Three times Mayor of Bexhill, and an enthusiastic amateur, Mr Bowrey was a great friend of Barbara’s father and she helped backstage. She also recalls the 1937 production, “Secrets”, which was produced by the very well known actress, Una Venning.
Which type of producer, amateur or professional, was best for the Society? This question was hotly debated at the AGM of 1937. A prominent actor and Committee member said that he was “prepared to submit without reservation to the instructions of a professional, who had made it his life’s work and study, but not to change my interpretation of a role simply because it doesn’t coincide with the ideas of an amateur no more experienced than myself”. A proposal, stating that a professional producer should be engaged for all future productions, was carried by a large majority. This policy was followed, with few exceptions, until the early 1960s, but since then only amateurs have been used.
Amateurs were often used as actors for small parts in productions by Matthew Forsyth, as actor-manager of the local repertory company, as there was no Equity to object to the use of non-professionals. This practice was continued by Dickie Burnett’s Penguins, and went on until the early 60s.
During the late 30s, Bexhill and the De La Warr were very well known, and concerts and plays were heavily attended in those pre-television days. Mr Forsyth’s company gave the first performance of “The Millionairess” and George Bernard Shaw himself attended. The BATS also attracted large audiences, and the balcony was usually filled. Large audiences of 1500 were still not unknown in the early 50s. The acting strength was so good in 1938 that the Chairman was able to say, “The Society now boasts 62 Acting Members, and your Committee is of the opinion that the time is rapidly approaching when the Society will be compelled to refuse to accept further members.” The Chairman’s further remarks, though, are a little more familiar to those active in amateur theatre. “We can, however, find room for young men, and issue a special invitation to join up”. There was no difficulty it appears even in recruiting understudies, although one producer complained that all the understudies did not attend all his rehearsals.
Mention of “joining up” heralds the looming war years. To celebrate the Coronation of King George VI in May 1937, the BATS had organised a Variety Entertainment, which had played to packed audiences. Now, at the outbreak of the Second World War, they were ready to run the Society on “Concert Party” lines in order to be of real service to the town. Prior to the war, the BATS entered the News Chronicle amateur drama competition, and also presented two three-act plays each year at the De La Warr Pavilion. With several BATS members called up, many residents evacuated, and guns along the sea front, the Pavilion was, in fact, taken over by the army. However, the BATS Concert Party was an evident success. The Bexhill Observer reported that, “Nothing better to help maintain the morale of the home front could be desired.”
For most of the war Barbara Selby was a hoofer in the “Half Past Eight” shows in London, but used to get home for two or three weeks at a time. Being of call-up age, she and her friends were kept on from summer show to pantomime and back to summer show. In between she did “Lend lease ENSA”, and eventually went on to London and her biggest break at the London Coliseum in “Night and the Laughter” with Bud Flanagan. From that she went into the Crazy Gang show at the Victoria Palace. She remembers them as lovely people to work with. She was briefly with the Tiller Girls, went on to various pantos and summer shows, and then gave it all up to come back to Bexhill and work at the Cooden Beach Golf Club for the next 23 years. One day in 1960 she was asked by Penny Ellis-Fewster of the BATS to go along and help with the Silver Jubilee production of “And So To Bed”.
Barbara has been helping backstage ever since. Never once having trod the boards for the BATS, she has been Stage Manager or “Props” for too many productions to list, but including all the outdoor Shakespeare productions in the Manor Gardens. At previous “Belfries” she had the multitude of packed-away props mentally catalogued, and could always be relied on to produce or scrounge whatever was needed. Before the move to the Barn and since, wherever scenery was being painted, Barbara would be found brush in hand. When she was ill in this Golden Jubilee year, for the first time in her or anyone else’s memory, during the production of “Dear Octopus”, something was missing; everyone was very relieved to see her fit and well, and back in post in the Belfry.
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Easy Money 1949: Edric Lyte, Ray Orsman, - Richmond, - Jones, - Walmsley,
Dora Taberer, Yvonne Roberts, Lawrence Lillicrap, Violet Jay, - March |
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Hobson’s Choice, 1954: Hugh Maynard, Joyce Martin, - Gordon,
Eileen Benge, Denis Brooke, - Cornish, Ron Gregory,
Penelope Wyvol-Thompson, Diana Leacroft, - Ring, - Easton, Ray Orsman |
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