Us ‘theatre newbies’ are quite an exclusive club. We have, at various times over the run up to the play, got together in corners and quizzed each other: “How did you get involved in this?” — said in a wondering, quavery voice. I came along to the auditions because I was flattered to be asked to take part. I had no acting experience and therefore had little or no expectation of getting any part, particularly not the behemoth part I ended up with!!! What you are most kindly reading, is my take on the whole experience, a behind the scenes exposé, if you will, of life as a newbie with The English Theatre Company.

The first thing that sprang to my attention, way back in late summer, was… the biscuits!!! Mostly chocolate, a vast amount piled high in the kitchen was the biggest clue that I had thrown my lot in with a group of hedonists, a group of life enhancers who live life on the edge, whilst holding a cup of tea in one hand and a biscuit in the other. I felt like I had finally found my tribe!
The next thing I was struck by was the professionalism that was evident from day one; this was no rag tag and bob tail collection of wanna-be-thesps. This was the real deal - people that knew their craft and how to achieve slick results. I have a big collection of new skills now as a result of being part of the Calendar Girls cast. I can listen to instructions and, most importantly, remember them. Somehow I have managed to memorise my lines, recognise cues, and can help rescue friends if they have a blank moment. Apparently I can now project my voice, which I always thought was such a reedy little thing. In the words of my character, 'Ruth', “I can do it! I can do it!”.

The key to the success of this process is teamwork. Forgive me for sounding like a US business manager, but it's true! I have felt supported all the way, been praised when it mattered, gently guided to do better and I can tell you from the heart that the warmth and camaraderie that you see on stage is real. Real to the point that when I’m not with the girls, for instance when Ruth has made her decision not to take part (sorry if this is a spoiler), I am sitting back stage, feeling very dejected, peeking out between the wings wishing I was out there under the burning sun-like glare of the lights, really wanting to be out there with my girls! We have literally bared all and created real bonds of friendship.

Time definitely speeds up when you are, ahem… a bit older. This is the only explanation I can come up with for how we appear to have suddenly leapt from rehearsing twice a week in hot, stuffy Salles des Fêtes, to thrice a week feeling the pressure and assembling your props, to suddenly only having one more performance to go! How did that happen?? I guess the answer is that the English Theatre Company is good at what they do and is a well-oiled machine that knows exactly how to achieve results.
From providing a backstage dresser (thank you Nicky and Jo), to stage managers and prop masters, everything is thought of and nothing is left to chance, creating the seamless front-of-house experience the audience sees. We newbies were quickly coached on acting etiquette — never go “Coo-ee” and wave when you see your besties on the front row. Never appear in the bar afterwards in your costume and never show your back to the audience. We were initiated into actory terms such as ‘dress’ for dress rehearsal, and ‘strike’ for dismantling the stage (I think). We learnt you always need coat hangers for your costumes, Fishermen’s Friends for throat closages due to nerves and, finally, bags that don’t crinkle when you are diving in them to find safety pins and whatnot whilst you are sitting right behind the scenery.

Above all, we’ve learnt the magic that happens when a group of people have worked really hard at becoming their characters and know their lines inside out. The maxim ‘It’ll be alright on the night’ is actually true. Yes, there might be moments when the play opens with a blast of James Bond theme music instead of Jerusalem. Yes, I might have shot out early on stage, dressed as a rabbit, potentially ruining a crucial and serious scene in the play. Yes, I might have kept saying ‘underpants’ instead of ‘knickers’ in rehearsals and yes, I might have snorted with unexpected laughter as my onstage badminton partner suddenly fired a shot at me from through her legs, but somehow… it all worked out just fine!
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It's been a wonderful and life-changing experience for all of us newbies. We have become confident creatures, able to look at our worst fears such as paralysing shyness and terror of public speaking and overcome them. Being part of Calendar Girls has been a brilliant experience and I, for one, am totally hooked on the unexpected joy of audience laughter. Just don’t get me started on how great it feels to be clapped! I am sure I was unbearable to live with for a few days after the shows! Thank you for reading this and, if you came along to see us in action, thank you for that too. A play without an audience would be the saddest thing on God’s earth (to borrow one of Jessie’s lines). I’ll bow now and take my leave, but know that I loved every second!

For the past 3 years, The English Theatre Company has promoted the work of Cancer Support France by including publicity for the association in our programmes.  This continued through the pandemic as ETC sought to bring live theatre to the public by staging events outdoors when rules allowed; audiences were invited to bring their own chairs and picnics and were seated according to socially-distanced guidelines. 


Ever innovative in its approach to theatre experiences ETC has, in its 6-year existence, put on radio plays around winter Sunday lunches, performed staged readings and revues as well as major plays.  The latest of these was Calendar Girls and, as with the real story, the English Theatre Company decided to not just challenge itself by attempting this difficult play but to also produce a calendar featuring, in various states of undress, the 10 'girls' who were part of the cast - all done in the best possible taste naturally! 


The aim was to donate any profits to Cancer Support France.  The Company was thrilled at the support from audiences where the calendars were offered for sale, so much so that ETC was able to present a cheque for 1000€ to Jayne Ray, President of CSF Gascony in December. 

​As a change to The English Theatre Company's regular summer get-together for members, affectionately known as "Party Pieces", this year's event was billed as "A Bit of a Do" when family and friends were also invited to attend.  The venue? The large Salle des Fêtes in Ste Dode.  When? Saturday 16 July.  The format? An informal show when any ETC members who wished would be able to perform a 'party piece' with everyone sharing a 'bring your own picnic' on completion.  All sounds very straightforward doesn't it? But wait....all was not as straightforward as it seemed!!
 
Unbeknown to most, the event was to take on more of the appearance of a full production thanks to Nick's organisation and imagination.  With the help of Sean, Paul & Phil there was sound, there was lighting and there was a fabulous set in the form of 6 recently acquired flats of Dickensian figures. All seemed totally in-hand until the 'canicule' threatened to scupper the proceedings but, thanks to a supply of fans and jugs of cold water to keep everyone as refreshed as possible, the show was able to go on with an audience of some 55 guests.
 
Sean acted as warm-up man and MC, introducing some 13 acts ranging from monologues and poems - some by well-known authors, others written by the performers themselves - to songs and sketches.  Special mention here must be made of Dinner for One performed by Phil and Jacqueline.  If you don't know this piece then you don't know what you're missing!  Do go on YouTube to watch the original which has become cult viewing in Germany every New Year - it's hysterical!  The amount of work that went into both the set and the performance was simply outstanding.
 
And, as they say "That's all folks" - or rather, it should have been.  What very few people knew was that there was a secret finale, arranged by Nick with the help primarily of Gary, Jane and Sue.  And the reason?  My '0' birthday, the following day.  In an unguarded moment some years ago, I had told Nick that, as a child, I'd always adored The King and I and my greatest wish was to wear a ballgown like Anna and to dance around a ballroom.  And that's exactly what I did!! I had no idea of what was to happen but was brought on stage where I had been watching from the audience and then, having been dressed in a beautiful ballgown, I was whirled around the floor to "Shall we Dance?" with Gary as 'The King'.  It's not often that I'm lost for words but I was totally overwhelmed by the occasion, by the love and thought that had gone into making it happen.  It was a truly memorable moment and one that I hope was enjoyed by the others there too.  ETC, and those that make up the company, has a very special place in my heart - along with Yul Brynner!!!!

We’re very proud to announce that our latest production, the Vicar of Dibley, was seen by the record number of 340 people in the venues at Ste Dode, Boudrac and Marciac. Many have said that this was the best show we’ve put on and we were delighted with the many  favourable comments and messages that were received. These ranged from saying how fantastic it was and giving it praise for being  such a professional event to saying how entertaining the play was and it was just what was needed in such difficult times with Covid, the war in Europe and escalating prices!

The stars of the show were  obviously the actors, who kept the audience entertained through out the evening with their stunning performances and were rewarded by their well deserved encores. However, it was  delightful that at all 3 shows, the audience amusingly gave applause to the stage crew as they quickly went about changing the scenes!
To put on such a production as this, there are many people involved - the unsung heroes, who work behind the scenes  to make it all possible. The sets once made need to be transported and erected which takes many hours of work and then dismantled and  packed away ready to repeat for the following performance. Then there is the sound and light team, the front of house team, the bar and catering team and all those jobs that need to be done but don’t have a title! There are of course the stalwarts who work long hours setting it all up and then popping off into the changing room ready to tread the boards. It has certainly been a busy time for all the English Theatre  Company players and support team but it’s all been so worthwhile and great fun to be a part of.

People who have only recently known about The English Theatre Company may be interested that we have  now put on 15 well received productions in different towns and villages throughout the Gers and Haute Garonne region and our group and its faithful followers, just keep growing. The venues for our shows have been as  varied as the content. Some performances have been held in restaurants with 3 course meals, but more usually in a Salle de Fete with afternoon tea and cake or wine and canapés and once even  with Bubbles and cucumber sandwiches! Not even Covid could put us off and 3 very successful concerts were held out in the open with the audience invited to bring their own picnics!

The Committee will be meeting shortly to start planning our next event. So watch this spot to see what we are going to be doing next - maybe its something you might like to get involved in! There are many ways for people to help in a production and we are always on the look out to welcome new members.

​Melodie Minty  23 May 2022

At the age of just 31 in 1834, Charles Dickens, successful writer from humble beginnings, felt impelled to speak out against child poverty which was much in evidence all around him in his adopted hometown of London, helped not at all by the greed and selfishness of the wealthy.  In a short six-week flurry of inspired creativity, he set to writing a 66-page novella that would grab people's attention and 'strike a sledgehammer blow' on behalf of poor children. 
On 2 December 1834, his creation was completed but his publishers were less than enthusiastic about the concept  -  Dickens' current publication, Martin Chuzzlewit, was not meeting with unbounded success.  However he was so aflame with fervour for his project, that he poured his own money into the publication of the first edition, and the first 6,000 copies of A Christmas Carol appeared in the booksellers' windows on 19 December 1834.  
The instant and overwhelming success of the original publication of A Christmas Carol was such that it sold out before Christmas Eve 1834, having been on sale for less than one week.  In the following year, the novella was to be reprinted thirteen times and, in fact, it has never been out of print to this day.  Whether Dickens' 'sledgehammer blow' had the desired effect on the population is debatable, looking at the child poverty crisis of today, but his novella has been woven into the fabric of our social history, becoming an indispensable part of our Christmas entertainment in one or more of its many incarnations.
Imagine, then, the delight of the ETC production team upon learning this, when their presentation of A Christmas Carol was scheduled for the very same day of its original publication, 19 December, exactly 187 years later just before Christmas 2021.
As a rehearsed playreading, the script of the ETC's production is an adaptation of the original novella, edited to fit the casting requirements of the Company.  But the dialogue spoken remains faithful to Dickens' original, using only his beautiful and familiar words.  In fact, the narrator of the story is Charles Dickens himself and, in the ETC playreading, we see him seated at his writing bureau as he creates the characters and their story that unfolds before him.
With wonderful creativity, the Company members brought the characters to life, dressing them in an imaginative suggestion of costume redolent of mid Victorian England, and skilfully portraying a 'bewilderingly large' number of personages, up to as many as five for just one actor.  The collaborative effect of this fine ensemble work was greatly appreciated by the audience, as were the ensuing mince pies and mulled wine, served to them by the cast against a convivial background of Christmas music.  And, as Dickens himself says, "There is nothing in the world so irresistibly contagious as laughter and good humour."

Having been forced to perform outdoors for almost two years due to Covid restrictions it was a joy to be back inside and on stage again — thanks to double vaccinations and QR codes.
And what a play to celebrate our return to the stage. Oscar Wilde’s classic comedy has been delighting audiences for more than a century. We chose to produce it as an abridged version in live radio broadcast format.

Rehearsals were fun as our actors honed their lah-di-dah accents and got into character.

Yesterday we put the whole show on the road and premiered at Larreule in a superb Salle des fêtes. The audience loved the performance and laughter reigned throughout. At the end of the play the cast served cake, cava and cucumber sandwiches to the audience who stayed on for ages enjoying the after-show ambience.

We’re back on the road next Sunday,  October 3, at the salle des fêtes in Boudrac, then the week after on Sunday 10 October at Sainte-Dode. We have limited tickets available for both performances and these are available from our box office: ruth.faiers@gmail.com
If you haven’t seen it, don’t miss it — it’s one of the best  events we have staged!

Our four performances at four venues on four days went down a treat with our audiences. First off we played in front of the Mairie at Sembouès on Saturday 3 July. The morning had started with rain but a decision was made to go ahead and by the time the performance began the sun was shining.

We upped sticks and set up the next day behind the Salle des Fêtes at Sainte-Dode and the sun was so fierce there were lots of burnt arms and legs.

Third up was Gaussan (left) where there was plenty of shade but a surfeit of mosquitoes! Finally we shifted everything to Larreule near Maubourguet for the final performance on Sunday 11 July. Again the weather was kind and we were grateful for the shade of century-old plane trees.

More than 200 people came to enjoy our "Mixed Doubles" — a compilation of short plays which, although first performed in 1969, reflects just as truthfully today on various aspects of married life, whether that takes the form of competitive sporting rivalry with workmates as in Score by Lyndon Brook, musings on humdrum domesticity in Countdown by Alan Ayckbourn, or wistful dreams of a shared life hereafter in Resting Place by David Campton. In the form of interval pieces, two mimed playlets written by Michael Frayn complete the fun — Look Away Now and Toasters.

​See the Gallery page for on stage photos.

The English Theatre Company were keen to stage an event as quickly as possible once restrictions were lifted. To this end we have been rehearsing outdoors and socially distanced for the last few weeks and today announced four venues for our pop-up comedy theatre events — see Future Events page.

Because rehearsing in large numbers was not allowed during Covid restrictions we chose two- and three-person pieces. Three are performances of short plays by Alan Ayckbourn, Lyndon Brook and David Campton along with two mimed interval sketches by Michael Frayn. 

Under the title Mixed Doubles our programme is a musing on various aspects of married life. We have had great fun rehearsing and preparing for performing after a long break. We can't wait to tread the boards again even though everything will be outdoors and socially distanced. It promises to be a hoot!

To see what we have been up to during lockdown please look at our 'Future Events' page

Under a gentle Autumn sky, with a backdrop of sparkling Pyreneean peaks and in warm sunlight dappled by an avenue of plane trees, eight ETC players performed two of Alan Ayckbourn’s five interlinked works collectively entitled “Confusions”. This continues our successful format of rehearsed readings outdoors, for a pic-nicking public and makes for a relaxed and friendly atmosphere, with the players just a few metres from their appreciative audience. Written in 1974 by this prolific and much loved dramatist, each piece is the usual masterful combination of subtle comedy and social commentary.
 
The first, “Mother Figure”, gave us Lucy (Maggie Crane), a fraught and exhausted mother whose ability to hold an adult conversation has disintegrated under the stress of motherhood and who treats everyone in the same childlike and condescending way. Both Rosemary (Gill Foster), a concerned neighbour, and her chauvinistic and controlling husband Terry (Maurice Shorter), are reduced to a state of infancy by Lucy’s mothering and puerile conversation.
 
The second playlet “Between Mouthfuls” sees a hilariously hapless waiter (Ian Warwick) inadvertently entwined into the conversations of two couples in his restaurant. The couples’ marriages are both disintegrating, because the wife in one (Nancy Robotham) has had a brief affair with the pompous and disagreeable husband in the other (Phil Faiers) – who also happens to be her husband’s boss! While the cuckolded husband (Bill Kimber) fears only for his job and not a jot for the desperation that drove his wife to be unfaithful to him, the cheated wife of the boss (Jacqueline Rochelle-Cawte) haughtily and disdainfully declines to eat a succession of courses placed before her, puffing on her cigarette throughout and vowing loudly to kill the mistress when she finds out who it is. The denouement finds the boss offering to buy his grateful underling a brandy in the bar while the wives are destined, off stage, to come face to face in the toilets.
 
Two typically amusing satires artfully directed by Annie Dawes.
                                                                                                                                                                Blog post by Anne Dickens

Well we did it!
After various Covideo conference calls and despite living in Pandemia the ETC managed to put on Neil Simon’s elegant comedy, “Rumors”. We chose his American version, hence the spelling. We staged both performances at the delightful outdoor setting at Sembouès Salle des Fêtes. Happily the weather was on our side even though there was an orange alert for thunderstorms for the second performance.
Our aim was to keep our theatre group active during coronavirus restrictions and to let our 500 or so ‘Friends’ know that we are able to stage socially distanced outdoor events.
At Sembouès our audiences sat in the shade of two giant sycamores with a picnic while the cast performed a rehearsed reading of “Rumors”. There were many highlights not the least of which was when a dog wandered to the front of the stage area, squatted, and left a puddle. The audience loved it and the cast struggled to suppress laughter.
We are planning more outdoor play readings, hopefully without canine interruptions, so keep an eye on our website.