R & G, as we all called it, moved on from Lectoure to Maubourguet. The two theatres are so different. La Salle de la Comèdie in Lectoure has a fully raked auditorium that slopes up from stage level and allows the actors to get up close and personal with the audience. The bijou Sept Chandelles in Maubourguet has a much smaller stage that is raised above the first five rows which gives a different dynamic. Despite the difference in working stage areas, our travelling set looked good at both venues and much praise was received — particularly for the barrels.
Another challenge at Maubourguet was the backstage facility. During the play the very small Green Room had to be in total darkness and under a strict ‘silent running’ routine while accommodating twelve actors, three barrels and two stage crew. At one point there was a loud crash during the Friday night performance as Hamlet leant against a door that was not properly closed and he went flying into a corridor. As it turned out that was good practice for our final night when Hamlet went flying again — this time on stage while dragging Polonia’s dead body! It was difficult for Rosencrantz and Guildenstern to keep straight faces, but we managed. Apparently the Green Room was in silent hysterics!
Both Maubourguet performances went well and as a company we have received many warm and generous comments about the play, the performances, the set and, from members of another theatre group, some lovely comments on our envious level of professionalism.
As a member of the acting troupe I felt privileged not only to be part of such a meaningful and challenging play that remains a classic of English theatre, but also to be part of such a closely bonded team of players. It was a delight, for example, to have two French guys as part of the team — they were truly great. Also it was good to see some new faces take to the stage.
There were the usual suspects too. As an actor it is comforting to know you are in safe hands and with two major parts played by Maggie Crane (Rosencrantz) and David Allcock (The Player) I always knew I was part of a thoroughly efficient and talented team. We looked after each other on stage whenever needed. Bravo to our Director, Dave Barney, for trusting us to take on a play that would frighten off most non-professional companies. I learnt a lot of stage art and performance skills under his careful direction.
After the final performance we held an after-show party and Dave and Paula presented a cake decorated with the ‘Touch’ hand that featured so prominently on our posters and flyers.
So there goes another production. . . months and months of effort from countless people that now become memories, but memories that will stay with us for a long time. Well done everyone!
Another challenge at Maubourguet was the backstage facility. During the play the very small Green Room had to be in total darkness and under a strict ‘silent running’ routine while accommodating twelve actors, three barrels and two stage crew. At one point there was a loud crash during the Friday night performance as Hamlet leant against a door that was not properly closed and he went flying into a corridor. As it turned out that was good practice for our final night when Hamlet went flying again — this time on stage while dragging Polonia’s dead body! It was difficult for Rosencrantz and Guildenstern to keep straight faces, but we managed. Apparently the Green Room was in silent hysterics!
Both Maubourguet performances went well and as a company we have received many warm and generous comments about the play, the performances, the set and, from members of another theatre group, some lovely comments on our envious level of professionalism.
As a member of the acting troupe I felt privileged not only to be part of such a meaningful and challenging play that remains a classic of English theatre, but also to be part of such a closely bonded team of players. It was a delight, for example, to have two French guys as part of the team — they were truly great. Also it was good to see some new faces take to the stage.
There were the usual suspects too. As an actor it is comforting to know you are in safe hands and with two major parts played by Maggie Crane (Rosencrantz) and David Allcock (The Player) I always knew I was part of a thoroughly efficient and talented team. We looked after each other on stage whenever needed. Bravo to our Director, Dave Barney, for trusting us to take on a play that would frighten off most non-professional companies. I learnt a lot of stage art and performance skills under his careful direction.
After the final performance we held an after-show party and Dave and Paula presented a cake decorated with the ‘Touch’ hand that featured so prominently on our posters and flyers.
So there goes another production. . . months and months of effort from countless people that now become memories, but memories that will stay with us for a long time. Well done everyone!
