The Chameleon Theatre Group have been posting a series of small interviews. They and I thought it a good idea to compile these in some articles for CFT. Hope you enjoy! These will hopefully be spread out over a few weeks between each one. Many thanks as ever to The Chameleons for the photos.
Oh and don’t forget that when you go to one of their excellent productions and take part in things like the raffle, proceeds go to a nominated charity. So have a great night out and support a good cause at the same time. Now that’s the kind of multitasking I’ve always got time for!
And now over to The Chameleons for Part 1 in what we hope will be an enjoyable series.
These short interviews give you a flavour of what goes on behind the scenes to make a successful production. We start with a chat with directors and production assistants. Sheila Hardiman is in the interview chair first.
Sheila Hardiman
Can you tell us about your play?
Shoppers and Doggies are both about 15 minutes long and have two women casts. The plays are part of a series, Deckchairs, written by Jean McConnell. Audience members who have been coming to us for quite a few years may remember Garden Pests (Liz and Sian are the pests in the photo) and the bittersweet Grannies which I directed in 2009 and Dancers more recently in 2017.
Why did it appeal to you?
Many years ago, more than I care to remember, I saw one of the series performed at Festival and at the time I enjoyed it, but thought I might do it a little differently. That’s the first time I thought I might eventually direct. Years later, I was looking for plays for a female cast and rediscovered that play and all the others. I like them because they are gentle humour, spiced with a little reality sometimes.
How long have you been directing?
I directed my first play in 2003, a one act comedy. Since then, I have two full length plays, numerous one acts and four pantomimes under my belt!
What do you like about directing?
I like seeing a play grow from words on the page to seeing real characters appear on the stage at the end of the process. That excludes panto, of course, there’s nothing real there …
Are there other roles you enjoy doing?
I have been with Chameleons since 94, so I have experienced most of the backstage jobs. I haven’t done sound yet. I like being Production Assistant best closely followed by Lighting, something I have learnt over the last year.
Lorraine Biddlecombe
Now to chat with Lorraine Biddlecombe, who is directing our entry for Totton Drama Festival. You will be able to see this play as part of our April production. Lorraine has directed many shows for us; the images are from Relatively Speaking by Alan Ayckbourn, in 2015, and a collage of pictures from last summer’s Farndale Avenue comedy, fondly known by us as Mars due to the excessive length of the title!
(Allison: Mars is the only piece I’ve reviewed for CFT where I had to truncate the title because the hyperlink could only take so many characters and the title went went well over that! See the review for the full title and then say it out loud several times if you like tongue twisters!)
Can you tell us about your play?
It’s about Connie, a 69 year old retired domestic science teacher and her daughter, Emily, who has her own TV cookery show. Using flashbacks, prompted by Connie’s Memory Book, the play shows the relationship between mother and daughter and the impact of Connie’s Alzheimer’s.
Why did it appeal to you?
I really like plays that have something to get your teeth into and this play certainly has that! It covers things such as the evolving relationship between a mother and daughter, the impact Alzheimer’s has on a family, as well as how society deals with these issues.
How long have you been directing?
Gosh — for over 40 years now.
What do you like about directing?
Working with actors who are passionate about getting to grips with the text and who work hard to create realistic characters and bring the author’s ideas to life.
Are there other roles you enjoy doing?
Although directing is my passion, I’m just as happy doing anything – be it backstage, lighting or sound, or even Front of House.
Jan Bradshaw
And now it’s time to talk to Jan Bradshaw, director of our last play for April, Cliff’s Edge.
Can you tell us about your play?
A pub landlord has a side-line in trying to save would-be jumpers at Beachy Head. He’s not very good at it! Will he be more successful with Gary in this blacker than black comedy?
Why did it appeal to you?
It’s a very different, black comedy, dealing with a difficult topic. However, even in the blackest situations, there can be humour. This play features two diverse characters; the pub landlord who wants to save the depressed actor and a passer-by, with her own mental health problems, who is full of encouragement for him to jump.
How long have you been directing?
My first play was Humphrey Pumphrey in 1992. Since then I have directed Puss in Boots, Blithe Spirit and Dial M for Murder.
What do you like about directing?
I enjoy being on the other side of the fence, so to speak. A different viewpoint is needed to bring actors and stage crew together for a successful show. When the curtains open for a performance, seeing on stage what I have imagined when reading the script gives me a buzz.
Are there other roles you enjoy doing?
I think acting, bringing a part to life, probably is favourite, but I love doing makeup for panto and meeting the audience members while helping front of house.
Our photos show Jan’s talent as a makeup artist. In black and white, Jan is making a monkey of her husband Wayne and fellow Chameleon Mike Morris for Wizard of Oz in 2015. The second colour photo shows the Flying Monkeys in full makeup and costume. The final delightful colour image shows Wayne as Long John Silver and Jan herself as Bertha Gunn in Treasure Island from 2002.
The Role of the Production Assistant
Probably the most important role in any play is the Production Assistant. She (it’s rarely a male) is the director’s right hand, making notes about stage directions, moves, script changes, pauses, stuff the director needs to remember alongside stuff the director has forgotten! She is at all rehearsals helping the cast to learn lines and during the run is a source of comfort to them tucked away in the corner with a script! Oh and opening and closing the curtains at the right moment.
Merle Dodsworth
Merle Dodsworth is Production Assistant for Cliff’s Edge
As an experienced Production Assistant, what do you find most challenging in the role?
Oh my what is the most challenging…initially making sure I have all the moves etc. Then knowing the way individuals learn their lines, when they pause etc. Also making sure I can see the cast from my corner!
What do you like about it?
I really enjoy the role especially as I seldom go on stage myself. …I am still playing a vital role.
Kayleigh Fagence
is working behind the scenes for Connie’s Colander. Kayleigh has plenty of experience on stage, most recently as Lord Valentine in search of his lost love (Atlantis – The Panto), but not so much backstage.
What are you learning from this aspect of theatre?
It’s given me an added appreciation for all of the Production Assistants that have supported shows I’ve been in before. Although there’s no line learning there are different things I need to be aware of things throughout the play like changes to stage directions and wording, when there are deliberate pauses, when the actors need a prompt… the list goes on.
You really have to pay attention and make sure your notes are up-to-date! It’s also interesting to see more of the thought process around why certain directorial decisions are made, which I’m sure will be useful next time I’m on stage. The fact that this is the festival entry is teaching me a lot about what goes into preparing for that too, which is a nice bonus.
Are you enjoying something so different?
I am. I didn’t really know what to expect at first but, whilst I love being onstage, it’s nice to do something different and to learn a new set of skills. I’d definitely consider doing it again in the future.
Tiffany Mattera
is very new to the company, as part of the chorus in Atlantis – The Panto. She is Production Assistant for Shoppers and Doggies. Sheila, the director, says she hasn’t needed to remember anything, Tiffany always knows!
Tiffany, you did some drama when you were younger, how different is being backstage?
Yes very different from when I was younger.
Do you think you will benefit from it next time you are on stage?
I will be a lot better on stage.
Many thanks to The Chameleons for sharing these glimpses into life behind the scenes. I look forward to sharing another compilation in due course. Meanwhile, don’t forget their Spring Quartet is coming up soon. Look out for details on their Facebook page. And best of luck too for their entry in the 2020 Totton Drama Festival, Connie’s Colander, which forms part of the Spring Quartet to be staged at the Ritchie Hall in April.
Related Posts:-
https://chandlersfordtoday.co.uk/join-chameleons/
http://chameleontheatre.co.uk/
https://www.tottondrama.co.uk/2020
https://www.facebook.com/chameleontheatreCF/
Read interviews with Chandler’s Ford writer Allison Symes: Part 1 and Part 2.
Read blog posts by Allison Symes published on Chandler’s Ford Today.
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Thank you for this article. I recall many, many years ago helping my mother (Lucy Mansell) learn her lines when she was a member of the Chameleons. It brings back many memories, especially seeing the photograph of the Ritchie Hall, the location of many “socials” back in the day, and St Boniface, where I sang in the choir for many years.
You are most welcome, Ray. There will be more to come in this series spread out over a number of weeks so do look out for them. If you wanted to share more of your memories, you have come to the right place!