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The productions on this page cover the years 1997-2001. They show just how much we have developed as a group through time. Costumes are better, the sets are more professional and the props more adventurous. Of course, the static pictures don't show the improvement that has taken place with the acting and direction. Both of these have become slicker and more professional-like. It does place greated demands on the personnel involved but in the end I feel that it pays off.
Slight departure for the 2001 production in that the story in question is a little more serious than the usual fare. There are moments where it is quite touching and thought provoking.
Still, enough with the pathos, this year proves that you can make a silk purse out of a sow's ear. With a script that was pedestrian at best, we managed to pull off another great success that was enjoyed by the highest audiences in recent times. And high audiences equals more money! In particular the quality of the costumes this year was excellent. In other words, no-one was wearing something that used to be an old pair of curtains.
Acting wise, Martin took on the role of Slithering painted in red and black and using actual pyrotechnics, which was a first, I believe. Sue continued as the beast playing almost all the panto inside a grey mask that Vicki, our new principal girl said, made her look like a rabbit! Vicky was tackling her first major role and came through the ordeal with flying colours. Ken was back in his dame costumes again while Deborah brought the ever helpful Fairy White Rose to life. June and Margaret played Beauty's sisters as they attempted to snare two foppish gentlemen played by Rebecca and Kate.
For my sins, I was playing as Beauty's father and in an attempt to make the role more interesting I took on a broad, flat West/South Yorkshire accent. 'Aye, lad! Ey up then!' and all that nonsense. Those taking note of the photographs will see that I had a fine set of mutton-chops. These were painstakingly created from real theatrical hair, some net curtain material, Copydex and spirit gum. Note to self, 'do not ever use spirit gum remover on skin that has recently been wet-shaved'!
So overall a lot of fun, then.
The photographs here now represent both acts of the production They were taken from an evening with Harry, our video man while he was in the process of editing the avi files. The time spent allowed me to pick out the best poses and I think that they give a more realistic, theatrical appeal. You'll also notice the use of colour thumbnails. I discovered that they take up the same amount of space as the greyscale ones so I will use them from now onwards.
As with Cinders below, these pictures are exclusive; further evidence is available on the drama group's official website along with a slightly less personal perspective.
The old adage of a change being much better than a rest held true this year as we produced David Tristram's particular slant on the story of Cinderella. That's right, I said David Tristram. The eagle-eyed among you will have noticed that this was the third play of his that I have had involvement in. As Freddie Mercury once said, "Talent will out, my dear" (and I don't think that he meant 'out' in that sense!)
Anyway, enough of the author, you're here to get the dirt on the production. Well, there's no dirt, but it is generally reckoned to have been one our best. It was all change for the parts. Out went Ken's Dame dresses as he played Baron Hardup. Out went Deborah's pointy hat and black cloak as she played Cinderella. In came the pink tutu and red cloak as I played the Hairy Godmother! Yes, I was the good guy for a change and didn't everyone love me! Catherine struggled with increasing quantities of make-up to try and defeat Mother Nature in becoming one of the ugly sisters along with Martin in a dress three sizes too long.
Aided by a script that had more appeal than most for the adult audience, we put on a great show that even warmed up the usually quiet Friday night audience. All feedback that I have received has been positive including that from colleagues at the Library (whom I invited for the first time for several years.)
The pictures here are exclusive to this site and are not found at Sessay Drama Group's official web site. Some of the pictures there and really quite scary, in particular the one of me where I look like I ought to be in The Rocky Horror Picture Show!
The large walkdown picture has been enhanced with the application of an image map to identify the culprits.
Written by Paul Reakes, this was our 1999 production and tells the tale of Robin Hood's victory over the grasping Sheriff of Nottingham.
High points were the wonderful Who Want's to be a One Pounder devised by the two comedic leads and the rather natty costumes that Robin and the Merry Men wore. The low point was an awful rendition of 'You've Got To Do A Dirty Deed Now' for which I personally take full responsibility You know the old adage 'can't sing, don't sing!' Kudos to Deborah for putting up with me.
Originally intended as a sort of jig for the beginning of the second act, a rather nice version of The Morpeth Rant was recorded by my friend and crack mandolin/mandola/guitar player Paul Haley. It was eventually used as intro and exit music
If you hold the mouse over the large version of the members of the cast and crew photograph, names will be put to faces. As I was writing this on a balmy Sunday evening, I thought that it would a good idea to do this for all photographs. It's true, it would be a good idea...
Our 1998 production was Aladdin. Written by Ron Hall, it follows the attempts of the Dame, Widow Twanky's son to win not only the heart of the Emporer's daughter but the fabled lamp.
Of particular note this year was the performance of 'Three Little Maids' from The Mikado by the Emporer's daughter, her friend Ah Choo and the dame. Should anyone wish to emulate the proceedings, I have thoughtfully included a link to the piano piece recorded for it. It's here; remember to keep waving those fans though!
All in all, a rather jolly little production, even if my idea to have a sea-monster called Cecil instead of a dragon fell on (intentionally) deaf ears.
1997 brought Sleeping Beauty, the classic tale of an evil witch tricking a young princess into pricking her finger causing her to sleep for a hundred years.
Aside from a fantastic act two opening dance to Michael Jackson's Thriller a major innovation here was the use of ultraviolet lighting. Until actually experienced, it is difficult to describe the effect such lighting has when done well. Even within the confines of our rather small stage, the result this year was wonderful. Unfortunately there are no photographs to demonstrate this since, naturally, any flash negates the ultraviolet.
This year also marked a departure from my usual role as the villain in the productions. Being the bad guy is something that I can heartily recommend to anyone. It has the following benefits.
- With the exception of the dame, the villain usually has a better costume than everyone else. Similarly the villain doesn't often wear something that used to be a pair of curtains.
- No other character can get away with calling the audience 'a bunch of no hope Sheriff of Nottingham Wannabes' or the principal girl 'a piece of mindless eyecandy' and still get a laugh.
- The villain very rarely has to sing and, because he/she usually dies or is locked up at the end, never has to be on stage for the audience participation number.
I'm afraid that at present there are no photographs of this unique experience. I know that people did take some, so if you are one of those people then please get in touch with me and I'll add them to the site.
No photographic evidence to this is rather a shame since all involved had a lot of fun. It was performed in a marquee at a village fete in the middle of a downpour which is unbelievably appropriate since the play is set in a marquee at a village fete in the middle of a downpour. The fact that the front row of the audience were no more than a foot away from the actors gave it a rather cosy feel and added
to its charm
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