AOS Sweeney Todd Programme 2009


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The programme for the AOS 2009 production of Sweeney Todd

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odd sweeneyt the demon barber of fleet street amey theatre abingdon school 27th 31st october nightly at 7.30pm music lyrics by stephen sondheim abingdon operatic society a musical thriller


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abingdon operatic society presents odd sweeneyt the demon barber of fleet street the demon barber of fleet street book by hugh wheeler from an adaptation by christopher bond originally directed by harold prince originally produced on broadway by richard barr charles woodward robert fryer mary lea johnson martin richards in association with dean judy manos this amateur production is presented by arrangement with josef weinberger ltd on behalf of music theatre international of new york directors phil garner and chris biggs musical director chris payne please ensure that all mobile phones are switched off the use of all cameras video and audio equipment is prohibited in the theatre you may enquire for any lost property left in the theatre by calling 07817 591108 refreshments are available in the foyer conservatory please note that there is no smoking allowed anywhere on abingdon school premises including all outside areas


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chairman and co-director s message o those of you who are regular supporters of our shows a warm welcome back if this is your first experience of an aos production i hope it will stimulate you to come back for more a glance at the tremendous range that we have brought to public performance in the last few years should convince you that there is plenty on offer for everyone this production has certainly provided a change of mood and pace for all of us stephen sondheim is a challenging composer and one must be willing to take him on whether as a performer or an audience i invite you to put aside your predispositions and enter the dark yet strangely comic world of sweeney todd a world not only of sondheim s invention but also of our own this show gets under your skin ­ it is an experience ­ thank you for joining us in this production we have tried to create the underlying sense of story telling it is simultaneously a tale of a wronged man consumed by revenge who allows his dark nature to overwhelm his life and about the nature of man himself ­ a creature possessed of dark and evil potential that can be triggered by circumstances in that sense the story is about all of us ­ it is a story in which we are involved sondheim has built on the versions already existing of the demon barber and created his own uniquely powerful character his music largely underscored throughout the piece captures the ever changing moods of life and his melodies frequently appearing in changed forms illuminate the tale t this challenging work deserves the best performance possible the structure has ensured a strong sense of togetherness for the performers ­ a company show that has proved a joint adventure for us all it is one to which i have felt privileged to contribute the original director for this show was phil garner a charismatic and imaginative leader with a long history of successful shows produced for the society he was in short the ideal person to take on such a challenge and as rehearsals began there was a keen sense of excitement and anticipation after all too short a time phil became seriously ill with what turned out to be a devastating condition from which he subsequently died the shock was immense for his family and for many in the society who had worked with him and had come to know him as a friend however we knew that in his spirit the show must go on it was with some trepidation that i took over direction but bolstered by the skills i had been fortunate to learn from observing phil and with the foundation of ideas that he had already established i determined to build a production true to his original conception inevitably given the proportion of time involved the show has become my responsibility and there is much of me in it nonetheless it is my personal wish that our achievement in bringing it to the stage should be dedicated to the fond memory of a brilliant director and friend phil garner chris biggs chairman and co-director obituary ­ barbara evans the society was deeply saddened by the death of barbara evans last march after a long illness she joined aos in 1994 with her husband phil and over the years appeared in more than sixteen shows playing principal parts in many of them she distinguished herself as a character actress in particular demonstrating her outstanding natural talent for making the most of the comic opportunities with which she was presented barbara also sang with kennington united choirs and was involved with many productions of abingdon drama club and creation theatre company.


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stephen sondheim in sweeney todd the multi-award winning lyricist and composer has created a disturbing london of mad barbers and suspect meat pies what was he trying to achieve with this unsettling show itting in a darkened theatre gripping the arms of your chair eyes locked on the actors watching a performance of sweeney todd it s impossible not to be aware that you re in the hands of a master of his trade the lyrical and tonal breadth of the palette that s explains the music itself sets the audience s nerves on edge even if there s nothing happening on screen and i wanted to see if i could do that in the theatre unveiled on broadway in 1979 starring len cariou as sweeney todd and angela lansbury as mrs nellie lovett the show was a huge critical success running for over 500 performances and winning eight prestigious tony awards in that year show west side story he continued as a lyricist with gypsy in 1959 before showing that he could handle music and lyrics together with shows such as a funny thing happened on the way oo the forum 1962 company 1970 follies 1971 a little night music 1973 and pacific overtures 1976 he has also been responsible for the scores for a number of films and tv serials and an anthology of his work side by side by sondheim has also been a major theatrical success now nearing his eightieth birthday he continues to work with his most recent new project being since that original production the show the autobiographical bounce 2003 has been revived on broadway and the west end several times and is also in 2007 he worked closely with tim regularly performed in a concert version burton on an adapted score for the and on the amateur stage despite or movie production of sweeney todd starstephen sondheim uses to paint this perhaps because of the macabre nature ring johnny depp helena bonhamgrim tale can be overpowering and at of the story carter and alan times truly frightening and that s his show is rickman the film exactly the effect that he set out to based upon received high acclaim achieve sondheim from critics and cinema had scored audiences alike winning i just wanted to scare audiences he another a golden globe award has admitted with a hint of relish it s major hit for best motion picture very hard to scare people in the theatre musical or comedy apart from turning out the lights and stephen johnny depp was also going boo i wanted to see if i could sondheim nominated for a do it was born on the 13th march 1930 in golden globe and an oscar for his new york and showed early musical tal performance sondheim came across the tale of ent but he may never have realised his sweeney todd after seeing the full potential without a stephen sondheim is now recognised as christopher bond play in new york in large piece of good fortune early in one of the giants of musical theatre 1973 the 1940s he and his divorced mother he uses lyrics carefully in an almost moved into the house next door to understated manner allowing the power it wasn t really very scary he says oscar hammerstein ii the lyricist of the music to combine with his words but it had a lot of charm and was sort responsible for such classic shows as to achieve the impact he requires and oklahoma the sound of music and of creepy in sweeney todd it s always the music the king and i one day sondheim that drives the narrative along asked his neighbour to look at some the challenge he set himself was to songs that he d written and the create a musical thriller that would i knew that if i kept the music going unnerve and chill the audience despite impressed hammerstein took the young the audience would be enthralled and sondheim under his wing and encour believe what was happening on stage their ability to break the spell glance around the theatre and see the stage and aged him becoming almost a father fig it s the underscoring it s all about the ure actors whenever they wished he underscoring particularly wanted the music the score sondheim s first major success came in actually it s about a particular kind of to be one of the main sources of the 1957 as a lyricist when he wrote such fright that the audience should feel genius the musical genius of stephen classics as maria america and sondheim take john william s score for jaws he tonight for the multi-award winning


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sweeney todd synopsis act i v ictorian london a mighty industrial city the heart of a great empire down at the docks two men disembark for anthony hope after years overseas there s no place like london sweeney todd echoes that sentiment but for different reasons as they part a deranged beggar woman pathetically offers herself to them todd is cruelly abusive to the surprise of anthony who has only known him as kind and gentle now he seems embittered and hateful todd relates the sad story of the barber and his wife leaving the docks todd makes his way to fleet street and mrs lovett s shop which offers the worst pies in london there are lodgings above and mrs lovett tells the tale of a nice gentlemanly barber who worked and lived there with a young daughter and a pretty little wife who attracted the attentions poor thing of a corrupt judge and his beadle they had the barber unjustly transported lured his sweet naive wife to the judge s house where she was raped and her beautiful child taken from her the barber was never seen again the wife took poison but the girl johanna still lives with the judge even as she tells the tale mrs lovett knows that benjamin barker now sweeney todd has returned to seek his revenge she hands him the tools of his trade carefully kept by her since the day he was convicted my friends murmurs todd caressing his razors he takes the lodgings and once more sets up in business as a barber outside judge turpin s house a birdseller s green finch and linnet bird are serenaded by johanna herself a helpless caged creature passing by anthony buys a bird and offers it to the young lady ah miss but the judge warns him to keep away from his daughter the warning comes too late for anthony is in love and determined to rescue johanna in st dunstan s place tobias the young stooge of a rival barber pirelli is demonstrating the remarkable properties of pirelli s miracle elixir much mocked by todd who challenges pirelli to a shaving competition the eager crowd enlists the help of beadle bamford who umpires the contest and pronounces todd the winner business booms in fleet street but the impatient and obsessed todd wants only the judge s custom just wait mrs lovett advises unaware of todd s return the judge has decided to marry his daughter johanna is distraught until anthony climbs up to her room kiss me they cry and plan their escape with his wedding looming the judge is persuaded by the beadle that ladies in their sensibilities like a man freshly shaved and pomaded they make their way to fleet street and as the lecherous judge confides on the subject of pretty women he is unaware that todd s last visitor now lies lifeless in the barber s trunk pirelli had recognized the returned convict and foolishly attempted a little blackmail but just as todd is about to dispatch the judge too anthony bursts in gushing about johanna and their elopement judge turpin leaves swearing that the boy and barber are obviously in league todd rages at anthony at mrs lovett and experiencing his own mad epiphany vows revenge on all humanity mrs lovett is more practical what about pirelli seems a shame to waste such fine plump flesh after all her pies could do with some new flavours italian barber royal marine and maybe a little priest act ii m rs lovett s distinctive pies are the talk of fleet street god that s good belch the customers of her now thriving business with such a harmonious business partnership mrs lovett is keen to put relations with mr todd on a more intimate footing and hints how happy they d be down by the sea but todd s mind has been twisted by hate and he thinks only of judge turpin and johanna now incarcerated in a madhouse mrs lovett s new help tobias is fearful of todd but no one will harm her he promises not while i m around suspicious that tobias suspects something she locks him in the bake-house upstairs beadle bamford has arrived and is singing parlour songs he has come because there have been complaints about an unpleasant smell from the bake-house and he d like to take a closer look which todd arranges by slitting his throat the smoke from the chimneys has also drawn the attention of the crazy beggar woman who shrieks her warning of city on fire as todd s scheme races toward its conclusion as johanna is rescued by anthony the judge joins the beadle in the bake-house as does the foolish beggar woman only then does todd recognise his wife lucy the one person in the world his poisoned heart still loved and because mrs lovett lied and made him think lucy had taken her own lfe he has killed her he takes his twittering landlady in his arms and dances her into the furnace then he in turn is killed by tobias when johanna anthony and the police arrive the deranged boy is grinding the mincer for more pies producing the gruesome finale to the ballad of sweeney todd.


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q&a you usually only see the back of his head so we asked our musical director to reveal himself is sweeney todd a difficult show for the chorus to sing yes sweeney todd is probably the most challenging music aos has sung this is true both for the soloists and the chorus the harmonies are often difficult as there are a lot of note clashes and the rhythms really are very complex why are there those clashing notes then it is true there are clashes and at first these seemed quite uncomfortable to listen to however as you get to know the music you can appreciate the dramatic effect the composer is trying to achieve and how clever his writing is how do you decide on the instruments in your orchestra for each show i m given a list of the instrumentation for the show when we start rehearsing i then need to decide which instruments i would like to use and indeed how many instruments i can physically fit into the amey theatre pit we can usually fit in approximately 18 players having worked out the instruments i will be using i then book the players what are the challenges for an orchestra in this show oh the amount of music there is to play there are very few long passages of script when the orchestra can rest the music is such an integral part of the show telling the story through the songs and adding to the drama with musical description the music is also very complex and challenging to play how did you learn to conduct an orchestra i studied music at royal holloway college london chris payne musical director university where i conducted the operatic society and a summer concert since then it has really been a case of learning on the job how do you spend your days i am the headteacher of a primary school in witney which involves a huge variety of tasks including a lot of meetings overseeing the teaching and learning managing the budget teaching etc when i am not working i enjoy spending time with my wife sue and our two children tom and jessica apart from music what are your other interests i enjoy all sports particularly golf and am a member at burford golf club my regular golf partner is andrew moore who is playing the part of anthony in this production what do you enjoy most about conducting a show i suppose i enjoy the challenge of ensuring that i provide the best possible support for the performers both during rehearsals and during show week in terms of bringing them in when it is their turn to sing giving them support with how to sing the music etc i also really enjoy the opportunity to pursue an interest away from my work it s a really good way to switch off from the pressures of running a school will you take away any particular memories of this show many happy ones but some sad this would have been my third production with phil garner as director having previously worked alongside him on anything goes and the scarlet pimpernel it was a great shock to us all when he fell ill in july and subsequently passed away at the beginning of september he was always great fun to work with in rehearsals and a great competitor on the golf course we have all lost a hugely talented and inspirational director and a dear friend.


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the company characters in order of appearance anthony hope sweeney todd beggar woman mrs nellie lovett johanna judge turpin beadle bamford tobias pirelli fogg andrew moore edward blagrove caroline organ-jennings clare denton hannah nye stephen pascoe john wilkes john carter kevin pope martin mellor the people of london natalie biggs diana bryan sarah h carter sarah l carter kerry chaundy alastair cooper lesley donovan philip evans valerie findlay megan froud-davis john gale linda harris mike hogg tina hood-liles phil hughes susie kerr iain launchbury wendy a lewis wendy marler john nye rebecca peberdy suzi rooke sophie ruggiero sarahjayne sierra greg smith john smith rachel tugwell anne widdup debbie wilde nancy wing the orchestra violins mariette richter leader jayne dimmock alison cutting guy cutting chris gillingham christine ashfield richard thorne idris harries carolyn king glyn williams tom rogers andrew hall graeme hollingdale huw james steve guard chris fletcher-campbell huw morgan ian miles viola cello double bass flute/piccolo clarinet oboe/cor bassoon trumpet trombone horn percussion harp keyboard:


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synopsis of scenes and musical numbers prologue london fleet street and environs the ballad of sweeney todd the company there will be an interval of 20 minutes between the acts act i a street by the london docks no place like london ­ anthony todd beggar woman the barber and his wife todd mrs lovett s pie shop fleet street the worst pies in london ­ mrs lovett poor thing ­ mrs lovett my friends ­ todd mrs lovett company act ii mrs lovett s pie shop/todd s barber shop/fogg s asylum god that s good ­ tobias mrs lovett todd beggar woman company johanna ­ anthony todd mrs lovett beggar woman mrs lovett s parlour/the bake house by the sea ­ mrs lovett todd judge turpin s mansion the wigmaker sequence ­ todd mrs lovett green finch and linnet bird johanna ah miss ­ anthony johanna beggar woman anthony the letter ­ quintet johanna ­ anthony not while i m around ­ tobias mrs lovett st dunstan s market place parlour songs ­ beadle mrs lovett tobias pirelli s miracle elixir ­ tobias todd mrs lovett company fogg s asylum and the street outside the contest ­ pirelli city on fire ­ the inmates johanna judge turpin s mansion johanna ­ judge turpin todd s barber shop wait ­ mrs lovett beggar woman judge turpin s mansion kiss me ­ johanna anthony ladies in their sensitivities beadle mrs lovett s pie shop/todd s barber shop pretty women ­ todd judge turpin epiphany ­ todd mrs lovett a little priest ­ mrs lovett todd the bake house/mrs lovett s parlour/todd s barber shop searching ­ mrs lovett todd beggar woman anthony johanna the judge s return ­ todd judge turpin finale ­ mrs lovett todd tobias epilogue london fleet street and environs the ballad of sweeney todd the company


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q&a he looks very angry on stage every night so what s sweeney really like how difficult a part is sweeney todd to play this certainly has to be one of the hardest i ve done both as an actor and vocally sondheim has spoken in interviews about the madness of the character and how that is reflected in the music with time signatures constantly changing i have to thank chris payne for much assistance on this one have you done sondheim before only in concerts i have yet to do a full sondheim show unless you count west side story where he wrote the lyrics but after this i would jump at the chance to do one again do you get nervous before a show beyond belief it generally starts about one and a half hours before curtain up and tends to come and go throughout the show depending on the next scene sometimes though the extra adrenaline it creates really helps especially with a part as highly strung as sweeney can you enjoy the show while you re on stage enjoy is a word i tend to use afterwards hopefully while i m on stage although it sounds very actory and a little pretentious i try and focus my energies into the character if the character is enjoying themselves i tend to as well edward blagrove sweeney todd short cv are you a singer who acts or an actor who sings i would always class myself as an actor who sings i almost always used to do musicals when i was growing up but i now do more straight plays there are wonderful aspects to both musicals and plays and i enjoy being able to turn my hand to either you direct shows too how different is that to appearing in a show its hard to compare that s how different they are the amount of work that goes into directing is enormous i think that as a director you have the chance to make or indeed ruin an entire scene or even a whole show it s wonderful but terrifying at the same time what will your next project be i am directing now for a while and don t know when i ll next be performing on stage i start work on the producers for oxford operatic in december it s my first chance to work with musical director chris payne and i can t wait tv bloodtype the search theatre stratford-upon-avon tybalt romeo juliet macbeth macbeth shylock the merchant of venice musical theatre michael tick tick boom ofs studio oxford chauvelin the scarlet pimpernel amey theatre abingdon dave the full monty theatre at headington tony west side story new theatre oxford directing fiddler on the roof oxford playhouse chess oxford playhouse les miserables theatre at headington the importance of being earnest burton taylor studios


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mrs lovett claire denton clare first acted with aos nearly twenty years ago as a rather chubby eight year old in the sound of music she also played ann in half a sixpence before going to college to study acting and she then spent seven years as a professional actress appearing in musicals actor musician shows and dramas in the west end and touring since deciding to live the more normal nine-to-five life eight years ago she has appeared in oxford operatic society hortense in the boyfriend oxford theatre guild mrs earlynne in lady windermere s fan millie in the browning version lady capulet in romeo and juliet various parts in the canterbury tales mrs cratchitt in scrooge abingdon operatic society emily in the hired man florence in chess tomahawk beatrice in much ado about nothing cakes and ale katerina in the taming of the shrew this however is the first show clare has acted in for two years having taken a break to have a baby pippa is now ten months old and very lively tobias john carter this is john s first show with aos having turned sixteen this year although he s been vicariously involved for some years through his mother who s in the chorus tonight he is currently studying in the sixth form at abingdon school where he plays trumpet in the first orchestra brass band and wind band between the ages of seven and thirteen he sang as a chorister at st george s chapel windsor castle becoming head chorister in his final year this gave him the opportunity to sing at royal occasions and to perform solos at a variety of concerts as well as the odd tv and radio appearance toby is his first principal role in a musical he s particularly enjoyed rehearsing for the show and making new friends throughout the company who have given him endless help and encouragement judge turpin stephen pascoe stephen has a varied time balancing singing and atmospheric science he gained a phd in atmospheric chemistry from leeds before studying voice and opera at the royal northern college of music during which he sang professionally throughout england and beyond since then he has returned to science where he develops software for climate scientists but continues to sing and perform his stage roles include escamillio in carmen silvio in i pagliacci and balstrode in peter grimes stephen performs regularly for oxford operatic society and kennington choir his recent roles include the pirate king in pirates of penzance strephon in iolanthe and lun tha in the king and i this is the first time he has performed with abingdon operatic society although he first played judge turpin in sweeney todd seventeen years ago in the sixth-form this time he s hoping his extra years will add maturity to this darkest of dark roles beadle bamford john wilkes john has been a regular performer with aos for several years his first show being irene in 1988 when he played the part of ozzie so 2009 marks his twenty-first year with the society quite a landmark his last show though back in 2004 was chess playing the part of the not-very-nice molokov business commitments have taken him away from the stage for the last five years so sweeney todd marks a welcome return this is john s first sondheim musical and he is delighted to be playing another less-than-nice character in the beadle perhaps we should do sondheim s the assassins next he says this is because it has a part named john wilkes in it other principal roles have included mc in cabaret ravenal in showboat dr daley in the sorcerer ruthven in ruddigore ko-ko in the mikado and snodgrass in pickwick.


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johanna hannah nye hannah first appeared on stage with aos in south pacific at the age of nine and has taken a keen interest in musical theatre ever since playing children s roles with the society on three other occasions before becoming a full member since joining in 2003 she has taken leading roles in the wizard of oz my fair lady and most recently oklahoma while at oxford university she took part in many studio performances of short operas with new chamber opera including purcell s dido aeneas and bernstein s trouble in tahiti hannah also belongs to a local all female choir `schola pietatis antonio vivaldi specialising in the works of vivaldi and his contemporaries a recent recording of vivaldi s gloria performed by this group was broadcast on sky arts in september featuring hannah as soprano soloist hannah is currently working towards a post graduate diploma in vocal studies at the birmingham conservatoire anthony andrew moore born in bath andrew s love of singing began aged ten as a choirboy with weston-all-saints church later in life he moved on to teacher training college and with westminster college music society played the roles of mr snow in carousel and freddie eynsford-hill in my fair lady for bartholomew community theatre he has played sky masterson in guys and dolls frederic in pirates of penzance curly in oklahoma and more recently mr bumble in oliver andrew has completed a decade with aos and has enjoyed the musical challenge of a sondheim score if he needed botox injections to play the young armand in the scarlet pimpernel he is possibly in need of a body double to play anthony for however kind life has been to him he s still not young by a clever word change in the opening scene the smirking edward will remind him of that fact every night this week when he is not rehearsing or taxiing his children around he enjoys a little friendly competition on the golf course with a well known musical director pirelli kevin pope this will be kevin s fifteenth production with aos since joining for me and my girl in 2001 in that time he has been fortunate enough to play a number of principal roles including sir despard murgatroyd in ruddigore ted blacklock in the hired man mr fogg in pickwick stamp in billy ko-ko in the mikado gangster #1 in kiss me kate and ali hakim in last year s oklahoma his current role of adolfo pirelli poses a particular challenge in that the vocal range extends to top c ­ considerably above his normal baritone capabilities consequently kevin would like to apologise in advance to those members of the audience with sensitive hearing and hopes that you will be more forgiving to him than sweeney will beggar woman caroline organ-jennings caroline started dancing at the age of four and joined the school choir at nine for many years she continued with both her dancing and choral singing culminating with the soprano solo in mozart s requiem however it was only seven years ago that she took to the musical theatre stage for the first time joining her daughter s drama group in scrooge realising how much fun performing on stage was she then took roles as maria in the sound of music a hot box girl in guys and dolls praskovia in the merry widow yum yum in the mikado venus in orpheus in the underworld hebe in hms pinafore a bridesmaid in ruddigore and joined aos last year in the chorus of oklahoma caroline is a very proud mother of three teenagers teaches languages at henry box school in witney and is passionate about yoga and swimming.


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production team directors musical director production coordinator stage manager assistant stage manager scenery provided by stage carpenter lighting designer engineer sound design sound operation stage crew costumes supplied by wardrobe mistress dresser make up design assisted by properties design assisted by properties supplied by prompt rehearsal pianists rehearsal refreshments programme poster and flyer design photography publicity phil garner and chris biggs chris payne frankie wilson malcolm walters nick cook scenic projects mike waite tom bennellick matt smith louisa nye patrick biggs daniel dixon barry greenaway laurence organ-jennings brian rooke mike waite maggie hathaway kear consultancy kate schomberg rosie young anne newell jen chapman judy clark stacey coles naomi giles magenta stacey cathie taylor frankie wilson claire dowdeswell abingdon operatic society baptys the national theatre sue richards ian miles annette miller huw morgan john nye sue payne pat hockley daniel dixon amanda robinson sue smith ian skeels george riddell martin mellor edward blagrove phil hughes mike davies linda harris mike hogg amanda robinson marilyn moore chris davies marilyn moore vaughan billings chris turton felice armstrong deborah bater chris bryan delia bull brian burrows dennis garret gwynneth goss john goss george green pat greenaway kath hadris pat hockley maggie ingram marilyn moore niall moore peter moore dennis osment neil passingham jon ridley ian skeels gill skidmore gordon skidmore alistaire smith sue smith victoria smith tomo tompsett angela towler janet trinder ann turton chris waite ian wheeler lynne winter nigel winter pam verrall barbara verrall archivist box office front of house managers front of house staff confectionery


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abingdon operatic society affiliated to the national operatic dramatic association noda and oxford drama network president margaret long chairman chris biggs vice-chairman martin mellor secretary kerry chaundy treasurer vaughan billings minutes secretary anne widdup committee members lesley donovan claire dowdeswell phil hughes john nye caroline organ-jennings joy skeels honorary life members mrs f armstrong mrs h calvert-fisher mrs j clark j eddy h foster r johnson mrs i macdonald t nixon mrs b tandy patrons mr mrs f bevan j e boon mrs r brooks c d bryan mr mrs r bush mrs b cambrey-denton mr mrs n e l carter d w church d f h clarke mrs a j deane mrs p dickinson j j field r finnerty g green b gurden mr s harmsworth dr e harris mp mrs a m hasnip j t hyman mrs e v kerr dr mrs n h kitching mrs m j long mrs i macdonald mrs d mckay mrs i m margrim w d j marshall mrs g mein mr mrs h midwinter a miles dr n r moore mrs b a newport mr mrs p j o hare mr mrs d r rawlinson mrs c ridge c g ross mr mrs m ryan mrs l sandford b j stayte m r taylor tonks brothers funerals mrs d turner c b turton mrs m warrell r j wicks the society is indebted to its patrons for their support if you cannot play an active part but nevertheless would like to help us why not become a patron the current annual minimum fee is £15 your donation which will be gratefully received will help offset the ever-increasing cost of staging shows for local audiences for enrolment or further details please write to ann turton ladybrook house castle street steventon abingdon oxon ox13 6rs the society would like to thank abingdon library for assistance with publicity abingdon school for their help and co-operation ask italian restaurant abingdon for display of banner mr and mrs j goss for storage of scenery and effects newbury building society for providing box office facilities mr mrs m schomberg for display of banner st john ambulance for attendance at each performance sarah regan for training cast members in the skill of shaving by cutthroat razor tesco stores abingdon for display of banners trinity church abingdon for their co-operation in the use of rehearsal facilities the abingdon lions club for volunteering to be parking marshals charities supported recently by aos sobell house leukaemia research if you would like to become a member of abingdon operatic society please contact the membership secretary john nye on 01235 543188 or email interested in helping backstage lighting sound or stage crew please contact claire dowdeswell on 01296 331365 to be included on our mailing or email list please write to joy skeels hope house roke wallingford oxon ox10 6jd are you a good pianist the society is looking for musicians to play at our rehearsals for more details contact john nye on 01235 543188 visit our website at abingdon operatic society is registered charity number 273149


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the ladies and gentlemen of the chorus aos in rehearsal



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