ERRATUM
I have to hold my hand up, as one should do when stated facts are incorrect. One of my blog readers - I say one - he or she could be the only reader - has pointed out to me that, in my enthusiasm for the Canadian ice hockey, I ’misquoted’ or ’miswrote’ or ’misblogged’ the number of medals won. They did, in fact, win 14 gold medals, not 15 as I said. Sorry. Especially to any American readers who were no doubt enraged at the spurious extra award.

I would also like to answer his (or her) query about my sobriety while writing the last blog. Yes, there was a fiasco in Rome with the Scottish rugby team, but, no, I was not ’medicinally bladdered’ whilst in the throes of penmanship.

Right: That’s two major non-theatrical points clarified. Comments, and even complaints, are always welcomed . . .

Gus ad@loft-theatre.co.uk or 07885 546442

DRAMA BY DESIGN

Theatre comes in many guises:

At time of writing (late on a Sunday evening) I’ve just watched the Canadian ice hockey team go into extra time against the USA at the winter Olympics and win a 15th gold medal courtesy of the stick of Sidney Crosby. It was exciting, thrilling and, at moments, heart-stopping. I should at this point declare an interest and explain why I was watching such arcane stuff: our first-and-only-born was somewhere in the throng watching the game with a glass of something in her hand and I thought I might catch a glimpse of her. I don’t expect anyone else who reads this blog was viewing. It was a strangely moving experience. And not just the ice-hockey – the rest of the Olympic hoo-hah had some great moments: very strange people with a death wish throwing themselves off high ramps into the air with only a pair of skis and very thin poles to support them in their flight, skaters with a latex fetish rushing round an ice rink, kids young enough to be my grandchildren sliding down very steep and dangerous slopes on tiny bits of wood. Moving, yes. Sensible, possibly not.

It was also a Six Nations rugby weekend in our house: Thrills, spills, blood, gore, fisticuffs and disappointment (particularly, as a Scotland supporter, having to endure the sight of Mrs MacDonald – cock-, and a-hoop, celebrating Ireland’s victory over the English with a pint of Guinness in her hand). Again very emotional and exciting even if I had to have the aid of a large medicinal scotch to get over the shock of my bhoys being properly mullered by the Italians.

And a trip to London to see Jerusalem, this month’s West End ‘hot ticket’ with Mark Rylance portraying a wonderful larger-than-life “gypo” Johnny Byron: a hard-drinking, drug-dealing scumbag, blessed with enormous charm and aplomb. It was a bravura performance albeit with a slightly bemusing last act. The final 10 minutes was awesome and we left the theatre having experienced something extraordinary and wonderful.

Finally, and as far as I am concerned, most importantly, Gordon Vallins’ Amadeus which exceeded all expectations – including box office receipts – and during the run went on to be Leamington’s own show-to-see for a week or so. It was a stunning piece of theatre. An almost impossible play, staged with great aplomb, beautifully costumed, technically superb, with wonderful performances. And, again, very moving (but this time sensibly so, with no suicidal slopes or silly bits of wood stuck to one’s feet).

And what’s the point of this ramble, what have I learned from all this? The blindingly obvious, really. Theatre comes in many forms: but the common ingredients in all the above are truth and passion. Truth in playing, in performance, passion in effort, in the strength to fight for something even if the cause looks past saving (especially if you are a Scottish athlete).

On reading the last paragraph back there’s a danger that all this sounds pretentious and up my own whatsit, but it’s not meant to be, from my point of view it’s, errr … true and errr … passionate. But my point, I think, is made – nothing exceptional happens without effort (great effort in some cases) and, mostly, the emotional effect on the hair on the back of one’s neck is proportionate to how much hard work has been put in. So pats on the back to all who were involved in a very theatrical couple of weeks.

’Nuff said. Time to stop (before the band strikes up the strains of The Impossible Dream from Man of La Mancha or Somewhere Over The Rainbow or anything else equally sloppy).

A short coda though: I dozed off during the ice-hockey celebrations (believe it or not) and woke to What Katie Did Next of which it was my misfortune to catch at least five minutes before I could lever myself out of my seat. I’ve never witnessed such a tawdry, self-publicising piece of television tat. Truth it most definitely wasn’t and the only passion was in the protagonist’s ambition to project herself as a normal person!

Comments, as usual, are always welcome – ad@loft-theatre.co.uk or 07885 546442.

NOW IS THE WINTER OF MY DISCONTENT…
Ok. I like snow. Lots of it. Big fluffy stuff. All pretty and white and clean. And preferably up large mountains with the appropriate level of apres ski involved at the day’s end. I don’t like it when it affects audience numbers, particularly on a production that seems to have been greeted pretty well. Slippy snow does not encourage large audiences.

The Memory of Water didn’t quite make its budgeted figure - which didn’t thrill me at all. But I was extremely pleased at the reaction given to it by those worthy souls who braved the current effects of global warming to reach the theatre. I like to think that was borne out by the increased ’footfall’ the play received in the second week. Word had obviously gone around - the snow had melted - and the audiences started to increase. I was in the auditorium on the last night checking out how much my interpretation had changed over the run (much for the better, in fact) and, as the Irish say: the craic was mighty. Once again my thanks to a smashing company for a great time.

WHILST WE ARE DOING QUOTES…
’Fear not for the future…’ (Ralph Waldo Emmerson) comes to mind. In combination with the rest of the artistic directorate I’m trying to get next season organised. I thought we were nearly there - at least for the end of 2010 and the beginning of 2011 - but then that gradually fell apart over the space of a couple of days last week, for various reasons. However, as these things sometimes do, that has led me on to some more exciting ideas. So, once again, watch this space for announcements when I finally get them fully developed (or am I sounding like a Kodak rep?)

FINAL QUOTATION (I PROMISE)
’Music should be something that makes you gotta move, inside and out.’ Not spoken by Mozart. Or, indeed, any of his contemporaries. This quotation was from one Mr Presley who did his bit for musical history some 300 years after Amadeus was born. But the point is the same.

Music should move you and I’m really looking forward to Gordon Vallins’ Amadeus which is next up on the main stage. It promises to be huge, theatrical, thrilling, and gripping. With lots of wigs and big frocks. Don’t miss it.


Right. That’s it. Congratulations, as always, if you got this far. If you are sick of the quotations, just be thankful I didn’t have fortune cookies for lunch and only stumbled across a famous sayings site in an idle moment on the web.

As usual all comments and ideas are very acceptable and always appreciated. You can email me on ad@loft-theatre.co.uk or ring me on 07885 546442 or, of course, collar me at the bar.

Gus

IT’S A BELATED HAPPY NEW YEAR FROM ME…
…and I’m really sorry the expression of seasonal felicitations is so late, but, as is my custom during the holidays, I’ve been away … far away … so far away I didn’t have email (initially a painful withdrawal, but eventually quite blissful) or internet access. So here’s to a happy and successful 2010. With thanks to all concerned for their hard work in ’09 and looking forward to lots and lots of luvverly theatre over the next 12 months.

ABSENT MEMORY
No, not mine. At least, I don’t think so. Not yet, anyway. Well maybe - it all depends on the wine and the degradation of brain cells. But I ramble…

Vanessa Comer’s Absent Friends before Christmas was a great success – both artistically, and in resulting audience attendance figures. From my particular hotseat, it was particularly gratifying to see such an excellent mix of actors - newcomers and more established faces - strutting their stuff on our stage to considerable effect. It was a jolly good launch into the holidays as far as I - and our audience - was concerned.

Next up is Shelagh’s Stephenson’s award-winning poignant comedy The Memory of Water with my slightly shaky hand at the helm. It’s been great fun to direct and the only problems have been weather-related (as I write, just a few hours from curtain up on the first night, the snow is falling thick and fast). The slightly bizarre effects of global-warming permitting, the cast, I know, are looking forward to having an audience, rather than me skulking round the auditorium making notes.


SHORT BUT…
…slightly amusing. No, that’s not a personal description. For that to work one would have to include adjectives like ‘bald’, ‘fat’ and ‘distressingly loud’. It’s a New Year’s resolution. I’ve had a number of responses to my blogs – most of them, thank God, favourable and encouraging me to do more (though the one really offensive rant that I received recently gave me a good laugh). So, more is what I will now commit to do. I’ve also had a number of comments that you gentle readers (and I’m sure there is more than one, now) like the fact that it is a personal view that I express. So – from now on – I’m hoping to produce more blogs, but (like myself) shorter. And, where I can, make them personal and amusing. I hope you like. If you don’t I’m sure you will let me know.

So, on that note, (with the usual request for comments, play suggestions, offers of bottles of wine) may you all get through this cold snap safely, and snuggle up cosily in the auditorium for a good laugh.

Gus MacDonald
ad@loft-theatre.co.uk
07885 546442

Eclipsed postponed
As some of you may know, I have taken the difficult decision to cancel November’s studio production of Eclipsed.

Since taking over direction three weeks ago, the company has been decimated by illness and accidents (not to mention pre-arranged holidays) – so-much-so that with just over a week to go we had not yet managed to achieve a rehearsal with a full cast. The final straw was the news that one of the company had been taken ill and was not going to be available until three rehearsals before the first night (at best). She has subsequently been signed off sick for two weeks. Given that she was in every scene bar one I felt it was an impossible ask to pull the show together to a standard that I would have found acceptable.

I spoke to the company and asked for their views. They all came to the same conclusion very swiftly. They wanted me to stress that it was a company decision not to carry on, not just my own, and am duly doing so.

They also expressed a wish to continue with the production at some point in the future, and I am very happy to do that when I can find a slot where we are all available. That way, at least, all the hard work that has been done - both from a production front, and by the actors themselves - won’t be wasted.

I’d like to thank the whole company – actors, props, SM – not just for the effort they put in over the last few weeks, but for the support they gave me after a very difficult decision.

So, not cancelled, not eclipsed – merely postponed pending a future date. Watch this space for announcements regarding this most excellent play.

For those of you who have already purchased tickets please ring me on 07885 546442 so that I can tell you how to sort out refund/transfers.

The Weir overflows with goodies
Bill Wilkinson’s production of Conor McPherson’s ghost story seemed to resonate all round – with audience and press alike giving it artistic acclaim. It also went on to a sell-out additional performance in Blockley, with another enthusiastic response.

I thought it was a terrific evening’s entertainment and as an avid ‘audience watcher’ I can testify that there was hardly a cough or a twitch throughout the performance. A testament both to McPherson’s script and the actors’ skill in story-telling.

Auditions
As I write audtions are still in progress for Hay Fever, Rosencrantz & Guildenstern Are Dead and Noises Off. We had a huge turnout last Sunday – and again this Sunday – and there are still further readings to be heard. More news on a final result very soon.

If you want me, or want to comment on matters artistic, you can catch me, as always at ad@loft-theatre.co.uk or ring me on 07885 546442.

Gus MacDonald

A difficult decision
For as long as I can remember I have been an advocate of involving children in theatre. Indeed, my daughter says she was almost brought up in the green room at the Loft whilst her mother and my good self were treading the boards. It was a good experience for her, mixing with other people of all ages, and she still talks about it 20-odd years later.

However, at a meeting of the Trustees on 26 September the decision was taken, with deep regret, that for the time being the Company would not schedule any work requiring actors under 18. This decision had the full support of the Artistic Management and was a carefully considered reaction to two separate, but related, areas of government policy.

The first is the existing law that covers under-16s in performance. Whilst just about manageable, it places many demands on us, including chaperones available every night who must be CRB-cleared by Warwickshire County Council, separate changing facilities etc etc. Our view was that the considerable effort is out of all proportion to the gain.

The second is the new Vetting and Barring legislation which will cover children up to the age of 18. We are unclear about exactly what the applicable rules will be and no one is able to tell us. I consulted WCC to see if they could help and they could not. The Chairman sought clarification from the new Independent Safeguarding Agency and they were unable to tell him much more than we already knew, which is very little. It could be that all adults with whom children might have contact in the theatre would have to be CRB checked (at a cost of £64 each). Certainly, as we understand it, all our paid employees and subcontractors (stage carpenter, cleaner, bar manager) will have to be checked.

In the short run (six months or so) we think that the Loft Youth Theatre (over 16s only) will be in the clear but we cannot say with any certainty how that will look in terms of the rules surrounding their performances beyond that time.

The upshot is that until we are clear about the detail of what we have to contend with, we need to be prudent and not expose ourselves to any unknown future risk. Hence the decision. When things are clearer we will have another look and see where we stand. It’s not a happy situation though.

A veritable variety of goodies
The Trustees have now approved plays for the three main house slots of the 2009/2010 season remaining to be announced (Into The Woods having already been announced and, in fact, cast).

The March production will be Noel Coward’s classic, Hay Fever, directed by Mary MacDonald, followed by Kenny Robinson’s Sondheim, Into the Woods. In June Greg Cole will follow his very successful debut in the studio with Tom Stoppard’s Rosencrantz and Guildenstern are Dead followed by my good self having another stab at what is one of the greatest modern farces, Michael Frayn’s Noises Off.

Auditions for all three plays will take place on Sunday 1 November, and scripts are available from the directors. Details can be found elsewhere on the web site.

So, hopefully something for everyone – traditional, musical, absurdist comedy and lots of luvvies rushing around in their underwear. What more could you wish for?

Pilgrim’s progress
At last – finally things are moving (sic) with the redevelopment of the Church. I attended the planning meeting on 7 October where consent was given for the redevelopment of the Loft site. So now we can start thinking seriously about how the move will affect us artistically.

And on that note...
I consistently ask, in my blog and this column, for comments from you (and here I am making the large assumption that someone actually reads this!). I am already working on the 2010/2011 season and would like to know what you would like to see.

It’s easy enough to get in touch. You can email me on ad@loft-theatre.co.uk or ring me on 07885 546442. All suggestions and comments will be carefully considered.

Gus MacDonald

Stuttering start
Collaborators opened the season to a mixed response. It was generally agreed the company had worked hard but there was something fundamentally flawed in what we delivered. Perhaps it was the play itelf and for that I have to hold my hands up as it was, in the end, my recommendation. Perhaps Mortimer wasn’t as sharp as I thought he was or the play as witty as it read. There were plus points: It played to its budgeted figure (there or thereabouts) and in talking to audience members it wasn’t that they didn’t appreciate the playing, but the vehicle itself. So, learning the lesson, slapping myself appropriately across the chops, and moving swiftly on . . . .

A veritable variety of goodies
The Management Committee have now approved plays for the three final slots of the 09/10 season (Into The Woods having already been announced and, in fact, cast). The March production will be Noel Coward’s classic, Hay Fever, directed by Mary MacDonald, followed by Kenny Robinson’s Sondheim, Into the Woods. In June Greg Cole will follow his very successful debut in the studio with Tom Stoppard’s Rosencrantz and Guildenstern Are Dead followed by my good self having another stab at what is one of the greatest modern farces, Michael Frayn’s Noises Off.

Auditions for all three plays will take place at some point early in November, date still to be finalised, so keep an eye out on the website for details. In the meantime if you want to express an interest can you email me on ad@loft-theatre.co.uk and I will make sure it is forwarded on to the right person. Scripts are available.

So, hopefully something for everyone - traditional, musical, absurdist comedy and lots of luvvies rushing around in their underwear. What more could you want . . .?

And on that note...
I consistently ask, via this blog, for comments from you (and here I am making the large assumption that someone actually reads this!). I am already working on the 2010-11 season and would like to know what YOU would like to see. It’s easy enough. You can email me on ad@loft-theatre.co.uk or ring me on 07885 546442. All suggestions and comments will be carefully considered.

Gus MacDonald

So. The summer is very nearly over; at time of writing, just after the Bank Holiday, the rain is lashing, the wind is howling and I have spent the last 10 minutes trying to catch the cat and dry it off before it plonks muddy paw prints all round the house. Regardless of the effects of global warming (sic) I hope everyone has had a good break, many bottles of wine in balmy sunshine, and that you are rested, relaxed and ready for another season.

Looking forward…
Hugh Sorrill kicks off the season and makes his main stage directorial debut with Collaborators, an acidly funny play by the writer of Rumpole, John Mortimer. I’ve always been a fan of Mortimer’s work – sharp and witty with great story lines and a guaranteed entertaining evening out. I hope you enjoy it.

…and back…
I was pretty pleased on the whole with our product last season. Inevitably, it had its artistic high and low points, but with one notable exception every show came up to scratch on its budgeted figure – no mean feat in the current financial climate. I was also pretty chuffed with the number of directors approaching me declaring interest in working at the theatre in the next couple of seasons.

…and forward again
With the first half of the season already announced (up to and including Amadeus in February), I’m almost there in the great juggling act commonly referred to as artistic direction. There should be an announcement in the next couple of weeks, so look out for audition notices in the next programme and on the website. The one thing I can tell you is that the final four plays of this season all have large casts… though, of course, Into The Woods (already announced) has held its auditions and the company is pretty much complete.

“Read much, but not many books” said Benjamin Franklin…
…and I’m sure our dramaturgs view the sentiment with a somewhat wry expression. The New Voice playwriting competition has been an overwhelming success – so much so that we now have just short of 300 entries, from all over the world, each of which has to be acknowledged, catalogued, read, scored, re-read etc etc. The bulk of this work has fallen to Sue Moore and Gordon Vallins, though I am trying to do my bit with the postal entries. We are still some way short of reading them all, but already there have been some remarkable entries – in all meanings of the word. The aim is to have a result at some point in the next couple of months; then the winning entry can be scheduled into the studio in the spring.

I gave a series of tongue-in-cheek ‘acknowledgements’ in my previous blog entry (below); my special “Drowning Under a Wealth of Words” award goes, without any hesitation, to the aforementioned Sue and Gordon. The prize, rather unfortunately, is a script of their choice to read in their spare time. What spare time?

Gus MacDonald
ad@loft-theatre.co.uk
07885 546442

PHEW!
So, 08-09 is over, and, in the odd moment of peace whilst deliberating the new season, I have decided to reflect, recall, revisit, remix, remember (and possibly re-invent) the high (and low) spots of last season, and award some . . . ahem . . . awards. Well, not proper ones like best actor/actress and all that. These are slightly more, shall we say, left field and not something you would find, if you were lucky enough to be invited, at the Oliviers or the Oscars (or anything else beginning with ‘O’).

Now, let me get things straight. I generally don’t approve of awards. Much in the same way that I tend to ignore what critics say (and I can do this with some authority having been, laughingly, a ‘theatre critic’ in a past life). Everyone’s view is just as valid as the next person’s and there have been many times when something I thought was brilliant has turned out in said ‘next person’s’ view to be absolute donkey poop. And, of course, vice-versa.

There’s no statuette to take home, no applause from a delighted audience, no mention in any of the local tabloids. Just an acknowledgement to everyone of a job well done, and possibly a glass of red in the bar from the artistic director.

So, gentle reader, please take what follows as being very much tongue-in-cheek. Don’t take offence if I have included you/missed you out/maligned you/ignored you all together (please cross out appropriately). Just read, and if you find it funny, have a bit of a giggle. If not, shut the computer down, get yourself a drink, and make wry comments to your partner about how ‘Gus is finally losing it’.

So, said tongue very much in said cheek, and glass of very nice Rioja to hand, here goes:

The first award of the year is my You need what!… prize. This is presented to the director who manages to astonish all departments at the pre-production meeting with their ‘essential list’ of requirements in order to produce their show.

There were a number of nominees this year: the director of Wizard who wanted ‘just one more effect’ to make the show complete; the director of Vincent who’s requests for ‘more entrances and exits’ led to a slight change of set at short notice; and the director of Talk Radio who decided he had to rebuild a complete working radio studio in the rehearsal room – and, with no budget and with great coercion of friends and colleagues, managed to do so. But the winner this year was Steve Smith, director of Glorious! whose props list physically took one’s breath away. So the trophy (metaphorically) goes to the Props Department for work far-and-beyond the call of duty (including a dead dog and coffin for same with enough flowers to start a large market stall).

Next up is the Eureka! moment award. Again there are a number of candidates. One of which is my good self for the particular ‘E’ moment: “Oh my God – I’ve agreed to direct a show with 14 actors (including two children), 41 scenes and a brass band – wot a muppet”. But as this was a completely negative thought it came nowhere close to winning. That particular accolade went to Gordon Vallins for his phone call to the artistic director, when he finally clicked on how to direct the very difficult “story of the little Jesus” scene in Pillowman. “I’ll film it,” he cried “It’ll work, I promise”. At that point the AD sighed a huge sigh of relief, and turned to a nice Chianti for relaxation.

The We’ve no budget to go to Ikea award was a tricky one. It could have applied to any number of plays this season, but Hugh Sorrill has to take the plaudits for his ‘three sofas from hell’ (or is it purgatory? – Satre doesn’t elaborate) which he ‘knocked together’ for In Camera. I understand MFI were very interested in the design before their recent demise and, unfortunately, a commercial opportunity was lost.

Another award, the Having a good time in the green room was a hotly disputed category – but in the end went to the cast of Way of the World. Whilst never quite achieving the heights of a company of years past who tried to build a mountain of empty Guinness cans in the corner of the dressing room – the WotW lot did their bit by working through many boxes of wine before the end of their run – contributing greatly to Gordon Brown’s ‘recovery through pleasure taxes’ strategy.

Surprisingly the Best old drunk in a role of appropriate age award didn’t go anywhere near the AD or the Treasurer despite their best efforts. This accolade went to Peter Ward, playing almost against type as the befuddled inebriate Frank in Phil Reynold’s Educating Rita. His portrayal of being ‘addled’ on stage was not quite second to none (at least this year). Cathryn Bowler deserves a medal for putting up with (sorry, playing opposite) him.

Not in any way surprisingly the award for Most youthful cast goes to the Loft Youth Theatre despite stiff opposition from the aforementioned Way of the World Cast.

The nomination for Shifting large wollops of timber goes unreservedly to Richard Moore and Tim Elmore for the McDonagh short season, where they changed from night to night, almost miraculously, a complete new set ready for each performance. The slight caveat to this is that they had all day to do it, and no audience to hear the grunting and groaning as it happened. I understand Mr Moore’s resulting back surgery is healing well and he should be able to straighten up sometime in 2011.

The award for Parent beset by daughter(s) goes to Harry Sanders for his portrayal of the eponymous Hobson. This award, the most tongue-in-cheek of all, is given by the awardee (my good self) with some experience in similar matters.

A special award this year is presented to the (male) director who manages to surround himself with as many talented women as possible and is sponsored by Raymond Review Bar. Tom O’Connor is the outright winner. Never has a man had so many talented women to work with at one time, than in his Women’s Writes.

The Brightest stage of the season award goes, without any hesitation, to Tim Willis’ Never The Sinner set. Never have three simple colours been used to such great effect. I was seeing red (and white, and blue) for a week.

Most exposed performance of the year came under great scrutiny by this particular committee of one. There were several possible winners, but in reality it was a three-horse race – and all in the same play. Firstly there were the ‘lads’ of Brassed Off baring all in the pursuit of art, then Paul Vicker’s solo performance in the post-coital bed scene. But my money goes to Helen Ashbourne for the most revealing removal of shoes ever spotted on the Loft stage.

Finally – and if you’ve got this far you really do deserve a drink – the award for Most used prop in any play goes to the Victorian range which appeared in three successive plays in various guises and was kindly loaned to us by the Talisman.

Seriously I think it has been a cracking season, and I would like to thank all those heroes, sung and unsung, who have helped make it what it is. Here’s to 09-10. As usual don’t hesitate to let me know what you think.

Gus MacDonald
ad@loft-theatre.co.uk
07885 546442

JUST TO PROVE THERE’S NOTHING NEW UNDER THE SUN…
Our old friend Bob Collingridge (director of productions during the 60s and 70s) knew a thing or two, didn’t he? Phil Reynolds came across the following in Bob’s column From the Chairman in the November 1979 issue of Loft News:

“The Loft has been established for over 50 years and during that period we have always endeavoured to set a high standard with direction, costumes, sets, lighting and sound.

If we are to increase our audience attendance, which is always the most rewarding source of revenue, then we must achieve even higher standards. We must continually ask ourselves the question - have I succeeded in reaching the highest possible level? Have I designed and built the best set possible? Is the lighting of the highest standard? Are the costumes the very best we can manage? etc.

The Directors must cast with the utmost care and, if possible, not hesitate to hold endless auditions to ensure that:

• He or she gets the best actor for the part, and
• New, talented acting members are not overlooked.

It is impossible to please all our members with the choice of plays, but if every production is of the same high standard, the audience will be there and ’House Full’ signs will be the rule, rather than the exception.”

’Nuff said, I say! And here’s to much more of the same.

GOODBYE TO AN OLD FRIEND
As most of you who read this blog will know, Tom and Christine O’Connor are leaving the area to go and live near the beautiful Ring of Kerry in Ireland. Tom has worked as an actor and director for over 20 years at the theatre, and Christine is regularly spotted helping out with interval coffee.

As Tom is very much prominent in Brassed Off and he does actually have to be at the theatre on the last night, it was deemed a good idea to have an informal get-together after the show to say goodbye to them both.

So if you have the evening free why not come and see the show, and stay on. Or, if you can’t bare the thought (sic.) of men’s exposed bums, then pop along afterwards.

There’s no truth in the rumour that I will be regaling everyone with the tale of Tom removing all my teeth with the aid of a carelessly hit golf ball - or any other of the scandalous stories I’ve picked up about him over the years. (Though I suppose that depends on how many wee glasses of red I’ve had, and how vocal I’m feeling).

If you want to know more email me on ad@loft-theatre.co.uk or ring me on 07885 546442.

Gus MacDonald

NEVER THE SINNER A REAL WINNER
The startling tale of Leopold and Loeb proved an absolutely artistic winner - but once again, was a wee bit sparse on box office, playing slightly below its budgeted figure. However those who did come and see it had an enthralling evening, well produced, well performed, and absolutely magnetic to watch. It was also great to see many newcomers on the Loft stage.

LOFT MENTIONED ON NATIONAL TV!
For those of you who enjoy Sanjeev Bhaskar’s new comedy series Mumbai Calling on Saturday evenings, it must have a come as quite a surprise to hear our theatre mentioned in dispatches by none other than Richard E. Grant. For those of you who missed it and would like to see the clip, you can find it here. Access Saturday 13th June episode, wade through the interminable adverts (it won’t let you click through) and then whizz forward to about 7 minutes on the time bar and watch Mr Grant’s entrance, particularly his speech about Nanki-Poo. Enjoy!

ABSOLUTELY NOT BRASSED OFF
Meanwhile, TV comedy shows notwithstanding, I’m having a cracking time in rehearsals for Brassed Off which starts on 8th July. I think the cast are, too. Now, I know I’ve said it before, but it’s well worth repeating - tickets are going fast and I would politely recommend early booking.

You can find me, as always by email here or on my moby 07885 546442. All comments of an artistic nature welcomed . . .

Gus MacDonald

VINCENT’S NOW LEFT BRIXTON…
…and we really enjoyed his visit, or so it seems. Marian Kemmer’s production touched most who saw it and the audience, while not exactly flocking in, reached its budgeted target. As I am rapidly getting a reputation for ear-wigging in the bar, I can only prove the habit’s worth by passing on the most interesting of the comments I heard about the production: “Only at the Loft would we get to see a show like that – isn’t it wonderful”. I thought it was and here’s to more of the same.

NEVER THE SINNER
I’m really looking forward to the next couple of weeks. Never The Sinner is a fascinating piece and very relevant in the context of the times. Just read the papers and you will see how pertinent this tale is in today’s society. I hope you
enjoy it…

TALK THE TALK AND WALK THE WALK
As I said in my last missive, it’s always good to give a new director an opportunity to “strut their stuff” and I’m absolutely delighted with the response that Talk Radio has been given. Congratulations to Greg Cole and his company for a job extremely well done.

AND, AT LAST, THE FIRST PART OF NEXT SEASON
After a lot of to-ing and fro-ing and the odd glass of wine (for medicinal purposes only) I am pleased to formally announce a complete list of the plays up until February next year.

Collaborators, Brighton Beach Scumbags and The Weir have already been listed in previous programmes, but I can now tell you that we have added an extra studio production, Eclipsed by Patricia Burke Brogan, directed by John McDermott. This will play 17-21 November.

I will be taking the reins for Shelagh Stephenson’s Olivier Award-winning comedy The Memory of Water in January 2010, running from 13–23, and Gordon Vallins will direct Peter Shaffer’s Amadeus in February. Details of auditions are given here. Gordon’s audition will be announced very soon. Keep an eye out.

Hopefully there’s something for everyone in the mix, especially our actresses.

“BETTER A BALD HEAD THAN NO HEAD AT ALL…”
…says an old Chinese proverb. I find it is particularly applicable. If you put your head above the parapet to make decisions, as you are likely to be shot at occasionally.

Surprisingly this hasn’t really happened yet. So, either almost everyone is happy with the way things are going artistically at the moment or, more likely, just not telling me (or I haven’t heard the shot).

So – if you have anything you want to say about matters artistic – good or bad – then feel free to give me a shout, or drop me a line; contrary to popular opinion, I don’t bite, honest!

Gus MacDonald

07885 546442
ad@loft-theatre.co.uk

HAPPY HOBSON
I am always pleased – nay, thrilled - to see the theatre full and buzzing. And it was a veritable hive of activity during the run of Hobson’s Choice. A very pleasant evening in the theatre, well-done and popular with our patrons – as predicted by my good self – the show played to very nearly 80 per cent. No mean feat in today’s climate, where theatres are not immune to all the different types of crunching that seems to be going on – credit and otherwise. It proved to me that we have to produce plays of all types, and all genres – our audience for one is not necessarily the same as that for another.

WOMEN GET IT WRITE…
Talking about pleasant evenings – I thoroughly enjoyed myself at the first night of Tom O’Connor’s anthology of monologues Women’s Writes in the studio. It was a real pleasure to see some of our actresses doing stuff they wouldn’t normally be asked to do – or dare to do on the main stage – and do it extremely well. It was a challenging evening for audience and actors alike and thoroughly rewarding. I hope the remaining performances get the attendance numbers they deserve.

AFTER THE LORD MAYOR’S SHOW…
… well, that’s a little what it feels like at the moment with regard to the URC. Having spent weeks in negotiation over contracts, and finally having signed them, we are now in a period of flat calm where nothing seems to be happening. It’s quite an odd feeling actually – though I suspect it’s a short respite before the storm actually starts. Our chairman will not doubt bring everyone up to speed when something tangible happens.

ARTISTIC MANAGEMENT MEETING:
Next Tuesday, in fact. So after that I might have a bit more news about the second half of next season. I already have most of the plays and directors in order, it’s just a matter of talking a few things through and getting details finalised – as always it is a question of balance. I’ll be doing a wee ‘mini-blog’ to let everyone know what’s happening as soon as I can.

AND FINALLY – BRIXTON BECKONS…
I’m always interested to listen to our audience when they are having their coffee at the interval. A few of times during Hobson’s I heard people talking about our next main stage production Vincent In Brixton. While not wishing to appear as some small, bald, fat eavesdropper I did listen a bit, and found it slightly worrying that a couple of them seemed not to be willing to come along as they ‘didn’t know it’. Well (albeit somewhat tongue-in-cheek) can I suggest that they live slightly dangerously, take a chance, and come along anyway. It is a super play – beautifully written and crafted – and promises to be a smashing evening’s entertainment. As Wogan would say: “Trust me, I’m a doctor”. Well, you know what I mean . . .

As always give me a shout, or drop me a line, if you want to discuss matters artistic:
Gus MacDonald
07885 546442
ad@loft-theatre.co.uk

MAGNIFICENT MCDONAGH…
Phew! What a few weeks. Rehearsing and set building two shows at the same time. Finding space to store the sets when not in use, and a different space in which to rehearse the next main stage production – Hobson’s Choice – and having two youth group productions in rehearsal, needing more space – and auditioning a further two studios. As the Chinese say: “May you live in interesting times”! Actually, a Tardis would have been more helpful.

Then the denouement – the first nights of the McDonagh season. Phew again! The response has been excellent and any sleepless nights that Gordon Vallins and I might have had, have now disappeared under a welter of positive comment. All great stuff. But much more importantly – the audiences came, and came back, and (in one notable case) came back again. Difficult plays don’t always sell. These did – well above budget. And I, for one, am very grateful. We need to do dangerous stuff from time to time and when it goes well, artistically and economically, all the better.

So let me publicly give thanks where it is due. To the set and sound designers, the set builders (and shifters), the techs, props, wardrobe, SMs, front of house, and everyone else who made this doolally and somewhat crazy idea work. And of course, box office – especially the lady who called me a ‘genius’ on the first night for thinking of the idea – though with considerable and somewhat biting sarcasm as she was juggling many disparate bits of paper at the time! I told her I would think very seriously before doing it again. I have, and we will – do it again, that is. As I am fond of saying: ‘watch this space’.

AND HOPPING FORWARD TO HOBSON’S…
One of the great pleasures of this job is getting to finally decide which plays actually plonk onto our stage over the season. I had a very happy experience when but a callow youth – thin, and with hair! – playing Willie Mossop in David Fletcher’s 1986 production of Hobson’s Choice. It is a stonkingly great play, funny and with bags of heart. I am looking forward to Vanessa Comer’s production immensely. Again, a small word to the wise: I reckon this is going to be a very popular production – so my advice is book early to avoid being turned away in the second week.

BUT BEFORE THAT…
Loft Youth Theatre will be presenting a double bill of Burn by Deborah Gearing and Sparkleshark by Philip Ridley in the Studio on Saturday 7th and Sunday 8th March. Two exciting pieces of theatre, sharp and edgy. See here for booking details.

2010 – AN ODYSSEY
Well, not so much an odyssey, more of a planning meeting (it just feels Homeric) but we are deep in the throes of sorting out the second half of next season. The first three plays are now confirmed. They are: Collaborators by John Mortimer – directed by Hugh Sorrill; The Weir by Conor McPherson – directed by Bill Wilkinson; and Absent Friends by Alan Ayckbourn – directed by Vanessa Comer. More about these three exicting, and very different plays, to follow in later blogs.

Hugh will be auditioning for Collaborators on 19th April. See elsewhere on the website for more details. Auditions for The Weir and Absent Friends will be in May.

AND FINALLY…
The theatre has become so busy in the last few months I have felt the need to get a more formal diary in place. If you have a look here you will see what the multi-talented Phil Reynolds has done. It should be of great use to directors and actors alike. The diary is room-based, so you can see what is going on where, on any day, week or month, depending on which view you choose. It is still in its early days at the moment, and Sophie Hamilton is working hard to get it completely up-to-date. I shall be asking all directors to copy their rehearsal schedules to Sophie as soon as they are ready, so that the proper entries can be made and to avoid any clashes.

It may be an odd thing to be excited about – but with things moving along nicely with regard to the church (see Chairman’s update) this is the way we will have to work in future. The theatre is already a very busy place (thank God) and is likely to get busier.


As always, I love to get comments – good and bad – over what we are doing at the theatre. ad@loft-theatre.co.uk is the best place, or ring me on 07885 546442.

Gus MacDonald

LOVELY RITA, MONEY MADE
It was a pleasure to be in the theatre the other night - though, in fairness there aren’t many nights when it isn’t a pleasure. The place was packed, the mood was great, and Phil Reynolds’ Educating Rita proved to be a cracking night out.

There’s been considerable debate over where the phrase ’making the good popular and the popular good’ came from. Past Loft chairman, David Fletcher, denies its origination (though, personally, I’m convinced he was the source, even if he won’t take the credit). However, the words sum up perfectly the end result. It was a good show, well acted, well produced, and well received. ‘A result’ I believe is the common term.

Even now our worthy treasurer will be counting the receipts and rubbing his hands. Here’s to more of the same. Which leads me on to…


MARTIN MCDONAGH - THEATRE’S TARANTINO?
Some time ago Vanessa Comer directed an absolutely stonking production of Martin McDonagh’s The Cripple of Inishmaan in the studio. A wee bit after that, during rehearsals for The Hired Man, Gordon Vallins suggested we all went to see McDonagh’s directorial film debut, the multi-award-winning In Bruges. And glad am I that he did. I’m now a complete convert to the second-generation Irishman’s work. If you want proof, grab a bottle of red, a comfy chair, visit Blockbuster, and see for yourself. More importantly, seeing the film was also the catalyst for putting on two of his plays in rep.

There’s no denying it is a challenge for all concerned. Getting one play staged can be a task-and-a-half. Having two running together could be considered, by some, to be slightly doolally (if not certifiably insane on the part of the person who decided to do it – and, look, umm, that would be me). But it is a challenge that all have welcomed, and I can’t wait to see the end results. Two stunning modern plays, two companies working hard to make sure they are of the highest quality, and two great opportunities for you to see work by a playwright whose pen oozes Ireland and who is very ‘now’.

I heard tell of a conversation just after a performance of Rita where one audience member was telling another how much they had enjoyed the evening. “I’m not sure about the next plays, though,” they added. Well, I am. It is theatre as it should be: funny, entertaining, thought-provoking, sharp and occasionally shocking. Don’t let them go by without seeing them. If you do, you’re missing an absolute treat.


AT LAST – THE NEW WRITING COMPETITION IS FINALLY HERE
I’m delighted – no I am absolutely delighted – to be able to announce that the New Writing Competition is at last under way. And, what’s even better, with an extremely distinguished judge who will choose the winner.

BAFTA award-winning writer Andrew Davies is well known to the Loft. We have held amateur premieres of two of his plays, and he is an honorary vice-president of the theatre. It’s an exciting prospect for any budding playwright to be able to say that they have had their play read by such an eminent and hugely successful writer.

We are casting our net wide and already have a lot of interest in the press. Hopefully that will translate into many exciting entries. I’m really looking forward to reading them.

You will find more details and rules of the competition here. Enjoy!


AND, FINALLY, NEWS OF A CHANGE…
For time immemorial – well, as long as I can remember anyway – rehearsal nights have followed the same pattern at the Loft. The Artistic Management and the Committee have now been persuaded that it is time for a small change.

I’ve felt for a while now that having a Tuesday rehearsal, followed immediately by a Wednesday, isn’t the most productive way for an actor or director to work. Most of us have busy working lives, and the middle of the week always seems stressful. Because of that we have decided to swap Tuesday night rehearsals to a Monday, and, of course, swap the stage work nights accordingly. It’s only a small change and it will have a trial run for next season to see how it goes.

As always, your views are most welcome. Every time a blog is published I receive more comment. It is always appreciated, always acknowledged, and, most importantly, always taken into consideration.

Gus MacDonald
07885 546442
ad@loft-theatre.co.uk

CHRISTMAS PAST
By the time you read this the organised chaos of the Christmas show will be over, you’ll probably have had far too much to eat and drink over the holidays, and will even now be thinking about whether the gym subscription you bought with the best of intention just after New Year is really worth keeping on. (At least, so it looks at time of writing – pre-Christmas, on my hols, somewhere warm with cold beer in hand – and I really don’t want to upset anyone more by actually saying where.)

As well as writing this (and slowly guzzling aforesaid cold beer) there is also time for reflection. The Wizard of Oz didn’t go entirely to plan. We hoped – and expected – it would play to larger audiences. Apart from the matinées and the Friday and Saturday nights, the attendances were disappointing. And part of my job is to ask myself why, and to make sure it doesn’t happen again.

Perhaps we were a week or so too early – families have so much to do before the schools break up for the Christmas break. Perhaps parents didn’t want to bring the kids out in the evening while school was still running. Or perhaps children’s Christmas shows just aren’t the Loft’s ‘thing’; the largest audience by far for any show in that slot in recent memory was for the Alan Ayckbourn last year.

So should we be doing more shows like that? There’s lots of food for thought. I have my views; I’d appreciate yours while we are in the throes of putting together next season. You can get me on ad@loft-theatre.co.uk. I read every email I’m sent, though I don’t promise to respond individually. I always value the comments.

AND LOOKING FORWARD…
Well, it’s a new year and a new start. Lots of exciting things on the horizon – not least of which is Phil Reynolds’ production of Educating Rita – and I am really looking forward to getting my teeth into directing The Beauty Queen of Leenane as part of the Martin McDonagh short season in February. I know Gordon Vallins has already made a start on The Pillowman. Things are most definitely getting moving.

I’ve just counted it up on my fingers (yes, really – not easy with a half-empty cold bottle of beer) and there are nine plays to go on our stage, or in our studio,
from now until the end of the season. Nine. Lots of quality theatre.

The new writing competition will be formally announced very shortly and, as I intimated above, we are well on the way to getting the first part of 2009/10 set in place.

There will be some changes in the offing, mainly to do with how Stage Managers work during rehearsals and a minor change in rehearsal nights from the next season onwards – more details on that to follow in my next blog, which hopefully will follow sooner than this one.

So – lots to look forward to in the coming months. And now, having exhausted myself writing this, I think I might have another beer...

Gus MacDonald

07885 546442
ad@loft-theatre.co.uk

AN EXTRA HAND ON THE TEAM
I’m delighted to be able to welcome Sophie Hamilton onto the Artistic Management. Sophie will be helping her mum, Sue, keep our administration – and me – up to date and make sure that there are no theatrical clashes with dates or venues.

A BRACE OF STUDIOS FOR SPRING ’09
I’ve just started to write “I’m delighted” again, but realized that I’ve already done that in the bit above, so I’m really, really, really pleased to be able to announce two studio productions for spring next year.

Tom O’Connor will be directing an evening of women’s monologues, title yet to be decided on, which will run from 14–18 April. If you are interested,
contact him by email at TomOConnor@loft-theatre.co.uk.

Greg Cole will be making his directorial debut in May, with Eric Bogosian’s Talk Radio. Given the current furore over Messrs Brand and Ross on Radio 2, we felt it was an appropriate choice. Find out more from Greg on GregCole@loft-theatre.co.uk.

AND THERE’S MORE
I’ve taken the somewhat unusual decision to get approval from the Management Committee for a production that won’t be appearing on our stage until April 2010.

Some years ago I was lucky to direct (and produce, and be in) Stephen Sondheim’s Into The Woods. It gave me, and many others, lots of happy memories and I am elated (see, different from ‘delighted’) to be able to announce that we will be doing it again, this time with the extremely capable hands of Kenny Robinson and Richard Taggart at the helm. And that’s the reason for announcing it so early. It was important to get the right team together and neither Ken nor Tag was available earlier in the season.

Auditions will take place in the new year. If you want more info, or to express an interest, contact Kenny on KennyRobinson@loft-theatre.co.uk.

AND NOW I’M WORKING ON THE REST
A lot of the framework has been laid for the 09/10 season and I am talking to a number of directors about their availability, and to the dramaturgs about plays they feel we ought to be producing. However, that isn’t the end of the process. I am always open to suggestions for either main house or studio productions – so if you have a burning desire to see a particular play on the Loft stage then let me know. I don’t make any promises, apart from the fact that I will consider everything.

And remember that Loft Extra spaces are available on Friday and Saturday evenings of most productions (with some provisos) for anyone wishing to show off their directorial or acting talents. Ring or email me if you have any ideas.

AND FINALLY...
…on behalf of the rest of the AM I would like to wish you all the compliments of the season and a happy and peaceful Christmas and New Year.

Gus MacDonald
07885 546442
ad@loft-theatre.co.uk

OOOH! MATRON!
It may come as a shock to some, but I am now, officially, a matron (though that may not be as much of a surprise to my friends as I think it is).

Luckily this doesn’t involve me dressing up in a starched blue frock, with a big white hat, talking like Hattie Jacques and spending my evenings avoiding unfortunate incidents in broom cupboards with Kenneth Williams.

What it actually means is that I am – with a dozen or so other most excellent folk – officially allowed to chaperone the children during the run of The Wizard of Oz.

On the face of it, it seems an onerous job – certainly the number of side-steps I received when I was asking about helping out pointed in that direction. But I believe not only is it going to be a lot of fun, but that it is quite essential to the long-term future of the theatre.

If we don’t educate our young on how to behave in the theatre – and, more importantly, how to enjoy themselves there – we end up with what I experienced on a recent visit to the West End: a group of kids sat around and behind me who spent the whole performance texting their friends and throwing sweets at each other. Their minders seemed absolutely powerless to stop them. I’m convinced the kids thought they were watching the play in their living rooms and couldn’t find the remote control to put the performance on ’pause’

The other aspect to this, of course, is to make sure the children enjoy themselves within the theatrical experience. That way they might be encouraged to continue on or behind the stage and, in later years, who knows what else?

My thanks to Debbie Carvell and Jane Wolstenholme for performing the daunting task of arranging application forms and licences. If anyone else fancies helping out, there is still time and my contact details are below.

GLORIOUS GLORIOUS!…
went – as the cake adverts say – exceedingly well. Audiences loved it and it was the perfect start the new season. Funny, touching, extremely well-executed and very much enjoyed by all.

AND THAT WAS THE WAY OF THE WORLD THAT WAS…
Having a personal interest in the show – a brief appearance as ‘spurious stock character London cabbie with long coat’ and ‘randy servant impersonating someone else’ – it would be wrong of me to comment too much on its artistic merit. Admittedly longer than a modern play, it still managed very successfully to hold the audiences’ attention and played to good houses.

What I can comment on – with some authority – was the ‘craic’ backstage which, as the Irish say, was mighty. Thanks to all who contributed. I look forward to having my liver replaced in the near future.

WIZARD ON ITS WAY
At time of writing the Christmas show is now looming close with a couple of weeks of rehearsal still to go. I’ve a feeling tickets will go relatively quickly for this one so if you want to bring the kids to see Dorothy wending her way up the yellow brick road with her happy crew of Tin Man, Scarecrow and Lion then I should book sooner rather than later.

BLOG
A gathering band – well that’s if you can call three a ‘band’ – seem to be reading this intermittent and somewhat irregular blog. One of them was even kind enough to say they smiled briefly when reading it.

Seriously, whilst not getting carried away with all the praise, I am going to try and keep it more current in future. This website is a wonderful place to find the most up-to-date information on what’s happening in and around the theatre and I need to try and do my bit. Please feel free to chivy me on if nothing appears for a couple of weeks.

FRIDAY BAR
Having given it a go for the past couple of months (in between rehearsals etc.) I won’t be opening the bar again on Friday evenings. Whilst there was some interest it wasn’t constant enough to justify the time involved. I’ll look at it again in the new year if there is enough call for it.

Gus MacDonald
07885 546442
ad@loft-theatre.co.uk

GLORIOUS GLORIOUS!
Knowing only too well how brilliantly our current leading lady in Glorious! actually sings it was a real treat to hear her voice so - and I make no excuse for the pun - gloriously out of tune during the current run. It was a real Les Dawson performance - you have to be really, really good to sound so bad. The audience are absolutely loving it and Steve Smith and his company should be justly proud of themselves. I would personally like to thank those backstage who have worked way above and beyond the call of duty to get the production under way. You know who you are. Thanks guys! (Apropos of nothing I just wanted to point out that Vicki always gives her best whenever she performs. My ears are still ringing from the slap across the chops she gave me in Threepenny Opera and that was 5 years ago! There were some that thought she might have held back a bit in her swing, but that theme didn’t seem to gain support amongst the rest of the cast. I wonder why…?)

THE LOSS OF A LOVELY LADY…
in Wyn Heather, Sue Hamilton’s mum, and Sophie and Amy’s grandmother. Wyn spent over a decade at the Loft and most people will remember her from her regular job of running the sweets counter in the foyer. She always had a smile on her face, and, from meeting her family at her funeral last week, I can see why. She was well loved by them and will be missed by her friends at the theatre.

WILLING WRITERS
I’ve had a very encouraging response to the announcement of the new writing competition. There will be more about this in six weeks time, when the Artistic Management hold a full meeting. Sorting out just how the competition will work is very much on the agenda. The one thing I am sure about is that there will be a theme, or a premise, or a first line to work with, so don’t go getting started just yet. Put the brain cells on hold for just a little bit longer but keep the pen poised.

SARTRE IN THE STUDIO
Next up is Hugh Sorrill’s translation of Jean-Paul Sartre’s In Camera. A darkly comic and emotionally intense piece, it runs in the studio from Tuesday 7th October through to Saturday 11th. Tickets are on sale at the box office. Click here for more details.

…AND A DYSFUNCKTIONAL WET HADDOCK
For those of you who are regular readers of this blog – and there must be someone somewhere – you will recognise my favoured ‘fickle wet haddock of fate’ allusion. If not scroll down to my very first effort. (If you can’t be bothered, don’t worry. It wasn’t particularly funny then, and I don’t think it’s particularly funny now.) However, the aforesaid wet haddock has struck me in the face again; this time in the shape of the rights of Roy Donoghue’s proposed Edinburgh production The Dysfunckshonalz!. The company who own the show are still trying to get a professional production organized and won’t give us the go-ahead this far in advance to produce it. With the lack of any future commitment I’ve had to pull it from the spring studio slot. So apologies to all those who were going to audition. Replacements are being discussed even as I write (well, perhaps not as I actually write, but you know what I mean).

FINALLY … THE FRIDAY BAR…
…is proving moderately successful with those casts rehearsing, but not necessarily with others who just fancy a drink and a bit of theatrical banter on a Friday night. However – I’m going to give it another month and see how it goes. So the bar will be open on Fridays 10th and 17th of October. See you there perhaps? There have been times when the craic has been mighty (for those of you not sure what ’craic’ - pronounced ’crack’ - means ask anyone with an Irish connection - consider it a sort of cross-cultural alcohol-based homework).

Gus MacDonald
ad@loft-theatre.co.uk

FESTIVAL FROLICKING
Summer all seemed too short really. The MacDonald family spent a smashing week in Edinburgh (in the rain) at the Fringe – basking in the fact we could actually have a drink during the day and not worry about performing in the evening – and catching some cracking theatre in the process. Stories that seem to be doing the rounds about one of next season’s directors totally disgracing himself at the Pleasance, my good self having lunch and a pee with James McAvoy and dancing around with many hundreds of men in skirts in the middle of Glasgow Green can be verified on...

FRIDAY NIGHTS IN THE BAR
In days of yore (as I hazily remember) these used to be a (mostly) jolly affair. The bar was relatively full, there was someone there to serve drinks to rehearsing casts, and there was much badinage and angling for roles. To try and recapture some of that spirit I have decided to be mine host and open the bar from 9pm to 11pm on the two Fridays before any given play’s first night. We kicked off last week and at one point had 15–20 thesps seemingly having a good time. Feel free to come along and join in. It could also be a good chance to have a pop at – sorry, have a chat with - me, should you have anything to get off your chest.

GLORIOUS!
...is going well, so I’m told, and I’m looking forward to Steve Smith’s directorial debut at the Loft – even if Janet Goldson and her team have been having kittens about what has to be the longest and most peculiar props list in theatrical history, including a dead poodle! Buy her a drink if you see her, she deserves it. First night is 17 September.

AWESOME AUDITIONS
We have our own version of the Yanks’ Super Tuesday on Sunday 28 September with four (yes, FOUR) different productions auditioning. As they say about the lottery – if you want to win it you have to be in it (or something like that). You know what I mean – have a re-read of my previous blogs about getting your face and talent in front of the directors. See here for details.

WONDERFUL WEB
Over the past few years one Philip Reynolds – editor, casting director, director, actor and web supremo – has beavered away on his computer creating, single-handedly, one of the best amateur theatre web sites in the country. He is now making it even better by building as much archive information into it as he can find – and that’s a lot. Take a look through the archives and see what the Loft was about right from the start. It’s worth the visit. Thanks, Phil. (PS any pictorial contributions are welcome – send them to Phil. His email address is listed on the archive page.)

AND, FINALLY, AN OPPORTUNITY TO RELEASE THE PLAY INSIDE ALL OF US
The artistic management are currently organising a new writing competition, judged by the dramaturges, casting directors and, err, me. The idea is to showcase local writing in the studio from budding playwrights in the area; all plays to be one act, 90 minutes max, very little tech support and all from the same premise or title. The full details of the competition will be available shortly, but this is advance warning so you can get your thinking caps on.

You know where I am if you want me. Mine’s a large red.

Gus MacDonald
ad@loft-theatre.co.uk or 07885 546442

Of auditions for many and duets for not so many...

What a delight to see the theatre absolutely packed, bursting at the seams, for the latest batch of auditions. And what a pity that the same didn’t apply to Vanessa Comer’s stunning production of Duet for One. Acclaimed both by the press and by those who saw it as an artistic triumph, it was sad it didn’t play to better houses. Which is a real shame. Aside from excellent performances from the two protagonists, everything else was just right: set, sound, lights... it was all very Mary Poppins – practically perfect in every way. If only I had a pound for every time somebody says to me: ‘I really wish I’d seen it now’. Well, you know the answer...

As I said – great to see so many people turning up for the auditions, particularly for The Pillowman and Hobson’s Choice. With the exception of two supporting roles in Pillowman, the first four main house shows of 2009 are now fully cast – see here for details.

... and more news about next season...

After some to-ing and a fair bit of fro-ing the AM has finally completed – or should I say almost completed – the schedule for the end of next season (sfx: sounds of corks popping and glugging noises). Running 3–13 June in the Main House will be Never the Sinner by John Logan, directed by Tim Willis. It is an historical pycho-thriller about the Leopold and Loeb case – ‘the crime of the century’. Nathan Leopold and Richard Loeb were highly intelligent, wealthy Chicago teenagers who committed a savage and unexplainable ‘thrill killing’ in 1924 and were put on trial for their lives. The defence lawyer of the piece is Clarence Darrow of Inherit the Wind reknown.

Finishing the season off with a fanfare will be the very popular Brassed Off (directed by my good self) running 8–18 July. I’m trying to refrain from any jokes about blowing my own trumpet...

Roy Donoghue will be producing tHe dYsFUnCKshOnaLZ! by Mike Packer for seven nights in the studio 20–27 June: a funny, loud and anarchic piece about an ’80s punk band who are encouraged to reform and tour on the back of one of their songs being used in a banking advertisement. Roy will be taking this up to the Edinburgh Fringe in August ’09 for a week.

... and the auditions for these are...

... still in the midst of organisation at time of writing. However, they will (most likely) take place on Sunday 28 September along with those for Marian Kemmer’s April/May production of Vincent in Brixton. Keep a close eye on this site for details. There are lots of roles to fill in these four very different pieces.

Contact details are below if you want to talk, chat, or generally comment about what’s happening. It’s good to talk – or so they say.

Gus MacDonald

ad@loft-theatre.co.uk or 07885 546442

OF CODE-BREAKING, RETURNING EXTRAS, DIRECTING WORKSHOPS... AND NEWS OF NEXT SEASON

The one thing about doing an ‘intermittent’ or ’occasional’ blog is that one shouldn’t let it become too . . . well . . . intermittent or occasional. Apologies for the long delay between this one and the last. I’ll try to be more productive in future.

As I write, Breaking the Code has just finished its highly acclaimed run. A cracking play, well cast and directed, with a super central performance, it had audiences queuing up at the end to say how much they enjoyed it. Great stuff.

We also had the return of Loft Extras – occasional and informal short performances on one or more nights during the run – which proved very popular with the Code audiences. So, if anyone else wants to showcase their directorial or acting talents in this way, give me a ring or drop me an email...

Luckily I haven’t had to use too much persuasion with directors to get the next part of the 2008/09 season sorted out. Therefore it is with some pleasure (and a slight feeling of surprise) that I can announce the following plays – starting with a modern classic, currently in revival in a national tour: Educating Rita by Willy Russell. It will play January 14–24 and be directed by Phil Reynolds.

For February we have decided to present an exciting and challenging mini-season of two Martin McDonagh plays: The Beauty Queen of Leenane, directed by myself, and the more contentious The Pillowman, directed by Gordon Vallins. These two plays will run on alternate nights in rep over two weeks from Monday 16 to Saturday 28 February. The Pillowman was awarded the Laurence Olivier Award for Best New Play in 2004. Described as ‘the Tarantino of theatre’, McDonagh’s work has been recognised with numerous critical awards and proved popular with the theatre-going public. The event should make interesting theatre...

Auditions for all three above plays are taking place on June 15 – more details available here.

But there’s more! To follow, Vanessa Comer will be directing Harold Brighouse’s classic Hobson’s Choice which runs March 25 – April 4, and Marian Kemmer will direct Nicholas Wright’s Vincent in Brixton running April 29 – May 9. Audition dates will follow soon.

The remaining two plays of the season for the June and July slots are still in discussion, so watch this space.

So far we’ve been concentrating on the main house, though there are a good number of directors who have asked for Studio slots in 2009, and choices to be made – again, watch this space.

Michael Bibb will be running another set of workshops in June, this time focusing on Direction. If you haven’t sat in the director’s chair before, and want to find out how you go about it – this is the place to be. Contact him by telephone on 01926 495955 (day) or 07947 378585 (mobile) or by email to learning@loft-theatre.co.uk.

That’s about it – apart from one thing (that wasn’t strictly a Loft event). On Saturday May 10 there was a concert at the theatre, booked as an outside let by Peter and Angela McGarry, in memory of their son Ross who passed away recently from pancreatic cancer. It was an absolutely cracking night, with the stage packed to the gunnels with musicians and auditorium full to the brim with an enthusiastic audience. Many thanks to those who helped out on the night: Gary Atkinson, Sue Wilkinson, Phil Reynolds, Michelle Bezant and Maia Corbett. It couldn’t have been done without you.

Finally (and I mean finally), and personally, thanks to all those who have sent their kind wishes over a difficult time. They were much appreciated.

Gus MacDonald

ad@loft-theatre.co.uk or 07885 546442

OF HIRED MEN, GYMSLIPS AND A SKYLIGHT GOING DARK

It’s been a while since I last was able to sit down, pour a large glass of red, and put pen to paper - or, more accurately, fingers to keyboard (the wine purely for lubrication of same, obviously) - and since then quite a lot has happened.

The Hired Man proved a great success and was widely acclaimed at all levels, which must prove immensely satisfying for Gordon, Bill and their team. Even better, our patrons and critics loved it, and there were long queues for returns outside the box office most nights towards the end of the week.

Pete Bagley’s production of Once A Catholic also delivered a good box office return - Mary O’Malley’s lampoon defrocking the Catholicism inflicted on schoolgirls in the 1950s. Full of nasty nuns, gymslipped girls, piddled priests and randy teddy-boys it was an irreverent, and wry, look at life in a convent school. I recognised the traits in the priest particularly well from when, in my far distant youth, I was an altar boy (and here I would ask you to keep your scoffing to a minimum) and one of the priests used to keep a ’wee half bottle’ in his pocket, and give me bets to give to my dad (who ran a bookie’s shop at the time). Ah, happy days…

Meanwhile, the work and planning goes on elsewhere in the theatre. The Dramaturgs have been reading plays like there is no tomorrow, and with the help of the rest of the Artistic Management I am fairly close to presenting the remainder of the 08/09 season (from January to July 09) to the committee for approval, so watch this space for news and for future audition notices. It’s good to plan ahead…

However, no amount of planning can prevent illness, and that is what unfortunately has happened to one of the cast members of Skylight which was due to go on in the studio on the 15th. With due consideration to the hard work of the company, the director, Marian Kemmer, and I, took the difficult decision to cancel the planned performances of David Hare’s cracking play. With no sign of an early recovery, and time growing very short, we felt the piece would have been under-rehearsed and therefore, in our view, not ready for public performance. This is absolutely no reflection on the work already done by the cast, and it may be that the production will be postponed, rather than finally cancelled. Again, watch this space.

Elsewhere Michael Bibb held the second of his Dead Poet’s Society evenings, this time concentrating on that well-known playwright from just up the road, Mr Shakespeare, and, in particular, his sonnets. The evening was well attended and a great success with plenty of time afterwards for a small red (or two). He is also starting the first of his acting and directing workshops, with three evenings dedicated to stagecraft this month. I understand there are still a few places available if learning more about your craft takes your fancy. Contact him by telephone on 01926 495955 (day) or 07947 378585 (mobile) or by email to learning@loft-theatre.co.uk.

We nearly have a complete team of chaperones for The Wizard of Oz. We still need a couple more just to keep the number of evenings that the volunteers have to do to a minimum. Again, if you fancy it, give me a ring or drop me an email.

That’s about it, I think, for now. On the whole onwards and upwards with the occasional smack in the face from an unexpected source. A bit like life really, which reputedly is a slog, or was it a blog? Perhaps I shouldn’t have had that third glass of red before finishing this . . .

As always comments and chat welcome, in person, on the phone 07885 546442 or by email ad@loft-theatre.co.uk.

ON AUDITIONS, PRE-CASTING, CHAPERONES AND TRYING NOT TO FALL OVER WHILE COVERED IN A GAS CAPE AND HOLDING A RIFLE

There’s been lots and lots of excitement around the theatre over the past few weeks. Hordes of auditionees for Glorious, The Way of the World and The Wizard of Oz. As predicted not everyone who turned up was cast. I would like to thank everyone who did come along and repeat my encouragement to keep turning up at future auditions even if you weren’t successful.

In line with the policy suggested in the Artistic Review I took the decision, in consultation with other members of the AM, not to hold open auditions for Duet for One, the replacement play for A View From the Bridge. This was quite simply because it is an intimate two-hander, and both director and actors have to be entirely comfortable with each other. Again, I hope those of you who were originally cast in ’Bridge’ will continue to audition in future.

I’ve had a limited response to my appeal for chaperones for The Wizard of Oz – I suppose you can call one email ’limited’ – so can I take this opportunity to ask again for volunteers. If we have a team of 10 qualified matrons (male or female) then volunteers would only be required a couple of nights each. This is something that will provide a large benefit to the theatre, for very little effort and involvement. Email me ad@loft-theatre.co.uk, or ring me 07885 546442, if you think you could help.

Finally, at time of writing, The Hired Man is at dress rehearsal stage, creating its own frisson of excitement about the place. There has been whinging, complaining, falling over furniture (even some falling off furniture) and numerous missed lines and cues – but enough about me. There has also been great fun with a great company who have worked their socks off to present, I believe, an absolutely cracking show.

So come along and enjoy a good story with great music - and, of course, have a laugh at a wee, fat guy trying to fall over when ordered, whilst trying to avoid being suffocated by a somewhat smelly gas cape and trip over his rifle at a totally inappropriate moment.

Oh, the joys and glamour of the theatre. It gives a whole new meaning to the phrase ’stick in the mud’.

As always, comments welcome, in person or by email.

Gus

A TALE OF WET HADDOCK, PAPERCLIPS and AUDITIONS:

It’s an interesting job to have, as artistic director.

You can go forwards for weeks, sailing along serenely on a calm sea of artistic endeavour, looking forward to a season of success and huge box office receipts, and then all of a sudden someone comes along, hits you in the face with some unexpected news like a piece of wet haddock, you tumble into a seething ocean of complaint, mistakes and misunderstandings and eventually drown in nitty gritty.

This is true, of course, for any seat of responsibility within any club. All the stuff you thought was being sorted by other people seems to end up on your desk and you find yourself dealing with paperclips rather than plays, and angry audience members rather than enthusiastic actors.

That is not in any way a complaint by the way, more a rough sketch of my first few weeks in the chair, which has actually been an easier road than I thought it was going to be. At least I’ve managed a few hot meals without telephonic interruption, which is more than I had when I sat in a slightly different chair a few years ago. As Mary (my far better half) used to say to me: ’If only the food would stay as hot as the phone does…’

The AM (Artistic Management) has now had its first official meeting, the next season is starting to take an exciting shape, the dramaturgs are feverishly reading plays at every available moment, I am having lots of contact from directors old and new and, most importantly, the casting directors, Ann and Phil, have organised the first set of auditions this year.

Now, to the point of this penmanship: The auditions are your opportunity to parade your talent in front of some of our directors. It might be that you don’t get the role you are after - not everyone is going to be cast in every play they read for. The important thing is that you get your face in front of the people who make casting decisions, and if something isn’t right for you this time round, then there is every chance there will be at the next lot of auditions.

I’ve had a couple of enquiries this week as to how to ’break in’ to the Loft. It doesn’t require flashlight, a mask and a stripey jumper - but it does involve a modicum of patience and the willingness to engage in other avenues of the company. When I started, a long, long, long, long time ago, I did a few stints at stage management and a couple at lighting before some far thinking (or insane) director decided he needed a spotty, young, thin chap with long hair who could hold a spear and not bump into the furniture. I even got a couple of lines. Luckily the said director hasn’t been caught, tried and convicted for my subsequent performances, but it perfectly illustrates the point: If at first you don’t succeed, don’t give up, but try something else and get to know the right people. That way you do two things: Give yourself a greater advantage next audition, and also help the theatre with the perennial problem of support staff.

I shall be at the auditions: So if you want to talk, chat up, make suggestions, or just generally beef then I will be the wee, bald, fat chap with greying beard wandering around. Unfortunately the young, thin, fully hirsute chap has long since gone.

Speak soon

Gus MacDonald

PS Email responses to this blog are perfectly acceptable and to be encouraged - ad@loft-theatre.co.uk

From the artistic director’s chair

...and isn’t it wonderful how easily one forgets what a hot seat it can be!

It’s good to be back, but – phew! Lots has happened over the past couple of weeks – far too much for the space available. So, in brief: A hugely successful production of Absurd Person Singular – both artistically and in its audience figures. Well done to Vanessa and everyone in the company for a great show. It was wonderful to see the theatre full night after night.

Welcome to Roy Donoghue who has agreed to come in and fill the studio slot left by the withdrawal of Endgame. His production of The Good Thief by Conor McPherson (of The Weir fame) is a gem. Full of energy, humour and not a small dollop of pathos, it has won rave reviews wherever it has been performed. Miss it at your peril – these are the final performances.

We now have the first three productions for next season firmly in place. The most gratifying thing so far is the number of potential directors who are ringing me asking to be considered for productions in early 2009. It really is good to talk – 07885 546442 is the number if you feel the urge...

Last, and definitely not least, I would like to offer my personal thanks to Wendy Anderson and Harry Sanders for their hard work over the last year or so, for the ease of hand-over, and to the rest of the Artistic Management team for their continuing work and support.

So here’s to them, and here’s to you, and to the Loft Theatre itself at the beginning of 2008 (as usual, as those who know me will testify, any excuse to raise a glass!).