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Sunday Club

 

One of the original objectives of the society was to present play readings and some of you will remember that for many years the Sunday Club served to fulfil that part of our constitutional mandate.

 

Victoria Southgate and David Watkins hope to re-launch this tradition by presenting a partially-rehearsed reading of a New Zealand play by a Christchurch writer it is...

 

The Birthday Boy

By Carl Nixon

 

This acclaimed comedy follows the lives of two couples over a period of twenty five years, the play explores the themes of marriage, friendship, parenthood, success, ageing and bird attacks?

 

When: Sunday 11 December, 2pm at our studio 20 Stewart Street

 

Coffee and Tea will be provided.

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Repertory Theatre Report - Friday 18th March 2011

After a week of suspended action and  conflicting information, we now have some concrete details for you. Here's a brief update.

 

Contractor Peter Jamieson  in conjunction with USAR was able to start the 'deconstruction' of the theatre on Wednesday, removing the facade and inner frontage. True to his word  he has salvaged windows and rescued boxes of documents and other items from the greenroom including the piano. He then took a trailer-load out to the Mannering property in West Melton where we have so kindly been given space to store as much as we wish. 

 

In an act of on-the-spot helpfulness the piano was taken by Kiwi Maps and has been housed on their ground floor..

Peter is optimistic a lot more can be saved. We see from the photos that the costumes are still undisturbed on the auditorium seats. It will depend how the walls come down around them as to how many will survive.  The proscenium seems intact and he will try to save it. If it has a wooden frame behind the plaster, there is a good chance.

 

In order to keep our funding raised to date - or the bulk of it - the importance of saving heritage items is paramount.

 

Not a lot of joy, but in comparison with other buildings that have just been demolished without any opportunity of salvage, we are doing OK.

 

The Hamlet Company continues staunch and loyal, rehearsing in a bare classroom at Burnside High School. The Society is still doing its stuff!  And that is wonderful under the circumstances! 

 

Between earthquakes, thanks to great team efforts, we have managed two large performance events and are keeping a major production going!

 

Treasurer Blair Kershaw has contacted the owners of Rep’s temporary premises at the Tony's Tyre Service buiding to request all speed in getting their engineer to assess the building and get the red sticker status changed. We do need to get Hamlet back in there asap. However, while the State of Emergency is in place there is little we can do except wait.

 

Once the dust has settled and we know where we stand with the insurance, there will be a special members' meeting to nut out the next steps. - maybe later in April.

 

Till soon

 

Regards and keep safe

 

Rozena for the Committee

 

Repertory Theatre Damage Photos (click to play slides)

 

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Repertory Theatre Report - Thursday 10th March 2011

 

Tonight we received engineer Dick Sullivan's report on the state of the building with photos of the extensive damage. 

 

Sadly we have to accept that the theatre is condemned and will have to come down. There is, however, a reasonable possibility that by using our own contractor, the demolition can be done carefully with salvage. We have asked that the historic proscenium arch be given utmost consideration along with lights,costumes,pianos etc.We do have some storage available if items can be retrieved.

 

It will take time  to convert our Restoration project into a Rebuild with heritage character undertaking but we are determined it will happen as soon as possible and will keep you all informed.

 

In the meantime Hamlet is in rehearsal at the Aurora Centre. We are very grateful to Richard Wiltshire and Burnside High School for such sympathetic and practical support in this time of deep private and public distress.

 

We are homeless for the first time in 80 odd years!  A shock but the future holds promise  For now with members and friends  on our team we will  be able to keep going till our new doors open! 

 

Rozena Hallum

Artistic Director

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Doug Clarke of Riccarton Players

 

Tue, 8 Mar 2011

Never thought it would be me writing this, but this "bastard thing" (as Gary McCormick calls it) has taken another prized possession - THE MILL THEATRE.

 

Today, around midday the verdict came from our engineer that our beloved building was an earthquake risk and must be destroyed - along with all the other heritage buildings in the city.

 

We are not alone!

Rep have been given the word; Court is compromised; Theatre Royal is compromised; Caledonian is coming down - so it looks as though the city of Christchurch will be without live theatre for a wee while, but rest assured, like the phoenix, we will rise above the ashes to rebuild, to readdress, to refocus on this new challenge that this "bastard thing" has thrown at us.

 

We will not be defeated - we celebrate our 50th anniversary this year and planning for this proceeds along with a probably reduced programme schedule, but resume we must and peruse we must and a revised schedule and venue will be advised as soon as is known.

We have the opportunity to reclaim some valuable assets before demolition, and rest assured your committee is working for you at this time.

 

All offers gratefully accepted, and we acknowledge the support from people and places beyond out normal sphere at this desperate time. We feel your pain, alongside our own, and the sharing of this grief makes our determination to rebuild, refocus, restore and reunite out theatrical family under our umbrella, a real challenge for our celebratory year.

 

KIa Kaha, Riccarton Players - yes ALL of you!

In love and peace
~Doug~

Doug Clarke QSM
Secretary
Riccarton Players Inc.
Postbox 9401
Tower Junction
CHRISTCHURCH 8149

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Jaime Gilbert

February 22 2011, Earthquake Victim

 

It is with profound regret and sadness that we have learned of the death of our dear young friend and acting colleague Jaime Robert Mcdowell Gilbert. 

 

Robert and Jaime Gilbert

 

 

Son of Robert Gilbert, and father to Levi 2 years, and India Rose 6 months, Jaime lost his life tragically in the earthquake of February 22.
 On the night before, February 21, he had been rehearsing his role of Laertes in Hamlet under his father's direction.  It was a vey happy session and Jaime was doing what he loved .

 

To Robert, his father, and all members of Jaime's family we offer our heart-felt condolences. Jaime will forever be remembered by all of us at Repertory who had the good fortune to know him and work alongside him on the stage for his bright, caring personality and outstanding talent. No one who saw Robert's production of Brassed Off at Repertory could forget Jaime's poignant singing of Danny Boy.

 

To all the other families that have lost relatives and friends in this shocking earthquake, we extend our heart-felt sympathy and sincere thoughts.

 

We are here, for information or anything we can do to help. Please email back or phone the normal Repertory number 379 8866 and we will get back to you. Repertory’s postal address is still 146 Kilmore St as the mail has been redirected.

 

Rozena and the Repertory Committee.

 

Link to Christchurch Press article

 

Father Plays Laertes

 

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Canterbury Repertory Theatre – Update 18th September 2010

 

Donation from Afar (Thames)

 

The committee of the Open Book Theatre Company in Thames has happily agreed that it is appropriate the proceeds of our charity dinner show last Thursday should be donated to the Christchurch Repertory Theatre, to help fund your restoration.

 

We had only four days to get word out that we were putting on another show after our "final" night. Tickets were very slow selling to begin with (only five on Wednesday morning), however in the last day they all sold and consequently we had a full house. The final profit figure has not been calculated yet, however it is estimated that it will be over $1,000.

 

September Reporter Earthquake Edition - Adobe pdf

 

MEMORIAL THEATRE

We may be riding some uncertainties in the wake of the quake, but some good things won't change. In 2011 when the Heritage Restoration is completed the theatre will be renamed The Charles Luney Repertory Theatre in honour of the man who built it in 1928, and built it well  enough and strongly enough to withstand a major earthquake in 2010! Bravo!

 

CHARLES LUNEY 1905 -2006

Master builder of many of the foremost buildings of  Christchurch, upright

and respected  contractor and employer for the 75 years of his working life.

So reads the inscription on the bust of Charles Luney in the Twelve Local Heroes Walk located outside the Arts Centre.

 

Charles S. Luney Ltd has built many of Christchurch's landmark buildings including the Town Hall, the Christchurch Hospital, the Westpac Entertainment Centre and the Park Royal Hotel (now the Crowne Plaza). Way back in 1928 when he was only 22 years of age Charles Luney built our theatre.

 

It was his first major project: financed by Thomas Edmonds:architecture and decoration by H Francis Willis: and theatre systems designed by James Shelley.

It is thanks to the generosity of the Luney daughters and their high regard for their father that we are able to undertake the restoration, and can proudly put our  links with this outstanding Cantabrian permanently in lights.

 

THE HERITAGE  ARCHITECT

It is greatly appreciated by the society that our architect is Gavin Willis, the son of the original architect H. Francis Willis. That's pretty cool in forging links with the past! Gavin has had a long and distinguished career and won many awards.

 

His specialist design areas cover a wide field and are in commercial, residential, educational and tourist accommodation facilities. For elegance in my opinion it is hard to beat the art deco foyer of the Kenton Chambers in Hereford St. (Civic Trust Award 1993)

FUNDING CONSULTANT
Thea Mickell (Thea Mickell Consulting) has worked very hard and successfully on our behalf. Thea is a funding and administrative specialist for not-for-profit organisations,  with an across the board clientele working in arts and culture, education, social services and sport. Thea's friendly professionalism  and her help in problem-solving mean a lot to us!

FUNDING
Happily we can report that we now have our first Impresarios and Leading Players signed on for their Name In Lights packages. Thank you! It is important that we as a society contribute to the heritage project and so justify the faith that funding agencies have shown in our enterprise. The reaction to the earthquake damage shows there is no doubt the community cares and wants to keep Repertory alive and well.

 

FROM THE THEATRE MANAGER
While the theatre is out of action, the Rep office has been set up temporarily at 24 Drayton Drive, Mt Pleasant. Members can contact the theatre manager or committee members by email at cantyrep@xtra.co.nz and voicemail messages can be still be left on the office number 379 8866. Theatre bookings have inevitably been affected by the earthquake.

 

The Christchurch Writers' Festival and the Body Festival have both been cancelled and the Medbury School production of Peter Pan will now be staged in the Christ's College Auditorium. Several lucrative bookings later in the year will probably not be able to go ahead if we stay closed to get on with the Heritage project building work.

 

Our thoughts go out to members who have sustained damage to their homes or whose livelihoods have been affected.

David Watkins

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Canterbury Repertory Theatre – Update 8th September 2010

 

This afternoon the earthquake damage at the Canterbury Repertory Theatre was evaluated by Gavin Willis (Willis & Associates Architects), Dick Sullivan (Consulting Structural Engineer) and Peter Jamieson (Contact Construction) with Representatives for the Canterbury Repertory Theatre Committee; Rozena Hallum (Artistic Director) and Blair Kershaw (Company Treasurer).

 

With the exception of the top of the façade, they were astounded that there was only minimal damage to the rest of the theatre.

 

Beneath the rubble the lower façade is intact with not even a broken window. Further into the theatre everything was undisturbed; the auditorium, stage area, fly tower and dressing rooms intact. The historic proscenium undamaged.

 

Over the coming days, contractors will take steps to secure the theatre, carefully remove the rubble, saving any historical mouldings that might be preserved, and saving as much of the remaining façade as possible.

 

At this point the Society will be able to continue rehearsing its current show Noises Off later next week, however Repertory will need to find an alternative location to stage the production as it is believed the front entrance will still be unusable.

 

It is expected that the Society's planned Heritage Restoration will commence a little earlier than scheduled.

 

Blair Kershaw
Treasurer
Canterbury Repertory Theatre Society Inc.

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Earthquake Damage Saturday 4th September 4:35am

For accurate information about Repertory Theatre please contact   Rozena Hallum 03 384- 4941 e-mail rozena.h@xtra.co.nz or   Blair Kershaw 03 381-7538 email blairk@xtra.co.nz.   As I write this we are still experiencing aftershocks although these are no where as bad as Saturday morning's quake.     Sadly as you can see our dear historical theatre has been badly damaged. While it appears to be more on the facade the theatre has been examined by Structural Engineers and has a red category placed on it which means it is unsafe.     Rozena H. and Blair K carried out a brief examination and said there didn't appear to be too much damage inside, dishes were still stacked on the Kitchen sink. But time will tell, we are insured and I'm sure that our theatre in one way or another will survive. Brian Sullivan   From Rozena Hallum, Artistic Director of Repertory   Life in the Old Girl Yet   Our heritage theatre  in Kilmore Street looks sad at first glance with crumbling facade and the green room open to the wind and rain. But behind the scenes there is a different story.    A committee member and I walked through the building yesterday and were amazed to see  everything appeared undisturbed - the auditorium, stage area, fly tower and dressing rooms intact.

Even the stacked cups on the kitchen shelves hadn't moved, neither had the mirrors propped up on dressingroom benches.  The historic proscenium seems undamaged.   Of course we await a proper inspection, but Charles Luney knew how to build for posterity so we are hopeful. After 83 years of continuing activity, the show will go on!   Plans  and funding have been underway for some time to restore and strengthen the building which will be renamed The Charles Luney Repertory Theatre.  Ironically a commencement date for the makeover was set only last Thursday for April  10, 2011.  It may now be a little sooner!

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Audience Comment - Journey's End

 

The Press May 5

 

True to The Press review of Rozena Hallum's direction of Journey's End, it was one of the most powerful and cathartic plays — from the programme notes to the curtain call —that has been staged (April 26). I am sorry if you have missed seeing it. Long live our Christchurch Repertory Theatre.

 

BARBARA MURRELL

 

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Diary of Anne Frank Reviews

 

Anne's Diary Still Resonates - Voxy.co.nz

 

The Christchurch Star - Review

The Diary of Anne Frank, dramatised by Goodrich and Hackett,

Directed for Repertory Theatre by Robert Gilbert,

6-14 March at 7.30pm, (Monday, Thursday 6pm,Sunday 2pm).

Running time 2 hours thirty-five minutes.

Reviewed by Lin Clark.

 

Repertory, Robert Gilbert and his whole team can be very proud of this richly detailed production.

 

It is no mean feat to recreate the famous wartime attic where the Frank family and their 'guests' sheltered from the ruthless inhumanity of Hitler's Holocaust. The play is not only striking in its theatrical savvy, but keeps faith with the enduring and triumphant spirit of Anne herself so that there are many moments when we are reminded that happiness defies circumstances.

 

So does human orneriness and wry humour abound as parents, teenagers and a pernickety old dentist struggle for 'peace’ in their refuge. An inspired cast shapes the material with great authority. They bring to riveting reality the attic world designed by excitingly talented Rebecca Jane Novick Goldstein, lit with flair by visiting designer Rob Falk, whose skill imbues even wordless sequences with dramatic intensity. Key roles – though all are significant – are filled with great sincerity and conviction by Rosanna Hewson as Anne and Brian Sullivan as her father Otto Frank. Congratulations Repertory.

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Newsboard

January/February 2010

Special General Meeting of the Repertory Theatre Society
A robust number of people attended this meeting, indicative of a society that has the good of the society and its theatre at heart.

This meeting was to announce the committee’s decision to cancel the Repertory Restage Project and to announce a new independent project that would include earthquake strengthening and other major improvements to be carried out in stages, while maintaining Society ownership of the land and building and remaining the resident theatre company.

Members were also asked for their help. Many of us have extraordinary skills which could be useful, such as carpentry, artistic skills, carpet laying, plumbing, sewing and many others. Please ring David at the office if you think there is any way you could help.
The first work day, where you might wield a paint brush, or just get stuck into some serious cleaning is on Saturday the 30th of January. A number of people have already signed up for this. If you have even an hour to spare, please call David at the office.
We also have a wish list. If you can assist with any of these items, again, please call David.

 

We have already been given a microwave by Peter Allen and 150 white tulips which I’m sure will be wonderful in an Anne Frank display. Thank you, Peter. Thank you too, to Elayne Buckler and Simone Kennedy, who not only assisted Rozena in painting one of the dressing rooms, but also donated a mirror, fit for a drama queen. Thank you, Elayne and Simone. Rozena and Tony Hallum are making a lovely job of painting the dressing rooms.

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London - Roderick Lonsdale

In spite of the plethora of musicals on, in the West End, London has a wealth of theatre to offer. The Donmar Theatre has taken up residence at Wyndham's near Leicester Square and has offered star-studded productions from "Ivanov" to "Hamlet".

It was surprising that Kenneth Branagh didn't receive an Olivier award for his eponymous role in this Chekhov classic. His was a riveting performance; a performance to cherish. This year's winner of Best Actor, Derek Jacobi followed with perhaps the defining Malvolio of his generation in, of course, "Twelfth Night". The supporting cast were almost as good.

 

The National offered Michael Morpurgo's "War Horse" for the second year, a stunning production with life-size puppets for the horses, wonderful sets and lighting. Stoppard's "Every Good Boy Deserves Favour" with its onstage symphony orchestra and set in a Soviet insane asylum was both hilarious and moving. Seats are hard to get for both "The Pitman Painters" and "Burnt by the Sun" which have both received rave reviews.

 

Five stars have been consistently awarded to Anna Mackmin's revival of Brian Friel's "Dancing at Lughnasa" which was lyrical and full of "exuberant melancholy", and luckily for me on the Year 13 English course. The Royal Shakespeare put on a short season of "Othello" at the Hackney Empire which used some ingenious movement to suggest changes of scene but perhaps didn't quite convince with the lead actor whose accent varied from North African to Caribbean to South London.

 

This rather superficial review only scratches the surface of the West End while deep in the East End, Arcola Theatre puts on forgotten repertoire and cutting edge plays in the round for only £15. The Royal Court in Sloane Square provides a venue for new writing and the Guildhall Drama School in the Barbican area also provides stimulating performances of less commercial plays.

 

Roderick Lonsdale: Roderick was in Wendy de la Bere’s production of Six Characters in Search of an Author with Colin Alexander.
Roderick now teaches at Chigwell School, North East London.

 

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Our Man in London, Colin Alexander

 

Where have all the ‘New Wave’ plays Gone?
‘A play, a play, my kingdom for a play’. I can almost hear William Shakespeare cry out about the state of the British theatre today; and as for George Bernard Shaw, his rumblings would shake the theatres to their foundations.

 

Every era has brought forth a new wave of plays. But what has happened since the last era, which brought a revolutionary change to British Theatre from 1956? John Osborne, David Hare, Arnold Wesker and the era of Harold Pinter. His recent departure from this earth makes us ask, “where now?” The plays that explore and stimulate with their use of the English language – compelling themes – social comments. Plays which produce good actors, whose task it is to fill the roles. Characters that fill the theatre and can be heard in the back rows and upper circles without aid of a microphone.

 

So where have all the plays gone in recent decades? Anyone glancing through a list of the forty plus theatres in London may well ask this question. The Globe seems to have temporarily lost its way, the National Theatre rarely lives up to its name. The Donmar – expanding to a larger theatre in the Westend, draws top actors in quality revivals, actors who are crying out for a new period of dramatic writing: but making movies or TV dramas while waiting.

 

Once London stimulated with great plays – great actors, so many it was nearly impossible to see them all. Today it is like looking for a needle in a haystack, to find that elusive new play, one that passes the test.

 

The Westend is overflowing with long and short running musicals (old and new which rarely return the costs of production) pop or movie based. Seems the promoters grab at anything which was popular in another medium: Billy Elliot (a big success), Dirty Dancing, Jailhouse Rock, Wicked (OZ), Spamalot, Phantom and now Phantom 2 – Love never Dies.

 

Plays are often written with a particular actor in mind, i.e. Judi Dench, Maggie Smith, but are rarely seen after that. Which brings one to conclude that there is little money in spending time writing plays for the stage. One only has to look at the credits of TV dramas and films to see that this is so. Alan Bennett, David Hare, Simon Gray and others of repute and skill with language, are in demand to write ‘The screenplay’ and without a doubt this pays well.

 

We are indeed fortunate then, when that rare play comes our way which is a contemporary piece of writing. ‘The History Boys’ has filled theatres round the world. ‘Doubt’ and ‘Frost vs Nixon’ had quiet showings, but reached the world in the cinema – adapted for the screen – and thrilled us with their use of the English language, bringing out great performances from the casts.

 

So what does the theatre hold for the play and the actor? I wish I had a crystal ball and no doubt you do too. We can but lament the loss and continue to wait. In the meantime, Willie and George, rest peacefully, if possible.

 

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Blasts From the Past

I decided to look through my memory drawer recently and found so many reminders of lovely times acting in Rep plays and seeing others perform.

There were photos of my daughter, Juliet, as Beth from Little Women, Bella, the town tart from Same Old Moon, Louisa in The Sound of Music, the girl from The Music Man, Rizzo from Grease and of course Scout from Elizabeth Moody’s production in 1990 of To Kill a Mockingbird.

I remember my husband trying to stifle sobs as Beth gave her dying speech, the pride, as we watched the 11 year old Scout go off to rehearsals with her clip board and pencil. Elizabeth said, “I knew she’d be fine when I saw her arrive with her clip board”. Juliet’s first time in the theatre was when, at the age of three, she came to see me in Round and Round the Garden and I heard a little voice saying, “that’s my Mummy up there”. I still have the card she made me with Sarah on it and the one she made with a picture of Julia on it. That’s when I was in A Month of Sundays. Colin Alexander was my husband and Bill Cook was my Dad. Penny directed.

And then I found the packet that contained the Dracula fangs from when I was in The Passion of Dracula. I was Helga.

A birthday card from a friend, saying, “I had a task to find a card with so many “bad habits” reminded me of the fun I had in Nunsense. But it was a sad time too. My Mother was dying. Another card, covered with busy little pigs in varying attitudes of domesticity reminded me of my role as Minimus in Animal Farm. I became a dab hand at somersaulting across the stage. “Perhaps I could stage a comeback”, I thought.

There are numerous cards from Edna Neville, Penny Giddens and Sister Leonie wishing me wonderful First Nights and saying lovely things designed to give a girl a boost.

A card from Dawn Somerville says,” Mille Grazie, Maria” and I remember one of the last rehearsals before Lend Me a Tenor opened. I thought I had been magnificent, but she told me to get control of my character. I was affronted, but she was right. I had forgotten Stanislavski’s maxim to keep a fraction of yourself as observer. That was my last play for Rep, so I haven’t had a chance to remedy that.

So many plays, fading programmes with flowers from First Night bouquets pressed between the pages.
I found little cards I’d written for First Night suppers with the names of specialty foods on. I remember visiting the Jewish Society and getting their menu advice for The Diary of Anne Frank supper. And what about the doll cake I made for Summer of the Seventh Doll. So many memories. Tell us yours. We’d love to hear them.

 

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Stop Press

A Baby for Sarah and John and family

The stork has been hovering over Repertory recently.
Sarah Bohan and John Ashton now have a baby girl to add to their family. Sarah gave birth to her seven weeks ago.

Sarah and John met at Rep when they were rehearsing in Jane Eyre. John was Rochester and Sarah was--- no, not Jane -  the maid. Both of them have gone on to perform many important roles for us.

Their new daughter’s name is Vanessa Bridie Alice.
They are all doing very well.
Perhaps one day we’ll see Vanessa’s name on a cast list too.

 

Privates on Parade

Robert Gilbert is taking excerpts from Privates on Parade to the New Zealand Theatre Federation Play Festival. We wish them all the best. Those who saw the play, will know that they take an excellent product.

 

Architecture Students

Today, (Thursday 23rd April) I was in talking to David at Repertory and he told me that he was just about to get a visit from some 2nd year architecture students from the Design and Art College. He’d arranged for Gavin Willis to come in and talk to them about Repertory’s beginnings and Repertory Restage.

How exciting for us to be able to contribute to architectural students’ knowledge in this town.

Of course Gavin is the ideal man for the job. Most of you will know that he is the Restage architect and his father, Frank Willis, was the architect responsible for the Repertory Theatre.

 

Cultural Events

And we’ve gone international!

Recently, Canterbury Business Associates have staged an African and a Korean event in our theatre.

 

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Memoriam

Jean Jackson

Repertory mourns and remembers a wonderful colleague and
friend.

On November 12 we learned with great sadness that Jean, aged 55, died peacefully, although quite suddenly, at St John of God Hospital. Despite her motor neuron illness Jean was in good spirits, she was planning her birthday celebration for December 7, and looking forward to Christmas with her family.

The funeral service for Jean was held at the John Rhind Chapel on Tuesday, November 16. A large group of Repertory members joined the family to pay their last respects to a lovely lady and to celebrate her life, much of which involved active participation in the Society's plays.

As part of the ceremony Brenda Hayes gave a touching, detailed and personal address (see below) and Rozena Hallum read the sonnet Remember by Christina Rossetti.

Our heartfelt sympathy to Jean's family.

 

Remembering Jean - From Brenda Hayes
Jean and I met many years ago when we were just out of school and were beginning our lifelong love of theatre. I remember she had long brown hair down to her waist. Her involvement was almost inevitable with her mother and father being actively involved with Repertory. Her mother, Mildred, worked in wardrobe and her, father, John was a stage manager and then a stage director.

Having gone back over programmes when Jean was a teenager, I first found her mentioned in 1969 for Neil Simon's Barefoot in the Park. She assisted with calls and must have been about fourteen. This was before the intercom when the call girl ran around the dressing rooms knocking on the door and saying 'two pages'. It was my introduction to Rep also. In the cast was Strath McKnight, Angela Doudney's grandfather.

Right from those days what was apparent was the commitment she gave and the talents she brought with her. As so many faces came and went over the years, there was always Jean who understood the pleasure of a well-made prop or a really good scene-change. A kindred soul who understood why we turn up night after night. After many years of organizing and making properties she turned her hand to stage-managing and was a natural. The first play she stage-managed was Stepping Outin 1990 and the lines Sticks to Vera became an oft quoted phase between us.

We shared the love of watching a play come together and the development of the characters. Although I never saw Jean act on stage, she loved to read in at rehearsals and she often gave an interesting interpretation of the role at the same time. She gave quiet support to artistic temperaments and handled eruptions diplomatically. Jean took over the responsibility of the job and not just the title. Hers was an ear to confide in both in good and not so good times.

 

And along the way we became friends and confidants. And as we grew older together, we watched the young ones with their insecurities and romances with a secret smile as we both remembered each other's adventures.
Jean brought many talents to theatre. Her prop-making was legendary. I handled one of her hand-whittled guns while packing up the props cupboard after the earthquake! When we worked on Mary Poppins together for Children's Theatre Jean even trained pigeons in her garage for Feed the Birds.Unfortunately they behaved disgracefully at their first rehearsal in the Theatre Royal and were cut by the director. In her private life she sewed and made teddy bears by the dozens, took amazing photographs of sunsets and plants and had enough jigsaw puzzles to fill one wall of her garage. Her broad knowledge of classical music was also a ready source of inspiration for music in plays.

Jean stage-managed Social Climberslast year from her wheelchair. Directed by the late Elizabeth Moody it will always hold a special place in my heart as the last time I worked with two incredible ladies. Cast and crew involved had many a laugh together, gathered around the but table after a show.

It seemed such a short journey from Peter Panwhen she first noticed a numb toe. I'm sure we can all remember that moment Jean told us of her diagnosis, the gut-wrenching realization of the journey she had begun. The courage Jean showed us all in the last couple of years has humbled us all. She talked about our lives, then only gently brought up the subject we were all too aware of. Matter of factly, she gave a progress report of her body's decline, while sharing a laugh, a smoke, or a wheely in her chair.

Goodbye old friend, and as they say in theatre, Break a leg!

 

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Elizabeth Moody

It was with profound sadness that we learnt of the death of Elizabeth on the 11th January this year. We extend our deepest sympathy to Terrence and her family.

 

During the funeral we could all feel her presence amongst us, as we celebrated her life. A number of her colleagues spoke with wit and love about the unique person who was Elizabeth. They spoke of her ability to shock, her intelligence, her verbal luminosity, her unequivocal honesty, her skill as an actor and director, and her vulnerability.

 

It is not often that we are sent people such as Elizabeth, who truly leave their strongly indented and individual footstep on this planet. We are the richer for knowing her. Thank you, Elizabeth.

 

Repertory sent flowers. Rozena Hallum said that Elizabeth would like flamboyant, so I chose a riotous bunch of white lilies, bright orange roses, orange Leukospernum, blue feathery things and purple-blue Gentians.

In the message we sent, Rozena spoke of Elizabeth being a lodestar for Repertory.

 

I asked Brenda Hayes to write a story for the Reporter. Here it is.

 

Elizabeth.

Where do you start? We worked on twenty four plays together over the years, moving from dumbstruck awe [I'm working with ELIZABETH MOODY!] to a relationship that didn't need much explanation. The words "You'll know what I want" were often my entire brief for the sound scapes used.

 

Finding just the right present for her, in relation to the play, turned into a game as she tried to outguess me. Outwitting her was rewarded with a delightful glint in her eye and visiting her house to see all the reminders of Rep plays proudly displayed,was a joy.

 

She loved to direct, teach and banter with her cast. There was usually one member chosen for extra focus and many members will remember the "Shut up, Roger" that frequently peppered rehearsals even when Roger was silent. Her ability to remember the entire play kept the prompt focused as she would often give the line without reference to the script. Her most remembered prompt came when she walked from the auditorium, through the kitchen, up the stairs to backstage and still gave the correct prompt to an actor who had just dried.

She knew well the rhythm of the piece.

 

One of her most mentioned Rep moments was the opening night of the first play she directed here. Up went the curtain and the couch was missing. She was unable to stay in the theatre.

Luckily the night was saved by Stuart Thomson who rearranged the remaining chairs.

 

There was seldom an opening night that the pass door didn't burst open during performance and Elizabeth came back with a word or thought that couldn't wait until interval.

 

She was a wonderful director/teacher of comedy, but I will remember best her dramas. The pathos of Arthur Chapman in You Never Can Tell, the aloneness of Vanessa Wells in A Doll's House, the gut wrenching sadness of John Willoughby and Roger Scott-Linfield in All My Sons and the scariness of Adrian Mc Namara and Brian Sullivan and despair of David Allen in The Birthday Party. What amazing memories she helped to create.

 

But especially I must mention Social Climbers, her last production in 2009. Were we not all blessed who were involved in that production? After seeing Elizabeth so sick, to see the strength of personality that took her on that journey with us. It was a moment in time that felt special then, but on reflection we can all say, Wow what a curtain. What a lady.

 

With Love Brenda Hayes

 

Plays directed by Elizabeth Moody for Repertory Theatre Age cannot wither her, nor custom stale her infinite variety Anthony and Cleopatra Act 2 Sc. 2
1983	The Second Mrs Tanqueray	1
1984	I’m Talking about Jerusalem	2
1989	Lady Windermeres Fan	3
1990	No Sex Please We're British	4
1990	To Kill a Mocking Bird	5
1991	Dreams of Sussex Downs	6
1991	10 Little Indians	7
1992	An Inspector Calls	8
1997	The Bed Before Yesterday	9
1997	Out of Order	10
1998	When Did You Last See Your Trousers?	11
1999	Chase Me Comrade	12
1999	Present Laughter	13
2000	It Runs in the Family	14
2000	My Cousin Rachel	15
2001	Nightwatch	16
2001	Don’t Dress for Dinner	17
2002	A Doll’s House	18
2002	You Never Can Tell	19
2003	Romeo and Juliet	20
2003	Over the Moon	21
2004	Why Me?	22
2005	All My Sons	23
2005	The Circle	24
2006	The Birthday Party	25
2009	Social Climbers	26

 

 

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Brenda Hayes with some sad news.

There have been 2 deaths of note to the theatre community recently.

 

Today in the paper I read that Kevin Tetley had passed away. Kevin was in A View from a Bridge, Come Back Little Sheba, Dreams of a Summerhouse and Up ‘n Under, as I remember. Kevin had a strong physical presence on stage and was a wonderful "back" actor, able to express a wide range of emotions through his body whilst facing upstage.

 

Peggy Grant died in December. Although mostly known for her involvement in Children's Theatre and the early days of The Court theatre, Peggy was also involved with several plays at Repertory, the last being wardrobe mistress for The Merry Wives of Windsor.

It is from such people as Peggy and Elizabeth Moody that I have drawn my lifelong interest in theatre. I remember sitting on the floor at Rep laboriously cutting out green leaves to put on some wire netting to make a Christmas wreath. Peggy walked up, picked up the uncut paper, screwed it up, pushed it into the holes in the wire, and in less than a minute, there was a beautiful three dimensional wreath, full of life, instead of the flat, lifeless one I had been working on for ages. A valuable lesson I still bring to mind.

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Lyall Hallum

As you know Rozena Hallum is our Creative Director at Repertory.
It was with great sadness that we learnt of the death of Rozena’s husband, Lyall.
Lyall was not only a great support to Rozena in her work in the theatre, but he did much for our society over the years.

Lyall was an artist, teacher, craftsman and builder and he created many superb theatre sets.

Many of you will remember his innovative sets for The Shadow Box, The Visit, and Twelve Angry Men.

He also produced posters, posters that had the ability to capture the essence of a play.
Our love and support is with Rozena and her family as they learn to live without Lyall.
Rozena continues to inspire with the passion and commitment she gives our society.

 

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Jim Taylor

We were very sad to hear about the death of one of our valued members, Jim Taylor. Jim and his wife Marette have been coming to our plays together since the early 1970’s.

But Marette used to come with her Grandmother, as a teenager, in the era of the fur coats.

Jim and Marette are good friends of Penny Giddens. They used to sit up the front, because Marette said they were both a little deaf.

Jim supported Marette’s great fascination with the theatre and learned to love it himself.
The last play they saw together was 84 Charing Cross Road, which they adored.
Marette is excited by the fact that the love of theatre which Rep has nurtured, is continued in her family and a number of new family members are joining up with Repertory today.

And that is a fitting tribute for Jim.

 

 

 

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Mary Robertson

It is with sad regret all at Repertory note the passing of Mary Robertson who always had a very active interest in the Theatre as well as cats and her garden. Doug Clarke of Riccarton Players supplied the brief notes about Mary and Stewart

 

Mary & Stewart Robertson were both members of Elmwood Players in the good old "Garage Days" at 69 St Albans Street.

They progressed and assisted with the creation of the Elmwood Playhouse, that was.

Latterly Mary worked tirelessly for Canterbury Repertory Theatre, organising FOH, as well as maintaining a high profile with the Cats Protection League, maintaining her rambling garden which was full of surprises, and spending time with her grandchildren.

She is survived by daughters, Lee, Ruth and Lynne, and of course son, Grant, who is co-owner of The Light Site.

Another dedicated theatre person has passed on - now Mary can join her beloved Stewart creating a new theatre in the hereafter

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Penny Giddens