AODS Earnest Earns an Accolade (Alton Herald - 8th August 2008)

Members of Alton Operatic and Dramatic Society (AODS) recently attended the awards ceremony of the Southern Region National Operatic & Dramatic Association to receive an award for their production last November of Oscar Wilde’s "The Importance of being Earnest". Receiving the award were the Director John Hanrahan, and members of the cast including Pippa Mills, Peter Crow, Barbara Rayner and Thelma Wallis. They received the award from Betty Haslam.

This 88 year young society will next be treading the boards in "Move Over Mrs Markham" in November (Watch the press for further details) and if there is anyone keen to explore their own musical potential after enjoying "Last Choir Standing" and feeling that they would like to join in the fun AODS starts rehearsing their main musical production "Pirates of Penzance" on 4th September at 7.45 at their home base of the Alton Assembly Rooms. All are welcome to come and participate, and there is no requirement to understand music, just a desire to join in the fun.

Contributed by A. K. Crow.

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ALTON Operatic and Dramatic Society went Wilde for their Autumn offering under the direction of John Hanrahan and his assistant Edith Wilmot, at Alton's Assembly Rooms, on Friday, November 9.

The Importance of Being Earnest, described as a trivial comedy for serious people, is an evergreen for both amateurs and professionals.

Brimming over with Oscar Wilde's wonderful wit and humour, it's one of those plays that needs to be played out like a Wimbledon centre court tennis match with a continuous volley of dialogue and action.

The majority of the AODS cast took time to warm up and get sufficiently into their stride to achieve this necessary pace, but overall they did full justice to Wilde and his wonderful words.

The set painters (Susie Dean and Barbara Rayner, who also played the two young female leads) had worked hard to create the play's three distinct settings, and although the walls of bachelor boy Algernon Moncrieff's London pad did look somewhat rustic, they had captured that Victorian elegance worthy of John Worthing's country estate for the following scenes.

The plot is highly improbable centering as it does around a baby that had been placed 29 years previously in a capacious handbag and deposited with the left luggage at Victoria Station. Another facet of this play is the importance of being christened Ernest, if either of the two young gentlemen are ever to be accepted by the two young ladies.

Pippa Mills successfully stepped into the Lady Bracknell role with strident gait and an imperious demeanour to make the part her own, as did Barbara Rayner who played her daughter the Hon Gwendolen Fairfax.

Barbara, who confesses to being a little older than the 20-year-old Miss Fairfax, looked perfect for the part and with good delivery and excellent diction was very much her mother's daughter.

Pippa made the most of all her splendid lines and giving full vent to the famous 'handbag', unlike a couple of recent professional productions that went for a sotto voce interpretation.

Peter Crow, who is usually to be found backstage, valiantly took on the John Worthing role.

If somewhat diffident at the outset, he gathered confidence during the performance as did Stuart Laidlaw playing Algernon Moncrieff, Lady Bracknell's impecunious man-about-town nephew.

Both John and Algernon have invented imaginary characters to cover their tracks. John, the pillar of respectability whilst residing at his country estate and taking responsibility for his 18-year-old ward, Cecily, uses a wayward brother as an excuse for his jaunts to London; and Algernon has conjured up a sickly friend in the country called Bunbury to excuse himself from any unwanted engagements. All of which leads to confusion and mistaken identity while in pursuit of their intended ladies.

Susie Dean made a dear little Cecily, a fluffy young female with a decidedly petulant streak when faced with any opposition.

This play has some lovely cameo characters which were made the most of by Clive Winchester playing the Revd Canon Chasuble, Thelma Wallis as the somewhat distracted Miss Prism, and Glyn Williams playing the dual roles of butler and personal servant.

Once again Alton Operatic and Dramatic Society's hard work and dedication have brought about another successful production which captured Wilde's comedy without resorting to farce.

Watch out - the Society will be donning stetsons and dirndl skirts next March for that wild west musical 'Oklahoma!'.

Suzanne Cansfield

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Now a little something about Ernest from an alternative perspective.

I more normally take part on stage with AODS but had decided not to audition (My husband Peter, more normally to be seen painting the scenery, was on stage for 'the Importance of being Ernest') and so I spoke with our Stage Manager Roger Rowan, and volunteered to help Sarah Scott with the props. This meant dealing with the bits and pieces that are picked up and carried on and off stage by the performers and certainly includes "A Handbag!". One of the stranger requirements of the play required us to study the opening scene very carefully during rehearsals to ensure the same amount of cucumber sandwiches were on stage at the opening of each performance so that Stuart Laidlaw always emptied the plate before Lady Bracknell appeared - without losing his ability to speak his lines through having a full mouth.

We had fruit cake, tea cake, muffins and bread and butter. Two different tea services: tea, milk and sugar. We borrowed, bought or made all that was needed. Diaries for the ladies, books for German lessons, a mourning handkerchief, even a cigarette case, (though no-one ever actually smoked). All of these plus many other items all had to be collected and ready in the right place at the right time for the right scene.

There were three scenes altogether and at the end of each performance we would rebuild the first scene ready for the next time round. We had revolving conservatories, changing furniture, pictures and a fireplace to instal.

It's great fun, and through the week I got to watch most of the play from the wings each night and therefore a completely different view.

The cast were fabulous and the performances sparkled with the rapport that had grown between the members of the cast. The script is incomparable and some lines are so well known, that there is a wonderful anticipation to certain parts of this witty, brilliant play by Oscar Wilde.

It was a great way to see the play and the back stage crew are a group who are truly fantastic, whether changing flats, hanging curtains or clearing up after the last performance.

Even if you feel that on stage is not for you, the AODS crew are always ready to welcome those who would like to wear black, stand in corners and see the stage from a different angle.

Contributed by A. K. Crow.