CHESHAM BOIS CATHOLIC PLAYERS – NEWSLETTER
Acting in Good Faith.
Reg Charity No 287109.
Affiliated to NODA
From a painting by Jeny Willment
NEWSLETTER FEBRUARY 2016 – Editor: [email protected]
NEWS FROM OUR CHAIR:
Recently I attended two meetings of newly formed groups that give the chance for chairmen of
local amateur dramatic groups to meet and discuss various issues relating to amdram.
The first was the Chairman's Circle that included groups from as far afield as Thame,
Maidenhead, Marlow as well as Amersham and Chesham. The meeting was led by Ian Slack,
CTC Chairman, who gave everyone a brief overview how to utilise social media, i.e. Facebook
and Twitter and sharing a Google calendar to publicise production dates across the area. This
follows on from a workshop I attended at the last NODA conference on how to publicise your
society. Apart from the usual forms of advertising, i.e. flyers, websites, printed publications,
using social media, local radio and YouTube to create an interest in your productions and
marketing your society formed a greater part of the discussion.
The second was a more local group local with the Chairman from Chesham Musical Theatre
Company, Panda Players, CTC and Hyde Heath Players. The aim is to be supportive of each
other and work closely together, i.e. planning productions so that they don't clash, publicising
and attending each others' productions - particularly on those hard to sell performance dates
(usually Wednesday and Thursday nights!) and meeting socially. It was a very interesting
evening and I have some salient points to raise at the next CBCP committee meeting!
What is apparent from these meetings is that there is a lot of talent and respect for amateur
dramatics locally. However, all the groups represented shared similar problems with retaining
and attracting new members - particularly those who are more interested in working backstage
(including sound and lighting) or set building and selling tickets for productions/making a profit.
This is a great opportunity for us to develop and share our knowledge and enthusiasm for the
good of all our amdram societies in the area.
I see in the Little Theatre newsletter that the Amersham Playgoers Theatre Group are celebrating their 70th
anniversary this year. Congratulations from all of us at the CBCP. There was a time when we got together for shows,
and certainly kept each other informed of our productions and supported each other. I think the contact has been
lost a bit but hopefully, seeing Sue’s message, this will no longer be the case. If anybody from Amersham (or any of
the other groups) would like to let us know about any show they are putting on I will gladly advertise it in these
pages. Ed
From the Little Theatre Mailing:
David Gardner, the esteemed Chiltern District’s Community Projects and Revitalisation Officer, has
confirmed that an order is about to be placed. He expects to see the ageing posts removed, refurbished and
replaced close to Easter – with the additional finger directing the public to the Little Theatre proudly
pointing the way. I think this is due to Mike’s nagging, so thanks MOT Ed
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AUDITION FOR HAY FEVER by Noel Coward, directed by Tina Pearce. 20, 21, 22
May
The audition for this very funny play will take place on Sunday, 21 February
from 3 pm at the Little Theatre.
You are all invited to attend, whether you would like to read for a part, offer your services in any other way, or
just come out of curiosity to see what it's all about.
A resume of the plot and a description of the characters follows:
Action takes place over a weekend in the family home of Mr and Mrs Bliss. Their two adult children have each
invited a guest for the weekend, and so have each of their parents. The guests are not known to each other or to
anyone other than their respective hosts, and have each been invited unknown to the rest of the family. There is
only one spare room apparently and the maid, Clara, is beleagured by each of the family to reserve it for his or
her particular guest. The resulting chaos bewilders everyone and tempers fray.
There are three scenes: Saturday afternoon, Saturday evening and Sunday morning. Characters are as follows:
• Judith Bliss, mother - a failed actress hoping to find a suitable play to make a comeback.
• David Bliss, father - suffering from writer's block and using a student to help to inspire him.
• Sorel Bliss, daughter - early twenty something, unemployed but moves in good circles and a bit posh.
• Simon Bliss, son - a little older than his sister; a budding artist and very untidy.
• Myra Arundell - society lady, the guest of Simon
• Richard Greatham, diplomatist, the guest of Sorel
• Jackie Coryton, teenage student, guest of David
• Sandy Tyrell, theatrical reviewer/manager, guest of Judith
• Clara, the maid who runs the house and is a real character, very down to earth
If you have any questions before the audition, please telephone Tina on 01494 786846, or email me, Joan, at
[email protected]
REMEMBER - LITTLE THEATRE, FROM 3 PM ON 21 FEBRUARY....Hope to see you all there!
…..and just to get you in the mood, here is a review of the Felicity Kendal version from I think 2014:
"A nice change for you, I suppose, after all those dreary
plays," said the lady next to me. She was right in that Hay
Fever offers pleasurable escape, but watching Lindsay
Posner's amusing revival I found myself wondering why,
90 years after it was written, Noël Coward's comedy still
proves so astonishingly durable. I suspect it is because it
combines astute observation with ironclad technique.
Of the many plays that have been written about impossible
guests, Coward's is one of that select band that deals with
nightmare hosts. A country weekend in Cookham with the
theatrical family Bliss proves about as seductive as supper
with the Macbeths, or cocktails with George and Martha in
Who's Afraid of Virginia Woolf? But Coward's comedy
also combines neat symmetry, as each guest pairs off with
the wrong person, with slim dialogue in which every word
falls perfectly into place. When Judith Bliss says of her
husband, "No, he's not dead, he's upstairs," the laugh
derives both from her crisp dismissal and that final hard
consonant that Neil Simon said was indispensable in
comedy.
If Hay Fever is tougher than it looks, it also requires
careful casting. Felicity Kendal is an ideal Judith Bliss,
capturing the sense of a theatrical animal essaying the role
of a rural hostess. When she says "I've been pruning the
calceolarias", it smacks more of the green room than green
fingers. Asked to act out the adverb "winsomely", Kendal
offers a hilarious anthology of moues, pouts and clutching
of faintly berouged cheeks.
Perhaps the best touch is Kendal's suggestion of a ratty
discontent under all the self-dramatisation so that, when
she says "David's been a good husband to me but he's
wearing a bit thin now," you get an authentic whiff of
marital decay.
Michael Simkins, as a diplomat at the mercy of a family of
rampant bohemians, wears a look of horror that suggests a
fully clothed man in a nudist camp. But Simkins also
intelligently implies that this clenched figure blossoms
under Judith's predatory charm. There is good support
from Celeste Dodwell as a bemused innocent, James
Corrigan as a bouncing hearty and Mossie Smith as a maid
whose vivacious rendering of Tea for Two while clearing
the dishes tells us that she is just as marinated in theatre as
her employers. This production doesn't offer new insights;
it simply delivers the play Coward so exquisitely wrote.
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Please remember, for Hay Fever, we need more than just the cast! The show
cannot go on without back stage manager and crew, costume, lighting, front of
house, publicity etc.
We will continue to raise funds for the Players by
upload unwanted items to our Etsy
shop www.etsy.com/uk/shop/ThePlayersEmporium
and also to our Ebay shop Which is now live .....
surplus vintage clothing, props and costumes will
be added on a gradual basis. We are now registered
as a charity on ebay so all proceeds and charges will
get ploughed back into the group. If you sell on
ebay, you can also donate to us if you wish.
Why not use the ebay option with our shop of 'Add
to my favourite sellers' so you can see what we're
selling? http://www.ebay.co.uk
CBCP costumes crossing The
Pond....Liz Turner
We have been selling unwanted
costumes online. Our first costume
internet sale was just before
Christmas - an early 20th century
white dress waistcoat was sold to a
couple in America who went to a
Great Gatsby party. Thank you to
the very stylish Denise and Dmitriy
for their photo of them all dressed
up to party (photo by Nathan
Clendenin of StoryDriven Media
Group).
Can’t help seeing this as a younger version of ‘American
Gothic’ – that famous picture by Grant Wood. Ed
The Magic Toyshop – Feedback and Noda Report
Some feedback from The Magic Toyshop audience posted on Facebook Just seen it and it was amazing! Loved it! …utterly brilliant!
We had a great time.
Well done all
Well done everyone. Really enjoyed this afternoons show. Highlights: the evil witch, the policemans dance, the
fort scene and Sam's singing. Congratulations all.
Amazing show! Really enjoyed it, loved the Foreign Legion and the Codfather
Noda Report
This children’s play, written, produced and directed by Andrew Willment, was an interesting version of Hans Andersen’s
‘Steadfast Tin Soldier’. Written in 1838, not 1938 as in the programme (which I assume was just a typographical error
and not a careless mistake?) it had many good moments in it.
First of all, I have to say that it was a tad long; a good children’s show should not really run for much more than two
hours, give or take the interval. Several children were getting restive towards the end which was a shame. There were
many good scenes and you were probably reluctant to cut anything; however, you could have shortened nearly all the
musical numbers without omitting any. In particular the opening scene with the Barcarolle from the Tales of Hoffman; I
suspect you wanted to introduce all your characters at this point, but, judging from comments I overheard, I was not the
only one confused as to which were the toys in the shop and which were people, especially as they all seemed to be
moving around.
Some of the songs you chose worked well; in particular I liked ‘Je Regrette Rien’ and ‘Aquarius’. Others did not succeed
as well, partly, perhaps, because some of your cast did not always have a firm grasp of the words.
Andrew, your poster design was lovely and I guess original? If so, please consider entering into next year’s NODA poster
competition – remember that the programme and poster awards cover a calendar year so it is just too late to be
considered for 2016 but you can submit entries at any time now for 2017.
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The same applies to Mark Stephenson’s well produced programme with some really excellent photographs by Neale
Blackburn. The NODA London website will have the relevant forms soon and you can send in entries for shows which
were performed in 2016 at any time before December 2016. One small point about the programme, Mark - it is always
nice to have a list of the musical numbers included in each scene if possible. Congratulations though on publicizing your
next productions.
Johnny Schwerzmann’s choreography was very good – especially the acrobatic dances performed in the main I think by
members of his Dance Academy.
Steve Cherry’s lighting design, operated by Callum Beeny, suffered problems on the night I was there. I think
overheating contributed somewhat here didn’t it? There were no follow spots when cast came into the audience and
the LED lanterns which some of the cast held were not powerful enough to work as well you had, no doubt, envisaged.
Otherwise there were some good effects. Several of the cast kept moving out of the lit area of the stage; I know how
dazzling stage lights can be, but always remember that if you are not in the light, then the audience cannot see you.
Don’t forget that at The Elgiva there is a centre stage mark which acts as a good guide, there was a tendency to migrate
to stage right, leaving stage left virtually empty, albeit well lit.
Andy Felix and Adam Stephenson’s sound was good, notably effects such as the booming voice of the fish. There were
a few problems with the backing tracks and recorded music which once or twice drowned the singers but this often
happens when there is no live music or MD.
Costumes, in the capable hands of Liz Turner, Joy Furley, Marian Rosser and Evelyn Willment, were a joy. They were all
most attractive and effective.
The set, designed by Jeny Willment and built by Jeremy and Jamie Meeson, Andrew and Jeny Willment and Richard
Sutton was effective and appropriate, especially the inside of the toyshop.
Make up was another area which was universally good – congratulations to Assistant Producer Nicky Meeson and
Jacinta Blackburn.
The large fish was the star of the show! I don’t know how many of you were behind it working the head, tail and
mouth but it was really superb! Lulu Hamberger and Lizzy Sutton are credited with providing the props – did you also
have an input into the fish? Whether you did or not, your props were in keeping. My young companion told me that he
thought the fish was the best part – especially when Ratty, an evil Nic Barton, escaped and Hugh did not.
This was a technically demanding show and Ben Collins’ stage management was hampered by some large backdrops
and the need to synchronize the setting of a flown screen and the back tabs which resulted in some rather long and
noisy scene changes which in turn probably contributed to the length of the performance.
Alexia Hockey and Crystal Stevens-Collins, two lovely felines, have obviously studied cats’ movements. Well done girls.
The secret police, Kieran Coburn, Louise Galley, William Johnson, Rachel Stokes, Alice Bergonzi and Laurence Hockey
worked hard, both as police and in several other roles. Laurence, your diction was loud and clear and I loved the
synchronized knee bending from you and your partners.
Dr Grimble/Grandfather was played by Jonathan Coburn. Remember not to drop your voice when you turn up stage
Jonathan as you became barely audible once or twice. Otherwise this was a good and authoritative performance.
Violet and Tom, Millie Murray and Alex Bree, showed great promise and Charlotte Meeson’s Harlequin moved well,
especially in the shadow dance.
The china doll, Minnie was played by Julia Willment; you looked very good on stage but once or twice your delivery
speeded up and consequently some of your best lines were sometimes rushed.
I was not sure whether Teddy Booster as portrayed by Andy Hockey, was a spaceman or an airman but you played the
part well at all times Andy.
Liz Peskin played the part of Hagatha, the Troll Witch and was excellent as always. However, this character seemed out
of place as it was pure pantomime. In the original story, of course, it is the Jack in the Box who is the ‘baddie’ and I felt
a panto-style bad fairy did not mix well with this particular storyline.
Sam Lane was a French chef, lovely accent, and you came into your own as the Legionnaire; this was well sung and
effectively performed.
Psychic Sofia/Aunt Sofia, parts doubled efficiently by Teresa Collins; I felt you were not entirely comfortable with your
song at times but you acted the part well.
Sue Felix took three parts - when I checked the programme I realized why you had to hide under a very large hat in the
opening as you were I assume already made up as Sandy, the plastic doll with a broken face. Your song, as Sandy was
well sung and your Shadow Clown movements were effective.
Susannah Holroyd had her real life children, Jessica and Joshua, playing the parts of her children in the play – a nice
touch this – and Jessica as the spoilt brat Petunia stamped her foot to great effect. Susannah you hopped beautifully as
Frieda The Frog and I saw from the programme that you also acted as vocal coach which I am sure helped the cast to
improve their singing technique.
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Madeleine Hockey and Jamie Meeson as Lily, the paper ballet dancer, and Hugh, the Tin Soldier, had to double as real
people at the end. This was a story twist which was difficult to follow for my young companion who asked me if they
were supposed to be the toys ‘made real’ or were they still toys at the end. Judging from overheard comments, he was
not the only one left in doubt at this point.
There was some confusion too with other characters, such as Eleanor Phillips’ efficient nurse – was she real or a toy? A
very good performance though whichever you were. Similarly, The King/Mr King (Haydn Davis) and Queen Vic/Mrs King
(Fiona Narda) and daughter Marygold (Josephine Sutton). Real or toys? Your song Fiona was well sung incidentally.
Josephine, you acted the part of a sulky teenager beautifully.
Other parts were well played by Emily, Jasmine and Maik Barrett, the latter as the Ringmaster/Frog and the former as
Deathly Child and Girl Who Forgets Doll respectively.
Thank you for asking me to report on your winter production and I look forward to seeing you all on stage again. I am
afraid that this report is rather long – but you did have a very large cast didn’t you? You have a lot of talented members,
especially amongst your junior section, and I hope they will be seen again in future shows.
***
If you would like to see photos of the show please log on to http://www.chasdog.com/f677574650
We were helped in promoting the show by a lot of Websites and Facebook pages who gave us free publicity. Thanks to
them all Take a look and see if they can help you find out what’s going on nationally and locally:
www.wherecanwego.com (national directory for theatre, gigs festivals, sales etc), http://www.weareamersham.co.uk,
https://www.facebook.com/WeAreAmersham.co.uk/?fref=ts, www.mumsintheknow.co.uk/amersham ,
https://www.facebook.com/mumsintheknowamersham/
CBCP Website
You may have noticed that the CBCP website has changed recently. The committee, with the help of a local website
designer, are in the process of developing a new website which will publicise our latest productions, have information
about the society, how to join, hiring costumes, props and set. It will be smart phone, tablet and desktop/laptop
computer friendly. The current website -http://www.c-b-c-p.org/ - now hosts the CBCP archive.
More information about how to access the new website will be available when it is launched.
We greatly appreciate the amount of time and effort that Gareth Morgan and Mike O'Toole have given in creating,
populating and updating the current CBCP website and thank them very much for this. It has served the Players well
since it first went live and will continue to be an invaluable asset storing the CBCP archive.
Production January 2017
We are very pleased to announce that the winter production for 2017 will be The Wizard of Oz
by L. Frank Baum. For anyone who doesn't know, this well-loved story tells of a young girl
named Dorothy in the magical land of Oz, after she and her pet dog Toto are swept away from
their Kansas home by a cyclone. The show is to be directed by Louise Galley and Susannah
Holroyd who are already working on the production. The key dates are listed below but if you
would like to be involved, aside from being on stage, please get in touch with them or the
committee as soon as possible. This is a very exciting prospect and we are looking forward to
it very much!
Pre-audition rehearsals: Sunday 4th and Friday 9th September 2016
Auditions: Sunday 11th September 2016
Get in and band call: Sunday 15th January 2017
Tech rehearsal: Monday 16th and Tuesday 17th January 2017
Dress rehearsal: Wednesday 18th January 2017
Performances:
Thursday 19th January 2017
Friday 20th January 2017
Saturday 21st January 2017 (matinee and evening)
Sunday 22nd January 2017 (matinee)
(All the above are provisional dates and subject to change)
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NEWS OF MEMBERS:
Joyce Shard RIP
Stage Managers’ Panel: 1961 - 1969
Joint Secretary: 1968-9
Social Secretary: 1993 – 1995, 1997-8
Committee Member: 1983 – 1996, 1991 – 2001
Sadly we have all heard the news of the death of Joyce on 1 January. For over forty
years she was involved in the Players, on and off the stage, but most of us who are
around now mostly remember her as the second, and later first, Wardrobe Mistress.
But there was a lot more to her than that. As well as her talented portrayal of a variety of characters on
stage, Joyce always welcomed us for social events – those car treasure hunts, the highlight of which was
finishing up in her garden (or garage) and the musical and poetry evenings she would host.
For such a 'well bred' lady she took life in her stride . I remember the family picnic where my grandson –
aged about nine I think – asked her if she had any rope so he could climb down to the woods at the back.
Completely relaxed about this presumably unusual request, she not only found him some rope in the
shed, but went to help them tie it to a tree as well. (Alas, Health & Safety would not permit that now I’m
sure)
And then there was the night when someone fell down the stairs at the little theatre (or Temp as it was
then) and had to be carted off to hospital. Joyce had very kindly put her warm coat over the patient as
she was feeling cold, completely forgetting that her keys were in the pocket. She ended up spending the
night with us on one of the children's beds among all the clutter, and didn't turn a hair.
As well as her talent with costumes, her makeup skills were amazing. She could make the best looking
people look absolutely ghastly and was particularly good at scars and bloody wounds. I also remember
her making me up as an old lady when I was young – I couldn't believe I'd ever look like that. I was
wrong! Ed
***
Memories from Pat Byrne: I first met Joyce when we worked together on The Curious Savage in
1969. She was, and remained all her life, a strikingly pretty and graceful woman. I understand she had
had some
ballet training, and it was evident in the way she carried herself. For her sins, because she had
danced, it became her job to train the rabble of variously 'talented' or biddable children into fairies and
goblins for the Pantomime each year, my three and a number of Gabbs among them, as well as Joyce's
three. Nicola, Joanna and Matthew were close in age to my three, and Matthew and Mark shared the part
of the angelic child in The Curious Savage, because they were both at that time angelic-looking children.
Joyce proved to have the patience of a veritable saint, because I know that sometimes all the children she
got lumbered with could be difficult; some because they wanted to but couldn't, and others because they
were just high spirited, to use a euphemism, or just plain 'naughty'.
She must have often gone home from those rehearsal feeling very angry and upset but she never held it
over, and at the next rehearsal she was as sweet and patient as if she didn't know the hell those children
would cause soon.
I am glad to have seen her in October, looking as exquisitely pretty as ever.
Pat Byrne
***
And from Mike:
I wasn’t about to see Joyce’s first production for the Players.
She co-produced an Olde Tyme Music Hall with Yvonne Meyerhof in 1963 at the Co-Op Hall. There are ten photographs
of the show on the Players’ Archive Web Site.
We first worked together in 1965 when I lit the Players’ very first Caboodle.
I note with sadness that, of the eight producers on the bill, only Evelyn Gabb will have memories of the occasion.
Joyce produced that famous melodrama, ‘She was only an innkeeper’s Daughter’, in which she also played the girl.
Page 6
However, that was not her pièce de résistance that weekend, for she teamed up with Yvonne again to produce the final
evening of the Caboodle – ‘A Night In Tangier’.
You might have come across the abundance of gold curtains in the LT store. They came from the Bonnington and Stage
Manager David Gabb and I were given the task of turning the Co-Op auditorium into a Kasbah, using the curtains,
suspended from the walls, to make awnings.
The Bonnington chefs shipped shed-loads of cous-cous from London to Chesham. It arrived and David and I relaxed over
the statutory crates of beer, contented.
Joyce arrived. ‘No, no, no, David’, she cried. ‘That’s nothing like what I had had hoped for’. We sighed, put down the
beers, took down the awnings and put them up again to Joyce’s particular instructions. She had that scatty kind of smile
which somehow made one comply without complaint.
And from that day hence, Joyce has remained the most charmingly- particular person to share a show with. And we
shared many parties too – for Joyce was a very social member – and a forgetful friend too. I’ll leave it to others to
reminisce about the car rallies which ended up in Joyce’s garage and other momentous moments.
My last personal memory was when she first moved to Beaconsfield. She phoned to tell me that she was settled in. We
were speaking when the line went dead. I was left with a quandary, for I was about to leave to teach – coincidentally in
Beaconsfield. Having tried to phone back I resorted to placing my problem in the hands of the police.
I taught, took flight back to Chesham (Joyce was about to give me her address when our conversation abruptly ended)
and phoned the police. She was fine. She had forgotten to charge her phone’s battery and was about her daily business
when she was surprised by two blues and twos turning up on her doorstep. She was oblivious to the consternation
about her.
That’s how I’ll remember Joyce: oblivious to turmoil in her wake, but wide awake to imperfections – and always perfect
in her performances.
Mike
And just to summarise Joyce what Joyce gave to the Players, according to the archive page that Mike sent me,
and if I’ve counted correctly, she has been producer or on the production team for 31 shows, back stage,
including wardrobe, makeup and scenery for 71 shows, and a member of cast, from ‘star’ to chorus, for 32.
Pretty good going!
When congratulation Joyce on her 90th birthday in the last newsletter I asked if she was the oldest member or maybe
the oldest founder member. I frivolously went on ‘answers on a post card please’. Soon after, I received this. Thank you
Mike – not only did it make me laugh but I think it’s the shortest correspondence I’ve ever received from you! Ed
Page 7
Belated birthday greetings to Evelyn Gabb who celebrated her 90th Birthday on 7 February.
Evelyn and David will always be remembered by any of us ‘of a certain age’ not only for their
talent but for their great parties which went on until the early hours! Evelyn’s amazing stage
presence was not confined to the stage, and I’m sure she possesses it still. I particularly
remember her as being the first person to welcome us when we attended our first AGM of the
Catholic Players in 1971, not knowing anyone there and still wondering ‘should we shouldn’t we’.
Her warm welcome decided us! A few photos below – their wedding day, with the family, Evelyn
with John Birch, who taught me how to Charleston! She and David in typical pose – having fun!
Evelyn as a male impersonator doing, I think, ‘Burlington Bertie’
Hope your birthday celebrations were fun, Evelyn.
*****
I’m sure we all wish Mr & Mrs Turner, Steve’s parents, good luck and happiness in their new
home in Somerset.
And finally – Mea Culpa:
I simply don’t know how I managed to do this – or to be more accurate, not to do it. I can only
plead the length of time between the event and the following newsletter, but that is not an
excuse – particularly for such a good friend. Alex Broad died last August after a long illness.
I’m sure you are all aware of this, but I feel simply terrible that it wasn’t properly announced. I
have apologised to Annie and, with the help of his family, I would like to celebrate him in the
next newsletter, so please, any memories you have, do send them to me. Ed
Page 8
ANOTHER MESSAGE FROM SUE:
CBCP Website
You may have noticed that the CBCP website has changed recently. The committee, with the
help of a local website designer, are in the process of developing a new website which will
publicise our latest productions, have information about the society, how to join, hiring
costumes, props and set. It will be smart phone, tablet and desktop/laptop computer friendly.
The current website -http://www.c-b-c-p.org/ - now hosts the CBCP archive.
More information about how to access the new website will be available when it is launched.
We greatly appreciate the amount of time and effort that Gareth Morgan and Mike O'Toole have
given in creating, populating and updating the current CBCP website and thank them very
much for this. It has served the Players well since it first went live and will continue to be an
invaluable asset storing the CBCP archive.
DATES FOR YOUR DIARY – PUT THEM IN YOUR DIARY OR ON YOU PHONE QUICKLY
BEFORE YOU FORGET!
HAY FEVER AUDITION
21 FEB FROM 3 PM LITTLE THEATRE
HAY FEVER PERFORMANCES 20, 21, 22 MAY
Please, anyone who would like to host a social event, let me know before April!
I’ve not put in the dates concerning the Wizard of Oz yet, until they are confirmed.
Members of the committee
Sue Felix - Chair
Nic Barton - Vice Chair
Teresa Stone - Secretary
Steve Turner - Treasurer
Nikky Meeson - Membership Secretary
Other Members of the Committee:
Andy Willment
Liz Turner
Frances Cooper
Lizzy Sutton
That's all folks! But PLEASE send me your news for next time
Joan Barton
[email protected]
Facebook Closed Group - https://www.facebook.com/groups/448200488546797/?fref=ts
Facebook Public page - https://www.facebook.com/pages/Chesham-Bois-Catholic-Players/692088180825325?fref=ts
Twitter account - @cbcplayers
https://twitter.com/CBCPlayers
Etsy shop www.etsy.com/uk/shop/ThePlayersEmporium
Ebay shop http://www.ebay.co.uk
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