Carlton Chronicle

On the face of it, Brecht's tale of a vicious gangster's rise to power, mirroring events in 1930s Germany, was never an easy option for The Carlton to present. Even the editors' introduction mentions that, soon after it was translated into English in 1941, Louis Shaffer, director of Labor Stage turned it down, saying, "I gave it to several people to read, and the opinion is, including my own, that it is not advisable to produce it." Among the cast and crew, this author was not alone in having some misgivings about the play. The cast seemed to call for about thirty male characters and only three women (and those only in minor roles). There are fifteen scenes, with complicated scene changes between them. On a first read-through, the script seemed flat, lifeless and perhaps only of more than passing interest to students of Hitler's rise to power. It is a tribute then, to Michael Ahmad's vision that he was able to bring it so vividly to life. All tickets were sold out, over two weeks in advance, disappointing many - a lesson there in prevarication. Tickets were not even available for the Saturday matinee despite the fact that it clashed with the first England game in the World Cup tournament (a lacklustre performance against Paraguay).

Carlton veteran Matt Petty played the lead, taking the role first made famous on the English stage by Leonard Rossiter way back in 1967. Having previously played the Marquis de Sade and Lucifer, he seemed a natural choice for the part of Arturo Ui. With his new haircut and a very fetching toothbrush moustache, a whole new world could be opening up to him.

As the play was only written in 1941, Brecht could be criticised for being a bit late if his intention was to warn people about the Nazis then running rampant in Europe. But as Kristen McGorry sang so beautifully in the Epilogue, "But don't rejoice to soon at your escape, The womb he crawled from is still going strong." Indeed, when Ui blusters, "If anyone's not for me he's against me and has only himself to blame for anything that happens," he sounds chillingly contemporary.

No doubt his head is still full of bombastic speeches, but in a lucid moment Matt was able to recall some impressions of Show Week, which are listed here:

Carlton newcomer Rich Gladwell burst into song for a rousing musical intro, then launched into the role of Ernesto Roma, Arturo Ui's lieutenant. Rich gave full force to the thug who cleared the way for Ui's rise, only to be betrayed and murdered when his tactics started to become a liability to the newly respectable statesman.

Another newcomer, Dave Eastman, played the psychotic killer, Emanuele Giri. Whenever a character came to a grisly end, Giri would be sure to pop up in the next scene wearing the poor unfortunate's hat as a trophy.

Dave says his worst moment was almost certainly coming out for the second half on the Tuesday, and wondering where half the audience had gotten to...either that or being bathed in sweat by ten seconds into the prologue every night! This is counterbalanced with a best moment at seeing poor Mike's face peering round the door of the pub as England went 1-0, leaving several cast members with only five minutes to get changed and get on stage - only a best moment because it all worked out in the end!

Kristen McCorry brought a nicely sinister twist to the murderous flower shop owner Givola. With her hair tied back severely, her slash of red lipstick and a limp that changes legs halfway through the play she proved very good at being bad.

Worst moment: "You say my brain is small...I say your brain is short"....WHAT?? THAT DOESN'T EVEN MAKE SENSE! I MEAN FOR GOD'S SAKE!! How could I get it so wrong?

Best Moment: "The Saturday matinee where Kate Mitchell really believed I was really kicking the crap out of Rich and was worried for his family jewels... Oh and Dave's "Here's Johnny" grin every time I made eye contact with him on stage :-) Jack Nicholson eat your heart out.."

Mike Norman-Smith took the role of Old Dogsborough, the upright businessman and politician modelled on Hindenberg (Dogsborough - if there was such a word - would be Hundenberg in German) whose eighty years of uprightness didn't stop him getting all-too easily drawn into a web of skulduggery that became his undoing.

Val Foskett is starting to worry that, as Clark, a member of the Cauliflower Trust,she has once again been cast as a bad tempered, domineering woman.

Val says, "Having a job thinking of a worst moment - (apart from every time I f- er, fluffed my lines) Could be on the hottest night (Wednesday?) in the first Cauliflower trust scene when I found myself wondering idly how the rest of the cast would cope when Clarke passed out on the rostrum.... Or when, on the way downstairs, I kicked the petrol cans with a resounding Bonggggg. Best moment? On Thursday, I think, - first time I heard a laugh from the audience! Or, actually, listening in the dressing room to great scenes I'd seen rehearsed and replaying them in my mind (Ui and the Actor, Katy getting slaughtered, the Tango, etc.) Is anyone else still singing along to the music in their head?

Kirsty Collins in her fourth Carlton production played Flake, a member of the Cauliflower Trust who is instrumental in ensnaring Dogsborough in a dodgy deal over a shipyard. In Act Two she played Betty Dullfeet, singing (in fine voice) and dancing the tango while her husband's fate was being sealed.

Katy Wey played five roles and got killed off four times (if you include her mimed machine-gunning in the musical prologue). As Butcher, another member of the Cauliflower Trust, she is the architect of the plan to trick Dogsborough into underwriting the corrupt deal that's the cause of all the trouble. As Young Inna (Roma's familiar) she is mown down with him in the Night of the Long Knives. Katy opened Act 2 as a blood-spattered victim of a machine-gunning who just about managed a stream of invective against Arturo Ui before another burst finished her off. She was convincingly tough as a gunman, padded out in bulky black, then met her final end as a vegetable dealer who unwisely decides to prematurely leave a public meeting called by Ui.

Katy says her worst moment was that "freaky Friday" brought on her failure to buy a cinnamon Danish, although she had limited success in getting anyone else to believe in the power of pastry superstition. However, even Katy concedes that doesn't explain Saturdays "He can't afford a rod, he's able to get tight because they pay him to be tight when they're tight and tight and tight... anyway I've heard he's good..."

And of course there was scene 6 when she was stood wondering which bloody idiot thought it would be a good idea for her to wear a puffer jacket in that furnace, "only to realise that it was me!!!"

The best moment she describes as "fun with corn syrup" and hers and Kirsty's homage to Chas n Dave.

Ali "don't call me Alistair" Bushell played Mulberry, another member of the Cauliflower Trust, and the first in the play to produce a gun (although he was interrupted before he could blow his brains out). As Young Dogsborough, the surprisingly young son of 80-year old Dogsborough, he ended up being bequeathed to predatory pederast Roma in Dogsborough's will. As Sheet's accountant Bowl, he was fired from the shipyard when it came under new management, persuaded to testify against Dogsborough at the tribunal, then shot down on the way there. He also played Defendant Fish, the drugged and incomprehensible patsy who took the rap for the warehouse fire. As a vegetable dealer he survived talking out of turn, and as a gunman had his revenge in shooting down three of Roma's associates in a garage one dark and rainy night.

Ali's best moment: "Having people supporting me each night and getting a big cheer from them in my first performance at the Carlton."

Ali's worst moment: "When I realized I'd forgotten the gun I was supposed to shoot myself on stage, fortunately the look of horror and despair was just what the scene needed so no-one realized."

I am sure the cast and crew will join this correspondent in offering a very special thanks also to Ali and Jean for hosting the after-show party.

James Grayston, who has enjoyed eighteen years with The Carlton, was back on form playing Dogsborough's butler in Act 1 and the doomed businessman Ignatius Dulfeet in Act 2.

Jason Rodericks appeared first as Ragg, the newsman who thought it safe to mock Ui while he was at a low ebb. As vegetable dealer Hook, he saw his warehouse burnt down and was forced to give false evidence about it at the subsequent trial of Charles Fish, before his cap finally ended up on Giri's head (worn rakishly back-to-front). Then as a "cheap two-bit gunman" he finished up at the bottom of the pile of corpses in the garage.

Jane Richards was back as flakey city council member Gaffles, who gave Dogsborough her full moral support, until she realised the extent to which the old man had been compromised. As a despairing defence council at the arson trial, she was the only person in the courtroom who had not been bought off.

Newcomer Jennifer Owusu-Akyaw played Goodwill, counterpart to Gaffles on the city council. As an evil doctor she ensured that Charles Fish stayed drugged up and unable to speak in his own defence.

Another newcomer, Matt Halfpenny, played shipyard owner Sheet, coerced into selling his shipyard for a fraction of its value. As frustrated investigator O'Casey, he heard the news that Sheet had, in the words of Gaffles, "been found dead, a ticket to San Francisco in his pocket".

Kathie Arundell played the judge, not for the first time dispensing rough justice in a Carlton production, pausing only to count her money. If she had a worst moment it must have been when the gavel, more used to being gently tapped at polite committee meetings than hammered in kangaroo courts, flew apart. Fortunately, nobody was injured. Surprisingly, it was the handle that we had so much rouble finding afterwards.

Louisa Court played Dockdaisy, the gangster's moll, making a very suspicious impression in a red miniskirt and matching knee-high red boots with stiletto heels. Louisa also knows more than a thing or two about studio lighting - certainly from the perspective of one whose technical theatre skills qualified him to hold the ladder for her, she seemed to know what she was doing up there. And in answer to the question undoubtedly forming in some of our readers' minds, no she did not wear her Dockdaisy outfit up the ladder.

Alison Raffan, whose five and a half years with The Carlton have seen her as the arrogant Lady Rumpers in Habeus Corpus and Elvis-obsessed Alice in Two, appeared as a vegetable dealer and as a mourner at Dulfeet's funeral.

Ellie Gillian slaved away every performance backstage, expending much emotional as well as physical energy, alongside Carlton's newest and youngest member, Jo Forest-Jones. Jo also made her debut onstage, appearing as a vegetable dealer in the final scene.

This correspondent played Caruther, a member of the cauliflower trust, a drunken, washed-up ham actor (apologies to anyone who had to share the stage with this character), a corrupt prosecutor and yet another gunman who ended up on that bloody garage floor.

I had the same best and worst moment every night. The best was always when Ui said to me, "Walk around like they do in this Shakespeare." Even the moribund Friday audience reacted to it. It was a joy tinged with a certain sadness, however. Here we were, performing in earnest a piece of literary heritage with an important political message, but what floated everyone's boat was a bloke walking funny.

The worst moment was always that first scene where I had to get the printer onto that table and working. It wasn't that I didn't trust Simon's technical wizardry, I was just convinced that I was going to trip over the lead or find some other way to smash that delicately soldered and horribly exposed circuitry. Confession time - at the end of scene one, on that last Saturday night performance as I was taking the printer offstage for the last time, I misjudged the distance in the dark and crashed, printer-first, into the blacked out wall. If it no longer works, that will probably be the reason why.

The show would not have been the success it was without the tireless efforts backstage of producer Joanne Crabtree and stage manager Ellie Levy, ably assisted by Ellie Gillian and Jo Forest-Jones. Cast members soon learned what it meant to cross the stage manager and a startling transformation would take place whenever an actor or prop was not where it was supposed to be - just ask Ali, who thought he was being "helpful" by taking the pistol from the prop table, or any of the coffin bearers who got so engrossed in a conversation in the dressing room that they almost missed their cue. "What the ****!!! Do you think you're playing at!" she snarled. "Get your @*$*$ up there now!"

The weather was not our friend during show week - apparently a heat-wave is as traditional for a Carlton production as rain is for Wimbledon fortnight - and any hope of there one day being air conditioning in the studio is apparently a forlorn one. The audiences were visibly wilting in their seats. Ellie Levy was the first to bring in some of that aerosol stuff that cools you down. Those sceptical as to the contents were told that it was "mainly water" and gladly submitted to a dousing as they came offstage. Safer than spraying yourself with butane anyway. For my own part, standing there in my crombie overcoat and gloves, under the glare of the stage lights, my thoughts always drifted to that exotic fruit flavour Solero waiting for me in the freezer at home.

It was remarked by many deemed competent to pass this kind of judgement, that Opening Night was the best one for any Carlton performance in a long time. The worst night was Friday - still by no means bad, but just one of those nights when the run of luck started to become sporadic and things started to go wrong. An unresponsive audience did not help. The first sign of trouble came with an attempt to increase ventilation in the stuffy theatre. We don't need to go into the physics of how air cooling at a faster rate than the ground that has been absorbing heat all day generates turbulent air currents, suffice to say that the opening of a window resulted in a resounding crash from the direction of the bar during the first scene. Of course that was the night when the first attempt was being made to record the show. Nevertheless, the Saturday matinee saw the cast back in fighting form, warming up for an all-time best performance in the evening.

Michael Ahmad's musical arrangements were made a formidable reality by lighting and sound effects maestro Simon Harris. Congratulations once again to Michael for a real theatrical triumph! NK

CARLTON UPDATE

the original sexed-up dossier

IN THIS ISSUE

ANNUAL GENERAL MEETING - NEW COMMITTEE

July 3rd saw the Annual General Meeting. The meeting heard all the latest goings-on in the running of the society, before getting down to business and electing the committee for the year. The results of the election can be seen below. One thing to point out is the fact that Simon Harris is only in his post temporarily, as he would rather step down, but as noone else came forward, he has kindly agreed to help out until we can find someone official. If you'd like his job, contact the committee!

On the website, there's a new section giving all then facts about the committee, with photos so you can track them down if you so desire. Mmm, I know I do!

As you can see, Jeff and Cindy have stepped down from their positions as Vice Chair and Social & Fundraising respectively. The Committee and the membership would like to thank them both for their wonderful contributions!

Join the committee! ~ Imagine the power! ~ Your Society needs you!

CHRONICLE PRIZE FOR CHRONIC JOURNALISM

The Carlton Committee
(in random order! woooo!)
Chair	Kathie Arundell
Vice-Chair	Kristen McGorry
Social & Fundraising	Dave O'Sullivan
Stage Management	Simon Harris (Temporary)
Publicity	Mike Norman-Smith
Newsletter & Website	Matthew Petty
Secretary	Alison Raffan
Treasurer	Andrew Candish
Membership Secretary	Katy Wey

Each issue, the editor awards a contributor a prize for talent, wit, integrity or just plain neck. This time around the prize goes to Neil Kelly for "Longest article ever that I didn't cut cos I couldn't bothered".

Congratulations Neil, that will be £10. If you would like a chance at winning this illustrious prize, write something for the Chronicle! Get your name in print, if not lights!

SPORTSVIEW

Outside Edge Inside Track

Well, it's nearly an Over, bar the shouting and Club Captain, 'Four-Fingers' Fowler, puts on a positive spin as, despite the gruelling coolness, the pace picks up for the forthcoming final Test against England at Old COLOURHOUSE, starting on 15th AUGUST @ 7.45pm (Tues-Thurs/Sat).

'Gristle' Graves' stirring performance against Pakistan at Old Trafford will have been a fillip for spinners all over Wimbledon, says the ECB's new spin-bowling coach 'Monty' Norman-Smith. A dwindling breed, mainly due to loss of habitat, they need all the help they can get if they are not to go the way of the Cat's Cradle and spiky rubber batting gloves.

'Righty' Candish is a steady left-arm finger spinner but his place in the pantheon was put cruelly into perspective when rookie Grayston sent South Africa tumbling to defeat with 10-171 in the match.

"I hope to be playing for Pakistan next weekend," hot shot 'Just In' Jason explained. "We are still monitoring my fitness with my trainer Cindy and the management. "I can't wait to start playing again. I want to get a bit of match practice before the Colourhouse Test. I'm building up to bowling at full pace and power and I am getting there."

To complete the line-up, 'Pookey' Piper and 'Babs' Brooks, two of the best batswomen in the world combine together with 'Lolly' Court, the 16 year-old Sussex spin sensation, and that top-notch bowler 'MiLady' Rogers, who so succinctly put it... "Walking out onto that stage at MERTON ABBEY MILLS, the Home of Cricket, is something every player dreams of so for it to become reality is brilliant, not just for us but for the Carlton as well."...

...watch this space for the next thrilling update from the practice nets, and remember, you can't see us on Sky...

...BUT YOU CAN SEE US BY RINGING 07967 386791 or 07958 516299 (reserve, then pay on the door). At £8/£6.50 we're so much cheaper than pay-per-view!

FORTHCOMING ATTRACTIONS

what's a-comin'?

OUTSIDE EDGE by Richard Harris

Outside Edge, by Richard Harris, is a 'very British comedy' set in a cricket pavilion one summer's day in the present. Roger has enough trouble assembling his cricket team to play against the British Railways Maintenance Division Yeading East, but these complications pall before those occurring among their various wives and girl-friends. Bob has trouble between wife and ex-wife, Alex's girl-friend locks herself in the loo and has hysterics, Dennis flirts indiscriminately until his wife sets fire to his car, huge Maggie cuddles her tiny Kevin in her fur coat, even Roger's wife - champion tea-maker - rebels against his authority when she uncovers his little 'secret'.

The play is being directed (fantastically I gather) by Debbie Fowler, and has Jeff Graves as Producer and Cindy Graves in place as Stage Manager, so you know it's going to a very professional production, not to mention heaps of fun. It's to be performed at the Colourhouse Theatre as part of the very popular Abbeyfest, so get down there and support your society!

REHEARSED READING - MURDER IN THE CATHEDRAL

Here in the Carlton we often perform rehearsed readings, in which the cast rehearse as normal and put on a full play, except they carry the scripts onstage at all times. This enables us to put on a show in a fraction of the usual time and with a fraction of the stress. Despite having the scripts onstage, the shows are just as good as our normal productions. Think of it like watching a film with subtitles - you just ignore them after a while, and enjoy the action.

This year, Jane Lewis is directing Murder In The Cathedral by T S Eliot, to be performed at St Marks Church, Wimbledon, on Saturday 30th and Sunday 31st September - to be confirmed.

AUTUMN PRODUCTION - TEECHERS by John Godber

Fast moving, inventive and highly entertaining, Teechers vigorously evokes life at a modern Comprehensive, using the format of an end-of-term play to sketch a drama teacher's progress through two terms of recalcitrant classes, cynical colleagues and unhelpful caretakers. The play runs the gamut of emotions, climaxing with the final scene which gives a poignant edge to the comedy.

The cast (despite being set in a school) will comprise all adults, ages ranging from awkward schoolkids to ambitious teachers to obstructive caretakers.

There is no firm week for the show yet, but this should be in November, and it will be performed at the New Wimbledon Studio. Please check your email and the website for more information.

KITCHEN KAPERS with KATH

SHAKESPHEARE'S SUMMER SUPPER

(Friends, thespians and luvvies, lend me your tastebuds, we come to berry caesar and to praise them both. The goodness that you shall produce shall live on in thy minds and hearts - Apologies to W.S.)

Carlton Dramatic Society Information

CARLTON CALENDAR

Your regular guide to what's up and what's on at the Carlton and elsewhere - Put these dates in your diary NOW. No excuses.

If there is anything missing from the calendar I do apologise - my clairvoyance is affected by THE HEAT. You'll have to help me out by emailing me any items you would like to see included. Can you manage that?

IRRESISTIBLE!