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Access all areas
Following on from the letter on disabled access last week (Letters, page 8, April 24), I frequently take disabled people to the theatre and in most cases the staff are wonderful.
Words for the workers
‘The most voracious and passionate readers of the Bard’s work [19th century] were the working classes’ (Shakespeare for the People - Working-Class Readers 1800-1900 book review, page 22, April 24). You could have fooled me. As a member of the working class - a class, alas, that never endeared itself to me - I found little urge within them to douse themselves with learning or poetry.
First class director
Your article on the career of Peter Wilson, (page 32, April 10), director of the Theatre Royal, Norwich - where he is held with the greatest regard from theatregoers - was superb. However, I do not think it is generally known of his wonderful long-going productions in London.
Black/Asian actors are invisible
I was motivated to write in response to the article (page 2, April 24) in regards to the search for black/Asian actors with the ‘right calibre and skills’ in drama.
Musical mystery
I wonder if Russell Davies (Letters, page 8, May 1) is confusing the late eighties supposed appearance of Lansbury and Arthur with that of the Stairway to the Stars one-night show presented at the London Palladium on Sunday, November 12, 1989? It was billed as a ‘Tribute to the Golden Years of the Hollywood Musical’.
Sound advice
Anthony Field’s article ‘Speaking up for diction’ (April 3, pages 10,11) gives the impression that actors have to speak up loudly and clearly all the time. So many actors can do so until they come to a quiet passage and then they cannot be heard. With proper professional training they can adjust their diaphragm and control their breath so that even when whispering they can project their sound to the furthest corner or a large theatre whilst still making it a lifelike performance. Only professional training can develop talent in this way.
Good old days
What on earth is Patrick Newley talking about? (March 20, page 52). The whole idea of old time music hall is to keep the experience alive and to replace the traditional bull and bush kind of chorus with Elvis Presley songs is preposterous. If we forget the good old days of music hall and simply bury the memories we are not passing on the stage craft and history to future generations.
Same old story
With regard to the article in last week’s Stage about the Friday night readings on Radio 2 (April 17, page 2), I have been listening to these readings for many years now and was not surprised to learn that they would be airing more repeats as this is already taking place.
Lansbury memories
I always enjoy reading Patrick Newley’s articles in The Stage and am amazed at how many fascinating tales he has recounted - long may they continue.
Slow motion
I note that the Writers Guild’s AGM is coming up shortly on June 4 and I have a few points for the benefit of its members.
Regretful credits
I now know the supposedly reassuring words from BBC controller Roly Keating, back in February, as to how sensitive the Corporation is to illegible end credits, mean absolutely nothing. Can it really get any worse? Having viewed last weekend’s wonderful play Miss Austen Regrets, I see it can.
Derby damage
It is, indeed, very sad to see the destruction of Derby Hippodrome. What a proud theatre this used to be.
Sparing a thought
As a mere theatregoer who arrives, takes his seat and then expects the production to run smoothly, it did me good to read your Backstage article on what makes a good stage manager.
Remembering a great
It was good to read the article on Robert Donat (The Stage, page 52, April 10) - I find so many young actors today don’t know of him and he’s one of our greatest actors of the past.
Wheelchair access needs Shawing up
I regularly attend the theatre with disabled friends or family members. At the New London Theatre on Friday, April 11, the staff were excellent. My friend was escorted to the lift and her seat and a member of staff was waiting at the end of the performance to accompany her back to the foyer.
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