This was my first play back at SLT after returning from London. The most positive response to a job application I got whilst there was from the Leeds Royal Armouries, who said that if I'd had more acting experience, I'd have got the job - so this was it.
After a First Night From Hell, things rapidly improved over the course of the week.

It was very cold in the theatre during the production of this classic thriller, which wasn't the play that was originally going to be on at this time. I had to rig up the lights so that the gaslights went up and down at the same time as the fresnels I had covering them. I also had to make the rig and lighting plan simple enough to be followed by someone else, because the last couple of nights of the run co-incided with the Hogswatch Barbecue Meet, which I had already said I would be going to before I knew the production had changed.

This moderately funny comedy set in a gentleman's rest home in Surrey in the mid-80s ran the week after Redemption, so I wasn't there for the final few rehearsals (including the dress). I had booked Redemption last Easter, and I had warned the producer I would be unavailable that weekend when I was first asked whether I could do lights. It was a very simple setup - basically the same as for Gaslight (well, even the set was the same), but without all the yellow filters or ingenious doubling. I wonder if Sir Terry Pratchett has seen it, as it touches on things like encroaching dementia/senility.

The director wanted me for the part of Charley from the very beginning. Unfortunately, I wasn't able to say whether or not I'd be able to do it, as I had a job interview in Newcastle in the first week of rehearsals, and I was kept waiting for two weeks past when they said they'd notify me as to whether I got the job or not. I went to rehearsals anyway, which is just as well, because it turned out I didn't get the job. Rehearsals proceeded reasonably well, but things were still patchy a week before the play. Then a few days before, things just seemed to come together. Until the final dress rehearsal, when David lost it a bit more than usual. But everything got back on track for the performance, and I didn't get a single prompt (except on Thursday, when David got completely lost, and I was prompted to try and get him back on track, but he took the prompt as his line). A rather fun play, but would have been better if it hadn't been so bloody hot!

Increasingly disillusioned and disaffected with MTG, I went back to SLT, partly to actually do some acting, and partly to do something that I could show to the management at MTG and say to them, "look, this is what I can do, you're wasting me at the moment!" The main reason I hadn't been going to SLT for the past couple of years was due to transport costs between Keighley and Skipton, and the unfavourable public transport options, but I was desperate to do something to get MTG to stop treating me like shit. I told them about it, I invited them to come and see it, I even suggested it as a "go and see". If they'd come to see Breezeblock Park, they would have seen a good play with good actors, and the students would have learned something about social norms in the early 80s, and been able to get tips and inspiration from us for their own performances, and I would have been more than happy to help them with any follow-up. No one came. They decided to go and see something to stroke the ego of Jez, which benefitted no-one except him and Tim.
In other news, I was once again called upon to do lighting design, which had a partitioned set, and thus required seperate lighting areas to be set up on the tiny stage.

My first outing at SLT since leaving MTG was a small, relaxing venture for me. I was called upon to play two small parts in the dramatisation of The Blue Carbuncle (the other story in the Casebook being The Speckled Band). I helped out a bit with locating props and helped with scene changes, and it was wonderful to be allowed to be helpful! I had never had that sort of usefulness at MTG, and it was such a refreshing relief to be able to help out in areas other than the one I was recruited for. I fully intend to continue making myself available to SLT if at all possible.

After reminding people of my existence at the AGM in the summer, I was specifically requested to read for a part in this by the director. Rehearsals got off to a slow start, and there were always problems, but by production week everything was falling into place. One of the best plays I have ever been in for backstage camararderie.

I was very excited to be involved in this. Apart from the feeling of vindication regarding the MTG production, this was going to be a production where I could really exercise a lot of my talents. My main part was Ben Gunn, a key part in the story, and due to casting difficulties I had to play various minor pirates as well. I was also the fight director, in charge of one sword fight, one knife fight, one mutiny and one stockade assault. However, due to Dracula's performance being a week later in the calendar than usual, our rehearsal time was rushed. Eventually, bad weather, poor health, end-of-term exams and stress combined to cause our lead to unavoidably pull out during the last week of rehearsals, and we had to cancel the production. There are currently plans to re-stage it at a later date.

John Godber plays always seem to be a challenge, and Bouncers was no different. Only an hour long, but four people play close to thirty characters, with every actor being on stage for almost the whole duration of the play. We ran the show with its' companion piece, Shakers, and while both seemed to go down well, audiences were rather small and reactions to each piece were not the same two nights in a row.

This production was put on as part of PTerry's Theatre Month 2018, to celebrate and commemorate Sir Terry Pratchett' life and work. Unfortunately, that was it for the good news until shortly before performace: We had trouble casting it, the person originally cast as Death was a PITA, and then he walked out over a disagreement about costumes; fortunately, the person I was able to replace them with was much easier to work with and responsive to the production's concept. Eventually, it turned into a really good show, but that still left the fact that the local press were completely ignoring us - as usual (I had to ask an audience member to review us!)