The Cheshire Theatre Guild Awards 2019/2020
We had 22 nominations this year from three of our senior productions and our youth theatre productions – which is brilliant.
Girls Like That was nominated for 6 awards, including best costume, light and sound, director, production and dramatic achievement.
Wait Until Dark was nominated for best supporting actor.
Hangmen was nominated for 7 awards including best costume, actor, supporting actor, young actor, comedy and production.
Our youth theatre was nominated for 8 awards including best actors, costume, director and production.
And the winners are…
Best Poster: The Devil at Midnight
Youth Theatre
Most Promising Female Actor in a Youth Production
Liv England as ‘The White Witch’ in The Lion, the Witch and the Wardrobe
Liv gave us a thoroughly unpleasant ‘White Witch’, showing a thoughtful sense of her duplicitous character, cowardly and bullying by turn. She had a clear voice and good pitch, and - best of all, because this something not always done well on the amateur stage - in the fight scene, she very competently disarmed ‘Peter’.
Best Costume in a Youth Production
Harlequins Youth Theatre for The Lion, the Witch and the Wardrobe
Wardrobe was a strong feature of this production. The four children were well-kitted out appropriately, including spectacles for ‘Peter’ and nicely scuffed shoes for the absent-minded ‘Professor’. The ‘White Queen’ had an unusual but effective off-white costume; and the airman’s outfit was an inspired take for ‘Father Christmas’ as the daddy of all aviators. Each animal was distinct; and the elder royals were suitably regal.
The Award for Best Director of a Youth Production
Anyone who directs a Youth Production takes on a big job. Their casts are often large and may include young people of little or no experience; the time available for rehearsal is often less than that for adult productions; they are often demanding in terms of special effects. I have taken those considerations into account, as well as the evidence sought in any production of a director’s ‘total concept’ of theme and design and of a creative relationship between actors and director
Laura Elizabeth for The Lion, the Witch and the Wardrobe
This was an ambitious production. It had a large cast, covering a fairly wide range of juvenile ages; it required ‘magic’ in its settings, props costumes, lighting and sound. The director conveyed a clear vision of what she wanted to achieve, even if not all of it was delivered; she managed a large cast in the ensemble scenes; and her actors turned in some good performances.
Seniors
The Best Young Actor in a Senior Production
Sam Chadwick as ‘Clegg’ in Hangmen
This was a well-crafted performance, with Sam pointing up the gaucherie of ‘Clegg’ as the cub reporter (a breed now long gone). Sam’s big scene was his interview with ‘Harry’, staged with the pair standing at some distance alongside, facing out to the audience, and Sam playing the straight man to perfection.
The Adjudicator’s Award
The adjudicator has discretion to make this annual award for any purpose of her/his choice.
Most amateur theatres rely on the efforts of a handful of stalwarts. Going round the amateur theatres of Cheshire, I’ve come to recognise certain names in various functions and I am therefore making this year’s award to someone whose name has regularly popped up in programmes. In addition to services to Props, Sound and Wardrobe in her home society, she has also directed three of the plays in this Festival, and but for ill-health, would have been a visiting director for a fourth.
Laura Elizabeth for Contributions to Amateur Theatre in Cheshire
The David Lane Cup for Best Actor
Michael Kelsall as ‘Harry Wade’ in Hangmen
Michael gave a bravura performance as the central character, exposing a strong personality that we came to recognise had some jagged edges. He had a solid Greater Manchester accent; fluid pace; and wonderfully comic timing. He clearly understood who and what he was playing. In addition to all the bombast of ‘Harry’, he demonstrated the man’s insecurities and gave his ego edge over his family feelings.
Here’s a full list of our nominations, we are extremely proud to have so many!
Youth Theatre
The Barry Phillips Award, Best Male Actor and Most Promising Male Actor in a Youth Production
Sam Chadwick as ‘Peter’ in The Lion, the Witch and the Wardrobe
Sam was very much the serious older brother of the four siblings. Bespectacled to suggest his earnest seniority, his interaction with his fellow actors was good – facial expression as others were talking, gestures and looks exchanged with them. A completely convincing performance.
Ben Johnson as ‘The Professor’ and ‘Aslan’ in The Lion, the Witch and the Wardrobe
Ben had a strong voice, well able to vary its register to achieve the correct stress on lines, and it was clear he knew precisely what to produce for each of his characters. The vocal strengths were particularly useful for Aslan. As the Professor, he used his pipe and walking stick effectively so that they neither dominated nor hindered his performance.
The Rebecca Seymour Award for the Best Female Actor & Most Promising Female Actor in a Youth Production
Cora Abblett & Victoria Gillett as ‘The Leopards’ in The Lion, the Witch and the Wardrobe
This was a very competent ‘double act’. They made excellent leopards, with a good shared interpretation of their behaviour - snootily weighing up situations before pouncing - and sounds. I was convinced!
Liv England as ‘The White Witch’ in The Lion, the Witch and the Wardrobe
Liv gave us a thoroughly unpleasant ‘White Witch’, showing a thoughtful sense of her duplicitous character, cowardly and bullying by turn. She had a clear voice and good pitch, and - best of all, because this something not always done well on the amateur stage - in the fight scene, she very competently disarmed ‘Peter’.
Best Lighting and Sound in a Youth Production
Harlequins Youth Theatre for The Lion, the Witch and the Wardrobe
The design and operation of lighting was effective and reflected the changing seasons between both Acts, particularly through the use of projection onto the back wall. The choice of music and sound was always suitable.
Best Costume in a Youth Production
Harlequins Youth Theatre for The Lion, the Witch and the Wardrobe
Wardrobe was a strong feature of this production. The four children were well-kitted out appropriately, including spectacles for ‘Peter’ and nicely scuffed shoes for the absent-minded ‘Professor’. The ‘White Queen’ had an unusual but effective off-white costume; and the airman’s outfit was an inspired take for ‘Father Christmas’ as the daddy of all aviators. Each animal was distinct; and the elder royals were suitably regal.
The Award for Best Director of a Youth Production
Anyone who directs a Youth Production takes on a big job. Their casts are often large and may include young people of little or no experience; the time available for rehearsal is often less than that for adult productions; they are often demanding in terms of special effects. I have taken those considerations into account, as well as the evidence sought in any production of a director’s ‘total concept’ of theme and design and of a creative relationship between actors and director
Laura Elizabeth for The Lion, the Witch and the Wardrobe
This was an ambitious production. It had a large cast, covering a fairly wide range of
juvenile ages; it required ‘magic’ in its settings, props costumes, lighting and sound. The director conveyed a clear vision of what she wanted to achieve, even if not all of it was delivered; she managed a large cast in the ensemble scenes; and her actors turned in some good performances.
The Award for the Best Youth Production
Harlequins Youth Theatre for The Lion, the Witch and the Wardrobe
The James Tait Award for Best Production with Musical Content Music
Harlequin Theatre for Girls like That
The interludes of dancing included here were well-choreographed and executed, and appropriately costumed. Although I wondered whether its inclusion was appropriate to such tautly-constructed drama, I concluded that it illustrated the play’s central idea - what girls can achieve when they work together.
The Best Young Actor in a Senior Production
Sam Chadwick as ‘Clegg’ in Hangmen
This was a well-crafted performance, with Sam pointing up the gaucherie of ‘Clegg’ as the cub reporter (a breed now long gone). Sam’s big scene was his interview with ‘Harry’, staged with the pair standing at some distance alongside, facing out to the audience, and Sam playing the straight man to perfection.
The Geoffrey Croxford Cup for Best Supporting Actor
Ed Green as ‘Pierrepoint’ in Hangmen
This cameo role was significant in cutting the principal character, ‘Harry’, down to size: if ‘Harry’ has an overblown ego, ‘Pierrepoint has one mega-sized. Ed’s outfit, posture and manner conveyed a sense of easy superiority as soon as he came through the pub door and his delivery – calm, authoritative, more than slightly menacing – was excellent.
Jacob Holland as ‘Billy’ in The Devil at Midnight
This was a performance impressive out of all proportion to the volume of text to be learnt! It shows what can be done by appearance and concentration alone. Visually ‘Billy’ was very intimidating, but he also gave a clear sense of drifting mindlessly in and out of the conversations that were taking place around him. An accomplished cameo.
The Margaret Thomas Salver for Best Costume
Harlequin Youth Theatre for Girls Like That
Costuming this production was superficially straightforward, as most of the actors wore school uniform throughout. Means of ‘customising’ individual characters were therefore found in part by the use (or not) of spectacles and/or contrasting hairstyles, and to a lesser extent by the individual ways in which each girl ‘modified’ her school uniform. The bespoke period costumes and accessories, for the three cameo scenes as flapper, aircraft crew and business intern, were excellent.
Harlequin Theatre for Hangmen
Wardrobe was a strong feature of this production. This wasn’t the early ‘sixties filtered through Carnaby Street or the Kings Road; in Oldham, middle-aged men still wore ties and bowlers, trilbys or caps. There was some excellent character costume: appropriately, ‘Pierrepoint’ was even more dapper than the dapper ‘Harry’; ‘Inspector Fry’ was dressed would-be modishly; the ambitious but naive ‘Clegg’ wore a coat with the suggestion of an astrakhan collar. All very effective.
The Ron Gleave Shield for Best Lighting and Sound
Harlequin Theatre for Girls Like That
If the lighting design here was competent, its operation was very good indeed, helping to move the story briskly forward. The soundtrack was excellent: it largely, but not exclusively, followed the recordings proposed in the script, with a charleston number for the swimming pool party. Sound effects showed real flair: the school noises, from the hubbub of pupils gathering in assembly hall or playground, through the massed hissing of school showers, to the Wagnerian ring of the school bell, were very atmospheric.
The Bramhall Cup for Best Set Presentation
Harlequin Theatre for Hangmen
This set was impressively versatile, both providing ample acting space without seeming empty, and conveying Oldham in the early ‘sixties. On the back wall, a raised alcove served first as a prison cell, then (appropriately re-decked) as a café. The pub itself was the core of the set, decorated in a drab shade of green, with a counter that had beer pumps, shelves stocked with spirits, chairs around tables laid with domino sets, and staircase to the licensee’s flat. Accurate in time and place.
The Vicky Lane Trophy for Dramatic Achievement
Harlequin Theatre for Girls Like That
This production successfully navigated the theme of the play – in seeking equality and fulfilment, the need for young women not to follow a path beaten by some men. It provided plenty to think about through the ‘lived experience’ of the older characters.
The Jane Keylock Award for Comedy
“I adjudicated several comedies this year, but the three nominated below were outstanding as comedy – the very best of a good bunch. These three were all uniformly well-cast according to their individual demands: for black comedy in Hangmen, for social comedy + farce in Moon Over Buffalo and for plain farce immaculately presented in the three-hander Jeeves and Wooster. They all evidenced solid relations between actor and director. The final marks for each jostled one other, and the award has been made to the production of the three that simply made me laugh the most (at times helplessly).”
Harlequin Theatre for Hangmen
The David Lane Cup for Best Actor
Michael Kelsall as ‘Harry Wade’ in Hangmen
Michael gave a bravura performance as the central character, exposing a strong personality that we came to recognise had some jagged edges. He had a solid Greater Manchester accent; fluid pace; and wonderfully comic timing. He clearly understood who and what he was playing. In addition to all the bombast of ‘Harry’, he demonstrated the man’s insecurities and gave his ego edge over his family feelings.
The Chronicle Cup for Best Director
Laura Elizabeth for Girls Like That
The company communicated the story and themes of this compelling drama with clarity, interpreting the text almost from scratch since the author makes no suggestion for allocating its dialogue, let alone its staging. ‘Naturalism’ wasn’t quite what was required, but much of the group work – the chanting, the stage positioning – indicated that the Director had developed a strong sense of mutual reliance among her cast.
The Ron Arscott Shield for Runner-up Best Production and The John F Blackburn Award for Best Overall Production
Harlequins Theatre for Girls like That
As its author makes no suggestions for staging this play, not even distributing lines among characters, the company interpreted the text from scratch. Naturalism wasn’t essential, and the actors’ interaction was stylised, but much of the group work – the chanting, the stage positioning – demonstrated a reliance by each actor on the others. This company clearly functioned as a company to develop a central point of view in various ways, with an historical context and a tentative way forward. Stimulating theatre.
Harlequins Theatre for Hangmen
The facts of the story and the style of the writing and acting were clearly communicated, particularly in the characters of ‘Harry’ and ‘Mooney’. This was important because in many ways the style is the story. The interaction between and among the characters was superb: Harry as self-conscious hangman, his family aware of his limitations, the customers as courtiers, Mooney as the troubling element – all these were got across. The final dramatic impact was of a play that was as disturbing as it was entertaining.