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 Martins
Bank Society of the Arts – Drama Section in: Housemaster by Ian Hay
Staged:
23 and 24 January 1948 at the YMCA Theatre Birkenhead
When Martins Bank Society of the Arts is
established in February 1945, it is divided into three sections – Music,
Drama and Art. Over the years, the Art
section stages a number of arts and craft events, including an annual show at
Head Office where staff can display their talents in, amongst other things,
painting, sculpture and modelling. The Music Section stages operas and
concerts annually, and in 1957 the musical productions come under the
umbrella title of “Martins Bank Operatic Society”, which survives until
1980. That leaves the Drama Section,
which stages plays under that name until 1952, when Liverpool and London
divide productions between the Argosy Players in the North, and the Cicala
Players in the South. The North Eastern District of the Bank has had its own
drama group Martins Bank Players (North-Eastern) since 1936, and two much
smaller groups also operate in the North West – the ArgoFor Players who
represent the staff of Liverpool Overseas Branch, and the Manchester Players.
Both smaller group stage productions and other entertainments that are played
in front of colleagues at Head Office. In 1948, comedy is the theme
for the Society of the Arts Drama Section’s latest production - a
three-act play “Housemaster”, written by Ian Hay. This is the first time the
Drama Section has put on a THREE-Act play for the public. Thanks
to the outstanding talent of Sydney Rimmer (Manager, Birkenhead Charing Cross
Branch) as both producer and actor, “Housemaster” is a resounding success for
the society, and is a near sell out for its two-night run in January
1948. The following article in Martins
Bank Magazine, tells the full story…
 
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 For its first
performance of a three-act play the choice of the Drama Section fell on Ian
Hay's excellent comedy " Housemaster." In making the choice some risks had to be
run. So many people have seen the play produced either in the professional
theatre or by amateurs that even if the production was adequately supported
there was the inevitable danger of comparisons. There was also the acute
difficulty of properly casting a play with so many male characters. The
work for the back-room boys (and girls also.) was of an unusually exacting
nature. One factor alone outweighed all the others - the Section had Sydney Rimmer as
producer and also as actor in the name part. His considerable experience in both roles
brought about the biggest triumph which the Section has registered to date.
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W Brookes, J K Cornall, S N Rimmer and
Alec R Ellis
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The theatre was practically
sold out for both nights, January 23rd and 24th, in spite of bad weather
and the difficulty of access to it for many of our supporters. The
Y.M.C.A. Theatre, Birkenhead, is a nice little theatre, but a bit remote
for people up " the line." It is not usual to commence the review of a performance by
praising those " back stage " but on this occasion so much of
the success was due to their efforts that we must mention Betty Jackson,
Sheila Boote, Rex Pollock and E, G. Shaw, who worked so cheerfully and
tirelessly on every job from the erection of scenery, and the making-up
of a large cast, to the management of complicated sound effects. In this
connection mention should be made of J. K. Cornall, who did his whack
behind the scenes for days beforehand and took one of the principal parts
as well. Sydney Rimmer gave a performance as the old housemaster which is
summed up by the word “majestic”. He knew when to make his audience laugh
and when to make their eyes moist and his portrayal of the old man giving
advice to the young girl was most moving.
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The
whole play depended upon his performance and his reputation was well
maintained. Leslie Jones as the shy music master treated the audience to
a study in sincerity which was as near perfect as any small piece of
amateur acting will ever be. Auriel Balshaw, who falls in love with the
music master, was wholly appealing in her characterisation. Her charm of
manner, her girlish simplicity, and her clever use of facial expression
won all hearts. In some ways John Pugh's portrayal of " Old Crump
" was the audience's (and the cast's) favourite bit of acting. It was so good that some of us had to
enquire discreetly in Foreign branch as to whether he was really as dumb
as he appeared. He had only to show himself to raise a gale of
laughter. Of the other
housemasters. J. K. Cornall as Frank Hastings earned high praise, not
least for his extremely clever use of make-up. K. C. Batten rendered the
part of Victor Beamish with just the right amount of bounce and
noise. Audrey Wall Jones certainly
has a beautiful diction and a magnificent stage presence and the part of
Barbara Fane, the aunt of the three girls, was most convincingly
presented. Bimbo and his sister
Button, played by Colin Skelton and Barbara Phillips, could have been
brother and sister in real life, so genuine did the brotherly attitude of
Bimbo appear to be. Barbara does these pert parts supremely well and is
always assured of a responsive audience.
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Thea
Bower, Leslie Jones, Barbara Griffith
and
Auriel Balshaw
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S N Rimmer, Barbara Phillips, Colin Skelton, Auriel
Balshaw,
John Eastwood, W Pearson and Barbara Griffith
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The
remaining sister, Chris, was played by Barbara Griffith. Her scene with
Flossie Nightingale, played by John V. Eastwood, was her special
contribution to the success of the production. John V. Eastwood's
diction was outstandingly good and his rendering of the part pleasing
without being overdone. The parts of the Headmaster and the Chairman of
the Board of Governors were played by Alec R. Ellis and Bill Brookes. The
portliness of the former helped, with the assistance of cap and gown, to
overcome the disability of a voice not naturally arrogant and the
impression of pomposity was satisfactorily conveyed. Bill Brookes used one of his versatile
selection of " character " voices to portray the wire-pulling
politician. His "impressions " always delight the audience. H.
Tonks took the part of the head boy, and W. Pearson that of "
Pop." The Matron was played by Thea Bower and the maid by Joan
Thomas. It was very encouraging to have so many members of the General
Management present at the performance on the Saturday evening.
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