The Argosy Players - It's never Too Late

THE ARGOSY PLAYERS - LIVERPOOL

The Argosy Players in: It’s Never Too Late by Felicity Douglas

Staged: 13 to 15 December 1956 at Crane theatre Hanover Street Liverpool

Bearing in mind that they are in direct competition with other amateur operatic societies in the Liverpool area, Martins Bank’s Operatic Society’s annual productions usually run for between four and six nights. Where drama is concerned, the plays offered by the Argosy, Cicala and North Eastern Players all seem to run for a maximum of three nights. In December 1956, it is time once more for the Argosy Players to take to the public stage to present their annual drama offering.

This time they choose a three-act comedy “It’s never too late”. As ever, Martins Bank Magazine is there to bring a flavour of the show to its readers, and having been quick to criticise one or two of the Argosy Players’ recent offerings put on for a staff only audience, they are generous in their praise for the production, noting what they refer to as several outstanding performances…

The autumn 1956 show of the Argosy Players was staged at Crane Theatre for three nights, December 13th to 15th, 1956. The play was “It’s Never Too Late”, a comedy in three acts by Felicity Douglas. Many people thought that this was one of the best productions so far staged by the Players. We ourselves thought that the play itself was very entertaining, but a bit long-winded in the first act, and that the whole thing could have done with speeding up here and there. So far as individual performances were concerned, however, we share the general view. There were several outstanding individual performances, and all the remainder were of a high level of competence. We also had a new producer, Mr. H. A. G. Birchall; new, that is, so far as the Argosy Players are concerned. He made an excellent job of the production and greatly impressed the company with his painstaking and patient methods which gained their complete confidence.

Ann Webb. John Myers, Marshall Hesketh, Jean Boothman, Bill Brookes, Barbara Phillips and Valerie Parish

Valerie Parish took the principal part as the mother of a very exacting family. As a feat of memory alone it was a remarkable performance, without a falter or a prompt, so far as we know. She played the part naturally and pleasingly, diction excellent and general interpretation flawless. Equally good was Jean Boothman, as her married daughter. Her portrayal of the over-anxious mother of two children awakened a reminiscent echo in the hearts of many people in the audience. She interpreted the part so well that one assumed the practical experience which she does not, in fact, possess. And in the “scenes” with her stage husband she remembered to keep her voice down, a vast improvement on past performances. Well done! Bill Brookes played opposite Valerie Parish as her husband. Bill suffers from his past reputation of being something of a comedian and when he wants to be serious the audience will not always let him, so that laughs sometimes come in the wrong places. But his expression, such as in the scene in which he comes on and finds his mother-in-law has come to stay, causes more laughs than his lines. We cannot really blame the audience. Bill knew his lines this time, and, what is more, he knew them several weeks before the show, another feather in the cap of the producer! A good performance.

Bill Brookes, Ann Webb, Jean Boothman, Valerie Parish, and Marshall Hesketh

Valerie Parish, Ann Webb, Jean Boothman and Barbara Phillips

Barbara Phillips had the most difficult part to play as the aged mother-in-law. She managed the voice perfectly and did her best with the walk, but it is very difficult to conceal youth and virility behind make-up, and a certain friskiness would keep breaking through. However, she gave a good interpretation and no one else could have done it better. Ann Webb played the part of the daughter who is out to have a good time, very well indeed and, here again, the comment was heard in the audience from more than one quarter: “Just like our. . . .” No more praise than this is needed. Marshall Hesketh gave a good and entirely natural performance as the stepson and John Myers as the boy friend played opposite Ann Webb with dignity and boyish appeal which won the full sympathy of the audience. Shelagh Cowan gave a frighteningly lifelike portrayal of a dragon-like nurse and made us glad to remember that these types are declining in numbers nowadays, or arc they? Maureen Dempster played the part of the designing widow. She must get landed with these parts because she does them so well, but we are still hoping to see her in a part where she can portray the more likeable attributes of womanhood. She played her part in this play with her usual competence. Arthur Westall took the part of the publisher, playing opposite the principal lady, and imbued with ideas on other subjects than just publishing. It was a very gentlemanly performance and lie was right not to overdo the passion. We had a fleeting visit from two removal men, played by Ken Maddison and Brian Isaacson. They looked as though they had been at the job for years. A very successful production, the support for which was most encouraging.

The relationship between Martins Bank Limited and the Liverpool Echo is a strong one, with the Echo being the newspaper of choice for the bank to advertise, and also from which to make some of its major announcements about new technology such as Drive-in Banking and Martins Auto Cashier – the first cash dispenser not only in Liverpool, but also the whole of the North of England. Martins’ celebration of its four hundredth anniversary in 1963 draws extensive coverage from the Echo, and the Bank’s Operatic Society, along with the Argosy players regularly have their rpoductions reviewed by the Echo’s critics. This article appears in the Echo on 21 December 1956, and concerns the Argosy Players production of “It’s never too late”. As the image of Valerie Parish is too blurred to be reproduced, we have included the Bank’s copy of her publicity photograph in the text of the article…

That entertaining little story of how a domestic drudge writes a best-selling novel in between the chores, “It’s Never Too Late” by Felicity Douglas was a happy medium for the annual play presentation of the Argosy players (Martins Bank Society of the Arts), at Crane Theatre Liverpool, last week-end. I am accustomed to watching Valerie Parish in singing roles and was pleased with the sound performance she gave Laura Hammond, whose book becomes a sensation overnight. An assured, well-sketched portrait.

The young people concerned were also most creditably enacted – Laura’s step-son John, and his wife Anne by Marshall Hesketh and Jean R Boothman and Tessa, Laura’s screen-struck daughter and her loving sweetheart Tony by Anne Webb and John Myers. Maureen Dempster scored as the flirtatious Mrs Dixon, and Bill Brookes neatly characterised his Charles Hammond. As for Grannie, despite a voice most effectively simulating old age and a walk to go with it, I could never quite cheat myself into believing that Barbara Phillips, who played her, was not a charming young lady hiding behind a not too successful hair and facial make-up.

With thanks to our friends at the Liverpool Echo

Image and Text reproduced with kind permission of The British Newspaper Archive