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  The
Argosy Players in: The Telephone Never Rings by Falkland L Cary and Philip
King
Staged: 16 November 1951 in basement theatre, Head Office
Water St Liverpool
Martins Bank Society of the Arts becomes the umbrella organisation
for the the Bank’s dramatic and operatic societies, and includes the Annual
exhibtion of Arts and Crafts on the eighth floor of the Bank’s Head Office
Building in Water Street, Liverpool. Head Office also has TWO small stages
which can be used for official meetings and theatrical use. The Basement
Theatre is used several times a year throughout the 1950s for meetings of the
Society of the Arts, and without resting on their laurels, the Argosy
Players, the ArgoFor Players, the Manchester Players and the operatic Society
will all stage shows, often testing out new material in front of their
peers. Often the top brass of the Bank
will attend these gatherings, which serve as a great practice environment in
which to nurture new talent. “The Telephone Never Rings” is chosen by the
Argosy Players, as their dramatic contribution to an evening of entertainment
in which the Manchester Players also take part. This short piece from Martins Bank
Magazine’s Winter 1951 issue is accompanied by one production photograph, and
which sets the scene for the Argosy Players’ performance…
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 Comedy was
the choice of the Argosy Players and “The Telephone Never Rings” by
Falkland L. Cary and Philip King gave them plenty of scope. Having seen J.
K. Cornall in many parts we feel that the palm for this performance should
go to him for his character presentation of the old gardener. Make-up was
excellent, stance and vocal inflexion so good that few people could have
guessed his identity without the aid of a programme. Thea Bower, as the
battleaxe-type of landlady, scored another hit and Sydney Rimmer as the
newly-retired doctor who only wanted a bit of peace and quiet took off the
part with his customary ability.
Yvonne Simmons made him a very charming niece and Maud Melville’s
rendering of the character part of the lady who insists upon being fussed
over by a doctor brought its due meed of applause.
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We felt Margaret Shaw’s interpretation of the part of the
girl who, after rejecting the doctor’s proposal, changes her mind and
returns to do the proposing herself, was not convincing. A little more
seductiveness would, we feel, have sat better on the part.
Colin Skelton’s brief appearance as a fireman looking
for a fire was quite deceiving and the touch of local colour was most
effective.
William Keil produced for the Manchester Players and
Sydney Rimmer for the Argosy Players.
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Left to right: Yvonne Simmons, J. K.
Cornall, Thea Bower,
Sidney. N. Rimmer, Margaret Shaw, Maud
Melville and Colin Skelton
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