The History Of Lilleshall Pantomine
Sinbad - 1990
Time moved on and the company began to embark on their third Pantomime, again written by Graham Gibson. The enthusiasm for being involved seemed to be as strong as ever. Nearly all those who began the group with the first Panto' were still keen to join in as well as some new members with 'stars in their eyes'! Also, some of the younger actors and dancers from the previous Shows took on larger roles, hoping to be the principals of the future. It was good to see the group evolving and growing in numbers. In order to maintain the interest of the increasing numbers of young people who wanted to be part of the company, a youth group was started with the idea of producing their own short productions.
Planning this production began at the final rehearsals of last year's Cinderella!... Oh yes it did! Someone had jokingly asked what we would do as a Show the next year! Ideas had been flying about and Graham already had a germ of an idea about writing Sinbad. It was all agreed because Sinbad would be so different from the previous two Shows, not only in style and costume but in the characters too.
A notice was put up in the village Shop, calling all those interested in taking part to attend a casting meeting in September 1989. Peter Bowyer and Colin Reynolds got together to set about sorting out staging and lighting. It was decided this year to build a stage front extension to double the size of the 'playing area'. Peter designed and constructed it and found himself taking on the role of stage manager, whereas Colin took over scenery and set design, with his daughter Celia, who was happy 'treading the boards' as Sinbad, to help him. Mary Croxton also used her artistic skills well in scenery work, even though she admitted she wasn't a fan of Pantomime! We knew this would probably be the last year she would be involved, after her beautiful artwork in painting the scenery for the first two Pantomimes and we all knew we would greatly miss her expertise. Mavis agreed to direct again (She was a glutton for punishment!)but this year she had Glenda Birkitt as her Assistant Director. Dot Fullwood, who also ran and administered the Hall where we rehearsed and performed, and Don Ryder played piano and electric organ, both for rehearsals and for the performances.
Beautiful costumes were made and Carol Baker and Rose Haywood began to disappear under copious quantities of silken fabrics, glittery costumes, bangles, baubles and bright shiny beads... but we digress!
Everyone worked hard again to ensure we 'got it right' because even after only three years we were beginning to gain a reputation for putting on a great Show. One of this year's spectacular effects was a walking moving elephant, designed and made by Colin Reynolds. 'Baba' could wave her trunk, flutter her eyelashes and walk about the stage. Colin had decided it would be easier for an adult to work the elephant so it was created and tailored to fit Sue Richards who had started her appearances with the Group as the Cat in Puss in Boots. Sue did a grand job under uncomfortable conditions and hot stage lighting!
Due to demand it had been decided to continue with four performances but all agreed that an extra evening was better than having a matinee performance as the technical team had found it difficult to create complete blackout conditions for the special effects, during daylight hours.
The whole cast appreciated the extra stage area and the side 'wings' that had been constructed. The cast was also very grateful to Dot and Trevor Fullwood who opened their bungalow, which was linked to the hall, and allowed access to every room for the cast for make up and dressing rooms. We didn't realise, in these early years, how lucky we were to have these facilities.