The UPS and DOWNS

or even

The INS and OUTS

of the

BAY THEATRE PLAYERS

Compiled by Bob Soper. November 2005

There is some dispute as to the actual date of birth of BTP. There had obviously been some foreplay when the first meeting was held on 25 November 1975. The question, of course, is whether this is the date of birth or the date of conception - with the date of birth being 27 January 1976 when the first constitution was adopted and the organization became an official living entity.

Now, whilst it may not be of critical importance to determine whether the BTP 30^th birthday is late 2005 or early 2006, it will certainly be so for those who are around when the centenary is approaching - so we had better decide. I'll go on record as saying that from my reading I believe the birthday to be 27th January.

First President was Len McLay and the committee contained names that were around into the 80's and 90's - Lassau, Hopkinson, Stevenson. There was no theatre in those days - the first venue for productions was the Soldiers Club. First mention of the Batehaven Hall (Observation Ave) was made in January 1977 and it became what was thought to be a permanent home in 1979. A long-term lease was negotiated with Council in 1980.

It might have been rough and ready, the seating might have been not quite plush, the change facilities sometimes less than modest, and the green room a little crowded – but it was home, it had character, it was located in one of the most beautiful spots in NSW and it is still remembered by many with a fondness that is hard to explain – it comes from the heart!

The performing capabilities of the initial group became obvious very quickly and success was immediate. In 1977 “The Man Most Likely To” sold tickets at $3 and returned a profit of $750. In 1978 “Move Over Mrs Markham” was entered in the NSW Drama Festival gaining awards for ‘Most Promising Direction’ and ‘Outstanding Achievement in Acting’.

How times change! The first play produced in the Batehaven Hall could not be staged today inless it had a name change – it was an Agatha Christie drama called ‘Ten Little Niggers’ – not everything in the permissive society has become more permissive!

1980, and the players report feeling “accepted” as part of the district entertainment and cultural landscape. Membership had grown from 25 to 66 and tiered seating was installed – now the hall was a theatre – but it was still Council owned and, therefore, subject to the potential instability of lease provisions.

The first rumblings about a new and more permanent theatre surfaced in 1981. Co-incidentally, Barbara Gellatly’s name starts to appear regularly at about the same time. I have no doubt that our current theatre would not exist without her untiring efforts over many years.

As an aside, a name that is strangely absent from much of the written record from the early years is that of Olga Geddes – an ex-professional performer of great talent both as an actor and a director. She appears to have had much to do with the Players early successes.

Success continued and in 1982 “Travelling North” was taken to the Australian Festival of Drama in Canberra and came home with a cheque for $1,000 for the ‘Best Performance of an Australian Play’. Allowing for inflation, wouldn’t it be nice if today’s awards came in the same format and had maintained their real value?

In 1984 the Players were first able to “hang their shingle” – the old sign that has just come down for the painting of the building. Although several people have wanted to see it go for a while, there is some nostalgia associated with that original sign. Our current neighbour in Gregory St, Ron Price, created the old sign for Barbara Gellatly and has offered to create new signage now that we have painted the building. Ron is just one of those who have been faithful friends and supporters of BTP for many years.

1985, and pressure began to vacate the Batehaven Hall. There were concerns about the long-term safety of the building and it certainly would not have been usable as a public theatre under today’s very rigid conditions – imagine trying to insure the place!

That pressure was from without and within. The Council was moving to condemn the building and members wanted the right to exclusive use of a building with the ability to make permanent internal changes and build sets the way we do now – these things are not permitted in most public, or shared, facilities. Folk from Nowra came to see our performance of Les Miserables (2003) as they were doing the same show immediately after us – School of Arts hall, no fixed set, questionable acoustics – they almost shed tears of envy at what we now have here in the Bay. We need to appreciate how lucky we are – there is still only a handful of amateur groups around Australia that actually own their theatre.

1988 was a big year. Incorporation became a legal necessity so Bay Theatre Players Inc arrived. Batemans Bay High School opened and this had several affects on the Players – new schoolies, some of whom added to the Players numbers, and a general growth spurt in Batemans Bay population that gave a wider base for both membership and audience.

‘South Pacific’ came up the cliff-face and into the theatre in 1989. This was a big cast show which tested the off-stage facilities of the old theatre just a little. Ron Prior provided a bus each night which acted as a cast lounge, change room, weather shelter. Subsequent shows used caravans, tents, anything that could provide shelter – funny thing is that there were very few complaints – people just got on with it!

1990. Costume Hire was established in the rooms above the Batehaven Pharmacy with the help of the then pharmacist and long-time member of the Players, Maureen Nathan.

In that year committee names were starting to look like they have in recent times – McLennan, Gellatly, Nathan, Cooper, Dunning, Soper, Minihan, Powell.

‘My Fair Lady’ (the show and the Ball which followed) began the real work to raise the funds necessary to establish our own theatre. It was the first show (and remains the only one!) which came back for a second season. 13 shows were done in October/November 1990 a there were huge complaints from people who were unable to get seats. The cast was willing and available to come back in February 1991 and did 6 more fully booked shows.

The Players always had a conviction that there was a need to give something back to the community. The concept of shared income with charitable groups which “took the theatre” for the night was developed. In 1992 we began making an annual award to the Batemans Bay High School’s outstanding Drama student. The same award now goes also to Carroll College.

By 1994 pressure was growing to find a new home – but so was support. Eurobodalla Shire under Mayor Chris Vardon made significant efforts to help us. Suggestions ranged from sites at Hanging Rock to the BMX track area for the building of a new theatre. Detailed (and rather fabulous) plans for a tiered theatre and a rehearsal theatre as well had been drawn up and looked viable. Unfortunately, the State Government Arts Council Grants that had provided so much to so many in the 80’s had dried up by the 90’s.

Then came our first brush with the law. 1995 – “Female Transport”. The old theatre converted to do theatre in the round. The show was controversial, the language descriptive, and two days before opening the theatre was declared a fire hazard and closed by Council – was the building too hot, or was it the show? Hard to tell, but it only went on with NSW Fire Brigade officers manning each door!

That year was also our first foray into the CAT (Canberra Area Theatre) Awards – mainly because it was the first year of those awards! “Female Transport” won a ‘Best Set’ Award. BTP remains the only theatre group outside the ACT to have participated in the CATS every year since their inauguration. Mind you, there have been one or two years when the maintenance of that record has been in doubt.

1998 – and time is running out. It would have been nice to have the two theatre complex – rehearsals could take place for the next show while the current one is still playing – you know the difficulties – but it still beats what most other groups have!

Then, out of the blue, the old St Vincent de Paul property in Gregory Street came onto the market. We had a healthy bank balance. Council said they liked helping those who helped themselves and came to our aid – the property was purchased outright and massive amounts of work were done by many members – almost all voluntary – to get basically what we have today – inside! We had someone in the right place at the right time to acquire our seats at the right price.

Just to keep everyone busy we were in the process of a 12 month workshop and rehearsal of the locally written epic D’Arc (or Joan of Arc). Writers of this magnificent show were Liz Brandson (lyrics) and Linda Oxley (score). This was the first major production the grace the floor (we hadn’t yet built a stage) of the new theatre and it was a resounding success – there are still plans for this production to be seen in Canberra, perhaps even in France. Having visited the remains of Chinon Castle and seen the Joan of Arc museum housed at this site I just know it could be a success if it could be performed there. In answer to the question “Why would the French want to see a performance about one of their own sung in English?” they tell me they go to opera sung in Italian!

More recent history has seen a significant development of our lighting and sound capacity under the loving guidance of John ‘there is never enough light’ Stevens.

While that has been going on inside there has been a steady development outside which has seen the construction of disabled access to all parts of the theatre, gardens, the outdoor area for relaxing at interval, the extra on-site car parks, reconstruction of the side access ramp and stairs, the storage shed and, most recently, the external painting of the building. Before too much longer there will be a portico providing weather protection for the front door and lower stairs along with a pergola over the outdoor area.

Over the years we have been blessed with a constant stream of talented people. Some have been here for years but there has been a regular flow of new people too – and this is really the crux of the matter. Most of what I have said up till now has been about structures – as if they were the theatre – when the ‘theatre’ is really about people – those who act, sing, dance, direct, stage manage, design and build sets, design and operate lighting plots, manage front of house, do the advertising, print the tickets etc, etc. All are people interacting with other people to get a job done.

To this end we have developed ways of keeping up our flow of people. Youth Theatre’s success is the result of mammoth hours put in by those wishing to see the graduation of our young people onto the stage. Whilst this has primarily been a way of fostering talent for the future adult performers of BTP there is also the very real chance that some of our most outstanding youngsters – having gained their first experiences through BTP – may well make it onto the professional stage.

It has been more difficult to organize workshops and assemble people wishing to learn about sound and lighting but this is now happening also, and there is a long-term aim to reduce reliance on the very few so that all can have a rest sometimes.

What I’d like to do next is get away from the development of the theatre and its people to relate some of the stories that come out of productions – most of them funny – but all part of being on the inside looking out – the reverse of the view seen by those sitting in the audience.