It will not have escaped most people’s notice that the RNLI is celebrating it’s 200th anniversary this year. This is a charity very close to the hearts of many living in this beautiful coastal region, not only because their highly skilled and courageous lifeboat crew are amongst our friends and neighbours but especially because those of us who use the sea as our workplace or playground are reassured by their constant vigilance and presence.
It turns out that the Salcombe Field of Light is not the only thing to sparkle and shine brightly in Salcombe this week as The Salcombe Players and friends took to the stage at Cliff House to present a packed programme of glittering entertainment. Both of these Salcombe events did however share a common goal and that was to raise money and awareness of the RNLI.
The success of a community event like this is not only dependent on both finding the talented locals that are brave enough to perform and attracting a willing audience to watch, but also crucially having an experienced hand behind the helm; keeping the boat on course, instructing the crew and desperately trying to steer clear of disaster which almost always lurks ominously during live stage events. Fortunately, Salcombe Players were lucky enough to have not one but 2 creative masterminds and directors behind the scenes in the guise of Christine Bonner and Hilary Auty who devised a varied programme to ensure there was something for all ages to enjoy and participate in.
It truly was an inclusive event and the Salcombe Players invited members of other local groups to share the evening with them. These included KATS (Kingsbridge Amateur Dramatic Society) MAD (Malborough Amateur Society), the Salcombe Larks, local primary school children and perhaps most importantly members of the Salcombe Lifeboat Crew.
The evening was presided over by compere Mike Davies, who introduced each act and when required to cover a lengthier costume change, quizzed the audience on their knowledge about the RNLI. Suffice to stay we went home armed with more facts than we arrived with, except for one very keen youngster in the audience who put us all to shame. I for one should have known that the first record of any designated rescue vessel was in Formby, in 1777, because I grew up there!
I loved the cross generational nature of the show and when Wendy Morrall, a seasoned performer and director, recited Rudyard Kipling’s “A Smuggler’s song,” she was surrounded onstage by local children who eagerly joined in the spoken chorus. In that moment you could plainly see in the eyes of the one or two children who stood out as natural performers, that Wendy had passed on the acting baton to Salcombe Players’ future stars. And later these same sweet children were transformed into revolting ones, with wild hair and cheeky faces as they energetically delivered a song from Matilda, under the watchful and proud eye of their coach and mentor Dina Pownall- White.
The poetry offer was certainly varied and out of the several poems penned by Pam Ayres and expertly delivered by Jules McColl, the audience’s favourite was the erotic retelling of the antics of an elderly female 50 shades of Grey Fan and her less than enthusiastic husband. In stark contrast, Apple Taylor cut a striking Celtic figure enrobed in wool and tweed and in a rich Scottish brogue dramatically brought to life Lewis Carroll’s infamous tale of the “Jabberwocky” and for the first time in my life I understood every word.
A selection of well-chosen comedy sketches offered light relief and were executed brilliantly by the company and in my two personal favourites, ‘not enough parachutes’ and ‘no fishing’ Felicity Bonner delivered a deliberately deadpan punchline to hilarious effect. Jackie Hodges never seemed to be off the stage and played the straight man/woman in both ‘ An extravagant exhibition of physical strength” alongside the loin clothed hunk Nathan Tabiner and sang “Honey bun” from South Pacific in a gender reversal duet with the voluptuous blonde Sam Viles. The chaps dragged up one more time in the ending flourish of “There is nothing like a Dame’ and of course stole the show. As a director who struggles to persuade any men to perform in a straight play or musical, I am always bemused by their apparent enthusiasm for dressing as women.
The musical offer had something to please all ages, from sing-along 1940s and 50s classic duets from musicals such as Easter Parade, Annie Get your gun, South Pacific and 42nd street, to Abba and more current pop music. All with expert musical accompaniment provided throughout by David Auty (MD and keyboards), Alan Inder (drums) and Andy Tunbridge (bass.) Technically flawless vocal performances were given by two professionals; Hilary Auty and Sarah Montague, the latter introducing me to 2 musical numbers I hadn’t heard before from “Dr Zhivago” and “Come From Away”. Gaby Kavanagh sang a moving rendition of ‘Someone to watch over me’, a song close to my heart that reminded me of my Father who I lost earlier in the year.
As a lover of soul and funk music, I have to admit I was blown away by Caroline Evans’s arrangements for the Salcombe Larks. I hadn’t heard them perform before but as a singer myself I appreciated the complexity and layering of the harmonies on such classics as “You’ve got a friend”. With some stand out soloists and such soulful accompaniment by their musical director on keyboards, it was clear that all the singers were loving every minute and so were the audience. Sheer Joy.
The finale, saw the Salcombe RNLI join the stage and the audience were reminded of our gratitude for their service as we joined in the hymn so often associated with them, “Eternal Father Strong to save……O, hear us when we cry to thee, for those in peril on the sea.”
As well as all those that tread the boards, I am well aware of the work that goes on behind the scenes and from reading the programme appreciate that Hilary Auty as well as directing and performing, had not only designed and painted the set but along with Mary Kemp had also organised the costumes. Other surnames on the programme, kept cropping up too; with Lindy Sinnott on stage, Richard Sinnott Front of House and son Ben Sinnott providing the professional lighting and sound. It also seems to be a family affair with the Bonner and Pownall-Whites. And this sense of family and all mucking in together seems to be at the heart of what it means to be a Salcombe Player.