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| "The Murder of Maria Marten" or "The Red Barn" Written by Brian J. Burton Tuesday November 30th to Friday December 3rd 1971
(Click on images to enlarge) |
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| Photos taken at rehearsals | |||
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This play included a technically difficult set design which allowed the ghostly figure of the dead Maria to appear in a dream. This was done using a section of scenery known as a gauze which was either transparent or opaque depending on the lighting. |
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  (WGS Magazine) |
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| Phil Smart: The first night went fine if I remember. At some point in the play William Corder shoots Maria Marten with a flintlock pistol. For the shot sound effect we had a starting pistol. I positioned myself directly behind the actor playing Corder and managed to find a pin-sized hole in the scenery where I could just see the actors.
This was the cue: Actor has flintlock shoved into the front of his trousers/belt. He withdrawers the pistol, points it at Maria and says "YOU MUST DIE MARIA!" - Bang! First night perfect. Second night: I was buggered if I could find that damned hole in the scenery and got into a bit of a panic as the scene approached. Never found it so had to go with the cue but unknown to me, the actor messed it up. It went like this: I heard the actor say "YOU MUST DIE MARIA!" so I fired the shot - Bang! He then took the pistol out of his belt and pointed it at Maria. A ripple of laughter went around the hall but I didn't know what had happened until I got back to the sound box and was told. Well, it was supposed to be a comedy! Pete Bougourd: I think it was also in MM that someone had the bright idea of having 3 sets of flats coming down from the proscenium arch to enhance the scenery. There may have been six in total across the stage - each needing an operative. A group of little people, i.e. 1st formers, had to crawl into the roof void above the stage, and lie flat on their stomachs, and stay there until the end of each act. The flats were attached to a barrel bar and could be pulled up through 90 degrees by fishing line fastened to each one. To stop the line damaging their hands they all wore strong gloves. (At least there was some regard to H&S with the gloves but I can't imagine how it would be allowed to happen in today's environment. Would be interesting however to think of how many risk assessments would need to be carried out and how thick the file would be).
One of these operators was excited that his parents were attending the last performance. Certain "unknown" stage staff members "advised" him that as it was the final performance nobody would mind if he acknowledged his parents by waving to them, especially in Act 2. At a particular moment of intense gravity onstage a small gloved hand was observed waving furiously from the top of the proscenium. All intensity was lost on the audience as obviously they were drawn to the hand waving.
At the end of the show an incandescent Ivor, in full sail, came onstage and demanded to know who, what, why, where etc. By this time the "unknowns" had made themselves very scarce. |
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