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CORONAVIRUS - See details below in the NEWS section
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theatreguys.net presents:
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Fredo's Theatre Group
Welcome to our Theatre Group website - we hope you will find all the information you need. This is a not-for-profit UK theatre-going group for our friends and colleagues (see foot of page).
We do not sell tickets to the public.
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MENU
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>Latest Offers: It's time to make a booking -
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Offers are on hold but we hope to be back soon.
Details of all Available Bookings are shown on the Current Bookings page -
click HERE or on the ads above.
Extra Discounts for our Donmar Friends
Previously advertised shows are now sold out
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We shall be back as soon as theatres reopen again
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>OnOurOwn:
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Updated 19/03/20 -
What we see without the Group: click HERE or on the ads below to see our comments.
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>News and Information: Please scroll down the page
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THEATRE DIARY
(A collection of Theatre Thoughts to pass the time while the Stalls are out of bounds)
Latest addition at top of column.
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Stage shows, musicals and opera you can watch online
NOW for FREE
Click HERE to see the latest update from WhatsOnStage.com
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7 April
Margaret writes -
Company at the Donmar Warehouse, 1996
Sometime in the early 1990’s, conversation turned one day to musical theatre and I said that I wasn’t fond of the idea of musicals and had never seen one live. My comment was met with polite surprise and I thought little more about it. What I hadn’t anticipated was that Mike and Fredo were now on a mission to educate and enlighten me.
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Before long I was invited to join them and Roger, sadly now deceased, and Roger’s daughter Emma as we sped northward to Leicester and to Derby for my first Sondheim experiences. I had vaguely heard of this Sondheim person but had no idea who or what he did. Well, I was about to learn that musicals were not just rom coms with cheesy grins and hummable tunes as I’d seen in Hollywood films. I was taken aback by this new world of complex plots, realistic characters and inspired musical arrangements. Overnight I caught the Sondheim bug and realised that it is almost a cult, with devotees seeing anything and everything with his name on it.
A particularly memorable show for me was in Spring 1996, when I went with Fredo and Mike to see “Company” at the Donmar Warehouse.
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I cried during Adrian Lester’s “Being Alive” and was spellbound by Sophie Thompson’s scatty and poignant performance as the “ever-loving Amy”. I found myself then, and sometimes now, humming the melody of “Barcelona” as my favourite song and I was disturbed and maybe repelled by the vision of “The Ladies who Lunch”. (Mind you, there was never any fear that I would fall into that category as I don’t have the wardrobe!)
Undoubtedly the intimate size of the venue, up close to the actors, added to the magic.The main event for me, however, came after the show. I was bowled over by the fact that Fredo and Mike got access to the actors to give them a fabulous cake, iced white and gold with the ring motif featured on the show’s poster.
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In the bar I found myself actually standing next to a smiling, chatting Adrian Lester and I thought I was in heaven. I’m not sure which impressed me more: meeting a star or realising my friends had the influence to set this up. It was an evening of absolute joy, etched clearly in my memory, and one I often think of with gratitude to Fredo and Mike and a sense of how lucky I have been to have had so much pleasure from Sondheim’s genius.
Click HERE (Side By Side) and HERE (Barcelona) for two video recordings of songs from the Donmar's Company)
Mike adds -
Ah Yes, I remember it well. Those visits to Leicester for Follies in 1994 and to Derby for Assassins in 1995 were followed by Company at the Donmar in 1996. I have framed posters for these shows on my walls at home, and the poster for Company is rather special as I was able to have it signed by Stephen Sondheim and George Furth when we attended the same performance as them. In those days the Donmar posters were in a large format and printed on thick beige paper very liable to fade, so my copy is displayed high on a wall, unbleached, where the sun don't shine. But a spotlight makes the golden ring glow.
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Geoff writes -
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I grew up in Stockport, which was a dull, grimy place in the 1950s and early 1960s. There was the Garrick Theatre, which featured am. dram., but nobody in my family had ever set foot in there. My only exposure to theatre was Brian Rix farces on television and the time when a travelling theatre company came to my primary school and performed Rumpelstiltskin in the school hall. I wasn't particularly impressed, although I remember fancying the long-haired (obviously!) woman who played the lead (I was probably about nine). Instead, we went to the cinema and saw Norman Wisdom films when I was young and later more challenging fare --
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I still remember vividly my delight and bamboozlement at seeing 2001 (still my favourite film).
I discovered loud music and had the good fortune to see Led Zeppelin, Jimi Hendrix, Pink Floyd and lots of other great bands. Then I went to university, saw lots more great bands, and met Margaret. She hadn't been to a theatre either but suggested we go to see Waiting For Godot at The Dukes theatre in Lancaster (See picture below). We did, and I enjoyed it immensely. It appealed to my sense of the absurd (perhaps not surprisingly); I had never seen anything like it before but it made sense to me, made me realise that a story doesn't have to be logical or achieve resolution. The other feature that I recall was that the set consisted of a simple round plateau in the middle of the stage.
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The next play we saw was Jarry's Ubu Roi, which again didn't make much logical sense but powerfully inhabited its own world and was good fun. It, also, had a simple round plateau as the only set, which made me develop the notion that perhaps that was a set requirement for modern theatre, or something. The next few plays we saw, which I can't recall, broke that rule, so made me realise the "round set rule" didn't exist.
We saw numerous plays and I mostly enjoyed them, but I preferred loud music concerts.
< The Dukes theatre
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Later, in the 1970s, we lived in Leicester and saw a number of adventurous plays at the Haymarket Studio, a small in-the-round space. This being the 1970s, there was lots of experimentation, nudity and enforced audience participation. Thankfully, the nudity didn't extend to the audience participation. This last common feature made us ensure that we always sat in the middle of a row near the back, to prevent us being dragged on stage. One night, we went to see a forgettable performance of Genet's The Balcony, except for two features: a naked actor eating a raw kipper (fancy having to do that every night), and a naked female actor sitting on my lap and delivering a speech from there. We had arrived late and the only seats left were in the front row. We made sure never to arrive late again.
We have seen lots of plays since, and we are lucky to have the Bath Ustinov as our local, which has an adventurous schedule. As I approach my 70's, I still prefer loud music concerts, the louder the better.
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Mike adds -
The Dukes, as the theatre calls itself, was originally a church, and was converted to a theatre in 1971. Margaret and Geoff must have seen one of the first productions there. They saw Waiting for Godot, which was revived again there in 2017. Back in 1955, at the time of the first London production, Lady Dorothy Howitt complained to the Lord Chamberlain "One of the many themes running through the play is the desire of two old tramps continually to relieve themselves. Such a dramatisation of lavatory necessities is offensive and against all sense of British decency." But the play nevertheless won an Olivier Award for "The Most Controversial Play of the Year". In 1990, in a poll conducted by the National Theatre, it was voted "The most significant English language play of the 20th century". We took our Theatre Group most recently to see it starring Ian McKellen and Patrick Stewart at the Haymarket Theatre in 2009. Was that anyone's first experience of Beckett or indeed Theatre? What was your reaction to this play?
Here (<left) is a signed reproduction of a poster design by the artist James McMullan for the Lincoln Center production in 1988. It hangs on my sitting room wall.
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1 April
Donald writes -
A few Theatre Thoughts that jumped to mind -
In OPERA I have seen two performances that thrilled me to the marrow. Janet Baker as Dido in Berlioz's THE TROJANS at ROH - not a favourite opera but I was convinced I was seeing and hearing something truly remarkable - so much so that I HAD to return for a second hearing. It sounded even more thrilling.
Whilst mentioning her - the RFH celebrated its 25th birthday in 1976 with some specials - one was a recital we attended by Dame Janet that included Schubert's DIE GOTTER GRIECHENLANDS - a short song but she did it perfectly - one of those moments when time stands still - and I still feel the moment even now.
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Janet Baker
Josephine Barstow
Maria Callas
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The other opera performance I remember just as vividly is Jo Barstow as Violetta in ENO's TRAVIATA. I had seen the piece before but this was the first time I was, dare I admit, moved to tears. I was so caught up in it that I had to force myself to go back for the third act, when Alfredo turns on her and throws money at her. And in the last act when she is dying, and she says she is amongst friends, I crumpled. It was the same at the second and third viewings.
An opera special was on July 5th 1965 - TOSCA at ROH - I actually had tickets for Maria Callas! Maybe the voice was then not what it had been - but I still can hear her off stage calls of "Mario Mario" and the excitement of her entrance in, if I remember correctly, an apricot coloured dress. She was a born stage performer - remarkable to be seeing her - and although we did not know it at the time, that was the last time she appeared anywhere in a complete opera - truly, the end of an era!
Such is the power of music and talented performers.
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David Warner
Eric Porter
Vanessa Redgrave
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As to other memories - David Warner in Peter Hall's RSC HAMLET still stands strong. It was the first time I had seen the play complete (best part of four hours perhaps) - amarvellous production - thought provoking, moving and exciting and dominated by a Hamlet I have not seen equalled.
I remember Eric Porter giving a long speech in A WINTER'S TALE - and at the end of it an elderly lady near me called out 'Bee-oootifully spoken' (which it undoubtedly was) and this caused the audience to give him a round of applause.
Vanessa Redgrave's Rosalind is still fresh in my mind - tall, slender, elegant and fun and I cannot omit her radiant and much missed daughter Natasha's ANNA CHRISTIE
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Vanessa Redgrave, Rosalind Knight
and Ian Bannen in As you Like It
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Natasha Richardson and
John Woodvine in Anna Christie
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My late partner Bob was a great fan of Alec McCowan - he first saw him in THE MATCHMAKER - possibly Edinburg Festival production - and I think Ruth Gordon was Dolly. I seem to recollect him as Kipling - possibly at the Mermaid - memory gets hazy. I remember he was an admirer of Max Miller - and a blurred memory of him doing an impersonation.
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<
Click on pages (left) to enlarge these autographed programme
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There was a wonderfully funny production of THE COMEDY OF ERRORS at Stratford (directed by Clifford Williams) in which Alec and Ian Richardson were the twins, with possibly Michael Williams as one of the other twins - I was very taken with a striking looking young woman playing A Courtesan - Diana Rigg! In THE MERRY WIVES when Ian Richardson was Ford, he gave his jealousy speech at a breathtaking lick, every word still clearly audible, much like a Rossini patter song, and the audience rose to him too.
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Ian Richardson / Alec McCowan
Michael Williams / Diana Rigg
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Ian Richardson and Alec McCowan
as twins in The Comedy of Errors
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Angela Lansbury as Mrs Lovett
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In musical theatre standing out full and strong is Angela Lansbury's Mrs Lovett in Stephen Sondheim's SWEENEY TODD - seen and wondered at twice in one week - we sat amazed at her 'Worst Pies in London' - an actress at the top of her game faultlessly singing a song that would scare the wits out of most performers.
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We were fortunate to experience ('see' and 'enjoy' are words too weak) SWEENEY twice in the too vast Uris Theatre in New York. So very impressed were we that we went to the offices of RCA to enquire about a recording - the girl on the desk had no idea what we were talking about so I pointed to the Sweeny poster that was in front of her - nil response!
Golly, I am well down memory lane . . . . . .my head is full of such trivia, my life in other people's achievements!
Donald
Fredo adds -
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The production of The Matchmaker that Bob enjoyed had a notable cast. It included Sam Levene, soon to be the original Nathan Detroit in Guys and Dolls, Arthur Hill who went on to create the role of George in Who's Afraid of Virginia Woolf?, future Broadway star Eileen Herlie, and comedy legends Peter Bayliss, Peter Sallis and the great Prunella Scales.
But it was another name in the cast that sprang out at me:
Patrick McAlinney.
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Never a star, but a busy character actor on stage and television (and appearing years later with Alec McCowan again, in Hadrian the Seventh) “Paddy McAlinney” was often pointed out to me on screen by my father – they had been friends in their youth. In fact, Mr McAlinney's sister Mrs Finnegan still lived in Enniskillen and was a prominent member of the community in the 1960s .
When I was 20, and spending the summer working in London, I recognised Patrick McAlinney catching the same Piccadilly Line train at Northfields station. Shyly, I approached him, and introduced myself as Vincent Donnelly's son. He placed me instantly, spoke of my father's death, and was very pleasant and kind on our shared journey to Piccadilly Circus.
It was ashort acquaintance, but one that I remember with great affection.
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30 March
Mike Writes -
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Hampstead Theatre have just announced that you can watch three of their recent productions at home, FREE of charge. This service is provided in conjunction with the Guardian, and takes place over the next three weeks beginning this week with Mike Bartlett's Wild. We took the Group to see this back in 2016 and remember it being one of the highlights of that year.
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If you missed it then or want to see it again, click HERE (or search for Hampstead Theatre) where you can find all the details on the Hampstead Theatre website.
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EARLIER THEATRE DIARY ENTRIES CAN BE FOUND HERE
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CORONAVIRUS
04/03/20 - At the time of writing everyone is aware of what precautionary measures we have to take to prevent the spread of Coronavirus. No definite instructions regarding travel, etc have been given by the government as yet, which could affect our plans, only possible future scenarios.
We intend to continue with our Group theatre visits as long as possible. If you have any cough/cold symptoms you may prefer not to join us, in which case please let us know as far in advance as you can.
If we are given specific advice regarding large gatherings, theatre closures or older people, we shall of course heed that advice.
We must emphasise that NO REFUNDS can be given unless a theatre performance is cancelled and the theatre makes a refund to us. If a theatre remains open but we are unable to take a coach to London, we can provide you with your ticket details on request so you can make your own way there.
Any update on these arrangements will be announced here on our website. In the meantime, keep washing your hands and KEEP CHECKING HERE.
Fredo and Mike
17/03/20 - In line with the government's recommendations, all West End theatres have closed until further notice. Click HERE for the statement from the Society of London Theatre.
It appears that we shalll get a refund on our tickets for cancelled performances, and when we receive the money, we shall refund all our customers. Please be patient; it will take some weeks for the theatres, and for me, to sort, this out.
Initially, I will deal with bookings for shows scheduled in the near future and people who booked for these have been notified separately. Thank you for all the kind messages we received in response. I will deal with later shows when there is more guidance.Theatres may not make refunds for later shows until they are certain the performances cannot take place.
If you wish to contact us, please do NOT phone or leave a message - please send an email or text.
In the meantime, this seems like a good opportunity to thank you all for your support, and to wish you well in the next weeks and months. Keep safe and well.
Best wishes
Fredo & Mike
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THEATRE NEWS HEADLINES
Just click HERE to go to the whatsonstage.com Theatre News Headlines which are automatically updated throughout the day. You will find articles, reviews, interviews...
and of course News.
Alternatively click HERE to find Theatre News from officiallondontheatre.com.
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OUR OWN PREVIOUS NEWS ITEMS FROM THIS WEBSITE CAN BE SEEN HERE.
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ALPHA INDEX
Bookings (Currently on offer)
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This is a not-for-profit UK theatre-going group for our friends and colleagues and their own extended group of friends. It costs nothing to join us but must be by personal introduction from another member of the group. We provide tickets at group discounts for London theatres (and coach transport from Southend, if required).
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Click on the ear (above) to read about
Hearing Devices
now available in many theatres. They may be of help to YOU.
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 theatreCat
Libby Purves
reviews
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Click on the Cat
to read Libby's reviews
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Ticket Price Watch:
For updates on higher prices and what the producers want you to pay. We also give you occasional news on any Discount offers -
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Venice Footnotes
+ reports and photos
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Ask us about
Theatre Tokens:
They make ideal gifts for theatre-going friends. They are available in denominations of £20, £10 and £5 and can be used to buy theatre tickets at all West End theatres and the half-price tkts booth in Leicester Square. You can buy them from us and we accept them too.
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