UK Amateur Companies

To be honest, I don't think enough people see enough amateur theatre round the country on a regular basis to make a fully informed opinion. Most of us probably support local companies and those involving friends - and possibly see a show when we are away and see a title that appeals.

In terms of musical theatre groups, there are those who are viewed by rights companies as being at the top end who get offered new shows ahead of companies at large. However I think that is a judgement made on the basis of sales/royalty payments rather than quality - as very few rights companies actually send representatives out to see the shows.

Groups that I am involved with regularly perform at the two big theatres in Oxford - Oxford Playhouse and the New Theatre - but I haven't seen enough comparable companies to know how they compare. I know that everyone in those groups aspire to being as professional as possible in terms of quality - but there is always a cap on that ambition.

Last year, a show I had directed was reviewed very favourably by a local journalist who despises 'am dram' (and makes reference to that at every opportunity) - and she reported that her companion had no idea that it was an amateur cast and the two of them had enjoyed it as if it were a professional show. That is only the opinion of one critic - but one I will treasure.

Does that mean that particular company is one of the best? Absolutely no idea. Just mean we tried really hard to deliver something good and on that occasion got it right.

It reported that 2 million people are involved in amateur theatre in some way in the UK - there will be some really good shows and some really awful ones, and many more in between. In order to survive in the bigger venues, amateur groups now have to charge near professional prices just to make the economics of it all work - so they have to work to match the expectations of the audience.

I am not sure that it would be right to try to rank amateur groups - just support them as they give up their time for something they really love. WHen that love shines through, it is worth celebrating.

SEDOS do some good stuff.

Having just moved back to Glasgow it's nice to be reminded how important and thriving the am dram community continues to be. As a youngster it is what prompted me to head off to London to work in theatre. Now that I'm back I really will need to get involved again. Am dram does great work across the country in keeping old shows alive and giving life to new ones. Long may it continue to pursue excellence.

I recently saw the SEDOS production of Candide and it was really good. I haven't seen them before but I would see them again

Where are you from in the Highlands and what groups are you part of? (so many questions!)

I've moved back because my fiancé is off to uni to study Photography. Sadly, that means I have to semi-retire from professional performing and get 9to5 job as there can only be one starving artist in the family at a time. I'd love to be involved with some AmDram during my time here but it's terrifying having all these companies to choose from and not knowing anyone.

SEDOS are doing The Nether (amongst others) this September for those that missed the original production sedos.co.uk/members/index.htm

After a childhood in amateur theatre and then shunning all theatre for a decade I have recently(ish) seen 5 amateur productions (including one at SEDOS(?)) and 4 of them were just what it says on the tin - amateur. The other one was full of ex-pros and people about to enter the profession and was almost to a good standard

What's the point in going amdram if they are charging what it would cost to go see a pro production? And the audiences can be REVOLTING (I'm looking at u Sunset Boulevard SEDOS - just because you're friends with the cast is no excuse to SHRIEK. At EVERYTHING)

I'm not dissing amdram and in me kiddie years I saw a lot that influenced me and at a really cheap price but when you start paying £12+ to watch a lot of people play dress up, well I just don't see the point. It's NEVER as good as spending on a proper show and at least with that u r actually helping support people financially. I like to know that my decision to have an ice cream at interval will have a direct affect on if Johnny Ensemble can turn on the heating that night or not!

Or something

I understand what you are saying, but where would you see a professional show for under £20? Unless I sit in the back of the gods and have my arthritic knees in agony through lack of leg room, my local theatre's tickets are all around £30-£45 (and sometimes a bit more if it's a really big show).

The National Theatre, the Old Vic, the Young Vic, the Globe, the Donmar, the RSC, Chichester, the Royal Court, the Almeida, half of the West End, half of the fringe, and even my local theatre as long as it's not one of the big touring musicals. Getting tickets to professional theatre for under £20 is EASY.

I like drama school productions. I haven't seen many, I tend to go mostly when it's the only reasonable opportunity to see a particularly beloved play, but the price can't be beaten and it's really nice when someone you saw as a student goes on to do well in the professional arena.

Drama school productions can be excellent, I'm lucky that RWCMD consistently puts on excellent productions and as Baemax says it's a chance to see much loved plays that aren't done professionally or for a fraction of the cost. Conservatoire schools like that tend to have a higher production value standard, and do on the whole more 'mainstream' stuff, but likewise Universities with a decent drama department sometimes put on a good show (admittedly more hit and miss and more of the experimental type)

Meanwhile, I can see both Amdram and professional for around the same price locally, but it's also about what they do- so I can see many a 'classic' play or a Shakespeare by amdram companies that I might not see/afford/travel for with a professional so it works out well.

Admittedly SOME audiences can be vile, but you get to know which local companies/which shows are likely to incite what behaviour.

Yes, I try to see all the RWCMD productions. As Bellboard says, it makes a huge difference that they have Production and Design students as well as Acting. Recently, for example, the design and production for Killer Joe were outstanding. Some of the acting really stands out (in a good way! - like Anthony Boyle's first show last year). They also involve Music students occasionally, on an ad hoc basis dependant on the director. Most of the directors are visiting professionals, with only a few college lecturers each directing just one public production each year. For example, Ned Bennett directed Pomona at RWCMD six months before the Orange Tree production, and electrified us all! And last summer he returned with a new play based on The Rover which was one of the best shows I saw anywhere all year, and I know that the RSC production of the original play will seem insipid in comparison when I see it. It must be different at other drama schools which have training for Directors who direct some shows there.