Tina Fey’s sharp script from 2004 still holds up pretty well 20 years later. Mean Girls was one of those films that entered our vocabulary. “You can’t sit with us!” is a way to perkily exclude someone. “Stop trying to make fetch happen!” has been used countless times when someone tries to start a lame trend. And when someone is described as a “mean girl” – even if that person is well and truly into adulthood — the meaning is automatically understood.   

From screen to theatre, what are the differences?

Damian and Janis played by Tom Xander and Elena Skye. Photo: Brinkhoff/Moegenburg

Now Mean Girls has come to the stage at London’s Savoy theatre as a musical. There have been a few tweaks to the script because the world has changed and changed again in the past two decades. There are references to Ozempic, air fryers and smartphone filters. But perhaps the most significant change is making Damian and Janis, the two gay characters, the narrators. They replace Cady, the lead character and narrator played pitch-perfectly by Lindsay Lohan in the original film.  

It would be lazy and asinine to roll one’s eyes and scream “WOKE GONE MAD!” while waving a rolled-up copy of the Express at a cloud because of the new narrators. Bringing Damian and Janis to the fore is a great way to update the script. This doesn’t take anything away from a storyline that still resonates with pretty much anyone who went to high school.  

The prominence of Damian and Janis, performed excellently by Tom Xander and Elena Skye, modernises the show. It is a wonderful way to show how society has grown up and moved forward in the past 20 years. The script has come of age, along with wider society. Xander and Skye’s presence, peppered with dry humour and camp fun, is important for gay teenagers who will see this show.  

Changing times

That there hasn’t been an outcry over this change speaks volumes. No hysterical newspaper columns. No homophobic Twitter storm following the reviews. Good. While we are seeing a lot of increasingly angry, divisive and often toxic debate on LGBTQ+ issues, the elevation – without controversy – of two gloriously gay characters is a joyous, positive thing. It is a theatrical moment to be proud of.    

Regina George and Regina’s Mum. Played by Georgina Castle and Zoe Rainey.
Photo: Brinkhoff/Moegenburg

As for the story itself, fans of the film will be pleased to know it still follows the same 2004 arc.

The easy – some would say cheap – laughs are still there. Regina George still gains weight by accidentally devouring what she thinks is a diet supplement. Karen is still almost irredeemably stupid. Regina’s mother is still the tracksuit-wearing lush who wants to be her daughter’s best mate, rather than a parent.   

Would the script feel more 2024 if Regina became accidentally addicted to Botox and fillers? Maybe, although I’m not sure how that could be shoehorned seamlessly into the script.   

Was Karen’s idiocy laid on a bit too thickly? Maybe, although most of us can recall laughing at something daft someone said in class many moons ago. I remember one of my school friends responding to the history teacher asking, “What happened to Schleswig-Holstein after WWII?” She said, “he was shot.” I’m still a history nerd and that 33-year-old incident still cracks me up

As for Mrs George as the perma-drunk matey mum, I remember this genre of parent in 1980s and ‘90s rural Australia. I’m sure they still exist in the UK and beyond in 2024. They’re a fair target for parody. She (or he) could be reading this very article now.  

While this latest incarnation of Mean Girls has come of age, along with the rest of us, it’s not a classic coming-of-age tale. But it doesn’t have to be an earnest Dead Poets Society-style show. The universal themes of bullying, of wanting to fit in, of doing terrible things to each other all resonate way beyond our school days. In Mean Girls at the Savoy, they’re told with a lively script, a dizzyingly bright set and bouncy tunes.   

Another article you might like:Midlife Coming of Age

We are all Mean Girls deep down

Georgia Lewis and Sangeeta Pillai

My hot date for press night was the amazing Sangeeta Pillai, who runs an award-winning sex-positive podcast for South Asian women. Our school days were worlds apart. Mumbai and the Australian towns of Wagga Wagga and Bathurst might not have much in common at first glance, but we both went to school with people who are reflected in Mean Girls. Kids can treat each other abominably, no matter where you go.  

As Sangeeta and I discussed after the show, it is not uncommon to come across people in our adult lives who don’t seem to have evolved from when they were at school. Jacob Rees-Mogg, 55, is way too obsessed with where people went to school and what that supposedly says about them, for example. I can think of plenty of prominent people who make a fine living out of embarrassing attention-seeking. The other day, LinkedIn suggested I connect with a former boss who was – and for all I know and care, still is – the epitome of an overgrown mean girl.  

Schoolyard behaviour doesn’t necessarily end for everyone when they leave school. But the one thing we can control is our reaction to adult Mean Girls behaviour. The Mean Girls characters come of age and become better people before our very eyes on stage. And there’s no reason why we can’t go through this process multiple times when we’re adults.    

The Plastics. Played by Georgina Castle, Charlie Burns, Elena Gyasi and Grace Mouat
Photo: Brinkhoff/Moegenburg

Without giving too much away, there is an inevitable resolution at the end of Mean Girls. And in midlife, many of us come to our own realisations and resolutions about how we treat other people – and how we expect to be treated by others. It’s a bonus coming of age. My latest coming of age process has been about setting boundaries and not being afraid to cut out toxic people.   

There is plenty for grown-ups to relate to in the Mean Girls musical, whether it’s teenage characters who give you schoolyard flashbacks, teenage characters whose behaviour is reflected in adults, or adult characters who make you feel seen.

Above all, Mean Girls is a lot of fun. The main reason to go along is to have a good laugh. But only the most sheltered theatregoer will leave without having a few thoughts provoked by Tina Fey’s fantastic writing.    

Book tickets here: Mean Girls Stage Show

Georgia Lewis

In a career that has spanned Australia, the Middle East and the UK, Georgia has written about all sorts of things, including sex, cars, food, oil and gas, insurance, fashion, travel, workplace safety, health, religious affairs, glass and glazing… When she’s not writing words for fun and profit, she can usually be found with a glass of something French and red in her hand.

The post Mean Girls stage show – our review appeared first on Silver Magazine.

Finally, we have a first glimpse of the avidly-awaited eight-part series made for television, Rivals, based on the celebrated novel by Dame Jilly Cooper. And yes, we are VERY excited.

For those of you who don’t know (where have you been?!) Rivals delves headfirst into the ruthless world of independent television in 1986. It’s part of Cooper’s bestselling ‘Rutshire Chronicles’, the iconic literary series packed full of wit, romantic entanglements, sex and unforgettable characters. It’s like Dynasty with Barbours.

What’s the story?

Alex Hassell as Rupert Campbell-Black

In the fictional county of Rutshire, a long-standing rivalry between two powerful men is about to boil over. Alex Hassell plays dashing ex-Olympian, Tory MP and incorrigible rake, the dangerously charismatic Rupert Campbell-Black.

David Tennant plays Rupert’s single-mindedly ambitious and egotistical Rutshire neighbour Lord Tony Baddingham, controller of Corinium Television. A long-simmering power struggle between the two men threatens to boil over when they lock horns over the future of Corinium.

Caught in the crossfire is TV presenter Declan O’Hara, played by Aidan Turner. Fiercely intellectual, with an even fiercer temper, he is wooed to Corinium TV from the BBC by Baddingham himself. But feels he’s been swindled when Tony refuses to deliver on his promises. Furious with Tony, Declan vows to get his revenge.

Aidan Turner as Declan O’Hara

David Tennant as Lord Tony Baddingham

The rest of the cast includes Victoria Smurfit who plays Maud O’Hara, a former actress and Declan’s bohemian, fickle wife. And Bella Maclean, who plays Declan and Maud’s tender-hearted yet strong-willed elder daughter, Taggie. She holds the O’Hara family together and keeps an eye on her younger and wilder sister Caitlin, played by Catriona Chandler.

Read more: One Day, set in the 1980s – why do we enjoy nostalgia?

And yet more talent

Nafessa Williams as Cameron Cook

Roguish Danny Dyer stars as Freddie Jones: honourable, loyal and lovable, he’s a self-made electronics millionaire. Freddie’s got the money, but finds himself, along with his social-climbing wife Valerie, an outsider to Rutshire’s cliques. But when Rupert and Tony come to him with a business proposition, all that could change.

Nafessa Williams is Cameron Cook, a ferociously talented American TV executive who is brought to Corinium by Tony to produce Declan’s new prime-time talk show. She soon finds herself caught between the two powerful men who deeply underestimate her – at their peril. Katherine Parkinson stars as Lizzie Vereker, a romantic novelist consistently overlooked by her preening and self-centred TV presenter husband, James Vereker, played by Oliver Chris.

The series includes a whole hotbed of other acting talents. Such as Claire Rushbrook, who plays Lady Monica Baddingham, Tony’s dependable, upper-crust wife who has absolutely no interest in the dramatic goings-on within her husband’s empire. And Luke Pasqualino plays the charming Basil ‘Bas’ Baddingham, Tony’s younger brother and the proprietor of Cotchester’s hot spot, ‘Bar Sinister’. While Emily Atack plays Sarah Stratton, the new wife to Deputy Prime Minister, Paul Stratton, played by Rufus Jones. Sarah is ambitious, and not afraid to use her looks to get to the top. Paul, on the other hand, is in the throes of a midlife crisis – and everyone knows it.

Jilly is thrilled to see Rivals come alive on television

Executive producer and Rivals author, Jilly Cooper said, “I’m utterly enchanted to be able to announce our all-star line-up for Rivals. Featuring some of the best acting talent that the British Isles has to offer, I couldn’t have dreamed of a better ensemble cast.

“I cannot wait to be on set, and see them bring the characters I love so much to life. The minute we met with Alex we knew he’d perfectly embody my all-time hero. The iconic, racy, ruthless, and devastatingly handsome, Rupert Campbell-Black. Viewers are in for a treat!”

The television series Rivals, based on the novel by Jilly Cooper, is set to debut on Hulu in the U.S. and on Disney+ in other countries later this year.

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The post A first look at the lineup for Jilly Cooper’s Rivals appeared first on Silver Magazine.

Stereotypes abound of lazy millennials and Gen Zs who are too scared to make a phone call, when they’re not busy being triggered by full stops. At the other end of the age spectrum, “OK, boomer” has become a widespread response to anything anyone over 70 says. Especially if it involves the alleged good old days. In the middle, Gen X is probably, I dunno, thinking ‘meh, whevs’ and listening to Absolute Radio 90s… But none of this beefing across the decades is particularly edifying or constructive – or even accurate in many cases. Which brings me nicely to my Red Pitch review, about a wonderful coming-of-age play.

The play centres on three 16-year-old black aspiring footballers, Bilal, Joey, and Omz. They live on the same inner London estate. And they are all hoping to impress the scouts at try-outs for QPR.

That might not sound like the premise for a relatable night at the theatre for anyone older than about 21. Or anyone who doesn’t care about or can’t play football. But it is definitely worth the pleasingly affordable ticket price. For all three, the chance to play for QPR represents a chance to be successful, help their families and overcome unfairly low expectations.

Emeka Sesay as Joey, Kedar Williams-Stirling as Bilal, and Francis Lovehall as Omz, photo by Helen Murray

The play doesn’t descend into tired stereotypes about gangs, drugs, or knife crime

Instead, it is a powerful state-of-the-nation wake-up call in a country. Where people are still judged by the colour of their skin, and their age.

As the surface is scratched, it soon becomes clear that Red Pitch is not just about three lads kicking a ball around and arguing over Twix bars, chips, and chicken wings.

Omz is a young carer for his 81-year-old grandfather. Bilal is living in the shadow of a tough father with impossible standards. Joey is the most privileged of the three friends, but he is full of righteous anger about those who are being left behind by the gentrification of their estate.

For anyone who was 16 many moons ago, there is a lot to learn from the fast-talking, wisecracking trio. When we – and our parents and grandparents – get older, caring responsibilities cast shadows over our lives.

The characters are hugely relatable

As much as anyone might want to be stoic and dutiful when it comes to caring for ageing relatives, it was easy to relate to Omz’s constant worrying about his grandfather. It is an act of love that will always be tempered by stress, heartache and glimpses of our collective mortality. It was tempting to rush onstage and give outwardly brazen but inwardly fragile Omz a hug. Especially as Soho Place’s in-the-round setting means you can almost touch the actors from the stalls.

Read more: behind the scenes of a small theatre company

With Bilal’s story, the pressure placed on him by his unseen but exacting father must have revived memories for many of the adults in the teen-heavy audience. Parental pressure to succeed – but only in certain fields – and dealing with teenage disappointment that lingers into adulthood, are themes that don’t stop being relatable as we age.

Then there’s Joey, who aspires to be a lawyer and a footballer. It might sound incongruous for a 16-year-old to be full of rage about the changes coming to their rundown but beloved estate. But the deft script means he doesn’t sound like London’s youngest pub bore. It is clearly a reflection of the displacement of social housing tenants that has happened at Elephant and Castle.

The neighbourhood has become shinier at the expense of soul and of the security of longstanding communities.  This is a big message for a play about three teenagers, but it is important and thought-provoking. It can be easy to forget how young people need that sense of belonging that is imparted by strong communities. Even if the buildings are unpretty.

Delving into nostalgia

For me, the play was enhanced by the fact I was surrounded by teenagers and young adults. The smell of Skittles, Doritos and teenage deodorants reminded me of high school in Australia. That era’s aromas were tuckshop food, Rexona Sport and Body Shop White Musk. I’m sure the scents have changed, but it is a universal and constant truth that rooms populated mostly by teenagers tend to smell like junk food and cheap fragrances.

When the initial feelings of nasal assault were replaced by nostalgia, it provided a sense of comfort. This amid a play that is designed to make people feel uncomfortable. As I left the theatre, I overheard an elderly gentleman confess that he only understood about 50 percent of the dialogue. But I hope that even if he was confounded by the fam-laden script, he was able to see that young people are facing challenges that are simultaneously unique to their generation, while being common to us all. We can and should do better to understand each other, rather than resorting to cheap stereotypes that reduce us all.

• Red Pitch runs until 4 May 2024 at Soho Place theatre, London

Georgia Lewis

In a career that has spanned Australia, the Middle East and the UK, Georgia has written about all sorts of things, including sex, cars, food, oil and gas, insurance, fashion, travel, workplace safety, health, religious affairs, glass and glazing… When she’s not writing words for fun and profit, she can usually be found with a glass of something French and red in her hand.

The post Red Pitch review: exploring cross-generational challenges appeared first on Silver Magazine.

Why must we always paint everything in such a negative light? Yes, changes are occurring, and menopause can be a challenge for some, but what if we just reframed midlife and looked at it as a time to choose, rather than a time of crisis?

It might come as a shock, but the idea of a midlife crisis has only been around since the mid-60s, thanks to some questionable Canadian psychoanalyst named Elliott Jaques. But is the crisis even real? A 25-year study from the University of Alberta concluded that happiness doesn’t just come to a screeching halt when you turn 40. In fact, overall happiness tends to increase as we get older. 

So what’s with all the negativity?

Sure, by the time we hit midlife, we’ve been through some pretty major changes. We might have switched careers, retired, experienced loss, raised children and seen them leave, or had relationships that failed. And let’s not forget about the hormonal rollercoaster we’re still riding. 

But just because we’ve reached the halfway point, it doesn’t mean we need to freak out. 

The trappings of responsibility are falling away, and we have the freedom to focus on our own happiness

Instead of spiralling into confusion and asking ourselves if we’re enough, why not pause and reflect? Adjust our goals and make peace with our past? We’ve got options now. The trappings of responsibility are falling away, and we have the freedom to focus on our own happiness and leave behind the things that no longer serve us.

A 2016 study from the British Psychological Society discovered that people who experienced a midlife ‘crisis’ and were ultra-focused on their purpose in the world were more likely to find creative solutions to their challenges. All it takes is a shift in the way we think. We can use the skills we’ve honed over the years – strength, resilience, resourcefulness, adaptability – to move on, form new relationships, travel more adventurously, and think differently. We can set new boundaries around living for ourselves.

It’s all about perspective

As the brilliant Brené Brown once said, “People may call what happens at midlife a ‘crisis’, but it’s not. It’s an unravelling – a time when you feel a desperate pull to live the life you want to live, not the one you’re ‘supposed’ to live. The unravelling is a time when you are challenged by the universe to let go of who you think you are supposed to be and to embrace who you are.”

I know it sounds scary, making a choice to relinquish the old stuff and grab hold of the new. But what’s the alternative? A downward spiral of dissatisfaction and, ultimately, despair? Let’s not sink fully into the crisis, never to emerge. Instead, let’s embrace the unravelling! 

It can be hard work for some, and sometimes we need to summon every ounce of our courage. But think of the opportunities that lie ahead, you beauties! We’re all coming into our power in our sixties, just like the fabulous Helena Bonham Carter said. Let’s make that journey together.

Read: How a life changing retreat transformed this 60-year-old’s life

Grace Fodor

Pro age warrior, beauty expert, and founder of Studio10, grown-up beauty. Skincare, makeup and pro-fixes uniquely formulated for mature skin.  Studio10’s PRO AGE movement reframes the misguided notions and negative social constructs of middle age that diminish our worth, beauty, and confidence.

The post Midlife is a time for change, not a midlife crisis appeared first on Silver Magazine.

Nobody said doing what you love is easy. Life gets in the way; children, jobs, bills. And before you know it, you can feel like your dreams of fame and fortune are lost. But perhaps not. If theatre is your dream, and you’ve ever wondered what it’s like doing am dram, we’re going to take you backstage to find out.

Meet some of the Southwick Players. The Players is a long-standing theatrical group based in Sussex presenting community theatre since 1935. Producing multiple shows a year, there’s everything from a mix of musicals, comedies, contemporary plays, to the classics.

And many of the Players directing, set-building, writing, making costumes, and acting are over 50. They’re busy proving that it’s never too late to engage that passion you might have put on the back burner.

Meet some of the Players

Ron Common

I do find it challenging to accept that I can’t be in every play

I’m a retired railwayman whose journey has been shaped by family, golf, painting, and an unexpected venture into theatre. 

Ron Common

Getting into Southwick Players is a bit of a long story. My sister-in-law and her husband were members of Shoreham British Legion and someone came up with the idea of doing a panto, using a script written by a member during the war. I commuted to the panto rehearsals with a chap who was a member at Southwick. I turned up to learn more, and felt it was time to stretch myself. That was 31 years ago now.

Joining Southwick Players gave me the opportunity to direct my own first full-length play, Whose Life is it Anyway. I was fortunate in having an exceptional cast to work with for this very moving play. I’m often seen as always being ready for a laugh, and although I am, this showed my serious side.

Balancing rehearsals and performances has been made easier by my wonderful wife and previously patient and tolerant bosses. Now I’m retired, everything is much easier to fit around rehearsals.

Ron in A Christmas Cracker, 1997

I do find it challenging to accept that I can’t be in every play. Getting older means you can’t sing or dance as well as you used to, and learning lines becomes harder. I have to conquer my ego that says I should play lead in every production. But, that’s not to say you shouldn’t audition for the parts that feel right for you. Of course, the director has the final say when casting, but there are other ways to get involved in productions. I’m currently our props co-ordinator and archivist, and I’m soon to direct A Tale of Two Cities.

For anyone contemplating amateur dramatics, I’d say go for it. You’re never too old to try. Ok, there may not always be parts for someone your age but there may be in the next one. If you don’t fancy acting, there are plenty of other areas vital to production. 

Read more: My first time taking a holiday alone over 50

Chrissie Blount

Being a member has comforted me through many personal ups and downs

I enjoy a full life working part time, singing in choirs, volunteering, and of course being in Southwick Players. All despite being in my seventies. I had always enjoyed singing in school choirs and so on,

Chrissy Blount (Credit: Tom Faulkner)

but I didn’t really venture into theatre until about 30 years later, when I was chivvied by neighbours to help organise a panto to raise funds for the local village church hall roof. I ended up being the heroine (very badly cast!) and organising the songs. I was terrified, but it re-ignited my love for the theatre – watching, performing, singing and being part of a group.

I then got into Southwick Players through a golfing pal, Ron, who I’d watched in various productions. He convinced me to play a green elf in the play Lord and Ladies, by Terry Pratchett, in about 2000. 

Being a member has comforted me through many personal ups and downs. Even when I’ve had a break from productions, the social events and friendships have provided stability. I’m surprised at how many friends I have made. Even through Covid, we banded together to perform some murder mystery productions over zoom to raise money for various charities. When everyone was feeling cut off from family and friends, we got to bring a little entertainment to people; we even had some audience members joining from America.

Chrissy Blount as The Duchess in Murder on the Simpleton-Orient Express (Credit: Tom Faulkner)

Before Southwick Players, I don’t think I realised the satisfaction I’d get from audiences appreciating the shows. Especially after I’ve had a hard time learning a new accent for the role.

Being in amateur dramatics later in life does have its challenges. I have to make sure my phone diary is always up to date, so I can plan my time. I like to be busy, so it’s just a question of being sure of what I can commit to. I feel lucky that I have the opportunity to get involved with Southwick Players, when for others it’s not as easy to do so.

It has totally helped me build my self-confidence over the years. Just being able to prove to myself that I can learn something new. But, also when I’ve had personal issues or health concerns, the support of the group has been a huge benefit. Any drop in confidence is quickly boosted again. 

Tim Ingram 

You don’t have to be a stage performer from day one to get involved with amateur dramatics

Tim Ingram. Photo: Miles Davies

I was heavily involved in local theatre during my younger years, until work and family commitments took precedent. It wasn’t until taking early retirement in 2015 that I was invited to join my old theatre group for a production of West Side Story. My love for musical theatre was rekindled. I’ve been with the Southwick Players since a friend encouraged me to audition for a play her was directing, in 2019. It was immediately a very warm and welcoming community of people, and has become something of a second family.

In my older age I do find learning lines much harder when doing a play. Actually, recalling lines is much easier with music (a little tip for those of you who also struggle)! But, my maturity brings an element of enhanced skill in performing. Although less so physical performing. I suspect my stage dancing days are pretty much done.

I do think theatre means a lot to people. Being involved with theatre at a young age helped develop my confidence and communication. Additionally, we wouldn’t have shows with the audiences and the support they provide. There’s also a lot of work that goes on behind the scenes to deliver a show. Our workshop teams that provide the sets, the props people, the costumiers, the front of house teams. They all bring such skill and are often the unsung heroes.

You don’t have to be a stage performer from day one to get involved with amateur dramatics. There are lots of roles behind scenes if you’re nervous to tread the boards straight away. 

Elizabeth Gibson

Acting now does have its challenges that weren’t there when I did youth theatre

I’m an ex-Londoner now living in West Sussex. I’m not in paid employment any more, but I volunteer for a couple of charities. I’m a member of several amateur dramatics companies, as parts for ‘women of a certain age’ are sometimes few and far between.

Elizabeth Gibson

After being involved in a big choir, we sung a lot of choral masses in Bulgarian, I was persuaded to try amateur dramatics. I hadn’t trodden the boards since my days in youth theatre in South London, so went to see a play by my local group. After a few shows with that group, I looked for another good group with parts for me and found Southwick Players. 

I’ve met some great and talented people through the group. Being in a show usually means turning up for rehearsals two or three times a week. You do, of course, have to spend time learning lines. I usually call upon my husband’s support and understanding, and his ability and willingness to prepare his own meals.

I will never forget the first play I did with the Players, See How They Run. It’s a farce, with lots of vicars, and people pretending to be vicars. Rehearsals were all great fun with lots of laughter amid the seriousness involved in putting on a comedy. And the show was a great success with audiences.

Elizabeth Gibson in pantomime costume

At one point I had to ‘pass out’ and lie on the floor, while other characters ran in and out, jumping over me. One of these accidentally trod on my hand and reminded me of it every time I saw him afterwards. It hadn’t particularly hurt, but as the young man has since passed away I think of him every time I think of the play – he was a particularly brilliant actor and much missed.

Acting now does have its challenges that weren’t there when I did youth theatre. When I was young, I could learn my lines on Sunday for a play we were starting rehearsals for on the Monday. Nowadays, it takes a lot longer to get them into my head. Movement is a bit more restricted too. Recently I was called on to do a backwards roll, and I did try. But we ended up having to adapt my exit to crawling off, which I was just able to do. 

Roy Stevens

I live on my own and it’s a great way to be involved with a group of friendly likeminded people

I’ve been a retired bank manager for about ten years, although I have now retrained to work part time teaching English to foreign students in Worthing. I’ve been involved with amateur dramatics for many years, and a part of Southwick Players since lockdown. So, my first interactions with the company were over zoom meetings to read plays.

Roy Stevens

Southwick Players has had a big impact on my life. I live on my own and it’s a great way to be involved with a group of friendly likeminded people. It gets me out of the house regularly, and there’s a good social side to it. 

You do have to be quite organised and disciplined with your time. Learning lines takes a lot of effort, and I normally allocate some time each day to go over lines. You have to attend two rehearsals a week, and show week is a big commitment, so normal life gets put on hold that week.

From my experience, I think the biggest challenges of being an older perform are that you have to work harder to learn lines, and perhaps stamina for the role you’re playing. Or, if the show is physically demanding, pantomime for example, can be quite draining in a way that wouldn’t have been twenty years ago.

If you are considering joining an amateur dramatics group later in life my advice is, “don’t just sit there do it !” It’s great fun, get’s you out and good for your mental simulation. Even if you don’t want to act there are always plenty of jobs to do back-stage and they are generally a very friendly bunch of people. Expect a warm welcome, but be prepared for a commitment of time and effort, you won’t regret it.

Sally Diver

Theatre holds a mirror in front of society and reminds us how lucky we are that we’re free to be creative and express ourselves

For most of my working life I was a secretary, alongside raising two wonderful children who have blessed me with five adorable grandchildren. I retired early and took a part time job as a view guide for an estate agent. Being paid to show people around new houses and chat all day, what’s not to like?

Sally Diver

I wanted to go to a children’s theatre school as a young girl but my mother put a stop to that. Then after school I considered getting into acting; but I started a job, met a boy, and before I knew it I was a wife and mother. I saw an ad for Southwick Players in our local newspaper and went to an open evening. That was thirty years ago now!

Southwick Players has made me friends for life. I met my best friend through Players. We go away on holiday all over the world, fortunately my hubby doesn’t mind. I also do voluntary work, through Players, for the Southwick Community Centre. I carry out the training of the front of house staff, and organise cover for many visit acts.

Being part of this group has filled my life with many benefits. I’ve grown from a shy actor to a director, and even temporarily the acting president of the Players. Plus, found I’ve got a knack for advertising and won Best Publicity at the Brighton and Hove Arts Council Drama Awards six years on the trot.

Sally Diver on stage (Credit: Miles Davis Photography)

Performing arts plays such a key role in encouraging us to expand our imaginations and explore our emotions. Theatre holds a mirror in front of society and reminds us how lucky we are that we’re free to be creative and express ourselves. It’s certainly a tool for education as well as entertainment.

I don’t think you ever stop learning in theatre. I’m sure my style has changed, but only because I’ve got more experience. I try to play it as naturally as possible. If you don’t believe, then neither will the audience. Although directing is much more my thing now.

Frank Horsley

Acting with the Players has boosted my self-esteem and made the outside world easier to negotiate

Now retired after 40 years as a journalist and two years as a drummer in an Elvis tribute band, I fill my days with walking, reading, attending concerts, and reunions with old journalist friends. I reviewed many of the Southwick Player’s shows in the 1970s as a young journalist. However, I didn’t go on stage until 1996 with Adur Theatre Company for a behind the scene panto feature in the Worthing Herald paper. This led to me joining the players in 2005, first appearing in Scrooge the Musical.

Frank Horsely in the Government Inspector poster

Being with the Players has made me lots of new friends. It’s also a brilliant place to regularly venture outside your comfort zone, either in taking on weightier roles or performing to a larger audience. 

Being retired and living alone makes it a lot easier to devote myself to the months of preparation needed for any production. When I was still working, I always took show weeks off, because it’s almost impossible to focus on anything else when you have the next performance buzzing round your brain.

Acting with the Players has boosted my self-esteem and made the outside world easier to negotiate for someone who was desperately shy as a youngster, but there’s never any room for complacency or cockiness. You’re only as good as your next performance. 

If you’re considering amateur drama, just do it. You’re a long time retired in that great green room in the sky. And although I’m far from impartial, expect and embrace a warm welcome from the Southwick Players.

Feeling inspired?

You can find more about the Southwick Players and their upcoming performances on their website.

To find an amateur drama group local to you, visit Drama Groups.

Lana Hall

Lana can usually be found spinning her collection of records, or writing odd poems in her phone notes. Her mixer of choice is a ginger beer, and you’ll never find her away from the sea for more than a few weeks.

The post Behind the scenes: what it’s like doing am dram appeared first on Silver Magazine.