The following year 1966 I again was a stage hand for the Fols production this time starring Freddie Sales. Towards the end of the run I plucked up the courage and asked one of the producers/performers Peter Felgate if i could apply for a position as a stage manager for next years season. He said write me an official letter and we will consider it. I did just that. A few weeks later I recieved a reply offering me a job as deputy stage manager for the 1967 summer season at The Congress Theatre, Eastbourne.
Howard Eastman and Barry Henderson met me at the theatre and we set off for the village of Horam a few miles from Eastbourne in the heart of the british countryside.
We drove into the drive way and parked. There were these huge barns/sheds where every production was housed. Howard started showing us around. Soon a lovely lady appeared with a tray of tea and biscuits. It was Joan Mann. She just wanted to welcome us.
We spent the next two weeks sorting out the many scenic flats and props for all the many scenes that were to be a part of the three different shows. The shows would altenate every week.
The weekend of May 11th all the sets, props and costunes were transported to the theatre.
Rehearsals began on May 15th. I walked into the rehearsal and began meeting all the artists. Jack Tripp and Joan Mann were the main stars. Charlie Stewart was again apart of the company and welcomed me warmly remembering me from the two Worthing seasons. Alan Christie, Jack Tripp partner, along with Marietta Midgley as well as subrette Sandra Wrennal, Brett Stevens, The Triplettes. A bevy of beautiful dancers including the lovely Jennifer Haley and a steadfast group of singers made for a stellar company.
We also had Curry’s famous water falls called Caribbean Cascades which were the star attraction of the first half finale for every show. It was always a cross your fingers moment when the water falls would start up as sometimes they would malfunction and there would be water in unwanted places.
The act two finale of every show included the Pelham puppets which every cast member operated. The puppets were always getting tangled up and it was my job to untangle them every morning.
As soon as the first show was up and running we would begin rehearsals for the second show on the Monday. If I remeber correctly we only had one week to get the next show up and running and the same with the third show. Talk about hard work!!
The shows had two pianists and a drummer in the pit. The pianists were Philip Charles, who was the son of main Fols producer Hugh Charles and Harry Tate. They were amazing musicians and filled the theatre with there glorius playing. One of my favorite production numbers was Swinging London. So perfect for the swinging sixties.
The company became like family. We would do many fun things outside of the theatre. My parents and brother came to all the different shows and were amazed at all the work I had to do. I gave them a tour of the back stage and they were very impressed. That summer changed my life in many ways. After we closed I made the big decision to move to London and try to work in the West End. I secured a job as a stage hand on the hit broadway show Sweet Charity starring Juliet Prowse. Little did I know that a few years later, after I moved to Los Angeles, I would become one of Juliet’s personal pianists. After Sweet Charity I became one of the stage managers on the smash broadway hit Fiddler on the Roof and remained a stage manager for Harold Prince until the end of 1975.
During my time with the Fol de Rols I learnt so much and will be forever grateful for the opportunity.
The picture is the Fol de Rols finale recreated on my model theatre.
