History - Cue Theatre Inglewood

In the year 2006 we are facing never ending petrol price rises (today’s rate being around $1.76 per litre), longer working weeks with large numbers of our population contracted to six day rosters, huge demands on the household budgets, a wide range of entertainment options, satellite TV, DVD’s, play stations, internet, chat rooms… you name it – the chance to be thoroughly entertained without ever setting foot in a theatre in one’s entire life holds true for many within our society. The fact that we are able to still attract capacity crowds is a credit and tribute to all those involved

When the ‘old’ Cue was opened back in 1974 the Inglewood Dramatic Society was the envy of theatre groups around the country. When the ‘new’ TET Cue Theatre opened in 2001 our society was once again in an enviable position.

In each year that this society has been in existence its members have made huge commitments of their time, talent, expertise and passion for a ‘hobby’ that, at times, can consume all other aspects of their lives. For some the public accolades for this interest is rewarded by the applause of the audience at the end of a performance. But for each actor taking a bow at the final curtain we must remember those individuals who have donated countless hours to ensure that the ‘show must go on’.

From the building of two Cue Theatres to the sewing of a hemline on the leading lady’s dress; from the set building and the plotting of the lighting and sound boards to ensuring the supper is ready at interval and the foyer is warm; from the audition notices to the programme printing; from the first reading of a script until the last prop is put back into the prop cupboard – no task should go unnoticed and no thanks or acknowledgement would be enough….

In 2006 the Inglewood Dramatic Society celebrated its 50th Year of Exceptional Theatre made possible by Exceptional People. Congratulations!

The Society

Extracts From The Booklet Published In 1975
In June 1956 a public meeting to discuss the formation of a local dramatic group was called by Mrs Ava Somerfield. Those interested met at the Bank of New South Wales, and Ava was elected our first President by the following: Laddin Grant, Kath Cleary, Jessie Longbottom, Millie Jackson, Ngaire Young, Barbara Mantey, Marguerite Leech, Nancy Florey, Marie Earles, Jack Somerfield, Harry Florey, Muriel Croker, Connie Reeve, Ken Sigley, Bruce McMillen, Pat McMillen, Gwen Hill and Yvonne Brown.Apologies were received from Jill Shearer, Florinda Voitre, Jessie Brown, Ena Wilkinson, D’Aroy Jackson, Tilly Taylor, Max and Bruce Fenwick.

Subscriptions were set at £1 double, 12/6 single and 2/6 junior. Mr Harry Florey inspected Mr Bernie Plumb’s condemned building with a view to its future use as clubrooms. Material for stage curtains was purchased for 6/11 per yard.

These modest beginnings, the ensuing one-act plays, readings and sketches – all performed with hilarious enthusiasm on a mad variety of stages – were reinforced by tutors, weekend schools, and the help of such eminent directors as the late Nola Millar. Ava’s energy and expertise, backed by solid experience in amateur dramatics, gradually built up the successful Society which is now the leader of Inglewood’s cultural life. The early committees, secretaries and treasurers did sterling service, and without their interest and unlimited support the Society couldn’t have survived those years in the 1950’s with no home and very little income. Their most impressive achievement was to put plays of excellent standard before public audiences at regular intervals right from the start, and to maintain this record throughout the early days of television, when many amateur societies died from lack of support. We proudly report that we never lost money on a play. This steady, consistent presentation of plays earned for us a faithful audience – some of whom have seen almost every production.

In 1962, after six happy, hard-working years, the decision was made to purchase the Inglewood Billiards Saloon for £700/-/-. Prime mover towards this major advance was Alan Stevenson, whose faith, foresight and brilliant planning resulted in the gem of a small theatre we possess today. Our theatre is valued at $60,000.00, and is an asset many much larger towns would like to own.

The building was let for storage while we consolidated our financial position and drew up plans. Work began in 1966 with a “10-year plan” and those who have been associated with the entire project find it difficult to believe that it is finally completed. To all those hundreds of well-wishers who gave us thousands of hours of voluntary labour during that time we can only say “thank you”.

To this day the Society produces entertainment of a high standard for all sections of the community, and more than fulfils the hopes of that first dedicated group of twenty-eight foundation members. Serious theatre, comedies and children’s plays are written, designed and directed in the best traditions of the Art.

As a Society we are respected and admired; as a group we have co-operated to build a worthwhile organization which involves a wide variety of people; as individuals we have gained life-long friends, an insight into other people’s problems, and that wonderful feeling of a challenge met and conquered.

The Building

Extract From The Booklet Published In 1975

Our theatre, which has been named “The Cue”, was originally built in 1911 as a Billiards Saloon. It was one of several in Taranaki, owned, built and operated by Mr S. Huston, who also owned Livery Stables at the side and rear of the building, and a drapery shop known as the “Melbourne” in front of his Billiards Saloon. Members will remember the old shop, for after being vacated by the Cedar Dry Cleaners, it was our happy home for several years, and was eventually demolished by the Society. The Saloon was built in two stages – the front half of very solid ten inch reinforced concrete was built first, and the rear section of cavity concrete was built some time later. At the rear of the building are the remains of a bakery oven and smoke stack belonging to the former “Cramer’s Excelsior Bakery” business which was carried out in what is now the Fish Shop.

The Billiards Saloon was very popular in the early days, and there are stories of gambling dens in the back rooms during the First World War. Mr Charlie Murfitt carried on a photographic business in part of the buildings in the 1920’s and later, when owned by the Lahood’s, it was used as a hall for bowls, badminton and indoor basketball. Mr R.W. Brown recalls that he attended play readings in the Saloon in the 1920’s, so it is interesting to note that its history of drama extends well back into the past.

With the formation of the Dramatic Society in 1956 there was the old and familiar cry “What can we do about a home?” Mr B.R. Plumb was very generous in offering the building that used to stand on the site of the present-day office of Mr M. Waite. This building became known in very affectionate terms as “The Plumbery”. In 1957 the Society used the Billiards Saloon, then owned by Lahood’s, for play readings and productions of one-act plays and storage of props. This arrangement was not always satisfactory, as the building was also let to other organizations during the week, so in 1958 props were shifted to the Somerfield’s home at the Bank of N.S.W. For a time the Society held Club Nights in the High School, making use of the Hall and stage in a public performance of four one-act plays in October 1958.

In 1959 the Borough Council made the Supper Room of the Town Hall available to the Society and many happy club evenings were held there. With the gift of old flats from the former Operatic Soc., storage was again a problem, and once more Mr Jack Somerfield made available further storage space. New interest in the Society was shown after the first major production “As Long As They’re Happy” performed in the Town Hall in August 1959, which made it imperative to find a storage and workshop area. So it was back to “The Plumbery” in 1960-61. This proved very suitable for set construction for the productions of those years.

On April 20th 1961 a sub-committee reported that Lahoods were interested in selling the Billiards Saloon for £2,150/-/-. This was far outside the Society’s finances, so the Borough was approached about the land at the rear of the Town Hall with the idea of constructing a shed for storage which would cost £400/-/-, but all to no avail. With the removal of the dry cleaning business in 1962, the old shop at the front of the Saloon became our temporary home for several years. The Society was then offered the Billiards Saloon at a very reduced rate of £700/-/- and even though finances were thin, we decided to buy the building. A mortgage from the Taranaki Savings Bank was raised, and Debentures from members. The first meeting in our own home was held on 25th March 1963. The first portion of the roof was renewed later in this year, and plans for alterations drawn up. These were later altered to create a full theatre. With a mortgage extension of £600/-/- in 1967, the main roof of the building was renewed and the first of the new construction carried out. A further mortgage extension of $1,620.00 in 1971 made major renovations possible, and further debentures paid for electrical wiring. In 1973 our application for funds from the Queen Elizabeth II Arts Council was successful, and $3,000.00 was made available to complete our theatre. The Society now has under construction a 200 sq.ft. workshop which will complete the facilities of our theatre.

In visiting and inspecting the theatre for the grant, members of the Arts Council and Mr Roy Hope from Rothmans Arts Foundation said that of all similar projects they have visited throughout N.Z. “The Cue” was one of the best they have seen.

The Cue” was officially opened, 31st March 1975, Inglewood’s Centennial Year, by Ava Somerfield founder of the Inglewood Dramatic Society. This official opening marking the culmination of years of thought, plans, hard work and deep friendships. This challenge was happily and successfully met, and we now hope that the time ahead will be as vital and successful, and that the theatre may become a centre of culture and happiness in our town.

To Build Or Not To Build?

In recent years it had become increasingly obvious that Cue Theatre could not survive the rigours of the council’s annual inspections much longer. A decision had to be

made to wind-up the Society (unthinkable), seek another home (a possibility), or to rebuild (too costly).

It first it was thought that the theatre could be patched up but engineers’ investigations soon showed that that was not a possibility. Therefore a decision was made to rebuild and a subcommittee began work. Ideas were welcomed from all interested parties and Alan Stevenson and David Ertel met first with Tse and later Bill Jackson to design a theatre that would incorporate as many of these ideas as possible. Since building a theatre is a comparatively rare event the experience proved to be a learning curve for all. Next an advertisement drew responses from five potential builders but most quoted costs in excess of $1million which was beyond our means. Back to the drawing board to reduce the footage, then re-advertise the project and finally accept a quote from ICL. All of this and further fundraising resulted in many, many hours of meetings, consultations and correspondence. The decision to avoid involving Society members in working bees meant that the building of the second Cue was a different experience from building the first Cue. In the beginning it was hoped that Inglewood firms would be used for goods and services but once building began this was out of our hands.

Show Me The Money

To many the prospect of raising hundreds of thousands of dollars would be a daunting task. Fortunately Glenys Wilson and Delwyn Broadmore were prepared to take it on. A programme of fundraising activities was begun and the dollars started to come in – slowly. A ‘Friends of the Cue’ group did a wonderful job catering for dinner shows in the Town Hall.

Concurrently with this programme, approaches were made firstly to the Taranaki Electricity Trust, and later to the New Plymouth District Council and the Lottery Grants Board. In time, each of these organizations approved grants, but the TET has been especially generous contributing $466,000.00, and the Society has been happy to recognize this support by granting naming rights to the Trust.

By using its assets and accumulated funds from past productions, the Society contributed about $100,000.00; the value of voluntary work involved in using alternative storage and demolition is incalculable.

A New Dimension Is Added

The purchase of the Rock of Life Church building (formerly Café 38, once Antill’s Antiques) from Ron and Gail Snowden, made it possible to have access directly onto Matai Street. Patrons will be able to enter a large foyer where suppers will be served during intermission. From the foyer, the audience enters a larger auditorium with seating for about 100. Since there are only six rows and the seats are offset, everyone is assured of an excellent view of the stage.

The stage is approximately as large as that in the Town Hall, so that directors have more scope in staging productions. Multiple settings and two-storeyed sets are feasible, thus greatly extending the range of plays that can be staged. A luxury for the stage construction crews is the large workshop next to the stage. Not only will this free up the stage for rehearsals during preparation time but also the area can be used for extra storage during productions.

The accommodation for the cast is also greatly improved. A large room, that can be divided with curtains, will provide for a range of options.

Everything has been done to retain the friendly, intimate atmosphere for which the old Cue was known. Décor and lighting have been combined so that the audience will relax and enjoy the entertainment.

After several months of gradual demolition by Tom Blundell and Chris Jeram, assisted by Jon Ertel, Kerry Blinkhorne and Blair Hodson, the old theatre was given its coup de grace on March 14. Colin Boyd moved in with machines and a day later the Cue had been removed in 40 large truck loads to the King Road dump. As befitted the occasion, the day was wet and overcast and a little blustery.

Hopes of large quantities of recyclable material were not realized – indeed, when the stage was dismantled, it was found to be very insecure – even the 2-toothed borer had given up holding hands. Also, the expected cache of honey left in the walls of generations of grateful bees was nonexistent – the bees disappeared in a puff and have not been seen since. Such is the gratitude of squatters.

Two or three weeks later the builders moved in and we could see the reality of what we had been planning for so long. Reactions ranged from “Good lord, it’s huge” to “It’ll never be big enough”.

There would be a workshop where set builders could construct scenery and props. The costume people would no longer place their lives in jeopardy by scaling stairs which were more appropriate to Everest or Annapurna.

We were impressed by the size of the costume collection. After all it had been moved 3 or 4 times and we had come to know it quite well. Valda Upson, Jayne Broadmore and Debbie Hodson took the opportunity to do a little culling and plan future restoration and maintenance. Also it was suggested that it might be more fitting if some of the more historical costumes were donated to the Taranaki Museum.

The 100 seats were also handled many times. They were originally purchased several years ago from the Opera House. First they were taken to the back of Hammer Hardware, then to the shop next to the Golden Grille, later to the Cue, then back to the shop next to the Golden Grille, and finally (at very short notice) to the upholsterers. Of course, when we say “seat” we mean “a seat” and “a back” and “2 ends”.

Once building began, tinkering with the plans was no longer possible and more time could be given to décor and fitting out. Margaret and Alan Stevenson used their considerable artistic ability to create a colour scheme which is attractive and exciting. Although the new auditorium will seat 100, the intimate ambience for which the theatre was renowned will be retained.

At the same time, some of the treasures of the old building have been saved for special features – the ceramic tiles which once graced the entrance of the old billiard saloon and some of the pressed metal panels will be seen again in the new foyer, as well as some rimu paneling. The new foyer itself will be such that when theatre-goers see the “Full House” sign they will know it no longer means that they must stand shoulder to shoulder to practice synchronized sipping at supper time.

It was always hoped that the new Cue would not be simply a refuge for frustrated thespians. Throughout the planning, the aim was to keep our options open and to provide a facility that would be as flexible in its use as possible.

Since the opening of the TET Cue Theatre in December 2001 the Inglewood Dramatic Society has staged twelve full productions, one Christmas production, hosted the Central Region Festival of Community Theatre, hosted the National Festival of Community Theatre – in addition we have been the preferred venue of the annual Inglewood Cluster Primary School’s Art Exhibition; 3-4 recitals each year from the local Music Teachers; the local Primary School’s Lioness’ Speech Competition Finals; Music Recitals for local private students; Photographic Exhibitions; End of year dance shows for local students; Inglewood High School meetings; Community Health Days (eg diabetes, blood pressure checks, etc); 7 Taranaki Band filming; as well as several shows for traveling national actors (both privately and hosted by our Society). Our theatre, and indeed our society, has improved cultural awareness within the community and provides a venue with supportive, enthusiastic members to facilitate excellence in drama and the arts for all who choose to visit.

Committee

Since 1956 a large number of dedicated members have given freely of their time, expertise and passion to guide the Inglewood Dramatic Society and Cue Theatre to the iconic Taranaki theatre it is today. We have included information supplied in the 1975 Booklet and added subsequent elected officers and our current committee to ensure that a record of these individuals may be recorded for posterity. It is important to note that many of our members may have not served on “The Committee” but their efforts, vision, feedback and enthusiasm for “The Cue” are not lessened or devalued in anyway because of this. Thank you all who have ensured the strength and reputation of our theatre and our Society has continued to grow and prosper.

FIRST COMMITTEE – 1956

FIRST COMMITTEE – 1956
President	Mrs Ava Somerfield
Vice President	Mr Ken Sigley
Secretary	Mrs Ngaire Young
Treasurer	Mr Bruce McMillan
Committee	Mrs Yvonne Brown, Miss Jessie Longbottom, Messrs Owen Grant, Max Fenwick, Jack Somerfield and D’Aroy Jackson

ELECTED OFFICERS 1957 – 2007

YEAR	PRESIDENT	SECRETARY	TREASURER
1957	Ava Somerfield	Ngaire Young	Bruce MCMillan
1958	Jack Somerfield	Ngaire Young	Ngaire Young
1959	Elsa Flavell	Ngaire Young	Ngaire Young
1960	Elsa Flavell	Ngaire Young	Ngaire Young
1961	Elsa Flavell	Ngaire Young	Gay Lambert
1962	Elsa Flavell	Ngaire Young	Gay Lambert
1963	Elsa Flavell	Judith Beston	Alan Spurdle
1964	Alan Stevenson	Loris Drake	Alan Spurdle
1965	Alan Stevenson	Loris Drake	Alan Spurdle
1966	Alan Stevenson	Heather Scott	Alan Spurdle
1967	Alan Stevenson	Heather Scott	Alan Spurdle
1968	Alan Stevenson	Mary Cross	Loris Drake
1969	Heather Harrison	Mary Cross	Loris Drake
1970	Heather Harrison	Christine Johnson	Loris Drake
1971	Heather Harrison	Terry Dombroski	Loris Drake
1972	Yvonne Brown	Maree Peters & Heather Dodunski	Loris Drake
1973	Yvonne Brown	Mary Gyde	Carolyn Biesiek
1974	Yvonne Brown	Mary Gyde	Carolyn Biesiek
1975	Mary Gyde	Enid Codd	Carolyn Biesiek
1976	David Ertel	Enid Codd	Carolyn Biesiek
1977	Terry Dombroski	Enid Codd	Carolyn Biesiek
1978	Terry Dombroski	Enid Codd	Carolyn Biesiek
1979	Terry Dombroski	Enid Codd	Carolyn Biesiek
1980	Heather Harrison	Joan Ertel	Jeanette Morrison
1981	Neville Henry	Enid Codd	Jeanette Morrison
1982	Neville Henry	Margaret Doyle	Jeanette Morrison
1983	Judith Field	Doreen Long	Jeanette Morrison
1984	Judith Field	Doreen Long	Jeanette Morrison
1985	Judith Field	Ngaire Eldershaw	Jeanette Morrison
1986	Judith Field	Ngaire Eldershaw	Jeanette Morrison
1987	Judith Field	Ngaire Eldershaw	Jeanette Morrison
1988	Judith Field	Ngaire Eldershaw	Jeanette Morrison
1989	Derek Treeby	Ngaire Eldershaw	Judith Field
1990	Derek Treeby	Mary Boekman	Doreen Long
1991	Stan Long	Mary Boekman	Doreen Long
1992	Jim Williamson	Kevin Koch	Kevin Koch
1993	Jim Williamson	Kevin Koch	Kevin Koch
1994	Jim Williamson	Kevin Koch	Kevin Koch
1995	Sharren Bocock	Kevin Koch	Kevin Koch
1996	Sharren Bocock	Kevin Koch	Kevin Koch
1997	Jane Blinkhorne	Kevin Koch	Kevin Koch
1998	Jane Blinkhorne	Joan Ertel	Kevin Koch
1999	Cathy Morris	Joan Ertel	Kevin Koch
2000	Cathy Morris	Joan Ertel	Kevin Koch
2001	Cathy Morris	Joan Ertel	Kevin Koch
2002	Jeanette Morrison	Joan Ertel	Kevin Koch
2003	Jeanette Morrison	Joan Ertel	Christine Turnbull
2004	Jeanette Morrison	Elaine Schreiber	Christine Turnbull
2005	Jeanette Morrison	Elaine Schreiber	Christine Turnbull
2006	Tom Blundell	Elaine Schreiber	Christine Turnbull
2007	Marie Pearce	Valda Hinz	Christine Turnbull
2008	Marie Pearce	Valda Hinz	Christine Turnbull

Memoirs

With over 50 years of theatre produced by the Inglewood Dramatic Society there are a number of people who have some remarkable memories of their time with Cue both on and off stage.

We are pleased to offer some of this personal reflection here and welcome additional memoirs from past (and present) members – please email your memoirs to backstage@cuetheatre.co.nz for consideration.

I arrived in Inglewood in 1958 to teach in the Art Department, Inglewood High School. My very new wife, Margaret, had been teaching art there in 1957, the year the school opened, and in that year had joined in play readings with the fledgling Inglewood Dramatic Society. Then together in those early years we took part in a variety of play evenings, of scenery design and construction, of costume design and making. These evenings were held in private homes, in the Town Hall supper room and the Inglewood High School library.

When I first arrived the school hall had no stage so, on movable rostrums, I built a prefabricated proscenium with provisions for curtain, drapes and flats. The Dramatic Society staged early here, some in partnership with the High School and High School staff gave the society a life-giving jab for many years.

“As Long As They’re Happy”, the Society’s first three act play was staged in the Town Hall and later taken to Waitara to celebrate the opening of their Centennial Hall. In the play stood a shiny white grand piano and enquiries were made to buy this stately piano. Alas, I had made it from an old table! All the scenery was constructed as prefabricated units and painted in the upstairs room of the Plumbery, then lowered to a truck below through a large trapdoor. Downstairs was often filled with loose coal and heaps of lime – adding to the drama. Inglewood Motors and Drakes Furnishers were wonderfully generous with their trucks, shifting scenery back and forth to the Town Hall and were an essential and integral part of the society and well appreciated. Because the Town Hall was also the Town Picture Theatre the scenery was taken first to the supper room until the picture screen was lifted. Then the backstage crew arrived about 11.00pm Saturday and proceeded to put the set up, working well into Sunday morning and finishing in time for the 10.00am dress rehearsal Sunday morning. The Town Hall caretaker, Tom Wood, stayed to oversee every action and remind us consistently – “No nails in my stage!” As the evening turned into morning he would drop off into deep sleep – that was the time the nails went in! Because of his constant surveillance we made sure we obtained written permission from the Town Clerk to drill into the stage to take the hub of the revolving stage for “Lady Audley’s Secret”. A very deflated voice said “If he’s given the okay you can do it” – adding – “but – plug the holes in after.” The revolving stage was magic for the many scene changes.

On the last night of “Tea House Of The August Moon” the goat – perfect in all previous performances – caused great mirth as it staggered drunkenly round the stage after drinking stout from an American GI’s tin helmet – and an offer by a collector to buy our very fake jeep!

During “Toad Of Toad Hall” an early major production of 1961, a team of Jaycees worked hard high up on the Town Hall catwalk (now dismantled) pulling up and letting down painted gauze backdrops and ‘blacko’ responding to my direct phone contact as stage manager – “Pull up number 2, let down number 3 – 3 up – trees down – trees up – blacks down – and so on as scenes changed all evening. The phone – the Dramatic Society’s first electronic device – most modern! With about 30 young enthusiastic children as field mice, ferrets, weasels, stoats, rabbits costuming was exciting and staging both imaginative and disciplined. The ‘Punch-Up’ of Toad and his friends versus the Wild Wooders showed the children at their best. Meanwhile – “All along the backwater through the rushes tall, ducks were a dabbling – up tails all” to the grand beat of the orchestra filling the orchestra pit. All the scenery was made to fold up to be pushed to the back of the stage because of the film sessions in between performances.

The first time “Blithe Spirit” was produced ‘things’ flew around the stage in an impressive way from unseen nylon lines and push rods.

Of the World’s Amateur Premiere of “The Mousetrap” by Agatha Christie – enough said – and be warned – smoke machines have a mind of their own as was discovered with amazement during “Hansel and Gretel” and “Lady Audley’s Secret”.

The Billiard Saloon becoming available for sale prompted the Society to think big. It was said we were mad when we started converting it into a theatre – perhaps we were – but as always Inglewood supported us in this madness. The small team of willing workers and a town that had caught the vision of what we were about, combined to give us our first intimate theatre after years of consistent patient team work. Both the Lions Club and Rotary contributed labour and the TSB has been a financial supporter from the start.

In cutting doors into the building we discovered some could be cut in a few minutes – through a stack of river pebbles barely held together with concrete, while others were 30cms of solid reinforced concrete taking weeks to penetrate. It was no problem to comply with the building code then as no reports were required.

Peter Cramer and Barry Codd designed a micro lighting control which had not been seen before by the Strand Lighting rep. It was so far ahead of its time and a wonderful asset.

The many happy years we shared in the Old Cue – even with its restrictions – finally came to the point where new, strict building codes made it too hard to get ‘signed off’ each year by the Council. Many plans for earthquake risk and enlargement were drawn up but the reality was – it was an old building. So, many more plans, over several years, were designed for a New Cue and finally handed to an architect to complete by fulfilling building consents. The shop in front of the Old Cue was bought and incorporated into the design as a spacious foyer.

It was not until the demolition of the old building that we found how decayed it was. Two-tooth borer in the stage meant it could have collapsed anytime.

Pieces salvaged from the old building have been incorporated in the new – in the foyer the panels of tiles in their molded frames and the rimu paneling – in the auditorium the back row of original seats have been restored to their former glory – and the plaque unveiled by Ava Somerfield stays on view in the foyer of the auditorium.

Over the last 50 years the Society has always had a core of dedicated workers – some rather long in the tooth now – but they caught the vision, ran with it and carried it through. We have much to be proud of. Starting with “As Long As They’re Happy “ in 1961 and working in 2006 on “Shadowlands”, with many in between, it has been a delightful challenge to me to design, construct and paint sets for productions and great enjoyment in sharing these times with a team of wonderful people.
Alan Stevenson – 2006

From the early 1900’s, when a courageous traveling company gave a performance of Shakespeare in an old barn on the corner of what later became Rata and Cutfield Streets, live entertainment was a popular feature of early Inglewood. Original groups such as “The Lilliputs” and “The Inglewood Players” developed into “The Inglewood Operatic and Dramatic Society”. They used the Parish Hall until 1913 when the well equipped Town Hall was opened. Talent was mostly homegrown. Children grew up expecting to perform, not only for guests and relatives, but also at church, in choirs and regular concerts. Traveling artists were popular and set high standards for the fledgling “Inglewood Operatic Society”. They performed musical comedies and the ever popular Gilbert and Sullivan operas. They flourished in the 1920’s with gems such as “No, No Nanette” and “Our Miss Gibbs”. The Inglewood Town Hall was a popular venue with good acoustics, wide stage and a tower which flew the tall 16ft. flats. Under the direction of enthusiasts like the Sutherlands the 1930’s saw regular live entertainment, but with the Second World War gradually male performers vanished into the Forces. The Society went into recess.

In 1944 the Women’s Institutes entered the drama field with Festivals of One Act Plays which fostered writers as well as actors and directors (in spite of rules that barred all male performers!) and gradually these talented women looked for wider opportunities. In Inglewood in the early fifties they supported the newly hatched Play Reading Group who met in each others’ homes and made full use of the W.E.A. sets of plays. The British Drama League provided tuition, skills and audiences and in the late fifties three major events took place:

1          Ava Somerfield arrived in Inglewood
2          Inglewood High School opened
3          Alan Stevenson married Margaret

Ava decided we needed a working theatre group to inspire our young people. Staff at the School gave a huge injection of expertise and working facilities.

Then Alan had a vision! He saw a theatre rising out of the ancient billiard saloon! It is a very real tribute to Alan that the stubborn hard core stayed with him – and their husbands, children, cousins, uncles and aunts!

It took us over ten years of total dedication and hard physical labour. From 1961 to 1974 we struggled. Fundraising consumed our lives and here is an opportunity to thank all those wonderful local organizations who gave us advice, materials, hours of labour, led by Taranaki Savings Bank whose interest repayments strangely equaled their annual donation. We invented the Miss Inglewood Contest (suggested by Ray Biesiek, God bless him!). It supported us financially for eight years from 1966 to 1974 and gave many young people a great deal of pleasure.

Our new name was Colin Eade’s inspiration. The connections with the historic Billiard Saloon and the dramatic achievements of our loyal members were obvious.

“The Cue” was born – Yvonne Brown – 2006

Junior Drama

The Inglewood Dramatic Junior and Intermediate Drama Club began in 1975 under the supervision of Doreen Long, Mary Gyde, Joanne Smith, Joan Ertel, Neville Henry and Sharren Bocock. Their aim was:

To Please The Children

Club afternoon meetings were held the first Saturday of every month beginning in March/April. In August and September meetings would increase in frequency to fortnightly when plays were in rehearsal – then weekly until the performance. From 2.00pm until 4.00pm classes cost only $1.00 per year for Juniors and $2.00 per year for Intermediate. Children were taught the basics of theatre etiquette, introductory acting skills, role playing and guest directors were invited to speak. Each year a major production (or two) was staged – invariably involving two matinee and one evening performance. Children were auditioned, cast and then rehearsals began with these enthusiastic youngsters being involved in all aspects for staging the production – from publicity (poster competitions), to make up to costumes to props – they helped with it all. Full houses were virtually guaranteed as family members and friends flocked to Cue to see these young actors excel themselves and consistently exceed the expectations of family and directors alike.

In 1978 the main supervisors of the group consisted of Mary Gyde, Doreen Long, Ken Dickle, Carolyn Rowley and Christine Stachurski in conjunction with many enthusiastic and supportive parents and friends of the participants.

By 1985 – the ten year period saw in excess of 300 young members attend the Junior and Intermediate classes. There was a dedicated core of young actors who were long term members, many who attended for only one year but with the vast majority committing to their drama classes for two – three years at least.

Productions were many and varied. In 1980, when membership reached an all time high of 73 students, the class was split into three and each group staged their own play – a tremendous effort and no doubt requiring much patience in the confines of the ‘old’Cue.

There were wonderful productions and where possible we have included more information on each play:
“The Great Quillow” directed by Sharren Bocock (1976)
“East of the Sun; West of the Moon” written and directedby Mary Boekman (August 1977)
“Drama In A Garden” directed by Mary Gyde and Ken Decke (August 1978)
“Alice In Wonderland” directed by Doreen Long, Mary Gyde and Zane Jarvis (1979)
“The Storytellers” directed by Doreen Long, Mary Gyde, Lesley Jackson and Jocelyn Cloke – four plays (October 1980)
“Bad Jelly the Witch” directed by Mary Gyde (1st-4th December 1983)
“The Pied Piper” directed by Doreen Long and “The Dyspeptic Ogre” directed by Mary Gyde (8th-11th November 1984)
“Goldilocks and the Three Bears” directed by Doreen Long (1985)
“Fairy Fay” by Doreen Long
“The Sleeping Beauty” directed by Doreen Long and Vida Hansen
“Kaos” directed by Les Emslie
“Christmas Magic” by Denise Lahood and Anna Mundt (December 1989)
“Magic Hand” directed by Anna Mundt and Denise Lahood (1990)
“The Goblin and the Sneeze”
“The Garden Of Live Flowers”
“The Tale Of Good Faith”
“Mother Fox and the Tiger”
“Village Circus”
“Gruzzle Fummit and the Nobody’s From Nowhere”
“Animal Maker”

Not only did the involvement of these youth within the theatre assist in promoting Cue and acting as an interesting and fulfilling ‘hobby’ but the children utilized their new found confidence in other arenas. Cue floats within the Inglewood Christmas Parade were awarded first place twice – Bad Jelly the Witch and Fairy Fae – the costumes and decorations of course second to none! When young actress Kim Susans broke her leg it was a very different hospital visiting room with her fellow actors taking time out to dress in costume and visit her just to raise her spirits!!

In a newspaper article (1981) the following points were made – “As popularity and enthusiasm has increased the demand for a production is the ultimate aim – proving that the junior section is here to stay. It is always pleasing to observe the progress and development of children and in theatre opportunities are provided for building attributes pertaining to the individual; to the group; and to society in general. It has often been said that our juniors are our future in theatre – most of them will be, but it is inevitable that some of our talent will be lost to universities, colleges and training schools or other bright city lights. So let it be remembered that the experiences gained whilst being a member of the Junior Drama Club has not been in vain instead, has provided basis skills necessary for application to future potential careers in live theatre or television. A quote from a well-known newspaper critic sums it up – ‘it is always refreshing to see young people performing on stage, as from their ranks the polished actor emerges. One hopes that the Inglewood Dramatic Society will continue to foster its young talent. It deserves the full support of the society and the people of the town.”

The closing of the Junior Drama Club was brought about mainly by the inability to find suitable adult supervisors/tutors to manage the keen youth within our community. Unfortunately, Doreen Long and Mary Gyde – long time stalwarts of the group were unable to continue. Les Emslie stepped into the breach for a period but ultimately the Junior Club folded and is still in recession today.

Some keen young actors have found roles within the Cue’s production programme over the years – most notably “Alice In Wonderland” directed by David Ertel in 2002, the first production in the new TET Cue Theatre. Since then two local boys have also appeared in Heather Harrison’s “Shadowlands” (2006) and we hope for the opportunity to once again encourage budding young actors to ‘tread the boards’ at Cue. years!

JUNIOR AND INTERMEDIATE MEMBERS IN 1985 INCLUDED: Kevin Gyde, Shelley Payne, Erin Hogan, Donna Madgwick, Paul Williams, Sonia Agnew, Kirsty Johnston, Ross Johnston, Debbie Hanson, Sarah Greensill, Heidi Dombroski, Tania Fisher, Bridget O’Sullivan, Rebecca Pickering, Geoffrey Quinn, Helen Shaw, Shona Spurdle, Wendy Spurdle, Louise Swafford, Adele Wilson, Janine Joyce, Keren Hayman, Adrian Ellmoos, Catherine Clarkson, Kris Anderson, Toni Anderson, Scott Armstrong, Meredith Holland, Karen Phillips, Rochelle Turnbull, Karlie May, Tracey Manley, Lynley Wicks, Renee Simpson, Deborah Williams, Susan Lash and Chantelle Hamilton.

INAUGURAL JUNIOR DRAMA MEMBERS 1975

Michael Gyde, Kathy Gyde, Maree Gyde, Gendi Souness, Judy Codd, Linda Codd, Matthew Walker, Annette Grinder, Peter Northcott, Gail Clough, Margaret Ayles, Terry Read, Brian Allan, Clare Richardson, John Biesiek, Joanne Harrison, Simon Cayzer, Daryn Long and Eleanor Boekman.

Miss Inglewood

1966 Fay Oliver	1970 Judith Smith
1967 Annette Wellington	1971 Pamela Gibbs
1968 Josephine Biesiek	1972 Lilian George
1969 Alethea Bennett	1974 Vivien Rumball

Apart from the regular productions, the main source of income for our building programme in the 1960’s-70’s, was the “Miss Inglewood” contest. Suggested by Ray Biesiek as an interesting variation on the usual concerts etc., this rapidly developed into a full scale production with its own committee, regular format and set of rules. Entrants were judged on personality and suitability for the position of “Miss Inglewood”. Judging took place at personal interviews and social evenings. Over the last few years of the competition a Ball was introduced, and this became a very successful part of the community’s social life. The Moa Dairy Co. donated a charming crown to be worn by the winner.

Chaperones were in charge of the girls during the contest, and advised and guided them for their public appearances. This responsibility was shared by Yvonne Brown, Wyn Austin and Doreen Long.

Decorations were designed and made by Loris Drake and Alan Stevenson, whose ingenuity was only matched by their artistic talent. We will never forget “Paris in Spring”, “Bavarian Beer Garden”, “Moonlight in the Tropics” or “Oriental Orgy” – or are we confusing that with the notorious “Chicken & Champagne” evening??? What a night that was!

All club members have memories of aspects of “Miss Inglewood” which never reached the public – interviews in the Old Folk’s broom cupboard; Alan deftly removing full champagne bottles when events were obviously getting out of control – only to find his cache rifled and empties substituted; Haggis; Alistair’s “Cockaleeky Soup”; “Bavarian Barmaids”; Denny Sutherland asking a member if she was a contestant, then apologizing when he saw her face; the astonishing variety of food we provided (and the members who organized it!); the wonderful kitchen gangs, and many more funny incidents.

Our sincere gratitude goes to all those who made these evenings such fun and so successful. Our reward was not only financial – we gave these local girls an opportunity to appear in public looking their very best, and they loved it. They were attractive, charming, pleasant to talk to, and a credit to their community. To every single entrant we say “Congratulations, and many thanks”.

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