History of Theatre in Buxton

Walter and I came to Buxton in 1954 and joined Burbage Players, one of the larger groups of the many associated with churches, chapels and different areas of the town. Plays were performed on the small stage of Burbage Institute which was then owned and used mainly by the church. So an extension to the small stage at the Scout Hut on Macclesfield Old Road was made – very similar to the one built later by BDL at Burbage Institute.

I certainly appreciated the new facilities when I was asked to step in on the last week of rehearsal for an actress who had fallen ill in a London Road Chapel production. The only access from one side of the stage to the other during a performance was under the stage. The character I played had several trips, bent double, creeping through the dark!

Some good plays were produced at Burbage and we made some life-long friends so it was sad when it folded due to lack of directors, or producers as we called them then.

Walter and I had our first TV in 1957 and as everyone acquired them it seemed they wanted less and less to go to amateur drama. Buxton had three main town groups – the Buxton Drama League, the Opera Group and BADOS (Buxton Amateur Drama & Operatic Society), the latter doing musicals and light opera. We joined BDL but quickly noticed the difference from other groups in the town – it was posh! There were quite a few ladies from large houses in the Park who were members. When I went to my first AGM all the ladies wore hats!

I was in the theatre early for the first play I was in and saw in a dressing-room a large make-up box similar to the one owned by Burbage Players. I thought that would be the Group’s box and started to open it and then found it belonged to one Natalie Harris who lived at Burbage Hall. She was not best pleased! Not a good start. But I expect I was only playing a small part – probably a maid. Current plays of the day all had maids.  Later I played one in ‘Blythe Spirit’ – a nice little part).

Thinking of newcomers to BDL and going back quite a long time before we joined, when Charles Clowes tried to join, he was black-balled by the committee for being in trade, i.e. being a shop-keeper. Being a qualified pharmacist didn’t seem to count. Fortunately, they later changed their minds and Charles became a stalwart of the society for many years.

The 60’s seemed to change all that nonsense. There was a levelling out in society (and we got the Beatles!). The ladies from the Park seemed to fade away too.

The first theatre I played in with BDL was the Playhouse, where the Arts Centre is now. Then it was rather different and had a balcony over the stalls and dressing-rooms under the stage with one loo which had the only window. I believe the theatre was owned by the Council and had 3 part-time employees – a manager (remember June Dunlevy?), a lighting man and a curtain man. The latter would return from the pub opposite with minutes to spare, spit on his hands and grab the rope and never seemed to miss a cue! The fire service were often round to inspect when a show was on as the walls coming up from a boiler-room used to get really hot! [NB. the boiler that kept the swimming-pool water warm? CH]

There was a repertory theatre in the Playhouse in the summer and quite a few names became famous later. Then the Opera House (a cinema) was restored (in 1979) back to its former glory and productions went there. Harpur Hill College lecture theatre was also used and had some memorable shows (well I remember them, which these days is saying something!). The first production of ‘Under Milk Wood’ we did there – it was impressively directed by a talented young drama student (I played Mrs. Ogmore Pritchard). ‘The Crucible’ was put on there and was the only play I’ve been in (I was Mrs Putnam) which did not receive applause at the end. On one night only, the audience seemed so overwhelmed by the drama of it that they just crept out!

At some point, I don’t remember when, Charles Clowes was instrumental in starting the One-Act Play Festival at the Opera House. Amateur drama was still attracting some audiences and we had groups coming from quite a distance. I remember one group coming from Wales (I was Secretary).

Obviously playing in the Opera House was a great attraction. There were quite a number of adjudicators around who went from festival to festival giving adjudications after the shows and prizes on the final night. After a year or two, the one-act play seemed to have had its day. At one time, the Drama League always had an annual production of 3 one-act plays, usually directed by members with little experience and it gave members a chance to get into directing. The play festival then turned to 3-act plays. These were obviously quite complicated for both festival and drama groups and lasted for just a few years.

Amateur drama seemed to be fading from the main scene but the Drama League alone goes on successfully.

I have been a member for about 65 years and for a greater part of that time it was a huge part of Walter’s and my life. I am very grateful for all the good times and many friends.

Obviously, I’ve not done a lot lately (only an Alan Bennett monologue three years ago and that was for W.I.!) but it’s lovely to see new productions and note the standard keeps going up!

Paddy Gore 2022, aged 94