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 Martins
Bank Society of the Arts (Music Section) in The Beggar’s Opera by John Gay
Staged: 12th to 16th February 1952 at the Crane Theatre Liverpool
February 1952 sees the death of His Majesty King George VI, a massive
blow to a country still appreciative of the role he and Queen Elizabeth
played in the Second World War, and of his sense of duty in becoming King
upon the abdication of his brother Edward VIII. Life must go on however, and the following
week Martins Bank Society of the Arts Stages “The Beggar’s Opera” at the
Crane Theatre in Liverpool. No-one
would or could expect these two events to be associated with each other, but
this is clearly in the mind of Martins Bank Magazine as it attempts rather
tenuously to defend the Production from some adverse criticism in the local
press.
Their article continues by giving any number of reasons why perhaps
this Opera should NOT have been staged, ranging from “bawdiness” to “a lack
of popular tunes” and “a score that can only be satisfied by
near-professionals”. At the same time, a number of individuals are praised
for their excellence, so this has to be one of the most unusual and
inconsistent reviews of a performance, by the Magazine. We have searched the
local newpapers from February 1952 to see if we can find what exactly is
being said. However, only one article has so far come to light, from the
Runcorn Weekly News (you can read it further down this page), and there is no
hint of any adverse criticism for “The Beggar’s Opera”…
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 Those
who have read the press criticisms of the Music Section's production of
“The Beggar's Opera” at Crane Theatre for five nights, February 12th to
16th, may have received the impression that our show was somewhat roughly
handled. It was, of course,
unfortunate that the week of production was that following the death of our
beloved King: neither the players nor their audiences were in the right
mood to get the best out of this opera. The performances improved each
night, however, and by the last night the standard was well up to amateur
standard. Our own criticism is mainly of the choice of this somewhat bawdy
opera, well-known though it is. It
is a difficult opera for amateurs, as the first act lacks opportunity for
chorus work and makes demands of the actors and the solo voices which can
only be satisfied by near-professionals.
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Macheath (E W Gittins) with the ladies of the town
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Macheath (E W Gittins) with the beggars of the town
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It does not contain many popular
tunes and the sordid setting and dialogue stray rather far from the realm
of light entertainment, which is all our audiences ask. J. Balfour
Thompson, who also produced, made a very good job of the Fagin-like
character of Peachum and was very well matched by Eugenie Koop as Mrs.
Peachum. The part of Polly Peachum was played by Brenda Stephens, whose
voice has developed and improved very pleasingly and whose acting of the
part was charming. Betty Spencer Hayes as Lucy Lockit put over a
performance of hate and vindictiveness which was quite startling to those
who know her off stage and her singing was equal to the demands of the
part. Brenda and Betty were very well paired in this opera. E. W. Gittins
as the profligate and villainous Macheath sang, in our opinion, better than
he has sung in any opera since the Society was formed, and his
characterisation was quite convincing.
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Jean Hayes J Balfour Thompson Colin d’Arcy Skelton Bill Brookes
Jas Robertshaw Sandra Jones Kathleen M Tiplady and Betty Parker
Image © Martins Bank Archive Collections
– Colin d’Arcy Skelton
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Betty Spencer-Hayes E W Gittins and Brenda Stephens
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Sheila Mealey was the
discovery of the production and though the part of Jenny Diver was not a
large one she was outstanding: we shall hear more of her in the future. We
cannot help but agree with all sections of the press in their praise of
Bill Brookes for his portrayal of the beggar. It was a little gem, both of
make-up and acting. Colin Skelton's performance as the Player was also
extremely creditable. As for the members of Macheath's gang, as a crowd or
as individuals they were quite excellent and what a relief it was when we
reached this stage of the performance to hear some really good chorus work
as a change from all the solo numbers.
Other principals who made a valuable contribution to the performance
were Jas. Robertshaw as Lockit, Albert Jones as Filch, George Oxton as Mat
of the Mint, Anne M. Proven as Diana Trapes, P. L. Tiplady as the Drawer
and C. E. Bresnan as the Turnkey. The members of Macheath's gang were R.
Bretherton, F. W. Cowan, R. G. Dakin, R. Fairclough, F. A. Goodman, S. A.
Greenhalgh and A. P. Swinton. The women of the town were portrayed by
Barbara O. Butler, Ursula M. Clarke, JoyceV. Comes, Jean Hayes, Audrey
Jennings, Evelyn Jones, Muriel Jones, Sandra Jones, Betty Parker, Lillian
M. Stubbs, Kathleen M. Tiplady and Mildred M. Williams. H. Spencer Hayes
was the Hon. Musical Director and Harold F. Boothman the Hon. Accompanist.
 “At Liverpool, in Opera”…
Miss Betty Spencer Hayes of Runcorn further
established her reputation as a singer and actress when, on the closing
four nights of last week, she filled the role of Lucy Lockit in “The
Beggar’s Opera”. The performance presented by the Martins Bank society of
The Arts, was held at Crane theatre, Liverpool.
Miss Hayes won the approbation of the Press
critics who congratulated her upon “taking this ‘waspish’ character
extremely well and with great spirit” and “upon attacking the music of Lucy
with most refreshing vigour”.
Her father, Mr H Spencer Hayes, the musical
director and conductor,had the assistance of a well-balanced orchestra as,
with discretion, he handled the lovely airs.
From Runcorn
Weekly News, 22 February 1952
Image and Text © Reach PLC and Find my Past created
courtesy of THE BRITISH LIBRARY BOARD.
Image and Text reproduced with kind permission
of The British Newspaper Archive
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