The Village Concert

By George McGilvary

Little concert parties travelled the length and breadth of Britain after the 2nd World War. Many of the artistes (men and women) were just demobbed from the armed forces. These were hard times, people were desperate for work. The story, which is light-hearted and humorous in tone, can also be seen as a sequel, in some ways—though this is unintentional—to The Good Companions, a novel by the English author J B Priestley.  His book was written in 1929 and focuses on the trials and tribulations of a concert party in England between World War I and World War II.
In the working class areas of Scotland and especially in the coalfields, post-war, these productions were known as 'Go As You Please' performances. Sometimes a local, possessed of a particular talent, would make a first appearance at one of these engagements. Most, however, came from the ranks of the acting and vaudeville worlds, temporarily 'resting'—the term used for being out of full-time job elsewhere. Many, of course, came from South-East England, where most of this type of employment was to be found. Much of the funding for such performing parties came from London agents and producers. This, as we shall see, could cause problems.

• Language: English
• Publisher: George McGilvary
• Release date: Jan 16, 2014
• ISBN: 9781497775671

Book preview

The Village Concert

by

G K McGilvary

The Village Concert

Copyright © 2014 G K McGilvary

The right of G K McGilvary to be identified as author of

this work has been asserted in accordance

with the Copyright, Designs and Patent Act 1988.

All rights reserved.

This ebook is licensed for your personal enjoyment only.

It may not be re-sold or given away to other people.

Contents

Foreword

(Prologue)

(Curtain up: First half)

(Intermission)

(Curtain up: Second half)

(Postscript)

––––––––

About the Author

Foreword

Little concert parties travelled the length and breadth of Britain after the 2nd World War. Many of the artistes (men and women) were just demobbed from the armed forces. These were hard times, people were desperate for work. The story, which is light-hearted and humorous in tone, can also be seen as a sequel, in some ways—though this is unintentional—to The Good Companions, a novel by the English author J B Priestley.  His book was written in 1929 and focuses on the trials and tribulations of a concert party in England between World War I and World War II.

In the working class areas of Scotland and especially in the coalfields, post-war, these productions were known as 'Go As You Please' performances. Sometimes a local, possessed of a particular talent, would make a first appearance at one of these engagements. Most, however, came from the ranks of the acting and vaudeville worlds, temporarily 'resting'—the term used for being out of full-time job elsewhere. Many, of course, came from South-East England, where most of this type of employment was to be found. Much of the funding for such performing parties came from London agents and producers. This, as we shall see, could cause problems.

The Village Concert

(Prologue)

It was 1949, and Brian Clarke, managing director, responsible for his particular troupe of players, wondered what to do first, there was so much to do. His was just one of several little concert party groups that had formed and begun touring the country after the war. Their

performances began early in May, usually playing throughout the summer. The troupe travelled by train, coach or whatever transport was available. His group used an old bus.

It was their third week together, spending one night in little village halls like this. Sometimes, if they played a major market town, the venue was larger, but not by much. Some of the performers were professional, working all year round. But most were seasonal players. There was a continual change of personnel as new acts were tried. Frequently, but gently, Brian had to let some know they were no longer required. Many artistes returned to a trade or occupation in the winter. The others rested.

Being near the start of the season, Brian Clarke, stage manager, front of the house supremo, administrator, artistic director, technical advisor and general factotum, as well as manager, was harassed. This was quite often the case. Nevertheless, despite his frequently troubled face, he was well-liked and respected by cast and musicians in his touring concert party; of course, he was also the paymaster and this helped.

*

The head of Willie, one of the stagehands appeared through a curtain.

‘That's your phone call now, Brian. The one you've been waiting for.’ 

The stagehand's head disappeared behind the curtain again. Brian Clarke leapt