OTHER MEMORIES OF THE EARLY DAYS

The following are extracts from the May 1985 edition of the Society’s magazine HOPSAC

JOAN BEST (Rehearsal Pianist, 1945-1970)

I well remember the excitement in Myrtle Avenue when the residents suggested holding a Street Party for the children to celebrate V.J.Day in 1945. I was eighteen at the time and had spent every night for the past few years sleeping in the Communal Surface Shelter at the end of the road with my Mum and Dad and the majority of the other folk living there, not to mention the numerous spiders and earwigs. The camaraderie which existed between us in those dark days was incredible and therefore everyone was most eager for a final `get-together’

Arrangements were hurriedly made. Bunting was strung across the road and each house had its decorations - a mass of red, white and blue.

It was a perfect day for the Party - brilliant sunshine and very warm. The children (all of whom wore Fancy Dress) had a wonderful time, and to round off the day the Mums and Dads `put on a show’. Ken Newell who lived at the Forge in Hatton Road was asked if he would undertake to produce this and he readily agreed. I was to provide the music - from the age of twelve I had accompanied soloists and regularly played the organ at the Baptist Chapel but little did I know what the years ahead had in store for me.

We derived such fun from our attempts at entertainment and it soon became obvious from the discussion afterwards that we had each discovered a new pastime. Amongst so few we found we had a wealth of talent - not only were there people with acting, singing and dancing ability but a Carpenter (Alf Smith), Scenic Artist (Alf Davies) and a Wardrobe Mistress (Vi Davies)

It was decided therefore to continue and we rehearsed on Wednesday evenings at the old Bedfont School. We presented concerts locally until our fame spread and then we went `on tour’. One of the chorus items in our programme was ``In A Monastery Garden’’. The men were dressed as monks wearing robes made from W.V.S. grey blankets and I remember burning the midnight oil knitting skull caps to complete their costumes. The ladies were attired in nuns’ habits made from black-out curtaining.

Soon Ken had bigger and better ideas and suggested a full-length Musical. At first we were horrified at the prospect but he assured us we were capable. He had always been full of creative ideas and everyone had immense confidence in him. We decided to take the plunge and so Hatton Operatic Society was born. Our first production ``Blossom Time’’ was a great success and my working partnership with Ken was most enjoyable. I’m sure neither of us envisaged being the `leading lights’ of anOperatic Society on V.J. Day.

I remember with great affection all the Founder Members and also those who joined us in the early days - Reg Curtis who became Musical Director in 1946 and with whom I worked so closely for many years, Dan McConnachie, Belle Barker (now residing in Tasmania), Harold Watson, Herbert Robinson, Bob Halls, Vic Randall, to name but a few. There was always a tremendous feeling of warmth and loyalty between us and I personally consider it both a privilege and pleasure to have known them.

KENNETH NEWELL (Producer, 1945-1962)

It was on a summer Sunday morning in 1945 that Alfred Davies came tapping at my door. It was our first meeting. ``We would like to know if you would consider conducting a choir’’ he said. The ``WE’’ turned out to be the people of Myrtle Avenue off Hatton Road, Bedfont. They had already organised a Street Party for V.E. Day - now V.J. day loomed and they wanted to go even better and have a choir and other entertainments at their Street Party.

The idea appealed to me, and that very evening we gathered together in Bette Venton’s lounge - or we would have lounged if there had been room - for there was little more than standing space left for anyone, as the whole street seemed to have turned up. There I met Joan, then a young lady of about 18 years, myself a `mature’ twenty-three.

We had just one week to present the show. I jotted down some simple harmonies to popular ballads such as `I’ll walk beside you’ - and off we went.

Our first performance took place on the following Saturday evening - on a stage built of Morrison shelters and a lorry. Lights came via lengths of flex draped from nearby houses. We did a repeat performance the following week in another part of the village. As we packed our props and music, someone - I forget who - said ``Must it all end? - it’s been so enjoyable’’

That night the Hatton Choral Society, as it was first named, was born. Soon it became the Hatton Choral and Operatic Society - as the company fell to the lure of greasepaint.

Within twelve months we put on our first operetta - Clutsam’s ``Blossom Time’’. The scenery was built in my father’s workshop under the skilful eye of Alfred Smith, who for many years was our very notable comic actor. Alfred Davies got busy with his paint brush. I tapped a musical friend, Reginald Curtis, to provide us with (and conduct) a small orchestra. Reg, himself a competent cellist, had not conducted before, but he took to it like the proverbial duck to the water.

What fun we had in those days. If I was the father of the lusty infant, Joan was a first-rate Mum. I feel we would never have got off the ground without her skill at the piano - and prowess in the secretarial line.

Soon other musical friends came along to join - Marjorie Brace, Daniel McConnachie (soon `Mac’ to everyone), Elizabeth Moate, Doris Talbot and others. Our first leading lady, Phyllis Knight, reigned supreme for many years. She was simply `a natural’. Later Robbie (Herbert Robinson) joined us, as did Angela Jenkins, making her first appearance as a tavern maid in `Robin Hood’ - a little cameo part written in for her by the librettist Kathlyn Rhodes.

We performed at Feltham, at Staines Town Hall, then to the Playhouse Cinema. One of the greatest thrills was when we were invited to perform a pageant version of `Merrie England’ in the lovely grounds of Polesden Lacey in Surrey, to an audience of five thousand. They were such happy days - and what good friends we all were.

REGINALD H CURTIS (Musical Director, 1946-1970)

I first met Ken when I was playing the cello at a concert and a pantomime held in Longford School Hall and in both of which Ken was involved.

No doubt we discussed music, but I was a little surprised when he called on me one evening towards the end of 1945 and told me that he and some friends at Hatton had formed an amateur Operatic Society and were rehearsing the operetta ``Blossom Time’’ but, he added, ``We have no orchestra and no conductor’’

Thinking that he wanted me to recommend someone, I asked him who he had in mind, and when he replied that they thought I might do it, I was a great deal more than surprised and pointed out that never in my life had I conducted an orchestra, let alone an opera as well. Ken said that they had never done an opera before either and suggested that I went along to their next rehearsal.

Well, I did just that and the enthusiasm of that little band of players must have been very catching, because by the end of the rehearsal I had said ``Yes, I would have a go’’

So began my 23 years as the first Musical Director and Conductor of Hatton Operatic Society. Everything for that show just had to be done on a shoestring. I found the Members themselves making and painting scenery, constructing props, making most of the costumes, and there was very little money for an orchestra, so I approached some friends and fellow members of the West London Symphony Orchestra (now disbanded) who, because they loved music so much, agreed to play for just their expenses and two complimentary tickets.

Now, forty years on, when most of those Founder Members are afar and asunder, H.O.S. is still going strong and I personally appreciate and would like to thank the younger generation for carrying on its tradition and good name.

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