A B r o u g h t o n A m a t e u r D r a m a t i cG r o u p P r o d u c t i o n f r o m t h e n o v e l b y

J a n e A u s t e n

D r a m a t i s e d b y M i c h a e l B a u l c h

L O N G S T O C K P A R K N U R S E R Y2 9 T H A N D 3 0 T H J U L Y 2 0 1 7

All proceeds to BADG

L O N G S T O C K P A R K N U R S E R Y2 9 T H A N D 3 0 T H J U L Y 2 0 1 7

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Mr Woodhouse............................................ Mike Moore

Emma Woodhouse, his daughter..................... Becca Moore

Mr Knightley, friend of the Woodhouses............. Chris Byrne

Harriet Smith, young protégé of Emma......... Emily van Noort

Mr Elton, vicar of Highbury........................... Matt Granger

Mrs Weston, former governess to Emma............Kate Fawcett

Miss Bates, aunt of Jane Fair fax..................... Jenny Mears

Mr Weston, Frank’s father by bir th................... Dom McKay

Frank Churchil l, adopted ........................... Charles Mason

Jane Fair fax, contemporary of Emma................ Kerry Lamb

Mrs Elton, wife of Mr Elton............................ Tania Casey

Suppor ting cast

Mr Robert Martin.......................................... Kevin Taylor

George Otway............................................. Shaun Beale

Dr Hughes................................................. Garry Collins

Mrs Hughes.............................................. Carole Collins

Miss Bicker ton............................................ Alice Tatham

F R O M T H E N O V E L

B Y J A N EA U S T E N

Cast

Broughton Amateur Dramatic Group (BADG) is a non-profi t-making organisation that exists for the enjoyment and education of all those in the community with an interest in live performances of all types. From a range of children’s workshops to full-blown musicals, and from serious drama to the annual pantomime, the group caters for a wide spectrum of tastes.

BADG’s membership (and audience) is drawn from as far afi eld as Winchester, Salisbury, Andover, Grateley and Romsey. A warm welcome is guaranteed, whatever your age or ability and whether your preference is for performing, directing, helping with costumes and make-up or carrying out one of the many essential but largely unsung backstage and front-of-house duties. Aspiring writers are also encouraged.

Contact: Becca MooreEmail: bexinfi nity@gmail.comwww.badg-drama.org.uk

@badgdrama BADGBroughton

A Broughton Amateur Dramatic Group Product ion

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Director.......................................................Kerry Lamb

Scenery, set design and construction.......................Les Fee

and Graham Penfold

Prompt............................................................Gina Fee

Hair and make-up................ Alice Tatham, Lindsey Moore,

Lynne Hacking, Bev Jenner and Sarah Hendy

Costumes.......................................Sharon Allsop-Steward

Lighting.................................................... Julian Wright

Props..................................................... Jane Cardwell

Stage hand.................................................Peter Jenkins

Music (violin).............................................. Sylvia Barry

Music (piano)....................................... Teresa Henderson

Marketing................................... Will Jones, Lucy Almond

Programme................................................. Derek Smith

Programme il lustrations....................... The Suburban Artist

Programme design.............................. Studio Hummingbird

Credits

M i k e M o o r e ( M r W o o d h o u s e )

Mike has been an active member of BADG for too many years to mention. He has taken various parts in the annual pantomime including Ali Baba, an evil Vizier, a gay pirate and an ugly sister. He has also starred in numerous comedies, dramas and

murder mysteries, most notably as another old man in ‘Last Ball Bowled’. He insists he is not type cast.

B e c c a M o o r e ( E m m a W o o d h o u s e )

Becca’s first starring role in a BADG production was at the age of eight as a bright green jumping bean in the pantomime ‘Jacques and the Beanstalk’. Since then she

has taken part in almost every annual pantomime and many other BADG productions playing good fairies, teenage witches, thigh-slapping princes and most recently

a Latvian receptionist. It takes all sorts...

E m i l y v a n N o o r t ( H a r r i e t S m i t h )

Having left the bright lights of London’s West End behind her (working as a journalist, not in the theatre, we hasten to add), Emily returns to Broughton to tread

the boards once more - a mere 25 [REDACTED] years after she appeared in the pantomime ‘Babes in the Wood’. Now a (somewhat exhausted) mother of two,

Emily plays naïve 17-year-old schoolgirl Harriet Smith. She hopes the make-up department is up to the task.

C h r i s B y r n e ( M r K n i g h t l e y )

This is Chris’s first performance as part of BADG and his first onstage role ever. Learning the lines was the easy part...

M a t t G r a n g e r ( M r E l t o n )

Appeared in ‘How Does Your Garden Grow’. Otherwise is more active behind the scenes, managing Front of House, stage management and assisting in set builds.

A N O U T D O O R P R O D U C T I O N O F E M M A

T H E C A S T

K a t e F a w c e t t ( M r s W e s t o n )

‘Emma’ will be Kate’s tenth production with BADG, both as an actor and more recently as a director. She loves the period costumes of Emma and thinks

they may steal the show.

J e n n y M e a r s ( M i s s B a t e s )

Joined BADG for the hilarious ‘Last Man Bowled’, Progressed to panto ‘Wicked Stepmother’, and is happy to play anything “old, bad or ugly”.

D o m M c K a y ( M r W e s t o n )

First trod the boards in 2010 with ‘Snow White and the Several Dwarves’ and has featured in several pantos, plays and comedies with BADG since then.

C h a r l e s M a s o n ( F r a n k C h u r c h i l l )

‘Emma’ is Charles’ first BADG production though he has enjoyed being in the audience for a number of their recent productions and pantomimes.

K e r r y L a m b ( J a n e F a i r f a x )

Kerry joined BADG in 2012, drafted in as a last-minute recruit to be one of the three little pigs in the pantomime, ‘Little Red Riding Hood’. She so enjoyed the experience and camaraderie, that she has been involved in more than one production every year

since – somehow finding the time despite her day job of running the real-life daily pantomime at the Tally Ho!

T a n i a C a s e y ( M r s E l t o n )

Tania has been a long-standing member of SADS and joined BADG a few years ago. Tania studied ‘Emma’ at A-Level and is delighted to be taking part in such a fab

production in such a beautiful setting.

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Emma Woodhouse, an able, attractive and wealthy 20-year old, is bereft of

companionship after the wedding of her friend and former governess, Miss Taylor. She takes the young and impressionable Harriet Smith under her wing – and convinces Harriet to reject a recent proposal of marriage from Robert Martin, a respectable young farmer. Emma’s smug self-confidence and delight in matchmaking frustrates and alarms Mr George Knightley, a friend of the Woodhouses and a nearby resident. Despite Mr Knightley’s disapproval of her manipulations, Emma works to create a match between Harriet and the young local vicar of Highbury, Mr Elton. Mr Elton, however, has other designs. He has no interest whatsoever in Harriet but is drawn much more to Emma herself. In his eyes, Emma is much the more attractive match, socially and financially.

Frank Churchill, a dashing young man who has been adopted by his aunt and uncle Mr and Mrs. Weston, is far more appealing to Emma, who has been horrified by Mr Elton’s declaration of affection for her. Mr Elton, for his part, is equally outraged that Emma should think him interested in Harriet. He departs to Bath to find, within weeks, a new (and socially-climbing) wife.

Mr Churchill’s visit to Highbury is not without incident and his attractiveness is not all that it seems – as long suspected by Mr Knightley, who considers him shallow.

In the meantime, Harriet has become more interested in Mr Knightley himself on account of his unaffected warmth and gallantry. When Emma realises this, and learns that Frank Churchill has a long-kept secret, she is forced to examine her own motives and behaviour. After embarrassing the garrulous Miss Bates and facing up to her folly through painful introspection, she resolves to behave better in future, and comes to the realisation that she can only be with one other person.

A synopsisEmma

Emma Woodhouse, an able, attractive and wealthy 20-year old, is bereft of companionship after the wedding of her friend and former governess, Miss Taylor

It’s a real pleasure and a challenge to be putting on the production in this, the 200th year since Jane

Austen’s death. BADG are grateful to the Longstock Estate for giving us the chance to do so in such a beautiful location.

Emma, like much of Jane Austen’s work, might feel like an ‘indoor’ novel - of parlours, tea rooms, and ballrooms. So how can it work outside? Well, we absolutely want to do justice to the social intricacies of Jane Austen’s world - much of which involve social interactions that take place inside, and in what can be claustrophobic environments. And of course, a lot of Emma’s story is about her and the other characters’ inner worlds. So, we’ve really tried to pay attention to the details of the behaviour, social order, language, and manners that are all so important to the time, and to the drama. But we are also staging the play in the gardens of a beautiful Hampshire estate, and that gives us the freedom to do some exciting things.

For instance, we have the space to re-create the garden, outdoor and ballroom scenes. We’ve had wonderful help from the Hampshire Regency Dancers who have taught us a cotillion - one of Jane Austen’s favourite dances. We’ve learned quickly how difficult these dances are! We hope to capture the etiquette and interactions of dancing, where formality and structure mirror social complexity: who was permitted to speak to whom, how you should greet people, and whom you could ask to dance. So much was subtext - signals and signs - even how they held their fans sent out a message to others. We hope to do justice to that nuance and pull our modern audience into that world.Our simple set is designed to make you feel as if you are looking into the rooms at Randalls and Hartfield, while enabling you to imagine the world beyond - of Highbury, and Box Hill. We’ve taken the script and pulled everyone out

A N O U T D O O R P R O D U C T I O N O F E M M A

K E R R Y L A M B

A N I N T E R V I E W W I T H D I R E C T O R

Welcome to the BADG production of Emma in the glorious setting of the Longstock Estate. A word from the Director, Kerry Lamb.

of the rooms to create a garden. We wanted to take advantage of performing in such a beautiful venue, using the grounds of a stately home. Our cast will have to do a lot of walking!Emma was the first Jane Austen novel I ever read. Our teacher at school helped us with the story and engaged us in its characters. I fell in love with it. There are bits of Emma that aren’t unlike me - she interferes in other people lives - but always with the best of intentions. I see a lot of that in my own life. That’s probably why I run the village pub! I like the romance too. Jane Austen writes romances that aren’t soppy - those make me cringe and I can’t read them. But Emma is real, with genuine heartache. It has strong male characters too - both chivalrous and deceitful. Half of the joy of love is feeling the pain in your chest when things don’t go right. Emma brilliantly takes you through that journey. I hope you enjoy the performance.

Jane Austen spent most of her life in Hampshire, so it comes as no surprise that the county is sometimes

referred to as ‘Jane Austen Country’.

She was born in Steventon and spent her early years there. Her literary home lies in the nearby village of Chawton, where she wrote or revised her six

classic novels, including Emma. She later lived in Winchester, where she died two hundred years ago.Her works draw on a large circle of friends, social

gatherings and places around Hampshire, providing the settings and characters for her novels.

H A M P S H I R E : J A N E A U S T E N C O U N T R Y

L I V E S A T C H A W T O N

I N T H E F A M I L Y

H O M E

L A I D T O R E S T

I N W I N C H E S T E R

C A T H E D R A L

( 1 8 1 7 )

B A D G P R O D U C E S ‘ E M M A ’

A T L O N G S T O C K E S T A T E

T O R A V E R E V I E W S

B O R N I N S T E V E N T O N ,

I N D E C E M B E R ( 1 7 7 5 )

M O V E S W I T H H E R

M O T H E R & S I S T E R

T O S O U T H A M P T O N

O N H E R F A T H E R ’ S D E A T H

( 1 8 0 5 )

Researching and promoting and enjoying the dances from the late Georgian and Regency periods of 1775-1830 is what the Hampshire Regency Dancers love to do. So to help with the dances in this production was a great joy, especially when the cast were so enthusiastic and quick to learn.

The dances chosen have unusual histories. The fi rst is a square dance called a cotillion. To imagine how it works you need to think about a song with verses and a chorus. The chorus is called the fi gure and the verses are called the changes. There were generally nine different changes during this period and all were usually danced– but we may limit ourselves to three for you.

This version, called “Les Matadors”, was written by Ignatius Sancho in 1779. Born a slave on a ship bound for South American sugar plantations, he was brought to England and housed with three spinsters after his parents died. He was eager to learn and came to the attention of the Duke of Montagu who helped him gain an impressive education. He tried acting but was hindered by a speech impediment, and returned to service in the Montagu household.

On Lady Montagu’s death in 1751, Sancho was left £70 and an annuity of £30 per year. He used it to buy a shop, and by becoming a property owner gained the right to vote. He was the fi rst black man to vote in Britain. He wrote songs, dances and newspaper articles (especially about the abolition of slavery).

The production’s second dance - Tippoo Saib - was written in1792. It is a longways set for “as many as will”. It is named after a charismatic Indian military leader who resisted the British East India Company’s conquest of southern India. Tipu believed it was better to live for two days like a tiger than to drag out an existence like a sheep for two hundred years.

His reverence for tigers is clear: he kept six in his fortress-city of Seringapatam, where his throne was shaped and striped like a tiger. His elite troops wore tiger badges, and the hilt of his sword was in the form of a snarling tiger. His favourite toy featured a mechanical tiger straddling a British offi cer while the victim squealed in terror– an item now in the Victoria & Albert Museum.

Touching the right cheek (Yes)

Touching the left cheek (No)

To the lips (Be quiet. We are over-heard)

Lightly touch the tip of the nose. (You are not to be trusted)

Touching the forehead (You must be out of your mind!)

Rest the chin on the tip of the fan, held vertically (Your fl attery annoys me)

Cover the left ear with the closed fan (Do not betray our secret)

Hold closed fan raised in front, and gaze at it with concentration (Make yourself clear to me)

Point tip of closed fan, held horizontally, towards the heart (You have my love)

Yawn behind closed fan (Go away, you bore me!)

Hide the eyes behind widespread fan (I love you)

Hold the opened fan over your head (I must avoid you)

Slowly lower the opened fan, in the right hand, till the sticks are pointing towards the ground(I despise you)

With the right hand turned palm uppermost, extend the opened fan (like a plate) towards the person (You are welcome)

With the open fan held pointing downwards, the back of the hand visible to the person in front, make a quick brushing-away movement (I am not in love with you)

R E C E N C Y D A N C E R S F A N L A N G U A G E

Sally Petchy, from Hampshire Regency Dancers, tells the extraordinary stories behind the dances

chosen for this production

The following gestures have been selected from Matthew Towle’s instructions to a young lady

‘The Young Gentleman and Lady’s Private Tutor’ (London 1771)

Regency dancing is a fun way to keep fi t and offers an exciting insight to history. Visit our website –www.hrd.org– or come and see us. We meet in Winchester every Wednesday evening.

ATTITUDES WITH THE FAN CLOSED ATTITUDES WITH THE FAN OPENED

The following gestures have been selected from

© The Hampshire Regency Dancerswww.hantsregencydancers.org.uk

A N O U T D O O R P R O D U C T I O N O F E M M A

J A N E A U S T E N I N T E R V A L Q U I Z

1. To whom was the novel ‘Emma’ dedicated?

2. What are the names of Jane Austen’s unfinished novels?

3. Which two stars of the Harry Potter films also starred in Ang Lee’s 1995 film version of ‘Sense and Sensibility?’

4. Where is Jane Austen buried?

5. Who wrote the following about Jane Austen’s work: “Why do you like Jane Austen so very much? I am puzzled on that point. ... I had not seen Pride and Prejudice

till I read that sentence of yours, and then I got the book. And what did I find? ...a commonplace face; a carefully fenced, highly cultivated garden, with neat borders

and delicate flowers; but no glance of a bright vivid physiognomy, no open country, no fresh air, no blue hill, no bonny beck…”

6. In which Dorset town, later visited by Meryl Streep in ‘The French Lieutenant’s Woman’ does Louisa Musgrove, a character in

‘Persuasion’, fall and suffer a concussion?

7. What value of banknote does Jane Austen appear on?

8. In which film have the Bennet sisters from ‘Pride and Prejudice’ been trained in the art of weaponry and martial arts in China?

9. Who created the only authenticated portrait of Jane Austen, in pen and watercolour, now on display in The National Gallery?

10. How many brothers and sisters did Jane Austen have?

Take the QuizLovers of Jane Austen are well-known for their deep knowledge of every aspect of her work, and for the minutiae of her life and times. How much of a Janeite are you?

Answers: 1. The Prince Regent. 2. ‘Sanditon’, and ‘The Watsons’. 3. Emma Thompson and Alan Rickman. 4. Winchester Cathedral 5. Charlotte Bronte. 6. Lyme Regis. 7. The £10 note. 8. Pride and Prejudice and Zombies. 9. Jane Austen’s sister, Cassandra.

10. Six brothers, and one sister.

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