CAOS cast in their 1911 production of ‘Pirates of Penzance’

CAOS Musical Productions, formally known as Chichester Amateur Operatic Society, was born on 6th May 1910 when Cathedral Lay Vicars and local businessmen came together to form the Company and fill their afternoons off with rehearsals and matinee performances. (Thursday was early closing day in Chichester at the time and all rehearsals and matinees were organised for that day).

The very first show of the fledgling Company was ’Pirates of Penzance’ on January 18th & 19th 1911. It was performed at the Corn Exchange (i.e. McDonalds in East Street!) with a cast of 45, a full orchestra and tickets costing 1 – 5 shillings.

Patience - 1919

The Company continued to flourish through its early years with a succession of Gilbert and Sullivan operettas, although an enforced break during 1914 - 1918 War meant that ‘H.M.S.Pinafore’ was the last show performed at the Corn Exchange for five years.

The Society returned in 1919 with a production of ‘Patience’ (see photographs on left and right) and special late trains for Selsey, Bognor and Emsworth were laid on for the duration of the show!

Margo Pink (left) in The Gondoliers 1920

In 1920 there were so many people wanting to join the society that the committee created a waiting list from which they recruited new members to the chorus as vacancies arose.

It was during this year that a new 15 year old young lady made her stage debut – her name was Miss Margaret Pink. Her father had been a member of the Company soon after it was formed and remained associated with it until his death aged 100 years.

Margo went on to become the musical director and producer for the Society in a long and distinguished association that lasted 57 years. Even now, the conductor’s baton that belonged to Margo is passed on as a Badge of Office to each succeeding Chairman of the Society.

Margo Pink in The Gondoliers
in 1927

DOROTHY in 1930

CAOS continued to perform Gilbert and Sullivan operettas until 1930 when a break with tradition saw the Society tackle ‘Dorothy’.

This was partly due to the influence of Margo Pink as musical director and photos of the show give a fascinating glimpse of the Corn Exchange stage and the ambitious production, which included a pack of hounds!

This change in direction, away from G & S, was followed by ‘Merrie England’ in 1931 before the Society returned to its roots for the next three years in further Gilbert and Sullivan shows, the next diversion being ‘Jolly Roger’ in 1936. This still remains the pattern today, with the ever-popular G & S operettas interspersed with other memorable musical shows from more modern composers from Europe and America.

There followed several years of unsettling negotiation between the Operatic committee, the Corn Exchange and the Picturedome (a theatre which used to stand on the site now occupied by offices and the Fire Station). Contracts and charges for putting on shows at these venues were constantly under review and CAOS had no real ‘home’ for a while. World War Two then put a stop to all productions for the next six years by which time the Exchange Theatre was no longer available as a venue for stage shows.

In 1947 CAOS performed its first musical entertainment in the Assembly Room – a concert version of ‘Merrie England’ followed in 1948 by a concert version of ‘Jolly Roger’. This latter production almost failed to reach its opening night when the ladies of the chorus took exception to the men singing about “rape and slaughter” and “bloody pirate”. So extreme was their disgust that the entire show was threatened with mutiny and only a hasty rewriting of some of the words saved the production.

These early incursions into the Assembly Rooms’ performance space encouraged the society to take the bold step of a fully staged production of ‘HMS Pinafore’ in 1949. The programme describes severe problems due to the small stage and limited seating capacity and, despite being totally sold out, the production accounts show a loss was incurred. Society members contributed additional subscriptions to offset the loss and the final deficit was £10 1s 1.

Despite this initial set back and with no other performance space being available, the Society continued to put on shows in the Assembly Rooms right up until November 2001 – an association of 54 years. One notable exception to this occurred in 1952 when CAOS joined forces with some professional stars in an open-air production of “Merrie England” in Priory Park. The show cost £2000 to stage but bookings exceeded  £8000. Added to which, the show enjoyed an entire week of dry weather!

Professional singers Webster Booth, Leslie Rands, Marjorie Eyre and Anne Ziegler joined CAOS for this lavish open-air production of ‘Merrie England’ in Priory Park in 1952 – a fitting celebration for the new Queen Elizabeth’s accession to the throne.

CAOS celebrated its Golden Jubilee in 1960 with a production of ‘Pirates of Penzance’ in the May and ‘The Mikado’ in October. ‘Pirates’ has always been a firm favourite with the Society and especially as it was the choice of that very first production back in 1910. It was the birthday show again in 1970 when CAOS reached its Diamond Jubilee. However, the Society has always tried to reflect the momentous events in our Country’s history and the 1971(Common Market year) production of ‘Pirates’ was preceded by a satirical piece entitled ‘The Municipal Asset”. Its purpose was to highlight the penalties of joining with Europe and concerned an historic hole in the road (the municipal asset) which was guarded by a night watchman. The piece was written by Keith Parker and set to Sullivan’s music by Margo Pink. Keith still performs with the Society and is a member of the chorus in its most recent production of ‘Annie Get Your Gun’ in the Minerva in October 2003. Perhaps in these days of discussions about the Euro, this long lost ‘Asset’ could have another airing!

In 1975 CAOS mourned the loss of its most loyal member. Margo Pink died during the rehearsal period for ‘HMS Pinafore’. Her role of musical director was taken by Joyce Foote and the show was a great success – a fitting tribute to a valued and much admired member of the Society.

Two photos from the 1975 production of ‘HMS Pinafore’. Ray and Betty Treagust (above) and John Mason (right) are still active members of the Society.

The late seventies and early eighties saw excursions into the world of Pantomime and Old Tyme Music Hall with ‘Ali Baba’ in 1979, ‘Jack and the Beanstalk’ in 1980 and ‘Aladdin’ in 1981.

In 1986 CAOS took another huge leap of faith by attempting ‘The Merry Widow’ on the Assembly Rooms stage. By now the Society was experienced in using the limited space available on this stage and the production was great success with excellent press reviews. The success of this venture prompted another digression from G & S in the form of ‘Waltzes from Vienna’ in 1988. Although critically acclaimed, this was not so enthusiastically supported in audience numbers.

‘The Merry Widow’ at the Assembly Rooms in 1986

Many of today’s Society will recognise themselves in this 1988 production of ‘Waltzes from Vienna’.

The very next year saw the Society make another significant move – this time to the unconventional yet prestigious space of the Minerva Theatre. With no back row of the chorus to hide in, no proscenium arch or restricted space in which to stage big production numbers, the opportunity for creative direction and exciting musicals had opened up. ‘The Merry Widow’ of 1989 was a critical and financial success.

Further shows in this impressive venue followed with G & S favourites being interspersed with rousing versions of American musicals such as ‘Carousel’ and ‘Oklahoma!’ In 1993 the production of ‘Mikado’ was almost ruined by illness when Alison Mobbs as Yum Yum and Lizzie Bathurst as Beep Bo both caught laryngitis. Kim Willcocks sang Yum Yum’s part from the wings with less than 4 hours notice and Jean Oldaker came from the chorus to sing Beep Bo.

Lizzie Bathurst (left) and Alison Mobbs (centre) as two of the’ Little Maids from School’ in a picture taken back stage before the full consequences of their laryngitis was known. Viv Aitken makes up the trio as Pitti Sing.

In 1994 CAOS attempted its most ambitious and lavish production in the Minerva to date – a sumptuous version of ‘Die Fledermaus’ in which Act Two is set entirely in the ballroom of Prince Orlofsky’s Palace as he entertains his guests to a champagne ball. The cast enjoyed real stage champagne and finger buffets every night for a week and twice on Saturday!

The sumptuous setting of the home of the Eisensteins for Act One of Die Fledermaus in the Minerva Theatre 1994

Ray Treagust (right) in ‘Pantomime’ from ‘Underneath the Arches’
and the rest of the Crazy Gang (above) discussing bra sizes in the Broken Blossoms routine.

In complete contrast, the Society returned to the Minerva in November of that year with the mystical atmosphere of the east in ‘Kismet’ followed by a much more sombre yet powerful production of ‘Fiddler on the Roof’ in 1996. This show required a depth of acting ability not always so much in demand in the more frothy musicals but the cast surpassed all expectations in a masterly display of humour, pathos and intense fear amongst the community of Russian Jews as they face the reality of expulsion from their homes. What extraordinary versatility is needed to be a member of Chichester Amateur Operatic Society.

The Society continued to alternate between the Assembly Rooms and the Minerva Theatre until November 1999 when the sparkling production of ‘Half a Sixpence’ took full advantage of the stage space in the Minerva and revolved around a spectacular bandstand set designed by Roger Ness. But the show was not so well supported and, without full houses every night, made a loss of £4000.

The rising costs of hiring the Minerva yet keeping ticket prices and production costs to an affordable level proved too difficult to sustain and CAOS had to part company with this ideal yet expensive venue. So, it was back to The Assembly Rooms in May 2000 for a stunning production of ‘Oklahoma!’ in which Kathryn Wignall as producer defied the limitations of the stage and choreographed a show full of life, dance and movement. In this, their 90th year, CAOS also performed ’90 Years of CAOS’ in July and ‘Trial By Jury’ with ‘Scrooge’ in the November.

The title song ‘Oklahoma’ with the full company on the Assembly Room stage in the new millennium production of this popular show.

The court jester in full song during the last ever production at the Assembly Rooms before the stage was removed in 2001

2001 proved to be a very difficult year for the Society. ‘Yeoman of the Guard’ was planned for the Assembly Rooms in the November but, immediately following the end of this show, a large part of the building was closed for the much heralded (and very expensive) “restoration” of the main hall back to the ballroom grandeur of its original purpose.

Unfortunately for CAOS this meant the removal of the stage and any further hope of performing proper shows in the heart of the City.

With the Minerva out of reach financially and the Assembly Room stage removed, the Society was homeless and in serious danger of folding altogether at the end of 2001.

A lifeline was thrown from an unlikely source – Fishbourne Roman Palace offered their facilities for the staging of a musical show. But what show might be suitable for such an historic and ancient site? ‘Iolanthe in Rome’ was the answer – a specially adapted version of G & S’s ‘Iolanthe’ with the libretto completely re-written by John Mason in which the chorus of peers became Roman Senators and the chorus of ladies became Vestal Virgins! Although seriously limited in space for movement and seating capacity, it was hugely enjoyable for cast and audience, so much so that it was followed in May 2003 by ‘The Pirates of Penzance’, both shows making enough profit to allow a donation of £1000 to the Palace for further work on its excavations.

A chorus of Vestal Virgins with one Centurion and a page making their way to the stage area in the ancient surroundings of Fishbourne Roman Palace during the specially adapted version of ‘Iolanthe in Rome’ in 2002.

2004: ‘HIAWATHA’S WEDDING FEAST’

The first project of 2004 was a real departure for CAOS when the company teamed up with the Chichester  Symphony Orchestra to perform ‘Hiawatha’s Wedding Feast’ at St. Paul’s Church. A number of guest singers swelled the regular CAOS membership to create a wall of sound to balance the richness of the full orchestra in an “extraordinarily complex piece of orchestral and choral magic” (Richard Smith, Chichester Observer).

The programme of music also included a performance of ‘Captain Noah and His Floating Zoo’ by Flanders and Horovitz and ‘The Lark Ascending’ by Ralph Vaughn Williams with Mark Hart-Palmer as solo violinist.

‘CAROUSEL’

The next Minerva show in October 2004 capitalised on the vitality and energy of the new young talent the society had recruited for ‘Annie Get Your Gun’ and channelled it into a sparkling production of ‘Carousel’. Another two teams of children danced their way through the ballet sequence and were wonderfully pompous as the Snow Family, whilst the older members of the society enjoyed the chance to sing all those unforgettable Rogers and Hammerstein tunes. The death of Billy Bigelow and the hauntingly beautiful ‘You’ll Never Walk Alone’ never failed to move everyone to tears – and that was true of the cast, who saw it happen every night for a week and countless times in rehearsal! The show continued the recent trend of making a small profit so, once again, CAOS moved forward into the New Year with confidence.

Billy Bigelow dies and Nettie sings
‘You’ll Never Walk Alone’.

The Snow Children being nasty to Julie and Billy’s daughter Louise.

2005: LET THE PEOPLE SING

2005 saw national celebrations to mark the 60th Anniversary of the end of World War II and CAOS made their contribution in the form of a concert entitled ‘Let The People Sing’ at the Assembly Room – the first time the company had performed in this venue since the removal of the stage. arranged in tight formation to perform a programme of music devised and directed by Life Members Ray Treagust and Michael Walsh.

With the company dressed in red, white and blue, and a finale that included ‘Land of Hope and Glory’ and ‘There’ll Always Be An England’, this was a real slice of unreserved patriotism and the audiences joined in with enthusiasm.

‘Forces Sweetheart’ Dame Vera Lynn was invited to join the celebrations and, although she couldn’t attend in person, she sent a taped personal message to the people of Chichester which was played during the show and her signed photograph was a much desired special raffle prize.

‘The Mikado’

For the third year in a row, CAOS returned to the Minerva in October 2005 for a production of Gilbert and Sullivan’s ‘The Mikado’. This is always a firm favourite with the society’s members and audiences and this production was no exception. The show was almost completely sold out and realised one of the largest profits the society has ever made. Directed once again by Ray Treagust, this production had ‘panache and vocal precision….in almost continuous abundance’ (Terry Timblick, Chichester Observer) and was particularly notable for David Russell, whose ‘curled-with-scorn lip and fine clear voice ensured a Pooh Bah to relish, every grotesquely proud moment’ (Terry Timblick).

Also making what became her final appearance for CAOS in a principal role was Vivienne Clark in the magnificent role of Katisha. Viv relished this role and milked every ounce of vindictiveness and poignancy in the character. Her routine with Tom Hudson as Ko-Ko during the ‘Tit Willow’ (see right below) song will never be forgotten.

Above : the Mikado and Company and (right) the late Vivienne Clark as Katisha and Tom Hudson as Ko-Ko.

2006 : ‘Merrie England’

This was the year of Queen Elizabeth II’s 80th birthday celebrations, the actual date being during the week of CAOS’s concert. What better choice then, than to revive Edward German’s ‘Merrie England’, a show most memorably performed by the society in 1952 to celebrate our Queen’s accession to the throne (see earlier entry). Once again, the lack of stage at the Assembly Room limited this production to a concert version, but the patriotic lyrics and rousing choruses still resonate for our present Queen and it was very appropriate to sing of ‘Good Queen Bess’ at this time.

‘The Boyfriend’

 
Encouraging young men to join operatic societies is no easy task and this choice of show proved to be a controversial one for CAOS, as they did not have a large number of eligible bachelors amongst their ranks. However, Kathryn Wignall the director, began a recruitment campaign back in February for the production in October and, by the time the show reached the Minerva, it was completely sold out and had an exuberance and vitality in the young cast that has rarely been matched. Even the older performers found reserves of energy to “reveal the enduring charm of this sparkling, tongue-in-cheek romp…a frothy yet highly skilled performance by the whole cast.” (John Wheatley, Chichester Observer). This was a true highlight in the long history of CAOS.

Dancing ‘The Riviera’ from ‘The Boyfriend’

TO BE CONTINUED.............................................