the Harbour Arts Centre
story of the Harbour Arts Centre from 1965
as published in booklet form in 1987, with an extra chapter covering 1987 – 2007, now here on the Web
APPENDIX 3: THE FINANCES 1968 & 1986
Total income 1968 £ 662. 15s. 4d.
Total expenditure 1968 £ 578. 6s. 0d.
recoverable from Scottish Arts Council)
Club and Company have separate accounts, but the details are combined here. The percentages show the five main sources of (net) income.
Total income 1986 £ 18,325.23
Total expenditure 1986 £ 18,115.56
end of year balance was £ 1007.81
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APPENDIX 4: AMATEUR to PROFESSIONAL
has been the training ground for a number of people who have gone on to join
the world of professional theatre and entertainment. The following are some
ALAN BLACK - Best remembered from “The Crucible” and “The Hostage”. Took the teaching course at the Royal Scottish Academy of Music & Drama, had a few parts in Scottish theatre and television productions, and acted and directed at the Glasgow Arts Centre.
IAN McPHERSON - Took the acting course at RSAMD, has appeared in several BBC productions. Using Equity name “Ian Lauchlan”, he is seen regularly in Play School.
JAMIE GARVEN - Directed at Spectacle Theatre in Cardiff and is also a touring guest director.
ANDY BAIRD - Did the technical course at RSAMD, sound and lighting at Pitlochry Festival Theatre, and is now a sound supervisor at Scottish Television.
SIMON TUTCHENER - Did the technical course at RSAMD, assistant stage manager for MacRobert Arts Centre and stage manager for Borderline, and is now recognised as one of the top rock concert lighting designers in Europe, having toured the world with practically everybody!
ROLAND (now RON) EMSLIE - Took the acting course at the Central School of Drama in London, was George Cole's lazy son in two series of BBC2's “Don't Forget to Write”. Also appeared in “Brushstrokes” and advertised a well-known brand of beer!
NIGEL WYDYMUS - Did the technical course at RSAMD, worked for a while with Scottish Ballet touring the Highlands, and is now in charge of technical facilities at all council-owned theatres and arts centres in Bradford.
ANDY LONG - Joined in the days of the Junior Drama group and was in practically everything after that. Studied at the Bristol Old Vic school, and has since had several acting jobs, including a year in the resident company of a small theatre.
RODDY KENNEDY - Divided his time between HAC and Stewarton Drama Group. A past presenter of STV's monthly Arts programme.
DALE EVANS - Took the stage management course at Queen Margaret's College in Edinburgh, worked in various theatres in England, became stage manager at the Lyceum, Edinburgh, and now works for Granada TV.
ERIC POTTS - Now at Bristol Young Vic. Started in school drama, played several parts in Harbour Theatre. Has a tremendous comedy timing and is a master of ad lib.
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APPENDIX 5: extracts from Harbour Theatre reviews
“Strong individual performances were given by Marion Gibson,
Shelagh Tutchener, Ronald Alexander and William Barr, ably supported back-stage
by Ernie Cave operating a complicated lighting plot. Given the encouragement
and support of the people of Irvine, we can look forward to first class performances
by the group in the future.”
“The Baikie Charivari” (October, 1968)
“They threw themselves into their roles with a most refreshing
zest. The Russian sailor, Willie Smith, danced an exhausting Czardas with as
much expertise as a member of the Bolshoi Ballet! A word about the audience:
slow to respond in the first act, they warmed up after the interval and seemed
to appreciate that for 35p they had been given rather more than good value for
“The Hostage” (March 1972)
“The technical back-up provided by Andy Baird and his team enhanced
every aspect of what turned out to be an enthralling two hours of pure theatre.
The sustained pressure on Celia Hacking and Jim Tannock who played the leading
roles must have been immense but never did they waver as they took us through
scene after scene depicting sadness, humour and compassion.”
“A Day in the Death of Joe Egg” (Sept. '77 revival)
“Fourteen year old Jeni Park, a Greenwood Academy pupil, played
the main part of Anne, and her tears and other expressions showed that Jeni
was doing more than simply playing a part. The rest of the cast gave interesting
and at times energetic performances, helped by the sound and lighting effects
produced by Stuart Kane and Jim Duff.”
“The Diary of Anne Frank” (March 1981)
“The Trojan Women” is a play that will not lose its impact until
war is finally banished from the earth. The key role is Hecuba, Queen of Troy,
whose husband and sons are dead, whose world is shattered. Sheila Campbell was
marvellously moving in this part, sometimes tender, sometimes angry. . . Strangely
to us, the part of next importance in the play is a shared role - the Chorus
of twelve women of Troy. Even for professionals there is real difficulty for
a group to achieve clear unison. The beautiful precision of this Chorus - despite
occasional faltering - was the end product of much hard work. All in all, the
play's director, his cast, and all his helpers, have given us a play to remember,
to discuss and think about for a long time.”
“The Trojan Women” (March 1983)
“The cast persevered despite what must rate as the worst series
of disasters ever to befall an amateur company. Cues were missed, stage calls
mistimed, props misbehaved. Actors were dishevelled and, in some cases, in disarray.
In fact, the company must be congratulated for pulling off a couple of playlets
in the Coarse Drama style. They skilfully balanced the art so that the audience
were frequently unsure which aspects were supposed to 'go wrong' and which were
“Moby Dick” & “Henry X (Part 7)” (March 1985)
“Macbeth is a play
which depends very much for its impact on an uneasy, menacing atmosphere and
in this production it was captured and maintained perfectly . . . the initial
scene-setting and subsequent appearances by the “weird sisters” terrifyingly
portrayed as hideous, evil hags; . . . striking (and somewhat nauseating!) visual
effects such as the blood-covered ghost of Banquo and Macbeth's severed head
. . . the accompanying music and sound effects provided by the technical crew
perfectly complemented and enhanced the speeches and action. As to the individual
performances, the worst adjective which can be applied to any of them is 'adequate',
but the general standard was much higher. In particular, Graeme Robertson in
the demanding title role convincingly and powerfully conveyed all of Macbeth's
varying emotions and states of mind . . . Linda Macdougall's performance as
Lady Macbeth was memorable.”
“Macbeth” (April 1987)
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