History
6th February 1992
Early activities of
THE SEMI-CIRCLE
(prior to the establishment of an Association (Verein)
under Swiss law in March 1985)
In this personal recollection of a former Committee Member,
the names of all those who have served on the Committee
of the Semi-Circle are given emphasis
1975 - 1979
Under the banner "The Semi-Circle" (which name was intended both as a reference to the initial sponsor of the group, the British Circle, Basle, and to the semicircle of chairs used at readings of plays, first private and then public) the group performed the following public playreadings under the direction of Peter Broberg:
31st May 1975 Lord Arthur Savile's Crime (Oscar Wilde)
(at the Kindertheater)
3rd and 4th December 1976 Heartbreak House (G.B. Shaw)
(at the Kellertheater)
In May 1977, the Semi-Circle joined forces with a large group of enthusiastic vocalists from the British Circle, which included Bruno Mazzotti, Grayson Richards, Peter Degen, Bob Billington and Ted Ford, calling themselves the Flowing Bowl. Most of the group could actually sing in tune!
To mark H.M. The Queen's Silver Jubilee, a joint cabaret entitled the Jubilee Review was very successfully performed at the Spalencasino on Thursday 12th May 1977. Ron Hill and Graham Simons did a take-off of Dudley Moore and Peter Cook in their "Dud and Pete" sketch, Barbara Clark and Liz Baur portrayed a chance meeting of the Queen and one of her subjects on a park bench, Dennis Brown at the piano kept the Flowing Bowl together in their rendering of "The Old Brigade" and many other lively songs, and Tony Obrist, Bryan Stone, Ted Ford and Diana Zuger had one of the funniest sketches in the show.
The first full stage production for the public, with Peter Broberg (ably assisted by Margot Sehringer) as Producer, took place in January 1978 in the Borromäum Theatre, Byfangweg 6, Basel:
Friday 13th January 1978 ) Dear Charles (Alan Melville)
Saturday 14th January 1978 )
The cast included Barbara Clark, Diana Zuger, Tony Obrist, Bob Billington, Graham Simons and Bryan Taylor. Peter Nixon was Stage Manager and Muriel Taylor Front of House Manager. Our first "Nixon fireplace" was used on stage (the rest of the set being mostly curtains and borrowed furniture). The audiences on both nights were very appreciative of what we achieved in our first full-scale production of a play. We were off!
The musical success of May 1977 inspired the Semi-Circle and the Flowing Bowl to a further joint effort, and on 15th and 16th September 1978 an Old Time Music Hall was staged for two nights at the Gundeli Casino, at which Barbara Clark distinguished herself, with a splendid costume and an authentic cockney accent, in her rendering of "My Old Man said follow the Van". The show was a great success, largely because a large man called Richard Levitt (who was hauled in at the last minute as Musical Adviser) had the courage to sack a lousy "orchestra" and then proceeded to re-choreograph the whole show, with the benefit of just one charming lady pianist and loads of enthusiasm from cast and backstage. Particularly memorable, after the Levitt treatment, was the "Barber's Shop Quartet", in which Peter Degen made one of his rare appearances on the stage rather than behind the scenes.
Nothing happened in 1979, apart from rehearsals in the autumn for "Hay Fever".
1980 (a bumper year)
The second full stage production for the public, this time for three consecutive nights, was staged in early 1980 at the Borromäum Theatre, again with Peter Broberg as Producer:
Thursday 31st January 1980 )
Friday 1st February 1980 ) Hay Fever (Noel Coward)
Saturday 2nd February 1980 )
The cast was led by Barbara Clark, who was truly splendid in the role of Judith Bliss. Bryan Taylor played her long-suffering husband, and Diana Zuger and Graham Simons their disagreeable children. The cast also included an enchanting Margot Sehringer as Jackie Coryton (her first appearance on stage with the Semi-Circle), Iris Linsi, Tony Obrist, Bob Billington and an unforgettable Muriel Taylor as Clara the housekeeper. Production Manager: Ron Hill, Stage Manager: Peter Nixon, Costumes: Lynn Mazzotti, Properties: Pauline Haffter and Shirley Burgy, Make-up: the Ortliebs, and Front of House: Joan and Ruedi Kuster. A great backstage team thus once again ensured a successful show.
In the autumn of the same year, yet another joint effort with the Flowing Bowl was mounted, with magnificent costumes and scenery, for two nights at the Borromäum Theatre.
Friday 31st October 1980 ) A Seaside Show
Saturday 1st November 1980 ) (Songs and Entertainment from the Twenties)
Practically everyone we could lay hands on was roped in in some form or another, and the show was a rip-roaring success, both musically and visually. Names to remember in the various routines: Liz Baur, Molly Arnold, Bruno Mazzotti, Ted Ford, Alan Norris, Bryan Stone, Kate Rudolf, Tony Obrist, Bob Billington, Peter Degen, Grayson Richards, Anne Hill, Marianne Ford, Roger Kleiber, Diana Lang, Diana Zuger. As ever, our faithful Stage Manager was Peter Nixon. Business Manager (this time with an iron fist): Ron Hill. Front of House: Joan and Ruedi Kuster. Publicity and Programme: Tony Obrist. Make-up: Elizabeth Seiler. Costumes and Properties: Lynn Mazzotti, Shirley Burgy, Pauline Haffter. Really everybody we could muster. Quite unforgettable.
Nothing happened in 1981, save towards the end to the year with rehearsals for "The Importance".
February 1982 - February 1983
Back in business with a full-stage production in February 1982, the group transferred to its new home, the Gymnasium Bäumlihof, with a splendid production, produced by Peter Broberg, of
The Importance of Being Earnest (Oscar Wilde)
on Wednesday 17th February 1982
Thursday 18th February 1982
Friday 19th February 1982
Diana Zuger was truly delightful (see her picture as published in the BaZ!) as the Hon. Gwendolen Fairfax, Muriel Taylor was toweringly majestic as Lady Bracknell, Tony Obrist totally convincing as the unworldly cleric, the Rev. Canon Chasuble D.D., Barbara Clark delightfully dotty as Miss Prism, and Janet Grant (a newcomer) very decorative as Cecily Cardew. As for the other men, Graham Simons played the aristocratic, but nevertheless abandoned in a "handbag", John Worthing, Tony James (another newcomer) was a suitably cheeky Algernon Moncrieff and Bryan Taylor gave a delightfully obsequious performance both as Merriman and as Lane. A very strong production, which was really loved by the audiences. No wonder. It was once again in the very capable hands of Producer Peter Broberg and Production Manager Ron Hill, while Margot Sehringer was responsible for the gorgeous costumes - generously lent by the Stadt Theater, Basel. Peter Nixon (Stage Manager, again), Shirley Burgy and Pauline Haffter (Properties, again), the Ortliebs as Make-up (again) and Joan Kuster, who fortunately had absolutely nothing to do as Prompter, ensured a faultless production.
Having much regretted (in 1982) the absence of a fourth night for "The Importance" (which would probably have sold out on the Saturday, had there been a Saturday performance) the Semi-Circle returned, with four performances, to the Master in February 1983:
Wednesday 2nd February 1983
Thursday 3rd February 1983 Present Laughter (Noel Coward)
Friday 4th February 1983
Saturday 5th February 1983
Distinguished by Caroline Taylor's first major role (Daphne Stillington), and the cameo role of Lady Stillington (newcomer Ruth Meier), this was also a very successful show which was loved by the audiences. Once again Peter Broberg cracked the whip as Producer (never to be forgotten the rehearsal at which he sat and read his newspaper during the scene in which neither Barbara nor Graham had yet mastered their lines!) Graham Simons in fact nearly collapsed (bronchitis) on the last lap of the rehearsals in shouldering the major role (almost never off stage) of Garry Essendine, adored and pursued by various ladies (Barbara Clark, Molly Arnold, Diana Zuger, Caroline Taylor) and one gay (Tony James), harried by Miss Erikson, the dotty Swedish housekeeper (Joan Kuster), and pestered by his valet (Ted Ford), his producer (Bob Billington) and his manager (Bryan Taylor). Backstage the show was strongly represented by Peter Nixon (Stage Manager) Margot (Producer's Assistant), Muriel Taylor and Liz Baur (Wardrobe), the Ortliebs (Make-up), Peter Degen and Grayson Richards (Lighting and Sound), Penny Ehrsam (who was responsible for our first "proper" programme, which actually contained photographs and potted histories of all the members of the cast and the Director as well as plenty of advertising to defray the costs of producing it!), Tony Obrist (Publicity) and Ruedi Kuster (Production Manager). All in all, Present Laughter was a very popular and unforgettable production for the Semi-Circle. It even made money.
25th April 1983: Establishment of a Committee
A general meeting of the Club was held at the home of Muriel Taylor (Seltisbergstr. 71, Basel) on 25th April 1983. At that meeting the following persons were nominated and unanimously elected to form the first Committee of the Semi-Circle
Chairman: Tony Obrist
Treasurer: Muriel Taylor
Secretary: Joan Kuster
Committee Members: Peter Nixon
Graham Simons
That meeting included a report on the estimated profit for the production of "Present Laughter" (1,100 spectators), which was compared with the profit recorded the previous year for "The Importance of Being Earnest" (1,300 spectators). In fact, "Present Laughter" made a profit for the Semi-Circle of Sw.fr. 2,656.80 (Balance Sheet at 30.5.83).
1984 - 1985
The first major stage production for the Semi-Circle under the direction of Richard Levitt, with Ruedi Kuster as Production Manager and Muriel Taylor as Assistant to the Director, took place in February 1984:
Wednesday 15th February 1984
Thursday 16th February 1984 Blithe Spirit (Noel Coward)
Friday 17th February 1984
Saturday 18th February 1984
This production was notable for the group's first really professional printed programme, which had a dramatic and colourful cover, thanks to the efforts of Jiirg Chresta and Penny Ehrsam. In addition, we welcomed two new members of the Semi-Circle to the cast, Cynthia Baer (Ruth) and Lesley Stockreisser (Elvira). Other members of the cast were Tony James (Charles), Barbara Clark (Madame Arcati), Graham Simons and Ruth Meier (Dr. and Mrs. Bradman) and Joan Kuster (Edith, the maid who turned out to be a medium in the third Act). Peter Nixon was once again our Stage Manager, Diana Zuger and Molly Arnold took care of properties, Peter Degen and Grayson Richards of Lighting and Sound, Liz Baur and Penny Ehrsam of the costumes, especially Elvira's diaphanous creations, and the Ortliebs of Make-up. We were also grateful to the Zurich Comedy Club for lending us some of the scenery.
In March 1985, again under the direction of Richard Levitt (Ruth Meier acting as his Assistant), the Semi-Circle mounted another major production:
Wednesday 13th March 1985
Thursday 14th March 1985 Separate Tables (Terence Rattigan)
Friday 15th March 1985
Saturday 16th March 1985
"Separate Tables", which in fact consists of two parallel plays, each play with more than one set, called yet again on the ingenuity of our Stage Manager, Peter Nixon, as well as on the dedication of the joint Production Managers, Andreas Kilian and Sheila Nixon. This production brought two newcomers onto the Semi-Circle stage: Doreen Richter (Miss Meacham) and Chris Widmer (Charles Stratton). Cynthia Baer played a very saucy serving wench called Doreen, Lesley Stockreisser was a very moving Sibyl Railton-Bell and Diana Zuger played the parallel female role of Anne Shankland to perfection. Graham Simons played John Malcolm, Diana's former husband who, despite earlier violence, still had a soft spot for her, and Bob Billington gave a moving performance as Major Pollock. Barbara Clark (Miss Cooper) yet again (shades of "Present Laughter") had the distinction of playing a woman whose love for the character portrayed by Graham Simons was more or less unrequited. Other roles were played by our old hands Molly Arnold (Mabel), Joan Kuster (Lady Matheson), Muriel Taylor (Mrs. Railton-Bell), Bryan Taylor (Mr. Fowler) and Caroline Taylor (Jean Tanner).
New developments in the backstage team were noted in this production: Properties were in the capable hands of Mary Degen, Gillian Jespersen, Joy Scherer and Joy Stone, Lighting and Sound added Chris Heye to our stalwarts Peter Degen and Grayson Richards. Both Programme and Publicity and Make-up repeated the reliable "Blithe Spirit" teams, while Jenni Hausmann joined Liz Baur in looking after Wardrobe.
At the request of the Committee, which was chaired by Peter Nixon (who had by then succeeded Tony Obrist as Chairman), a draft set of Statutes for the group was drawn up by Graham Simons. Following their approval by the Committee, the new Statutes of the Semi-Circle were formally signed on 4th March 1985 by the six founder members of the Association (at the end of a rehearsal for "Separate Tables"!) The founder members, who in fact consisted of the then Committee members, were as follows:
Barbara Clark Biel-Benken
Joan Kuster Arlesheim
Peter Nixon Bottmingen
Graham Simons Ettingen
Muriel Taylor Bottmingen
Diana Zuger Reinach
The Semi-Circle, Basle, thus became an Association (Verein) under Swiss law (Arts. 60 - 79 of the Swiss Civil Code), possessing independent legal personality. This step was necessary because the group found that it was making loads of money, and we had to prevent Muriel and Bryan - or any other member with access to our reserves - from disappearing with the loot. We also needed to establish more democratic procedures to enable the paid-up members of the Association to elect the members of the Semi-Circle Committee in the future.
* * *
It is interesting to note, in February 1992, that Jean-Pierre Zuger, our long-standing Front of House Manager, has never missed out on a single major production since "Present Laughter" in 1983! Also of interest is the fact that Cynthia Baer, who played the role of Ruth in "Blithe Spirit", the waitress Doreen in 'Separate Tables", Olivia Grayne in 'Night Must Fall", and who was triumphant as Katrin Hanson in 'I Remember Mama", was more recently observed on her hands and knees painting the very realistic back-drop for "Nightmare". Similarly, Rosanna Niklaus has been appearing regularly in our programmes as our Make-up Artist since we found (and later lost) the Theatre Vis-à-Vis in 1989, and Sheila McKenzie, who first assisted backstage in the production of Congreve's "Love for Love' in 1989, has since has appeared on stage in "The Crucible" and in "Nightmare". All three were elected to the Committee at the 1991 AGM, together with John Chidlow, who helped with set construction for "The Boy Friend" in 1991.
Graham K. Simons
