To celebrate our 60th Anniversary we asked SALOS members, old and new, for their memories.

Mike Chivers

It was early 1956, when at 24 years of age I visited the home of the great British tenor, Arthur Carron. I put myself forward for an audition to become a member of SALOS. People of my tender age will remember the very talented Reg Hipperson, leading man of that era. It was Reg that thought that I might have something and so I was accepted into the society.

Two years later, SALOS broke with tradition and chose a "modern musical", Oklahoma! and that began a series of immensely popular productions that was to make the society synonymous with professionally oriented performances – South Pacific, Brigadoon, a brief look backwards to Chu Chin Chow then onto Carousel. This was an era when tickets for SALOS productions were so in demand that there were vast queues around the building of McIlroys when the tickets went on sale.

I remember a young strip of a lad playing Snow Junior in Carousel, Ray Dance by name, who was to become such a tower of strength within the society for many years to come. 1963 and a brilliant portrayal of The Widow by Enid Hogden, who is still performing locally with the equally talented Beryl Jones, another of the SALOS greats immediately comes to mind.

Show Boat was to be my last production for yours truly, before joining the pro ranks with the late, great Vera Bennett who was also Chorus Mistress.

History lists the wonderful shows that were to follow and it gave Vera and I great pleasure to watch the productions from the other side of the footlights during breaks in our professional engagements. In 1996, I rejoined SALOS, this time as a chorus member in Show Boat, and found that 30 years on, familiar faces were still to be seen. But a new face to me was Judith Sharp, another SALOS Treasure, but it wasn't until the 2006 production of Fiddler when I had the pleasure of acting with Judith that I realized the depth of talent that was packed into that very vibrant and attractive parcel. Ray and Judith have, for many years, starred in SALOS productions and remain an institution.

I have been asked many times what is your favourite role? I find it difficult to choose between Tevye in Fiddler or Mack in Mack & Mabel. With Mack I never think of the part without remembering 3 things: One – standing at the side of the stage, hearing silence and deciding it was time to make my entrance. It wasn't until later in the show that Steph  said to me Do you know you cut my scene? Poor Steph I had managed to take 5 minutes off the show by cutting a whole scene. We're still speaking! Two – The wonderful portrayal of Mabel by Sarah Greenwood who absolutely lived the part and was a joy to act with. Three – The one and only Pat Donovan, a darling producer to whom I must have given untold nightmares, but I loved her dearly and still do. Finally a tribute to Pat Purdy, who recently retired as SALOS secretary, who gave her all for SALOS for many years.

So there you are my friends, a brief resume of some of my memories of SALOS. The old bones couldn't cope with Crazy for You, but hopefully I'll be back for Me and My Girl in 2012. Please come and see us.

Beryl Jones

Beryl started her many years with SALOS in wardrobe before plucking up the courage to have a singing audition to join as a playing member. That experience in wardrobe meant that Beryl always looked stunning on stage often making not only her own costume, but several other ladies costumes too, however it is Beryl's sweet top soprano voice that truly set her apart and saw her play many principal roles over the years. Her favourite show was Brigadoon (1973) where she played Fiona opposite her very good friend, Les Morris who played Tommy.

Amongst the many memories, she recalls styling her own hair in a 'marcel wave' for No No Nanette and the knickers appearing on the Star Makers line in Carousel!! Of course Beryls late husband, Stan, was renowned for the practical jokes but that's another story.... Singing has been a wonderful part of Beryls life and she still sings with a small group on a regular basis and even to this day is recognised in the street with people often saying 'you're that lady from SALOS aren't you'.

Dulcie Dunne

I feel the happiest times with SALOS were at the Playhouse when it was such fun, every member cleaning everywhere before putting the chairs out for the audience – and then cleaning up after all the performances too. I remember waiting to go for the reprise of my big number in Glamorous Nights, when Johnny Johnston walked on to the stage and began the next scene – hence no reprise!!! I also recall when Graham Haines were set to go off stage right through the door – however no door so we just stroll across the stage back to stage left and left!!!!!

Daphne Breakspear

I joined SALOS at the Mechanics in 1960 for Brigadoon and a year later a professional producer came along, John Heming – he directed by numbers! He was with us for that one year only– the human dynamo Pat Donovan came along and the rest is history. Pat brought excitement into the company and although we still had to do everything ourselves in those days – cleaning, making and producing the show, with Pat and the resident ghost of the Mechanics there everything turned out alright.

We then moved to the Wyvern in 1972 which was fantastic – very professional and up to date. In the early 1980's I was pleased to join Pat on the production team working with many principals to capture the character – I also learnt a lot from Pat about producing a big musical – though I had produced over 200 plays for the Phoenix Players, musicals were something different again.

Looking back, I loved playing Aunt Eller, Mrs Brice and of course Golde (sharing a single bed with Keith Tyler and having to sing as well!!) – that was indeed a challenge. As too was the rain sequence in Singin' In the Rain and the technical aspects of the impressive Jesus Christ Superstar. I am honoured to be a Life member of such a wonderfully talented society.

Stephanie Trinci

I have had a wonderful time over the past few weeks chatting to some of our members from year 1 until the present day and hope that you will all enjoy their memories too - (yes Enid was singing in the wings for The Arcadians (rehearsals then were on a Wednesday which meant she couldn't come along to join us on stage due to commitments with Shrivenham Operatic), however the following year the rehearsal day changed to Tuesday and Enid starred with us on stage from 1953 until 2003).

But first before you read their memories, forgive me for telling a few of my own....

Wedding In Paris – 1972 – I was thrilled that Esme Weight (my school teacher at Lainsmead) called round to see Mum and Dad in her bright orange Fiat 500 to ask them if they would allow me to be The Mayor's Daughter in the SALOS show that year. They said yes and my lifelong association with SALOS began. Thank you Esme, I've loved every minute.

Carousel – 1979 – Having left my professional dancing career I decided to continue something I loved and joined SALOS as a dancer – in those days we were separated from the chorus. I still remember the audition at the Playhouse in my black leotard and black ballet shoes thinking I'm a Tanwood girl, I can do this, and I did.

Music Man – 1981 – The first time I did a prank on stage– sorry Ray for that photo of me in the baby doll from the previous show, Pajama Game, in the library scene!

New Moon – 1983 – A new choreographer, Judith Hockaday, I was apprehensive having come from a different dancing school – would I be allowed in the door?, however I needn't have worried, Judith was great always putting me centre front and I now think of her as a great choreographer and friend.

Kismet – 1984 – My first small part – a Princess of Ababu – Evelyn Lichota, Sandra Carter and myself made our entrance in a trunk – thank goodness we were all friends! That was the year that Helen Asprey was Princess Zubidiah – and she has been known as Zubbie ever since.

GiGi – 1989 – My first principal role and time for Ray to get me back for the prank a few years earlier with a bottle of champagne exploding in my face! Apologies too to Tony Asprey, who was choreographed to lift me above his head in a horizontal position each night!

Carousel – 1998 – I played the wobbly hipped old pleasure boat, Mrs Mullins, my first proper character part. Having wobbly hips probably got me the part!

Mack and Mabel – 2000 – My favourite show. I was thrilled to play the 2nd lead of the broken down hoofer 'Lottie' even though one night we were a scene short! More on that later from Mike.

Oklahoma! – 2001 – I developed a rather disgusting laugh for 'Giggling Gertie' – apologies to hubbie Pete for having to listen to that for 6 months!

Oliver – 2002 – Mrs Sowerberry! - with the 63 kids to coach and look after to help Pat – I was also honoured to be presented the Graham Hill Award.

Beauty & The Beast – 2010 – The next generation of the Trinci family hit the Wyvern stage, my talented nephew Finn was one of our Chips - oh, and I flew as the Enchantress!

I have so many memories over the years, made lifelong friendships and have a second family – my SALOS family – most of the society now call me MammaT!

Chris Viveash

I was pleased to bump into Steph on Saturday morning as she organised the troops for the leaflet drop to promote Crazy For You. I told her about my early memories – far different from today – the dear old Playhouse where we did everything you could think of to get the show ready – the men cleaned the theatre from top to bottom including the clothes/ scenery which was covered in dust, while the ladies cleaned the toilets!

We took down brushes, pans and all sorts of cleaning equipment (on our bicycles, as very few ,if any, had cars in those days) and spent several hours getting the old place in tip top condition ready for our dress rehearsal leading onto the shows themselves. Oh what happy days.

Pat Donovan

I joined SALOS in 1962 and when interviewed for the job of Director (called Producer in those days), I was asked after meeting the company how I produced?? – I was mystified and said I wasn't sure how to answer that question – Maurice Owen, the Vice President then said "do you produce by numbers" – still mystified and saying No, Maurice then said "You know nothing about numbers – You're In!" (I then learnt that the previous professional producer gave everyone a number – number 6 down stage right!!!). This began 44 years of some of the happiest times of my Direction of Musicals – it was such a friendly society that I made many new and lasting friendships – THANK YOU SALOS.

Over the years there have been some odd happenings too. In Oliver we were searching for a dog – the right sort of dog for Bill Sykes. During a rehearsal I fell trying to show young Oliver how to bang into the Bakers Boy to scatter loaves all over the stage I hurtled across the room and went down with a bang! I then went to A&E, after rehearsal of course, and the nurse was quite taken with the fact that we were rehearsing for Oliver and when I told her we were still looking for a bull dog – our Bullseye, she said "I have one and he's in my car now". I replied "Quickly, find the 2 people who brought me in" – the very obedient dog was 'auditioned' in the A&E car-park and loved being part of us for the show!

I am often asked what my favourite show has been but I find it very difficult to choose one as I always enjoy nearly everyone I produce – I love the music of Rodgers & Hammerstein & Ivor Novello.

Those shows with feeling and actual happenings are among my favourite – Fiddler, Mack & Mabel and of course Jesus Christ Superstar.

Esme Weight

I have so many happy memories of the years I was involved with SALOS from 1965. After three years in the chorus and taking parts I accepted the post of Chorus Mistress. We performed many concerts as well as shows and in 1971 it was a great experience to present Gypsy Princess at the Wyvern Theatre which opened a short time before our show. Added to that we had the unforgettable honour of being presented to the Queen and Prince Philip and singing four numbers from the show to them which they applauded.

In 1974 the Committee agreed to my advertising for 14-18 yr.olds to join as the 'SALOS Young Generation'. Thirty boys and girls joined and not only took part in some of the SALOS shows but presented their own concerts. Some of them went on to the West End stage and took parts in later SALOS shows or became chorus members.

I left in 1977 due to many other commitments but in 1982 was asked to take over as MD. I was delighted to work with old and new friends in a different capacity. Unfortunately after directing the 1983 show I had to resign owing to medical reasons, but left many good friends and happy memories behind.

Graham Haines

Where do I begin? ...from hearing the music of Okalahoma! outside the old Mechanics (The Playhouse) whilst waiting for Jean to finish work and thinking 'that sounds fun' and often singing along with the chorus and then plucking up the nerve to audition and join the society. My favourite musicals have always been Brigadoon, the Rogers and Hamersteins, and Pajama Game. My favourite shows have been Showboat and South Pacific, although of course both have an ethnic morale in their story. I loved the Playhouse as there was such a team spirit – we did everything! – bringing in the ramps and the chairs, cleaning the whole theatre, Robert Hill transported all the 'stuff' that needed to be in place in his company van. I also remember that one night there was such a deluge of rain that it came in through the roof and our stage manager at the time couldn't do his job, however our techies of the day did their duty and the performance went on. We certainly seemed to have more fun at the Playhouse, especially with the jokes – I remember all the cast turning upstage for a toast in Merry Widow only to see a wiggling hairy growth beneath her nose! Of course my claim to fame is wearing Howard Keel's boots as the sheriff in Showboat, but I have to say I have enjoyed all my time with SALOS and still take pleasure in being front of house and occasionally being called upon in my capacity as Vice President. Here's to the next 60 years.

Enid Hodgen

As rehearsals were on a Wednesday, Enid was unable to appear on stage for the first production of SALOS, The Arcadians, due to a prior commitment with the Shrivenham group, so she sang in the wings instead. However the following year rehearsal nights were changed to a Tuesday and Enid was delighted to join SALOS on stage. Having been a playing member for 50 years there are lots of lovely memories, above all was the great fun that she had and the lifelong friends she has made.

Enid describes herself as an 'old ham' loving the feeling of being on stage. Her favourite musicals have been Kiss Me Kate (1970), The Merry Widow (1963), Hello Dolly (1974), Brigadoon (1960)- all of which she was honoured to play the leading lady, and of course South Pacific (1987) playing Bloody Mary and from the early days, Oklahoma! (1958) playing Ado Annie.

Enid has always had a particular love for the music of Rogers and Hamerstein, joined Scottish Dancing due to appearing in the first Brigadoon and was pleased to be asked to be Assistant Director with Pat Donovan on several occasions. She has seen a great number of practical jokes over the years but is too much a lady to mention them here! Enids final performance with SALOS was in 2003 appearing as a leper in Jesus Christ Superstar, however she still sings regularly with a group of previous members, entertaining in the charismatic way she always did with SALOS and still being 'a ham'!

Jane Kingstone

Jane has very happy memories of the 33 years she was with SALOS, firstly as a dancer (her first love) and then in the chorus. These included jokes such as blackened teeth, bulging eyes on wire and talcum powder in the library scene in Music Man (1981), all the dancers being told off for not taking being a ghost seriously under a white sheet crawling on the floor in Fiddler on the Roof (1981), as a Hot Box Girl having a costume malfunction during Take Back Your Mink in the dress rehearsal of Guys and Dolls (1976) as the dress refused to come off!, and fond memories of Ann Edwards wearing Glynis Wall's costume because Ann had left hers at home!!!! Many memories and many happy years with lifelong friends made along the way.

Margaret Price

I have been fortunate to have played a number of leading and supporting roles for SALOS and all have been great fun. One of the most memorable was my first lead in 1976. I was Sarah Brown in Guys and Dolls with the late Brenda Wozencroft as Miss Adelaide. .In 1980 I played Gladys in the Pyjama Game in which I had to do a striptease 'of sorts'. Then in 1981 was Music Man and I was back to the more sedate role of Miss Marion, the town's music teacher and librarian. The chorus certainly enjoyed seeing if they could make me laugh by putting rude pictures in their library books! Hello Dolly was in 1988. I was Mrs Molloy, hat shop owner, caught up with Dolly Levi's matchmaking schemes.

Another memorable show Funny Girl the true story of Fanny Brice the American actress who broke the mould in musical theatre and made her name with the Ziegfeld Follies. A wonderful role and enormous fun, although following in the footsteps of Barbra Streisand, in the film, was a bit daunting! One night my evening dress zip got stuck during a very quick change which was interesting! The dress had to be cut off and I only just made my entrance!

In Anything Goes, 1995, I played Reno Sweeney, in a great show with great music by Cole Porter and lots of action. One night though it was more a case of 'everything goes' when the sound system failed! Our Director, Pat Donovan, had had the bright idea of putting the orchestra in the scenery dock behind the stage. However, one night, we suddenly couldn't hear the orchestra and they couldn't hear us! Great! We had to stop the show for about 20 minutes while backstage everyone went into panic mode trying to find out what had gone wrong. In 1997 I played the Duchess of Dene in Me and My Girl. Enormous fun both on stage and off with such characters as Tony Asprey and Mike Chivers in the cast!

Kiss Me Kate in 2004 gave me the chance to really let myself go to which, I am sure, Ray Dance will testify! In 2008 we did Thoroughly Modern Millie a musical romp set in the 1920's and I was Mrs Meers, the Chinese villain whose profession was white slavery! Something quite different and probably as near as I shall ever get to panto!

Some great shows and some great memories.

Ray Dance

Having successfully, if a little nervously, auditioned to join SALOS, little did I know what becoming a playing member of the society would mean to me or how important a part of my life it would become.

During my years of SALOS membership, not only have I had a great time but I have also been fortunate to meet and perform with some very talented people, many of whom have become lifelong friends.

When asked "which is your favourite show?" I have no hesitation in replying South Pacific. The reason is twofold: it is both my favourite musical and, of the 17 leading roles and 16 principal roles I have been privileged to play with SALOS, the leading role of Emile de Becque in South Pacific is my favourite.

The only time I have met our Queen was at the opening ceremony of the Wyvern Theatre, when the SALOS membership were invited to be "on stage" to be presented to the Queen and Prince Philip. I remember how the Prince made us laugh when he asked if we planned to sing and, upon hearing we were, replied "then give me time to get to the back of the theatre!".

Looking back, it is interesting to observe how the staging of shows has changed, both technically and professionally. Thanks to radio microphones, performers are no longer required to sing themselves hoarse in order to be heard. Neither do we find ourselves trying to deliver dialogue after eating grapes on stage, which had previously been injected with mustard by a fellow performer!

It is also interesting year-on-year to see new, young talent join the society and bring their enthusiasm, energy and fun to both rehearsals and performances. I believe that these ever-changing dynamics mean SALOS can look forward to maintaining its high standard and enjoy a long and successful future.

Evelyn Lichota

My favourite musical was Carousel and my favourite part was Louise in Carousel – I loved Brenda and Beryl's duet in the show and of course Enid singing 'When you walk through a storm.' Tony was brilliant in Half a Sixpence and of course playing opposite Tony in Anything Goes was wonderful and memorable for me as it was my last show with SALOS as baby George came along shortly afterwards. I enjoy coming to the show every year and seeing all my friends still performing. Happy Days.

Pat Purdy

One of my favourite shows was Brigadoon – Johnnie & I named our home 'Brigadoon' after that show!!! Of course in the early days at the Playhouse it was a true family affair with Johnnie's Mum on the teas and coffees and his Dad selling tickets, and Monica Moss and Angela Packer - who played heavenly twins - were in fact cousins!!

In the 1950's I remember the rain coming in at the old Playhouse – Graham Hill got the driers in and all was back to normal – in those days we did EVERYTHING, from making the rakes for the chairs to go on for the audience to cleaning to loo! This was all helped along by the friendly 'ghost' of the Mechanics – a legend with the amateur societies who performed there. We then moved onto the Wyvern and everything was done for us – very professional, very new. And of course we were honoured to be presented to Her Majesty the Queen and His Royal Highness Prince Philip on the opening of the theatre. I was also fortunate to attend a wonderful function on behalf of SALOS at Clarence House, again with Johnnie, and had the honour of meeting HRH The Queen Mother who was then Patron of NODA.

Over the years SALOS have appeared overseas in many concerts – our first being with Swindons first twin town of Saltzgitter, and on BBC TV in 'Music In Limelight with Frank Cantell & the BBC West of England Orchestra , as well as appearing locally here in Swindon and the surrounding areas.

I have thoroughly enjoyed my time with SALOS, especially as Hon Secretary for so many years, and I know I have a good able successor in my little Stephanotis - Johnnie's daughter in her first show with us in 1972.

Judith Sharp

Surprisingly, it was not an easy decision to audition to join SALOS in 1983 having spent the previous six years progressing to leading lady of an amateur operatic company in small Cumbrian market town. I remember clearly sitting in the audience watching the 1982 production of Oklahoma! SALOS appeared so daunting at the time, and staged shows in a modern, professional theatre, but in spite of stiff competition, I have been lucky enough to play eleven leading parts, seven as leading lady.

However, professional as SALOS might have appeared, I discovered that Saturday matinee jokes were still an integral part of Swindon amateur theatre. In my first leading role as Marsinah in Kismet, I was horrified to watch three oranges, which I had just stolen and then rolled off stage to avoid arrest, progress back across the stage towards me and the rest of cast. I don't know if the audience was aware of the joke!! Another of my favourite shows, South Pacific, in which I played Nellie Forbush, presented a challenge to the technical crew who needed to find a way of shielding the new radio microphone from water when I was in the shower "Washing that man right out of my hair". They were very inventive and bought six packets of a well-known protective device from the local chemist!!!

Probably the most challenging leading role was that of Sarah in Bitter Sweet, when I had precisely 30 seconds to change from a 90 year-old to a young girl of 18 – on stage, without the audience seeing. The art of quick change at its most demanding!

Membership of SALOS requires a lot of commitment and I have thoroughly enjoyed my years of membership: as a playing member, long standing committee member and more recently as Chorus Mistress. All have their challenges and rewards and I wouldn't have missed a minute.

Mary Cleverly

Mary has many memories of her happy 40 years with SALOS, starting as a call girl in the Playhouse, before appearing on stage. Her favourite show so far has been My Fair Lady – appearing as a scruff in the market scene then as a toff at Ascot and the weirdest costume was dressing in a gorilla outfit, however Mary thinks that the best show SALOS has produced was Jesus Christ Superstar with the fab songs and orchestra. Mary loves to guess what the prop team will get up to on a matinee and has seen some funny jokes in the past – some of them played on her by her children, Laura and Adam, who have grown up with SALOS and are now part of the wider SALOS family too with our backstage crew.

Keith Tyler

I firmly believe that I was an active member during the "halcyon days" of SALOS. The days when each show could be assured of mostly capacity audiences and we had "The Mighty Atom" Pat Donovan urging us to bigger and better achievements.

I joined the society in 1974 when my daughter, Sue, was a member of SALOS "Younger Generation" and needed transport to attend rehearsals which took place at the Playhouse before rehearsals of the adult company. So I was frequently around when they began arriving and it eventually led to a suggestion that, as I was regularly there, I might as well join them. So I applied and was given an audition which was successful and thus followed an association that changed my life. Up to that time my involvement with music was restricted to sitting behind a drum kit and playing for dances and to Ken Kitching and his dance band.

I was lucky enough to secure the role of Rudolph in my very first show with the society – Hello Dolly! and the rest is history. I appeared in 20 SALOS productions, taking principal roles in 16 of them. These were Rudolph in Hello Dolly (1974), Maitre d'Hotel in Bless the Bride (1975), Nicely, Nicely in Guys and Dolls (1976), Feeney in Summer Song (1977), the lead role Tevye in Fiddler on the Roof (1981), Jud Fry in Oklahoma! (1982), Phillipe in The New Moon (1983), Buffalo Bill in Annie Get Your Gun (1985), Fred/Petruchio in Kiss Me Kate (1986), Honore in Gigi (1989), Mr Shalford in Half a Sixpence (1990), Col. Pickering in My Fair Lady (1994), Elisha Whitney in Anything Goes (1995), Cap'n Andy in Showboat (1996), Parchester in Me & My Girl (1997), Fox in Mack and Mabel (2000) and finally I appeared on the screen as 'The Man in the Talkie' in Singin' in the Rain (2005). Of these my favourites are Nicely, Nicely, Jud Fry, Honore, Col. Pickering, Cap'n Andy and, most of all, Tevye and Fred/Petruchio.

It has been a pleasure and a privilege to be part of such a professional company requiring the highest of standards and the opportunity of appearing on the stage with such talented performers as Enid Hogden, Oliver Young, Beryl Jones, Dennis Reynolds, Brenda Wozencroft, Eric H. Walter, Jane Markwick, Daphne Breakspear and the perennial Ray Dance. It has been a very satisfying and pleasurable association throughout my thirty-one years as a playing member of SALOS with wonderful, often amusing memories of events that occurred during rehearsals and performances. There was an occasion when the wig worn by Barry Lingard for his leading role in 'Bless the Bride' was caught up in the curtain and lifted high in the air as it was taken up in the final curtain call. Also, during a very dramatic moment at the end of a matinee performance of 'Fiddler on the Roof' a voice sounded out from the audience exclaiming 'Ooh look, his shirt's hanging out!' – referring to the prayer shawl worn around his waist by Tevye, the Jewish milkman.

Thoughts of appearing on the Wyvern stage evoke memories of sharing the men's dressing room with the likes of SALOS stalwarts Graham Haines, Johnnie Purdy and Ken Head. The atmosphere was usually one of comradeship, possibly enhanced by the liquid refreshment that was smuggled in by one or other of the men's chorus. (Later of course, alcohol was banned from use in the theatre.) Speaking of Ken Head, he always kept the dressing room amused by his comic antics and proved to be an expert chef providing a curry meal for the entire company at end of show parties.

Yes, belonging to SALOS has proved to be a thoroughly enjoyable and memorable experience.

Alison Canning

Thank you SALOS for so many things!

When I moved to Swindon from the far north east I knew no one. You gave me a social group and friends who have lasted through more than 20 years. You gave me my first chance to perform on a professional stage as a leading lady in my first SALOS role as Gigi. What an amazing experience that was!

You gave me my husband! It's true!!! We met through the M4 Theatre Co. a joint venture with BLOG and SALOS members initiated by our marvellous director Pat Donovan.

Two moments spring to mind: While playing Sally in Me & My Girl John Davies played piano on stage. He and I got more than we bargained for when Sir John failed to appear – I wandered around the 'pub' aimlessly whilst he played some random tunes, a rather worrying few minutes. In Fiddler on the Roof I flew on a wire as the ghostly Fruma Sarah- whilst singing and attempting to face the audience. It was a skill I failed to master in the two week run!

The joy I've had in playing chorus, supporting and lead roles in so many SALOS shows I really can't express, but I'd like everyone to know this: I moved to Swindon because I'd been offered a job, the reason I settled is SALOS.

Alan Wrixon

1972 Wedding in Paris - Terror – being on stage for the first time

1979 Carousel – Back Pain – Caused by lifting dancers ballet sequence – still hurts to this day. Also pleasure at getting engaged.

1981 Fiddler on the Roof – Amazement - at completion of Bottle Dance every night with no breakages!

1983 New Moon – Relief – at completion of cutlass enhanced pirate fight still in one piece.

1985 Annie Get your Gun – Realisation – that dancing days must be over.

1986 Kiss me Kate – Terror – at pressing the button to start the show on realising the responsibility of stage management.

1989 GiGi – Concern - at keeping bare footed children (including for the first time my eldest daughter) from dancing on broken glass all across the stage.

1991 Brigadoon - Pride – with both daughters on stage and wife restored to the props team.

1995 Anything Goes – Terror – whilst explaining to the audience that our first attempt to work with an offstage band and loud speakers had resulted in the large bang which delayed the show for 20 minutes and pleasure that the whole family was on the crew.

2000 Mack and Mabel – Concern - at fitting the West End set (including a large railway carriage) in the Wyvern. And finding the same Wyvern technician (now my son-in-law) on the opposite end of every piece of scenery carried by my daughter.

2002 Oliver - Frustration – kids…. everywhere.

2003 Jesus Christ Superstar – Relief – As in mid crucifixion a member of cast removed a misplaced rope from the neck of Jesus as I was about to stop the show.

2005 Singin' in the Rain – Water – everywhere.

2007 Fiddler on the Roof – Near Panic – Using a set of our own manufacture for the first time in a theatre not really up and running after an enforced shut down, and the realisation that we had to stop a show when wires lifting Fruma-Sarah became tangled.

2010 Beauty and the Beast – Pleasure - at the crew's success in dealing with a professional automated, very technical set.

2011 Crazy for You – Apprehension – that I will be able to keep from interfering as my daughter takes the reigns to stage manage the show.

James Canning

I first got involved with SALOS via the M4 Theatre Company. The first production I saw was GiGi, which I enjoyed so much I married the leading lady. I've developed my performing skills through understudying SALOS legends Mike Chivers, Ray Dance and Tony Asprey, and also through the experienced direction of Pat Donovan and the vocal training of Sarah Jefferies – you couldn't buy that lot at any Performing Arts College!

I believe that the key to SALOS' longevity has been the fostering of young talent and the drive to stage shows of the highest quality possible for amateurs. I've had a blast playing some of the best leading male roles going over the last 15 years, made some life long friends and had a lot of laughs along the way.

It may sound weird but some of my most enjoyable memories are of shows where I've had smaller roles and had time to soak in great principals from the wings – in that context Mack & Mabel was probably my favourite. My most fulfilling role so far is Judas – it's not often you get the opportunity to push yourself to the extremes vocally, emotionally and hang yourself every night! Most of my funny anecdotes are not suitable for print so, if you want to know, catch me in the bar after the show for a laugh.