Dear Email Friends,

Below is the first draft, drawn by Merete Holst, of a poster for the first show of our coming season, Jan de Hartog's comedy, THE FOURPOSTER. You can click on Teaching Material below and download the production history and information about the author along with a summary of the play. It's free!




Casting has been completed for THE FOURPOSTER and we think you will be happy to know that Richard Burnip is returning to play Michael, and Janette Summerfield will work at The English Theatre for the first time, playing Agnes. They are pictured above.

Format:
If any of you did not receive the July newsletter in the correct format, you can find the complete version under July Newsletter. If this current newsletter does not come through with photos, you can find the complete version under August Newsletter.

In Memoriam
Angus Pope played the role of Alan Baker in Neil Simon's COME BLOW YOUR HORN which we produced in the 2000-2001 Season. About six months after the end of the run, Angus unexpectedly fell gravely ill and died in London leaving us all shocked and very sad. The cast of the show, including the two actors who played his mother and father, attended his funeral. Angus starred in BLOOD BROTHERS at The English Theatre of Frankfurt before coming to Hamburg. He was a multi-talent, a singer, dancer and actor. He was also a very friendly person and a great company member. His last Christmas was spent in Hamburg and he performed for the last time here. Although his passing has been a great loss we can, at least, be thankful that we had the opportunity to get to know and work with such a gentle, loving and talented person.

30th Anniversary Season
(A time to review the last 30 years)

"Can the English Theatre still be saved?"
(Title page of an article from Szene in the 1980s)

Yes, as it turns out, the theatre can be saved: again and again and again. We and you have seen too many headlines like this one over the past thirty years, but we are still here. A couple of similar headlines were, "Jetzt fällt der letzte Vorhang im English Theatre" and "English Theatre steht auf der Straße." There were more, but you get the point. It has not been easy, but it has been worth it. We hope you agree.

After thirteen years of receiving no subsidy from the Kulturbehörde, we decided to pack our bags and move to Brussels. When the press got hold of the news, however, protest letters flooded into the mayor's office and (we heard) were promptly forwarded to the desk of the then Kultursenator. In a very short time we got an annual subsidy of DM 100,000.00, just enough to help us scrape through. Many thanks again to all of you who wrote those letters. We love our audiences. You are the ones who have kept us going.....so far. We will see what the future brings. Over the years the KultursenatorInnen have gotten younger and we have gotten older. Eventually, Dr. Christina Weiss came along and managed to raise the subsidy to its present level of 188,000.00. If anyone tells you that is a lot of money, you can ask them if they have ever tried to run a theatre.

The picture above is from 1981, right after we moved into Lerchenfeld 14. We were preparing the first show in our new theatre while the venue itself was being built. Our first home, as many of you know, was in Stresemannstrasse. After having to leave, we were told by some pessimists that we would never find another venue. However, within a month, John Walther found rooms in Hammonia Bad where we now reside. When we first looked at the space we wondered how in the world we could make a theatre out of it. There were medicinal baths everywhere and cabins where people could undress before jumping into a tub. With a lot of effort and imagination we finally figured out how we could create a theatre. "Where there's a will there's a way."

SAME TIME NEXT YEAR by Bernard Slade (1993 production)

Remember this one? We first produced it early in the life of the theatre. It was so popular with audiences that we have done it four times in 30 years, the last time in 2002. Although it started out as a modern play, it has become a period piece, full of nostalgia for those of us who remember the sixties. Does that mean that some of us have become period pieces too?

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