Part 2
A Whole New Dimesion and a New Wick Players
In the 1950’s, Pantomime arrived! Wick Bridge Street Church was in need of a new heating system and Jim Mitchell (Royal Insurance) and Mr Edwards (Grocer), who were both new to the town and members of the Church, produced the first ever pantomime Wick had ever saw… “Cinderella”. Most of the main acting parts were taken on by Willie Wilson, George Bain, Jack Calcott, Herbie Lyall. Newcomer, Effie Wilkie, who was a beautiful singer played the prince whilst the starring role of Cinderella was portrayed by Helen More, alongside her sister Kathlyn who played Dandini. The chorus was made up of ladies from the church. Dadda Davidson and Arthur Doull (Butcher) played the comedy-duo role of the Ugly Stepsisters. The pantomime ran for one week in the Boys’ Brigade Hall and was a tremendous success, completed with a magnificent carriage. Due to the production’s success, another one was staged the following year; “Puss in Boots”, with Herbie Lyall as the puss. There was a full-blown orchestra with the late Maggie Henderson, and Henry Rosie on piano, and David Dunnett on the trumpet, featuring a conductor. The audience loved it and the church was delighted with the money received from the two performances. As these two pantomimes included both members of The Players and members of the church and community; a group of people who had been in these two pantomimes decided to form a separate organisation called the Wick Pantomime Society, however, after many months of considering the pros and cons, it was agreed to absorb the Pantomime Society and to combine everyone’s talents into a new Wick Players, the club we know today. This was based on the understanding that a pantomime would be staged on alternate years with a play if possible.
This new combined group would see the beginning of new talent as the club entered a new era of the 19th century.
This new combined group would see the beginning of new talent as the club entered a new era of the 19th century.
New Players and New Productions
Eventually, stalwart Kathlyn Harper was let off the hook from secretarial duties and Miss Linda Stamp took over; and as well as Miss Stamp holding down her very responsible post as Matron of Wick Town and County Hospital, she was an excellent contribution to the club, producing some well-received entries, except for “Salmon Sandwiches”, a play of doubt and full merit which proved to be one of the most hilarious.
In 1961, Mowat Thomson produced “Pride and Prejudice” which was performed in the Boys’ Brigade Hall with a large cast of young players, all under fifteen or sixteen who responded greatly to his guidance. The original Victorian and Edwardian costumes from the wardrobe fitted these teenage girls to perfection and helped the production to give the period atmosphere of the play. The beautiful stage set was a perfect background, and this was quite an undertaking but was very well received by the audience. Sadly, only a handful of all these young ones appeared again on the stage with the club, to name a few; Alfred Mackay, Jackie Strachan, George Anderson, Eileen MacPherson and Carol Eaton. The first name on the programme was that of Donald Farmer making his debut on stage; and although Donald appeared in a few productions later, “The Birthday Message” and “The Bet” among them, acting was not his forty and he later found his special talent in producing.
Many outstanding performances are worthy of a place in our records, “Scganerelle” which went forward to the Divisional and Scottish Final with Harold Reid, Ian Matheson, Jack McBride, Nan Graham and Kathlyn Harper. “Trouble Brewing” with Wilfred Weir and Ruth Suffolk and then “The Happy Hypocrite” with Marley Robertson, Jimmy Morrison and Greta Riley, “The Bet” with Harold Reid, Ian Matheson and Donald Farmer. “The Birthday Message” produced by Hugo Tait, starring Donald Farmer as a ninety-year-old in a wheelchair, supported by Mowat Thomson, a young Kathlyn More, Margaret Sinclair, Nan Graham and Ian Matheson. These were all one-act plays but three act plays were not neglected, and some were entered into and also won the SCDA’s Three-Act Play Festival when the adjudicator moved from place to place. Jack Calcott produced “The Happiest Days of Your Life” in 1952’. We were so keen that not only did we produce festival plays but in 1955, following the festival in April, Jack Calcott produced “Bonaventure”, we mention this one particularly because it was set in a Convent with nursing staff and it was the first time that member, Pat Riddler (later Weir) appeared on a programme. She played a young nurse and Wilfred Weir (later her husband) played the caretaker and the rest is history. Pat not only took an active roles but made most of the costumes and for many years following her debut with Wick Players. She had o fortunate to have her. She had a great talent and used curtains, evening dresses, sheets, transforming them into some amazing costumes, saving the club a fortune in hires.
Another lady, who for many years worked tirelessly for the club was Nancy Eaton. Nancy had contacts all over Caithness, town or county and there wasn’t a house, hotel, or church that she could not borrow props or furniture from. She did appear on stage but was much happier preparing everything backstage and was a great help with most productions. With help from a great stage manager, Ian Mackenzie, Donald Sinclair, Duncan Robertson, Pat Weir, Nancy was directly involved in many plays which The Players put on during the 1950’s and 60’s with either acting or producing, or sometimes even both and she worked with some great actors; Harold Reid, Ian Matheson, Graham Dunnett, Nan Graham, Margaret Sinclair, George Dunnett, Wilfred Weir, Ruth Suffolk, Jimmy Morrison, Greta Riley, Willie Wilson, Herbie Lyall, Marley Robertson, Duncan Mackenzie, Mowat Thomson (Orkney), and many others. Some excellent dramatic work was achieved, and memorable sets and individual performances did credit to the producers, maintaining a high standard which had become The Players hallmark.
In 1961, Mowat Thomson produced “Pride and Prejudice” which was performed in the Boys’ Brigade Hall with a large cast of young players, all under fifteen or sixteen who responded greatly to his guidance. The original Victorian and Edwardian costumes from the wardrobe fitted these teenage girls to perfection and helped the production to give the period atmosphere of the play. The beautiful stage set was a perfect background, and this was quite an undertaking but was very well received by the audience. Sadly, only a handful of all these young ones appeared again on the stage with the club, to name a few; Alfred Mackay, Jackie Strachan, George Anderson, Eileen MacPherson and Carol Eaton. The first name on the programme was that of Donald Farmer making his debut on stage; and although Donald appeared in a few productions later, “The Birthday Message” and “The Bet” among them, acting was not his forty and he later found his special talent in producing.
Many outstanding performances are worthy of a place in our records, “Scganerelle” which went forward to the Divisional and Scottish Final with Harold Reid, Ian Matheson, Jack McBride, Nan Graham and Kathlyn Harper. “Trouble Brewing” with Wilfred Weir and Ruth Suffolk and then “The Happy Hypocrite” with Marley Robertson, Jimmy Morrison and Greta Riley, “The Bet” with Harold Reid, Ian Matheson and Donald Farmer. “The Birthday Message” produced by Hugo Tait, starring Donald Farmer as a ninety-year-old in a wheelchair, supported by Mowat Thomson, a young Kathlyn More, Margaret Sinclair, Nan Graham and Ian Matheson. These were all one-act plays but three act plays were not neglected, and some were entered into and also won the SCDA’s Three-Act Play Festival when the adjudicator moved from place to place. Jack Calcott produced “The Happiest Days of Your Life” in 1952’. We were so keen that not only did we produce festival plays but in 1955, following the festival in April, Jack Calcott produced “Bonaventure”, we mention this one particularly because it was set in a Convent with nursing staff and it was the first time that member, Pat Riddler (later Weir) appeared on a programme. She played a young nurse and Wilfred Weir (later her husband) played the caretaker and the rest is history. Pat not only took an active roles but made most of the costumes and for many years following her debut with Wick Players. She had o fortunate to have her. She had a great talent and used curtains, evening dresses, sheets, transforming them into some amazing costumes, saving the club a fortune in hires.
Another lady, who for many years worked tirelessly for the club was Nancy Eaton. Nancy had contacts all over Caithness, town or county and there wasn’t a house, hotel, or church that she could not borrow props or furniture from. She did appear on stage but was much happier preparing everything backstage and was a great help with most productions. With help from a great stage manager, Ian Mackenzie, Donald Sinclair, Duncan Robertson, Pat Weir, Nancy was directly involved in many plays which The Players put on during the 1950’s and 60’s with either acting or producing, or sometimes even both and she worked with some great actors; Harold Reid, Ian Matheson, Graham Dunnett, Nan Graham, Margaret Sinclair, George Dunnett, Wilfred Weir, Ruth Suffolk, Jimmy Morrison, Greta Riley, Willie Wilson, Herbie Lyall, Marley Robertson, Duncan Mackenzie, Mowat Thomson (Orkney), and many others. Some excellent dramatic work was achieved, and memorable sets and individual performances did credit to the producers, maintaining a high standard which had become The Players hallmark.
A Place to Meet
Eventually, we acquired the let of premises at the top of Shore Road which needed a lot of work, but it was a convenient place to hold our flats and pieces of furniture, enough space for the width of a stage, measuring about four inches off the floor to give us a proper area for to rehearse our plays. Of course, for a time it was adequate, and the club granted Mr Mowat Thomson who started dance classes for a short time, to hold them in the premises. Then, fortune smiled on us; one day the postmaster came to visit Kathlyn Harper and handed over a key for premises in Harbour Terrace. The Post Office only used this hall and rooms over Christmas for sorting out the Christmas parcels but found they had never paid rent as the owner couldn’t be traced and so they couldn’t continue to use it. Fortunately, we had a solicitor, John Graham, whose wife was Nan Graham (one of our stalwarts). John was able to organise the legal section of at all and finally, we were in. Everyone brought a roll of wallpaper, we cleaned and wall-papered and had a super store and rehearsal room for many years. We were at last able to get the full width of the stage and were able to leave “a set” in place from one practice to the next and our backstage hands had room to build flats and sets.
We participated in the float procession for Wick Gala for the first time after obtaining these premises. We built a train painted it on Shore Road, it was called “Save Our Highland Line”, a gimmick for our train company to retain the railway line in the Highlands. Pat Weir dressed as the engine driver alongside Eric Farquhar, Raymond Durrand, George Anderson and various others. We won ‘Best Float’ that year.
For our premises in Shore Road, it appeared that after research which was carried out by our lawyer; that the actual owner of the building was a casualty in the London bombing during the second world war and there was no relation left. So, having occupied the premises for a necessary time we were able to claim ownership. This premises served us well until we gained ownership of our current clubhouse.
We participated in the float procession for Wick Gala for the first time after obtaining these premises. We built a train painted it on Shore Road, it was called “Save Our Highland Line”, a gimmick for our train company to retain the railway line in the Highlands. Pat Weir dressed as the engine driver alongside Eric Farquhar, Raymond Durrand, George Anderson and various others. We won ‘Best Float’ that year.
For our premises in Shore Road, it appeared that after research which was carried out by our lawyer; that the actual owner of the building was a casualty in the London bombing during the second world war and there was no relation left. So, having occupied the premises for a necessary time we were able to claim ownership. This premises served us well until we gained ownership of our current clubhouse.
Drama, Drama and More Drama!
Between three act plays and more once acts, the actors and stage crews changed but when television arrived in the 1960’s it had a drastic effect on Wick Players. Many of our mature actors decided to call it a day with only a few stalwarts staying on, and it greatly affected our audiences too. It became more difficult to find producers but the effects with young plays now beginning to bring rewards, the club still had a future.
In 1963, Jack Calcott produced “Cradle Song”, the first in our new surroundings of the newly refurbished Academy School which is now our great Assembly Rooms. A variety of rooms, a great stage (with no side curtains), dressing rooms (although they were too small), and of all the capital no, no’s… a toilet at the side of the stage! However, it had seating and it was quite a challenge but with a cast of sixteen (most dressed as nuns by Pat Weir) and stagehands; Jackie Banks and Jimmie Kay with Donald Sinclair on lighting, they had a struggle dressing backstage as they hadn’t realised that what large General Purpose room could act as a dressing room. The Assembly Rooms were used for festivals and for stage performances and the facilities gradually improved over the following years with suggesting, complaining, cajoling, and supplying. The cast comprised of Janet Black, Nan Graham and Margaret Sinclair along with several new names; Eileen MacPherson, Jennifer MacGregor, Aileen Mackenzie, Mairie Ewing, Elise Main, George Anderson, Ada Mackie, Isobel Shearer, Jane Gow and Caroline Finlayson.
In 1963, Jack Calcott produced “Cradle Song”, the first in our new surroundings of the newly refurbished Academy School which is now our great Assembly Rooms. A variety of rooms, a great stage (with no side curtains), dressing rooms (although they were too small), and of all the capital no, no’s… a toilet at the side of the stage! However, it had seating and it was quite a challenge but with a cast of sixteen (most dressed as nuns by Pat Weir) and stagehands; Jackie Banks and Jimmie Kay with Donald Sinclair on lighting, they had a struggle dressing backstage as they hadn’t realised that what large General Purpose room could act as a dressing room. The Assembly Rooms were used for festivals and for stage performances and the facilities gradually improved over the following years with suggesting, complaining, cajoling, and supplying. The cast comprised of Janet Black, Nan Graham and Margaret Sinclair along with several new names; Eileen MacPherson, Jennifer MacGregor, Aileen Mackenzie, Mairie Ewing, Elise Main, George Anderson, Ada Mackie, Isobel Shearer, Jane Gow and Caroline Finlayson.
A New Generation
Dounreay came along with their professional people keen to be involved, producing modern plays with modern authors which proved quite challenging for a while, but we soldiered on. With increasing confidence, three-act plays were again produced alternating as promised with pantomime and in 1969 “Queen of Hearts” was produced with Willie Wilson as a marvellous dame alongside George Bain and Jack Calcott, to name a few.
In 1970, Ken Ritchie produced a one-act play called “Villa for Sale” with Ann Clyde, June Sutherland and Ann Ritchie. In that same year, Donald Farmer produced the comedy “Johnnie Jouk the Gibbet”, a great piece of period comedy with a magnificently costumed cast by Pat Weir. Played in a beautiful set and super cast of Willie Wilson, Margaret Sinclair, Ian Matheson, Kathlyn Harper, Lesley Banks and Ernie Dunster. Henry Rosie’s performance of the wee “toon” clerk will long be remembered. In 1972 Donald Farmer produced “The Big Bad Mouse” with several new faces- Lesley Mowat, Andrew Mackay, Norman Miller, Katie Burns and Jennifer Hamilton. This was followed by another three-act play “Rock-a-Bye Sailor” which was great fun for cast and audience alike.
Donald Farmer took over as Secretary and for the next ten years the practice of a pantomime and play alternately met with the general approval with festival entries too. “Toon Affairs”, a three-act period costume play reached the Highland Divisional Final in 1977 when Andrew Craigie made his first appearance as a sailor. Costumes, scenery, and lighting of pantomimes were becoming more and more spectacular. Adam Swanson, Gordon Ingles, Ian Mackenzie, and the backstage boys excelled themselves with “Jack and The Beanstalk” and “Sing a Song of Sixpence”, two very popular pantomimes. At this time, Donald Sinclair fulfilled the role of Lighting Director whose assistance could achieve wonders and his inability to say “no”, meant that he was in demand for every concert and show in the Assembly Rooms.
Donald Farmer continued as Secretary and a prominent producer in 1979. In that same year, Mr Farmer produced another great play with nine of a cast. Many new faces appeared and the magnificent period scenery and Edwardian costumes of “Angels in Love”, framed the Victorian comedy perfectly. Marina MacDonald appeared with Margaret Manson, Tony Cowell, and Eric Farquhar to mention a few who later went on to do great things with Wick Players
In 1970, Ken Ritchie produced a one-act play called “Villa for Sale” with Ann Clyde, June Sutherland and Ann Ritchie. In that same year, Donald Farmer produced the comedy “Johnnie Jouk the Gibbet”, a great piece of period comedy with a magnificently costumed cast by Pat Weir. Played in a beautiful set and super cast of Willie Wilson, Margaret Sinclair, Ian Matheson, Kathlyn Harper, Lesley Banks and Ernie Dunster. Henry Rosie’s performance of the wee “toon” clerk will long be remembered. In 1972 Donald Farmer produced “The Big Bad Mouse” with several new faces- Lesley Mowat, Andrew Mackay, Norman Miller, Katie Burns and Jennifer Hamilton. This was followed by another three-act play “Rock-a-Bye Sailor” which was great fun for cast and audience alike.
Donald Farmer took over as Secretary and for the next ten years the practice of a pantomime and play alternately met with the general approval with festival entries too. “Toon Affairs”, a three-act period costume play reached the Highland Divisional Final in 1977 when Andrew Craigie made his first appearance as a sailor. Costumes, scenery, and lighting of pantomimes were becoming more and more spectacular. Adam Swanson, Gordon Ingles, Ian Mackenzie, and the backstage boys excelled themselves with “Jack and The Beanstalk” and “Sing a Song of Sixpence”, two very popular pantomimes. At this time, Donald Sinclair fulfilled the role of Lighting Director whose assistance could achieve wonders and his inability to say “no”, meant that he was in demand for every concert and show in the Assembly Rooms.
Donald Farmer continued as Secretary and a prominent producer in 1979. In that same year, Mr Farmer produced another great play with nine of a cast. Many new faces appeared and the magnificent period scenery and Edwardian costumes of “Angels in Love”, framed the Victorian comedy perfectly. Marina MacDonald appeared with Margaret Manson, Tony Cowell, and Eric Farquhar to mention a few who later went on to do great things with Wick Players
Celebrating New Theatre
In 1980, Wick Players faced a real challenge with “By The Cran”. This was a musical play written by Ian Sutherland and it was dramatised by Ian Matheson. It was a documentary tale of the Wick’s industry, and it told the story of the planning and development of Pulteneytown, the construction of Wick Harbour, the development of the herring fishing, its decline and the disaster of the fateful day when so many men were lost and the tragedy it was to the Pulteney community. All of this told was told through song and dialogue by the main characters- Johnny and Jenny Horne and a cast of fifteen females, the men, four girls and three boys. All eligible players were roped in, and Addie Harper Jnr, our local well-known musician, gave accompaniments for the dancing and singing which was led by Alana Harper. Pat Weir had everyone suitably dressed as fisher foke. The set too had to accommodate the large cast while setting the scene at the harbour. Isobel Gates oversaw props and Ian Mackenzie, Adam Swanson and Duncan Robertson were responsible for staging. “By The Cran” was staged for two evenings in October 1980 to full houses in Wick Assembly Rooms before travelling to Ayr for SCDA’s Festival of New Drama which took place in November. The organisation required to take all the cast (x32 including helpers) to Ayr and to find accommodation as well as arrange for props and scenery to be transported. The performance was so well received that the audience, many of whom were other groups who had performed, burst into applause when Wick appeared at the reception which followed. The trip was quite an experience and was enjoyed by everyone involved. The club travelled by bus, courtesy of Dunnett’s, driven by James Mowat. Kathlyn Harper recalls a memory of the team walking behind Addie playing the accordion with x7 junior members drawing attention to passers-by as they marched up to the theatre.
Clearly, nothing daunted them and in the December of 1980, Eric Farquhar went ahead and produced a three-act comedy called “Cambusdonald Royal” with most of the cast having appeared in “By The Cran”- Ian Matheson, Andrew Craigie, Raymond Durrand, John Green, Margaret Manson, Jean Steele, Marina MacDonald, Susan Levans, Jenny Stewart, Robert Manson, Maureen Miller, Bill Bruce, and Frankie Farmer. Monks and nuns, cardinals, all perfectly dressed once again by Pat Weir. At this production, the programme cost £0.10 with a raffle ticket costing £0.02.
1980 onwards seen the introducion of musical theatre to the club as well as some many great full-length plays such as "Arsenic and Old Lace", "It Runs In The Family", "The Musical Comedy Murders of 1940", "Widows Paradise", "Seperate Beds", to name a few; and of course "The Steamie" which by far was one of our most successful productions. The talented cast performed to sell-out audiences and was the highlight of 1996.
Clearly, nothing daunted them and in the December of 1980, Eric Farquhar went ahead and produced a three-act comedy called “Cambusdonald Royal” with most of the cast having appeared in “By The Cran”- Ian Matheson, Andrew Craigie, Raymond Durrand, John Green, Margaret Manson, Jean Steele, Marina MacDonald, Susan Levans, Jenny Stewart, Robert Manson, Maureen Miller, Bill Bruce, and Frankie Farmer. Monks and nuns, cardinals, all perfectly dressed once again by Pat Weir. At this production, the programme cost £0.10 with a raffle ticket costing £0.02.
1980 onwards seen the introducion of musical theatre to the club as well as some many great full-length plays such as "Arsenic and Old Lace", "It Runs In The Family", "The Musical Comedy Murders of 1940", "Widows Paradise", "Seperate Beds", to name a few; and of course "The Steamie" which by far was one of our most successful productions. The talented cast performed to sell-out audiences and was the highlight of 1996.
Headlining
In 1996, Wick Players entered SCDA's Three-Act Play Festival with "Don't Dress for Dinner", a comedy adaption of a two-act play by French playwright, Marc Camoletti. Directed by Donald Farmer, the club performed this play in our local Assembly Rooms at which the adjudicator of the festival was present at. A total of 96 out of 100 marks were awarded for the performance. This was the highest mark ever given by an adjudicator at the time and was a huge achievement for Wick Players.
1997 seen the climax of Wick Players' success when it came to SCDA's Festival of One-Act Plays. Under the direction of Chairman at the time, Donald Farmer, the club entered "Lone Star" by James McLure featuring three talented actors; Andrew Craigie, Kevin Farmer and Benny Douglas. The team reached the British Final and won, being the recepients of the well-coveted Howard de Walden Trophy. This was a huge achievement, not only for a team from Scotland but it certainly helped to put Caithness on the map, showcasing an excellent piece of theatre and proving that some of the best drama in the UK can be found in Caithness. Upon the team's return to Wick following the festival, a presenttaion was held in Wick Town Hall. Two paitings, one depiciting the cast in action and one of the play's set was commissioned to mark what was a very momentous occasssion for the local community. These paintings now hang in the David Mowat Room in Wick Assembly Rooms.
In 2001, success was found again when Wick won through to the British Final with Luigi Januzzi's "A Bench at the Edge" and again won for the nation. Overall, the club have appeared at three British Finals, lastly in 2007 with "The Pushcart Peddlers" by Murray Schisgal. Over the years, we have appeared at many Scottish Finals and each time we take soemthing different home; new ideas and ways in which we can improve performance for the future.
In 2018 Wick Junior Players under the joint direction of Kelly Davidson and Raymond Cooper performed "Hoodie" by Lindsay Price in both the Open and Youth Sections of the festival. It was here that headlines were made as the junior players had made it through to the Scottish Youth Final, a first for Wick Players. With x11 of a cast plus a production team, the club headed to Plockton by bus to participate in a weekend of community drama which was enjoyed by all. Again in 2024, we seen success with our new generation of junior players winning the Highland Divisional Youth Final, achieveing a place to represent the Highlands at the Scottish Youth Final.
1997 seen the climax of Wick Players' success when it came to SCDA's Festival of One-Act Plays. Under the direction of Chairman at the time, Donald Farmer, the club entered "Lone Star" by James McLure featuring three talented actors; Andrew Craigie, Kevin Farmer and Benny Douglas. The team reached the British Final and won, being the recepients of the well-coveted Howard de Walden Trophy. This was a huge achievement, not only for a team from Scotland but it certainly helped to put Caithness on the map, showcasing an excellent piece of theatre and proving that some of the best drama in the UK can be found in Caithness. Upon the team's return to Wick following the festival, a presenttaion was held in Wick Town Hall. Two paitings, one depiciting the cast in action and one of the play's set was commissioned to mark what was a very momentous occasssion for the local community. These paintings now hang in the David Mowat Room in Wick Assembly Rooms.
In 2001, success was found again when Wick won through to the British Final with Luigi Januzzi's "A Bench at the Edge" and again won for the nation. Overall, the club have appeared at three British Finals, lastly in 2007 with "The Pushcart Peddlers" by Murray Schisgal. Over the years, we have appeared at many Scottish Finals and each time we take soemthing different home; new ideas and ways in which we can improve performance for the future.
In 2018 Wick Junior Players under the joint direction of Kelly Davidson and Raymond Cooper performed "Hoodie" by Lindsay Price in both the Open and Youth Sections of the festival. It was here that headlines were made as the junior players had made it through to the Scottish Youth Final, a first for Wick Players. With x11 of a cast plus a production team, the club headed to Plockton by bus to participate in a weekend of community drama which was enjoyed by all. Again in 2024, we seen success with our new generation of junior players winning the Highland Divisional Youth Final, achieveing a place to represent the Highlands at the Scottish Youth Final.