0:00:05 > 0:00:09Frinton-on-Sea - an old-fashioned resort on the Essex coast.
0:00:09 > 0:00:13An unlikely place perhaps to launch the careers of some of the
0:00:13 > 0:00:15biggest stars of the British stage.
0:00:15 > 0:00:18And yet Antony Sher, Lynda Bellingham and Vanessa
0:00:18 > 0:00:21Redgrave are just a few of the actors who took their early steps
0:00:21 > 0:00:25at the Frinton Summer Theatre.
0:00:25 > 0:00:27It was a wonderful, joyous way to start.
0:00:27 > 0:00:31Really the best way to train as an actor in the real world as opposed
0:00:31 > 0:00:34to training at drama school is to do theatre, so thank God for places
0:00:34 > 0:00:38like Frinton that still exist.
0:00:44 > 0:00:46For 76 years it's survived by going it alone - just.
0:00:46 > 0:00:50But for some, it's stuck in the past, its success outdated.
0:00:50 > 0:00:53Change is long overdue.
0:00:53 > 0:00:56What I'm trying to do is to persuade people that the tradition of Frinton
0:00:56 > 0:00:59is not only an amazing and wonderful thing, but to slightly bring
0:00:59 > 0:01:01the theatre into the modern age as well.
0:01:01 > 0:01:03So this year they've got a new
0:01:03 > 0:01:05manager, who's risking his own money to turn around this
0:01:05 > 0:01:09unique theatrical institution.
0:01:09 > 0:01:13Yes, I suppose I've opened myself up to, a little bit closer to
0:01:13 > 0:01:16bankruptcy then I was planning before by taking over Frinton. With
0:01:16 > 0:01:21luck I keep my shirt. I don't get to dry-clean it but I keep my shirt.
0:01:21 > 0:01:25I was joking, I was joking!
0:01:44 > 0:01:46The seaside resort of Frinton-on-Sea is staunchly traditional
0:01:46 > 0:01:51and uniquely English.
0:01:51 > 0:01:57It's a place to retire and enjoy an unhurried life.
0:01:57 > 0:01:59Modernity has been resisted and nothing much changed
0:01:59 > 0:02:02until Clive Brill arrived in town.
0:02:02 > 0:02:07When I hit my 50th birthday I had various mid-life crises and first
0:02:07 > 0:02:13thing I got a motorbike and the second thing is that, I realised
0:02:13 > 0:02:21that I'd spent 30 years not being an actor - when I was at school
0:02:21 > 0:02:24that's all I did when I was at university that's all I did as,
0:02:24 > 0:02:26I say acting has always been my love.
0:02:26 > 0:02:29When I came down to Frinton it just felt like it was,
0:02:29 > 0:02:31you know, like it was meant to be.
0:02:31 > 0:02:35One way for Clive to fulfill his acting ambition is to try and run a
0:02:35 > 0:02:37theatre. And not just any theatre - Frinton Summer Theatre, the longest
0:02:37 > 0:02:40running professional weekly rep in the country, where seven different
0:02:40 > 0:02:43plays are put on in seven weeks, in a small hall transformed
0:02:43 > 0:02:43for the occasion.
0:02:43 > 0:02:49I suppose I had a sneaky plan at the back of my head that one day
0:02:49 > 0:02:53I would try and be in charge and I felt there was an opportunity to,
0:02:53 > 0:02:54to step in.
0:02:54 > 0:02:56For the last 12 years the theatre has been run
0:02:56 > 0:02:58by actor and manager Edward Max.
0:02:58 > 0:03:00Clive's entrance from the wings has come right on cue.
0:03:00 > 0:03:03I was looking at what I was seeing, I was thinking it's getting
0:03:03 > 0:03:06a bit tired, and I'm getting really stressed.
0:03:06 > 0:03:17I need to work with other people. Other people have other ideas. Of
0:03:17 > 0:03:20course when they present you with another idea you hate it.
0:03:20 > 0:03:23It's not your idea, it's not the way I'm used to, it's stressful -
0:03:23 > 0:03:25but in the end it's the right thing to do.
0:03:25 > 0:03:28And it's the only way places like this are going to survive.
0:03:28 > 0:03:31Any changes to how the theatre is run have to be passed by
0:03:31 > 0:03:34its governing body, the Friends of Frinton Theatre, a group of local
0:03:34 > 0:03:39residents whose support and devotion have kept it going for years.
0:03:39 > 0:03:42All through the year we have events. Most months we have something
0:03:42 > 0:03:43to raise money for the next season.
0:03:43 > 0:03:46This is ploughman's over here, if you'd like to come
0:03:46 > 0:03:50and help yourselves...
0:03:50 > 0:03:55We hire the hall, which costs quite a lot of money, we pay a lot
0:03:55 > 0:03:58of the expenses for it, and general things like electricity, insurance
0:03:58 > 0:04:05and paying for having the seating, that all has to be paid for.
0:04:05 > 0:04:07This "do-it-yourself" attitude has defined Frinton successfully over
0:04:07 > 0:04:10the years, so any suggestion of stirring things up are greeted
0:04:10 > 0:04:13with caution.
0:04:13 > 0:04:21Our leading man Clive has to tread carefully.
0:04:21 > 0:04:22Clive wanted to come and
0:04:22 > 0:04:25run the theatre for ten years, but we've actually got a contract with
0:04:25 > 0:04:28him for five years, which is renewable after five years
0:04:28 > 0:04:31because he didn't want to invest money in the theatre, and then next
0:04:31 > 0:04:33year we say we'll get somebody else.
0:04:33 > 0:04:37Although he has a firm foot in the door, one thing is clear for Clive.
0:04:37 > 0:04:39While The Friends are willing to modernise, any changes will
0:04:39 > 0:04:45cost money - his money.
0:04:45 > 0:04:47More ambitious sets or an adventurous repertoire require
0:04:47 > 0:04:51a call on his resources.
0:04:51 > 0:04:54We're trying harder with slightly bigger casts, slightly more
0:04:54 > 0:05:03ambitious plays, but I'm praying that by making these innovative
0:05:03 > 0:05:06changes that will in the end feed through to bigger audiences, because
0:05:06 > 0:05:10of course my bank manager tells me that the downside of all this is
0:05:10 > 0:05:13that it still actually has put the bill up quite a lot.
0:05:17 > 0:05:19It's February, and Clive and Ed begin planning
0:05:19 > 0:05:27their first year in cahoots.
0:05:27 > 0:05:29It's Clive and Edward who choose the plays, but we do
0:05:29 > 0:05:33like to have a mixture - always like to have a murder, an Alan Ayckbourn,
0:05:33 > 0:05:37and preferably some sort of music.
0:05:37 > 0:05:42We don't have any sort of frightfully modern things.
0:05:42 > 0:06:01So I was rather hoping that we didn't have to do another Ayckbourn
0:06:01 > 0:06:02this year, but
0:06:02 > 0:06:03No, you can't not do it.
0:06:03 > 0:06:05I had a meeting with Anthea and
0:06:05 > 0:06:08the committee and they've basically said you either do an Ayckbourn or
0:06:08 > 0:06:08you're fired.
0:06:08 > 0:06:10It's a question of pleasing the Friends and slightly
0:06:10 > 0:06:13offending the Friends at the same time, to keep them on their toes.
0:06:13 > 0:06:15I think they like to be offended occasionally.
0:06:15 > 0:06:18You know what, I've been thinking about, given the fact that it ran
0:06:18 > 0:06:20for so many years Yes Minister, Yes Prime Minister.
0:06:20 > 0:06:23I think Yes Prime Minister absolutely is the kind
0:06:23 > 0:06:26of thing that would go down very well here, I think we need
0:06:26 > 0:06:29to think outside the box about how we're going to cast it though.
0:06:29 > 0:06:31Yes, we had Richard Wilson last year, he was
0:06:31 > 0:06:34our celebrity, so we need another sort of coup this year.
0:06:34 > 0:06:35A coup! Is that what I was?
0:06:35 > 0:06:38Rather than a rare talent, I was just seen as a mere coup!
0:06:38 > 0:06:40Good afternoon, ladies and gentleman, thank you for
0:06:40 > 0:06:43With their choice of plays decided, it's time to face the Friends.
0:06:43 > 0:06:46As you can see we're a bit of a double act.
0:06:46 > 0:06:47Tweedledee and Tweedledum of British theatre
0:06:47 > 0:06:56Clive sticks his neck out with the first announcement.
0:06:56 > 0:06:58Sheila Stevenson's The Memory Of Water contains near-the-knuckle
0:06:58 > 0:06:58subject matter.
0:06:58 > 0:07:01It's certainly a bit of a gamble.
0:07:01 > 0:07:04There's cannabis on stage It's not real and it does have a few,
0:07:04 > 0:07:07what can I say, fruity words in it.
0:07:07 > 0:07:09Well, that didn't go down too badly.
0:07:09 > 0:07:13What about some music for a bit of variety?
0:07:13 > 0:07:18I think what we're going to try to do is put a small
0:07:18 > 0:07:22I think what we're going to try to do is put a small
0:07:22 > 0:07:23but perfectly formed three-piece band on stage.
0:07:23 > 0:07:25We're going to do a musical revue called Cole,
0:07:25 > 0:07:27the life and times of Cole Porter.
0:07:27 > 0:07:29Oh, not so sure about that one.
0:07:29 > 0:07:32How about their trump card then, a touch of risky political satire?
0:07:32 > 0:07:32Yes Prime Minister.
0:07:32 > 0:07:34With the rest of the season comprising
0:07:34 > 0:07:37the obligatory farce, a murder and an Alan Ayckbourn, they
0:07:37 > 0:07:45have also managed to sneak in a dose of drugs, swearing and blasphemy.
0:07:45 > 0:07:47And Clive and Ed break the news that they
0:07:47 > 0:07:50intend to tinker with the cherished tradition of rep - the same cast of
0:07:50 > 0:07:53actors performing in all the plays.
0:07:53 > 0:08:03I used to think it was quite amusing - for example, one year we had a
0:08:03 > 0:08:06little prostitute with hot pants and a fur coat, you know, and the next
0:08:06 > 0:08:09week she was a little American old lady with grey hair, with talcum
0:08:09 > 0:08:12powder and it was the same person with an American accident,
0:08:12 > 0:08:17and I think that's terribly clever.
0:08:17 > 0:08:23That would kill any modern actor I think, they're just not used to it
0:08:23 > 0:08:25and they're just not trained to do it,
0:08:25 > 0:08:28and anyway my philosophy is that if I want to attract, you know bigger,
0:08:28 > 0:08:32and anyway my philosophy is that if I want to attract, you know, bigger,
0:08:32 > 0:08:34better, larger casts what I need to say to them is,
0:08:34 > 0:08:38you'll get a week of hard rehearsal and a week of performance but during
0:08:38 > 0:08:41the week of performance you'll be able to chill a little bit.
0:08:41 > 0:08:43This departure from the norm of Frinton - in essence employing
0:08:43 > 0:08:46more actors - will put an added strain on Clive's bank balance.
0:08:46 > 0:08:50Is he sailing too close to the wind?
0:08:50 > 0:08:57Of all the promises Clive and Ed made this year, the trickiest by far
0:08:57 > 0:09:02is attempting to put on a musical, in such a short space of time.
0:09:12 > 0:09:14Obviously, basically we're trying to do a musical in two weeks
0:09:14 > 0:09:18here so it's an incredible ask to ask someone straight out of drama
0:09:18 > 0:09:19school to do this, we'd love to,
0:09:19 > 0:09:22but we have got Dominic Rye who's clearly is a good actor
0:09:22 > 0:09:25and we've put him in Fallen Angels so we're sort of, we're doing,
0:09:25 > 0:09:27you know, we're fulfilling the brief.
0:09:27 > 0:09:33And part of their brief is to give aspiring actors their first job.
0:09:33 > 0:09:36Frinton Rep is known as the nursery of the stars and is
0:09:36 > 0:09:41remembered by one of its old boys - the leading Royal Shakespeare
0:09:41 > 0:09:43Company actor Sir Antony Sher.
0:09:43 > 0:09:45It was a wonderful, joyous way to start,
0:09:45 > 0:09:49I was both required to play big parts in all the plays and do stage
0:09:49 > 0:09:56management duties, and the work was exhilarating working at that rate.
0:09:56 > 0:10:10There were reps all round the country, in every major city.
0:10:10 > 0:10:14A lot of them are gone, and really the best way to train as an actor
0:10:14 > 0:10:17in the real world as opposed to training at drama school is to do
0:10:17 > 0:10:22theatre, so thank God for places like Frinton, that still exist.
0:10:22 > 0:10:24Keen to uphold this tradition, Clive and Ed shortlist two actresses
0:10:24 > 0:10:40straight from drama school for the lead in Alan Ayckbourn's Flat Spin.
0:10:40 > 0:10:41That's neither here nor there...
0:10:41 > 0:10:42Eleanor, I just love her presence
0:10:42 > 0:10:45in the room, she's got such an unusual look that is distinctive
0:10:45 > 0:10:47and attractive at the same time.
0:10:47 > 0:10:49But Pippa gave the most nuance performance, she really moved me.
0:10:49 > 0:10:52But Pippa gave the most nuanced performance, she really moved me.
0:10:52 > 0:10:55It's just...
0:10:55 > 0:10:59For God's sake, Kat, I could have at least got a job, couldn't I?
0:10:59 > 0:11:03Turns out Clive and Ed can't resist hiring them both.
0:11:03 > 0:11:10Actually there are two jobs in this play, and I think that
0:11:10 > 0:11:11I think Pippa is excellent,
0:11:11 > 0:11:14wonderfully good actress but she's not right for Rosie, although she
0:11:14 > 0:11:15would be an extremely good Tracey.
0:11:15 > 0:11:17I feel more comfortable with Eleanor.
0:11:17 > 0:11:19So are we going to seal the deal?
0:11:19 > 0:11:19On Eleanor?
0:11:19 > 0:11:26Yes.
0:11:26 > 0:11:28And Pippa? Damn right.
0:11:28 > 0:11:29Very good, well done, well cast.
0:11:29 > 0:11:30Thank you.
0:11:30 > 0:11:32Their spirits are dampened however, when Clive takes
0:11:32 > 0:11:33a worrying phone call.
0:11:33 > 0:11:34It's another rejection from an agent.
0:11:34 > 0:11:37His quest to cast a star name for Yes Prime Minister
0:11:37 > 0:11:40is not going well.
0:11:49 > 0:11:53Just as it has done for 76 years, the day arrives when a posse of
0:11:53 > 0:11:55theatre types descend on the town.
0:11:55 > 0:11:56A brightly painted box office erected
0:11:56 > 0:12:01on the pavement means they're open for business once again.
0:12:01 > 0:12:03The hall is reorganised into a vibrant theatre space and
0:12:03 > 0:12:06props are bought from local shops.
0:12:06 > 0:12:08Casting for the plays is almost complete,
0:12:08 > 0:12:12with the exception of Yes Prime Minister.
0:12:12 > 0:12:14Pressure is building for Clive.
0:12:14 > 0:12:22I'm beginning to feel a little bit anxious about this because
0:12:22 > 0:12:25I actually start rehearsals myself on Wednesday, A: I'm supposed to
0:12:25 > 0:12:28have learnt all my lines and B: obviously I'm supposed to be very
0:12:28 > 0:12:31good, as the producer I'm supposed to
0:12:31 > 0:12:41I suppose set an example.
0:12:41 > 0:12:45I thought take me back to sanity and I walk on, and I walk in on
0:12:45 > 0:12:46this, Pan's bloody People...
0:12:46 > 0:12:48He's taking on a huge amount of risk,
0:12:48 > 0:12:50he's taking on a huge amount of work.
0:12:50 > 0:12:52He doesn't need to do this, he wants to do this.
0:12:52 > 0:12:55The cast for the first play, Noel Coward's Fallen Angels,
0:12:55 > 0:12:55arrive in Frinton.
0:12:55 > 0:12:57These include first-timer Dominic Rye, who was successful
0:12:57 > 0:12:59at the auditions for several roles this season.
0:12:59 > 0:13:01The actors meet director Jonathan Taffler for rehearsals
0:13:01 > 0:13:02in the local scout hut.
0:13:02 > 0:13:03This is frightful
0:13:03 > 0:13:06I'm only taking my irons.
0:13:06 > 0:13:12You know, when you tell people you're doing
0:13:12 > 0:13:14Frinton do you ever get any
0:13:14 > 0:13:15I suppose people ask
0:13:15 > 0:13:18me where is it and what is it all about, and then you have to explain
0:13:18 > 0:13:21it's the oldest rep company in the country, 76 years old and some
0:13:21 > 0:13:24incredible names have come out of it, haven't they,
0:13:24 > 0:13:27I mean Julia Walters I think was here,
0:13:27 > 0:13:29I mean Julia Walters I think was here.
0:13:29 > 0:13:30Vanessa Redgrave...
0:13:30 > 0:13:31Who was here last year?
0:13:31 > 0:13:31Errrrrr...
0:13:31 > 0:13:32Oh, come along!
0:13:32 > 0:13:33Yes, who was it?
0:13:33 > 0:13:34Victor Meldrew, what's his name?
0:13:34 > 0:13:35Richard Wilson.
0:13:35 > 0:13:36Richard Wilson, that's right, thank you.
0:13:36 > 0:13:40After two days the first set is complete
0:13:40 > 0:13:43and the McGrigor Hall once again echoes to the curious sound of the
0:13:43 > 0:13:48mating call of actors warming up.
0:13:48 > 0:13:53You do have to stay calm, there is a sense of, I think there's a sense of
0:13:53 > 0:13:56rising panic, slowly goes like that.
0:13:56 > 0:14:07But what these guys have done is that they arrive with their lines,
0:14:07 > 0:14:14sort of let's say three-quarters learnt - that will give you a sense
0:14:14 > 0:14:19of, you know, calm to begin with.
0:14:19 > 0:14:22With three days to go before curtain-up on the first play, the
0:14:22 > 0:14:26Friends of Frinton Theatre attend the ritual meet-the-cast party.
0:14:27 > 0:14:29We're nearly there, everyone
0:14:29 > 0:14:31The fundraising efforts and sponsorship deals have once again
0:14:31 > 0:14:37ensured that the show goes on.
0:14:37 > 0:14:47Edward Max, my partner in crime.
0:14:47 > 0:14:50Edward Max, my partner in crime.
0:14:50 > 0:14:51Edward Max, my partner in crime.
0:14:51 > 0:14:52I didn't say applaud!
0:14:52 > 0:14:55I paid them.
0:14:55 > 0:14:59I paid them.
0:14:59 > 0:15:01The nervous cast of the opening play are
0:15:01 > 0:15:05paraded in front of their patrons for inspection.
0:15:05 > 0:15:07Will they cut the mustard, will they fit the Frinton bill?
0:15:07 > 0:15:09Uppermost on their minds at that time is
0:15:09 > 0:15:12the hastily learnt play that has temporarily taken over their lives.
0:15:12 > 0:15:13First job straight out of drama school
0:15:13 > 0:15:14Welcome to Frinton,
0:15:14 > 0:15:16Welcome to Frinton, I know how you feel!
0:15:16 > 0:15:18Ladies and gentlemen, raffle tickets, thank you very much.
0:15:18 > 0:15:21This will be one of the best learning experiences you
0:15:21 > 0:15:24will have as young actors.
0:15:35 > 0:15:39And North African devil dancing - I thought take me back to sanity
0:15:39 > 0:15:41and then I walk in on this, Pan's bloody People.
0:15:41 > 0:15:43They are now three plays into the run.
0:15:43 > 0:15:46The Memory of Water, in which Clive appears, is being dress-rehearsed.
0:15:46 > 0:15:48Fallen Angels was followed by sell-out performances of
0:15:48 > 0:15:53Shirley Valentine, directed by Ed.
0:15:53 > 0:15:56However, it's fast becoming crunch time for
0:15:56 > 0:16:00Yes Prime Minister, which Clive will direct and also have a part.
0:16:00 > 0:16:01But he can't find his star.
0:16:01 > 0:16:06Here we are, the first play is already finished, Yes Prime Minister
0:16:06 > 0:16:09which is play six is still completely uncast, completely due to
0:16:09 > 0:16:10my own stupidity really.
0:16:10 > 0:16:17I can't understand why actors are not actually queuing up to come
0:16:17 > 0:16:20and be paid Equity minimum and be put in some digs, but it
0:16:20 > 0:16:23seems they don't all want to come.
0:16:23 > 0:16:25It starts getting very dangerous if you don't have your audition list
0:16:25 > 0:16:28set by the middle of April and you haven't cast
0:16:28 > 0:16:31by the beginning of May.
0:16:43 > 0:16:46Well, I've never said to Clive it's a mistake, but I think he realises
0:16:46 > 0:16:55now for himself that, he wishes that he'd done something
0:16:55 > 0:16:56about it earlier.
0:16:56 > 0:17:00I just thought I wouldn't worry about auditions, I'll
0:17:00 > 0:17:03just ring people up and go through my mates. I've probably phoned every
0:17:03 > 0:17:04mate I know now
0:17:04 > 0:17:05Thank you, mates!
0:17:05 > 0:17:07Not only is the unfinished business with Yes
0:17:07 > 0:17:10Prime Minister weighing on his mind, also for Clive there's the imminent
0:17:10 > 0:17:11performance of The Memory of Water.
0:17:11 > 0:17:21Might he upset the loyal Frinton audience?
0:17:21 > 0:17:23The play is pushing the boundaries a little bit more
0:17:23 > 0:17:29than the average Frinton audience has come to expect.
0:17:29 > 0:17:32It's got what we might call wacky baccy on stage, and there's quite
0:17:32 > 0:17:35a bit of swearing in this play which we don't usually do.
0:17:35 > 0:17:38This has got about 20 F-words in it, and there's a good old dose of
0:17:38 > 0:17:43blasphemy as well, what can you do?
0:17:43 > 0:17:45blasphemy as well. What can you do?
0:17:45 > 0:17:47Sorry.
0:17:47 > 0:17:48Jesus, Mike!
0:17:48 > 0:17:50I'm not expecting too many walk-outs but it's possible.
0:17:50 > 0:17:52How long have you been there?
0:17:52 > 0:17:52Hours.
0:17:52 > 0:17:55So it's going to be challenging.
0:17:55 > 0:17:56So it's going to be challenging.
0:17:56 > 0:17:59To compound his problems, Clive has to abandon a crucial rehearsal
0:17:59 > 0:18:02to rush to London in a last-ditch attempt to cast a Prime Minister.
0:18:02 > 0:18:05A casting agent, Stephen Moore, has come to his rescue and lined up
0:18:05 > 0:18:12a few potential candidates.
0:18:12 > 0:18:15He wasn't really quite running through it at the speed of panic
0:18:15 > 0:18:18that I imagine the Prime Minister is in at that stage.
0:18:18 > 0:18:20He's determined to hold out for the perfect actor.
0:18:20 > 0:18:23He returns to Frinton with the part still uncast.
0:18:23 > 0:18:25Meanwhile, it's the opening night of The Memory Of Water,
0:18:25 > 0:18:28and Clive has to concentrate on his performance.
0:18:28 > 0:18:30He can't afford to be distracted any further.
0:18:30 > 0:18:35He's staking his Frinton future on the success of this play.
0:18:41 > 0:18:43Do men have pelvic floor?
0:18:43 > 0:18:49Because mine's gone.
0:18:49 > 0:18:56I'm just having to grrrr, it's not feeling good right
0:18:56 > 0:18:57at the moment.
0:18:57 > 0:18:59No, this is horrible, every time I hear the drum roll
0:18:59 > 0:19:10for the National Anthem, my bowels move and
0:19:10 > 0:19:11They've stopped moving now but you know...
0:19:11 > 0:19:12The tension is..
0:19:12 > 0:19:19it's a pit of fear, but we have this to get us through
0:19:19 > 0:19:21before we go on so we'll be fine.
0:19:21 > 0:19:22Clive's fears are unfounded.
0:19:22 > 0:19:23The play is a success.
0:19:23 > 0:19:33He has passed his initiation with the Frinton
0:19:33 > 0:19:35Well, it's all over, where's my shirt?
0:19:35 > 0:19:38I cannot believe I forgot, what I consider to be my funniest line.
0:19:38 > 0:19:40That's because I haven't done three year training, that's
0:19:40 > 0:19:43because I took over the theatre then said I'd put myself in things.
0:19:43 > 0:19:45Be careful what you wish for.
0:19:45 > 0:19:48Almost everyone I think has said, slightly worried by the language
0:19:48 > 0:19:52still but pleased that they had such a thought-provoking play.
0:19:52 > 0:19:52Clive?
0:19:52 > 0:19:54Yes?
0:19:54 > 0:20:00Your adoring public are slavering their chops.
0:20:00 > 0:20:05They may come in if they want to.
0:20:05 > 0:20:07All of them, will they be able to fit in(?)
0:20:07 > 0:20:11I think it was actually a good choice to do and I think there needs
0:20:11 > 0:20:13to be a play like that every year.
0:20:13 > 0:20:14Well, there's no question in my mind,
0:20:14 > 0:20:17we have to provoke a little bit of thought every single year
0:20:17 > 0:20:18from now on.
0:20:18 > 0:20:21And later that night, Clive steps outside from the celebrations to
0:20:21 > 0:20:22take the call he's been waiting for.
0:20:22 > 0:20:23He has his Prime Minister.
0:20:23 > 0:20:27His choice may not be the household name he'd held out for; instead he's
0:20:27 > 0:20:32had to opt for an experienced actor who can learn the part quickly.
0:20:43 > 0:20:46It's mid-season, and Ed is stuck into his next play - Flat Spin,
0:20:46 > 0:20:47the customary Alan Ayckbourn.
0:20:47 > 0:20:49It's a crowd puller and bound to swell the coffers.
0:20:49 > 0:20:52A fact not lost on Clive's bank manager.
0:20:52 > 0:21:00So Ed has to get it right, and right now it's far from perfect.
0:21:00 > 0:21:03Guys, really don't have a lot of time, I'd like to be started
0:21:03 > 0:21:06in about a minute, thank you.
0:21:06 > 0:21:07What are we eating?
0:21:07 > 0:21:08Gnocchi.
0:21:08 > 0:21:09What?
0:21:09 > 0:21:12Gnocchi...
0:21:12 > 0:21:14G-N-O-C-C-H-I...
0:21:14 > 0:21:17I thought
0:21:17 > 0:21:20The female lead has been given to first timer Eleanor Adams
0:21:20 > 0:21:23and as good as she is, she's unused to the Frinton way and
0:21:23 > 0:21:28she's buckling under the pressure.
0:21:28 > 0:21:37Jesus...
0:21:37 > 0:21:46OK - no, right, listen, that's absolutely fine and it all
0:21:46 > 0:21:48works, come down here, guys
0:21:48 > 0:21:53It's a big play, it's two big parts for two young people and I've need
0:21:53 > 0:21:56to give them a lot of time to help them ground themselves.
0:21:56 > 0:21:57Right now we
0:21:57 > 0:22:06know that, you happy to leave it or do you just want to work those cued
0:22:06 > 0:22:06bits here?
0:22:06 > 0:22:17I'm happy As you like, as you like.
0:22:17 > 0:22:20Well, it's really as you like - I'm, I'm happy.
0:22:20 > 0:22:26With four hours to
0:22:26 > 0:22:42With four hours to curtainup things are not looking
0:22:42 > 0:22:45With four hours to curtain up things are not looking good.
0:22:45 > 0:22:48The sheer complexity of the play is testing everybody to the limit.
0:22:48 > 0:22:49Eleanor, are you there?
0:22:49 > 0:22:52Yeah, just give us two seconds guys, we've said yes three times just
0:22:52 > 0:22:53give us five seconds, thank you.
0:22:53 > 0:22:55OK, I'm sorry to pester but can I
0:22:55 > 0:22:58Yeah, we're ready now OK so Eleanor, thank you Eleanor.
0:22:58 > 0:23:00If you think you can treat this place like a bloody hotel
0:23:00 > 0:23:01then you're very, what?
0:23:01 > 0:23:03What the hell do you think you're doing?
0:23:03 > 0:23:07You can't just walk in here, will you get out of here, you can't
0:23:07 > 0:23:08just treat this place
0:23:08 > 0:23:10The show must go on, but for the leading lady
0:23:10 > 0:23:11the tension has become too great.
0:23:11 > 0:23:12Sorry
0:23:12 > 0:23:16OK, guys, can you just turn it off, can you just turn it off please.
0:23:16 > 0:23:17Good luck to everyone.
0:23:17 > 0:23:18Thanks, Alex.
0:23:18 > 0:23:22We got to the second bit and Eleanor I think she just felt "I need to get
0:23:22 > 0:23:26"this right, and what I feel I don't need at the moment is to have the
0:23:26 > 0:23:27"issues that I'm having recorded.
0:23:27 > 0:23:29"It's distracting me from learning how to get it right."
0:23:29 > 0:23:33That's why she asked me and that's why I said to you guys
0:23:33 > 0:23:34you got to stop recording now.
0:23:34 > 0:23:36Eleanor is concerned, it's her first job, it's
0:23:36 > 0:23:39a big part and she's really thrown herself at it and she's fabulous.
0:23:39 > 0:23:42I am entirely confident that she will rise to the occasion
0:23:42 > 0:23:45but the issue is that she is wondering whether she is going to
0:23:45 > 0:23:47rise to the occasion.
0:23:49 > 0:23:52Just a few hours earlier the cast and crew were not ready to
0:23:52 > 0:23:56put this play on.
0:23:56 > 0:23:59It was a close call but that's the Frinton frisson -
0:23:59 > 0:24:00seat of the pants stuff.
0:24:00 > 0:24:01They thrive on it.
0:24:01 > 0:24:03The appreciative audience are blissfully unaware,
0:24:03 > 0:24:13and the triumph is no more keenly appreciated than backstage.
0:24:13 > 0:24:19If there is any justice in ten years' time, you know, more
0:24:19 > 0:24:22than anything else I hope that they will look back and go
0:24:22 > 0:24:24"I've got a great career and I'm here because I did
0:24:24 > 0:24:34"Frinton Summer Theatre."
0:24:34 > 0:24:37Yeah, it's been quite intense, we had one week rehearsal and one week
0:24:37 > 0:24:38of shows, so
0:24:38 > 0:24:38Yeah, really intense.
0:24:38 > 0:24:41I mean, El had quite a lot of lines to learn
0:24:41 > 0:24:44and get down in that amount of time, so it was pretty intense but
0:24:44 > 0:24:46it's been really good fun.
0:24:46 > 0:24:47Definitely a challenge, but it all came together
0:24:47 > 0:24:49really well, so yeah it's been really great.
0:24:49 > 0:24:52Mm. Very lucky to have this as our first job.
0:24:52 > 0:24:54Yeah, well, you see, every day's a school day.
0:24:54 > 0:24:58Cheers, guys.
0:25:00 > 0:25:03And so, on a rainy summer's night, the moment of truth has arrived
0:25:03 > 0:25:05for Clive.
0:25:05 > 0:25:13Because of a late delivery, the main cast are now an insert in
0:25:13 > 0:25:16the programme rather than, actually part of the programme, we've had to
0:25:16 > 0:25:18paperclip them in but, you know, that's show business.
0:25:18 > 0:25:23The house is now open.
0:25:23 > 0:25:25You know, I've never ironed to bagpipes
0:25:25 > 0:25:29before, this is my first time.
0:25:29 > 0:25:32For Clive, the play that nearly cost him his shirt is about to open.
0:25:32 > 0:25:35He has assembled a masterclass of acting talent to accompany loyal
0:25:35 > 0:25:41Frinton regular Jasmine Hyde.
0:25:41 > 0:25:49Slight feeling of, can I go home now, please?
0:25:49 > 0:26:01Yes, the end is in sight, my few days of lying
0:26:01 > 0:26:11on the coach going... aaah! are in sight.
0:26:11 > 0:26:13You feel vindicated that you left it to the wire?
0:26:13 > 0:26:16I feel, yeah, well I think indications is not the right word
0:26:16 > 0:26:19because if I'd been sensible I wouldn't have done you know that's
0:26:19 > 0:26:20the lesson that I have learnt.
0:26:20 > 0:26:24I left it to the wire and it worked incredibly well because I had a very
0:26:24 > 0:26:27good casting director who basically got me out of the ordure
0:26:27 > 0:26:32You're all fantastic, even me
0:26:32 > 0:26:34Have a good one, everybody.
0:26:34 > 0:26:38And Clive's Prime Minister
0:26:38 > 0:26:41Well, Patrick Cremin may not be a name we all know, but
0:26:41 > 0:26:42his performance is a tour de force.
0:26:42 > 0:26:43Who needs celebrities?
0:26:43 > 0:26:46It's absolutely vital that we keep going, if we don't keep going then
0:26:46 > 0:26:50I think theatre on the edges as it were in the outpost will simply
0:26:50 > 0:26:52disappear, everything will be concentrated in the big cities which
0:26:52 > 0:27:03is not what we want.
0:27:03 > 0:27:04That is all that matters.
0:27:04 > 0:27:07yes, Prime Minister.
0:27:07 > 0:27:08Yes, Prime Minister.
0:27:08 > 0:27:10They began the year with a mission to modernise
0:27:10 > 0:27:12and they have breathed new life into a time-honoured institution.
0:27:12 > 0:27:14Well done, everyone good night, see you all tomorrow.
0:27:14 > 0:27:17They've achieved a record number of full houses any theatre would be
0:27:17 > 0:27:18envious of,
0:27:18 > 0:27:20and early estimates indicate that Clive's finances have survived.
0:27:20 > 0:27:28We are teetering on the brink of breaking even
0:27:28 > 0:27:33but I cannot even begin to think that that is for certain.
0:27:33 > 0:27:35What IS certain though, is Clive's commitment to
0:27:35 > 0:27:36Frinton Summer Theatre.
0:27:36 > 0:27:42To me, it's like, how do I live out the rest of my life well,
0:27:42 > 0:27:48To me, it's like, how do I live out the rest of my life -
0:27:48 > 0:28:04well, if I've risked my life by keeping a theatre going that would
0:28:04 > 0:28:06be an amazing thing to do, wouldn't it?
0:28:06 > 0:28:09And yes, their musical achieved in two weeks is a triumph too.
0:28:09 > 0:28:12Anything Goes.
0:28:12 > 0:28:14It feels like you've been here forever.
0:28:14 > 0:28:16Yeah, I mean, seven productions, seven weeks, it's obviously been
0:28:16 > 0:28:17completely bonkers to do that.
0:28:17 > 0:28:20There's no sense of Frinton getting at it were second best.
0:28:20 > 0:28:22Frinton is just getting amazing people coming in
0:28:22 > 0:28:24and doing amazing auditions and just blowing my socks off.
0:28:24 > 0:28:28I think I'm going to come back next year, are you coming back next year?
0:28:28 > 0:28:29If you'll have me, certainly.
0:28:29 > 0:28:34We're sort of married now in a painful way.