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This performance marked something of a
milestone for the Players as it followed extensive work resulting in
"vastly improved" stage facilities in the hall. We do not have
details about the alterations, but it seems likely that the stage
area was increased, and the article below also indicates that
"flats" were used for the first time in the construction of the set.
Previous productions had used either curtains or the existing walls
of the stage area, which looked fine (see
1955 pictures) but clearly lacked
flexibility.
The picture below shows the first set
designed using the new flats. I am not sure whether they had not yet
discovered the benefits of papering over the joins, or whether
the sectional appearance was intentional (after all, the play was
set in wartime). Presumably the promotional picture (above) was
taken before the completion of the set build.
The play
would have offered new challenges to the group, particularly in the
set design, which had to change from the Hall of the Convent (Act 1)
to Sister Mary's room (Act 2) and then back again. The wardrobe
department also had to search far and wide, securing the loan of
Nuns' habits from a Maud Gibson of Tenterden, and nurses' uniforms
from Mrs. Reynolds of Hastings.
Alex Mailer saved the show as a last
minute substitute for Dorothy
Brittain. | 
