Directing shows for a company the size of The Wight Strollers is no mean feat, but Sarah Scotcher has been doing it a long time now, so there must be some appeal!
A founder member of The Wight Strollers in its current form, Sarah was a pupil at the Nesta Meech School of Dance, the banner under which our pantomimes were originally performed, from the age of 9 - and the rest, as they say, is history!
The first show Sarah directed for the company was our February 2008 production of Snow White and the Seven Dwarves, but both prior to that and since she has also taken on almost every type of panto role under the sun, from princess to villain, dame to dwarf.
Robin Hood and the Babes in the Wood is the fourteenth show Sarah has directed for the company, and we wanted to find out what it is that she loves about the Strollers, why she enjoys directing, and what keeps her coming back for more...
What's been the most challenging production for you to direct?
Priscilla: Queen of the Desert - The Musical. The scale of the whole production, the number of costume changes, the bus...it's such a massive show, and it's all very fast-paced.
But was it worth the challenges?
Of course!
And what about directing in general? What is it you like about directing shows?
Because it's exciting, when I see it get on stage, to think that I've brought all of it together and managed to put my own slant and ideas on things and make them a reality. You start off with a blank canvas and you can add bits to it.
And on the other side of the coin, what's the toughest thing about being a show director?
My role crosses over into Producer a fair bit, which means I get pulled in all different directions and that can be really tricky. Critiquing your friends is always a tough task, too!
You've been a Stroller for almost fifty years - that's crazy! But you obviously love it, so what is it - in your opinion - that makes The Wight Strollers special?
It's a family-orientated company, it's a very friendly group, and above all it raises money for Island charities. And it's extremely special to me because I've seen it grow from something smaller, much smaller - I remember the days when we performed at Ryde Pavilion and Carisbrooke High School! - into what it is today. It's just grown and grown. More than anything, though, I love what it [the company] stands for - the Strollers, at its heart, isn't a pretentious company, it's just a group of people who like making theatre and having fun, and our charity ethos is very much a driving force behind that. The fact that raising money for charity is our motivation keeps egos at bay, and always has done, because you see what good the money does in the local community. That's the most important thing - it's why we do it.
Being in the company so long has no doubt given you some wonderful memories - what are some of your fondest moments?
There's so many - that's really hard!
We can let you have three, if it helps!
Not much, but I'll try! Going right back, one of them would be getting my first principal role, which was Sleeping Beauty in 1984, when I was 21 - it was my first principal role, it will always be special. And the first time I played a comedy role, too, which was actually Willy in our 1999 production of
Robin Hood and the Babes in the Wood, funnily enough.
But a big thing for me was seeing my children on stage and loving The Wight Strollers as much as me - that was, and still is, very special.
Turning back to directing for a moment, what's been your favourite show to direct?
Joseph and the Amazing Technicolor Dreamcoat, because it was just so special. It was our first musical, and the music was fabulous and it was such a feel-good show. But if you asked me which pantomime was my favourite to direct, I would have to say
Snow White and the Seven Dwarves in 2008. I don't know why, I think partly because it was the first show I ever directed for the Strollers. I liked
Aladdin, too, because it's always a bit different and very colourful, and it's in a different setting to most other pantos and generally has a good mix of everything.
And on stage, what's been your favourite role to play?
Carabosse [the Wicked Fairy in
Sleeping Beauty]. I've played the role twice and I enjoyed it both times. She's glamorous, and the way I play it is always sarcastic, which I love...
She does tend to be one of the nastier villains, doesn't she?
She is - she's just bad, she's actually not nice to anyone.
So what was it that made each time you played her so memorable?
The first time I did it [2004], we did a Bushtucker Trial on stage and I absolutely loved that...in fact, on the last night I ate live worms! And I loved it the second time [2013] because I got to work with my daughter, Emily, who was playing Sleeping Beauty. And I suppose I also love it in general because in my younger years I was never a fairy...but Carabosse, although she's a villain, is still a fairy so you get a lovely costume as well!
Turning now to Robin Hood and the Babes in the Wood, you co-wrote the script, as you also did for Cinderella - what was it that prompted the change to home-written scripts?
When you write the script, you can tailor it to the company's needs and there's more scope for finding new comic routines, new characters, and new ways of approaching the stories...and we've even built a whole scene around a song we wanted to get into the show before! A big part of it, too, is that it's cheaper, which means more money to give to our charities.
What is it about this particular version of Robin Hood and the Babes in the Wood that you love?
I think it's a lovely contrast to some of the more Disney-esque shows. There really is something for everyone - action, comedy, romance, all sorts, plus a wonderful mix of songs. And it's giving a lot of our members a chance at a speaking role, including two of our younger members, Madeline and Miley. It's been really nice to see their acting skills and their confidence grow and develop through the rehearsal process, and they are now absolutely ready for an audience...and they're loving every minute of it!
And finally, why should people buy tickets?
Because no-one does panto quite like The Wight Strollers! I truly believe we give professional quality entertainment at amateur prices - I know I always say it, but I really do believe it. Once you've seen a Wight Strollers show, you will definitely be back for more.
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To get your tickets for Robin Hood and the Babes in the Wood, being performed at Medina Theatre this February Half Term, all you have to do is phone 01983 823884, visit the Medina Theatre website, or pop over to the Box Office or 1Leisure Reception in person! See you in the audience!
Here's just a little of the feedback we've had over the course of the run:
"It was magnificent- highly recommended!"
