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The Argosy Players in: The Telephone Never Rings by Falkland L
Cary and Philip King
Staged: 16 November 1951 in basement theatre, Head Office
Water St Liverpool
 Martins Bank Society of the Arts becomes the umbrella organisation for
the the Bank’s dramatic and  operatic societies, and includes the Annual exhibtion of Arts and Crafts
on the eighth floor of the Bank’s Head Office Building in Water Street,
Liverpool. Head Office also has TWO small stages which can be used for
official meetings and theatrical use. The Basement Theatre is used several
times a year throughout the 1950s for meetings of the Society of the Arts,
and without resting on their laurels, the Argosy Players, the ArgoFor
Players, the Manchester Players and the operatic Society will all stage shows,
often testing out new material in front of their peers. Often the top brass of the Bank will attend
these gatherings, which serve as a great practice environment in which to
nurture new talent. “The Telephone Never Rings” is chosen by the Argosy
Players, as their dramatic contribution to an evening of entertainment in
which the Manchester Players also take part.
This short piece from Martins Bank Magazine’s Winter 1951 issue is
accompanied by one production photograph, and which sets the scene for the Argosy
Players’ performance…
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 Comedy was
the choice of the Argosy Players and “The Telephone Never Rings” by
Falkland L. Cary and Philip King gave them plenty of scope. Having seen J.
K. Cornall in many parts we feel that the palm for this performance should
go to him for his character presentation of the old gardener. Make-up was
excellent, stance and vocal inflexion so good that few people could have
guessed his identity without the aid of a programme. Thea Bower, as the
battleaxe-type of landlady, scored another hit and Sydney Rimmer as the
newly-retired doctor who only wanted a bit of peace and quiet took off the
part with his customary ability.
Yvonne Simmons made him a very charming niece and Maud Melville’s
rendering of the character part of the lady who insists upon being fussed
over by a doctor brought its due meed of applause.
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We felt Margaret Shaw’s interpretation of the part of
the girl who, after rejecting the doctor’s proposal, changes her mind and
returns to do the proposing herself, was not convincing. A little more
seductiveness would, we feel, have sat better on the part.
Colin Skelton’s brief appearance as a fireman looking
for a fire was quite deceiving and the touch of local colour was most
effective.
William Keil produced for the Manchester Players and
Sydney Rimmer for the Argosy Players.
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Left to right: Yvonne Simmons, J. K. Cornall,
Thea Bower,
Sidney. N. Rimmer, Margaret Shaw, Maud
Melville and Colin Skelton
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Intellectual Property Rights ©
Martins Bank Archive Collections 1988 to date.
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