From the very time of our foundation, I determined that our choice of plays should be catholic. I wanted both our casts and audience to enjoy the best of everything. We were a children's theatre, so naturally youth would be considered first in all our planning. We were out to attract young audiences-to introduce them to the thrill of live theatre. This was a worthy aim.

Most of our potential audiences would come from homes where no one ever patronised a theatre. All they would ever see would be the 'telly' or a film at the cinema. Whilst we were out to attract children, I felt we ought to make a special effort to bring in that most awkward and maligned section, the teenager. Furthermore we must not neglect the adult.

I felt that people belittled the acting ability of young folk. I knew that with training, young children and teenagers could give fine performances, judged by the highest standards. One thing I was adamant about. We were never going to play down to the children in the audiences. My experience in school had convinced me that children, because they retain some of the 'clouds of glory', and are less tainted by the evil of the world, can appreciate much that we fail to give them credit for. Often adults are subconsciously jealous of the clear perception of our young charges. It was once said, 'Except ye become as little children, ye can in nowise enter the Kingdom of Heaven.' This is also true of the kingdom of the arts.

There are people who loudly scream about the difference between theatre for children and children's theatre. Personally I consider they cannot be separated, nor should they be. To me they are complementary and indivisible. Our aim must be to attract all ages into as many of our shows as possible.

We should not chop up plays into watertight compartments, There are very broad classifications, of course, which can be allowed, As a general rule, one would not take a six-year-old to see Hamlet. On this point, though, had I had the opportunity to see that play when I was five, I would have been enthralled. I have heard it stated quite categorically, that no child under the age of five should be taken to the theatre. I cannot agree with this. We sometimes have three-year-old children at our shows, and they are spellbound by what is happening on the stage. I hasten to add that I would never take a child to see a play dealing basically with violence or sadism. But we adults should not pontificate too much about what a child should or should not see. A horrifying dragon is not likely to have a serious effect on a child, unless that child is abnormal. Children love a monster in a play. There is exhilaration in apprehension of a mild nature. Common-sense should dictate over this point.

In spite of our aims, we floundered for about a year or two, and then gradually a clearer pattern emerged. For a considerable time now, we have put on three or four major productions each season. They are chosen with the following plan in view.

1. Shakespeare or a classic
2. Fantasy
3. Musical
4. Other types i.e. straight play, thriller, nativity, passion play.

Sometimes we exceed this number.

When we choose a play we have several considerations in mind. First, it must be a play which is worth doing. It must be one of the best in its particular class. I would not waste my time,, and what is more important, the time of the cast, in rehearsing and producing a poor play. With three hundred acting members, we naturally prefer plays with large casts. Our members are not too keen on one-act plays. They prefer a full-length one-something they can get their teeth in.

Shakespeare and musicals have large casts, and give new members a chance to tread the boards as chorus or extras. This is valuable to me. It whets their curiosity, helps to get rid of nerves and soon gives me evidence of potential principals.

Another important point for our consideration is the type of cast required for a particular play. We aim to use every member who wishes to act at least once every season. We cannot always manage this, but we do fairly well. We are now using more of the younger members as we are producing small plays in the hut at the rear of the headquarters. Some of our older members are trying their hands at production, a trend which I have done my utmost to foster for years.

The cost of a production is a very serious consideration though we have never spoilt the ship for a ha'p'orth of tar. That would be a fatal mistake at any time.

I have little sympathy with those so-called drama-lovers who moan about the payment of royalties. To me this is a clear ethical issue without any argument. It would not be morally right to use another person's brain-child without making some recompense. If you decide to produce a play, you must be prepared to pay for it. If you cannot afford to pay, the you must do without the play.

To argue that there should be a concession because it is to used in a children's theatre is feeble in the extreme, and utterly unethical.

In the early days in our Theatre costuming the play was a great problem. We had to choose a play with simple costumes because we had no money. Having built up our wardrobe over the years, it is not such a headache today. We have solved much worry by adapting existing stock.

Then there is the question of scenery. From the point of ease of production, one set is ideal. But young people like change, particularly in a fantasy.

Props can be a troublesome item. They can also supply a challenge such as youngsters love. And furthermore props can be a very important part in the success of a play.

Another consideration we keep in mind when we plan our programme for the year is the GCE play. Since these plays have to be studied and they should be seen in performance and not just read, we try to include them in our programme if it is at all practical. Many of our members have, from time to time, expressed their thanks to us for putting on set plays. They have assured us that because they took part in these productions their Shakespeare questions in the GCE papers gave them no trouble. Yet constantly, stuffy anti-arts pedagogues tell us we are doing our children harm.

Whilst we have large numbers of acting members, we naturally have to pick our ablest members to take the leads in our major productions. The availability of talent has to be considered when we are plotting the season's programme.

This is particularly important when we are choosing the musical shows. Ten years ago we were very fortunate in having a number of excellent soloists. At the moment we are low on singing talent, so we cannot manage a really good musical.

Most reputable publishing firms now deal with plays for youth theatre, and are helpful when approached for particulars. The British Children's Theatre association publish an excellent Bibliography of plays that is a mine of information.

Children are interested in everything. Their interests are an excellent jumping-off board for the amateur playwright. Old folk songs and legends are packed with material suitable to be turned into plays. Fairy-tales are perpetually alluring to the very young. To see a well-loved story dramatised adds thrills to a favourite and familiar theme. National and local legends are fruitful subjects, and episodes from history and literature provide subjects of rich dramatic possibilities.

All plans should be elastic. Behind our basic plan are two main considerations; those of our members and our audiences. By presenting Shakespeare and the classics we aim to attract the older teenagers and adults. The fantasies charm the younger age-groups, and the straight plays often pull in the adults. Musicals seem to have a universal appeal. But, as I have said, one cannot regiment the human aptitude for enjoyment.

This basic plan is sometimes rearranged, enlarged, or curtailed as necessity demands, but in the main we keep to the four types of plays. To have a definite policy is always an aid to efficiency.