format newsletter. Its style was interesting, informative, chatty and above all pertinent and comprehensive. With the help and support of Mike Butler, this monthly publication developed into a very readable little magazine covering all aspects of theatre activity and interest.
At a general meeting on the 20th July 1983 the question of whether or not the Society should be incorporated was discussed. However, it necessitated changes again to the constitution and these were not implemented until the latter part of 1984. Jack Hart once again took on the task of rewriting the unsatisfactory clauses and the new constitution was presented at the December meeting. It was adopted and the earlier constitution of 1977 was revoked. Incorporation was not finally granted until 21st November 1985, the whole process taking over 2 years to complete. In October the following year Item I of the constitution was amended whereby the name Roleystone Choral and Dramatic Society (Inc.) was replaced by the Roleystone Theatre (Inc.)
All reference to the "Society" was removed from the document and replaced with the word "Theatre". The Department of Corporate Affairs was advised shortly afterwards of the name change. The certificate of name change was received in February 1987. It read ... "Roleystone Choral and Dramatic Society (incorporated) as an association under the provision of the Associations Incorporation Act (1895) on the 21st day of November, 1985 has been changed to Roleystone Theatre (Incorporated). Dated this 12th day of February, 1987. Thus the Roleystone Theatre was officially recognised and the former title was relegated to a place in history.
The decade came to a close with the nomination for life membership of Gerry Chapman.
Gerry had given excellent service to the Theatre during his 14 years of association. His sincere and dedicated involvement in every respect of theatre work - whether it be as president, director, stage manager. actor or set builder - earned him respect and admiration.

PROGRESSIVE AND PROSPEROUS TIMES: The Nineties
It seemed very appropriate and reassuring that the activities during the early nineties emphasised the importance of the young actor; appropriate because it reflected the tradition that had grown up in the theatre since the time when the junior theatre performed at the eisteddfods back in the 1930's and reassuring because the future of the theatre would be guaranteed if a body of trained and dedicated young people was continually being produced. The need for the involvement of young people in the theatre on a formal basis was recognised in the 70's.
Ray Costello, in 1975, was keen to foster "junior drama" as he called it and volunteered to draw up a list of suggestions related to the possible organisation of such an activity. The subject of a "Junior Theatre" was raised by Mary Webb in 1976 but apparently the difficulties in forming a group was considered too difficult, reasons not stated. However, apparently the sponsoring of a drama festival for high schools was seen as one positive way the Theatre could encourage the interest of the young performer and several of these were organised over the next few years, with participating schools coming from as far away as Lynwood. Despite the use of large numbers of young people in many of the plays of the 80's, Barry Lucas, in 1990, expressed his concern about the Theatre's apparent lack of commitment in establishing a formal avenue to cater for young people's interest in the theatre.
His proposal to initiate a Junior Theatre was acted upon by the committee and at the end of the year a programme of workshopping was commenced, to run for a period of 10 weeks. Barry was assisted by Fred Longman and Barbara Davies in organising the activities and in April the enthusiastic group of about 30 children, under the direction of Barry and musical director, Allison Croft, staged a production of the childrens' musical play "Ship of Dreams" by Mary Durack, who in fact, attended the theatre to see one of the performances. The success of the 1991-92 programme prompted Junior Theatre workshop courses to be conducted in 1992 and 1993.
The culmination of the work in 1992 was marked by a short season of "The Green Wizard". The sparkling performance demonstrated not only the hard work and patience of director Tim Etherington, and again Alison Croft, but also what can be achieved with a keen and committed juvenile cast. Significantly much of the 1993 Junior Theatre workshop activities were organised and conducted by younger members, who themselves had only just graduated into the ranks of adult performers. No

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The Junior Workshop of 1992 with Tim Etherington who put them to the test with a wonderful presentation of
"The Green Wizard"


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