The star-casting might be the names that put bums on seats in theatre-land, but behind the scenes and in the backstage shadows there is a stream of people without whom the curtain wouldn't even rise.
They mightn't be instantly recognisable, but they are just as important to the show as the star on the stage.
Roger Richardson spent Christmas in Milton Keynes in his role of Company Stage Manager with Robin Hood. He is back in the new city this week, this time ensuring smooth-running on the Peter James' penned The House On Cold Hill.
He spoke with Total MK's Sammy Jones about his well-journeyed career...
Whitby-born Roger began as an amateur actor himself, sharing a passion for the stage with his mother.
But while she was of the generation whose 'parents wouldn't allow it,' Roger embraced the scene, and soon began doing more and more backstage. He was encouraged to go professional, made some enquiries and, at 18 years old, swapped Whitby for drama school in London.
“I was crashing out where I could. I fashioned a key for the technical office in the drama school, so when everyone went home I used to walk round the block, shinned up the wall and broke back in and crashed out there,” he recalled of those early days.
It was a tough start really. I used to go to parties on a Friday and stay until the Monday so I had somewhere to stay!”
It might seem that Roger's route into the business was quick and easy, though. But he has words of warning for anyone harbouring dreams of doing the same.
Roger is back in Milton Keynes with The House On Cold Hill
“You've got to be dedicated. I don't want people to think it's an easy way to earn a living, because it certainly isn't,” he says.
“Generally it is on a freelance basis, contract to contract. It's not an easy ride, the money isn't always great and the hours aren't always that wonderful.
“You get the glamour and the bright lights and the stars, but it's still a job.”
Roger was turned down for his first 'grown-up' job: “But six weeks later they called up and said someone had dropped out, and off I went to Bristol Vic, which was a big leg up from doing summer season with corrugated cardboard scenery!”
Roger quickly carved out a career behind the scenes, and when the company needed an actor, he obliged. Over the years, he has played everyone from the Sultan of Morocco to King Richard the Lionheart.
When Mark Eden (remember Corrie baddie Alan Bradley?) twisted his knee badly during a tour with Roger, Mark's understudy filled the void.
“I'd just taken the show on and I said 'Who will understudy the understudy?'
“They said; 'Your predecessor, the guy they just fired.'”
Roger stepped into the breach.
“I always remember a critic at the Birmingham Mail who said 'Bill Simpson, who was Dr Finlay in those days, was outshone in the earlier scenes by an unknown actor not credited due to a last minute cast replacement...'”
Roger's 45 years of theatre-work have taken him around the world, and to some surprising locations: “I've done Japan and Korea twice, Lebanon and Beirut, I've been to the Beqaa Valley. I did a production of Chicago in Baalbek which is the HQ of the Hezbollah – Baalbek was the village where they chained up Terry Waite and John McCarthy.
"And there we were doing this American musical in this really strange environment, about 15 years ago. You can't even go now. It is too dangerous.
“It was when the Syrian Army were in occupation. There were all these dancers, and guys with machine guns would come on the buses in the morning, pointing them at people's faces. It was really scary stuff.
“Dancing on Ice judge Jason Gardiner was in the show, which took place in this Temple of Jupiter, built by the Romans. It was massive, and there were 5000 white plastic garden chairs in there, that was the auditorium!
“It was sold-out for the two performances.
“I had a guard with a big machine gun outside my office in this Roman ruin...”
Roger (right) with Micky Dolenz of The Monkees
Roger counted the late director Sir Peter Hall his friend, and when Sir Peter set up his own company, Roger worked for him.
“The first show was with Vanessa Redgrave, which did the West End and transferred to Broadway.
“The second was The Merchant of Venice, with Dustin Hoffman. I became quite chummy with Dustin, as well as being his bodyguard, and his company manager. I was in that one as well. It was a non speaking part, but had lots of nodding action!
“Notable people would come to see Dustin, and I'd have to look after them.”
Roger was tasked with looking after Barbara Streisand on one occasion.
“I took her to her room, we had a couple of glasses of champagne before the show, and I took her to her seat, got her out in the interval so she wasn't bothered by anybody, and afterwards took her backstage.
“She had a private plane waiting at Luton or somewhere, and her car wouldn't come to meet her. It was all a bit weird really, so I came out of a crash door at the Phoenix Theatre, and into the shadows, and we walked into Charing Cross Road, and she put her arm in mine.
“There I was walking down Charing Cross Road with Barbra Streisand!” he says, smiling at the memory.
When Roger was resident at Covent Garden, Princess Diana was a frequent visitor.
“We did a show called Still Life at the Penguin Cafe, which was choreographed by David Bintley. “As a huge fan of the ballet, Diana used to come quite a lot – officially and unofficially.
“When I was on duty I used to watch the show, and this particular night was before the official preview of Still Life. I was sat in the back row in my usual seat and I was desperate to go to the loo. When the house lights came in at the end, I ran down the back of the circle.
“The gents toilets used to open out into the auditorium with this bright light, when the auditorium was pitch black. I pulled the door open, and Princess Diana had been leaning against the door. I floored her totally. She was on her hands and knees roaring with laughter!
“It was a really embarrassing evening...”
Roger with actress Ursula Andress
Rubbing shoulders with the stars and Royalty is a great part of the job, but it is a worth remembering that it is a job.
“As company and stage manager, I look after the actors, and am responsible for the show. I am the producers' representative in the venue too.
“Once the show is in production, and the production manager has moved away from it, it is my job to take over and supervise the physical act of putting the show together, re-lighting the show, organising rehearsals and everything involved in getting that show up on a Monday night.
“Then there is publicity, matinee performances, payroll, petty cash... you need to make sure that the company are behaving themselves, all of these little factors.
“I have got to have my eyes everywhere. Company manager can be a lonely job at times, and it can be difficult.”
But Roger doesn't want you to think that he resents his role – he has loved every minute of it.
In a career of plenty, he has worked in the West End (though he admits he prefers the buzz of being on the road: “The West End stages are so much smaller than what the regional theatres are"), spent a spell living in Australia (and became an Australia Citizen), and been a trusted eye in the USA.
Five years from now, he hopes to unpack his suitcase for the last time, when he reaches his half century in 'in the biz.'
That's not to say Roger has no regrets at all.
Many years ago, Roger worked with Cameron Mackintosh. Indeed, he was the youngest company manager in the West End, overseeing Oklahoma for the producer. During one plane journey back from Glasgow, Cameron invited Roger to invest in a new show he was working on.
“At the time, I'd saved up the money for my tax bill. I thought 'Do I give the money to Cameron, or do I pay my tax bill? He told me to take the money to his office the following day, but I paid my tax bill instead.
“The production was Cats!”
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