One of the pleasures of being chairman of the society is that I get the chance to get
a terrible speech on attacking audience.
And this I intend to do.
There are lots of people who work very hard to make a success on this show.
And this is really the only chance I get to thank them for.
I did this job two years ago.
And when I got off stage I found out the people I did not play.
So the first people I want to mention are a few people.
They work very hard.
It's a very little reward.
We call them a band.
So I think they've been friends and known for the show.
So I'm sure we...
One of the drawbacks of Ruddy Law is that the second act was the same thought.
Shane didn't have a chance to write your speech in the second act.
So I would like to thank you to work my way through the programme.
The first two names I've come across are the producer, Ruddy Woodward, and the director, Richard King.
They've possessed us since that was over.
I can't see Rodgers.
It's not over here.
Right in the back.
Right in the back, yes.
Right in the back, yes.
Right in the back, yes.
Right in the back, yes.
Right in the back, yes.
Thank you, Roger.
I thank the orchestra.
The orchestra arranges Alan Lodge, who's made about 2,000 bone calls, I believe.
And Richard King, who's had just as much trouble.
And he made a lot of applause as well.
It's a nasty job, and I don't give him a chance for it.
And I've gotten away from the last page now.
You're nearly safe.
Stage manager, Tom Carstack, who's designed the building set.
I know I'm not going to get him on stage.
I'll tell him.
No.
They're still building the set.
They're the best one else.
He's all looking at the bathroom.
So I think we really do appreciate the hard work that they've put in.
When he arrives on a Monday to take this chair there,
and find the stage for a few minutes of it.
It's about 11 o'clock in the morning.
And you realize just how much work that we do.
And I'm a director of it.
And I'm a director of it.
Thank you.
Hello there, a group of people, that's to be included in the stage group, are Dransol.
Because without them, we used to be nothing.
And I'm very grateful for them.
There's a whole list of names here under a set construction.
I've no intention of reading them all out.
Apart from this, we've walked the things out there.
Special mention to the Paul Finney team.
The rehearsal accompanist, also has to work incredibly hard.
Unfortunately, I don't take you here tonight, you may have to sit down in the audience.
But Wendy, if you're there, thank you very much.
Thanks.
Well, now, a costume.
These are some of the costumes that you wear.
They've been hired, they've just got to be remade and nothing else I've worked there.
It's the first time in the last five years with the costumes that you've been under budget.
I know it's an incredible amount of work that's going on with this, and the two people concerned are
Jennifer Blisby and Andrew Marston.
Thank you.
Thank you.
Thank you.
Where are we going to now?
Hi.
The front of house staff as well, some of them standing at the back there, I think.
We've got them in the wings.
They've done a very good job for four weeks.
I've just been able to crank them over to them at about 6.00 and go down the barn.
I think that's what's front of house staff at all.
And finally, I'd like to thank my committee.
They've backed me up all the way.
And without their microphone, so I'm very grateful for your committee.
And the last group of people, the most important people really are you, the audience.
Without you, there'd be no show.
Thank you.
Thank you guys.
Thank you guys.