The International, Professional Theatre Set-Up company (see www.ts-u.co.uk), survived the vicissitudes of touring mostly outdoor performances of Shakespeare in heritage sites from 1976 to 2011, performing throughout the UK from 1979 and in mainland Europe from 1993. From 1983 onwards its performances were presented in the light of the plays’ secret meanings, researched in my PhD at the Shakespeare Institute of The University of Birmingham (for details see my book Secret Meanings in Shakespeare Applied to Stage Performance). Venues and gear were transferred to The Festival Players in 2011.

      Its tours in 1979, 1980 and 1981 pioneered the genre, a species of theatre which has since then proliferated, providing many actors with paid employment and heritage sites with performances of plays presented conveniently with the minimum of fuss, cost and accoutrements. The company was financially independent of government grants, paying all costs from ticket sales, fees and donations. The casts were employed initially on British Equity/ITC contracts, but on private legal contracts which enshrined those terms and conditions in later years. It was formed in the likeness of Shakespeare’s own company, The King’s Men, in its touring mould, except that instead of casting boys to perform the plays’ female roles, actresses were hired. In order to limit the number of actors employed, a strategy needed to curtail cost, some of the male roles were often taken by female players. This also saw me playing many male as well as older female roles over the years, doubling as the plays’ musician.

      Close interaction was always kept up with members of the audience who insisted that I write up the stories that emerged from the unusual circumstances of a theatre company not performing in regular theatres, and I do so in the following account of many of the adventures we encountered on our travels. I draw a veil over the many romances that were engendered between the actors during the months of the tours, noting with pleasure one successful marriage resulting from actors touring during the 1992 season and another between an actor and an employee of a venue in 2008. In the early years of the company’s tours, there was often such misery resulting from unhappy affairs between the actors that I subsequently learned to arrange the schedules and accommodation in such a way that these disasters became minimal!

      The experience of acting in difficult outdoor venues in all weathers benefitted the actors, most of whom went on to enjoy successful careers in the theatre, radio, television and film businesses and in areas associated with theatre such as teaching and drama therapy. Sadly some of them have died but their work lives on, not only in the memories of audiences who enjoyed their acting, but in the recordings of their television and film performances. I substitute my own name by that of my double called “Anne” in order to avoid any hint of being narcissistic.

      Table of Contents

       PREFACE

       CHAPTER 1: “WHEN BIRDS DO SING…”

       BIRDS

       SEALS

       BATS

       CATS

       DOGS

       SHEEP

       FISH

       HORSES

       A FOX

       A STUFFED GIRAFFE

       INSECTS

       CHAPTER 2: “FOR THE RAIN IT RAINETH EVERY DAY”

       RAIN AND INDOOR ALTERNATIVE VENUES

       ELECTRICAL STORMS

       WHEN THE LIGHTING SUDDENLY GOES OUT

       WIND

       COLD

       HOT SUN

       CHAPTER 3: “THE ACTORS ARE AT HAND”

       HERITAGE VENUES

       MAINLAND EUROPEAN VENUES

       CHAPTER 4: “ALL FOR YOUR DELIGHT/ WE ARE NOT HERE”

       NOBLE HERITAGE AND HOSPITALITY

       A STRESSFUL JOURNEY

       COSTUME EVENTS

       STAYING AT THE VENUES

       MUSIC

       THE JOY OF GARDENERS, GARDEN EVENTS AND WHISKY

       THE HISTORICAL RESONANCE OF SOME VENUES

       TOILETS

       ROGUES AND VAGABONDS

       BIZARRE EVENTS

       ILLUSTRATIONS

       APPENDIX I

       APPENDIX II

      CHAPTER 1

       “WHEN BIRDS DO SING…”

BIRDS

      On a balmy summer’s evening in the gardens of the Cornish mansion, Trevarno, while an entranced audience watched the performance of a Shakespearean play beneath a magnificent tree, a peacock firmly took up his position between the play and the audience. Spreading his magnificent feathers to their utmost height and width he posed triumphantly,

      “Don’t look at them, look at me,” his posture proclaimed,

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