Shirley Wort (Josephine) with John Hoskins (Ralph Rackstraw) - HMS Pinafore 1962


                                      John as Cyril in Princess Ida 1969

John joined SAOS in 1949 and before his untimely death in October 1985 appeared in 39 productions, playing a principal role in all but six of them. Ray Harris, who appeared alongside John in most of those shows, recently declared that he was ‘the best tenor that the Society ever had.’ Indeed, John played all the main G&S tenor leads available in the 36 years of his membership, notably Marco, Frederic, Nanki-Poo, Tolloller, Cyril, Fairfax, Ralph Rackstraw, Richard Dauntless and Captain Fitzbattleaxe - many of them two or three times.

John was a large man (his performing colleague reports that he weighed over 18 stone) and he certainly made an impact on the stage, it is very rare to find a review of one of his shows where he does not feature in a positive light. Perhaps the most memorable critique occurred in 1962 when the reporter was much taken by the size of the leading man, ‘A butterball of a tenor by name of John Hoskins rolled on the stage with a cherubic smile, scared into his performance and the cast contracted his enthusiasm without realising it. Trial by Jury sped its modest way because of him.’

Some other typical reviews of John …

1955: ‘Frederic (John Hoskins) brought a fine voice to a difficult part.’

1958: 'John Hoskins, as that wonderful character Cyril (a sort of Court Billy Bunter) is really good.’

1960: 'John Hoskins and Raymond Harris, sang with grand aplomb and acted in a wickedly satirical style as the royal republican rulers.’

1963: ‘John Hoskins sang splendidly as the Pirate Apprentice.’

1964: ‘Mr. Hoskins tenor is the best male voice in the cast.’ 

1967: ‘It took John Hoskins, as Colonel Fairfax, to inject some real life into the production half way through the first act. He is a most competent performer with a fine voice and has the advantage of being a veteran operatic singer.’

1972: ‘John Hoskins’ pleasant tenor, good stage presence and ready smile brings the wandering minstrel Nanki-Poo to life.’ 

1984: ‘John Hoskins, uses a wealth of experience in creating a commanding King Hildebrand.'

John was a popular member of the group but could also be quite stubborn, in 1978 he was very worried about plans to perform Carmen and refused to have anything to do with the project  complaining to the Committee that it would ‘ruin the Society’s  reputation.’ John became the Society’s Vice Chair in 1982 and at the time of his death was Chair of the Future of SAOS sub-committee – the group that later recommended the formation of a junior section.

Terry O'Farrell

Jillian as Constance in The Sorcerer 1976 ...                                     ... and as Adina in L'Elisir d'Amore with Tony Reid (1989)

 Jillian was perhaps fortunate that SOS concentrated solely on opera and operetta  during the two decades of her membership but it cannot be denied that the Society was really lucky that it had her to take so many of the leading soprano roles – her strong, tuneful voice mixed with her mischievous and flirtatious acting were the perfect combination! It would have been interesting to see her perform in musicals as well, she surely would have excelled in that genre too.

Not only was Jill an answer to a Directing Team’s prayers, she was also very popular with the Business Manager and Treasurer as she was particularly adept at selling tickets.

Her appearances and roles for the Society are as follows:

  • 1969 – Princess Ida (Chorus)
  • 1970 – Utopia Limited (Chorus)
  • 1971 – HMS Pinafore (Chorus)
  • 1972 – The Mikado (Yum-Yum)
  • 1973 – Ruddigore (Rose Maybud)
  • 1974 – Orpheus in the Underworld (Cupid)
  • 1975 – The Yeomen of the Guard (Elsie Maynard)
  • 1976 – The Sorcerer (Constance)
  • 1977 – The Gondoliers (Gianetta)
  • 1978 – Carmen (Frasquita)
  • 1979 – The Pirates of Penzance (Mabel)
  • 1980 – Iolanthe (Phyllis)
  • 1980 – HMS Pinafore (Chorus)
  • 1981 – La Vie Parisienne (Gabrielle)
  • 1981 – Ruddigore (Rose Maybud)
  • 1982 – Patience (Lady Saphir)
  • 1983 – The Mikado (Pitti-Sing)
  • 1983 – Der Mikado (Pitti-Sing)
  • 1984 – Trial by Jury (Public)
  • 1984 – The Zoo (Laetitia)
  • 1984 – Princess Ida (Princess Ida)
  • 1985 – Die Fledermaus (Adele)
  • 1986 – The Gondoliers (Casilda)
  • 1986 – The Sorcerer (Aline)
  • 1987 – Orpheus in the Underworld (Diana)
  • 1988 – The Pirates of Penzance (Chorus)
  • 1989 – The Mikado (Chorus)
  • 1989 – L’Elisir d’Amore (Adina)
  • 1990 – The Yeomen of the Guard (Elsie Maynard) 

Samples of reviews of her performances can be found below and it is worth noting that the headline for the critique of the 1972 production of The Mikado was “Yum-Yum is Delicious!’

  • 1972: Jillian Charnley, with excellent voice, is a delicious Yum-Yum
  • 1973: Jillian Charnley belies her diminutive size with a voice of power and clarity. 1975: As Elsie, the strolling singer, Jillian Charnley, delighted with her strong, clear and well-focused soprano voice
  • 1980: Jill Charnley was outstanding as Phyllis, the Arcadian Shepherdess with a lively personality and assured vocal technique.
  • 1983: Yum-Yum’s two graceful sisters, Pitti-Sing and Peep-Bo (Jillian Charnley and Daphne Shaw), fluttered through the scenery like butterflies and really brought their parts to life.
  • 1984: In the title role, Jillian Charnley was in excellent vocal form and gave a confident portrayal.
  • 1989: Jillian Charnley sang a mischievous Adina
  • 1990: As always, Jillian Charnley was excellent as the enchanting Elsie Maynard.

 Fortunately, SOS began to have its shows videoed towards the end of the1980s so we can still enjoy Jill’s singing today – three clips from her final show (featuring her as Elsie Maynard) can be seen by clicking below…

I Have a Song to Sing - O!

A Man Who Would Woo a Fair Maid

Act 2 Finale     

Terry O’Farrell


       Marjorie as Katisha in 1949 (helped by Tom Judd as Ko-Ko)                                                                  Lady Jane in Patience (1964)


Edith Ashdown’s Above Bar Guild Musical and Dramatic Society performed Merrie England in 1924 and it did not take long before new members were attracted. One of these was Marjorie Reader who could not resist the opportunity to be involved in Hood & Sullivan’s The Rose of Persia.

Thus began Marjorie Kennedy’s lifelong association with the group. She was an acting member for 47 years (1925 - 1972) appearing in 27 shows; in the early days there was usually just one production a year and none at all during World War 2.

Even as a young performer Marjorie specialised in the ‘elderly lady / Katisha-type’ roles and as such was often in direct competition with Eva Thorne. Indeed, they both benefitted from the unpopular role sharing system used by the Society in the pre-war years as they took turns to play Katisha (1928), Queen of the Fairies (1932), The Duchess of Plaza-Toro (1933) and Dame Carruthers (1934). Society members who can recall her appearances on stage have testified to her powerful personality and voice, indeed her family was often embarrassed when she sang in church because she was so loud!

 Marjorie’s appearances and roles for the Society:

  • 1926 – The Rose of Persia (Chorus)
  • 1927 – The Gondoliers (The Duchess of Plaza-Toro)
  • 1928 – The Mikado (Katisha)
  • 1929 – The Yeomen of the Guard (Dame Carruthers)
  • 1932 – Iolanthe (Queen of the Fairies)
  • 1933 – The Gondoliers (Duchess of Plaza-Toro)
  • 1934 – The Yeomen of the Guard (Dame Carruthers)
  • 1936 – Ruddigore (Dame Hannah)
  • 1946 – Merrie England (Chorus)
  • 1947 – The Gondoliers (The Duchess of Plaza-Toro)
  • 1948 – The Rebel Maid (Chorus)
  • 1949 – The Pirates of Penzance (Ruth)
  • 1949 – The Mikado (Katisha)
  • 1951 – The Yeomen of the Guard (Dame Carruthers)
  • 1951 – Patience (Lady Jane)
  • 1952 – HMS Pinafore (Little Buttercup)
  • 1953 – Ruddigore (Dame Hannah)
  • 1954 – The Gondoliers (The Duchess of Plaza-Toro)
  • 1955 – The Pirates of Penzance (Ruth)
  • 1956 – The Mikado (Katisha)
  • 1958 – Princess Ida (Lady Blanche)
  • 1959 – The Yeomen of the Guard (Dame Carruthers)
  • 1960 – The Gondoliers (The Duchess of Plaza-Toro)
  • 1964 – Patience (Lady Jane)
  • 1966 – The Mikado (Katisha)
  • 1967 – The Yeomen of the Guard (Dame Carruthers)
  • 1969 – Princess Ida (Chorus)

Her first press critique in 1927 was quite complimentary, ‘Miss Marjorie Reader was impressive as his Duchess’ but her performance in The Yeomen of the Guard (1929) was less enthusiastic, ‘Marjorie Reader, the Dame Carruthers, must steady her voice and speak with more expression’. Presumably she took notice of this advice as reports on subsequent performances all commented on her obvious ability…

  • 1951: Marjorie Kennedy has the presence and diction to succeed to the full in what might be called the Katisha parts.
  • 1952: Marjorie Kennedy's Little Buttercup was another excellent piece of work, well in the Savoy tradition, but she was not too well treated by the maker-up last night.
  • 1953: Then there was Marjorie Kennedy putting into the Dame Hannah part that majestic manner which all these Katisha roles demand and which she is able to do so well.
  • 1954: His Duchess (Marjorie Kennedy), too, has the true Savoy touch about her.
  • 1955: Ruth was played by Marjorie Kennedy who, I thought, had the best voice of the whole company.
  • 1964: Marjory Kennedy as Lady Jane was a first-rate dead pan comedienne 

Marjorie was awarded Life Membership in 1973.

Terry O’Farrell

SotonOpera @jacquelyn1971 @MayflowerEngage Hang on, doesn’t that verse end, “and then it all went wrong”?! 😇
SotonOpera Many congratulations to SOS stalwarts @matt_pike91 & @Stanikk upon the occasion of their beautiful wedding today. T… https://t.co/9cDFr86haU
SotonOpera They certainly did not disappoint! Congratulations DYT.