Life and work
Marjorie Sigley was born on 22 December 1928, known to everyone as "Sigi", she took passionate pleasure in the arts and would travel huge, impractical distances to see a play, a ballet or an opera. But she also believed in art as an educational force, and her greatest achievement lay in pioneering many of the attitudes towards children's drama that we now take for granted. Sigley not only introduced thousands of children to what she called "the wonder of theatre", she also involved them directly in the making of it.Guardian, 10 September 1997 Sigley came from "a solid, very traditional" working-class family in Buxton, Derbyshire, where her father worked for ICI and her mother was a professional cook. From the age of 10, she became an avid consumer of movies and plays, going to everything that was staged at the Buxton repertory theatre. As a student she attended Goldsmiths College, London, studying theatre, music and dance. She was awarded a fellowship atAmerica
In 1968, the American actress Uta Hagen watched one of Sigley's workshops at the Roundhouse and was so impressed by its revolutionary methods she invited her to New York. There Marjorie directed plays at the renowned Herbert Berghof (H.B.) Studios, Bank Street, New York, and also founded the Young People's Theater at City Center, which she directed from 1969 to 1975 where, with a group of actors, she wrote and staged 45 plays for children, as well as directing workshops involving them in the creation and performance of their own shows. Correspondence between Uta Hagen and Marjorie Sigley is held by The New York Public Library. In 1970 the Prime Minister Edward Heath gave a speech supporting and praising Marjorie's youth theatre work. Also around this time (1971–1974) she became friends with Lucy Kroll, the founder and grande dame of Kroll Agency. Correspondence between Sigley and Kroll is held in the Manuscript Division of theThames Television
In 1983, she returned to England to become controller of children's programmes at Thames Television. She was critical of what she saw as the dumbing down of television, believing it had lost its confidence both as an educator of children's minds and as a catalyst for their imaginations. Nevertheless, at Thames she set to work with her usual enthusiasm and energy to try to improve things, and was able to bring some highly stimulating work to the screen. Among this was the series The Wall Game, which had classes of schoolchildren involved in constructional building and improvisation. The series was chosen to represent Britain at the 1985 Tokyo World Fair. The T-Bag was set round a wicked witch and a small boy who assists her, while C.A.B. was a mystery detection series for 8 to 11-year-olds.T-Bag
Lee Pressman one of the writers on T-bag, recounted:the idea for the series started when the head of children's television at Thames, Marjorie Sigley, decided that she wanted to make a series of "educational" shows about words and letters of the alphabet. The first of the shows was "Words words words", a mishmash of cobbled together sketches, songs and poems. I had been writing BBC's "Play Away" (a far superior light entertainment fest), and Thames TV blatantly asked me whether I had any unused stuff in my bottom drawer that I could contribute to "Words" since they were a tad short on material. Little did I know that many other writers were being asked the very same question... and one of them was Grant Cathro. And that's where we met.After that short-lived series, Marjorie asked me to come up with an idea that would feature letters of the alphabet this time. I pitched something which I believe was called "Dotty in Dictionaria" – a story about a young girl who travels across a board game where every square features a different letter of the alphabet. There were various suggestions for adventures such as "Revenge of the Killer B" on the 'B' square, etc. and so on.When I was given the go ahead to develop the series (at very short notice), I contacted Grant and asked if he wanted to help write it.Another writer of the series, Grant Cathro corroborated:
Lee and I first met in a South London rehearsal room, where five frantic grinning actors were hurriedly trying to learn their parts in comedy sketches which Lee and I had been commissioned to write independently. The show was called "Words, Words, Words" (or as it became affectionately known, "Worst, Worst, Worst"), the brainchild of Marjorie Sigley, Head of Children's Programmes at Thames TV. She was trying to disguise education-based material as pure light entertainment, which seemed quite an interesting challenge. Other writers were involved too, but somehow Lee and I became the main contributors and so we began seeing a lot of each other's work at the following readthroughs. I thought Lee's stuff was annoyingly good, and he thought my stuff was irritatingly splendid, so when Lee was later given the go-ahead to develop a comedy-drama which shared similar aspirations to the one-off "Words" series, he rang and asked if I would like to collaborate. Up until this time I had trained and worked mostly as an actor (Glasgow Citizens Theatre, Lyric Hammersmith, Royal Shakespeare Company) but because I also loved writing (and had a tax bill to pay) I immediately said "certainly".
Art and later life
Marjorie was also a very talented artist – she worked in a variety of mediums particularly favouring printmaking. Her subjects were predominantly influenced by the theatre, and were bold and expressive especially in the use of colour and the large format she favoured. After leaving Thames in 1986 she maintained both her live drama and television work, but devoted a larger amount of time to her artwork. In the late 1980s an exhibition of her work titled ''Recent Prints'' was held at the Footstool Gallery, St John Smith Square, London. In 1994, when her cancer was diagnosed, she bought a computer and desk-top published children's books about two stage-struck teddy bears. The dauntless spirit of her heroes ''Algie and Worthing'' reflects Sigley's own untiring curiosity, her humour, and her love affair with her work. Marjorie died of cancer aged 68 on 13 August 1997. In 1999 a play Marjorie adapted was posthumously published in an anthology of festive plays. The Mummers' play was originally adapted by Marjorie for presentation by students and faculty of the H.B. Studio, a theatre school in New York City as a holiday gift to their families and friends. The play begins as men of the village arrive in the local tavern to be cast in an amateur production of St. George and the Dragon. Silliness reigns as the participants are cast in their roles for a variety of reasons—none of which have anything to do with talent. The second act is the performance of the play, granting "real" actors an opportunity to play wonderfully broad and physical comedy. The play does require a large cast of eighteen or more. All action takes place within the confines of the village hall, with minimal props. This script offers an excellent opportunity for ensemble work. It does require the cast to sing, but great musical skill is not a necessity.Work
Art exhibitions: *Footstool Gallery, St John Smith Square, London Books: *''Three Harlequin Plays'' (1961) *''Saint George and the dragon at Christmas tide'' (anonymous) adapted by Marjorie Sigley in Swortzell, L. (eds) ''The twelve plays of Christmas'' (1999) Plays: *''Take A Fable'' (1976) Writer *''A Review in Mime and Movement'' – Director (London Theatre Company/Russia and Poland) *''The Stoppers'' (1967) – Director (performed as part of the Brighton Festival at the Palace Pier theatre) *''Timesneeze'' (1970) Director Film: *''Georgy Girl'' (1966) choreographer *''Never Never Land'' (1979) Screenwriter (also known as ''Second to the Right and Straight on Until Morning'') *''The Flowering Eye'' (1979) Screenwriter *''The Jumble'' Television: *''One Of A Kind'' – (1978) writer & associate director *''Five O'Clock Funfair'' (1965) presenter *''London Line'' (1968) *''Algy And Worthing'' *''Catch Us If You Can'' *''C.A.B.'' (1986–1989) Executive Producer *''Danger – Marmalade At Work!'' (1984) producer *''Educating Marmalade'' producer *''Wonderworld'' *''T-Bag'' (1985–1992) Executive producer *''What's in a Game''Notes
References
*''The New Yorker'', 23 October 1971, p. 36 *''Box Office'' 1 Jan 1979 p. 13 *Hodgson, J.R., Banham, M. ''Drama in Education: The Annual Survey. 1'' (Pitman, 1972) , 9780273361664 *''Private Eye'' 1970 no.210-235 *Worsley, T.C. ''Television: The Ephemeral Art'' (Ross, 1970) *Young, R.G. ''The Encyclopedia of Fantastic Film: Ali Baba to Zombies'' (Applause, 2000) , *YLG News (Library Association: Youth Libraries Group, London, 1969) *Esslin, M. ''The Encyclopedia of World Theater'' (Published by Scribner, 1977) *Shakow, Z. ''The Theatre in Israel'' (Herzl Press, 1963) *Chinoy, H.K., Jenkins, L.W. ''Women in American Theatre'' (Theatre Communications Group, 1987) , *Vahimagi, T. ''British Television: An Illustrated Guide'' (Oxford University Press, 1994) , *McCaslin, N. ''Historical Guide to Children's Theatre in America'' (Greenwood Press, 1987) , *''The Guardian'', 10 September 1997 *''The Times'', 12 September 1997 *''The Times'', Saturday, 10 Nov 1984; pg. 18; Issue 61983 *''The Times'', Thursday, 13 Oct 1966; pg. 15; Issue 56761 *''The Times'', Monday, 23 Jan 1967; pg. 13; Issue 56846 *''The Times'', Tuesday, 28 Mar 1967; pg. 6; Issue 56900External links
* {{DEFAULTSORT:Sigley, Marjorie 1928 births 1997 deaths 20th-century English actresses 20th-century English dramatists and playwrights 20th-century English women writers Actors from Buxton Actresses from Derbyshire Alumni of Goldsmiths, University of London English female dancers English film actresses English women choreographers English women dramatists and playwrights English printmakers People associated with the University of Manchester