Liam Rudden: Capital's amateur theatre is alive and well

IF ever proof were needed that Edinburgh has a vibrant amateur drama scene, just check the listings this week. There are no less than five productions packing them in.

At the Bedlam, Big Village are tackling Oscar Wilde's A Woman of No Importance; Edinburgh People's Theatre are bringing Steinbeck's Of Mice And Men to life at the Church Hill Theatre, and the Saughtonhall Drama Club are taking a trip back to the 1930s in Ena Lamont Stewart's Men Should Weep.

Meanwhile, at St Bride's, Forth Childrens Theatre are showing what they can do in Talent The Musical, while at the Brunton Theatre, Musselburgh Amateur Musical Association are coming to the end of a sell-out run of Oliver! – which I was invited along to on Monday night.

Like all amateur shows, Oliver! had its ups and downs. That didn't stop it being a fun evening and the delivery of the songs, under the direction of musical director Kerry-Ann Rae, was as good as some professional productions I've seen.

The following night I saw the professionals, Elaine C Smith and Andy Gray in Jim Cartwright's The Rise And Fall Of Little Voice. Originally written as a vehicle for Jane Horrocks, it is a piece that, in the wrong hands, has the ability to send you to sleep quicker than an episode of River City.

Thankfully, Elaine and company have transported the action from Bolton to Scotland and cranked up the comedy factor while retaining the dark truth at the heart of the piece to produce a great night's entertainment. Catch it before the curtain falls tomorrow night.

Although both evenings were fun, the ethos of the shows were different.

Primarily, an amateur production is staged, not for the benefit of the audience, but for that of the performers. It's a hobby. The thrill comes from being on the stage showing what they can do. I once sat through an am-dram Aladdin that ran for more than three hours, just so that every member of the cast had a moment of glory, regardless of the fact that most of the audience had lost the use of their legs by the songsheet.

For professional actors it's about earning a living. The audience is their focus. There are, of course, exceptions in both camps. One thing both amateurs and professionals share is a dread of reviewers, scribes with the power to praise or dash their hard work with a few words.

Consequently, the first question asked of most reviewers by those whose work they have just scrutinised is 'How many stars?' – usually accompanied by a silent pleading in their eyes, 'Please make it more than two'. To be awarded three stars (a good show) is acceptable, to earn a measly two (average) is not. The truth is, very few productions achieve more than three stars. Trust me, I know, having lost the will to live on many occasions as I have watched actors dry, corpse, drop props or on one occasion just walk of stage never to return.

All no doubt feared the wrath of the reviewer the next day. They shouldn't, a review is only one person's opinion.

Although I've never heard any company complain about getting five stars!