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What’s Next?

Other Services

H.T.S Brochure

Terms & Conditions

Photo Gallery –Sets

Photo Gallery—Props

HTS Members

Hey Kids Production of West Side Story 2007

Text Box: We know what it’s like... We’ve all been there, the music is sounding incredible, the cast can deliver the lines with a passion and delivery that’s enough to make you weep. But there’s one thing that you just can’t find, that elusive piece of set or in many cases an entire set that’s short enough and cost effective enough to make your production viable. This is possibly where we can be of assistance. Heywood Theatrical Services has been creating sets for Heywood Amateur Operatic and Dramatic Society for many years, the teams many sets have been seen in productions set in the wild west, all across Europe, in 1950’s New York and on the S.S. American. From frontier cabins and shop counters to illuminated jukeboxes and graffiti adorned sets, the creative and technical teams at HTS have consistently produced effective sets for a less than ideal stage. What Can We Do For You? If your society is doing the same show as HAODS within 8 weeks of our show finishing the set is available to hire as a complete unit. This will include any props that have not been hired in. The flats, props or physical set can also be hired as separate items and pictures of these can be found in our photo gallery. In addition to this we have frames for beds, steps that are suitable for reaching risers and fence sections to keep cattle in! However, if you’re struggling to find that ideal piece of set or props we can manufacture to your specific dimensions and create bespoke pieces.

Text Box: How did HTS get started? HTS is part of Heywood Amateur Operatic & Dramatic Society (HAODS). The Society was formed in 1930, and is affiliated to the National Operatic and Dramatic Association (NODA) and to the Greater Manchester Drama Federation (GMDF). In 1990 the junior section Hey Kids was formed. The society produces two full musicals each year : one for the senior section (16+) and one for Hey Kids (8 -18). The society also performs plays and concerts from time to time. The senior show is normally in early March each year, and the Hey Kids show in mid-October. All performances are held at Heywood Civic Centre. HTS builds the sets and props while the company are rehearsing and crews the stage at Heywood Civic Hall, during the weeks of the shows. At present time HTS are responsible for the build and operation of the set/stage and props as well as the sound reinforcement for the performances.

Heywood Amateur Operatic & Dramatic Society

Feedback & Testimonials

GMDF adjudication of Oklahoma! (2008)—Adjudicator: Mr. Martin Roche

...the space was maximised to its full potential and a wise call putting the smoke house d/s/r to avoid the need for the usual truck that companies tend to roll on and off and which invariably looks naff!

I did like your solution to the cornfield—Very original!

Aunt Eller’s house was simple, clean and fresh looking and I did like the functional way in which it was used. And I thought the farmyard sound effects worked well. It was just enough without going over the top with it.

...it was pleasing to see that yet again this year the standards of the technical side of your production have developed even further.

Mike Porter— Salem Community Theatre

The team at HTS were very accommodating and built two sets of steps that we use as stage entrances and exits. Both pieces were very solid and well constructed and HTS kindly delivered them for us as well!

Sharon Drummond—Chair, Whitworth Amateur Musical and Dramatic Society

Contact throughout the build was excellent and we were able to paint sets before the get-in which was very useful. I was very impressed with both the professionalism and friendliness of all involved. The set’s themselves were fantastic and the service and help was second to none. Thank you.

GMDF adjudication of Oliver! (2008) - Adjudicator: Mr. Melvyn Bates

Throughout the show all the sets were well designed and sturdily constructed. If I had to ‘nit pick’ I would say that they looked too clean and not weathered enough. The bridge needed to look more weathered with the effect of moss growing and flaking cement etc. Fagin’s fireplace was far to clean, this should have looked more grimy and old. Having said this, I must congratulate your set builders, painters etc, they should be proud of their work. The use of the two inset rooms helped to keep the production flowing.

I felt that the sound system worked well all evening, I was able to hear every spoken word and as I mentioned in the music section, the balance between the Orchestra and principals was very good. You have done a super job with the radio microphones on the young principals.

Congratulations props team. Everything was in period and I particularly liked the furnishings in the two insets.

GMDF adjudication of Thoroughly Modern Millie (2009) - Adjudicator: Mr. Melvyn Bates

The use of 5 trucks that never left the stage that doubled as New York skyscrapers and hotel bedroom doors was very clever… Obviously much thought and deliberation had gone into the set design… Excellent sound system installed. Every word could be heard and at no time did the orchestra drown solo/company singing.

GMDF adjudication of Footloose (2009) - Adjudicator: Mr. Melvyn Bates

Much thought must have gone into the staging of this show before rehearsals could commence. A show with 16 scenes, staged in a Civic Hall without a fly tower, does not make life easy for the director and her stage design team. Heywood use the areas front of proscenium to good effect. The Moore home was staged down right and the Great Plains of Bomont/Under the train bridge was stage left. Centre stage had a raised area that was used to good effect throughout the show.

Lighting – A & M Montgomery

Well done, this show was very well lit. The side lighting certainly helped. I knew in the opening number that you understood what was required for this show. There was a disco feel to the lighting plot – very nineteen eighties.

Sound – Chris Alvey

No problems with the sound system, I could hear all the principals’ dialogue and you managed to keep the band under the soloists.

Stage Management – Graham Simpson and team

The show flowed very well for opening night. I don’t normally approve of Black Tab track but I felt that this worked for you and helped the shows continuity.

GMDF adjudication of My Fair Lady (2010) - Adjudicator: Mr. Melvyn Bates

Congratulations to the set builders. The scenery was most effective and it looked solid. The painting on the rear wall was excellent and it was perfectly acceptable as Covent Gardens, Ascot and the Embassy Ballroom. Furniture and props were all in period. The technical department certainly offered good support to this show. Well done everyone.

GMDF Adjudication of Honk! (2010) - Adjudicator: Meg Bray

It was pleasing to see that the set in its entirety was made and painted by the society. This does allow a director greater freedom to realise her vision of the show rather than being confined and bound by the restrictions of a hired in set. It still has to look good and not “amateurish” which thankfully this set did not. The design worked very well for this production and the restrictions imposed upon you by the limitations of the venue. The set was painted very well in an almost naïve style which suited this production very well. The kitchen had great attention to detail with the fish and cuisine motifs on the walls. There was a clever change of the US flats at the opening of Act 2. I think this may have been achieved by revolving certain areas, whatever it was cleverly achieved. The set worked very well and stage management was unobtrusive, as it should be, efficient and sympathetic to the production. Props and dressing—This is one of the departments where creativity and originality comes into its own. Immediately this was evident on looking at the stage before the show commenced. The huge settee really built up an expectation of things to come. It was well made, colourful and certainly original. I also admired the TV at the extreme SL which cleverly reflected a flickering image on the set and the actors. The bulrushes' were pleasingly of a good height so that they made an impact. The blue cloth used in the underwater scene certainly flashed and sparkled. The variety of hand props were also well chosen and in keeping with the theme.

GMDF Adjudication of Disney’s Beauty and the Beast (2011) - Adjudicator: Meg Bray

I had expected a huge hired in professional set so was pleased to see that the set had been designed and created in house. This I fully appreciate is no mean feat when faced with tight deadlines and a lack of facilities to make scenery. I therefore salute the set builders who created a well painted and sturdy set in what must have been record time. The challenge set in staging this musical is tremendous. The locations and scenes vary from forests, the town, fireplaces, interior of castle bedrooms etc etc. Very sensibly the sets were restricted to a minimum using a full stage set for the castle interior and a front cloth for other scenes. The stage extensions at DSR and DSR were also incorporated into the set for Belle’s Bedroom and a very clever and imposing Castle door. The permanent set was very impressive and well and realistically painted. I liked the creation of an upper level this does allow for interesting and varying heights on stage and also gives a dominant and strong point when required. The steps set CS were impressive and in proportion to the rest of the surroundings. Swiped cloths will always pose a problem as it is difficult to stretch hang appropriately. The cloth had the appearance of being stretched and was swiped in and out efficiently. The flats and baronial style door at SL was most impressive and afforded a most useful entrance and exit. Similarly the bedroom at SR was a useful acting space. I think it would have been quite appropriate to have continued with the stonework whilst still incorporating the excellent “Versailles” style garden seen through the window. The set designer (not identified in the programme) kept his design simple yet very effective and it served this production very well addressing all the lavish Disney themes. Props and dressing—This is Disney so we expect effects, tricks and surprises. The first effect came early in the production as the cloth was swiped to reveal the full set complete with a pulsating light on a single rose in a glass case. The LED lighting within the case worked well and thankfully although noticeable did not become an annoyance or intrude upon the production. There was possibly room to allow for an even stronger lighting effect. Well done to its creator it was a clever idea and placed a good focus on the rose. Similarly the chase rope light effect around the mirror was another clever creation. The machine for Maurice was visually superb...The tea trolley was excellent and co-ordinated very well with the costuming of Chip and Mrs Potts. The bedroom furniture at SR was suitably feminine and thankfully did not intrude into the acting area. The props were most imaginative and enhanced the production. Well done.