Bringing the West End to West Norfolk
Shining a spotlight on 124 glorious years of theatre with the King’s Lynn Operatic and Dramatic Society and the challenges it has overcome to entertain the town
Above: KLODS members delivering a performance of the much-loved musical My Fair Lady at King’s Lynn’s Corn Exchange in 2000.
Displaying outstanding talent, unwavering enthusiasm and a passion for live theatre, the dedicated members of King’s Lynn Operatic and Dramatic Society have staged an impressive 228 shows since 1901, consistently captivating local audiences with delightful presentations of song, dance and drama.
The society has survived two world wars, the advent of television, and inevitable changes in theatre culture. However, for KLODS (as they are affectionately known) the show must, and will, go on.
With applause from the latest production, Dracula: The Bloody Truth, still resounding, Chairman David Nash feels proud of everything KLODS has accomplished.
“The society’s primary aim over the years has been to provide entertainment for all, and I think we can happily say this goal has been achieved. The only time we had to cancel a show was when Covid struck,” he says. “We have watched with pride as KLODS performers have advanced to successful professional and seen the formation of other local theatrical groups inspired by our success.”
The story of KLODS began during the golden age of live theatre. It was initiated by Arthur Cross, organist at Sandringham Church, who issued a circular proclaiming: ‘To inaugurate the new century it is proposed to form at Hunstanton, an amateur society for the practice and possible performance of light operas etc…’
His fledgling Hunstanton Amateur Operatic Society’s first production was Gilbert and Sullivan’s Patience at Hunstanton Town Hall. The group’s standing in the community was royally affirmed when King Edward VII and Queen Alexandra became patrons a year later.
Above: South Pacific was one of the many exciting box office hits KLODS performed at the Majestic Cinema following the Second World War and and the popular Harem scene from their 1923 operetta Desert Song, performed in what is now Ritz Bingo (below)
Driven by enthusiasm, the Society quickly outgrew its venue, relocating performances to the grander Theatre Royal at King’s Lynn and elevating its name to The King’s Lynn and Hunstanton Operatic Society. It’s unclear when Hunstanton was dropped from the title, but the Society continued to flourish artistically and commercially, with their shows becoming a highlight of the social calendar.
Gilbert and Sullivan’s fanciful plots and rousing melodies dominated their stage until 1922, and there was immense pride in 1905 when teenage Clara Dow went from The Mikado in West Norfolk to join the famous D’Oyly Carte Company.
As their popularity grew, shows went on tour to neighbouring theatres and the old Lynn-Hunstanton railway line ran special late-night trains to accommodate crowds of excited theatregoers. With support from distinguished presidents including Lord Fermoy and Lord Spencer, as well as professional producers enticed from the West End, shows ran nightly for two weeks at a time and attracted capacity audiences.
Productions receiving rave reviews in the West End were reprised for West Norfolk theatre attendees, who were enthralled by the musical magic of The Desert Song, and Rose Marie, along with KLODS’ adaptions of popular plays of the day.
After entertaining the troops during the Second World War, KLODS performed at The Pilot before returning to The Majestic with a repertoire of romance, razzamatazz and box office hits. They staged The King and I, Show Boat, South Pacific and The Merry Widow, as well as the rip-roaring Annie Get Your Gun, which saw seats completely sold out long before the curtain rose. Chin Chin Chow was another memorable performance, not least because a Hunstanton beach donkey was recruited to enhance authenticity!
Driven by enthusiasm, the Society quickly outgrew its venue, relocating performances to the grander Theatre Royal at King’s Lynn and elevating its name to The King’s Lynn and Hunstanton Operatic Society. It’s unclear when Hunstanton was dropped from the title, but the Society continued to flourish artistically and commercially, with their shows becoming a highlight of the social calendar.
Gilbert and Sullivan’s fanciful plots and rousing melodies dominated their stage until 1922, and there was immense pride in 1905 when teenage Clara Dow went from The Mikado in West Norfolk to join the famous D’Oyly Carte Company.
As their popularity grew, shows went on tour to neighbouring theatres and the old Lynn-Hunstanton railway line ran special late-night trains to accommodate crowds of excited theatregoers. With support from distinguished presidents including Lord Fermoy and Lord Spencer, as well as professional producers enticed from the West End, shows ran nightly for two weeks at a time and attracted capacity audiences.
Productions receiving rave reviews in the West End were reprised for West Norfolk theatre attendees, who were enthralled by the musical magic of The Desert Song, and Rose Marie, along with KLODS’ adaptions of popular plays of the day.
After entertaining the troops during the Second World War, KLODS performed at The Pilot before returning to The Majestic with a repertoire of romance, razzamatazz and box office hits. They staged The King and I, Show Boat, South Pacific and The Merry Widow, as well as the rip-roaring Annie Get Your Gun, which saw seats completely sold out long before the curtain rose. Chin Chin Chow was another memorable performance, not least because a Hunstanton beach donkey was recruited to enhance authenticity.
With bingo arriving at the Theatre Royal, shows moved to the Fermoy Centre (later the Arts Centre) in the late 1950s. The KLODS continued to present a dynamic programme of performances, featuring many much-loved musicals and delighting local audiences. My Fair Lady, Hello Dolly and Oliver were big hits, along with other outstanding plays and fun-filled pantomimes.
Those were days when theatre was still a glamorous occasion, often involving formal dress and pre-show cocktails at the hotels. However, cultural changes were on the horizon.
“We’ve had to adapt,” David admits. “Attending the theatre has become a treat for the whole family. They want lively, light-hearted, feel-good entertainment, particularly comedy.”
Reflecting the changes in expectations, KLODS chose Grease for its Covid comeback and went on to break box office records with the upbeat High School Musical at the Alive Corn Exchange. Last November’s comedic adaptation of Bram Stoker’s classic Dracula maintained this momentum, drawing consistent laughter from the audience.
Acquiring their headquarters in the courtyard next to the historic Guildhall of St George in the mid 1980s marked a high point in the Society’s history. However, the pending redevelopment of the site presents a new challenge.
“It’s sad that the Guildhall stage will be going dark for the first time in our history,” says David. “Nevertheless, we’re looking forward to collaborating with the innovative renovation project. In the meantime, we are planning something different with a musical revue at St Nicholas Chapel and aim to continue our longstanding custom of producing a show and a musical each year.”
“No record would be complete without acknowledging our non-acting members, fundraisers, backstage teams, patrons, our dedicated committee and our inspiring president Anne Greeves, who started as a pianist in the Gilbert and Sullivan days,” he concludes. “With this level of support, long may we continue – hopefully for another 124 years.”
To find out more about KLODS’ plans and how to support them, visit their Facebook page.
Above: The talented teenage KLODS member Clara Dow joined the internationally renowned D’Oyley Carte Company in 1905 (left). The Society is still going strong, with last year’s production of Dracula delighting crowds and more marvellous performances planned for 2025 (right).