CHRIS HUNT has been involved with Am Dram (amateur dramatics) for over 50 years and since moving to Plymouth almost 30 years ago, has been an active member of the Tamaritans Theatre Company.

This all saw made him well-placed to pull together a fascinating overview of the Company's first 75 years.

In that time the Tamaritans have produced hundreds of plays in various venues across the Three Towns, most notably the Little Theatre (now known as the Barbican Theatre) in Castle Street (over 70 productions 1956-2000), the Athenaeum (56 plays 1961-2007) the Theatre Royal (52 productions 1984-2007) and the Globe Theatre, in Stonehouse Barracks (36 shows 1932-1961).

The boards of many other stages have been trod by them in that time though, including the Swarthmore Hall, Mutley and the erstwhile Hoe Theatre; the Alhambra, Devonport; the Devonport Playhouse and their original 'Little Theatre' in Westwell Street, their first regular home.

The story began one day back in 1930 when Frederick Rowe, a member of the local Gilbert and Sullivan Fellowship, was asked to provide a programme for a fellowship evening.

In the event he and a number of others produced two one-act plays, and such was the pleasure they derived from the experience that they agreed to do some more the following year to help raise funds for the Hospital Fair.

Having made the commitment they then decided that they must have a name and, mindful of the charitable nature of their endeavour and of the title of the then popular JB Priestley novel – the Good Companions – someone came up with The Good Samaritans.

Before long, this had been localised to the The Good Tamaritans, and by Christmas, when rules were drawn up and officers appointed, it had been changed again, this time to just The Tamaritans.

'The company was self-contained. The members designed their own scenery, made their own costumes, produced their own plays and even had their own instrumental quartet.

'Conducted by Miss Queenie Edgecumbe it played between the acts and could be augmented if necessary to form the Tamaritans Light Orchestra.'

What follows over the next ninety-odd pages of this delightful tome is an account of Am Dram activity that doubtless mirrors the activities of countless other companies up and down the country, as budding amateur thespians compete for audiences with cinema, radio, television and the internet.

Many of the leading players and participants are recalled and there are two charming pieces from Irene Jeffery (Hall) whose involvement began as a stage-struck young girl and who 'at 92 can still quietly sing to myself "hi diddle-de-dee an actor's life for me!".'

Incidentally Irene, who had a number of her own plays produced by the Company and by the BBC, sadly died last year aged 103. With a complete chronological list of all the major plays produced by the company over the years and the chairmen, presidents, vice-presidents and a chapter on Tamaritans Who Moved into the Professional Theatre, this is a must-have tome for all Tamaritans past and present and will doubtless entertain many a former patron of their productions, which probably includes, at one time or another, most of the citizens of Plymouth.

Although Chris emphasizes that the account is a personal rather than 'official' history, it is nonetheless good value at £6.

It can be obtained from him direct at 17 The Quarterdeck, Strand Street, Plymouth PL1 3RL or via the South West Image Bank at 32 Looe Street, The Barbican.

Copies will also be available at the Theatre Royal when the Tamaritans present 'The Woman Who Cooked Her Husband' in the Drum Theatre from 20th-24th of this month.