Scunthorpe's Oldest Amateur Dramatics Group - Established 1943

62nd Production

Irma La Douce

Book and Lyrics by Julian More, Monty Norman and David Heneker

Based on the original French by Alexandre Breffort

20th - 24th September 1966

The story takes place in Paris and on Devil’s Island. It concerns Irma, a good-time girl with a heart of gold, and her story relationship with Nestor, a somewhat bewildered law student who becomes leader of a Parisian gang and ends up with them in a prison colony, convicted of a murder he could not possibly have committed.

Do not let the somewhat seamy setting of the show deter you, however, as it has a certain quality of innocence which redeems this, as well as some mordant humour and some excellent songs, notably ‘Irma la Douce’ itself and ‘Language of Love.’


Irma la Douce, a Poule

Nestor, a law student

Bob le Hotu


The Mecs:

Polyte le Mou

Jojo les Yeux Sales

Roberto les Diams

Persil le Noir



Police Inspector

M. Bougne

Counsel for Defence

Counsel for Prosecution


1st Warder

2nd Warder

3rd Warder

An Honest Man

A Priest

A Tax Inspector

Flics, Bar Loungers, Admirers and Neighbours

Pauline Clayton

David Mann

Hedley Brown



Albert Morton

Ramy Anselm

Ron Tyson

Bill Bass

Steve Rimmington


Nigel Shaw

Ian Wallace

David Elford

David Peart

David Wilson

Brian Lewis

Mike Cantle

David Elford

Mike Cantle

David Wilson

David Peart

David Elford

Brian Lewis

Mike Cantle

David Wilson

Ian Wallace

Production Team


House Manager

Stage Manager

Assistant Stage Managers






Lighting Operator

Lighting Advisor



Dances devised by

Set Designs by




David Dalton

Jean Messent

Joan Brown

Sandra Moutrey

Beryl Rooney

Christine Bradwell

Phyllis Dadd

Jean Messent

Pat Cockings

Michael Verran

G. Mostyn Lewis

Carl Birkwood

Anthea Dann

Elaine Lee

Ivan Clayton

Sylvia Markham

Vicki Kolodziej

David Atkinson

Programme Notes

Director's Notes

I first saw ‘Irma la Douce’ shortly after its London opening in 1958. It was, in fact, the first West End show I had ever seen, and has since remained a personal favourite.


To my mind, ‘Irma’ was a trendsetter among modern musicals, marking a break with the tradition of lavish décor and huge choruses. It is an actor’s musical, with an emphasis on plot and dialogue; the songs, though tuneful, are not outstandingly difficult and rely more for their effect on attack and projection, rather than intricate musical technique.


On receiving an invitation to undertake a production for The Hospital Players, I was delighted to learn of their wish to attempt a musical, a first in their history. For me, ‘Irma’ was the natural choice and, happily, The Hospital Players agreed.


Familiarity has not caused me to revise my opinion. ‘Irma la Douce’ has the ageless quality of an outstanding musical, and the story and tunes seem as fresh to me now as they did eight years ago.