In what has now become an annual and popular tradition, the BMDS has staged another programme of one-act plays.

Five pieces, all with a comedic flavour, provide an evening of easy, undemanding entertainment for the audience and invaluable practical experience for everyone involved (particularly those who are just getting involved) onstage or behind the scenes. Whether it is acting, directing, scene painting or lighting, the idea of cutting one's theatrical teeth in what are really separate mini-productions, obviously makes sense, and underlines what is perhaps the most important aspect of the Daylesford experience.

Executive director Barbara Jones and producer Hilary Roberts were responsible for holding the whole thing together and succeeded in the never easy task of providing both a sense of continuity and the often unsung, but essential details, such as ensuring that the right props end up in the right play. This workshop venture is especially interesting in that it often brings new talent to light, and always provides a refreshing mix of the old and the new: the experience of people like Connie Dey, George Rushe, and Barbara Jones provides valuable underpinning, while the enthusiasm and freshness of newcomers can never be under-estimated.

`Don't Start', which from a literary point of view was the weakest play of the evening, nevertheless provided some humorous moments.

Set in London and focussing on the latest life-style fads of a progressive mother and her less than impressed family, this rather mannered piece, directed rather too tentatively by Debbie Richards, was memorable for a delightfully extrovert performance from Sue Power as a suburban sex siren.

Alan Smith, on the other hand, who is also one of our potentially promising younger writers, seemed to be completely at home in the role of director when he tackled William Hezlop's `Obit for a Polar Bear'.

The inevitable thought occurs that he should have directed his own, recent production of `The Violation of Xim'.

Supported on this occasion by an excellent cast and a dedicated backstage crew, Smith came up with a play that provides an hilarious expose of America's current Number One irritant, the stars of the television media.

Set in a TV newsroom as a local `human interest' story starts to break, Hezlop's bitingly realistic treatment of the preeningly vacuous `anchors' who have become more important than the news they report, was marvellously topical. (Why was I perpetually reminded of CNN?) Brilliant performances here from Arthur Lugo and Kathi DeCouto, and a promsing acting debut (albeit in voice-over) from Marshall DeCouto who brought just the right touch of `heard it all' ennui as the unseen producer, Mr. Monday.

`Footsteps of Doves' brought us into the bedding department of a large store where Connie Dey and George Rushe discovered that their opposing views on the merits of single, as opposed to double beds as a means of maintaining marital bliss, had escalated into a husband and wife mid-life crisis battle.

Fast-paced humour hinted of farce as the arrival of a young -- and nubile -- Kathi DeCouto opened up a whole new line of reasoning for the beleagured Mr.

Rushe.

Robert Anderson's witty story line is elevated by an amusing script and under the direction of Grahame Rendell, the cast did it full justice.

The experience of Barbara Jones was everywhere evident in another delightful play that ends on a virtuosic twist of humour. This time it was Sacha Guitry's `Villa for Sale'.

Budding directors should note how skilfully Ms Jones uses stage space, of how she choreographs the movement and, most of all, how she persuades her cast to assume a sense of repose: one of the overall weaknesses of the programme, both on the part of embryo actors and those who directed them, was a tendency towards perpetual, fidgety motion onstage.

Evelyn MacGregor is, of course, an elegant actress and she brought her customary assured style to the role of Juliette who is trying to sell her south of France home.

Sue Powell, providing a comic foil as the dippy wife who likes looking at other peoples' homes, is blessed with a naturally resonant voice that is heaven-made for comedy. It would be interesting to see her tackle a major production.

Back to the sheer professionalism of playwright Robert Anderson for the last offering on the programme, a bitter-sweet playlet entitled `I'm Herbert'.

Derek Corlett, who recently impressed audiences in `Joan of Arc' was also making his directorial debut.

He was fortunate in having veterans Connie Dey and George Rushe, who understood well the importance of sustaining momentum in this bickering dialogue between an elderly (and apparently near-senile) couple who confuse details of their present union with two previous marriages.

A hint of inevitable pathos here, which brought some emotional balance to an evening of otherwise easy humour.

All in all, a rewarding and entertaining evening which did deserved better audience support when the week-long season opened on Monday.

PATRICIA CALNAN.