More than 30 years ago, Adrian Lee-Emery arrived in Bermuda knowing nothing about theatre. Today he is the proud recipient of the coveted Stella Halsall Award for his commitment to the Bermuda Musical & Dramatic Society and Bermuda theatre in general.

A chartered accountant, Mr. Lee-Emery arrived here in 1971 to join the accounting firm then known as Moore, Stephens and Butterfield. There he had met fellow Briton, Mrs. Maureen McKenzie, a well-known amateur actress in local theatre circles. At the time the Bermuda Musical & Dramatic Society (BMDS), of which she was a member, was preparing to mount a production, and Mrs. McKenzie suggested that her colleague go along and lend a hand backstage.

"I did and was hooked from Day One," Mr. Lee-Emery says. "I was building scenery, which I'd never done before, and I had no idea what I was doing. Then I got roped in at the same show to do the sound because, being the newest guy from England, I remembered how an English telephone sounded when it rang. It was also the last time I did the sound."

In the ensuing 30 years, Mr. Lee-Emery has dedicated thousands of hours, in fact most of his spare time, to the BMDS and its fortunes. Save for one brief acting appearance - something he vows never to repeat - and a two-year absence from Bermuda between 1974 and 1976, he has worked backstage on countless shows, including all 30 BMDS pantomimes. Set construction might be described as a "speciality", despite his best efforts from time to time to pass on the drills and nails to others.

"I always tried to get someone to take over, but then they'd leave and I'd get this call, `Adrian, we need help', and I would go back again," he says.

During Mr. Lee-Emery's early years with the BMDS, its "home" was in the Armoury Building on Reid Street.

"We used to build sets and hold shows there," he remembers. "It was incredible. There were no windows and the roof leaked. It was also the only time when a set I had built fell over. The director wanted a box set, which I had hinged together with hooks and eyes. When the squall went through, thanks to the leaking roof it got wet and just fell right over during the performance."

There was nothing for it but to halt the show, wait for the squall to pass, and start all over again.

"I was never so embarrassed in my life," Mr. Lee-Emery laughs.

He has, of course, come a long way since those early days, as has the BMDS, and both have seen many changes for the better over the years.

In terms of set building, Mr. Lee-Emery remembers when the original "tool box" contained only a few manual tools, and it took an executive committee decision to be able to buy a Yankee (mechanical) screwdriver.

"Today, we have power tools galore and couldn't do without them, so set construction now happens in a quarter of the time," he says.

When Daylesford Theatre first opened, it was designed without fixed seating so that the stage could be moved around to suit the production. Gradually, it was realised that patrons got a better view if the seats were "raised" so Mr. Lee-Emery helped build platforms on which to put the chairs. Finally, when it was noted that this seating configuration had remained unchanged for some time, and the platforms were rickety, he was instrumental in designing and building the present fixed, raked plan, as well as the repositioning of the control booth in 1985.

"Together with Peter Woodhouse we planned and designed the new seating, which the executive committee approved, and we also raised the finances for most of its cost by selling seats to people for $100 each. We got people to help build it, and as a result we started putting on a lot more shows. It was a major step forward, and there is now no bad seating in the theatre," he says.

Other highlights of Mr. Lee-Emery's presidency, during which the BMDS celebrated its 50th anniversary, included the highly successful Old Time Music Hall, emceed by a professional of the genre from Britain, as well as performances by singer Cleo Lane and her husband, jazz musician, composer and commentator John Dankworth.

"That was a good year, and their visit was a great kick-start to the drama programme. In fact, it was one of the turning points in the number of plays we did in a year, and required a lot of planning, particularly when trying not to use the same people for everything," he says. "Running a drama group is not as easy as it looks. You have to guard against putting on too many shows. There are a lot of things you have to think about in addition to administration and financing."

The annual Brains of Bermuda quizzes were other highly successful milestones and fund-raisers with which Mr. Lee-Emery was associated, and involved virtually a year's worth of careful planning and hard work. Shortly after one show finished, the organising committee, which included the late George Rushe and John Instone, would begin work compiling questions for the next one.

"We held monthly meetings, which were always a great excuse to go to someone else's house for dinner. Depending on the quality of the "chef", the food was often inedible, but it was great fun," Mr. Lee-Emery remembers. "To get 2,500 questions for the week, we had to write probably 7,500 questions because of all the rejects. The committee raised its own funds from corporate friends, and the teams themselves would also get sponsorship. The quizzes were very good for the BMDS, because a lot of people came down to Daylesford. In fact, we also raised over $100,000 for charity."

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