January 1994
Region 3 - Margaret Colbert
HOBSON'S CHOICE
Burnley Garrick Club
It is extraordinary to think that in its 65 years of existence Burnley Garrick Club had never before presented this classic Lancashire comedy by Harold Brighouse. In four nights of capacity houses, Hobson's Choice delighted the enthusiastic audiences.
Hobson's Choice is truly a classic of its genre and full justice to the richness of the text was given by the generally experienced cast. Mark Storton as Willie Mossop was superb. It seemed as though he belonged in time to the period of the play. His blossoming from a gauche apprentice in the Hobson workshop to being master of Mossop & Hobson was beautifully observed.
Peter Edwards played Henry Horatio Hobson. His was a studied and sympathetic interpretation of a successful businessman gradually degenerating into indolent, slothful inebriation. One really felt he'd had enough of his three daughters, Maggie, Alice and Vickey played by Heather Jamison, Lynne Cummings and Liz Walker.
The strong, cool character of Maggie was really a match for Hobson and as broker for the sisters' beaux. Heather Jamison gave a steely determination to this role.
Albert Prosser, played by Mark Bailey, and Fred Beenstock, played by Jamie Smith, were suffiiciently gauche and awkward in Hobson's company to make Maggie's help absolutely necessary.
Giles Williams gave a lovely performance as Tubby Wadlow, so gentle and sympathetic. Mrs Hepworth (Penny Walker), Jim Heeler (David Baxter), Ada Figgins (Jane Speakman) and Dr. MacFarlane (Alan Miller) in their respective cameo roles all contributed to the play.
This was a very enjoyable and nostalgic evening at the theatre.
(David Lewis)
CAROUSEL
Nelson Freelance Society
Anne Amison made her debut as a producer with this classic interpretation of the old favourite Carousel. Vincent Waterworth returned to the society-as musical director and produced a good orchestra for the company.
Lynne Normanton was a delightful Julie, quietly determined, stoic and serene - and the audience loved her. Allan Wilkinson as Billy Bigelow was suitably bluff and rough and changed to tender realisation of what he had lost with conviction. Allan's wonderful voice was heard at its best in If I Loved You and The Highest Judge Of All.
Donna Ingleby was a pert, vivacious Carrie squeezing every ounce out of this wonderful part. Gordon Ingleby as Enoch Snow struggled with his musical numbers, but otherwise gave a sharp performance.
Jigger Craigen was menacingly played by Gordon Parkinson and Lynne Mezzo was a sympathetic and vocally good Nettie. Louise and Enoch Snow Jr., played by Jennifer Amison and Lee Ingleby, were well matched, The ballet was well danced. Supporting roles were played by Denise Lancaster, Lindon Amison, Stephen Bailey and Victor Wood. Carousel never seems to fail with audiences.
LITTLE SHOP OF HORRORS
Skidrow Productions, Oswaldtwistle
To put on a show from scratch in seven weeks before it was withdrawn from amateur performance was always going to be a tour de force.
To do it with a new company, which built its own Audrey II and to have the producer playing the main role, one where he was hardly ever off the stage, was even more difficult. It is to the credit of Skidrow Productions, whom we welcome as new NODA members, that they did achieve this.
There is promise and talent among the members, A longer production period and, dare one say it, a little more expertise and advice from more experienced thespians could have benefited those with that talent. Anne-Marie Batt, as Audrey, looked and sounded right and has already a degree of stage presence, showing an ability to interpret a song even with a less than powerful voice.
I was a little disappointed that Colin Braidford, as the dentist, did not give a stronger performance. I have seen him in other societies' productions where he has been most impressive.
The three backing singers looked and sounded good and were, as were all of the cast, very authentically costumed. My personal favourite was Carl McCrystal as Mushnik (and many other roles). He had authority and his characterisation was strong.
Perhaps most praise should go to the plant, Audrey II, which looked fearsome and was expertly manoeuvred and given a resonant voice by Peter Holden.
It is a pity that, on the night I attended, there were very obvious problems with crackling radio microphones, which broke the spell somewhat. The scenery was very good, given the restrictions in time, and the lighting was atmospheric.
The small band gave excellent and sensitive backing to the singers.
(N.B.)
ELEMENTARY, MY DEAR
Blackburn Hospotal Players
This farce was Geoff Baron's first production as a director and an excellent job he made of it too. Inventive staging by Ian Ashton and his team set the scene perfectly. I like the concept of playing on the floor ofthe theatre and using the stage as the upper floor of the country house.
There were some wonderful performances from every cast member, with Wayne Avanson a quite superb Lionel Birtwhistle, alternating between the first class twit and Sherlock Holmes. Jean Ratcliffe and David Lloyd, as the very dubious brother and sister, were perfect foils for each other.
Andrea Lloyd was ideal as the outrageous Margaret FerribyCave-Ferriby. Vivienne Steer was a delightfully sexy, seductive Prudence Carlisle. Did I recognise the mysterious nun who made a quick and dramatic appearance - I think I did!
Written by Philip King and John Boland, the pace needed to be fast and furious and it was. Very well done, everyone. I hadn't laughed so much for ages.
COME BLOW YOUR HORN
Rossendale Players, Bacup
Jeff Heys directed the Players in this production of the Neil Simon comedy with a sure hand. The wry Jewish humour was well brought out. Andy Greenwood, playing Alan, the playboy who spends his time entertaining girls in his flat, was exactly
right for this large and demanding role - his approach to the part kept the comedy flowing fast.
George Pugh, playing his naive brother who quickly grows up and joins the high-living set, approached his part with directness. He delivered the, what was at times knock-about, comedy very well indeed.
Steve Moore was the perfect harassed Jewish father whose two sons are a constant trial to him. His characterisation was well observed as was Dolly Eaton's as his wife. Assorted girl friends were all played well by Kirsten Dunkley, Claire Thompson and Pauline Miller.
The split level set worked well, although I felt it could have been more American ised. Neil Simon's scripts have to be handled with care to get the best out of them - this the Players did. An evening of considerable light relief.
ALICE - THE MUSICAL
Todmorden - T.O.Y.S.
A delightful musical for young people, very well produced by a team of the senior society members Susan Gamble, Helen Simpson, Justine Thomas, Vaughan Roberts and Malcolm Heywood. The two 'Alices' were well played by Alex Scott and Marianne Hooper.
Matthew Thorpe was a most convincing Rev. Dodgson, stringing the story together with maturity of comprehension and good delivery. Heidi Barker as the Queen was wonderful. All the other Alice in Wonderland characters were there and all wonderfully costumed and interpreted.
The young company was well drilled and the concerted numbers well sung and moved. The Mad Hatter's Tea Party was an amusing highlight with Richard Robinson making.the most of every opportunity offered by the script.
Played against a wonderful John Thomas set with many special effects and excellent lighting this was a jolly good night out. All the young people, both on stage and backstage helping with the lighting, sound, etc., are to be congratulated in another good show.
The people producing them should feel suitably gratified. The audience - young and old - were held spellbound and SILENT always a good sign!
ONE FOR THE ROAD
Todmorden AODS.
Another pithy Willy Russell comedy, with a strong storyline and a wonderful script, which was directed with feeling and pace by Connie Smith.
The story centres on two couples living their lives on a modern housing estate in the mid 80s, each couple wishing for something or someone to relieve the boredom and frustration. The Cains are hosting a supper party to entertain their friends, the Fullers, and Dennis Cain's parents. We never meet the senior Cairns but the Fullers are wonderfully complex characters.
They were played with sureness by Franco Paolucci and Jackie Reed. Ron Suthers and Sue Jones, playing the Cains, were both excellent - Ron with his easy delivery and Sue with her surefire approach to a wonderful part. The set, again from designer John Thomas, was exactly right.
As always with this company, the set, lighting and sound were spot on. The entire production was transferred to the Marine Hall, Fleetwood, as the society's entry in the Fleetwood Drama Festival in October. I am pleased to report that Franco Paolucci won the Best Supporting Actor trophy and the play won Best Presentation Award. Well done - and congratulations to everyone involved!
THE SOUND OF MUSIC
St John's (Great Marsden) AODS, Nelson
This was a first production for director Carol Proctor who is better known as a choreographer, with the experienced Lindon Amison as musical director.
A delightful performance from Debbie Standage as Maria reinforced her claim to the Manchester Theatres/Apollo Leisure award for the Most Promising Newcomer given at the recent Region 3 awards night.
The assured way she approached her a part had much to do with the production's overall success.
Ray Eden played Von Trapp with quiet diffidence the final scenes with the children were delightful. John Dewhurst and Jennifer Amison were ideally paired as Liesl and Rolf. The Von Trapp children were well drilled and won over the `< audiences.
Vivienne Thornber was a suitably abrasive Elsa but I would have liked to have seen more verve and comedy from Godfrey Eyre as Max. Their number How Can Love Survive, one of the best in the show, was disappointing.
The Nuns were in good voice, with Connie Mason as the imposing Mother Abbess. 'The Gaudeamus and Canticle' were highlights of the show.
Staging was shaky in places and needed tightening up - but no doubt it improved as the week progressed. The orchestra was never intrusive and it was an enjoyable show.
THE SOUND OF MUSIC
St. Mary's AOS - Oswaldtwistle
Producer: Tony Fry
Musical Director: Nick Jefferson
Choreographer: Jane Eaton
This favourite show packed them into the Civic Theatre. It was a bright show with good singing from the Nuns' Chorus. Alyson Horsfall was a strong Maria, but Colin Povey as Von Trapp had, I felt, been miscast. Brenda Murray and Geoff Jackson were a dynamic duo as Elsa and Max. Geoffs vast experience shone through an excellent performance.
Paul Ryan was a good Rolf and Pauline Hartley a delightful Liesl. The Von Trapp children were double cast - the set I saw were suitably 'sweet'. Mike Ryan and Mavis Hartley played Franz and Frau Schmidt.
Stephanie Spaans was the soloist nun in the Dixit Dominus and was excellent. I should like to have heard more of her rounded voice. Margaret Wareing was Mother Abbess. The trio of nuns played by Joyce Kearton, Ruby Maden and Jean Taylor worked well.
Stage manager, Jack Hargreaves, and his team moved the solid sets with quiet ease and the lighting from Alan Freeman was good.
THE SWEENEY TODD SHOCK 'N' ROLL SHOW
Hyndburn Bel canto Buddies
This was something different! Directed and choreographed by David Norris and Anthony Williams, they had worked the young company hard and this showed in the slick, fast moving numbers.
Simon Paintin was a very assured and mature Sweeney Todd. An excellent performance! Laura Bourke as his Assistant gave a witty performance. Dawn Fern as Mrs Lovett was also very assured. I am sure she has a bright future on the stage.
The two knockabout comics, played by Solomon Whittaker and Scott Willis were truly comic. Jeanne Sharples as the Sorcerer's Apprentice tackled her part with flair. David Pemberton, playing various parts, proved his versatility while the rest of the young cast were obviously enjoying being in the show.
The staging was inventive and excellently lit by Alan Freeman. The small orchestra added the right volume of accompaniment and the production team can be well satisfied with the standard of performance on stage.
GYPSY
Colne Operatic Society
Producer Stephen Burrows must have been pleased with this production. It was bright, lively, well-delivered and with some excellent performances.
Musical director Brian Townend had gathered together a wonderful orchestra who made the perfect sound to carry the Jule Styne score.
Based on the memoirs of Gypsy Rose Lee, the Sondheim lyrics are punchy and Carol Squire as Mother Rose really punched out her numbers to the audience. Carol made light of a difficult role and she had the presence the part demanded.
As the Baby Louise and June, Danielle Wild and Emily Standing were wonderful - two very confident young ladies. The young Louise and June played by Sally Cooper and Stephanie Lincoln were super. We saw real talent here, again, in difficult parts. Sally Cooper made the transition from shrinking violet to vamp superbly and one of her earlier numbers, 'Little Lamb', was delightful.
John Dewhurst as Tulsa performed well, getting the most out of the number 'All I Need is the Girl'.
Lynne Normanton was a truly outrageous and delightful Tessie Tura, and Caroline Brook and Margaret Greenwood, playing the other two strippers, Electra and Mazeppa, were really sleazy. The trio's number, 'You've Gotta Have A Gimmick' delighted the audience.
Thomas Todhunter as Herbie slightly underplayed this meaty part. All the minor roles were well played. The company numbers involving children and adult members were well drilled and slick.
The sets, though basic, worked well and perhaps more sound reinforcement would have enhanced some performances. The costumes were good - in period, with everyone seemingly wearing the correct period footwear. Attention to detail pays off!
Well done, Colne, for being brave enough to stage this musical and doing it justice.
BLOOD BROTHERS
Burnley Masque Theatre Company
This tragic tale of the Johnstone twins, split up at birth when one was given away, was played 'in-the-round' by the Masque ATC at Nelson Civic Theatre. Using only one central rostrum for scenery Mick Dawson s direction created a most enjoyable, polished production of this Willy Russell play.
The brothers were played by Salva McGarr (Eddie) and George Pugh who gave a powerful performance as Mickey. Linda Bennet was the poverty stricken mother and Judith Briscall the posh adoptive mother. Linda, Mickey's girlfriend was played by Janie Pugh. Tony Dewhurst played several parts including the Narrator along with Emma Dobbins, Jonathan Harling, Elaine Miles and Melanie Simpson, whose choral speaking and 'live' effects worked well.
My only regret is that this exciting production did not attract the audience
it deserved - certainly for its opening night.
(Mark Storton)
IOLANTHE
Burnley Gilbert & Sullivan Society
A very good production by Frank Lawton which made the most of the superb opportunities for comedy this vintage G & S operetta offers. Taking the lightest of light looks at the libretto, Frank came up with some wonderfully comic touches.
The cast of very experienced amateurs did this production full justice and we saw Suzanne Mather and Alan Wilkinson in superb form as Phyllis and Strephon - ideal combinations of good acting and singing. Charlotte Eastwood as Iolanthe was excellent. Here was a stronger approach to the part than is usually taken. Judith Briscall was in turn regal and comic as the Fairy Queen.
Jim Ogden was an excellent Lord Chancellor. The witty dialogue written by one of the male chorus members for him was particularly appropriate, given that Mrs. Thatcher's memoirs were published the week of the show - Gilbert would have approved!
Philip Hindle and Peter Wilson gave vent to the roles of Lords Tolloller and Mountararat whilst Jamie Smith just has to be one of the best Private Willises I have seen for a long time.
The chorus of assorted Des and Fairies was well drilled and the singing, under director Nigel Wilkinson, was good. The minor roles of chief fairies were played with gusto by Caroline Brook, Christine Morton and Lindsey Wilkinson.
The sets were particularly effective and very well lit. This, along with gorgeous costumes for both sexes, made this production an example of what G. & S. should be - and should encourage a younger cast and audience.
RUN FOR YOUR WIFE
Oswaldtwistle Players
An excellent newly released Ray Cooney farce, which was well directed by Doris Snape. The staging allowed the play to flow and to sustain the pace.
John Kirby, as the bigamous husband, was good and his friend Stanley was very well played by Derek Partlin - a good, comic performance. Wendy Duggan and Julie Laing played the two wives who are unaware of each other's existence. The characters differ in many ways and this Wendy and Julie managed to convey.
Steve Hezzlewood and Brian Fallon, playing detectives who are quite bemused by the whole affair (and help add to the general confusion), kept up the pace. A very "over-the-top" performance came from Michael New as the "Queen" from upstairs - would anyone really behave like this? Paul McGowan was the newspaper reporter.
A very fast moving farce, full of twists and turns that the company managed to negotiate.
NOT WITH A BANG
Ribchester A.T.S.
An excellent comedy by Mike Harding. I can't think why this play isn't performed more often as it offers plenty of scope.
Keith Flood, as the pivotal character, Nobby Clarke, was absolutely wonderful - a well thought through performance. Julia Procter as his long suffering wife and Jean Skilbeck as his mother both turned in very good performances. Jean's asides to the audience, by way of linking narrative, were well delivered.
Robin Simmons as Tommy had also studied the part and his characterisation was good - as was that of his hypochondriac wife - wonderfully observed! The two younger members of the cast, Glynn Anderton and Judith Forrest, as a young husband and wife with a new baby gave sharp performances.
The set by Phil Baugh was excellent and wonders had been worked on the tiny stage. Good use of the hall floor was made and with good set dressing and lighting, director David Proctor could be well pleased with this production.
PINK CHAMPAGNE
St Cuthbert's AODS, Burnley
A thoroughly satisfying production of this delightful Strauss operetta from Barbara Simpson, with musical direction from Brian Townend and choreography from Kathryn Thornton.
The company worked wonders on the small stage, and the stage manager, C. Bennett, and his crew are to be congratulated.
So too are all the technicians, for lighting, sound, wardrobe and props were all excellent and added to the smooth running of the show.
A delightful performance from Lesley Haworth as Adele - pert, sure delivery of dialogue and good rendition of her musical numbers. Judith Riley was in fine voice as Rosalinda, a wonderful role, and she stamped her authority on all her scenes.
Jim Lancaster, as her husband Gabriel, was less certain of himself. David Bridge as Rosalinda's suitor was vocally weak but he got the most out of his dialogue and will improve with exposure to principal roles.
Jeff Pilkington was an excellent Dr. Falke, weaving his intrigue around the other characters, and Brian Haworth was a superb Frank, the prison governor. His vast experience on stages, large and small, showed through in his performance. Lawrence Whittaker gave us a wonderfully comic cameo as Frosch, the gaoler.
The part of Prince Orlovsky was well played and sung by Pauline Woodworth. Kathryn Bennett, Susan Barrett, Janet Gilbert and Christine Boffin made up the quartet of young ladies and sang well and danced extremely well the choreographed numbers.
The chorus moved and sang well and I was please to see hair styles were totally in period for everyone.
Minor roles were competently played by Les Bland, Cynthia Heritage, Les Wilkinson and Ian Wrigley. An enjoyable evening with a production that matched the wonderful melodies.
BREEZEBLOCK PARK
Blackburn Drama Club
This was Blackburn Drama Club's 200th production and was directed by Steven Derbyshire. It was certainly different from its first play, Gaslight, in 1944.
A strong cast had been gathered to play out one of Willy Russell's lesser known plays. The story line is strong and, as always with this author, the dialogue is pithy and ripe.
Set at Christmas time and featuring a family were two sisters try to keep up with and out-do each other, we saw strong performances from Janet Tompkins and Jean Jones as the sisters and Michael Bolton and Keith Deller their husbands.
Dave Rainford, as the wimpish tranquilliser addicted son, gave a very well thought through and sympathetic performance. Brother-in-law Tommy and his wife were played by Brian Healey and Elizabeth Barrett. Brian's F l performance, I felt, was a little over-the-top but Isobel was the suitably gullible, easily pleased, working-class wife. Suzanne Nolan played the pregnant daughter who causes so much consternation and Guy Howard her upper-class boy friend.
The Club has so many competent actors and technicians on hand it should go on for another 200 shows - at least!
BYE BYE, BIRDIE
Pendle Hippodrome Youth Theatre
Producer John Normanton had assembled a fine cast for this musical (loosely based on Elvis Presley's call-up to the US Army).
Headed by Lee Ingleby as Albert Peterson the pace was kept snappy. Lee is a very versatile young performer who gains experience wherever and whenever he can. It certainly was evidenced in this performance which kept the whole show rolling along.
Stephanie Lincoln, as the cheer-leader Ursula, gave a competent performance and Natalie Brooks, as the girl who is promised Conrad Birdie's last kiss, shows potential. Tony Jones gave an excellent performance as Mr MacAfee as did Neil Oldham as Hugo Peabody and Susan Fisher playing Gloria Rasputin, the blonde bombshell. Jamie Squire played Conrad Birdie with obvious delight and was an excellent swivelhipped, slick-haired teeny idol.
Many of the acting honours must go to jenny Fogg whose performance as Mae Peterson was quite something; this girl could character-act a lot of adults off the stage! Naomi Dunn as Rose Alvares could have benefited from better sound. Mrs MacAfee and Randolph MacAfee were played by Joanne Driver and Philip Carmen.
This show translated well to a junior company and the enthusiasm of the large chorus was evident.
The producer and choreographer, Susan Chippendale, is to be congratulated on the way the chorus looked and moved. Attention to costume detail was very good.
Scenery and lighting added to the overall good performance and the orchestra under Tom Bardsley was brash and lively. Well done, everyone, it is good to see so much potential on one stage.
MY FAIR LADY
Burnley Light Opera
A bright clear production of this favourite musical. Producer Cynthia Sanderson resisted any temptation to go for gimmicks, and capacity audiences all week were treated to fine performances from John Whittaker and Anne Chadwick as Higgins and Eliza, a robust portrayal of Doolittle from Dennis Murtagh and good cameo roles from Ann Pickles and Joan Waterworth as Mrs Pearce and Mrs Higgins.
Geoffrey Greenwood made the most of the part of Colonel Pickering but, as in so many productions of My Fair Lady, the part of Freddy was given to a young man who could have made more of it. Freddy really is an important part and should be treated as such - after all, he does have one of the best and one of the best known songs in the whole show.
The chorus were bright and moved extremely well, giving the rousing chorus numbers the right amount of oomph! Stephen Wharf was excellent as Zoltan Karparthy, and Peter Morris was in fine voice as Harry.
The young and enthusiastic orchestra was directed by Jim Parker and it produced a good, round sound. The settings and scenery were good - especially the library - and were worked with speed and silence by Ron Parker and his team.
The Society last gave My Fair Lady 25 years ago, and on the Friday evening, many of the original cast (including myself) came together to reminisce about that performance, given at the Empire theatre to a total audience of 7,700 who paid £3500 at the box-office. The show then cost £2,000 to stage and the best seats cost 50p.
Now the society plays in a 361 seat theatre and production costs have risen to £10,000. How times change!
CHORUS OF DISAPPROVAL
Burnley Garrick Club
Set backstage during rehearsals for an amateur production of The Beggar's Opera, this Alan Ayckbourn play is peopled with characters we all know and love (or love to hate).
A tour-de-force performance from David Bailey as Dafydd Ap Llewellyn kept the whole thing together and moving at a rapid pace. There were well observed and delivered performances from Harry Nuttall, Barbara Price, Tom Gillespie and Kathleen Riley.
Stephen Dixon was a suitably non-plussed Romeo who makes rapid progress through the ranks to be leading man, with Cathleen Foster providing a good foil for him. There was a good accompanist in Robert Whittle and David Gill was in superb voice as Crispin Usher. Gillian Fildes, Lynne Atkinson, Norman Cope, Angela Foulds, Dorothy Dawes, Jean Whittaker and Edward Fildes made up the cast.
A difficult play to stage with limited resources and perhaps better area lighting would have helped. Directed by Des Cummings, this is vintage Ayckbourn - all the more poignant when played by amateurs!
PETER PAN
Dorothy Bruce School of Dance, Oswaldtwistle
What a delightful musical/panto this was and with a cast whose aged ranged from 2 to, shall I say, 32? A NODA. pantomime by Ron Hall, Peter Pan had a good story line, super characters and lively musical numbers.
Producer Margaret Boyle had combined a cast of youth and experience and had moulded them into a slick, fast moving production which delighted the audiences.
Choreography was by Dorothy Bruce and her instinct for interpretation, and her ability to teach pupils thoroughly, shone through in all the musical numbers. The Never, Never Land, Sea and Redskin cameo scenes were excellent with even the times pulling their weight and making wonderfully colourful scenes.
Samantha Mercer, as Peter Pan, is a very self assured and talented young lady, as is Joanne Parkinson who played Liza, the cook, with panache. I have watched Sally Glenn come up through the school's ranks and she gave a delightful performance as Tinkerbell.
Lisa Davis, Kelly Guest and Jennie Maynard played the Darling children very well. Angela Harwood, a senior of the school, was an excellent Mrs. Darling.
What a performance Alan Bullock gave as Captain Hook! Thoroughly nasty and working the audience into a frenzy of shouting and booing. Graham Robinson and Tony Lewis, as the knock-about comics turned in two well-timed performances.
The "animals", Nana the dog and the Crocodile, were played convincingly by Elaine Winkley and Chris Bruce.
All the action was set against wonderfully simple sets which were well worked by the stage crew and well lit by Les Rooks. Good sound, music and costumes all added up to an excellent production and a lovely night's entertainment.
• I presented 15, 20 year NODA. Medals and also a 40 year bar to producer Margaret Boyle. Well done, and I hope I'm around when the 2 year old chorus member is getting NODA. medals.
SEASON'S GREETINGS
Rossendale Players, Bacup
Alan Ayckbourn's hilarious view of a family Christmas received full justice from the players. Marilyn Arthur's production was sharp and very well played out by both cast and technicians. Joe Teasdale's set was excellent and very well dressed by the props team.
We saw a tour-de-force performance from Carol Anne Connolly as Belinda, very well supported by Andy Greenwood's thoroughly laid-back Neville. Steve Moore was wonderful as Bernard, the harassed husband and puppeteer. It is a huge part and Steve played it very well. Barbara Hussey was his suitably drunken wife, Phyllis. Geoffrey Collinge, as the dour, gun loving Harvey, gave an exceptionally good performance.
The young couple with problems were played by Richard Blease and Clare Thompson. Clare performed very well as Bernard's assistant in the Puppet Theatre - quite hilarious. Rachel was played well by Janet Waterworth and the unfortunate author, Clive, by Andy Kelly. An enjoyable night out.
The Players were performing the play at two sell-out Theatre Dinners on the Saturday and Sunday evenings - this standard of performance with food can't be bad!
OLIVER!
Accrington A.O. & D.S.
Lionel Bart's Oliver has a strong story line, wonderful characters and superb music and, as one of the most popular musicals of the past 30 years, can stand on its own merits.
Howard Raw's production for the Amateurs was so full of symbolism and fast, over-active movement that much of the story was, unhappily, lost. Written for a proscenium stage, I do not feel Oliver is a good vehicle for 'in-the-round' treatment. Scenic and staging ideas used would have been excellent played within a proscenium arch, but when forced into the round situation they were too complicated by half! Valiant principals and chorus seemed to battle through the many scene changes. Almost all principal numbers were subjected to the distraction of a very, very hard working stage staff moving blocks and furniture.
The most convincing figure on the stage was Carl McCrystal as Bill Sykes -what a performance - menacing, powerful and utterly convincing! Joanne Gill as Nancy acted and vocalised well but unfortunately was a victim of the staging. David Norris, one of the area's best performers, underplayed the role of Fagin, and again, seemed to have too many staging effects to cope with. Roger Nuttall as Oliver had a suitably waif-like appearance and moved and sang well. Artful Dodger, Glyn Williams was a real find for the society and could have been used much more. With talent like this, the most of it has to be made.
The other characters were competently played by Terry Southam, Janette McCaffrey, Jim McCaffrey, Maryrose Swarbrick, Sue Avanson, Bill Harrison, David Pilkington and Teresa Haworth. The musical director was Frank Duckett.
The large chorus of orphans and gang members were brashly vocal, and the adult chorus worked tremendously hard.
Stage manager, Warwick Watson and his team must be congratulated on coping with the extraordinary demands of this production.
This was the Amateurs' last production in its centenary year and I offer my congratulations on providing entertainment for the Hyndburn area and beyond for all those years. Here's to the next 100!