January 1994
Region 4 - John M. Owen
CALL ME MADAM
Ellesmere Port A.O.S.
The idea for this political satire was sparked when U.S. President Harry Trueman appointed Washington society hostess Perle Mesta as ambassador to Liechtenstein. The original 1950 New York production starred Ethel Merman and Paul Lucas.
The storyline has a fairy tale touch to it, and while audiences are au fait with Irving Berlin's score they do not associate with the political humour of that era and many of the punch lines fell on deaf ears. In fact, I got the impression that some of the younger members of the cast did not understand them either.
Donna Dale was a likeable Sally Adams, making the most of her first major role with the society. She has good stage presence and movement and she handled her musical numbers well. Vince Stoneley, as a solid Cosmo, brought experience to the cast as did Paul Holliday as Kenneth, the Private Secretary. He was immaculate in dress and movement but lacking vocally although he should have had more support from the pit. More understanding in this direction would have benefited other principals who all struggled with the high notes.
Ian Roberts and Norman Richards were well cast as the Chargé d'Affaires and the Secretary of State respectively, with a much improved Barry Germon as Congressman Wilkins. David Mathieson's Sebastian was a little over the top and Debbie Roberts very lack lustre as the Princess. (The costumes didn't help, either).
Tom Saban's production was light and frothy with good movement from choreographer, Sue Hickman. The show lacked the vital spark to set it really moving. This is always a difficult task with many raw performers in the cast - talent is there, technique is missing. Although it needs more all round positive direction it augers well for the future.
SOUTH PACIFIC
Deeside Orpheus A.O.S. - Chester
First produced in New York in 1949 and at Drury Lane in 1951, South Pacific continued the Rodgers and Hammerstein school of musical theatre by combining a sturdy libretto with music and lyrics that were an integral part of the plot. It still has today tremendous audience appeal as packed houses at the Gateway Theatre will testify.
Susan Oldfield revelled in the part of Nellie Forbush and punched her numbers over in great style. Although small in stature theatrically she was head and shoulders over the rest of the cast. John Coppack was a competent Emile, vocally good but lacking the smooth, suave, romantic side of the character.
Kevin Keegan was in fine form as Billis. So too was Jennifer Jackson as Bloody Mary, but minor roles lacked character. Kevin O'Sullivan's Cable was tentative and he lacked vocally while Brackett and Harbison were never convincing losing all the drama and tension called for in the plot. (Ill-fitting uniform jackets didn't help, either).
Chorus singing was food with the men giving full voice to There Is Nothing Like A Dame and the ladies enjoying I'm Gonna Wash That Man Right Out of My Hair. Musical backing? Well, I must admit I had my doubts about two keyboards, bass and percussion but with this score it came over quite well. I would still prefer an orchestra and no doubt, so too would the Society, but, like many others, it can no longer pay top M.U. Rates to part-time musicians.
Juan Vitti's production left me puzzled by some of the movement on tabs as did some of the costumes. Overall, this was an entertaining evening and one which the capacity audience enjoyed.
GOING FOR A SONG
Birkenhead O.S.
A sparkling opening from the chorus set the tine for a superb evening's entertainment. Entitled The American Dream the show moved from Dixie, through the Black Hills of Dakota via The State Fair and San Francisco, on through the changing seasons ending down by the riverside with the foot-tapping music of Scott Joplin, George Cohan and Gershwin. It brought out the best in the chorus, particularly the ladies, and the show was enhanced by the imaginative choreography of Mavis Taverner and the excellent dancers.
Memorable numbers from Rodgers and Hammerstein and Lerner and Loewe, to name but a few, were recaptured by Mike Carroll, Eddie Bentley, Julia Smith and Meryl Langford with a glimpse of the future from young Matthew Shaw wowing the audience with Yankee Doodle Dandy. The show-stopping Mike Eccles and Mike Carroll reliving Laurel and Hardy's Trail of the Lonesome Pine was an absolute gem!
The second half recreated a selection of numbers from the spring production of The Sound of Music with the audience once again enthralled by the delightful Davina Jones and the von Trapp children and Meryl Langford's stirring Climb Ev'ry Mountain.
The evening ended with all the passion and drama of Les Misérables superbly sung by Mike Carroll, Eddie Bentley, Julia Smith, Meryl Langford and chorus - not forgetting Edwina Mitford and Jim McLaughlin - both superb in Master of the House.
The production was by Elsie Kelly and musical direction by Graham Ellis.
OKLAHOMA!
St. Paul's O.S. - Seacombe, Wallasey
Celebrating its golden anniversary and still drawing audiences, Oklahoma was a complete change of style for St. Paul's.
Curly was very well played by Mike Heatherington - the right age and with a good voice and stage presence, while Gina Davies was a delightful Laurey, capturing the essence of the part. (Having played opposite each other before in other shows makes a difference). Jim Bird was superb as the sinister Jud extracting every ounce out of the character. The versatile Eric Mates had his moments with Ali Hakim. Jane Pennington made the most of Ado Annie but Paul Green appeared very tentative as Will Parker and never seemed at ease with the part.
Supporting roles were less convincing - mainly the men. Like many societies today, young men are few in number and it shows in this type of show. The ladies chorus sand and moved well but not so the men. The singing was strong and robust but the movement left a lot to be desired.
Staging and costumes added to the production which was complemented by a well balanced orchestra under the direction of M.D. Victor Knight. The production and choreography were by Evelyn Clowes.
STEPPING OUT
Port Sunlight Players
Olive Clarke's production of this Richard Harris comedy proved an ideal vehicle for the Port Sunlight Players. It was very well cast, extremely funny, yet the human side of each character, and the underlying reason's for attending dancing school, came over.
Julia Dunn was excellent as Mavis, the Principal, with Anne Mulheirn giving a gem of a performance as Mrs. Fraser, the dour pianist. Lyn Ebbrell's naïve Dorothy was maintained throughout as was Marj Lunt's portrayal of Vera. In fact, all the characters were maintained right through and what a finish! The tap routine would have graced the Palladium. Wonderful entertainment - congratulations to all concerned.
THE DESERT SONG
Wallasey Operatic Society
First produced in 1926, The Desert Song used to be called the most durable of all operettas. In writing the story the authors attempted to combine the old-fashioned operetta form with news and literary events, such as the Riff uprising in Morocco and the exploits of Lawrence of Arabia.
Not seen very often these days the music of Romberg will always stand the test of time - but not the libretto. To give it more probability it needs a large male chorus and lavish staging. It was quite obvious that the society lacked men with the palefaced Riffs reappearing as Legionnaires - not a successful ploy! The sets we had were more akin to pantomime - as were some of the characters.
Margo was well played by Gillian Vaughan with a voice ideally suited to the musical numbers. Tony Clare lacked the charisma of the Red Shadow while his Pierre was a little too silly.
Nora Cooper showed all here experience as Clementina and we had a good character from Collette Clare as Azuri. Sid El Kar and Fontaine lacked vocally as did Ali Ben Ali. Steve Hayes (Bennie) and Alison Wooton (Susan) worked very hard to infuse humour into their roles but they were always fighting a losing battle with the out-dated comedy.
This was not the best of productions from Wallasey, or the wisest choice, but for many in the audience it was a night of nostalgia. Like me, they loved the music so, who knows, maybe we will have a re-write one of these days.