January 1994
Region 5 - Glyn Neary
THE DRACULA SPECTACULAR SHOW
Bethel Crowd Junior Workshop
When Dracula meets Indiana Jones you do indeed get a spectacular show. Sometimes
it is hard to realise that there were all children. The enthusiasm was clear
for all to see and showed that a great deal of work had been put in by the
production team. I am sure they were well pleased with the results. Musically,
the highlight was the duet between Nadia and Nick, delivered with just the
right amount of feeling. Tremendous cameo performances from Nadia (Kerry
McAllister),.Father O'Stake (Paul Dowling), Dracula (Daniel White), Countess
Wraithe (Nicola France), Elvis (Adam Taylor) and the brilliant Ghengis (Duncan
Francis). Well done, everyone.
(D.W.)
JOSEPH & THE AMAZING TECHNICOLOR DREAMCOAT
All Saints (Elton) A.O.S.
To celebrate its 80th year - and the 150th year of the consecration of the church - the society sought special permission to stage this show. After much persuasion and many restrictions, such as a publicity embargo, etc., it was finally given permission - and what a celebration the cast made of it.
An excellent set designed by Mollie Binns was the perfect backdrop to some 26 children and an equal number of adults who, adorned in costumes with enough 'glitz' to put Las Vegas to shame, gave a great account of themselves.
The production was in the capable hands of Gladys McDonald and with musical direction by Clive Rushworth, the prospects of an excellent evening's entertainment beckoned. The audience were not disappointed.
With such a large cast on a small stage, the massed chorus movements were well executed, the children being particularly well disciplined. I also liked the brothers who, although with individual characters, blended well as a unit.
Of the principal characters, whilst all were well cast, both Steve Burton (Joseph) and Patrick Unsworth (Pharaoh) extracted everything the parts had to offer. I would particularly mention Joanne McIntyre as the Narrator who, I felt, had the most difficult part. She coped extremely well, drifting in and out of the chorus numbers as required, but yet maintaining her individuality - an excellent performance.
GUYS AND DOLLS
Whitefield & District AOS
Produced by Alan Crump, with choreography by Carol McCormack, this Guys and Dolls lacked that little touch of magic that is essential for this type of show. The story is populated with characters who are larger than life and everyone, chorus and dancers alike, should be individual characters. Whilst most principals cope well some of the chorus, and particularly the dancers, lacked the necessary conviction. Indeed, the Hot Box girls were a pretty reserved bunch - not the raunchy ladies one would expect from that type of establishment.
Paul Kirkbright as Sky Masterson was in fine voice and gave a relaxed performance. Hilary Eastwood as Sarah Brown, although making a valiant attempt at the part, sadly fell a little short. Vicki Clarkson made a super Adelaide, great accent, good facial expressions, good singing voice and an excellent interpretation of the character. She was ably supported by Michael Tonge as the elusive but harassed Nathan Detroit. Another excellent performance came from David Pollard as Nicely-Nicely. He was well supported by Keith McEvoy and Martin Ogden as Benny Southstreet and Rusty Charlie.
A suitably smoky sewer scene played host to Lick Be a Lady number and the cast finally rose to the occasion with an excellent Sit Down You're Rockin' the Boat. Generally, the costumes and scenery were adequate. I did find the Salvation Army costumes rather vivid!
Michael Pinder's orchestra was well balanced and overall the show came over well.
I'LL GET MY MAN
Trinity Church AODS - Farnworth
This comedy, by Philip King, takes place in the lounge of the Vicarage in the village of Stebbington-Fawley, somewhere in the heart of rural England. Produced by Colin Higson and directed by Julia Walker, this was another good offering from the society.
The curtain opened to a good set, well dressed, with appropriate furniture and properties.
All the characters were well cast and each role was played convincingly. I would mention specifically Colin Higson as the absent-minded, sometimes trouserless Vicar, Dorothy Newport as his domineering sister, and particularly Kate Martin as the daily help. She played her part superbly.
The climax of the play arrives when Pixie Potter, the punk rocker (unintentional rhyme) finally corners the object of her affections, Peter 'Ventureman' Graham, in the Vicarage. Most of the characters then become involved in the usual variety of people hiding in various places until Pixie, who has meanwhile been dumped in the bath by the domineering sister, finally appears as the squeaky clean young lady and 'Gets Her Man'.
Congratulations on a first class production of this delightful comedy.
GUYS AND DOLLS
Bolton Catholic Musical & Choral Society
This show is in the big Broadway tradition of musicals and must be pacy, played with a great deal of punch and shaped with lots of flair. I found the use of the front tabs, which seemed to close at every possible opportunity, very distracting and spoiled what would otherwise have been a good show.
With the production and the part of Miss Adelaide in the hands of Judith Stamford, (an enormous task for anyone), I got the impression that perhaps there was insufficient time to add the final polish to parts of the production.
Having said all that, hen the tabs didn't interfere with the production, what was presented was very good. Excellent singing by the chorus throughout this show, and good characterisations by most of the principals, made amends for the staging defects.
Adrian Pollitt as Nicely-Nicely was excellent. His vocalisation in Sit Down You're Rockin' the Boat was brilliant. He was ably supported by Kristian Worsley and Bert Ashton as Benny Southstreet and Rusty Charlie. Of the many other cameo roles perhaps Patrick Blackburn's Harry the Horse was the most outstanding. Chris Oldham as Sky Masterson sang well and whilst adapting a debonair approach seemed to lack the easy command essential to this part. Similarly Neville Moss was a bright enough Nathan Detroit, but his timing meant that some of the comedy was missed.
Susie Riley brought some nice touches to the part of Sarah Brown and she combined well with an excellent Miss Adelaide in the difficult number Marry the Man Today.
Good choreography by Barbara Grant gave the dance and chorus numbers the necessary zip and the orchestra was well controlled by David Wilson.
THE WIZARD OF OZ
Kearsley AODS
Produced by Paul Cohen this is a delightful show which has plenty of scope for all concerned, both on and off stage. Adequate scenery and the use of special effects at the appropriate moments enhanced the production, although more might have been made with better lighting.
Louise Halton gave a passionate performance as Dorothy. She was well supported by Patrick Blackburn as Tinman and Colin Dean as the wimpish Lion. Moya Welding was an excellent scarecrow - good interpretation and excellent movements. Probably the best performance of the evening came for the energetic Edwina Freeman as the grotesque, green-faced Wicked Witch, who contrasted nicely against the sweet and serene Sorceress, played by Elisa Dean.
A large cast, including a good number of children, on a small stage can, if great care is not taken, lead to an untidy look about the production and ragged chorus work. Here we had an abundance of enthusiasm but little visible discipline which rather spoiled, what would have been good, numbers.
The costumes were bright and cheerful. Excellent make-up by Tony Freeman for the Scarecrow and Lion deserves full marks.
The production would have benefited from the expertise of a choreographer - particularly in the jitterbug and skeleton dance numbers.
For those, of any age, who are young at heart this is a lovely show and it was much appreciated by the Friday evening's audience.
ROBERT AND ELIZABETH
Walmsley Church AODS
After a period of some 25 years, the society again chose to present this rarely performed show. It is a pity that more societies don't try it for, although it is not considered box-office (and there is a perceived lack of obvious 'hit' numbers), the storyline is strong and there are many parts for the cast to get its teeth into. The challenge was duly taken up and what an excellent job was made of it.
Whilst the chorus and dance numbers are a little restricted by the structure of the show every single members of the society, principals, chorus and backstage alike, can take a great deal of satisfaction from their performance - this was a splendid show indeed.
Based on the love story of Elizabeth Barrett and Robert Browning, the cast was headed by strong lead characters, notably Graham R. Edginton (Robert Browning), Ernest Dawson (Edward Moulton-Barrett) and Irene Bowers as Elizabeth. Their acting and singing talents were generally of the highest order although Irene did struggle a little with the musical score. The different moods and nuances of the story were played to perfection and none more professionally than Ernest Dawson who captured the rather possessive and sinister nature of Edward Moulton-Barrett with respect to the members of his family. At this point there is a temptation to list the many other good performances but column inches will not permit. Suffice it to say that all deserve a mention.
The interpretation of the storyline by the producer Audrey McL. Raistrick was excellent. She used the substantial depth of talent presently available to deliver the drama and humour to the best advantage.
The set designs were inventive and some fifteen scene changes were carried out smoothly. To omit to mention the costuming of the show would not complete the picture. They added the finishing touches to the overall picture. It was also my pleasure to present Anne Windsor (Wardrobe Manager) with her well-earned 25 year medal along with Sylvia Fishwick who received a 40 year bar.
FINIAN'S RAINBOW
St. Catherine's AMS - Farnworth
Finian's Rainbow is not a show that has been popular of recent times, which, to my mind, is rather a pity. A charming fairytale storyline, popular tunes, plenty of chorus work and opportunities for large and small parts seem an ideal cocktail.
Having moved to a new venue, the society found itself with a few backstage problems, largely not of its own making, I might add, but the lighting needs some attention. Sudden lighting changes in Ol' Devil Moon did nothing to assist the number. However, a nice set, complete with a well and free standing tree, provided a good backdrop to a pleasant show.
A new director (Dennis Meehan) and choreographer (Julie Holmes), both tackling their first full show, perhaps lacked the necessary depth of experience. Nevertheless, they acquitted themselves well.
A likeable roguish Finian was nicely played by James Cadbury. He was equalled by Tim Shorten as an excellent Og. He would have been assisted in the illusion of him growing in stature by suitably tailored costumes. The bigoted Senator Rawkins (Dennis Jackson) and his rather shady side-kick Buzz (Richard Carlisle) played the baddies well but, as in all good stories, they were eventually defeated by Woody and some timely wishes over the magical crock of gold. Paul Leadbetter, as the town hero Woody, sang well and gave a very relaxed performance. Natalie Cooper, playing Finian's daughter Sharon, sang well but I found her delivery a little awkward at times. To the credit of all the principals the respective accents were maintained throughout the show. Susan 'the Silent' (Trish Shorten) did well with her dancing but a more experience choreographer may have got a little more from the part. However, she smiled throughout - others would be well advised to copy.
An orchestra made up of members of the Bolton Youth Orchestra played extremely well under the baton of David A. Wilson. A good show which will probably be bettered when the society settles into its new home and the production team gains in experience.