January 1994
Region 7 - Tony Adler
SOUTH PACIFIC
Oldham Metropolitan AOS
Producer:- Terry Mills
Musical Director: - Craig Smith
Choreographer:- Gillian Cadd
Whenever I now go to a tradition, and popular, large scale musical of the 1940/50 era, I have some reservations. Most of these very good shows have been played time and time and time again - indeed this society played it only six years previously - and really, only either a new, outstanding professional production or a top flight amateur production, usually on a big stage (and there are not many of these) and with a large budget, can really bring them back to life with the vitality and excitement they once created.
What, therefore, did I find on the opening night? The very good songs were still there and well played by Craig Smith and his orchestra, although it is inevitable that there will be some limitations and problems by virtue of the communication being by way of a TV system.
Terry Mills once again played the lead and produced and he used all his experience and talent to be the cornerstone of the show. I do feel that if only herr were able to do one job the result of the other would be to do him more justice, whether he performed or directed. His daughter, Kathryn as Nellie, was very good in parts particularly the lighter aspects of the role. She could not have found it easy playing a romantic lead with her father and I do feel some more straight acting expericence may well help with the dramatic side of her talent. The third member of the family, Michael Mills as Cable, acted and sang quite well whilst Rita Deighton was a good Bloody Mary, but did not quite dominate the part as some older and more formidable ladies have done. Make-up and grace are so important for Liat and, unfortunately, these were not sufficiently highlighted to give her an opportunity to make her presence felt.
Although Peter Hilton's Brackett had all his usual experience, reliability and mannerisms, I am not sure from his accent at times whether he had totally shaken off his recent parts ikn Gigi and Kiss Me, Kate. Harbison is not an easy small part but Colin Blake did quite well. However, the performance wnich filled the stage with his ability and personality was that of Rodney Cadd as Billis (and the Seaberes benefited greatly from it); indeed, There is Nothin' Like a Dame was probably the brightest number in the whole show. It is one of the sad aspects of South Pacific that, after their main scene, the men almost become props.
Taken overall, I enjoyed many parts of the show. I have never liked some of the scenes in the second act, whi9ch are rather bitty. However, despite being very mindful of the "Grange" problem, particularly on opening night, the stage design and dressing was very limited.
THE GONDOLIERS
North Manchester A.O. & D.S.
Production: - David Garside
Musical Director:- Colin Trickett
Assistant Producer:- Joan Littlefair
A full production for the autumn by this society as its second show saw its return to Middleton Civic Hall after and absence of over 10 years.
This show was enjoyable rather than outstanding with its principals, on the whole, having some very good qualities without being totally all round performers. I particularly felt Louise Taylor as Casilda and Christine Amis as Tessa probably had the most suitable voices for their roles but everyone of the principals performed without letting the side down. Paul Rigney was certainly the most threatening Don Alhambra and the chorus was certainly large, if not always as disciplined as the average G. & S. chorus, who probably do very little else.
I am still not totally convinced that, as a general rule, a producer can do a show full justice when he has to take an important role, nor did I feel that the orchestra was quite as responsive and together, which did not help the musical director who did well in the circumstances.
Unfortunately, when a large society takes on a Gilbert & Sullivan production with a large company, it really has to try and make sure that all aspects of the show are of an all round high quality. Nevertheless, this society does believe in trying to accommodate all its members, which is important, and the audience, who matter equally, seemed to enjoy the show which I feel is, musically, one of the brightest G. & S. shows.
YEOMEN OF THE GUARD
Greenacres A.O.S. - Oldham
Producer:- Lynne Lee
Musical Director:- Stan Whiteman
A very warm welcome to a new NODA society - but far from a new G. & S. society; indeed, it has a long and established G. & S. tradition and most of the local G. & S. players have performed with them at one time or another.
My personal delight and pleasure in the society joining our movement at last was matched by the quality of the whole performance. It was a traditional G. & S. at its best with a superb set that looked so real I had to go and touch it afterwards, and an experienced orchestra which was a pleasure to listen to.
Stan Whiteman, on his last show for this society, can never have been so pleased, with justification, for his control was excellent and we must be grateful to him and all the others who had gradually persuaded the society to become one of us.
You would not have though it was a first for the producer Lynne Lee. The show was bright, had pace and I don't think she missed a trick. I am, in no way, influenced by the fact she kept me company throughout the show. Every principal was excellent and both the singing and acting were up to G. & S. standard, even by those who, the day before opening night, had no voices at all. I suspect two of the main acting roles, whilst very good, would have been even better as the week went on. The chorus was first class even though the quantity of men did not match their quality. They deserve every praise for coming in at the last minute to help out.
The warmth of the welcome to the NODA representative was totally reciprocated and I hope the society never regrets joining and being a part of our great family. A special thanks to all who worked long and hard on those who needed to be convinced.
THE BOYFRIEND
Junior Associates of Whitworth AM & DS
Production team: - Mary Kershaw and Anne Kerry (and many others of an excellent team)
This is a light, bright and uncomplicated shows which, in its time, was the first of the cult shows of a similar type. Whitworth chose it for the Society youngsters and put on a bright and colourful show which was always entertaining. A mixture of ages amongst the performers meant that some of the performances were a little unbalanced - but one must expect that with a young company.
Sarah Maloney was a sound Polly Browne and Neil Collier as Tony did all that was required of him. Of the four young ladies, Caroline Scott as Maisie was delightfully expressible and was a pleasure to watch and hear. Mark Sutton as Bobby Van Husen was a good and enthusiastic match who seemed to get across to the audience. Lesley Farrell as Madame Dubonnet was deliciously turned out and played her part with sexiness and sensitivity whilst Yvette Keiley was a bubbly and excitable Hortense. Robert Chew gave a superb cameo as Lord Brockhurst and was very funny. All the supporting roles and chorus did well.
Anne and Mary might not have been quite as inventively extended for this show as in others but, nevertheless, must have been well pleased with the outcome. I am pleased to say they resisted the temptation to play the show over-the-top as is so often done nowadays. The band played its part, although an organ is not my preferred backing. The costumes and scenery were very good and colourful.
FIDDLER ON THE ROOF
Saddleworth Musical Society
Director: - Melvyn Bates
Musical Director:- Wendy Andrew
Melvyn Bates always tries to make sure his characters are developed and works hard on them. As characterisation is so important for this show, and the society was fortunate to have a very good cast, it consequently was a show to match. Geoffrey Holme as Tevye was strong yet sympathetic; Jewish without exaggeration; paternal without the smaltz. If I Were A Rich Man was superb and every mannerism and syllable having the right gesture and expression of eyes, hands and voice. It was a superb performance from an experienced and sensitive performer, which stood out amongst the many fine performances of this part I have seen in the past. Eve Buckley as ever played her part as Golde with total reliability, steadiness and character appreciation. It was also very sensitive and realistic.
The three elder daughters played by Abigail Rhodes, Claire Duxbury and Alison Kay were as good a trio of daughters I have seen in a long time and Hodel, who has the most difficult role of the three was well up to it in every way. Peter Wakefield had the experience and voice to master the role of Perchik, whilst Motel, played by Colin Green, was a very different character from the norm, but he maintained it throughout and I enjoyed it; Kris Hardman played a very sound Fydeka. Pauline Walsh as Yente was excellent and with a most acceptable accent which was pitched just about right - she used her lines well. David Parkin was a more dignified and intense Lazar Wolf than is normal but again, it was an interpretation I rather enjoyed. To Life went with a zip and the authentic Ukrainian dancers were terrific. The chorus had its moments and sang well but this was essentially a show for the principals and the production team to take a well deserved bow.
The musical director and her orchestra must take a full share of the praise.
OLIVER!
Heywood A.O. & D.S. (Junior Section)
Producer:- Irene Miller
Choreographer: - Jill McIntosh
Musical Director:- Francis Kenyon
As a very general rule, I still feel there can be an advantage for a young persons group to find a a tried and tested show which has some relevance to their ages. Certainly this production compared very favourably with the adult production a few years ago. Jill Thomas as Nancy as excellent. Full of confidence and personality, her voice was mature beyond her years and almost brought the house down. Jonathan Dawson was a good and reliable Oliver - also with a very good voice. Anthony Howard as Fagin did very well and I compliment Kenneth Goodison in the difficult but very effective part of Bill Sykes which was most realistic. None of the other principals let the side down and all the orphans and junior villains (and there were plenty of them!) were good. Congratulations to the society and particularly the production team led by Irene Miller.
CALAMITY JANE
St. Herbert's A.D. & E. S - Chadderton
Production:- Margaret Bentham
Musical Director: - Anthony Kinsey
Choreography:- Carol McKenzie
If a full house and audience enthusiasm are a test of a very successful show then this certainly was. I would be dishonest if I said it was an outstanding show artistically but this is not always the point. All the performers were enthusiastic and did their best and the audience loved it. Calamity Jane is essentially a somewhat corrupted version of Wild West folklore which acts as an excuse for some excellent tunes. The company certainly put them over with verve on this stage which has such difficult facilities. The staging was remarkably good in the circumstances.
When the total age of the producer, choreographer and musical director/pianist probably do not add up to mine, but are members of the society, one realises from where most of the enthusiasm emanates. Perhaps it would not have gone amiss if the hard working musical group could have been a little quieter.
This is a family type society which believes in giving its members a chance and fulfils a successful and happy role in the parish community.
CURTAIN UP!
Hallfold G. & S. & L.O.S
Producer:- John Griffiths
Musical Director: Alan Robinson
Dancers Choreographer:- Polly Hoyle
So much hard work had gone into this production and there was so much on offer that I am glad I was not counting the different numbers or the personnel involved. When you go to this quantity it is inevitable that the quality varies but everyone was given a go - and that is very good from the society members' point of view. Certainly the production team must have energy ion abundance and a large appetite for work. It was a very good team effort and was compered by the experience Jack Sutherland with a well researched script. There was a small and capable group of musicians who probably needed a week's rest after the show!
THE WIZARD OF OZ
St Marks with Christ Church Glodwick Stage Society
Director: David Wild
Choreographer: Ann Wild and Aileen Wood
Musical Director: Robert Dawson
A welcome return (I believe) by this society to NODA. The society pre-Christmas offering was full of fun with an audience of mixed ages who thoroughly enjoyed themselves. Essentially a church society, which was neighbourhood based, it has, however, survived in a changed character (after being revived 20 years ago) by team effort and making its members feel part of a team with a happy atmosphere. It has more recently had a change of tack and is looking forward to playing the more typical musical shows.
David Wild, I suppose, is the main driving force. He seems to have a mutual love affair with an audience and has a fine and very full stage personality. As the Cowardly Lion he was well supported by Nigel Winterbottom as the Scarecrow and Rowan Murphy as the Tin Woodsman. Kay Ashworth had many good qualities as Dorothy and Aileen Wood is still a versatile and talented trouper who has a great sense of comedy and timing and can still tap dance with the best. Ann Wild was a very wicked Witch of the West who made even me jump on her first entrance and had an appropriate, delightful and fitting end in two stages.
Very acceptable sets, good costumes and an efficient backing trio all added to the enjoyment and we all had plenty of laughs.