Year

January 1994

Region 9 - Mary Parker

LA BELLE HÉLÈNE

Bollington Light Opera Group

Producer: - Paul Shortt
Musical Director: - Denise Benjon
Chorus Mistress: - Heather Hayes-Wilson

All credit to B.L.O.G. for deciding to perform this original, more difficult version of the Offenbach operetta, which imposed extra vocal demands on everyone in the cast.

This society is very fortunate because they are able to give very entertaining light revues and yet able to present an operetta with singing of such high standard, not only from principal cast, but from the chorus that was not over-large but filled the auditorium with sound.

The society decided to present this year's production at that little jewel, the Buxton Opera House - he perfect venue. The costumes, stage design and lighting were quite beautiful. I have noticed before how the right light is always captured in this theatre. From the onset, one was immediately transported to ancient Greece.

Due, probably to the original writing, there were some slow spots. Much concentration is needed to sing and play the right dots in operetta but I felt there could have been more imaginative movement, which might suggest more pace. I'm not proposing a Busby Berkley number - but remember, he was influenced by Florenz Ziegfeld. As this auditorium is highly tiered the audience has very much the bird's eye view, and able to take in imaginative stage patterns, perhaps not always evident at rehearsals.

There was enjoyable playing from the principal ladies, Michelle Smith, Olga Buckley, Sandra Chorlton, Kathryn Saul, Heather Hayes-Wilson and Rachel Taylor (Daphne)

The principal men were quite literally dressed to kill! Peter Manion (Ajax I) Tony Slater (Ajax II), Mike Raymond (Achilles), Richard Cornish (Menelaos) and David Postance (Agamemnon) were at their best in small ensemble work. Richard Cornish's articulation as the vacillating Menelaos was excellent.

As Paris, Glyn Taylor had first to overcome wearing a short Greek tunic and portraying a difficult character. Having achieved this he was in good voice. Carol Taylor, also in excellent voice, opted for the serene and dignified Helen, rather than the kittenish coquette, but she is one of the few amateur sopranos I know of in this are who is capable of singing this demanding score. Linking all the scenes was David McGuiness as Calchas, who skilfully brought the light relief necessary to this production.

JIGSAW PEOPLE

Churches in Unison

Drama Director:- Simon White
Musical Director: - Gary Holdcroft
Choreographer: - Amanda Hollinghurst

This is the second occasion when the Churches Together in Romiley, Woodley and Bredbury have presented a musical drama. Jigsaw People is written by Veronica |Bennets, wife of the Canon of Chester Cathedral, and herself, currently music lecturer at the West Cheshire College. The drama symbolically expresses the Resurrection, "making our completion possible ..." - the last piece of the jigsaw.

The Jigsaw dancers set the scene, unable to piece together the puzzle. The choir sang and the drama unfolded. The M.D. has some difficult cues, as everyone is either on his top left (choir) on the stage, or down left (cast) on the floor - plus his orchestra to his right! He must have had some palpitating moments to keep everyone together. He did sterling work, even when some of the company, on the first night, did not go with him. The choral singing was good, as was Tony Ainscough (The Cantor).

The cast of the Poorhouse will come together, I am sure, after more performances and Ken Earith (Mr. Proprietor) and Becky (Caryl Hughes) will relax and project more as the week goes on. The family scene was well done and a pleasing contrast.

The pivot of the whole production was Alistair Otto as The Boy. He comes to the Poorhouse, but is rejected by the occupants. Becky and Mr. Proprietor try to help - but fail, due to their own uncertainties. Finding hope for all in the form of the rose cutting - the Boy plants it - only to see it grow into an ugly, twisted tree. Cast out of the Poorhouse, he secretly returns to breathe life into his tree. He presses too close and, in so doing, dies, pierced in the heart by a thorn.

To place such a difficult part on the shoulders on one small boy is surely an onerous test set by the composer. Alistair Otto rose to his task. He sang beautifully and looked - and was - every inch the part, endowing the audience with optimism with such a moving and convincing portrayal.

The dancers are then able to piece together the Jigsaw. It forms the Cross of Life. Becky returns to the tree to mourn. She finds a single beautiful rose.

MY FAIR LADY

Hyde Light Opera Company

Producer: - Harry Slater
Choreographer: - Wendy Cummings
Musical Director: - Harry Butterworth

What a good musical this is! If the production team is willing to put its backs into it, and the cast can rise to its aspirations, the show is a winner. This has to be one of the best team shows I have seen as a NODA representative. If I took every aspect of the show I could say, "I have seen better ....", or "She was better ....." but for all over competence and a gelling of all the ingredients, Hyde L.O.'s My Fair Lady was a winner!

Many USA pundits say that Frederick Loewe, who wrote the music and was a child prodigy, squandered his talent on Broadway and Hollywood. "He should have been writing serious music, concertos, symphonies, not wasting his time...., etc." The music is so right for Shaw's original play and Harry Butterworth did it full justice. Despite the action on stage, I could hardly take my eyes off him. He obviously knows the score inside out, upside down and back to front. He and his orchestra were going to play it as Frederick Loewe intended - and, by gosh, they did! Sometimes the cast dwelt overlong on one phrase, Harry was with them, but then he pulled back the orchestra to the right speed. He chipped away in the dances too, for Wendy Cummings knows that you don't put in steps you like and then say, "Play the music slower please, so that we can do them." The I'm Getting Married was proof in the pudding of this. I bet Peter Bolger, a lovely interpretation of Alfred P. Doolittle, was glad he did all that past training for his cricket matches for the above mentioned! Wendy, by complete contrast, produced a very posed Ascot scene where your 'average' chorus lady must have had back ache every night - but to view, it was worth it!

Harry Slater gave this cast its head, moving them simply but effectively with the dialogue. This was a very tall cast and so by contrast, Bernice Murrows' performance as Mrs Pearce was more effective, making her very homely and kind. Tony Ainscough (Freddy) was an admirable suitor for Eliza and Joan Kynsey, with her enviable timing, has made the part of Mrs Higgins her own. Peter Leigh was good as good a Colonel Pickering as I have seen in amateur shows - and all because the cast fit together like a jigsaw puzzle.

Roberta McIntosh (Eliza Doolittle) and Mike Calloway (Henry Higgins) played opposite each other two years ago. Then, Mike almost over-shadowed Roberta. She has gained in experience and blossomed. Her stage histrionics are natural now and her singing of Show Me, often disappointing with some Elizas, show that she is in full control of her music. Now, she and Mike are a team. Mike Calloway as a professor was just that. Every word, spoken or sung, was as clear as a bell: every move, right. He was not as volatile as some Higgins, but he was completely at ease with his part. He was the Edwardian Higgins. One who rarely loses his temper, secure in his academia and very true to Shaw's original.

THE SOUND OF MUSIC

Brookdale A.O.S.

Director: - Una Holliday
Musical Director: - Deborah Frazer.

Having seen the film quite a few times, it came as a bit of a shock to remember the original show opened with an off-stage sung Preludium followed by the Morning Hymn, Angelus and Alleluia sung by the nuns of Nonnberg Abbey. At Brookdale, these were firmly led by Barbara Dickinson (Sister Berthe) Sheila Middleton (Sister Margaretta) and Judy Hyde (Sister Sophie). This chorale later opened onto a lovely setting of the mountainside. What a pity this set could only be seen in full just the once.

The night I went, in the early stages, the band appeared to be picking up some of the sound from the on-stage microphones intended for the cast, despite the sympathetic accompaniment of Deborah Frazer, thus reducing the audibility of some of the cats. This did not detract, however, from some nice touches by the director.

This popular show is not so obviously simple as at appears. The balance between all the parts is the key to its success, which appeared a little out of kilter with Maria and von Trapp.

Mark Wilkie as Rolf captured the potential of Hitler League of Youth. Overcoming an awful costume, he gave us a pleasant Going on Sixteen with Jenny Bryant, who was a pretty, nicely sung, Liesl. The two sophisticates worked well together. Max Detweiller was an effusive, smooth performance by Andy Altree and Elsa Schraeder's nuances and polish were captured by Norma Mooney.

There are so many styles of singing in this show. The Mother Abbess was sung by Constance Shacklock of Covent Garden in the London production. The part was written for an operatic mezzo, who, in grand opera, is expected to sing higher than the amateur Merry Widow. Joan Walton, as Mother Abbess, not only handled well with compassion yet competence the scenes with Maria but made this small auditorium ring with her singing in Climb Every Mountain. What a way to end Act 1!

I thought, and not for any sentimental reason, all the children were super. They were well directed, capturing the niceties of their class and the exuberance of youth. Because Brookdale Theatre is small, every facial expression could be seen. This is so often missed at larger venues. The children convinced me they were a real family: Liesl (Barbara Bryant), Friedrich (Michael Chambers), Louisa (Tessa Hood), Kurt (Nick Farrington), Brigitta (Sally Smith), Marta (Kimberley Hampson) and Gretyl (Lucy Hood). Rachel Hague (Maria) subtly encouraged them along, adding to her own performance. Looking almost too delicate for this part Rachel, nevertheless, gave a strong interpretation of the role. She has a smooth, even singing voice and knows where to place every note. I look forward to seeing her again.

Brookdale were indeed fortunate to have in the drama section, a "ready made" Captain von Trapp in John Woodruff. I felt he was a little too unbending in Act 1, but he looked the part to the nth degree. John not only had an eloquent speaking voice, but sang pleasantly and could play a guitar very well. How lucky can you get?

THE KING AND I

Macclesfield Majestic Theatre Group

Producer: - Anne Bennett
Choreographer: Angela McIntyre
Musical Director: - Sheila Kent

One day, Gertrude Lawrence swept in to the offices of Richard Rodgers and Oscar Hammerstein and asked, "Please, can you write me a musical of this?" This being the 1944 Margaret Landon Anna and the King of Siam - an adaptation of the governess' autobiography. Being the consummate artists they were, the talented pair obliged. We thus have much to thank them for bequeathing one of the most finely crafted Broadway musicals to generations of delighted theatregoers.

This production was visually attractive and the music nicely paced. In the opening of Act II the ladies sang well and the children, as always, were delightful - particularly Gemma Moss (Princess Ying Yaolak) not least for the clarity of voice. James Denton tried very hard with his part as Louis and Jonathon Weinberg as Prince Chululongkorn is improving with every production. Don Riseley's Kralahome was a man of power but always subservient to the King.

I enjoyed the performance of both Carolyn Farrish (Tuptim) and Andrew Lebeter (Lun Tha) who were engaging lovers in their duets but gave us more insight into the characters than one sometimes sees.

Denise Holian, although vocally was rather too light for this particular part, by her presence and graceful gestures - and an ability to put over her number - was an ideal Lady Thiang.

Helen Hayes-Wilson was convincing as Anna Leonowens. She delivered her dialogue clearly and sang her numbers with ease.

My commiserations must go to Tony Slater, who, after landing the wonderful role of the King, badly damaged his Achilles tendon two weeks before opening. I wish him a speedy recovery. True to the finest traditions of the amateur theatre movement, Fred Plant, of Prestwich AODS, stepped immediately into the role, adapting himself with apparent ease to a new producer, cast and different stage moves to give the audience a strong portrayal of the King.

Choreographer Angela McIntyre adapted the ballet in a simple, but effective, way. One of my plaudits of the evening goes to the unknown (one of eleven) beautiful dancer who, as 'poor' Eliza, gave one of the best performances of this part I have seen.

Anne Bennett needs more expertise with her stage moves and stage crafts, but she should be please with this, her first, production. In her programme notes she stated, "I hope you are well entertained." I certainly was.

PRINCESS IDA

Poynton Gilbert & Sullivan Society

Producer: - Richard Huggett
Musical Director:- Tony Dearman

Michelle Minette designed some truly inventive headgear for this production, notably, King Hildebrand's Act III Viking God adornment. This added to Roger Birmingham's forceful performance. He was the foil to Michael Nash's well sing, embittered King Gamma.

It is often difficult to cast perfectly every part from within one's own society, but Richard Huggett's enjoyable production managed to get the most out of his cast. He developed what they had, rather than what they should be - as with Gamma's three sons.

Hilarion (Kelsey Thornton), Florian (John Turner) and Cyril (Richard Beck) made the most musically of their parts - Richard Beck capturing the light relief necessary for this operetta.

Christine Deacon sang sweetly as Lady Psyche, particularly with Jeanette Wood. Jeanette was a vivacious, tom-boyish Melissa. The music showed off her voice to advantage - a nice performance. Elaine Wells was also very good and technically and vocally as the martinet blue-stockinged Lady Blanche. Elizabeth Ambrose, as Princess Ida, should not be afraid to project her dialogue. She has a lovely singing voice and gave two god solos.

The orchestra coped very well with the score and only occasionally were slower than the action on stage required. Quite a tribute as many in the orchestra were young - fifteen, or thereabouts.

It was, therefore, a pleasure to hear some of the lovely music from this increasingly more popular operetta.

LA BELLE HÉLÈNE

Romily Operatic Society

Director: Nick Harrison
Choreographer:- Sheryl Haydock
Musical Director:- Derek Massey

Romily O.S. chose La Belle Hélène for, amongst other reasons, it felt the need to keep up good part singing. In this they certainly did not fail. The also chose the new version of the show, adapted by Phil Park and Ronald Hanmer. This includes some of the more popular numbers from other Offenbach operettas. This delighted the audience, who "tutted, ooed and aahed" in appreciation, delighted that they recognised so many tunes after all.

The set and the lighting were good. I particularly liked Sheryl Haydock's busy balletic beach scene and the choreographed overture where the dancers vied with each other for lust or learning!

Nick Harrison's entertaining production started off leisurely enough with the idyllic ancient Greece and slowly but surely gained momentum, aided by the M.D., whose orchestra in some numbers went at tremendous speed as in authentic Parisienne operetta.

Nick also brought out the humour in everyone's dialogue. As Menelaos, he was bemused, tetchy and his facial expressions spot on!

Romily managed to hang on to its younger players for this production, despite the attractions of more modern vehicles elsewhere. This is a great advantage because, by playing in different periods, technique and ability to vary style and speech must assist in the improvement of their overall performances. So, hats off to Debbie Owen (Cressida), Dawn Harrison (Leona), Katherine Brown (Nesta), Martyn Preston (an exuberant Orestes) and Leigh Griffiths (Ajax). The latter made a popular duo also with Don Bremner (Achilles), aided by Eric Williams (Agamemnon). Brian Ganderton was a dignified Calchas with his 'side-kick' Joe Albiston (Philocomos) - I look forward with pleasure to his amusing little cameos.

Jill Ratcliffe was a mischievous Helen. She sang well and with her stage presence and knowing looks at the audience, she gave, for me, a fully rounded performance.

Paris is not an easy part to cast. He is not only wayward (read the book!) but an eloquent (smooth) talker. He is supposed to be dignified but steals another man's wife. In this adaptation, he is a high operatic baritone with tenor aspirations. Martin Toal was only recently cast in the part and new to this area. He needs more experience and technique on the acting side, but he has an unusual and good vocal range with very good breath control and phrasing. We shall hear more of him!

GUYS AND DOLLS

New Mills & District AO & DS

Producer:- Barry Aspinall
Choreographer:- Wendy Cummings
Musical Director:- Tim Richardson

Guys and Dolls captures a microcosm of Broadway so quintessentially that it has almost become a cult show and never fails to attract a cast eager to play the well-drawn characters and original dialogue, where the gangsters speak only in Runyonesque present tense and the songs are by the wonderful Frank Loesser. It is a slice of life captured in a time zone.

There was a goods sound from the small band (with two saxophones, lovely!) which set the moody atmosphere immediately, reminiscent of Mike Hammer's T.V. theme music, Blue Orchid.

The contrast between the members of the Salvation Army and the gangsters was balanced and the long Broadway opening, sometimes a "kill-off" in some productions, was nicely handled.

All the cast played with enjoyment and enthusiasm and I'm sure the powers that be tightened the over-enthusiasm of one or two gangsters who were enjoying themselves so much in The Crapshooters scene that they almost forgot the parameter of self-disciplined stage-craft.

Martyn Preston was a likeable Benny Southstreet and Tony Hardy a strong Big Jule. Steve Mallinson captured the entrepreneurial spirit of Nathan Detroit and never fell into the trap of trying to be tougher than the big guns. Dianne Aspinall was again a delightfully scatty Adelaide. She is also a good person to play opposite, giving and reacting, as in Sue Me with Nathan and Marry the Man Today with Sarah - the latter on of the best, nicely worked out numbers in the show.

Mike Riley (Sky Masterson) and Janice Jackson (Sarah Brown) made an attractive leading man and woman. Mike was the smooth, rich, sophisticated, but vulnerable, gambler and I liked the way he delivered the occasional throwaway, humorous line. Janice, although vocally a bit stretched on her top notes which, contradictorily, added to her performance, had enough glamour to attract a big spender. They both captured the basic integrity and flaws of each character.

Chris Wilson as Nicely-Nicely Johnson gave one of the most polished performances in the show. He was very nearly out-smiled by an affable Benny Southstreet in Act I but he more than made up for it in Act II. His Sit Down You're Rockin' the Boat, sometimes an anti-climax after all the pre-hype, was a super production number, which he sang and carried with aplomb and deserved the audience's enthusiastic reception.

I can't say it too often, it always gives be great pleasure to visit the Arts Theatre. Decorated by one of the foremost theatre interior designers in the country, and totally run by the society, it is an alternating headache and joy with the constant fight against inflation and dry rot. But, the atmosphere and its little gilt boxes, is always worth a visit.

CAMELOT

Stockport A.O.S.

Producer: Robert I. Atkins
Choreographer: Ann Atkins
Musical Director: - Keith Hoskinson

There are some who love Camelot; others have mixed feelings. I enjoy it for its few very good musical moments and the way the book seems so very often to bring out some hidden and unexpected acting talent.

I have yet to see an Arthur who was less than excellent and Martin Roche, a young man whose acting and stage personality are now emulating his singing, was no exception. His was strong but sensitive Arthur; a diplomatic one rather than a political one; one who bled when he suffered rather than one who appeared philosophically to accept his duty and fate. A fine performance, mature beyond his years and which will increase his being in greater demand as a most versatile leading young man.

Denise Greasley as Guenevere was always going to have to excel to match and she did remarkably well, particularly bearing in mind a throat infection which must have been very restricting for her. Indeed the part was so well sung from the orchestra pit by Roberta Mackintosh that I might well not have realised it had it not been brought to my attention. I cannot give them both a better compliment.

Whilst I have always been able to praise Arthur, I seem to have less success with the Lancelots. Perhaps it is the way the part is written. Perhaps all French accents these days seem to remind me of the Café René, but I have yet to see and hear a Lancelot who is totally convincing as the man Guenevere would turn to as a lover. Perhaps one day I shall, and it would not surprise me if he spoke with an English accent. I do not criticise the capable and versatile Howard Carter - I merely feel that there were limitations. The audience loved Frank Dean as Pellinore. I had not realised that every line is a winner but he certainly made them o with superb timing. I am not sure that his performance was quite how I picture Pellinore but he was so good, he deserved to get away with it. Merlin, played by Robert Tunnicliffe, gave a bold performance as his interpretation, rather than a mystic and mysterious one, and was well received as many people's concept of Merlin. I always feel the author could have used him more. The supporting roles of Mordred, played by Paul Hargreaves, and Morgan Le Fey by Andrea Whalley did not let the side down. Bob Atkins had obviously worked very hard with all his cast dramatically and must have felt very satisfied with some fine touches and responses. however, what does on do with the chorus? "Dress it elegantly, make it decorative and hope it sings well," I was once told. "Make it a pageant." Whether this is true or not, I am not sure but I felt at times it was almost irrelevant. It did not seem to fill the scene with presence or colour, and it certainly struggled at times with the difficult music - as did the orchestra. It was similar with the sets, the stage dressing and the props. Probably it was more realistic this way but I felt there were times when the stage needed to be "lit-up" and be more colourful.

Taken overall, this was good show with much to commend it. The warm welcome by the society to the visiting Regional Representative was greatly appreciated.
(Tony Adler)

MEET ME IN ST. LOUIS

Dukinfield A.O. & D.S.

Director:- John Harrison
Choreographer:- Jean Ashworth
Musical Director:- Pat Lodge

I applaud the society for taking an ambitious step into the unknown for what could well have been a successful coup but I can only commiserate with them for ending up with what, I can only state with all my customary kindness, was something that any society should think about twice before tackling. Even with the additional musical material, it simply could not cope with the dire and almost irrelevant plot. I felt sorry for John Harrison for, to be sure, I really do not know what could have been done with the show without major surgery!

It was a pity because the musical numbers were well staged, well played by the orchestra, well choreographed and well performed - but this only accentuated the bits in between. Furthermore, the young cast included what I consider to be the cream of our local young talent with Samantha Bates, Rachel Flemming, Jon Crebbin, Nigel Griffiths, Craig Wright and Julie Proffitt. On the face of it, Samantha should have been ideal in the Judy Garland role but with hindsight, it was not the case. Perhaps because the role was not meaty enough for her - nor was her voice just right. Rachel was almost too unlovable which is so rare. Neither Jon's nor Craig's part did justice to their considerable potential talents and voices. Only Nigel had reasonable opportunity to let his talents show through in the production numbers. I particularly likes Kimberley Bates as one of the younger daughters whilst Nicola Jane Cronin as the other was both vivacious and precocious. Of the "old" hands, Roy Chadderton got the best out of his role, Bill Owen gave his all but I could not quite work out whether Mary Parker was tired of her family or her uninspiring part (or perhaps just the plot). Whichever it was, she was fully justified as was her interpretation.

I would suspect that those capable friends of mine who run the society realised, too late, that there were problems with the show and they were powerless in practise to do anything about it. But, here's to its next show - 42nd Street - which, with luck, could be the exact reverse of this one. I do hope so because they deserve it. A special mention to the Society for its programme article about our organisation.
(Tony Adler)