January 2000 - Region 3 - Margaret L. Gillibrand
SWEENEY TODD
Accrington Theatre Group
This challenging Sondheim musical was treated with enthusiasm by the Theatre Group and they deserved the very respectable production they gave to the local audiences. Sondheim is an acquired taste and while Sweeney Todd may not gain him any new fans this Howard Raw production of his dark musical drama would certainly give the audiences a taste of what this composer is all about. Lilting, melodic music, wonderful heroes and heroines and pretty costumes do not come into the ecquasion but the bottom line is - was it enjoyable entertainment and for me this Sweeney Todd was. The odd "blip" in the chorus' vocal harmony was understandable given the Society's pre-show problems, but they moved well. The impressive line up of main principals - Mick Dawson (Sweeney Todd) Maryrose Swarbrick (Mrs Lovett), Lesley Haworth (Joanna) Adam Whittle (Anthony) Roger Dugdale (Judge Turpin) Howard Raw (Tobias) and Sally Hindle (Beggar Woman) drove the piece on with a flawless quality at a good speed, while the smaller roles of Pirelli (David Slater) Beadle (Glen Williams) and Fogg (Philip Hindle) made their significant contributions. The revolving set was impressive and very well worked by Steve Hoyle and his team. Lighting from Les Rooks and Patrick Keene added a great deal of atmosphere and the sound throughout was good. Costumes and hair styles had been carefully thought out and the piece had exactly the dark, drab, poverty stricken look of the late 19th century period it portrayed. The musical accompaniment was provided by four keyboards and precussion and this created an atmospheric sound more flexible that a full orchestra. A production which contained talent, imagination and dedication in equal amounts.
'ALLO 'ALLO
Bacup AODS
Geoff Baron's first production for Bacup got Region 3 season off to a pacey start. An impressive set and experienced cast extracted the most out of what is always going to be a difficult theatrical concept - transferring a thirty minute TV comedy series into a two and a half hour stage play. Kenneth Marshall gave the role of Rene - café owner and general bon vivieux - his own inimitable treatment, as did Sheila Howarth as his wife Edith. Her off key singing was quite something! Janice Purslow, Regina Arkwright and Emily Aston as the seductive Yvette, Michelle and Maria were all suitably sexy. Liz Howarth's Helga was a match for Michel Howarth's brilliant Herr Flick! Paul McGowen and Jeff Jackson were an excellent comedy duo as Gerring and Col Von Strohm. Tony Lewis was the so English French Genderme and David Rhodes was a more than adequate Von Schmelling. John Bartlett and Tony Frame played Gruber and Le Clerc and Airmen Andrew and Chris Watts made short but telling appearances. Other parts were played by Roy Starkie, Grant and Sally Bromiley, Luke Goodwin and Kevin Shipley. The set was designed and well worked by Jack Martin and Geoff Knight and was enhanced by Sebastian Knight's lighting plot. Costumes and props were nicely in period and the overall look of this production was good. Plenty of talent inventively directed and staged and possibly wasted on a mediocre script.
THE WIZARD OF OZ
Bacup AODS - Youth Section
An old favourite, this show was well received by near capacity audiences. Producer Stella Kelsall and choreographer Regina Arkwright, together with musical director Simon Parker had worked hard to mould this enthusiastic group of youngsters into a colourful offering. The part of Dorothy was double cast and I saw Polly Mathews' confident performance the night I attended (Emily Aston was the other Dorothy) The famous trio - Scarecrow, Tinman and Lion - were all well played by Sarah O'Connor, Luke Goodwin and Grant Bromley, whilst Natalie Kyme was a good Witch of the West. There were some promising performances amongst the many minor roles and the large chorus moved well. The set from Jack Martin and Geoff Knight was excellent and was well worked by the stage crew. The lighting was excellent and the costumes and make up where up to a high standard. It is nice to see young talent developing and all credit must go to the Youth Section workers for encouraging young people into the theatre.
QUEEN ELIZABETH SLEPT HERE
Blackburn Arts Club
A light weight, rather dated script, was well handled by the Club players and director Andrew F. Bell. Set in the period immediately after the Second World War, the plot follows the fortunes of Norah and Michael Fuller (well played by Bev Slee and Brian J Haworth) as they purchase and try to stay in a cottage where Queen Elizabeth 1 once stayed (maybe!) Various characters come along to help and hinder them - David Lloyd perfect as the lugubrious handyman, Julie Hopkinson and Andrea Lloyd the harassed daily helps, Pat Tann a dotty neighbour and Dorothy Sanderson a wonderfully authoritarian Lady of the Manor. Helen Gallagher and Stephen Scott played the star crossed lovers, Anthony Collins and Victoria Haworth a very theatrical couple, Richard Birch the unpredictable Uncle Stanley and a promising performance from Craig Hopkinson as the "enfante terrible" of the piece. Excellent staging and lighting from Ian Wilkinson and props from Jonathan Mallinson, helped tremendously and this Talbot Rothwell comedy was pleasant entertainment.
JOURNEY'S END
Blackburn Drama Club
Dorothy Perkins' production of R. C. Sherriff's classic First World War drama was all that could be asked for. Playing in early November, it was well timed to coincide with national Armistice and Remembarance Day events, and the audiences would surely go home with food for thought. The experienced all male cast sustained the tensions of life in the trenches, and there were thoughtful performances from Eric Nolan as Osborne the older, wiser officer; Wayne Avanson and Rob Trethewey the sharply contrasting Leutenants Trotter and Hibbert; David Batterby a bright breezy Sergeant Major; Terry Pickering the Colonel and Michael Holt Lance Corporal Broughton. Brian Whittaker was on top form playing Captain Hardy whose tour of duty in the trenches ends as the play opens. Private Mason - the stoical cook - was brilliantly played by Clive Stack, his characters' humour creating the much needed lighter moments in this piece. The drama revolves around Captain Stanhope and 2nd Lieutenant Raleigh, and the experienced Steven Derbyshire and Drama Club newcomer Mark Duxbury were both excellent in their respective roles. Mark capturing all the nievity and hero worship of an impressionable young boy (and boy he surely was at 18) and the war weary Captain intent on doing his duty at the expense of his health and sanity. There was a refreshing performance from another newcomer to the Club - Simon Tompkins - as the captured German soldier. The hightening tension as the raid and then the attack drew nearer was well sustained by the actors, making the final awful outcome more shocking. The play was performed against a superb set from Geoff Eccles and Mike Waters, and the complex sound and lighting plots were very well done by Andrew Smith, Vicki Gillibrand, John Barret and Alex Craig. Props too were authentic and the whole production was excellent theatre - well done.
THE SORCERER
Burnley Gilbert & Sullivan Society
Flower power bloomed and blossomed with vigour at the Mechanics Theatre, Burnley, when the G & S Society presented The Sorcerer under the imaginative direction of Mick Dawson. Not exactly one of the "pot boilers", this show was given a new dimension and played with a definite emphasis on comedy - and it worked. With a setting of the 1960's flower power era - which no doubt the Society's audiences could relate to - and the Society's usual vocally strong principals and chorus this was a pleasant evening. Society favourites Heather Nicholas played Mrs Partlett, Stephen Dixon was Sir Marmaduke, Suzanne Mather played Aline and Judith Briscall Lady Sangazure. Ivan Wilkinson was Dr Daly, Barbara Taylor was Constance and John Stinchon the Notary, while Jim Ogden was a wily John Wellington Wells. Newcomer to the Society - Mark Steward - made a telling debut as Alexis. The chorus all adopted characters and this kept the interest and pace. The set was adequate and was very well lit. The special effects were good and the colourful costumes were in true 60's style. Good acting, well directed, extracted all the humour from this show, making it one of the Society's better offering of recent years.
BUTTERFLIES ARE FREE
Burnley Garrick Club
Finely tuned performances and sensitive direction from Alan Bailey gave the Garrick another successful production in this their last play of the twentieth century. Leonard Gershe's gentle, yet penetrating drama, follows the fortunes of a blind son recently "freed" from his Mother's apron strings as he experiences life in a New York apartment far from the safety of "Scarsdale" His new experiences and his awakened passions for the girl in the next apartment form the basis of the plot, and as emotions washed about the stage, the performances of Adrian Hartley (the blind son) Susannah Cooper (the girl in the next apartment) and Kathleen Riley (the Mother) rose to the considerable demands of their roles and they all succeeded wonderfully well. John Cummings as the hippy "off Broadway" director was such a contrast in character to the niave Don that he immediately alienated himself to the audience - good acting. The set was a good replication of a run down East side apartment in the sixties and that, together with good costumes and props set the atmosphere very well. A good play which needs good actors to interpret it and this the Garrick had - good entertainment.
THE COCKTAIL HOUR
Burnley Garrick Club
A sophisticated drama set in seventies up-state New York gave the Club a challenging piece for four actors. The experienced cast rose to that challenge and turned in performances which must have gratified director Barbara Taylor, and which certainly pleased the audiences. Peter Ashworth and Gay Williams, playing the parents who fondly perpetuate the "cocktail hour" when family gather at home - for better or worse - complimented each other perfectly and both gave performances of great insight. Barry Becket, playing the playwright son who has written a drama about "the family" and who ,in asking permission to publish it, opens a can of worms, gave a very strong performance. His sister Nina - complex and neurotic - was played with much nervous energy by Michelle Arthur. The set, designed by Mark Storton, was particularly good and the Garrick stage team had done an excellent job producing the set dressings and props to create the feeling of middle America. Very good theatre.
BROADWAY PIRATES OF PENZANCE
Burnley Light Operatic Society
The experienced cast, under the ever inventive Director and Choreographer Anthony Williams, gave the audience a fast moving romp through this Gilbert and Sullivan favourite. The glorious music stays the same for the Broadway version of Pirates and James Newby and his orchestra did full justice to the score. The stage was alive with colourful costumes and the added detail of wonderfully dressed wigs by Joan Preston gave the production a professional look. There were delightful performances from Anne Chadwick and Sue Avanson playing Kate and Edith, along with a super comic performance from Anne Baron. All the men were suitably swashbuckling pirates and Mark Robinson was an athletic Pirate King. Paul Byrne made his mark as an excellent Frederic. One of the best patter men around - Brian Whittaker - was a truly impressive Major General and Ann Dickinson was a super Ruth, extracting comedy at every opportunity whilst her hair was quite a feature!. Vocal honours went to Judith Riley who gave a flawless performance as Mabel . Anthony Williams played the Sergeant of Police in his own inimitable way and tap danced ( along with his motley crew of policemen!) his way through the rousing Act 2 numbers. A fast moving show which should have gone down well with the Society's audiences and G & S fans - traditionalist or not!
LITTLE SHOP OF HORRORS
Ch.I.N.A.
This musical could well develop into a cult show, and whilst it is not perhaps a large Society vehicle, it certainly gives any small company the opportunity to experiment with theatre and show off their talents in every department - musical, acting and technical. There are great characters in the show and they were all played with panache by an experienced cast. Paul McGowan was the hapless Seymour and Sue Avanson a wonderful Audrey, embracing all the delightful features of this character - dim but sweet!. A memorable performance with her number Somewhere that's Green, being one of the musical highlights of the show. The ever present "backing group" - Anne Whittaker, Kathy Foster, Jennifer Hodkinson and Cassandra Riley - linked the show well sounding and looking good. Mushnik was played with determination by John Mahoney and John Kirby was excellent as the mad dentist Orin and several other assorted characters. Simon Westwell was a highly successful Plant Voice - he really gave Audrey 2 life and character. The imaginative set, designed by Wayne Avanson, built and worked by Paul Wearden and his team was very effective and was well lit by Patrick Keane. Musical director was Sarah Day and the small ensemble accompanied the show well. Directed by Anthony Williams this was a good team production and showed off the considerable talents this company can draw on.
CAUGHT ON THE HOP
Clitheroe Parish Church AODS
Clitheroe Parish Church ODS presented Derek Benfield's very funny play which
boarded closely on farce. The action centres around Phil, a cheating, girl-mad
husband, who is in the habit of picking up youg ladies on the No. 49 bus.
With one of these he plans to set up home in the house next door to the house
he shares with his wife and, thus, the scene is set. Brian Haworth, as Phil,
had the excellent sense of timing necessary for the part and played it to
perfection. Michael O'Hagan played George, his equally scatterbrained friend,
and proved an excellent foil; the two worked excellently together. Jean Pells,
as Maggie the wronged wife, had a surprise of her own and more than ably
handled the business of leaving Phil himself wondering in the end. Angela
Preddar gave a good, energetic performance as Julie the girl on the No 49
bus, Brenda Jones played Mrs Puffet, the housekeeper; David King was Mr Brasset,
Lesley Haworth was Greta and Gerry Purchase was Alan. The ensemble took the
whole performance along at a good pace and ably supported the main action.
Acted out in a set almost good enough to live in, this very wordy one-liner
- which must have been a nightmare to learn for both cast and prompter -
was beautifully cast and produced by Dorothy Cushing. Light-hearted and funny
from end to end the production was a joy for all who attended and a credit
to all involved.
(J. Hopkinson)
ALADDIN
Dorothy Bruce School of Dance
A nice bright show from this lively enthusiastic dancing school. Director and Choreographer Dorothy Bruce, together with Producer Margaret Boyle and Musical Director Brian Townend, once again put together pacey routines for the pupils whose ages ranged from 2 to 42. They had coached the senior pupils into some very competent and confident performances. Sally Glenn was a striking Aladdin, well partnered by Alexandra Duxbury's Princess. Jennie Maynard was an exceptionally good Abanazar while Claire and Sarah Bruce and Sarah Woods made a very good comedy trio. These young ladies are really learning to work a panto audience. Laura Westwell was a charming Slave of the Ring and Charlotte Norris played the Genie of the Lamp with relish. Andrea Pilling was Roo Ling and the Camel was a real favourite with the audience. Award winning performer David Norris, stepping in at short notice, was a larger than life Dame and David Pollard was everybody's favourite fall guy Wishee Washee. The scenery was particularly good and the lighting and effects from Les Rooks very atmospheric. The Wardrobe Department had created some beautiful costumes and Jan Mackey's makeup for the company was excellent. Another good evening's entertainment from a talented group of youngsters. Well done.
ACCIDENTAL DEATH OF AN ANARCHIST
Oswaldtwistle Players
Dario Fo's manic comedy was the latest offering from the ever adventurous players.
The dialogue is pithy and hard hitting and was superbly delivered by an experience cast. Playing the Maniac (Anarchist), Colin Braidford could not be faulted - changing voices, guises and personality with flawless ease. As Inspectors Bertozzo and Pissani of the Italian Police, Michael Flanagan and Steven Chippendale portrayed every emotion possible and portrayed it well. Bill Highton as the various Constable (with one common approach to suspects and justice) gave an excellent tongue-in-cheek performance. Superintendent Bellatti, who tries very hard to understand what is going on in the chaotic Police HQ, was well portrayed by Anthony Flanagan on top form. Clare Highton as the token woman in the piece - journalist Maria Feletti - played the role with hard hitting accuracy. Director Colin Brewer, assisted by the experienced cast, gave this piece a credible airing. With economic, imaginative staging from Michael Flanagan, lighting from Malcolm Binns and excellent props provided by Dawn Taylor, this was an unusual and entertaining evening!
GALA EVENING OF SONG
Rossendale AOS
A wide range of shows were represented from the well known to the more obscure. Numbers from audience favourites - Pirates, Yeoman, Joseph, Showboat, Desert Song, Carousel and Student Prince alongside songs from Aspects and Love, Song and Dance, Phantom, Evita and Les Miserables. The vocally strong Society fielded a good male and female chorus who sounded excellent and looked good. Compere for the evening, Bill Walker, was on top form and linked the numbers with flawless ease. Soloists from the Society's own members were good and well received by the capacity audience. The orchestra, under the direction of Nick Jefferson, accompanied sympathetically and played two well balanced pieces - The Overture from Pirates and the Intermezzo from Cavalaria Rusticana. In all a well balanced evening of pleasant musical entertainment.
CASH ON DELIVERY
Rossendale Players
Billed as a riotous farce this comedy, expertly directed by Len Taylor, was indeed a riotous romp and one of the funniest plays that I have ever seen. A wonderful cast led by Mark Storton whose comedy timing was superb, got every ounce of comedy from Michael Cooney's very, very funny script. The plot dealt with Eric Swann's (Mark Storton) attempts, after many years, to disentangle himself from the clutches of the D.S.S. But the more he tries to refuse benefit payments the more benefits he appears to be eligible for, and the tangled web he has previously woven finally catches up with him. On the way his hapless lodger, Norman - brilliantly played by Andrew Brown; Mr Jenkins the DSS Inspector - Geoff Jackson on tip top form; and Uncle George - a hugely funny performance from Roy Starkie - all hinder his progress. Charlotte Donnelly was well cast as Eric's wife and her scenes with Dr. Chapman the marriage councillor - a super comic cameo from Stanley Whittaker - were brilliant. Another wonderfully droll performance came from Sara Uttley as the "grief" councillor, and she was well matched by Terence Hayde playing the undertaker. The dreaded head of the DSS - Ms Cowpe - was played with great panache by Janet Bird and Elaine Ives was exactly what one expected Norman's fiancé would be like! The stage team, led by Dave Barry and Ryan Godwin, did a wonderful job with sound effects, a substantial set, visibly moving washing machine and convincing lightening conductor! There was no weak link in this professional production and I was very pleased to hear the Players had good houses including two sell out Dinner Theatre evenings - they deserved this level of success.
THE WINSLOW BOY
Rossendale Players
It would be hard to view this celebrated drama by Terence Rattigan, one of the great dramatist of the twentieth century, without previous performances pushing their way into one's mind. This is perhaps unfair to the production one is currently watching, but comparison is one of the penalties of presenting such a well known piece. Alex Wheeler was a very credible Ronnie Winslow, the young naval cadet accused and condemned without trial of stealing a five shilling postal order. Catherine Winslow, his sister, was played with confidence and style by Charlotte Donnolly and she helped drive the play towards its climax. Tim Rouledge was at his best as the council for the defence - his fast, sure delivery raising the tension to just the right level. Phil Matthews played Ronnie's older brother with insight and Sheila Godfrey moved from concern to despair to resignation, as his long suffering mother. The heavy weight part of father was played by Roy Preston, who I felt could have been better directed to avoid slowing the pace to the detriment of dramatic impact. Kathryn Bradley played the part of Violet the maid with assurance and Tony Harris gave a delightfully sensitive performance as Desmond Curry the family solicitor who loves, looses and finally wins Catherine. Daniel Salazzo was the priggish John Watherstone and Elizabeth Whittaker the dizzy, unfeeling reporter. Carole Solazzo's production may have lacked finess in certain areas, but it did hold the audience's attention and this says something for both play and players. The set was excellent and designer Christine Lever, Stage Manager Ryan Godwin and Props Janet Waterworth are to be commended for a very authentic turn of the century staging. Wardrobe from Jane Ainsley, David Garside and Colin Tricket was also authentic. All production departments have to be running at speed in a period piece to transport the audience to the particular era in which the drama is set - fashions in everything change and this must be reflected on stage.
HALF A SIXPENCE
St Cuthbert's AODS - Burnley
A bright lively production from Director Barbara Simpson and Musical Director Brian Townend. Edward Mundy was a thoroughly likeable Kipps and he was well partnered by Debbie Stopforth playing the ever sensible Ann. The trio of Sid, Buggins and Pearce were all played well by Gary Curson, Matthew Normanton and Stephen Reid while Alan Woodworth was an imposing Shalford. Alyson Dobson was an assured Helen Walsingham, as was Richard Holtom as the shallow cad Young Walsingham. Pam Dobson played Mrs. Walsingham and Cynthia Heritage turned in a very well acted performance as Mrs Botting. Chitterlow was in the capable hands of Stephen J. Wharf who gave a hugely warm and humorous performance. All the minor roles were played well with Susan Barrett, Karen Kerr, Victoria Young and Elaine Morris playing the shop girls with confidence. The chorus moved well given the confines of St. Cuthbert's stage and the scenery was bright and appropriate. The musical trio accompanied the show well, and with good lighting and cheerful costumes this was a pleasant enough evening.
GUYS AND DOLLS
St John's AODS
A swinging, foot tapping show produced by Steve Royle, choreographed by Peggy and Zoe Taylor with music directed by Brian Townend. The wonderful Damon Runyon characters came to life in the experienced hands of Mike McKeown (Nicely Nicely) Tony Poole (Nathan) Vivienne Thornber (Miss Adelaide) Harry Nuttall (Arvide); with younger cast members James McKelvey and Angela Boult playing Sky Masterson and Sarah Brown. The Society were fortunate in their large company of men who all entered into the spirit of the "crap" game. Dennis Royle, Eric Fothergill, Brian Fothergill and Paul Fothergill played the dice rollers and Brian Roden was Lt. Brannigan. The chorus had some inventive numbers with Sit Down You're Rockin the Boat being particularly well moved and sung. With impressive, well lit sets, a well dressed cast and a good "brassy" orchestra, this was an entertaining show which would have benefited from better sound.
LITTLE SHOP OF HORRORS
St. John Southworth Theatre Group
An imaginative and fast moving production directed by Clare Parkinson of this entertaining musical. Amy Southworth, Sara Jones and Caroline Whittle set the standard and pace in the opening number as they harmonised very well indeed and moved and looked good too - three talented girls to watch out for in future productions. Louise Dasles was a wonderfully dim Audrey and she did much to sustain the quick pace. Stephen Grist's Seymour was excellent although he (along with other principals) could have benefited from amplification in the musical numbers. Mushnik, the flower shop owner, was sensitively played by Mike McKeown, while Andrew Carney lived and died as a wonderfully over the top Orin! Paul Mounsey playing three cameo roles showed much versatility and Emma Mitton was Miss Luce. Audrey 2 was in the very capable hands of Anne Allan and Matthew Davies while Victor Woods was an admirable voice. The small chorus moved well and played a variety of characters. Musical Director, Andrew Hodder, on keyboards produced a great sound for this fast, pacey score and the quartet providing the music was completed by Don Clarkson, John Williams and Paul St. Pierre. With good lighting effects from Michael I'Anson and Edward Lee, together with an imaginative set from Dave Farrer and his hard working team and one of the best Audrey 2's I have seen from Ken Parkinson and Mike McKeown, this was a very entertaining show.
BUTTERFLIES ARE FREE
Todmorden AODS
Richard Parkes' production for TOADS was an excellent piece of theatre. A sensitive and flawless performance came from James Claxton as Don Baker and he was ably partnered by Marianne Hooper as Jill Tanner, the scatty, brash and brittle 60's flower power child with a soft heart. Lettie Church Taylor and Richard Parkes completed the experienced cast and the whole piece was a study of highly charged and sensitive interplay between four very different characters. Another imaginative set from the TOADS stage team led by Chris Walsh and Chris Barker was expertly lit by young Claire Schofield and well dressed by Andrea Dinsdale and Brenda Bell. This was probably a trip down the 60's memory lane for many in the audience and I am sure they would not be disappointed by the evocative way that era of flower power and free thinking was portrayed by all on the Hippodrome stage. - Good theatre, good entertainment.
FINIAN'S RAINBOW
Todmorden Operatic Youth Society
This show from the young members of the Todmorden Society was vibrant and full of life, and there were many talented performers among the principals and minor roles. Emily Bell made an excellent Finian - for such a pretty young lady she certainly makes a convincing man! Her performance was flawless and assured and must have encouraged the rest of the cast to rise to the occasion. Zoe Case was in good voice as Sharon and her pleasing stage presence was very watchable. Martin Cook, playing Woody, is a 16 year old with lots of potential. It is not easy to play a romantic lead at this young age and be credible. Saul Moorhouse was a delightful Og, winning over the audience with his delivery of "Doom and Gloom" and showing a very mature approach to the role. Jodie Houghton gave a super performance as Susan with excellent choreography very well executed. The small roles were all well played and the three Sharecroppers - Alex Scott, Emma Winslow and Rebecca Morton - were particularly good movers and vocalisers. The production team of Helen Clarkson, Rachel Rogers and Andrew Rawlinson must have worked hard with this group, and their own particular skills came through in the production. With excellent staging, good costuming and a super "band" this was a magical production - well done everyone.