January 2000 - Region 4 - Gordon Hall
THE PLEASURE OF YOUR COMPANY
Birkenhead Operatic Society Trust
The pleasure was all ours with an excellent evening from a highly talented society. Selections from shows taken out of their original settings and costumes can lose a lot of their magic, but the talented production team of producer Elsie Kelly, choreographer Mavis Taberner, and musical director Tricia Gaskell gave this production style and panache, welding the company into a superb team whose non-stop performance kept the audience enthralled. "Song by Song by Sondheim" opened the programme and featured the solo voices of Angela Clarke, Karen Cooper, Heather Welsby, Derrick Fear, Ian Lewis, Thomas Davitt, Claire Thompson, Pat Davies, Jamie Lester, Lynda McKay, Mike Carroll, Julia Carroll, Julie Davitt, Collette Clare and with an outstanding "Send In The Clowns" from Meryl Langford and the Chorus. "Musical Colours" brought excerpts from Finian's Rainbow, Joseph, Jerome Kern, and Barnum. We enjoyed the delightful voices of Davina Jones in "How are Things in Glocca Morra" and Julie Davitt with "Look to the Rainbow". The full company brought the first half to a close with Mike Carroll in "I Wore My Coat". Costumes as always were ideal attention to detail always of prime importance,and I must congratulate the musical accompaniment and the excellent arrangements by Dennis Brown. The second half had a "Girls and Guys" theme with moments of sheer delight from Ian Lloyd and the Dancers recapturing numbers from their highly successful Me and My Girl with Collette Clare and Jamie Lester. Edwina Milford's "Little Girls" from Annie was a real gem, while Jamie Lester proved what a versatile performer he is with a superb "How To Handle A Woman."
Mark Gairrusso and Pat Davies added to this rich theme, Mark with "Some
Enchanted Evening" and "If I Were A Rich Man" and Pat with a show stopping "Broadway
Baby". The evening just flew by and I will long remember Meryl Langford's "Highlights" from
Sunset Boulevard. This was a really magical evening of the highest standard
and the company talent and enthusiasm warmed the hearts of the entire audience.
Yes, the pleasure was definitely ours.
(J.M. Owen)
BUGSY MALONE
Castaway Amateur Youth Theatre
Director: Karen Partington
Musical Director: Catherine Birch
Choreographer: Karen Jewell
It is always a pleasure to welcome a new member Society to NODA but especially so when it is as young and vibrant as this. To have overcome the logistical problems of forming a society, casting, rehearsing and putting on a show in just six months is little short of a miracle but how well Castaway had achieved this is evidenced by the first class performance I saw along with a large and very appreciative audience at the Ellesmere Port Civic Hall. To have done this with two teams of principals and gangs must have added considerably to the pressure. The choice of Bugsy Malone as the opening venture was ideal with the opportunities for a large number to be involved, and how they revelled in their involvement!
My evening started well when I was shown to my seat by a tiny moppet dressed as flapper and the enjoyment continued. I saw the " Junior Team" in action and it would be hard to see how the Seniors could have bettered them. It is almost invidious to mention individuals but Philip Cross as Bugsy is, at thirteen, a most assured young actor who was completely at home on stage. He sang and acted with a maturity beyond his years. He was more than ably supported by the comic talents of Gareth Jones as Fat Sam. Phoebe Fields as Blousey and Kimberley Brook as Tallulah were completely at home in their roles and again sang and played most effectively. The Dandy Dan of Jonathan Trickett made the ideal sophisticated villain of the piece while the Fizzy of Themba Mvula and Leroy of Alastair Beaumont all made telling contributions . The two gangs joined in joyfully and had great fun with their Splurge guns. One for the scouts of the senior societies to watch as he matures is Robert Downes , Fat Sam in the Senior tearn , who sang the boxing number as Cagney Joe very strongly.
The chorus numbers on the packed stage were well choreographed and everyone gave their all. I was particularly pleased with the very well maintained accents ( often a problem in adult shows) and the imaginative use of the aisles for gang and other entrances.
A further pleasure was the authentic 20's sound provided by the talented young musicians of the City Jazz Swing band from Chester's Catholic High School under Conductor Kevin Tout.As you will have gathered from this review I thoroughly enjoyed my evening and look forward to the continuing development of the Company.
OKLAHOMA!
Chester Operatic Society
Director: Robin Goddard
Musical Director: Graham Pike
Choreographer: Gaynor Owen
What better way to start my time as a NODA Representative than to visit Chester's Oklahoma! Hard to believe this marvellous show is now 56 years old and despite many revivals and regular appearances of the film it always comes up as fresh as ever. It took Ben Newling , in his first appearance with the society,some time to get into his part of Curly but as the evening went on he relaxed and turned in a good performance. The vocal honours went to Jane Chance who made a pert and spirited Laurey, though I would have preferred her to have been a little less aggressive and more coquettish in her opening scenes with Curly.
I particularly liked the " silly ass" approach of Michael Daws as Will Parker gaining every bit of humour from the part. He was well matched by the Ado Annie of Joanne Mason who conveyed the naive and innocent burgeoning sexuality of the character. She should, however, watch her tendency to play too much to the audience and not enough to the other characters. These two, together with the Ali Hakim of Derek Wray, realised the comic potential of their roles in their scenes together.
The Aunt Eller of Maureen Macintosh, with her strong voice and personality, ideally conveyed the toughness and indomitable approach which must have characterised the pioneering women of those days.
The Jud Fry of Rob Tolfree was a particularly strong characterisation, seemingly drawing much from the film portrayal by Rod Steiger and none the worse for that. His singing of " The Floor Creaks" was very atmospheric.
Special mention should be made of the ballet sequence and particularly the dancing of young Lynne Haslam as the dream Laurey.
The minor roles came over well and the well-dressed chorus gave its all. An excellent orchestra was conducted with his usual skill by Graham Pike. It all added up to an enjoyable, if somewhat long, evening. A minor carp is that the lighting needed more variation; the sudden transition from broad daylight at the box social to nighttime for the confrontation between Laurey and Jud was surprising!
GUYS AND DOLLS
Deeside A. O. S.
Director: Peter Swingler
Musical Director: Christine Steele
Choreographer: Noella Grace
Guys and Dolls is one of my favourite musicals and three National Theatre productions and a 1992 New York revival have confirmed it as a major contribution to the genre. The depiction of a host of favourite Damon Runyon characters gives great opportunities to both singers and actors ( not always the same people! ) in a company and throughout the show it is the comedy which underlines the action. This was particularly so in the Deeside production which I thoroughly enjoyed. From the opening scene, always difficult to pace, with an excellent 'Fugue for Tinhorns' the show flowed nicely and comedy was certainly King! From this moment the Nicely-Nicely of Kevin Keegan was well established, continuing to make a telling contribution throughout, as well as his high spot 'Sit Down You're Rocking the Boat'. He was well supported by the Benny Southstreet of Neil Mason and Rusty Charlie of Tim Noakes.
The excellent timing and comic talents of John Lindop were well suited to a most entertaining performance as Nathan Detroit and he was well matched by the most amusing portrayal of Adelaide by Wendy Lloyd. These two carried off the performance accolades in what was a well cast production. The other more traditional love interest of Dave Lee's Sky Masterson, - oh, that opening costume! - and Joanne Lloyd's Sister Sarah was well sung and played.
Others to impress were John Russell's nicely judged Arvide ( what a pleasant number " More I Cannot Give You" is!) and Jenny Jackson's General Jackson. John Coppack as Harry the Horse, Dave Watts as Big Jule and Paul Harris as Lt. Brannigan all gave competent performances.
The chorus and the Hot Box Girls all contributed well to an enjoyable evening in Chester.