January 2000 - Region 5 - Glyn Neary
Hot Mikado
All Saints (Elton)
No matter how many productions I attend, either amateur or professional, I always hope to see something new, different or innovative. One looks for slick choreography carried out with precision by the cast, one hopes for actors that can sing, singers that can act, great scenery, good costumes, lighting that reflects the mood of the show and a balanced orchestra that can cope with the score without rattling your eardrums. Generally, but not always, this is achieved on the professional stage whilst the amateur companies often manage some of these elements but rarely all of them. Sometimes, just sometimes, societies manage such a feat, maybe for one night, maybe all week and I was privileged to attend at such an occasion.
Having seen previous productions by Anthony Williams I look forward to future ones since this show came directly out of the amateurs top drawer. I hasten to add that not all departments hit the 100% mark but fault lines, such as they were, were barely perceptible.
Set design by Mollie Binns and scenery by the society was simple but highly effective with a beautifully dressed proscenium arch. Lighting by Mark Tempest was excellent matching precisely the requirements of the production whilst the limited stage area was used to its fullest extent by the cast.
The show began at a blistering pace which was maintained until the final curtain. From the murmurs of approval around me the audience were stunned by individual performances and the overall effect whilst any Gilbert and Sullivan "purist" in the audience is probably still recovering from shock.
There was an extremely strong principal line up who had obviously worked diligently at their characterisations. From Kat Kat (Kevin Rawcliffe) in his Max Miller styled multi-coloured suit, Nanki Poo (Graham Cheshire), Pooh Bah (John Mahoney) in the now familiar gangster outfit to the Mikado (Anthony Williams) in a dazzling white suit all contributed superbly. The ladies were equally successful with Yum Yum (Louise Freeman), Pitti Sing (Sarah Taylor), Peep Bo (Mel Jarowski) and Katisha (Joanne Astley) who were all vocally excellent.
Chorus work was inventive and precisely executed so it was no surprise to find the Directors version of the River Dance which was expertly carried out by the company. The small orchestra under the direction of Sarah Day were very good and provided the final piece of a very highly polished jigsaw.
West Side Story
Bolton Premier AOS
Success with this show depends largely on two main elements: i.e., the ability of the chorus, particularly the men, to be able to dance or move well and an orchestra that can cope with the difficult Bernstein score. On both accounts the society did very well. A large orchestra under the control of Musical Director Stephen Sharples rose magnificently to the challenge of the wonderful score whilst the chorus managed the movement with great enthusiasm. The leaders of the Jets and Sharks were David Whitehead and Ward Croasdale. David was ideal as Tony, looked totally in command of the character and sang beautifully. Ward Croasdale looked good as Bernardo, moved gracefully but his body language might have been a little more aggressive. Two other fine performances came from Conner O'Beirne as Riff who knew just how to sing "Cool" and Paul Costello as the manic Action who contributed well throughout the show and particularly in the "Officer Krupke" number. Stewart Ball was excellent as Doc, Adrian Yapp made the most of Gladhand whilst Chris Higson ( Shrank ) and Don Fairclough ( Krupke ) rarely dominated the stage.
Having gone to great lengths to achieve the Latin look Natalie Kirkbright made an excellent Maria, believable accent, vocally good and a moving simplicity in the tragic scene. And whilst Helen Price Aindow as Anita looked a little pale against the rest of the girls her performance was anything but. A warm, vibrant performance which came into its own in the "A Boy Like That" number. A professional stunt co-ordinator assisted with the fight sequences and alongside the talents of producer/choreographer Marje Brayshaw, the general chorus work was very good. The Albert Hall stage is not the easiest to work and although this may partly explain the settings a little more vision and effort would have enhanced this production. Overall this was a show of considerable merit and one which was thoroughly enjoyed by the capacity audience.
White Horse Inn
Bury Athenaeum Amateur Operatic Society
Producer: Val Ruddy
Choreographer: Judith Edwards
Musical Director: Marjorie Y Hough
This is a show with wonderful music and what can be a funny script. But, unfortunately, this show deserved more people to see it. We had an orchestra which was a joy! As soon as the overture struck up I knew it was going to be an enjoyable evening - and I was not disappointed.
Kathi the post woman (Pat Looker) made the best of her role setting the vocal standard. Karl (Philip Harrison) gave us some amusing moments . as did David Pollard with his portrayal of Ebenezer Grinkle. His daughter Ottoline (Sarah Davey) sang well and had some nice moments with Sutton (Chris Terry). Leopold (Dave Reeves) had a pleasant singing voice and sang "Goodbye" with gusto. The role of Josepha was performed by Eileen Taylor. Not only did only sing well but her characterisation of the part stood out and lifted the show each time she appeared.
The chorus work in this show was extremely good, as was the choreography.
Thank you to the society for an entertaining night.
(Colin Magenty)
Friends and Neighbours
Our Lady of Lourdes AODS
This Lancashire comedy by Austin Steele was well received by the audience. Set in the 1950s this is a story of a Lancashire engineering firm which asks for volunteers to play host to Russian visitors; the idea being they should sample life as lived by ordinary people. This, of course, leads to several misunderstandings and the hilarious consequences. Producer J. Alan Burton had quite a strong cast which made a proficient job of the play.
Albert Grimshaw, host to the Russians and browbeaten husband, was well played by Barry Adshead who times his wry comments very well. His harassed wife Lily was played with confidence by Joyce Lowe.
Kathleen Walsh and Neil Southern played the archetypal nosey neighbours who can't resist sticking their oar into other people's business. Both gave well timed supporting performances.
Jacinta Regan provided the glamour element as the Grimshaw's daughter Susan who has a gormless boyfriend in the shape of Sebastian Green, played by Matthew Taylor. Whilst both did well with their parts Matthew did occasionally overplay his hand with exaggerated movements.
Guiseppe Ruotolo and Elaine Potterton played the Russian visitors Vladimir Previch and Petri Garanakova. Both gave competent performances, had the dour approach to life one would expect but they might have had stronger accents.
Whilst the set looked very good it was a little too "posh" for a 1950s working class household and some of the set dressings were far too modem. On the whole this production had some merit and was an entertaining evening out.
Mister God This is Anna
Radcliffe URC Players
It is not very often that one gets an opportunity to attend a world premier of a show. The possibility becomes even more remote when, and here, I hasten to add that there is nothing wrong with Radcliffe, it is performed on a church stage in a town which doesn't quite have the glamour of Broadway. Nevertheless two members of the society Stephen and Julie Leach, having read three books by an author named Fynn, decided to embark on a musical adaptation. Some seven years later and according to the programme notes, two children later, the score was finally finished.
So what was it about. Putting it as simply as I can it is the Christian message as seen through the eyes of a child who is unencumbered by the prejudices and bigotry of the establishment. The child in question is of course Anna here played with an impish quality by Amanda Crump. It is based on a true story of the orphaned Anna who is found wandering the streets of the East End by Fynn who takes her home to his mum to live with them.
The show takes the form of Fynn (the elder), played by Peter Jones, who acts as narrator as he looks back at the short time he came into contact with Anna and how it affected his life. Other major characters are Fynn's mother Jessle (Sheila Hudson), Fynn junior (Mark Robinson) and Millie, a lady of ill repute, played by Deborah Brooks who did particularly well with a couple of her numbers. The establishment was represented by the academic Professor John D Hodge (Bill Houghton) and the Rev Castle (Philip Brooks) who inevitably come into conflict with Anna^s philosophy.
The score contained some pleasant music in a modern upbeat style with the odd spiritulist number thrown in for good measure however the lyrics were sometimes a littlerepetative. With a small stage area the choreography was inevitably a little cramped and the general appearance of the show would have been much improved with more convincing scenery and lighting
A competant production from director Alan Crump which had a strong message for those who are prepared to listen.
The Sound of Music
St Catherine's AMS (Farnworth)
Not for the first time in the last 12 months have I seen this particular show but I can say, for the first time, that the nuns, all 24 of them, were actually married to God. By that I mean they had rings on the correct hand - congratulations to the society for the attention to detail. Most other elements had also been considered. However, some of the costumes, particularly Frau Schmidt and Von Trapp lacked the Austrian flavour.
There were several performances worthy of note. Carmella Horne was good as the authoritarian Mother Abbess who also managed to display great warmth and understanding towards Maria. Alice Bowmer came across well as the sophisticated Elsa Schraeder and was well partnered by Stanley Porter as the rather jolly, smooth talking Max Detweiler.
Two youngsters, who I believe have a bright future on the amateur stage, played Liesl (Lesley Anne Parkinson) and Rolf (Christian Brabin). Understandably, at their age, neither had strong voices but they stayed in tune, had a good understanding of the parts they were playing and made a sound job of the "Sixteen Going On Seventeen" number.
I was not convinced by Colin Dean as Von Trapp. Having said that I know Colin to be a good performer and, indeed, he was vocally up to the mark and worked well with others during the show. I return to what I said previously that his costumes were generally far too casual which did nothing to assist with the image of the patriotic Austrian captain. In the same vein Debbie Bolton was quite good as Frau Schmidt but looked nothing like an Austrian housekeeper.
Living within the long shadow cast by Julie Andrews in the lead role of Maria is no place to be for an inexperienced actress. In Louise Cohen the society had an experienced performer who coped well under such demanding circumstances. Her rapport with the children, who, on the night I attended, were well groomed, well costumed and well drilled, was very good.
The orchestra, which was made up mainly of students, played very well under the control of musical director Allen Christey. This venue is yet another that amateur societies have to suffer in the name of art. Under these circumstances the set changes were a little noisy but the backstage staff worked well and kept the production moving. Having said that the artistry left a little to be desired. It seems to me that the simple addition of profiles on flats and ground rows would enhance the set no matter the quality of the painting.
All things considered this was a satisfactory production by Paul Cohen and one with which the society can be pleased.
Darling Buds of May
St Peters Methodist AODS (Bolton)
With a cast of 16 this must be one of the most densely populated plays ever. With this in mind, and the need for a split stage the director, stage manager, electrician - and all things to all men - Terry Bowden decided to extend the stage. The result was a good set with a house interior and a veritable forest of foliage to represent the surrounding rural countryside. One slight disadvantage of this panoramic set was that watching the action was akin to a men,s singles final at Wimbledon!
The Larkin family consists of Ma, Pop and 6 children. Their idyllic, free-living lifestyle is interrupted by Mr Charlton who is intent on getting Pop to fill in his tax form. Pop, of course, claims he earns no money but yet has a Rolls Royce in the farmyard and a drinks cabinet that any New York bar tender would envy. Mr Charlton stands little chance of getting his form filled in and is soon absorbed into the family, much to the delight of eldest daughter Mariette who has a roving eye and a penchant for Bluebell Woods.
Margaret Owens looked every inch the jolly farmer's wife giving a convincing performance as Ma Larkin. Mike Jeffries was equally at home and fitted the character of Pop Larkin very well. Kathryn Henrys seemed to relish the role of the amorous Mariette whilst Michael Foley, as the tax gathering Mr Charlton, did quite well but was a little inexperienced for such a large part and required better direction.
The country-set was well cast and consisted of Miss Pilchester (Dorothy Jones), The Brigadier (Bert Halliday), Sir George Bluff-Gore (Chris Wilks) and Lady Bluff-Gore (Ann Rollison) all of whom plead poverty and are somewhat miffed at the Larkin's easy lifestyle.
The remaining children Montgomery (Gareth Balshaw), Primrose (Chloe Merna), Petunia (Chelsey Forrest), Zinnia (Charlotte Henderson) and Victoria (Paige Forrest) did what was required of them as the boisterous Larkin children. The remainder of the cast is made up by Pauline Jackson (Siobhan Dickerson), Angela Snow (Judith Catherall) and John Dickerson as the Tax Inspector.
With such a large cast this is a difficult play to perform and the night I attended it did seem to drag it's heels a little at times. Since most of the cast are relatively seasoned performers I put this down to "second-night-syndrome" when, although it shouldn't, a performance has been known to go off the boil. Despite a few hiccups this was a creditable performance.
Cat Amongst the Pigeons
St Philips AODS (Bolton)
This well written play by Duncan Greenwood was brought to life by a talented cast under the direction of Graham Cohen and producer Kevan Worsley.
The story line concerns an average 1950's extended family who's routine is disrupted when the son Bill Tinsley, played by Tim Platt, brings home what turns out to be an exotic dancer on his return from abroad. The exotic dancer Yvonne Chartreuse came in the delectable form of Delaney Brindle. Good accent, great costumes and enough pizzazz to make the families eyes pop out. The sons girlfriend Annie Hammant, well played by Siobain Dickerson, is understandably none to pleased by this turn of events.
Mother and father Nora and Alfred Tinsley were played by Jean Foley and Ian Duckworth. Excellent performances from these two with Jean cast as the bossy mother whilst Ian looked completely at home as the pigeon fancying local councillor and member of the watch committee. He finds himself on the horns of a dilemma, however, when some of his pigeons are required to cover up the naughty bits of the exotic dancer since her doves had been quarantined.
Edna and Ernest Jowett, daughter and son-in -law, also live in the house. Two more first class performances from Joanne Eccleshare as the younger harassed housewife and Andrew Platt as the 1950's couch potato. He also managed the drunk scene with great skill.
The last member of the family is grandma. This crotchety, bosom heaving, gin swilling matriarch was brilliantly portrayed by Barbara Platt who gave an object lesson in comic timing.
The final member of the cast is Joe Hammant played by Michael Hills. He seemed quite at ease as the friend and business partner of Alfred and provides the surprise element at the conclusion of the play.
Scenery and props looked quite authentic and alongside good lighting and sound effects this highly amusing play was extremely well done.
The Wizard of Oz
St Philips Junior Workshop
A lively and colourful production by director Mina Kirkbright and producer Bert Halliday of Dorothy's journey through Munchkinland. Having lost a number of the previous youth section the society have drawn together another group, many of whom were Munchkin sized, who showed a measure of promise for the future. The scenery was bright and cheerful with good lighting effects. authentic props and a fair sized storm which blew up to send the wobbly farmhouse into the world of make believe.
The Scarecrow, played by Philip Harper, was well portrayed but would have been better served with more rubbery legs at the beginning whilst Jonathan Dickerson as the Lion, despite his upright tail, displayed an alarming lack of backbone to good effect. Jenny Bowling, as the Tin Man, had a good clear voice and managed her general movements, whether rusty or otherwise, very well. Louise Davenport was excellent as Dorothy. A confident performance, strong clear voice and an ability to deal with an occasionally errant dog without distracting her from her character. Lucy Bromley, who possessed a cackle and scream which warranted ear defenders for the audience, was very effective as the Wicked Witch.
A multitude of Munchkins, Jitterbugs, Poppies, Snowflakes and Winkies were well costumed by Maureen Dickerson and Mina Kirkbright.
With musical backing from Frank Fielding and untold hours of effort from willing helpers this new junior group looks set to entertain the local patrons for several years to come.
Guys and Dolls
Walmsley Church AODS
This is one show I always look forward to seeing because of the music and lyrics of Frank Loesser and the many elements within the show which give amateur societies plenty of scope. Over the years I have seen many good performances both collectively and individually and, in this case, non better than than the superb performance of Adrienne Wormald as Miss Adelaide. She had the stage presence, was vocally excellent, good accent and a personality that made you sympathise with her predicament as the longest serving fiancee in the world. The remaining cast members had their work cut out not to be completely overshadowed and, in varying degrees, most did quite well. Lindsay Farnworth captured the facets of the Sarah Brown character, sang quite well, and is a young lady of considerable promise for the future.
The trio of Nicely-Nicely (Paul Brennan), Benny (Don Howcroft) and Rusty (Jeff Christie) had contrasting characters whilst working well together with Paul coming into his own with an excellent "Sit Down You're Rockin' the Boat" number. Norman Bowers was a convincing Big Jule, both in voice and presence, whilst Ernest Dawson as Arvide Abernathy sang "More I Cannot Wish You" with much sincerity. John Holloway made a believable Lt Brannigan as he tried to nail down the elusive crap game. Two other good performances came from Michael Ball as the debonair high roller Sky Masterson whilst Michael Taylor never overplayed his hand as the all time loser Nathan Detroit. Both delivered the dialogue well, looked comfortable with their parts with Sky making the most of "Luck Be A Lady" and Nathan particularly good in the "Sue Me" duet with Adelaide. The small orchestra under the director Daniel Robins seemed a little unbalanced at times and some of the numbers were sorely lacking in pace. This affected the dancers in the Hot Box numbers which appeared a little staid and the" Crapshooters Ballet" which was less than athletic. I have reported previously about the quality of the scenery at this society and this show was no exception. Whilst one of the scene changes was a little laboured the stage was bedecked with a multitude of neon signs, a well designed box set arrangement at the rear of the stage transformed itself from outside the mission to inside the mission to the Hot Box club whilst the sewer scene had the sound of dripping water and a slight echo when the characters spoke. Full marks to the backstage team. An enjoyable show with which the society, and the director Roy E. Iddon, can be justifiably pleased.
Oklahoma!
Whitefield & District AOS
Currently on it's umpteenth revival in the West End this much loved show always seems as fresh as a daisy and this production was no exception.
The orchestra under the baton of John Goggins kept a good tempo and acheived a nice sound balance alongside excellent chorus singing so the Oklahoma chorus lived up to it's reputation as did the Farmer and the Cowman which was well fronted by Phil Duffield as Andrew Carnes.
Hilary Eastwood was convincing as the hard nut with the soft centre character of Aunt Eller whilst Mark Rosenthal looked very middle-eastern as Ali Hakim, coped well with the accent and extracted every ounce of comedy from the part.
Choreography by Shirley Ann Hill was very good. She never gave anyone, particularly the men, difficult routines and used the limited stage area to good effect.
Two other successes were Alison Bell as Ado Annie and Stephen Kay as Will Parker. Stephen looked quite comfortable in this his first major part, danced quite well in the "Kansas City" number and managed a very athletic "Oklahoma, hello" whilst Alison had an expressive face and turned in a bright, bubbly and quirky performance.
Michael Mills was a natural as Curly. Being of the right stature, having a relaxed stage presence and a great voice this was one "laid-back cowhand" who gave an excellent performance. He was matched in every department by Vicki Stott as Laurey. Vicki is an experienced and accomplished performer who has a strong voice, an attractive stage presence and was ideally cast in this part. Completing a strong principal line up was Keith McEvoy as Jud. Keith gave an excellent portrayal of this brooding and malevolent character.
Smaller roles were all adequately cast, there were some nice lighting effects from Clive Eastwood and the scenery, featuring a farmhouse which rotated to double as the smokehouse, was very effective. A production of which the society and its director Carol McCormack can be justifiably proud.