January 2000 - Region 9 - Mary Parker
Centenary Cabaret
Ashton Operatic Society
Ashton OS opened its centenary year with this splendid evening which included, not only a first class reception and buffet, but a Cabaret of excellence featuring songs from 100 years of shows.
That a society in this day and age can draw on so many artists, from teenager to seventy plus, who have trodden the boards for Ashton OS is, in itself, an achievement. That they are able to present such a wide variety of musical skills and presentation of style, is something for newly-formed societies to emulate. This cabaret was surely something of which to be immensly proud.
Thank you for inviting Norman and me to such a memorable event. May I wish you every success for the future and, it is to be hoped, a space-age bi-centenary celebration.
Those Were the Days - the Sixties
Brookdale Operatic Society
Director: Ron Rossiter
Choreography: Laura Keenan; Barbara Dickinson (Mame)
Musical Arrangements & MD. - Helen Nixon
What waves of nostalgia were evoked by this happy happening of sixties' songs. It is remarkable how many familiar numbers were presented in one evening - from 'pop' to popular ballads and the musicals blockbusters.
Everyone was given their moment and there were some stimulating and outstanding highlights.
The majority of the audience went home happy and reminiscing on their more youthful days.
Anything Goes
Dukinfield AODS
Director: Melvyn Bates
Musical Director: Paul Firth
Choreographer: Jean Ashworth
Big company, big sound, sometimes too loud - but never distorted - gave a great edge and pace, from beginning to end, of this production.
The director took a leaf from the style of the book's writers, P.G. Wodehouse and Guy Bolton and played A. G. for all it was worth in the tradition of farce - one of the most difficult of disciplines, although some occasional dark overtones do appear in the subtle, witty lyrics. The updated, skilful choreography was absolutely in period - as was the pace and authentic sound from the pit. The ease with which the orchestra played belied the unusual harmonies in the new and technically difficult arrangements.
I've nearly always found the set for this show restricting, but tight parameters, like necessity, can be the mother of invention. The chorus behaved as individuals, timing exits and entrances naturally, without forced facial expressions, using the gangways with ease.
The cast played mainly as directed. This proved to be slightly out of reach for some nut the main principal cast played with a vigour that sped this production along.
Val Bacon never overplayed as a rather vague Evangeline Harcourt opposite John Harrison's Elisha Whitney. He gave the audience some beautifully timed comedy lines. The Beaumont script and spacious set did not serve Howard Carter's Lord Evelyn Oakleigh so well. He had to work very hard, particularly with body language, to put the humour across. John Hankin was Moonfaced Martin who punched his performance straight OUT there. This proved to be a good foil for Kirsty Brooks' Erma. It's great to have your big number just before the end of the show! Kirsty made the most of this, delightfully. Kimberley Bates was as good a Hope Harcourt as I've seen and her dance routines with Billy greatly added to her performance.
According the Webster's Dictionary - the huge, Morocco Bound 3rd edition - dynamic is fr.Greek - dynamikos (powerful): relating to physical force or energy.
I really prefer a more relaxed way of approaching the character of Reno Sweeney. Here Elaine Fox gave us a powerhouse of a performance, particularly vocally. Always in control, polished and .... dynamic!
Nigel Griffiths was the ideal Billy Crocker. He moved with an ease and naturalness that the Americans seen to have and which so often elude their British counterpart. Nigel sang as well as I have ever heard him, bridging those huge vocal leaps lightly and with style and polish. Absolutely a first rate performance.
My Fair Lady
New Mills & District O&DS
Director: Dianne Aspinall
Musical Director: Tim Hawkins
Choreography: Julie Proffitt
I must admit to feeling a little jaded at the prospect of seeing My Fair Lady again for the n'th time. It was a pleasant, and somewhat startling, surprise for me to find that most of the audience around me were totally unfamiliar with this show - even with the now famous vernacular of Dover's hindquarters!
I shouldn't have been surprised, however, for this was a production as fresh a paint which the production team whipped along, to give it a sparkling and entertaining veneer.
The society owns a little gem of a theatre although backstage facilities are difficult. That the set, the dreaded library, should move so easily, the continuous cloths be reduced to a minimum, were a credit to the stage-manager Terry Barber plus the work of the exemplary team of utterly dedicated ... (sorry - in joke!) ...prop ladies. I did, however, feel that the brief ballroom scene lacked some sophistication and elegance.
The servants in the study scene sang beautifully and Gary Ward was a pleasantly sung Freddie Eynsford-Hill. I liked the different approach of several of the principal cast. Irene Jenner's rather tart Mrs Pearce and Carole Ward's bright, and almost bubbly, Mrs Higgins. The whole of the "I'm Getting Married" scene was a highlight. Lots to look at fronted by an ebullient, very good Alfred P. Doolittle in Roger Haslam. Alan Frater was an excellent study in characterisation as Colonel Pickering.
Barry Aspinall's portrayal was bit the sometimes cool, rather egocentric Henry Higgins. It would have looked false for him to be so. He endowed Higgins with a warmer, more humane approach to the role and a moving retrospective "I've Grown Accustomed To Her Face".
What a lovely Eliza was Beverley Critchlow! Appearing previously in small roles in pantomime she grabbed this first-time challenge and certainly made the most of it. Her singing voice hasn't quite settled yet, but she was spirited, has good timing and certainly presence, becoming the ultimate lady in the conservatory scene. Congratulations, Beverley, on your debut.
The wardrobe, pace, excellent continuity, imaginative choreography and original direction made this a super and very entertaining production.
The Sound of Music
Lees Street Congregational Church AMDS
Director: Brian Ganderton
Musical Director: Ron Davies
Choreographer: Cathy Nunn
The long running The Sound of Music is popular with an audience and thanks to the comprehensive and always beautifully presented programme editing, design and setting by Brian and Ann Ganderton, I discovered that the show first opened on Broadway almost exactly 40 years ago this very week. The set was well designed and painted, but owing to technical restrictions of the stage, made for some slightly too long scene changes. The show was nicely lit and well costumed: in fact, the whole production was visually attractive.
Some of the musicians in the orchestra, however, did not always appear to have learned their dots and certainly some of their cues were fluffed. I suspect only a strong familiarity with the score enable several of the principal singers to find their opening notes. That said, it did not overtly detract from the overall presentation.
There was good support from members of the cast in the smaller roles. Simon Owen (Rolf) and Lesley Robinson (Liesl) made the most of their "You Are Sixteen" number. Elizabeth Ambrose brought all her experience and vocal technique to the Mother Abbess's "Climb Every Mountain". Gerry McLoughlin was a pragmatic Max Detweiler and Pauline Browne a very good, sophisticated Elsa Schräder. The younger Von Trapp children gained confidence and later relaxed into their characters. Christine Owen as Maria Rainer was more at ease developing all the necessary warmth of the character in Act II opposite Peter Phillipson's thoughtfully observed Captain von Trapp - especially in their duet, "An Ordinary Couple".
It always warms my heart to attend this society where the atmosphere is that of a large, happy family. Indeed, this show was dedicated to the memory of the director's parents because, quote, "I grew up to the sound of music always being in the house."
Godspell
Macclesfield Majestic Theatre Group
Director: Paul Shortt
Musical Director: Heather Hayes-Wilson
Choreographer: Carolyn Farrish-Mayer
This was Macclesfield MTG's first main production to be performed at the MADS Little Theatre. It was the ideal venue for this show, with enough space to present the effects the director wanted, not too overpowering to nullify the atmosphere required for the subject matter.
The direction was original and imaginative. Some excellent minute detailed direction developed each individual character. That, plus the super tempi and singing, stylish choreography and use of space allowed these individual characters to shine when their moment came. Yet the overall production was a perfect example of team work, enhanced by skilful and often moody lighting, futuristic set design and a spot-on new sound system.
As the rapport was so good between cast and chorus I must mention all the cast: Jonathan Bower (Lamar), Helen Brady (Peggy), Alison Gorton (Gilmer), Steven Helliwell (Herb), Gemma Moss (Robin), Carol Pratt (Joanne) and Paul Yandell (Jeffrey). Nigel Wells was strong foil to Jesus as John the Baptist and Judas. Unifying this presentation was a first rate interpretation of Jesus from Stephen Clayton, whose singing voice and attitude was absolutely right for this character.
This first night was, as it should be, looking as if it had been running for days. This polish was greatly appreciated by the audience.
'ALLO, 'ALLO!
Mossley AODS
Director: Nita Bennett
There were, briefly, a few butterflies for some players at the start of this opening night, but the strong cast, who soon weighed up the audience's reactions, were able to time their dialogue in the best traditions of farce. The set more than coped with the scene changes which were deceptively difficult, veering from various rooms at the café to Herr Flick's "pad" and the Colonel's abode.
It must be difficult to portray some of the characters. Seen on the 'box' for so many years, these much-loved stereo-types will long be remembered by the public. Nita Bennett's direction, however, ensured that the cast, with a nod to the TV actors, played as if at a premier, each developing his or her own personality, because the script strictly adhered to those well-remembered lines.
Simon Griffiths was absolutely in character as Crabtree, the English gendarme spy, he of the double-entendres. Jon Crebbin may had had a stiff-legged approach, but relaxed admirably into the role of Herr Flick, opposite Kim Bennett's Helga, which I thought was one of the best performances of the evening. Rodney Cadd as the effusive Colonel gave a beautifully judged portrayal.
Denise Shawcross gave a lovely off-key performance as René's doting wife, Edith. Holding everything together was Mike Cheeseman as the philosophical, long-suffering René Artois. I was so pleased to see this talented player treading the boards again and showing by the final curtain that he had has not lost any of his panache and expertise.
After the performance, it was very nice to talk to some of the cast and to round off a thoroughly enjoyable and entertaining evening.
Brigadoon
Our Lady's AOS - Stockport
Director & Choreographer: Lynnden Pickford
Musical Director: Fr. Tony Dearman
Sword Dance & Pibroch: Carol Ackers
Brigadoon is a show that requires quite a few male characters plus as many as possible clansmen in the chorus numbers. Our Lady's, like quite a few other societies in my region, is finding difficulty in attracting more recruits for larger scale shows. All have to be satisfied with whomsoever is interested in that particular production. Thus the choreography, as opposed to dancing, was tailored to suit a larger female chorus. So, some numbers, such as the usually all-male opening Act II "Chase" suffered as a result. Here, well adapted though it was, it still lost some of the intended drama. In this production, the story-line came through which made this plot more credible. This was helped by the sincere portrayal of Mr Murdoch by Malcolm Gregory. The sets were attractive, well painted and lit and, considering the lack of space available here, no overlong scene changes. I liked the bar scene in Act II, with Patricia Helicon as Frankie, the bar person and a very good Jane Ashton in Caroline West, whose silent ad-libbing and reactions were spot on. Sheila Pace was Jean Mackeith, Alan Shaw - Charlie Cameron and Matthew White - Harry Ritchie. I enjoyed watching Annemarie Cook as Meg Brockie. Vital and alive, her numbers were well sung and delivered - particularly "The True Love Of My Life". Pat Kelly stepping recently into the role of Jeff, although sometimes lacking clarity, by Act II delivered his one-lines with a convincing American accent. Bernadette McCracken captured the spirit of Fiona Mackeith, plus some nice top notes in her numbers. She teamed well with Nicholas Todd. He was a nicely relaxed, amiable Tommy Albright (it's all in the name, isn't it?) His best singing range was in the middle of the vocal numbers, but I still wish he'd gone for a few more top notes to give that extra "oomph!". This show lacked some of the impact and good vocal quality of more recent productions. It did, however, have a company whose enthusiasm spilled over into the receptive audience.
The Gondoliers
Poynton Gilbert & Sullivan Society
Co-directors: Richard Huggelt & Anne Allwright
Musical Director: David Tibbles
Poynton G&S certainly pulled out all the stops for this one and went to town in a big way with its sets, lighting and costumes, to give an extra veneer to this sparkling production. The tempi were as Sullivan would have wished and the cast, the chorus in particular, was lifted by the efforts of the musicians. As always, to quote the old adage, the cast is only as good as the smallest role but some very stylish characterisations were able to incorporate this without losing any pace. Margaret Roberts was Inez and John Humphreys a subtle, Machiavellian Don Alhambra, the Grand Inquisitor. Kelsey Thornton's Luiz and Jeannette Wood's Casilda captured the moment with their lovely duet, "There Was A Time" and so did Liz Humphrey's Duchess and John Turner's slightly underplayed, but well enunciated, Duke of Plaza Toro in Act II. Roey Darling's Tessa and Lisa Carrington's Gianetta were the vivacious gondoliers' wives. Mike Nash showed obvious enjoyment with his role in the team of four wish enhanced his performance as gondolier Guiseppe. There was an intriguing portrayal, which I very much liked, from Peter England as the other gondolier, a witty, stylish Marco. He was the catalyst for this quartet, lifting the others to capture the spirit of this operetta, one of Poynton's most entertaining.