September 2000 - Region 2 - Keith Painter
THE YEOMEN OF THE GUARD
St Leonard's Gilbert & Sullivan
A nice and pleasant evening good singing and lovely music. The show ran very smoothly and the scenery was well thought out. Thank you to Philip and Andrew.
A good singing chorus and there were some good choruses to sing in this show. All the main principals gave us a 1st class performance, which made it a wonderful show. I must thank everybody for all their hard work. Thank you.
DON'T MISUNDERSTAND ME
Trinity Theatre Group
It was a nice play to watch and was very good comedy. A good plain set with props to match. All 5 of the cast worked very hard to make it a very good, entertaining evening.
OKLAHOMA!
Douglas Choral Union
The sets were nice and simple and worked well. It was well directed by Stephen Duckham and he brought the best out of this society. A good leading man and of course just right for the part and a pretty leading lady. They both sang very well together. There was good support from Aunt Eller and Jud Fry and the comedy was supplied by Ado Annie and Will Parker.
The dancers did a good job and the chorus singing was delightful. The music and orchestra were under the control of MD Julian Powers.
Hope the Gaiety has sorted out its problems.
STEPPING OUT
Fylde Coast Players
A nice simple set of the dance room with all its facilities and a good size back entrance which was used to its full potential. From the dance teacher to the pianist and the female dancers to the lone man they all gave us a wonderful evening. Every one of them had a different character and it all seemed to work out. Of course we all felt sorry for Geoffrey but he stood his ground (good lad, mate!).
With lovely costumes for the finale and a good dance routine made for a perfect ending.
THE RAILWAY CHILDREN
Arnold School
A good play for a school and the setting was just right. They do it mainly with props, which works well. The Station Master was just perfect and kept up the accent throughout the play. The mother did a good part and looked after her 3 children while her husband was away.
The children all gave a good performance and were well supported by the other children of the village.
The story is about the train and the house they moved into and the old gentleman.
All the smaller parts gave their best. It was a very good evening.
THE WINSLOW BOY
Fylde Coast Players
A very nice set of a living room in 1914/1918 in a house in Kensington.
A mother and father so strict with their family, but who stood by their young son who had joined the navy. Their son was accused of stealing money. For a young person to take a big part like this was a credit to him and the society for giving him the part. His older brother played a different kind of part, one that didn't care about anything. The rest of the cast did a good job and supported each other. It was a wonderful evening.
THE WIZ
Thornton Cleveleys Youth Theatre
This is just the right show for this society. There was plenty of chorus work and movement for them. It was nice to hear a musical score that wasn't familiar.
The scenery was simple but effective.
Dorothy and her friends all did an excellent job and kept their parts throughout.
Thank you to everybody for all your hard work.
THE ODD COUPLE (Female Version)
Windmill Players
Neil Simon's work normally guarantees an entertaining evening out and this presentation certainly did not disappoint. Set in Olive Madison's apartment (male version - Oscar Madison) Olive and friends meet regularly to play cards and socialise with drinks and a little light refreshment. What you get depends on the colour of the filling in the sandwiches, whether mouldy cheese or rancid ham. All goes reasonably well with Olive until she takes her friend Florence Unger (male version Felix Unger) to live with her. Florence soon dramatically improves the catering standards and the hygiene, providing coasters for the drinks and plates for the sandwiches. She also cleans the apartment with monotonous regularity which finally gets to Olive. In the ensuing spats between the two Florence starts to leave notes for Olive signed "F.U.", and, as Olive says, it took her days to figure out that they were from Florence.
Olive then meets the Costazuela Brothers in the elevator and invites them for dinner. The brothers Manolo and Jesus were played by Ernie Pettigrew and David Priestley. Both are long standing and very experienced members of this group and over the years I have seen both of them play many and varied roles. But I don't recall ever seeing either of them better than they were in this production. I understand that, because of members being involved in other productions elsewhere, the group was down to the bare bones to cast this piece. All I can say is that had all the paid-up acting members been available to audition the group could not have come up with a better cast!
Betty Horrocks (Olive Madison) and Maureen McCrea (Florence Unger) were both superb and well supported by rest of the cast.
It was apparent by the regular and spontaneous outbursts of laughter, and
the loud, long sustained applause at the finale that everybody had had a very
enjoyable and entertaining evening. The props, costume and lighting and a good
set all helped. Congratulations must be given to the director, Mary Wood -
brilliant!
(Ken Robinson)
GUYS AND DOLLS
Blackpool & Fylde LOC
From the opening bars of the overture you got the feeling that you were in for something special with this 50th anniversary production and so it turned out to be. 'Fugue For Tinhorns' sung by Nicely-Nicely (Phil Hemmings), Benny Southstreet (Kevin Melia) and Rusty Charlie (Steve Mather) got the show off to an excellent pace which the rest of the company maintained throughout. With a Sandy Doig production he always seems to stamp his own individuality on proceedings with subtle changes and lovely bits of business - usually comic. One such example was Nicely-Nicely's attempt to descend down a ladder onto the stage to join in the crap game - first one foot, then the other - a little classic comedy cameo.
All the principals played their parts well, with enthusiasm and conviction, notably Adelaide (Shelley Chapman), Nathan (Alistair White), Sky (Roger Lloyd Jones) and Sarah Brown (Tara Dempsey). The choreography was in the capable hands - and feet - of Gail Wray. Congratulations to her for 'Take Back Your Mink' with the Hat Box Girls which was most entertaining.
The orchestra, under the direction of Glyn Lloyd also played its part in making this golden production exactly that. Costumes and lighting helped to make this a most enjoyable evening but the scenery and cloths were a bit suspect.
And so we all look forward to the next 50 years for Blackpool and Fylde Light
Opera Company.
(Ken Robinson)
TONS OF MONEY
Poulton Drama
This play was originally an Aldwych farce and in 1986 it was produced at the National Theatre following an adaptation by Alan Ayckbourn. Farce is one of the most difficult of all theatrical arts to perform as it almost solely depends on exquisite timing - entrances, exits, doors, etc., and as Poulton Drama performs in the round this increased the demands on the players' talents. As usual they came up trumps!
All the characters were well cast but particular mention has to be given to the two leads, Paul Atkin (Aubrey Henry Maitland Allington) and Joanna Stephenson his wife (Louise Allington): they were both first class. The role of Giles, the gardener, was played by John Cottrell, a classic cameo of acting and timing gained, I suspect, by years of learning his craft.
Costumes were right for the time of the setting of the play - 1922 - and furniture, props and lighting all added to the enjoyment. Paul Atkin, along with Maureen Tyler, was involved in the direction of the play. Congratulations to all concerned.
MY FAIR LADY
St Anne's AOS
Lerner and Loewe's musical adaptation of George Bernard Shaw's Pygmalion is one of their finest works. Packed with bright tunes and witty lyrics, My Fair Lady tells the tale of language professor, Henry Higgins and his efforts to pass off a grubby, cockney flower girl, Eliza Doolittle, as a lady - with the aid of a few elocution lessons, of course. Higgins succeeds but soon discovers that his methods have also stimulated other parts of her character and, while others around him are happy to accept the new Eliza, he continues to regard her as a flower girl and this almost leads to his downfall.
Joan Aitcheson gave a flawless performance as Eliza and was convincing as both the ugly duckling cockney and the refined swan. Peter Weston was superb as the bombastic Higgins - especially during his rendition of 'An Ordinary Man'. The two leads had the luxury of an excellent supporting cast led by John Chesters as a brilliant Alfred Doolittle, Tony Berwick (Tony Berwick in a musical??) as Colonel Pickering and Peter Taylor as Higgin's slimy ex-pupil, Zoltan Karpathy.
Directed by Rosie Withers, this was an exceptional production borne out by the fact that, even though the curtain didn't come down until 10.50 p.m., the audience was captivated throughout. The costumes were beautiful and the dances energetic but, judging by the smiles on the faces of the chorus, enjoyable. However, I have to say that much of the success of this show was down the stage crew for the incredibly swift, but silent, changes of an elaborate set - well done, indeed.
I was delighted to see the "House Full" sign at the Lowther Pavilion. There
is nothing more discouraging to a society than playing to empty seats. However,
if other societies match the standard set here by St Anne's, I foresee the "House
Full" sign being a regular occurrence in the future. And as Mr Lerner so aptly
commented, "Wouldn't it be loverly?"
(Tommy Warburton)
DIE FLEDERMAUS
Lytham AOS
Revenge is often a dish served cold as Gabriel Eisenstein discovers to his cost in Johan Strauss' classic operetta Die Fledermaus.
Eisenstein (Chris Dodd) becomes the victim of an elaborate joke as retribution for a prank he once played on his friend, Doctor Falke (Martin Cope). Although due to spend 8 days in the local jail, Eisenstein is informed by Falke that he has been given a few hours reprieve in order that he may attend the grand ball. Little does he know that Falke has also persuaded Eisenstein's wife Rosalind (Barbara Butcher) to make an appearance at the ball disguised as an Hungarian noblewoman. An infamous ladies' man, Eisenstein unwittingly flirts with his own wife before rushing off the keep his appointment at the jail. Once in jail, Eisenstein is surprised to discover that the police have already incarcerated Herr Eisenstein following a raid on his home. It soon emerges that the occupant of the cell is none other than Rosalind's lover, Alfredo who, under the impression that the real Eisenstein was already under lock and key, had paid a secret visit to his paramour. Eisenstein is furious at these revelations but his anger soon subsides when Rosalind arrives with evidence of his own transgressions that evening.
This was a slick and stylish production of a popular operetta. Chris Dodd gave a polished performance well supported by Barbara Butcher and Martin Cope. Rosemary Tonge was engaging as Rosalind's maid, Adele, and shared many humorous moments with the prison governor played by Tony Wedge. The highest accolades, however, must go to Bruce McLaren who was excellent as the bacchanal opera singer and part-time lover, Alfredo.
The sets were superbly designed and, together with beautiful costumes and
a fine orchestra, contributed greatly to a splendid production.
(Tommy Warburton)
THE PIRATES OF PENZANCE
Preston G & S Society
This was most definitely a rollicking band of pirates led by a very laid-back Pirate King (Robert Feeley). From the very first chords of the overture played by a tuneful band led by Gill Streatfield, the company carried the enthusiastic audience along the twists and turns of the plot. The beautiful bevy of young ladies who appeared on a rocky seashore on the coast of Cornwall were supported by some amusing cameo characters from amongst the more mature members of the chorus. Poor, misguided Ruth was humorously portrayed by Susan Bradshaw. 'Birthday Boy' Frederic (Terry Cross) who, despite is assurances to the contrary, seemed to be VERY able. The Pirate King and his crew were entertaining, convincing and pretty good at singing, too - no 'Paradoxes' here!
Stuart Miller played an endearing General Stanley who mismanaged his daughters with aplomb and Mabel (Katie Ellis), Edith Kate and Isabel, along with the other girls looked delightful, sang harmoniously and danced the simple, but effective routines with style and together the ensemble's singing of 'Hail Poetry' was little short of triumph.
As the story unfolded, the hapless policemen, led by Francis Moles, provided several moments of delicious incompetence, but to ensure that, as always, truth, beauty and national pride will win the day, they were allowed to overcome the dastardly Pirates and turn the orphan boys into peers to make everything come out all right in the end.
Preston G&S is to be congratulated on an entertaining, visually delightful production. Long may it continue.
IL TROVATORE
Preston Opera Company
With Verdi's Il Trovatore, Preston Opera Company took on one of the most complex and confusing of all operas. An almost incomprehensible story where most of the action takes place off-stage. The plot of the opera could come from a Victorian melodrama where we have infanticide, abduction, unrequited love and finally just about everyone gets slaughtered. From such an inauspicious plot comes some of the most magnificent music ever written.
Preston Opera Company is more than capable of taking on this difficult opera. All the principals sing magnificently. It has often been said that all this opera needs is the four best singers and this cast was heroic in its efforts. Stella Whitehouse (Leonora) in her first role for the company was absolutely solid from beginning to end. Her effortless coloratura rang round the auditorium and her control of the voice was magnificent enabling her to evoke great passion one moment and tender sorrow in another. This ability was seen on many occasions, but no better than the beginning of Act 4 where the heroine has come to try and rescue her lover. It is a very long and vocally demanding section of the opera but Stella sang passionately and beautifully through it all.
Sean Ruane (Manrico), also in his first role for the company, was a noble troubadour. He has a big Italianate type voice and an imposing stage presence. He paced himself very well through the opera and had plenty of breath left for the final dungeon scene. I particularly liked the Act 3 aria "Ah si, ben mio coll" which was delicately sung and leads on to the famous, and strenuous, "Di quella pira."
Paul Gibson as Count di Luna was in magnificent voice. His high baritone is ideally suited to this role and he captured the character of the tortured Di Luna to great effect. The aria "Il balen del suo sorriso" was beautifully sung but the darker side of the character was expressed equally well. I always felt that Paul was in perfect command of his voice and that makes for a comfortable evening.
The fourth main principal was Joan Horsfield (Azucena) and she acted the role of Manrico's mother to striking effect. I think, perhaps, the wig was a little overdone but you certainly believed she was an old witch of legend. Vocally secure throughout, the duets with Manrico were particularly well sung and this created a believable bond between them.
The minor principals all played their part and no one was out of place. But I might mention Barrie Wright who gave a very convincing performance as Fernando who has the unenviable task of setting the scene to this confusing story.
The admirable men's chorus were very busy in this opera but the ladies have very little to do. This is a great pity for the whole ensemble is magnificent. The finale to Act 2 is wonderful as the ladies gradually appear on stage and the sound swells out as chorus and principals lead us gloriously to the interval.
The whole opera was well organised and controlled by director Harold Cartmel. Perhaps it might have been interesting to see the ensemble on stage in the "Miserere", but that is a minor point. The usual outstanding sets were there again, providing a solid framework within which the action takes place. The whole stage was effectively and convincingly dressed.
Of all the excellent performances on display I might single out that of musical director Carl Penlington-Williams. Outrageously young, he commanded the orchestra and stage with absolute authority. His enthusiasm and charisma were obvious. He clearly deserves enormous credit for ensuring that singers and orchestra performed to such great effect. The only problem was that, on occasions, one was tempted to watch him rather than the stage. This young man will clearly go far.
This was a wonderful opera really well done.