September 2000 - Region 3 - Margaret L. Gillibrand
OLIVER!
Accrington Theatre Group Buddies
Director Amanda Braidford coached some highly commendable performances from this young, enthusiastic group, and we saw an intelligent production of Oliver that moved at a good pace. Played out against a basic but imaginative set that was well lit, the large company moved and sang well. Musical Director was Chris Jennings and the choreography was from Michelle Laherty.
The title role was taken by Samantha Braidford who turned in an excellent performance and her singing did full justice to the vocal numbers. Roger Nuttall's Fagin showed great potential and his mannerisms and movements were good. A mature and assured performance from Katie Whittle playing Nancy was well matched by a strong Bill Sykes from Stephen Cant. Richard Jackson was a delightfully comic Bumble moving and singing with great confidence. Holly Byrom was a strident Widow Corney and the two worked well together, extracting plenty of comedy. Mr and Mrs Sowerberry were very well played by Alexandra Duxbury and Helen Jackson - again two natural performers. Rachel Entwistle was a bright Dodger and young Ross Johnson was a treat as Charlie. Other roles were played by Stephanie Patchett and Philippa Schofield (Charlotte and Noah) Sophie Maden (Bet) Meloney Armstrong and Gemma Steer (Mr Brownlow and Mrs Bedwin) Joe Thompson (Dr Grimwig) Jennifer Williamson and Hannah Marie Jones (Old Lady and Old Sally.
The adult technical team worked well and the sound and lighting were good. Plenty of talent on show and the older members of the cast look well poised to move up into the adult society - hard work that has paid and will pay dividends.
FLY IN THE OINTMENT
Bacup AODS
This play, directed by Mark Storton, opened on an excellent set - well constructed by Geoff Knight and Jack Martin and well lit by Mark Tempest.
A finely-observed first entrance by Andrew Husband as the adulterous Cabinet Minister, furtively sneaking about his mistress' bungalow in search of compromising photographs, was matched by Carole Bardsley as the mistress settling into an armchair on her return from shopping, and giving a hint of her sensual nature as she luxuriated in the simple act of removing her shoes!
Unfortunately, the dialogue then intervened and throughout the play the pace of the dialogue never quite matched the pace of the action. Elaine Ives' eccentric policewoman was played for obvious laughs but I thought the big boots a little unnecessary. A disciplined effort from relative newcomer Luke Goodwin as the pizza delivery boy, and the expected cheeky performance from Paul McGowan as the amorous GP- especially after his "quarter-bottle of gin" - added to the piece.
Finally a word of praise for Elizabeth Howorth - it can't be easy for someone so naturally vivacious to act with such control in the face of ensuing insanity, but she managed to out-Hyacinth the redoubtable Mrs. Bucket!
Not a bad effort from an accomplished company.
(Geoff Baron)
THE SOUND OF MUSIC
Bacup AODS
Always a popular choice, this Rodgers and Hammerstein musical, full of wonderful music and light drama, was directed at the Empire by Anthony Williams with Nick Saunders in charge of the music. Several good performances made this a watchable show: the staging was elegant and highly effective. Stunning lighting was particularly good in the Abbey scenes.
Geoff Baron can be relied upon to turn in a good dramatic performance and this he did as Von Trapp and his vocalising was also in sympathy with the role. Vicki Stott was a vivacious Maria and she used her rich, true voice to full effect in her vocal numbers. I enjoyed Michael Haworth's Max, which he played with intelligence and humour. Elizabeth Haworth's Elsa was brittle and reserved - a perfect contrast to Maria. Deborah Smith was a delightful Liesl and the vocal harmonising between her, Maria and Von Trapp was particularly pleasing.
The Von Trapp children were well played by Joseph Geddes, Kevin Downes, Kirsty Heaton, Fayhe Louise Mitchell. Emily Crabtree, Lauren Gosnell, Christine Towers and Sara O'Connor. Ann Baron was a typical Frau as the Housekeeper with John Bartlett playing Franz. Carl Mullaney was Rolf, Tony Lewis Herr Zeller, and Brian Whittaker took the role of Admiral Von Schreiber. Jean Mitchell was on top vocal form as Mother Abbess and her 'Climb Every Mountain' was a musical highlight of the show. Sally Bromley, Kristen Hoyle and Kath Smith played Sisters Berthe, Margaretta and Sophia.
The technical team worked very well in this production and Jack Martin and Geoff Knight, along with lighting director Mark Tempest and sound director Lea Royce, deserve praise for helping make this show the big production is was. Well done, everyone - a good night out!
SHAKERS - RESTIRRED
Blackburn Drama Club
A stunningly simple set and four enthralling performances made this production totally enjoyable theatre. Director Steven Derbyshire was fortunate in his choice of four experienced actresses who "motored" their way through a typical John Godber script.
The sharp, often caustic, dialogue was delivered with no small amount of relish by Kate Roberts, Anita Shaw, Jacqui Mooney and Shelagh Turner. The quartet worked well together, achieving the change in character (and often gender) flawlessly. All got under the skin of the waitress they played and took the audience with them through the ups and downs of a night in the life of a Cocktail Bar. This production did full justice to the Godber (and Thornton) script and the audience seemed happy with the night's entertainment.
CANDIDE
Burnley Gilbert & Sullivan Society
Rarely performed on the amateur stage this was a brave choice for the society. Mick Dawson's production did the piece full justice and it proved to be a very enjoyable show. The Bernstein score is vibrant and musically taxing but the principals and chorus rose to the challenge under the baton of Geoff Balson. The staging of the piece was very inventive and worked well and there was clever use of lighting from Alex Johnson.
Dean Viner, playing Voltaire and Dr. Pangloss, gave a delightful performance, leading the audience through the story of Candide with impish delight. Candide was played with intelligence, wit and pleasant vocal skill by Patrick Stewart. Suzanne Mather was on top form vocally and dramatically, playing the wilful Cunegonde. Her brother was very well played by Damian Trafford who vocalised well and turned in a delightfully comic performance. Another strong performance dramatically and vocally, came from the talented Judith Briscall who relished playing the role of The Old Woman. Janie Vita was the delightfully pert maid-of-all-works Paquette and Jim Ogden's Governor was impressive. Other cameo roles were well played by Mick Dawson, Paul Patrick, Daniel Johnson, George Robinson, Robert Taylor, Liz Duckworth, Sue Hogg and Beth Hughes.
We were treated to the powerful sounds of the society's chorus which, although not as large as normal, did full justice to the concerted numbers. Stunning costumes from the wardrobe department, equally stunning wigs from the ever resourceful Joan Preston, along with many and varied props from Lynne Halstead, added much to this production - the whole show moved along with confidence. An unusual and enjoyable evening.
THURSDAY'S CHILD
Dorothy Bruce School Of Dance
Inventive, slick choreography, exactly interpreted by a well-drilled company, and plenty of young talent were the hallmarks of this special production. Thursday's Child is billed as a children's rights musical and is evocative, thought provoking and ultimately very moving. Written by Greg Snape for UNICEF, it charts the journey of one group of children - children who do not know what is it to be child-like and play and learn and have someone to love them - from a Labour Camp where cruelty abounds, through violent streets and ruined cities, seedy street life and a platoon of child soldiers, until they reach the House of Just where their rights are finally acknowledged and they are returned to a loving, safe environment.
The principal children are named after the days of the week and playing Sunday was Sally Glenn who gave a confident and talented performance. Clair Bruce's Monday was gracefully danced and Rachel Del Mar was a wonderfully silent and emotive Tuesday. Sarah Woods' performance as Wednesday was highly commendable. Sarah Bruce played the Thursday's child in the show's title and was always in character, while the portrayals of Friday by Charlotte Norris and Saturday by Jennie Maynard were excellent.
The large cast all sang, danced and acted very well and were a credit to producer and choreographer Dorothy Bruce. Along their journey the children meet the best and worst of "grown ups" and these roles were well taken by adults Lesley Mugan, Alf Boyle, David Pollard, Christine Woods and Angela Harwood. Greg Snape's score was upbeat, and with difficult timings and rhythms must have been fiendishly difficult to learn. But the group had got to grips with this aspect of the show, too and the chorus numbers, often in several part harmonies, were well delivered.
The score is sent as a tape package with the libretto, and sound technicians Smithson and Webster ran the show seamlessly. Les Rooks did an outstanding job with lighting - inventive, atmospheric and totally in sympathy with the piece.
Staging from the hard working stage crew was simple but effective and conveyed exactly the sparse and desolate world in which the children existed. Costumes from Christine Woods, Lesley Mugan, Helen Ross and Jane Tucker were completely in keeping with the piece.
This thought provoking work is certainly not "pretty" but it roused a suitable response from the audience the night I attended. A brave choice and one which gave the pupils ample opportunity to show off their skills, with all proceeds going to UNICEF. Well done, everyone involved.
DANGEROUS OBSESSION
Burnley Garrick Club
A tension filled drama N. J. Crisp's play was staged by the Club against a brilliant set by Harvey Levene. Strong performances from Lynne Cummings and Alan Bailey as husband and wife, and Barry Beckett as their unexpected caller, made this play - directed by John Cummings - very watchable. None of the three characters are what they first appear and the actors skilfully unravelled the intricacies of the plot, keeping the audience guessing to the very end.
The action takes place in the conservatory of a very upper-class home and the props from Jackie Williams, Ann Dunlop and Gordon Chadwick were excellent, as were the lighting and sound effects from Richard I'Anson - all creating exactly the right ambience. Good theatre and very enjoyable.
OKLAHOMA!
Greenbrook Methodist Church AOS
Edward Mundy produced this ever popular show, Musical direction was by Barry Jackson and Janet Gilbert. Jeff Pilkington and Christine Chadwick took the leading roles of Curly and Laurey and each contributed in their own inimitable way to the show. Edward Mundy was a brash Will Parker and Ellie Parker was a dizzy Ado Annie. Brian Fagan was a delightfully comic Ali Hakim - very well observed role; and Pauline Woodworth played Aunt Eller. Les Bland gave us a sinister and well sung Jud and the Smoke House duet was one of the highlights of the show. Other roles were taken by Barry Robinson, Jason Morris, Stephen Reid, Alan Woodworth and Ian Wrigley with Elaine Morris playing Gertie Cummings.
The sets and staging were excellent and the technical team of Paul and Graham Thornton, Paul Wilkinson, Neil, Andrew and Gary Curson are to be congratulated. The small stage was transformed and the perspectives achieved - so vital when working on such a restricted area - were excellent. The chorus moved, sang and looked good and with choreography from Katherine Thornton and a musically competent accompanying quartet this show moved along nicely.
MY FAIR LADY
Rossendale AODS
A classy production by Colin Povey made this Fair Lady very watchable and good entertainment. John Schofield turned in a flawless performance as Higgins and although acting is obviously his forte, he delivered the musical numbers with panache. Gina Cole was a delightful Eliza, acting and singing well and getting to the heart of the Cockney flower girl. Alfred P. Doolittle was played with vigour and much good humour by the "evergreen" (I know he won't mind me calling him that!) Geoff Jackson. He was a larger than life Doolittle and he was very able assisted by Phil Brown and Tony Harris who were both excellent as Jamie and Harry. Brian Flockton succeeded in making Colonel Pickering very "human" and his interpretation was in good contract to Higgins. Richard Garnett was in tremendous voice as Freddy Eynsford Hill and he succeeded in injecting the right amount of sensitivity into the character. Mrs Higgins was regally played by Stella Kelsall who extracted all the humour from her dialogue. Maureen Jackson was a suitably snooty Mrs. Eynsford Hill and Peter Morville a robust Zoltan Karparthy. Ann Stubbs played Mrs. Pearce and Barry Walton was the long suffering Butler.
The large chorus were in excellent voice and the concerted numbers were vocal highlights of the show, while the servants harmonised particularly well. Nick Jefferson, musical director, had gathered another wonderfully sounding orchestra and they added much to the production. Dances were choreographed by Liz Wood. Good costuming, especially the 'Ascot scene', along with excellent sets and effective lighting, all contributed to this entertaining production - well done everyone.
MURDER AT THE VICARAGE
Rossendale Players
Director: Stanley Whittaker
I don't think this adaptation of Agatha Christie's whodunit by Moie Charles and Barbara Toy will ever rank in the list of classical drama but it is obviously popular with the audiences as the society had enjoyed full houses throughout the run of the play. Following its success in the NODA North West Millies Awards, the company had a lot to live up to. However, rather than try to better its winning production the society wisely decided to give its newer, inexperienced members a chance to tread the boards and the mixture of experience and novice, on the whole, worked well.
But oh, that script! It was always going to be a struggle to give credence to the plot-line but the pace set by the director for this production helped enormously - this and a couple of absolute gems of role playing meant that the audience left the theatre well satisfied.
Tony Harris (Rev. Leonard Clement) was very believable and the characterisation was well maintained. He was well supported by Beverley Armitage (Griselda) who, one felt, really didn’t want to be a vicar's wife! The supporting roles, Lettice (Chantelle Sears), Dennis (Tom Pickup), Mrs Price-Ridley (Jacqui Sears), Anne Protheroe (Coral Stevens) all helped contribute to the atmosphere of a vicarage being the centre of a scandal - murder, to boot! I am in awe of the deductive skills of Dr. John Haydock (Roy Starkie) and Inspector Slack (Terence Hyde) but would I have wanted the Curate, Ronald Hawes (Ian Pickup) to have been part of my church organisation? And would I have really relished the good-looking artist Lawrence Redding (Richard King) living so close to the ladies of the village? There was always something questionable about his behaviour. Yes, a good villain of the piece.
There were two outstanding performances in this play. First, Janet Bird as Mary, the maid, just took over the stage whenever she was on. And while this role could become a caricature if over-played, Janet just kept the lid on performance and turned in a very funny, warm, believable character.
Second, the plum role of Miss Marple was played by Sheila Godfrey. With memories of film and television creations of this role it is inevitable that one will attempt a comparison: indeed, there can be the temptation to attempt an emulation of the playing by Joan Higson, or Athene Seyler or Margaret Rutherford. Happily, Sheila created a character of her own. I have never thought of Miss Marple as a waspish, nosy busy-body but how right this interpretation is. This was a very well-played performance.
Always, with Rossendale Players productions, great attention is paid to period details and so it was here. Furnishings, properties and costumes were all smack-on. Gill Ewbank, Ayesha Azfar and Anne Riding are to be congratulated.
The audience loved this play and the Players can be proud of this presentation.
(David Lewis)
OLIVER!
St John's Great Marsden AODS
This production of the popular musical was in the capable hands of Brian J Townend who was both producer and musical director. The improved sound system at the theatre helped this show with good audibility throughout.
The show had an engaging Oliver in Christopher Horsfall and he sustained the role well throughout. Mike McKeown and Connie Mason were the perfect Mr Bumble and Widow Corney - two lovely performances. The role of Fagin was well portrayed by Eric Fothergill. Julie Demaine was a striking Nancy delivering her dialogue and songs with style. Steve Royle was a villainous Bill Sykes and Kevin Kay was a bright, pleasing Dodger. The parts of Mr & Mrs Sowerberry were well taken by Victor Wood and Jackie Edington, with James McKelvey and Catherine O'Connell making the most of their roles of Noah and Charlotte. The dependable Brian Roden was an excellent Mr Brownlow, while Pam Normanton was a sympathetic, effective Mrs Bedwin. Geoffrey Holgate was excellent as Dr Grimwig, a role often neglected in this show. Margaret Boothman completed the cast as Old Sally.
The society's singing strength came to the fore in the 'Who Will Buy' number which was very well vocalised. A really good orchestra which played the score with feeling and sympathy accompanied the show. The sets were effective, although it was a pity tha, on the night I attended, the staging was both noisy and intrusive. I trust it got quieter and more efficient as the week progressed - it is not easy performing solo numbers against this level of backstage noise. This was a nice, bright show with plenty of young people in evidence - I hope they continue to be interested in the theatre.
ME AND MY GIRL
Todmorden AODS
A good, pacey production from a company which showed talent and enthusiasm.
Leading the first class cast were Mark Robinson playing Bill with great appeal and humour and Abigail Sharp a spirited Sally. Both performances were perfectly timed and professionally delivered. The diminutive Audrey Whitworth played the Duchess with style. She was very well partnered by Kenneth Marshall who proved an excellent Sir John. Joanne Gill and Andrew Summers turned in polished performances as Jacqueline and Gerald, while David Gill was a superb family solicitor playing the roles for laughs - which he certainly got! Mark Atkinson was a very droll Butler. Malcolm Heywood, John Wild, Cathleen Foster, Anne Chadwick and Mike Sagar all turned in delightful cameo roles as Sir Jasper, Lord and Lady Battersby, Mrs Brown Cook and Bob Barking.
There was a small but talented chorus which danced and sang its way through all the famous numbers with great aplomb. Andrew Mitchell's band gave a five star performance and the society is to be congratulated on the continued high standard of the music produced. Good sets, costumes and lighting all added to the overall quality look of this show. The production team of John Rawson, Andrew and Jennifer Mitchell and Jackie Nicholson could feel justifiably proud of this Me and My Girl.
WHOSE LIFE IS IT ANYWAY?
Todmorden AODS
TAODS certainly proved the adage "the show must go on" to be true. Just prior to the production of Whose Life Is It Anyway the Hippodrome was devastated by torrential floods which destroyed all of the first floor of the theatre. TAODS managed to rise above (excuse the pun) this crisis and present a professional production.
The story revolves around Ken Harrison who has been paralysed from the neck down in a road accident. After several months of acceptance he informs the staff of the hospital that he wishes to be allowed to die with dignity. TAODS was lucky in its choice of director, John Airton-Eastwood - (last seen at Todmorden playing the role of director in Noises Off) who directed the whole production with sensitivity. He demonstrated his script reading skills by finding every ounce of humour, to balance the obvious moral issues and this was displayed to perfection in this production. Richard Parkes brought his own interpretation to the role of Ken Harrison. It requires a great deal of acting skill to maintain such a demanding role. Richard's experience was evident. He discussed and presented the moral issues with conviction, anger and humour. Doctor Scott, played by Elizabeth Whittaker, has some empathy with Ken and agrees to support him. Elizabeth presented a warm and believable character and acted the role admirably. Julie Johnston was the efficient Sister Anderson. This was also a convincing portrayal. I particularly admired the strong, if brief, performance of Michael Church-Taylor as Mr. Justice Millhouse. Other supporting roles were played by Vanessa Barber, James Claxton, Franco Paolucci, Andrea Dinsdale, Michael Holloway, Brenda Bell, Christine Kidd, Mike Sagar, Lettie Church-Taylor. All characters contributed to the play.
The staging was minimalistic and worked extremely well; the effective lighting
by David Winslow created the correct atmosphere. Well done, Todmorden.
(Carol-Anne
Connolly.)