September 2000 - Region 5 - Glyn Neary
JESUS CHRIST SUPERSTAR
All Saints (Elton) AOS
Director & choreographer: Anthony Williams
Musical Director: Sarah Day
I am never less than amazed when visiting this church society for it is not long before I forget I am sitting in a church hall watching an amateur society performing its latest show. The quality of presentation, from front of house to the performance itself, is never less than first class. The society's constant striving for perfection is obvious when the curtain rises on a Mollie Binns designed set. The sheer inventiveness of this grande dame of theatre is breathtaking and so it was with the set of Jesus Christ Superstar. From the steps of the temple to the Garden of Gethsemene, the story of Christ's last seven days as seen through the eyes of his betrayer Judas Iscariot (Graham Cheshire) was played out on another splendid setting.
A superb set of principals had the joy of performing before capacity audiences which must have been most rewarding. Ann Dickinson as Mary Magdalene suffered the dreaded fate of a lost voice and so we never really got to hear her thrilling soprano to its best effect. Such was her technique, however, that she was still able to put across the most famous of songs, "I Don't Know How To Love Him" very movingly. Simon Westwell as Jesus was no pushover. Meek and mild when he needed to be, the strength of character really shone through in the eviction from the temple of the money-changers. This was one Jesus you didn't mess with! Throughout the show you realised that here was a man with a destiny to fulfil. This was an excellent performance.
The supporting roles were also well cast and gave a sincerity to the show which can, so often, be lacking if there are weak links. I was especially impressed by the performance of Carl Mullaney as Peter. This is a young man who oozes talent, is an excellent mover and with a beautiful voice to boot, should prove to be an asset to many a future production.
Jason Cain (King Herod) turned in another fine performance with 'Herod's Song' receiving its full measure and one which was much appreciated by the audience.
John Mahoney as Pontius Pilate was excellent and this was as good an interpretation of this role I have seen with the many facets of this troubled man being well pointed. The supporting roles of Caiaphas (Paul McGowan) and Simon Zealot (Mick Seaton) were finely observed, too.
With this show we had excellent performances played out on a superb set,
exquisitely lit by Mark Tempest and team and backed by a sympathetic accompaniment
from an excellent combo directed by Sarah Day at the keyboard. The whole
production, brought to perfection by the superb direction of Anthony Williams,
is another feather in the cap of this very talented society.
(David Lewis)
MACK AND MABEL
Farnworth AODS
This was a truly entertaining and enjoyable evening. The society was one of the first in the country to secure permission to stage Mack and Mabel and what a great job was made of it.
From the opening scenes to the very poignant finale the audience was taken on a roller coaster ride of changing emotions from sadness to sheer delight. The story of local girl 'makes good' does not have the predictable happy ending and the reasons why were made very evident in this production. Director Bernard Smith utilised the talent he had on stage very well. With such a large cast it is not always possible to make good pictures but he used the stage well and it was only in the Keystone Kops scene that things looked a little cluttered. His choreography was good and I particularly enjoyed the Bathing Belle scene.
The principal characters were, on the whole, well directed but there were occasions when the pace appeared to slow down. The main characters of Mack and Mabel were confidently played by Ken Patterson and Ruth Mauriello. Congratulations to them both, especially in maintaining the accents all the way through the production - particularly in the singing. The supporting roles of Lottie Ames played by Sue Foster and Fatty Arbuckle played by Ian Lewis both deserve a mention. They had good stage presence and were very amusing, especially the latter.
The rest of the supporting cast was convincing in the various roles, especially the dead-pan performances of David Watson and Dave Moss as the producers Kleinman and Fox.
The costumes were colourful and thoroughly enhanced the performance as did the stage crew with the slick scene changes. I wish I could say the same thing for the lighting, which was slightly disappointing and inadequate, especially in the train scene when characters' faces disappeared in the shadows.
I cannot finish without mentioning the superb contribution made by musical
director Ewan Anderson and his very polished orchestra. His direction and
musical ability were very apparent. I am sure the hard-working chorus appreciated
having someone of his ability in the pit.
(David Kay)
OUT OF FOCUS
Farnworth AODS
Director: Allan Christey
A director's lot is not always a happy one and so it was with Allan Christy who had only a couple of days notice to brush-up on his leading man's lines and step into his shoes. The audience was told he would be reading the part in but I was amazed, and pleasantly surprised, as I was not aware of his reading any lines. And not only that, he gave a performance of which anyone could be proud.
But!! And I say this in a constructive way: when the curtain went up we had the mood music which stopped suddenly leaving us with a character extreme stage left speaking on the telephone. When the curtain goes back give the audience time to take in what was a good set while the music fades out. Then let us hear those opening lines - normally a slow count of five does the trick - and make sure you are facing the audience. Unfortunately I missed the conversation as the character was facing off and not out. This was not helped by the sight lines, either.
I don't know whether or not it was the change of cast but when lines were lost and a prompt came in the pace was lost - and with comedy you must have pace. Finally, where the production was concerned, it is terribly important to build up to the end of each act as the paces gets quicker and quicker until the curtain. Only it didn't! It is to be hoped that this was achieved as the week went on.
Helen and Sue played by Ann-Marie Gorsuch and Judith Higson both improved from a nervous start. Judith Firth who played Evonne also came into her own as the story unfolded. Graham Worthington gave a workmanlike performance as David. Diane Shuttleworth was striking as the lovely office femme fatale
Apart from Allan Christy's performance as Bob Enfield we had three other excellent portrayals. Paul Costello obtained the maximum comedy from the role of Wayne - a smashing characterisation. David Watson as Leonard Trotter gave us a gem of a performance. Last, but not least, Kath, played by Elaine Nuttall was so natural one totally believed in the character.
Comedy is the hardest thing to do and, for me, the most rewarding. I hope
the cast enjoyed the play as much as the audience and that the society continues
to perform legitimate theatre as well as musicals.
(Colin Magenty)
THE PIRATES OF PENZANCE
New Rosemere AOS
Despite an errant smoke alarm which occasioned some 500 patrons to be deposited on the streets of Bolton for no good reason the society staged another splendid production. All the principals were in good voice and were backed by a well drilled and vocally excellent chorus.
In this, his farewell appearance, Bernard Killeen was resplendent as the Major General. Crisp succinct delivery added much to what was overall an impressive performance. Equal in level of attainment were Patrick Unsworth as the gullible Pirate King who gave a splendidly swashbuckling portrayal as did Daren Marriot, in his debut appearance for the society, as the naive but dutiful Frederic.
Lisa Murphy was an excellent Mabel giving a strong, sure performance which was a delight to watch and listen to. She was ably supported by solid performances from Claire Dewhurst, Liz Robson and Nina Loftus as Edith, Kate and Isabel.
Eric Cheetham was an effective Samuel, Derek Jackson a fine Sergeant of Police whilst Ann Smith looked completely at ease and gave an excellent portrayal of Ruth.
Pirates, Policemen, Nannies and Governesses all contributed individually to a splendid evenings entertainment. Stage Director Rita Whitelaw used the large chorus well, Musical Director John Balshaw produced his usual excellent orchestra and backed by simple scenery and good lighting effects, particularly in Act 2, this was entertainment of a very high standard.
OLIVER!
Horwich RMI & District AODS
Staging a show of this type, at this venue, would test the patience of Job (what a great stage manager he would make) and would require the ingenuity of Leonardo as a set designer (what a team they would make) to present the scenes of darkest London to the Horwich public. Whilst Rod Bowmer (stage manager) and Derek Homer (set designer) may not yet have reached those dizzying heights they did produce a more than acceptable set which was sufficiently flexible to allow the show to progress without undue hindrance - a credit to all concerned.
A plethora of youngsters inhabited the workhouse and, whilst appearing somewhat too clean, nevertheless carried some well choreographed numbers with apparent ease. The Sowerberrys were well cast with John Whitehead as the lugubrious undertaker and Barbara Platt as his strident wife. Tim Platt was excellent in the cameo role of the bossy, overbearing Noah Claypole.
Chris Higson and Sharon Knott were well matched as the avaricious workhouse master and the coy, but conniving, Widow Corney. David Simmons as Oliver and Craig Duffy as the Artful Dodger were a nicely balanced pair who sang well and gave confident performances.
The cameo roles of Mr Brownlow, Dr Grimwig and Mrs Bedwin were successfully carried by John Goldsworthy, Don Fairclough and Carol Goldsworthy whilst the singing of the quartet of street sellers Sharon Morris, Laura James, Jan Ashton and Andrew Turton was also worthy of note.
Alison Smith gave a strong performance as Nancy capturing the hard side of the character as well as the compassion for Oliver. "As long as he needs me" was also sung with a great depth of feeling. She was ably supported by Lynsey Merrick who was always in character as Bet.
Whilst David O'Brien might not have had the physical presence one associates with the part of Bill Sykes his body language and gruff voice, which occasionally impaired his dialogue, provided the necessary level of menace.
The part of Fagin was in the very capable hands of Joe Simmons. Here again body language, hand movements and facial expressions are all important to capture the essence of this devious, conniving character. A gem of a part and a gem of a performance.
Marie Brayshaw's production and choreography was thoughtful and well devised, given the limited stage facilities and the whole production was enhanced by a good orchestra under the capable direction of David Perks. A competent line up in all departments resulted in a good show and an excellent evening's entertainment.
STATE FAIR
Radcliffe St Thomas' AODS
Having started its life as a film in the 1930's it reappeared in the 1940's with music by Richard Rogers and lyrics by Oscar Hammerstein II. Another release was made in the 1960's with additional songs and a further passage of time has eventually brought it to the amateur stage. Whether it ever becomes as popular as other Roger and Hammerstein shows remains to be seen and, whilst the storyline is a little thin, there are some good songs for principals and chorus alike to wrap their tonsils around. Indeed the whole show seems ideal for amateur societies with plenty of parts for aspiring principals along with good chorus numbers and dancing opportunities. Having said that any production team needs to find something to bolster Act 1 as it slowly wanders through the storyline introducing the characters.
Vocally the society was up to the mark with Julie Ogden (Margy) singing "It Might As Well Be Spring", a quartet of Graham Worthington (Abel), John Jackson (Wayne), Noel Rose (Clay) and David Roberts (Hank) with "More Than Just A Friend" and the chorus with a lively "Our State Fair" and another super song "It's A Grand Night For Singing".
Act 2 is a much better affair as the love interests reach their conclusion, Abel's boar, Blue Boy, finally takes first prize and his wife's home-made mincemeat, liberally spiked with alcohol, wins the blue ribbon. Here the cameo role of Judge Heppenstahl was well played by Keith Bromelow who lurched effectively around the stage having sampled the high octane mincemeat. There was another good performance from Pat Fountain as the dance band singer Emily Arden who certainly put her numbers over very well.
There were solid performances throughout from the principals particularly Graham Worthington as Abel Frake, John Jackson as Wayne Frake, Ron Waite as the worldly newspaperman Pat Gilbert and Julie Ogden as the slightly mixed up daughter Margy Frake.
There is plenty of opportunity for dancing and chorus work and here I felt the big chorus numbers might have been better developed instead of too many straight line formations.
Bright colourful scenery which was well lit by Clive Eastwood and a good orchestra under the direction of Derek Riley enhanced this production by Freda Farnworth and choreography from Samantha Tarrier. A good evenings entertainment which might have been improved upon with more imaginative settings particularly in Act I.
SWEENEY TODD
Kearsley AODS
A mightily challenging choice of show for even the most experienced of casts to tackle and one which would test the production team of Howard G Raw and Mary Rose Swarbrick to the full. Where the cast lacked the necessary talent to put across this dark musical drama they made up with bucketsful of enthusiasm and it is to their credit that they performed as well as they did.
For me the star of the show was Lilian Watson who played Mrs Lovett the pie maker with the extra ingredients. She seemed to have little problem with the complicated musical score and was dramatically up to the mark. Joanne Davies was also very good as the deranged and bedraggled Beggar Woman.
Roger Quinn managed the lighter moments quite well as the con-man Pirelli and Yvonne Pattinson was in good voice as Joanne. Carl Lawrence made a promising debut as Tobias but needed audio enhancement being somewhat difficult to hear at times.
George Kearton took the title role of Sweeney Todd. One could not have wished for a more darker, morose and vengeful characterisation however his performance showed little light and shade and the vocal score did defeat him on occasions.
Other parts were played with varying degrees of success by Adam Whittle (Anthony), Stan Porter (Judge Turpin), David Slater (Beadle Bamford) and David Hollingdale (Jonas Fogg).
The rotating set worked well and lighting by Tom Drinkwater served to emphasise the drabness of late 19th century London. Costumes and hairstyles matched the period but better sound enhancement would have assisted the production.
Whilst the societies current policy is to present shows which are not generally performed this is not helping to build an audience as witnessed by the lack of bums on seats. The sale of meat pies at the interval was an appropriately macabre touch and since cast numbers remained constant they obviously avoided the attentions of Sweeney.
A good effort at a difficult piece with a couple of performances of merit.
THE GHOST TRAIN
St Peters Methodist Church AODS
This classic Arnold Ridley tale which possess more twists and turns than the proverbial corkscrew was well put over by a more than competent cast. They worked against a very good set of the dilapidated Fal Vale railway station waiting room which, along with some good special effects, set the scene perfectly.
The storyline concerns a number of passengers who are dumped at this remote station due to no fault of their own - a believable scenario considering the parlous state of British Rail. Their predicament is further complicated by several perfectly reasonable looking, but certainly dubious characters, until the final conclusion is reached.. Bert Halliday playing the Stationmaster, albeit with a slightly dubious Cornish accent, set the scene well with an extensive diatribe on the folly of searching out the truth behind the mysterious Ghost Train. The incredulous non - believers are Richard and Elsie Winthrop, Charles and Peggy Murdock, Miss Bourne and Teddie Deakin.
Steve Hallows was very good as the authoritarian Richard Winthrop who was constantly at odds with his wife Elsie, equally well portrayed by Jennifer Lee, who are drawn together as the plot reaches its conclusion. Charles and Peggy Murdock, played by David Redman and Nicola Jones, were well matched as the newly - weds whose nuptials are interrupted by the nefarious activities of others.
Miss Bourne, everyone's favourite aunt, who entrusted her survival to the good lord and strong knicker-elastic was in the capable hands of Dorothy Jones whilst the Hooray Henry- styled Teddie Deakin, ably played by Russell Ashby, eventually turned out to be the cop who was sharper than a Mach 3 razor.
The `baddies' were played by Ian Hunter (Herbert Price), Chris Wilks (John Stirling), Michael Foley (Jackson) and Raymond Thornley (Smith). A special mention must go to Irene Holmes as Julie Price. A mere matter of hours separated her from the prompt's job to the part when the original incumbent fell ill. If there was a `last minute replacement Oscar' available it would certainly go to this lady - well done Irene.
Costumes by the society and Bolton Little Theatre looked right for the period and along with advice and special props from Malcolm Frost, Graham Veever and David Wright of East Lancashire Railways, this production by Terry Bowden proved very entertaining.
42ND STREET
Walmsley Church AODS
With an experienced production team of Nora Howcroft (I would be ungentlemanly to say how many years in the amateur fold), Choreographer Barbara Grant (well known and respected throughout the area) and Musical Direction by Adrienne Wormald (who seem equally at home in the `pit' as she does on stage) one would assume that a good show would follow. Not surprisingly, considering the current talent available at the society, a good show was dutifully delivered.
Chorus work has occasionally in the past been a shade under par. However the efforts of the choreographer seem to have paid dividends this time with well co-ordinated dance routines. The society is also renown for scenery and the backstage staff duly obliged with an excellent art deco styled set.
Joyce Walters gave a studied performance of the established star Dorothy Brock who, although supposedly over the hill, still retained plenty of sparkle. Delaney Brindle, was excellent as the newcomer on the scene. She made the character of Peggy Sawyer entirely believable, gave a first rate performance in every discipline and really looked capable of taking Broadway by storm.
Jane Bickerstaff gave a solid performance as Maggie Jones and was ably partnered by the experienced Don Howcroft as Bert Barry. Michael Taylor produced an assured performance as the forceful Julian Marsh commanding the stage at all times.
David Wilson moved well and gave a nice relaxed portrayal of Billy Lawler whilst Roger Higginbottom did well as Andy Lee. Smaller parts were also well served with Eddie Williams making the most of the part of Pat Jennings, Vicki Wilson as the bubbly Anytime Annie, Sarah Booth (Phyllis) and Karen Millington (Lorraine) dancing well and Harry Lee perfect as the cigar chewing Abner Dillon.
It was obvious that a great deal of time and effort had gone into the production numbers, the cast looked as if they were enjoying themselves which quickly translated to the audience and the show was fully deserving the applause it received.
THE BARTERED BRIDE
Opera 74
A story of apparently ill fated lovers Marenka and Jenik one of whom had been contracted in marriage by her parents to Vasek the stuttering son of a wealthy landowner on the advice of the silver tongued marriage broker Kecal. Kecal bribes Jenik, with the sum of 300 crowns, to renounce his love for Marenka and a contract is duly signed which says she will marry the son of the landowner. Unknown to everyone Jenik is actually the long lost son of the landowners first marriage so ends up with the 300 crowns and Marenka as well. Not surprisingly Kecal is a tad upset at losing his money along with his fee for the marriage contract.
Set in a southern Bohemian village the scenic designer Sharon Forrest had produced some good scenery which is an improving feature of the company. Costumes also looked quite authentic and the audience were greeted with an open stage on which the villagers were busily preparing for the Spring Festival.
As one might expect from an opera company the singing was of the highest quality and none more so than Roberto Garcia Lopez who made full use of a fine tenor voice in the part of Jenik. David Griffiths also sang well whilst simultaneously managing to stutter as the shy Vasek. Alan Roscoe once again gave the performance of the evening as the conniving Kecal. A very expressive performance enhanced by the make up team who had done a brilliant job with the bald wig.
The ladies were equally well served with Claire Unsworth's excellent portrayal of the ill fated lover Marenka and Ann Haslam as her mother Ludmila.
The company had enlisted the help of the Polonez Polish Folk Ensemble whose beautifully decorated costumes added a swirl of colour during the intricate dance routines. Frank Bowdler as the excitable effusive leader of this troupe of strolling players added a further dimension to the production.
Some interesting chorus groupings and a nice light touch from Producer Jane Hyde along with the backing of a good orchestra under the baton of Paul Peyton, who also contrived to involve himself in the onstage activities, made this a most rewarding evenings entertainment.
DIE FLEDERMAUS
The Three Towns OS
The society presented a strong principal line up for this delightful Strauss operetta of which Producer David Kay took full advantage. Without exception they could all sing and act and each took full advantage of their opportunities as they arose.
Jim Lancaster used his fine tenor voice to good effect and, along with a good Italian accent, made the most of the besotted opera singer Alfred. The object of his desire, Rosalinda, was played in fine style by Susan Bradley with more than competent acting and a strong, sure voice.
Malcolm Fallows was very good as Gabriel, looked every inch the ladies man, extracted all the available humour and used his strong voice to full advantage. Lisa Murphy also sang well and made the most of the effervescent maid Adele.
Joan Ashcroft played the lugubrious Prince Orlofsky with an air of complete disdain whilst David Kay, in the pivotal role of Dr Falke, was the very essence of deviousness and cunning as he manipulated all around him.
Most of the comedy lay in the capable hands of George Ashcroft Snr as the prison governor Frank and Colin Magenty as Frosch. George made an excellent job as the 'Freddie Frinton' styled character complete with broken cigarette and was met by a totally inebriated Frosch who took every opportunity to fall about the set. Both gave object lessons in how to get the most from that type of part without overplaying their hands. The smaller roles were competently played by George Ashcroft (Dr Blint), Wendy Henshaw (Ida), Enid Magenty (Mitzi) and Harry Booth (Ivan).
The chorus was vocally very strong but could have been used to better effect instead of the statutory straight-line formations. Sets by Frank Bowdler were excellent although some lighting problems in Act 2 were a little distracting. The costumes were very good and of the right period and the orchestra, under the baton of Rod Dakin, was up to its usual quality.
A thoroughly enjoyable production which was of a very high standard.
CHILDREN OF EDEN
Whitefield & District AOS
They say there is nothing new in the world and if this story of the problems between parents and errant children is any measure they are probably right.
David Reeves, as the father, presided over the whole affair with an authority that would have impressed the creator himself. An excellent vocal performance, a superb costume and an assured style made this a commanding performance indeed.
Lindsey Astin doubled in the roles of the inquisitive Eve whose actions start the downward slide and later as the more maternal and concerned Mama Noah. Vocally up to the mark and both parts well played.
Steve Benson looked equally at home in the double roles of the contented and respectful Adam and later as the authoritative but conciliatory Noah.
Both Sam Diprose and Shaun Holt made promising starts as Young Cain and Young Abel whilst Ben Skevy was most effective with his sinuous movements as he slithered around the stage as the Snake.
Mike Tew and Neil Coe also played double roles as Abel / Ham and Cain/Japheth. Mike was quite effective in his roles whilst Neil, although a little lightweight vocally, rarely have I seen anyone put as much effort into the dramatic side of the parts -well done Neil. Una Evans - O'Connell also figured well in the part of Jonah.
Director and Choreographer Shirley Ann Hill made the best use of the available stage area with some attractive positioning and movement from the mostly young chorus of storytellers. The whole production was ably supported by a small unobtrusive orchestra under the direction of Michael Pinder.
General staging was firmly in the minimalist school, which I have no problems with, however lighting becomes more important and here I think more could have been done to enhance what was otherwise a good production.