September 2000 - Region 7 - Tony Adler
MACK & MABEL
Rochdale AOS
Production - Howard G. Raw
Musical Direction - Harry Butterworth
Choreographer - Ann Parkinson
The only time I have previously seen this show was when it was first released for amateurs over ten years ago. I recall that I enjoyed it and felt it was very well done and was surprised when it was suddenly withdrawn, supposedly for a re-write. I was also surprised to realise that the professional version had not been an unqualified success. Eventually, it was released for a fresh professional run and it is now open to amateurs again and I went to Rochdale with great interest and anticipation. I had heard that the ending had been changed to make it a little happier but I suspect this version was slightly different even from the re-write.
So what did I find? First and foremost I saw a top class amateur show but appreciated why it might not be a best seller to the average audience. The musical numbers have always been first class, if not too well known to the general public but in many respects it is a dramatic story or play with music and the comedy is merely an example of the Mack Sennett style. It is definitely appealing to amateurs and lovers of the theatre but less so to average members of our audience. There were many aspects of Howard Raw's overall production that were extremely well done. I believe it is quite difficult technically but at the end of the day there are really only two leads, one important supporting artiste and a few smaller, but still very important, parts. The chorus is also an essential part of the overall effect but I comment later.
Martin Roche played Mack. I am sure others will play it as well but I would be very surprised to see anyone play it better. His performance was certainly that of the best leading man I have seen this season. He was very strong and arrogant on stage and acted superbly. A complete control freak over everyone and everything and yet one warmed to him instead of disliking him. He looked right and was totally in command of the stage and the audience. Samantha Bates as Mabel did not have the most exacting first act but her quality was severely tested in the second. Here she rose above being good and showed her class. She fully displayed Mabel's strength and yet weakness, her determination and then her vulnerability and the scenes between Samantha and Martin were magic. How rare it is to see two amateur performers combine to create such an effect and to be in so much harmony with each other and feed off each other's performance. One could almost see the sparks of the electricity passing between them such was the emotional balance.
Passing on to the role of Lottie: I am not quite sure whether she should appear to be a "has been" as distinct from someone whose place Mabel had taken. If she was a "has been", then who better than Jackie Matthews who "has been" just about everything other than a juvenile lead. In fact the only time I have seen Jackie less than first-class was when she changed sex in a pantomime and was merely a stand-up, slapstick, "knockabout" character with a rotten script. She was once again excellent (no other word will do) and in "Tap Your Troubles Away" revealed talents unknown to me and I am well aware of most of them. What a trouper!
Duncan Anderson was a perfectly acceptable Fatty Arbuckle and the other parts were reliably played, particularly Stuart Forbes as the unsavoury William Desmond Taylor.
What about the chorus? Well, once again, there was a shortage of men and there is nothing the society can do about it. All their participation was enthusiastic, competent and very well done although this is, in fact, a show that cries out for inspirational movement as it is the light part and comedy relief in it. The musical backing under Harry Butterworth was absolutely first class and did full justice to the musical score.
I am not sure that I felt the show itself was a brilliant piece of writing but it is always difficult, when there is a time span of twenty years to cover the plot, and yet no one really seemed to age except "movies ceased to be movies and became talkies"!
ME AND MY GIRL
St Herbert's AD Entertainment Society
Director: David Wild
Musical Director: Louise Brennan
Choreographer: Lynne Dawson
This society has advanced significantly in the last year or two and I hope that it can maintain the progress. There are still difficulties with the smallness of the stage and the musical accompaniment space is limited but the general ambience of the performances has lifted the company up the artistic ladder. The society even had the good sense to bring in the main lead without whom this show would have struggled and some of the other performers have already benefited from working elsewhere in larger societies. Whilst there may have been better all round performances of the show (and I have seen some of them) this one was good and most enjoyable and a credit to the society.
Richard Griffiths is a very good Bill Snibson. He is experienced in the role which clearly suits him, has a strong personality and commands the stage. Perhaps however because of his familiarity with the part, his excellent performance was, at times, just a little bit more arrogant and over-confident than warm and loveable and there were times when you felt the others were very much supporting players to his lead. It can be very narrow dividing line between acting in a vacuum and gently leading others up to his standard.
Wendy Chadwick as Sally was young and inexperienced and it showed a little in her singing. She was attractive and smart (perhaps a bit too much of a lady) and used her eyes and face well. She may well develop into a more than useful actress and has every reason to be well satisfied with her performance. On the other hand the more experienced Sarah Thewlis was an enthusiastic, over-sexed and revealing Lady Jacqueline who certainly knew how to throw herself at a man and did not take "No" for an answer - or even any prisoners - and it was a very bright performance. The Hon. Gerald was right up Tony Cenci's street and the role suited him very well. He was very much a genuine "Hooray Henry" of that generation. Jean Backhouse as the Duchess was not, I believe, very experienced but gave a good controlled interpretation of the part and Sir John was played by Neil Baldwin. Initially I had my reservations but this character does develop as the show proceeds and I thought he grew with it and made a very good job of it.
In his own way, one of the stars of the show was Terry Matthews as Parchester. Terry is a long serving and reliable member of the society and he plays any role thrown at him with enthusiasm, personality and some considerable degree of talent. His pièce de resistance was a superb tap dance which would have exhausted those half his age and which was a delight to watch. It made my evening's entertainment!
The quite large company filled the various bit parts more than adequately and the chorus and dancers did quite well. The musical accompaniment was in the very capable hands of Louise Brennan (a very reliable and hardworking pianist) assisted by Ray Murphy and Cedric Wayne and the sets were quite adequate bearing in mind the stage limitations. Lynne Dawson took competent care of the choreography and anyone who sees David Wild's productions regularly must have realised that he goes for audience satisfaction and enjoyment rather than strict artistic performance. It pays off more often than not and this show was right up his street. It was a thoroughly enjoyable evening's entertainment.
CARMEN
Rochdale Phoenix OS
Producer: Norma Grimshaw
Musical Director: Susan Morris
I have often wondered how amateurs successfully put on grand opera. Professional performers have top class singers of international status who have trained for years - even in the lesser roles - and are backed by an orchestra of symphonic size. So, how do you compare an amateur society playing in a small community centre, on a modest stage, with part-time musicians and with a limited budget? I suppose that they do it for the love of it - true amateurs. But nowadays it is probably harder than ever. There have always been good singers with some training in the amateur movement but now so many who have outstanding voices have the means, from an early age, to embark on some form of professional career thereby denuding the amateur scene.
There was scarcely a person under forty on stage and the average age was higher and so in this Carmen the soldiers were a little bit like Dad's Army. I do not mean this unkindly because there is nothing any society can do about it; and indeed, the cigarette girls and gypsy girls appeared a trifle mature. Nevertheless, with all these difficulties, the show always goes on and in this case it was backed by some capable musicians under Susan Morris's competent control who did justice to Bizet's wonderful musical score.
Norma Grimshaw worked well with the talent at her disposal and Stephanie Spencer was a very good Carmen who sang very competently and acted with some passion and looked rather sultry but perhaps she was a little bit short on vivacity and arrogance. Her two supporters Greta Shellard and Janet Millner are both experienced and responsive performers with fine and strong voices and they supported Stephanie well as did both the male and the female chorus and several supporting principals. Josephine Hall's Micaela did not seem quite as confident as the other female leads but she went through her music soundly and convincingly in what is not a very easy part at all. Steven Miller looked quite impressive as Escamillo but it might have been a little difficult to imagine him eyeballing el toro and his voice was perhaps a little more sympathetic than dominant.
Let me now turn to Don José played by Robert Driver. This is a difficult character to play and certainly not easy to sing. Believe me I have seen other amateurs, and professionals, play this part and rarely looking like a dashing young soldier. Robert was sound if not very "macho" but he did all that he was asked of him and sang quite well, nicely and accurately and rates praise for taking on the challenge.
I think this is either the second or possibly the third Carmen that I have seen at the Phoenix in over twenty years - but it does not get easier, Norma, does it?
FINIAN'S RAINBOW
Glodwick Stage Society
Production Team: Craig Sharples, John Scholes, Doreen Hinchcliffe and Barbara
Brierley
Musical Director: Mark Marshall
I sometimes feel that the only way you can describe the plot of this show is as a fantasy because it hardly makes any serious sense. It does however give performers an opportunity to display their talents in a nonsensical way.
There was perhaps more enthusiasm on display than great talent and because of the number of parts in this show, several performers had to be imported. Despite a bevy of producers and directors it could have been a little tighter on stage but enthusiasm was the word coupled with some talent.
Perhaps the best performance was by the attractive Katie Brereton as Sharon. She looked at ease and relaxed and gave quite a good performance but she did not quite have enough polish to bring the others up to her standard. She sang quite well and strongly but then she had the best song in the show. Geoff Howard as Woody matched her in part but did not quite have the presence to give a realistic impression of someone who would sweep her off her feet. The main character parts are Finian and Og and they were good. Harry Ogden gave a nice characterisation as Finian with his mature, cheeky personality whilst Darren Wild as the Leprechaun had some very funny antics and the audience loved him. Certainly he had strong diction throughout which was very helpful introducing some speed and action into the show.
The other character part is the Senator who changes colour and is harder to portray. Ray Mort gave a strong basic performance, first as an arrogant bully and bigot, and then as a kind, enlightened politician. I rather liked the gospeleers played by Craig Sharples, Steven Michael Lowe and Brian Blandford; they put on quite a polished little cameo. Zoë English was rather nice and presentable and moved well as Susan and the chorus filled the stage which was well dressed with bright sets and colourfully lit.
The small band gave enthusiastic backing to the performance. This is a difficult show at the best of times because it is not exactly a convincing plot but the audience enjoyed it and I bet the company did as well. It was certainly ambitious for St. Marks because of the number of performers they needed but on the whole it was very acceptable.
SUMMER SONG
St. Dunstan's AODS
Producer: Trudie Miles
Musical Director: John Goggins
Choreographer: Marjorie Catlow
This is a lovely singing show which I always enjoy although it does not have quite the audience appeal which it should. The best part of the book is quite clearly the lines which are written for Dvorak and the rest, unfortunately, are probably not over stimulating.
Two performers stood out. Margaret Turkington probably looked even younger than when she played Karolka many years previously but, nevertheless, in the same part she could not have sung the role any better all those years ago. Allied with her lovely stage warmth and personality she was a pleasure to watch and listen to. Of equal quality was the delightful performance by Ralph Wilkinson as the eccentric but quick-witted composer, Dvorak. He was, in fact, one of the many excellent Dvoraks I have seen.
Deborah Connelly was a very competent Milli and Barry Crossley did well enough as Joe. Matt Hartill as Shaun must have benefited from playing opposite Margaret and he did quite well as a romantic lead. All the company, principals and chorus, supported well as they always do at St. Dunstan's.
The experienced John Goggins found this show right up his street as musical director and the production by Trudie Miles was quite competent.
PATIENCE
Woodhouses Church AOS
Producer: Christine Taylor
Musical Director: Pat Jacques
Accompanist: Eva Haworth
I sometimes feel that if G & S operettas were being written today, the feminist movements would take them to task for prejudice against the ladies because in so many of the shows they do seem rather fickle. Even a devoted lady like Katisha in The Mikado changes her inamorata at the last minute. The plot of Patience is a little confusing and it can be necessary to study carefully the written comments in the programme to make any great sense of it.
It is certainly not my favourite G & S nor do too many of the musical numbers stay fixed in my mind and, although poor old Bunthorne ends up as solitary as does Jack Point in Yeoman, he does not evoke the same degree of sympathy. Nevertheless, this was a sound production by the highly competent Christine Taylor with the usual excellent backing of Pat Jacques and Eva Haworth.
Janet Marshall was a delightful Patience with just the right voice and looks and yet she managed to give the appearance of being a bit dim, which I feel this particular character is. Tony Kerr (Reginald) and Peter Crichton (Archibald) vied well with each other as the slightly potty Poets while the rest of the slightly and gently ageing company all did their jobs competently and, as one would expect of this society, they all sang well. It was all very pleasant and well done even if it was not, so far as I am concerned, one of Woodhouses' most exciting shows. One of the good features over the range of G & S shows is that different operettas appeal to different people but if I am completely honest, there are times when this particular show tries your Representative's Patience, - but that was the show and not the production!
THE HUNCHBACK OF NOTRE DAME
Oldham Metropolitan AOS
Production under the direction of Terry Mills
Assistant Producer: Peter Hilton
Musical Director: Paul Nicholls
Choreographer: Dawn Leigh
Before attending this show some members of the cast had said to me that they were thoroughly enjoying the music but that it was very hard work. This does not surprise me because the cast would have become very familiar with the music which has much to commend it although one might have had to hear it several times. It was always interesting (if a little unusual) and at times I wondered whether, in part, it was a bit like a rock opera. Certainly it required a tremendous effort from a very talented company. There were times when I saw some characteristics from other shows but unfortunately without a melody that permeated my mind. The society managed to augment its usual principals with some fine voices and whatever one might have felt about the quality of the show itself, no fair person could do other than give the highest accolade to all those involved.
Let me make it clear that there was indeed some very good music and the show was quite well constructed with interesting characters and the scenery was excellent; the costumes and lighting were fine also. I think the small group of musicians did very well because they were playing from beginning to end without a break for any dialogue.
So what about the performers? Probably Martin Bradbury as the Priest had the most difficult part with strong acting and very difficult singing which was accurately and strongly performed. Michael Mills as Quasimodo was just as good with his strength of character, hunched posture and singing delivery and Brent Andrews as the Poet surprised me with his disciplined control in the difficult numbers. Paul Rigney as the Mafia chief did extremely well in his difficult role.
As for the ladies, Vicki Stott was a most attractive lady of easy virtue - to use another word might be an insult to a lovely person - and Alison Green gave a steady and reliable performance as the Poet's Sponsor. Perhaps Dawn Leigh had the best part as the Gypsy Dancer. She can dance, she was expressive and sang very well and strongly and looked wild yet loveable and loving.
The singing was, on the whole, superb and all the company whether smaller parts children or chorus backed them to the hilt. Terry Mills and his production team will have worked as hard as those on stage and must have been delighted with the fruits of their labour. However, I suspect that the title might have put some members of the audience off and it is not an evening's light entertainment. I only hope Terry who is indisposed as I write this report makes a full and speedy recovery.
GALA 2000
The Rochdale Societies
An idea by Bill Radburn of the Hallfold Society successfully developed into a large scale production undertaken by the six main Rochdale Amateur Operatic Groups with each Society having its own slot and choice and some joint numbers from them all. The "behind the scenes" aspects are featured in the article on page #. Bill had the courtesy to ask me to join the committee so I could have a minor involvement in the activities but particularly so that I would know what was going on in my region. I was very impressed with the goodwill and co-operation between the societies and with the common sense and organisation of all who took part under Bill's very capable and hardworking leadership.
At one of the last rehearsals I had a feeling that all would be well by seeing how all the society members mixed in with each other even though some were in any event involved in more than one society. The fact that there was full orchestral backing helped considerably and Harry Butterworth's work in this department, even before the show, was tremendous and the time and effort considerable. It was good that some other MDs took part during their own items.
After an Overture, Phantom and Joseph in concert (all Lloyd-Webber), Hallfold put on a fine excerpt from its recent production of H.M.S. Pinafore with excellent singing from Stella Whitehouse and Rob Driver. This was followed by some numbers from Phoenix out of its recent production of Carmen which I cover elsewhere. Heywood brought the half to a close with Bui Doi from Miss Saigon with Darren Fricker which was enthusiastically received followed by surprisingly good audience reaction for the "World In Unison" with Coralie Mooney.
After the interval came a lovely chorus piece of operetta from Die Fledermaus followed by an item with just a few members of Whitworth and three songs from their forthcoming production of Chess. This section was absolutely first class and very well received. Chimera (not yet a NODA society but full of NODA members) followed with an excerpt from the company's recent production of La Traviata. There was some excellent singing from Greta Shellard and Gary Davies leading to a dramatic uplift in temperature by the Rochdale members putting together, under Mike Cheesman, a taste of West Side Story which they performed a few years ago. It was excellent and vibrant.
The whole Company performed from Les Misérables and, believe me, a hundred or more on stage with outstanding principals in "One Day More" brought the house down and certainly made my hair stand on end and even caused an encore on the final night.
It was perhaps apt and fitting that a short tribute to Gracie Fields, after whom the venue is named, should close the proceedings. Jack Sunderland was an excellent compère who enabled the change of scenes to take place smoothly. He had a good script produced by each society for its own involvement. The chorus numbers were well produced by Vicky Radburn who supervised successfully the whole production with tact and charm.
Financially, six local charities should benefit greatly and all the hard work proved to be worthwhile not only for the pleasure of the performers but particularly for the audiences who gave great support. This was a great credit to all the members of the societies and produced a lot of good will and particularly will have done the town of Rochdale proud.