September 2000 - Region 9 - Mary Parker
LITTLE SHOP OF HORRORS
The Christie Theatre Company
Director: Martyn C.H. Preston
Musical Director: Deborah Frazer
Choreographer: Angela Draper
In 1999 T.C.T.C., as it is now affectionately called, was formed to raise as much money as possible for the Christie Against Cancer Appeal in 12 months, but to have as much fun as possible in doing it.
So many firsts! A very important first also for Martyn Preston for his directorial debut.
I've seen the original film on which the show is based at least four times on TV and had blatantly forgotten it was a Roger Corman horror - he who elevated a middle-aged Vincent Price to be the king of gothic horror. Corman always had something deep and subversive in his films. The horror builds slowly, often out of humour, as in the show, and spreads like oozing syrup that covers and finally engulfs you.
This production opened quietly by a Stomp group led by Peter Francis, to build to a frenetic climax and then fade away, not to an anti-climax but to a blast of sound, bright, brash and sassy. What an excellent production team there was here, who never lost their grip on this show and knew also when to reduce the sound to a whisper and bring out the pathos.
The Sha La La backing group were Janine Royle, Kathryn Seaton and Vicky Woodruff. Tracy Haslam, Belinda Harman and Cathryn Bowler were the dancing Shing-a-Lings, supporting the chorus and the full company. Julie Proffitt as Ronnette, Louise Coffey as Chiffon and Cathie Mortimer as Crystal, all former leading ladies, were the girls with attitude, who could also sing and dance very well, while Peter Bowler, that man of many guises, played many, well ..... disguised individuals.
It would be ridiculous to say the Orin Scrivello DSS, the sadistic dentist and likewise boyfriend of Audrey, florist shop assistant, was a cameo part because it can be a massive scene stealer as here. The character - that's an understated word - was portrayed here by Ian Draper; right voice, appearance and, above all, effective body language, using the stage to great advantage. Barry Aspinall as Mushnik, owner of THE shop brought his considerable expertise to the role , showing the many facets of his character. He had a very good duet with Seymour in Act II, too.
The plant in the shop is absolutely paramount to the show to make it believable - it is dubbed by my husband as "The Horticultural Horror." How lucky the company was to track down the professional Audrey II. It was worth having the stage reinforced with steel plates to house it and worth seeing and hearing the skills of the talented duo, John Meachin - Audrey II manipulation and Jonathan Craddock, Audrey II voice. "Perfick, perfick!" It grew and grew and ultimately filled the Art Theatre stage. At three days notice they turned this cantilevered monster into a really believable 'alive' creature, even to the knowing lip-curled leer and suggestive wink. Congratulations!
As to the two leads, well, what performances they gave and the excellent casting gave the audience some very high moments. Their Act II duet was something else, vocally quite outstanding and thrilling. I was very impressed by Suzanne Mott as Audrey. Every nuance and look were exactly right and she made this, now hard-heart (show-wise) ... cry! What a lovely portrayal; matched every way by Rob Haslam to give for me his very best performance ever - and I've seen some very good ones - as the guileless, and ultimately, destructive, Seymour.
Congratulations, congratulations T.C.T.C. on a most outstanding première production. I was proud and humbled to be there.
BARNUM
Hyde Musical Society
Directed by Ann Atkins
Choreography: Jean Ashworth
Musical Director: Jeremy Sleith
This show was a cracker to say the least and every ingenious use of space was utilised. It moved at a tremendous pace and has the imagery and veneer of a professional production.
The storyline was very strong and the characterisation of the cast finely drawn and well contrasted, a tribute to the director's empathy and understanding, where razzmatazz, tenderness and sadness did not compete but existed as an entity. The company and cast were pared down to great advantage, allowing the choreographer to show stage moment to its best advantage and the smaller characters, playing three or more parts, viz., Ron Sugden as Barnum's joint partners, not only versatility in interpretation but continuity.
This is Jean Ashworth's 35th year with the society but her choreography is as fresh as ever, always improving and innovative.
David Wycherley was an engaging Tom Thumb and Shellie-Beth Sinclair, Joice Heth and a polished Blues-Singer. Jemma Prescott was an outstanding White-faced Clown. What a talented mime artist and dancer she is!
The members of the cast were always allowed to extend their own personalities and attributes to their characterisations. Mark Turner was, therefore, a strong Ringmaster, totally in control of his company. Elaine Fox, as prima-donna Jenny Lind, the Swedish Nightingale, also brought a lovely sense of sad inevitability to her final scene with Barnum.
If you have two players who have a rapport on stage, the whole production lifts to another level. Exemplified by the almost sparring 'I Like Your Style' and the tender scene of Chairy's final moment. Here we had two such players in Mr and Mrs P.T. Barnum. Pamela Phillips was a beautifully cast Chairy. I expect at rehearsal her gentle voice was not shown to advantage, but on stage, in the spotlight where it matters, with all the advantages of a skilful technical stage staff, she gave a lovely performance enveloping all the facets of what, I think, makes a very rounded characterisation. I was so pleased for her; congratulations!
I've always admired Peter Bowler on stage. No matter what role has been thrown at him, chorus member, one liners, pantomime, operetta, he always makes that part his own. Thus it was with Phineas Taylor Barnum. Peter captured throughout Barnum's chameleon-like ability to adapt to any situation and changing moods, not only with physical agility and a Peter Pan approach to life, but with a rare sincerity of a Barnum who really believed in his own bunkum.
There were so many highlights in this production. It made me laugh, it made me cry and it filled me with admiration for the production team who had the ability to entertain at a very high level.
Congratulations, Hyde Musical Society on '60 glorious years'. May you have many more to delight an audience as I was tonight.
SHOWCASE 2000
Brookdale Theatre
Showcase was a joint production from the enterprising club of an "Extravaganza of words and music from 1900 to 2000."
Showcase represented the Dramatic Society and the Operatic Society, the Theatre Workshop, Brookdale Youth Theatre and Andante. The latter is a choral group formed from members who belong to a cross-section of other club activities, viz., gardening, wine society, languages groups, etc., and a large, very active bridge club, whose enjoyable selections were well received.
To realise so diverse a grouping must have proved initially daunting, with much deleting of many items and then, to quote, "several brain-storming sessions were employed."
The youth group B.Y.T. depicted the chronicle of the last 100 years in original fashion, displaying all the artistic disciplines. Compèred by Adrian Fallows there was 'The Stately Homes Of England', the terrace scene from Private Lives and an excerpt from Boeing, Boeing plus 'Jesus Christ Superstar', 'Razzle Dazzle', 'Crazy for Gershwin' and a super 'Follies' compilation.
The producers and cast are too numerous to mention individually, except for the man with sore feet, etc., the omnipresent Graham Brown, the musical director and George Wilson, the stage manager.
This pot-pourri worked extremely well to make a real showcase for Brookdale and an entertaining evening for the audience.
MACK AND MABEL
Mossley AO & DS
Director: Nita Bennett
Musical Director: Paul Firth
Choreographer: Janice Hughes
Assistant Choreographer: Mike Cheesman
One man's obsession? Torville and Dean's hit music for their gold medal? Whatever level on which you wish to enjoy it, this show has it. Like the medals there is a reverse side, darker than the seemingly frothy obverse of this show. Most amateurs are able to depict the froth, but the more I see of Mack and Mabel, the more I realise what a very difficult vehicle it is. The fine edge of suggested tragedy can elude all but the cleverest and subtle of performers. Even a supporting cast in Mack and Mabel has a hard time of it. Their contribution to the plot is telling but, as with a film or TV script, they don't have much dialogue with which to establish their persona. It's a couple of lines and, "cut". Only immediate establishment of character can prevent the slowing down of the action.
The ensemble numbers in Mossley's presentation were very good and slickly presented by a team of polished and experienced players. This production was also technically well presented by everyone, including the often forgotten Props!
I liked Tony Freeman as Fox and John Crebbin as Kleinman, rendering that deceptively throwaway, but tricky number, 'Hit 'Em On the Head'. I also appreciated Alison Foy's Lottie and her 'Tap Your Troubles Away' number and Rodney Cadd's ease of technique and stagecraft as Fatty Arbuckle.
Act I, to coin that British expression, went like a bomb. Kirsty Brooks was a delightful, funny, young Mabel here. What a lovely performance, so in period, eye expressions just right and can she sing! Somehow, in Act II, from my point of view, she couldn't quite develop into the more mature, sophisticated and tragic Mabel.
It must be so rewarding to play and enjoy the role of Mack Sennett. From a critical point of view, John Rawson gave one of his very best, if not the best of his performances I have seen. Perhaps I was seated a little too far away to see the subtleties of his facial expression, and missed the empathy and rapport of his closing scenes with Mabel in Act II and that earlier frisson and spark that existed between them. Nevertheless, it was a terrific performance.
ME AND MY GIRL
Glossop O & DS
Director: Rod Goddard
Choreographer: Carole Wilson
Musical Director: Sean Miller
Noel Gay's music epitomises the period before the second World War, where an upstairs-downstairs system still evolved. Full of farce-like characters, sixty years, or more, ago this show was mainly a vehicle for Lupino Lane, the then star, also noted for his acrobatic portrayals.
Glossop ODS's production was very in-period. It had much of the comedy which must have been akin to the original show. The direction suited not only the principal cast but the full company. It was lively, had mood contrasts and well sung ensembles.
Some of the smaller roles in the cast did not quite have the strength of characterisation for their roles, although Alison Livermore gave us a cameo gem as Mrs Brown, landlady. Others forgot or were, I suspect, unable to differentiate between slow speech and slow cues!
Andy Gibson was Charles, the Butler and David Chilton, solicitor Herbert Parchester. The Honourable Gerald Bolingbroke was amusingly portrayed by Scott Lees. Majella Moriarty was a pleasant Lady Jacqueline. I liked Betty Chesworth's Maria, Duchess of Dene, but she needed more hauteur to be blue-blooded and 'Brünhildeish' (I know, wrong country!) in her big number. David Kinder was spot on again with his portrayal of Sir John Tremayne giving a well-developed performance.
Kerry Newton was a lovely Sally Smith, attractive and receptive to the subtler nuances of her character. I was looking forward to hearing her sing and was not disappointed.
Peter Birch was Bill Snibson, leading man and heir to the 'big pad and estate'! His height and looks made him an obvious choice for a FUTURE Duke. He, therefore, had to work very hard at establishing himself as the rough diamond, born within the sound of Bow Bells. His height made it an even harder task in the physical knock-about on this small stage. Peter rose to the task admirably in all aspects of his portrayal.
STATE FAIR
Marple OS
Director: Pauline Browne
Musical Director: Paul Fletcher
Choreographer: Stephanie Burnett
The 1945 State Fair was a highly popular and successful film musical. Its recent transition to the stage in 1996 may had had Broadway success but leaves many obstacles for amateur theatre to overcome.
As in most adaptations of films, there are multiple scene changes, which were well handled here, knowing the logistics of this theatre. The lighting design was bright and attractive. Appreciating today's thinness of 'men on the ground' all the many small roles were filled, inevitably, by more telling performers than others. Notably good was Chris Baguely as the increasingly inebriated Judge Heppanstahl. The ensemble scenes at the Fair were colourful, nicely sung and accompanied by plenty of movement, the cast's obvious enthusiasm coming through. The dialogue is somewhat clichéd. The plot and particularly the pace of State Fair rely on definite characterisations from the cast and, to a large extent, the personal charisma of the actors.
The unsophisticated, all-American family played convincingly together as a group. Don Bremner was a pleasant Abel Frake, Carole Ward, Melissa, the epitome of happy American motherhood, in their best number 'Boys and Girls Like You and Me.' Simon Hardisty as son Wayne made the most of his musical numbers. Surprise of the evening opposite Wayne was Rachel Jones. Needing a bit more 'weft' with her vocals plus on-the-note singing, she nevertheless metamorphosed well from the more demure characters I have seen her play to the feisty, glamorous night-club singer Emily Arden, well backed by the Fairtones Group.
Debbie Owen as daughter Margy Frake and Sean Stenning as Pat Gilbert, Reporter, played well together in the original Jeanne Craine and crooner Dick Haymes roles. Sean was a likeable Pat but needed to be more cynical in his earlier scenes. Debbie had a nice relaxed approach and the best singing in the production of the lovely Rodgers and Hammerstein songs.
Certainly not one of the fastest shows I've seen, but one where the company was thoroughly enjoying every minute of being in State Fair.
IRENE
Bollington LOG
Production/Direction: Diane & Louise McIntyre
Musical Direction: Sheila Kent
Choreography: Angela McIntyre
Packed with music, plenty of roles and chorus numbers, Irene was a suitable choice for the wide diversity of ages at Bollington. There was good accompaniment and technical expertise, plus David Postance and Paul Shortt's musical contribution. A feel-good factor was maintained from the start to the finale, played in the round - well, seven-eighths!
The McIntyre family including Alma, who designed and made the costumes, certainly had a lot of in-put into Irene and must be commended for its dedication and enthusiasm.
Mike Raymond as Clarkson, the Butler, could have 'butled' for anyone, let alone the haughty Emmeline Marshall played by Pam Puddle. Jean Clarke and Angela McIntyre were the bubbly Jane and Helen. Irene's close friends and must have been disappointed that the '10th Avenue' number was not included in this hired version of Irene - echoes of the many-changed versions of Anything Goes! Steve Donnelly was a good Ozzie Babson, ideal as the vague 10th Avenue Bertie Wooster.
Richard Cornish made a welcome return to Bollington as Donald, head of the super rich Marshalls, who falls for the non-u, down-town Irene. He had no problems with his portrayal, delivery or vocals.
In the original revival and London production the stars were Geraldine O'Dare, Irene's mother and Madame Lucy, played by an elegant silver-haired Jon Pertwee. Kevin Clarke wisely trod his own path as Madame Lucy, formerly Liam O'Docherty. If slightly OTT - and too camp occasionally - his playing suited the over-all production and was an obvious favourite with the audience. Denise Holian was an attractive Geraldine O'Dare, but she still presented the tough lady without losing her style or accent epitomised in a lovely scene with Olga Buckley.
Alison Gorton was well cast as the attractive Irene O'Dare. She hasn't a big voice but it was clear and sweet and she never once dropped a convincing Irish/American accent turning in a nicely rounded performance in this happy production.
NASTY NEIGHBOURS
Wilton Street Players
Director: Bill Moloney.
Nasty Neighbours is very well written by Debbie Isett and needs a good director, set designer and experience players. There is only a cast of six, so the momentum must never flag. The catalyst in the plot is Mr Peach, a well-meaning, but to others, irritating man, who unknowingly forces his next door, seemingly tolerant neighbours to flee to Australia in retirement - a drastic measure indeed! The 'refugees' were played by Kath Woodhead as a relaxed Mrs Hodge, enjoying the sun-and-patio life style and Brian Ingham as Mr Hodge, dreading the telephone and coming to a sad demise.
New neighbours then move into the vacated semi-detached. New wife for Bill Moloney as a Mr Chapman. Yuppie life style and excellent job for Amanda Shaw as Mrs Chapman. Their relationship is a roller-coaster of emotion and a thin party wall doesn't help the Peach family next door. This scenario was well handled by both players.
Mrs Peach, short of money, is busy 'keeping up appearances' unaware that Mr Peach has lost his job! Unemployment ultimately sets off the emotional avalanche for all the cast. Mrs Peach was well played and vaguely dizzy by Maxine Campbell. Mr Peach, so well portrayed by Marcus Shepperdson, was the loser - like Richard Briars in Ever Decreasing Circles.
The whole play ends in mayhem: Mr. Peach 'off-his-trolley'. The surprise ending, for indeed it is, is at the discretion of the director. Did Peach shoot himself, his wife, the Chapmans? We shall never know. The sound of gunshot in the air, a blackout, left the audience laughing and gasping.
Acting honours must go to Maxine Campbell and Marcus Shepperdson as the Peaches for knowing their Pinteresque dialogue, cueing quickly and maintaining their characters. The direction had light and shade and some essential humour in this suburban tragedy. The litmus test showed that the audience appreciated everyone's effort.
STEAM
Mossley AODS - Junior Drama Club
Book & Lyrics by John Fletcher: Music
by David Chapman
Director: Colin Ward
Musical Director: David Chapman
Choreographer: Tracey Rontree
If I had been invited to go any other night than the one I attended, I should have missed this junior première. What an evening's entertainment this proved to be.
The show was specially commissioned by the society for the Millennium year and a grant had been obtained from the Millennium Fund. The writers of this musical I have seen many times; David with the youth productions, baton in hand and also fronting the pantomimes; John playing a diversity of roles including one of his best in Cabaret.
Set in a school in the present day, the pupils ask their teacher why history lessons are so boring. This questioning evolves into the teacher's story about the development of Mossley from a hamlet in the 100s to 1840 and the present day: it's the industrial revolution and all that it meant to the town.
There are no adults in the cast, the children adapting to the relevant period. The most significant industrialists were presented as music-hall characters, John Kay, James Hargreaves, Richard Arkwright, Samuel Crompton and Edmund Cartwright, with toe-tapping melodies and catchy lyrics. The plot was sometimes sung, acted or mimed, even to the cast building its own piece of machinery. It was an extremely imaginative show and a credit to all concerned.
It would be unfair of me to exclude the names of some of the cast, despite the talent of the soloists and trios, etc., for this musical history was not presented totally in unison with only a melodic line. There were harmonies and choral singing to be learnt. The largest, and most difficult characters to portray were by Delia Muir as Miss Schofield, the teacher and Michael Ward as Ezra Lawton: two very good performances.
Melodic music, thought provoking lyrics plus the enthusiasm and discipline of the youthful participants made this production, not only educational but very entertaining.