January 2001 - Region 3 - Margaret L. Gillibrand
THIS HAPPY BREED
Burnley Garrick Club
The Garrick started off its new season in fine form with the Noël Coward classic which spans the years 1919 to 1939. A time when England was "mid wars", life for the people was reasonably settled and the British were thankful they had survived the Great War and were loath to think there would be another conflict in their lifetime. The play is centred around the Gibbons family and we saw a great performance by Alan Hargreaves as the father and Eileen Dewhurst playing his quiet, but steely wife Ethel. Dorothy Spencer was the garrulous Mother-in-Law, delivering her lines with sure fire accuracy. Aunt Sylvia was played by Kathleen Riley on top form - delightfully perceptive performance. The Gibbons' daughters were well played by Kerry Gascoigne and Angela Bolt and James Masterman played the son who could do no right in his Father's eyes.
The lapses of time were well achieved and the characters aged well in appearance, mannerisms and dress. The next door neighbour, friend and former army compatriot was played with gentle ease by Martin Chadwick, and his son Billy was well played by Kevin Kay. Neil Glendinning was the son in law Sam - a rebel activist who goes from compliant husband and father during the play's span. Phyllis was played by Victoria Bentley and Elizabeth Dixon was Edie. The set, designed by Peter Edwards, worked well, and lighting and sound from Richard I'Anson and Richard Lord were always appropriate.
The props played a large part in keeping the period feel and had been assembled by Patricia Hudson, Barbara Coulthurst and Trevor Riley - well done. Wardrobe from Anne Dunlop and Gloria Wright was generally good, although I did feel that Queenie would have changed her shoes and stockings at least once in 20 years! Details are important!
Clifford Spencer's sensitive direction showed through in this production and the Club's season got off to a good start.
THE CIRCLE
Rossendale Players
W. Somerset Maugham's classic comedy was deftly directed by Stanley Whittaker who drew some delightful performances from his cast. This was the first production in the Player's new home - The New Millennium Theatre, Burnley Road, Waterfoot, a venue the Players have been busily converting from a chapel to a theatre for some time.
The Circle was the first play performed by the Players way back in 1936 and I was pleasantly surprised to find that the piece was still appropriate and a shining example of "theatre" - good characters, witty, pithy dialogue and an believable story line. The action takes place in the home of Arnold Champion-Cheney MP and his wife Elizabeth. As the pompous MP we saw a suitably petulant performance from Ward Croasdale and Suzannah Cooper was perfect as the pleasure seeking young wife who falls in love with someone else out of boredom. Both were making their debuts with the Players and I trust we shall see them again. Geoffrey Collinge was in fine form as Arnold's father Clive - a man who had a career in politics an imposing house, a young son and a beautiful wife - until that wife ran away with his friend Lord Porteous. A nicely paced performance drew out all the complexities of this character and Geoffrey played all the other characters off each other very well. Carol Anne Connolly as the errant wife gave an excellent performance - painting a picture of an extrovert woman who "sacrificed" her son and her social world for love - and when finding that life wanting, carries on the charade and becomes a caricature of her former self. Roy Preston's performance as Lord Porteous was well observed and neatly executed. Robin Griffiths playing the young man who wishes the lady of the house to elope with him was always credible and managed to envelope himself in the role. The cast was completed by Maureen Jackson as Anne Shenstone the talkative house guest, Emmeline Smith - Jane the maid and Brian Carter a very superior butler.
The set from Joe Teasdale, Ian Griffiths, Christine Lever and Ryan Godwin was superb with much attention to period detail. Perception Theatre Costumes wardrobe was also in period and Anne Riding's props added to the general good look of the piece. The Players could be proud of this their first production in their new home.
THE CORN IS GREEN
Bacup AODS
At last, an intelligent play, intelligently directed with a superb cast to boot! Emlyn Williams' 1938 Drama set in 1895 when Miss Moffatt starts a village school for Welsh miners, and after some tribulations sees one of them off to Oxford was given an all too rare airing when it was presented at the Royal Court Theatre under the direction of Derek Cheveley.
Apart from slight problems with the various Welsh accents the company worked extremely well together with some truly outstanding performances from some of the cast members.
John Goronwy Jones (Paul McGowan) introduced the play and was ready to receive the new owner of the house in the village of Glasarno. Miss Moffatt (Judith Riley) was in excellent form tutoring Morgan Evans (Roger Nuttall - a sensitive portrayal of the gauche young man) so that he could sit the Oxford entrance examination. Sponsored by The Squire (Mark Tempest - unusually rotund) it seemed that all Miss Moffatt's endeavours would come to nought after Morgan was unwise enough to become involved with Bessie Watty (played in a delightful Gayle Tuesday style by Barbara Cilgram) the provocative daughter of Miss Moffat's cockney servant Mrs Watty (Lesley Jackson - a lovely warm, solid interpretation).
The other members of the cast all gave solid support and with a good set,
lighting and sound theatregoers were treated to an excellent piece of theatre.
(David
Lewis)
THE LATE MRS EARLY
Blackburn Arts Club
Written by Norman Robbins this comedy had a light and rather unlikely story line. Mrs Early, a tyrannical matriarch, dies and rather than going to heaven or hell comes back to haunt her long suffering dysfunctional family and friends. Bernice Davey played the sharp tongued Mrs Early and Mike Ashton her long suffering husband. Pat Tann gave a comic performance as the nosy neighbour and Michael New gave a well timed performance as Mr Early's friend Joe. Lord Odin played Terry Early who unwittingly rekindles the flames of a family feud when he becomes engaged to Sarah Rickworth - played soundly by Sarah Nolan. Richard Birch and Judith Clare were the Rickworths.
Directed by Dorothy Clarkson, the script was at times short on comedy and would have benefited from more pace. Ian Wilkinson's living room set was up to his usual high standard and the many sound effects and lighting were appropriate. Andrea Lloyd and Mark Yates dressed the set very well and the piece had the right 70s look.
SOUTH PACIFIC
St Johns Great Marsden AODS
I was made very welcome on the evening that I went along to the Hippodrome Theatre Colne, to watch St John's performance of South Pacific. This was a very lively, colourful production of a show which has now become a classic. The chorus of nurses and CBs gave us enthusiastic and well-drilled numbers including "Nothing Like A Dame" and "I'm In Love With A Wonderful Guy" - although the age of the CBs slightly taxed the imagination!
Sally Hindle was a wonderful Nellie, singing, dancing and acting beautifully. Her emotional scenes were real tear-jerkers. Just one small criticism: I was unable, at times, to hear her dialogue. Emile de Becque was played with ease by Des Connolly and his singing, particularly of that lovely song "This Nearly Was Mine" was excellent. Whilst the age difference between Nellie and Emile was just a little too great, this did not lessen the enjoyment of the story. Bloody Mary is a wonderfully colourful character and Connie Mason, when she erupted onto the stage, certainly brought this character to life. Her laugh was so infectious that I found myself laughing out loud along with her, as were the audience who were seated around me. James McKelvey was a very handsome Cable and his scenes with Liat, played delightfully by Catherine O'Connell, were extremely sensitive and romantic.
Another strong and colourful character is Luther Billis, the wheeler dealer of the CBs. Kevin Riley's portrayal was very good but I thought that he could have softened the character a little in certain areas. Brian Roden and Geoffrey Holgate were a very authoritative Captain and Commander and the children, Ngana and Jerome, were charmingly played by Sophie Greenwood and Craig Jackson. A depth in the production was achieved by all the smaller supporting roles.
The scenery, lighting effects, costumes and properties were all well done and added to the good looks of the production. The orchestra under the very experienced baton of Brian Townend, was excellent and on this occasion the sound did not overpower the dialogue and singing of the principals on stage.
I enjoyed the overall production very much and I would like to say to the
producer, Steve Royle, and everyone involved - well done and thank you.
(Barbara
Simpson)
WILL YOU STILL LOVE ME IN THE MORNING?
Clitheroe Parish Church AODS
This funny, pacey farce from the pens of Brian Clemens and Dennis Spooner was played with some relish by the experienced cast under the direction of Dorothy Cushing. Set in the home of newly weds Jeremy and Celia Winthrop (extremely well played by Brian Haworth and Deborah Tudisco) the action revolves around the would be extra marital affairs of Jeremy's bosses Humphrey Jessel (a solid performance from Michael O'Hagan) and Peregrine Ward (Terry Till at his best). Needless to say things do not run smoothly or as anyone expects and the twists in the plot provide opportunities for comedy and quick timing.
There were two very funny performances from the wives - Lesley Haworth, Peregrine's wife who is the object of Humphrey's desire, and Jean Pells, the upper crust Thelma Jessel who finds Peregrine falls very short of her expectations. A gem of a comedy performance came from Eddie Bootle as the accident-prone handyman Syd - superb comedy timing. Daryl Dewhurst completed the cast.
The split level set designed by David King and managed by John Wilkinson was good and worked well, and the props and stage furnishings were of a high standard. Good entertainment - thank you.
TRIAL BY JURY and H.M.S PINAFORE
Burnley G & S Society
Trial was directed by Mick Dawson in rather a restrained manner I felt, with the Gallery and Jury behaving very decorously. The chorus singing was excellent and under the baton of Geoff Balson both principals and chorus delivered the musical goods. Tom Gillespie was a wickedly funny Judge and both Peter Wilson and John Strinchon as Counsel and Usher were in fine form. Damian Trafford's Defendant was very well acted and sung, while Barbara Taylor did justice to the role of the Plaintiff. She was well supported by the Bridesmaids. Played on two levels with a simple set this was a comic and musical Trial.
Due to the indisposition of Mick Dawson the production of HMS Pinafore was taken over by Brian Whittaker who then had to take over the role of Sir Joseph when Jim Ogden sustained an injury at one of the last rehearsals before opening! Not daunted, the talented Brian took both roles in his stride. The cast was a mixture of experience and youth and there were many good and a few promising performances.
Damian Trafford was an excellent Corcoran, using his pleasing voice and considerable acting ability to keep the piece moving at a good pace. Heather Nicholas was the perfect Buttercup and her flawless performance was always a pleasure to watch. Josephine was played by Debbie Smith who, given more experience, should prove to be a good G & S performer. Denny Dodds was perhaps too young and inexperienced to take the large and important role of Ralph Rackstraw. Matthew Robinson was a very good Dick Deadeye - extracting plenty of comedy. Brian Gott's excellent voice and easy manner on stage made his Bill Bobstay very watchable - his "Englishman" was a highlight of the show.
As always Janie Vita made the most of the role of Hebe - good expressive comedy. Brian Whittaker has sung Sir Joseph's patter songs many, many times and his acting ability, along with his superb ability at delivery of the well loved numbers will not be bettered anywhere - an easy, roughish performance which did much to keep the piece alive and kicking!
The large chorus was in good voice and moved well. Again a simple effective set worked well and was well lit by Alex Johnson. Geoff Balson's orchestra for both pieces was excellent and the evening must have pleased G & S stalwarts.
BOUNCERS
Blackburn Drama Club
A sharp production by Wayne Avanson of John Godber's tale of suburban night life made for an entertaining, if not uplifting, evening. The cast of four were excellent, with Steven Derbyshire, David Batterby, Clive Stack and Rob Trethewy throwing themselves (often literally) into the roles of the Bouncers.
David Batterby in his first major role for the Club was a revelation as Lucky Eric the oldest Bouncer who is very disillusioned by his nightly encounters with the clubbers! His Maureen was well observed - and do lads really behave like his Baz? - I suppose some do! Steven Derbyshire's Ralph was smoothly mean and outrageously sexy - the glib DJ to perfection. His Suzy was hilariously funny. The versatile Clive Stack was flawless in his portrayal of the butch, over-sexed Judd, the yob from hell and the giggly drunken Elaine. The quartet of Bouncers was completed with Rob Trethewy as another over-sexed heavy, a raucous Kev and a delightful Rosie. All four actors gave perceptive performances and Wayne Avanson's directorial skills cut through this production like a knife - from the deceptively simple Geoff Eccles set, authentic sound from Andrew Smith, effective lighting from Harold Carter and Mark Duxbury, to the crisp performances of the four actors. He brought out the comedy and wit of the one liners and made sure the pace never slowed to less than running speed.
Not a play for the faint hearted and it helps if you are broad minded because this is an earthy script which was given full justice by the Club.
SWEENEY TODD
Colne Operatic Society
Colne's show, although beset by problems, took to the Hippodrome stage fielding a cast which worked well together under the direction of Stephen Burrows with Geoff Haltom as Musical Director.
Eric Beardsworth, taking over the title role from the indisposed Mick Dawson, was a thoughtful Sweeney Todd, vocally pleasing. The talented Judith Briscall played scheming Mrs Lovett perfectly - comedy, drama, pathos were all there in her performance. Stella Whitehouse was in fine voice as Johanna and Robert Driver played Anthony. Director Stephen took over the role of Pirelli from Eric Beardsworth and turned in a good performance. Brian Bird and Robin Westmacott played the Judge and the Beadle and there was an excellent interpretation of Tobias from Adam Bowles - a promising young performer. Jackie Catlow's Beggar Woman was well studied, making the revelation of her identity all the more telling. A nice cameo from Philip Hindle as Fogg. The cast was completed by Robert Ellis and Sarah Catlow.
The large chorus moved and sang well, although at times their words were lost. This was a pity as they are relevant to following the plot. Staging was a little distracting with the huge Barber Shop revolve moving to the side of the stage constantly - perhaps not necessary given the size of the Hippodrome stage.
Sound could have been better - with a sung piece like Sweeney Todd it is essential that the audience be able to follow the plot: straining to hear the words is not ideal. The lighting was effective and the costume department had done a very good job of dressing this large cast. The gruesome Sweeney Todd is a huge undertaking and this was Colne's second production of a piece that only the brave dare tackle!
FIDDLER ON THE ROOF
St John Southworth Theatre Group
I never cease to be amazed how some of the church hall based groups stage their shows and this production by Clare Parkinson really amazed me! On the tiny stage Anatevka came to life. The set designers led by Mike McKeown and Ken Parkinson are to be congratulated, as is stage manager Mick Harris from some deft and imaginative scene changes. Richard I'Anson's lighting enhanced the sets considerably and the group's wardrobe department produced authentic costumes.
Against this background we saw Gordon Ingleby as Tevye and Pam Newham as Golde - two good performances. Their daughters were very well played by Sara Jones, Amy Southworth and Emma Mitton who all conveyed the emotions felt by each exactly. Alice Southworth and Rachel Kenny were Shprintze and Bielke. Steve Grist was an excellent Motel with Tarl Carple turning in a first class performance as Perchik.
The men of the village were well portrayed by Mike McKeown (Lazar Wolf) Philip Morris (Mordcha) Victor Wood (Rabbi) Mark Broom (Mendel) and Andrew Husband (Avram). Sheila Mary Hargreaves made the most of the role of Yente and Anne Allan was a very effective Grandma Tzeitel. The cast was completed by Dan Catlow as Fyedka, James McKelvey the Constable and Anne Potter Shandel. I thought Daniel Potter's Fiddler was particularly effective - and he could play the violin, too!
The chorus moved well within the limitations of the stage and the singing was good. Musical Director Andrew Hodder's small ensemble accompanied well and Andrew's use of keyboards was phenomenal. Good entertainment - well done.
MACBETH
Oswaldtwistle Players
A brave choice for any company, but the Players under director Colin Braidford gave the "Scottish Play" a fair airing. With such a large named cast it was inevitable that some of the actors played more than one role but they coped very well. The stunning set designed by Colin Braidford, Michael Flanagan and Chris Knight, took the big production in its stride and atmospheric lighting from Graham Binns and sound from Michael Scully made this a visually pleasing piece.
The role of Macbeth was ably played by Chris Knight, well partnered by Michelle Arthur's Lady Macbeth - a highly charged performance. Mark Hope was Banquo and Derek Partlin the ill-fated Duncan. The Witches, played by Clare Highton, Dawn-Marie Power and Sally Hope, were suitably macabre but on occasions not audible A gruesome cameo role came from Wendy Duggan as Hecate who showed a good understanding of the dialogue. Paul Terry and Richard Jackson were cast as Malcolm and Donalbain, whilst Anthony Flanagan played Lennox. John Kirby was the scheming Ross to perfection and Michael Flanagan turned in one of the best performances of the evening as MacDuff. Clare Highton interpreted Lady MacDuff well and the two murderers were very well played by David Slater and Adam Whittle. Good cameo performances from Colin Braidford as the Messenger and the Porter and Catherine Allan as the Gentlewoman.
Other members of the cast were Paul Terry, Richard Jackson, Lewis Braidford, Elio Carassale, William Willis, Lee Dobson, Dylan Owen, John Dewhurst, Bill Highton, Lee Dobson, Simon Peter Flanagan and Stephen Cant, who all addressed themselves to the difficulties of verse speaking. The fights had been arranged by John Ansari.
The cast was costumed imaginatively and there was plenty of atmosphere and dark foreboding at the Civic Theatre for this production. Boosted by school audiences the Players achieved its best houses for some time and all the hard work involved in such a mammoth production paid off for the company.
DEAD GUILTY
Burnley Garrick Club
This was Mark Storton's first play as director for the Garrick and what a splendid job he made of it. With an experienced cast, stunning set and gripping script, this was an absorbing evening's theatre. The play by Richard Harris revolves around Julia Darrow who is recovering from a car accident in which the driver - John Haddrell her employer - is killed. This role was beautifully played by Lynne Cummings. She is helped in her recovery by a Councillor - sensitively played by Carole Bardsley; a daily male Gary - an excellent debut performance by Steve Grist, and Margaret Haddrell the wife of the accident victim - a dramatic performance from Lynne Atkinson. All is not what it first seems and as the play unfolds and the hidden agendas and secrets emerge, tension builds and finally the play reaches a telling climax.
The technical staff had done an excellent job with the many sound effects (Richard Lord), lighting (Richard I'Anson) and props (Frances Singleton and Kath Hall). The set designed by Harvey Levene and built by him and the Garrick Team was first class and the many time changes were managed well by Harvey and ASM David Foster.
This production flowed well, had mounting tension and was excellent entertainment due to good direction and plenty of talent on and off stage.
SCROOGE THE MUSICAL
St Cuthbert's AODS
The well known Charles Dickens' story, set to music by Leslie Bricusse, was the choice of this group. The imaginative staging, designed, built and worked by Messrs. Broadley and Mundy, did much to make this into a "magical" production. Given the size of St. Cuthbert's stage and its many restrictions this was all the more laudable - very well done boys (and girls!) Producer Barbara Simpson and Musical Director Brian Townend kept the show going at a good pace The musical numbers - although none of them memorable tunes - were well executed.
The role of Scrooge was enthusiastically played by Edward Mundy, heavily made-up to disguise his youthful appearance. Bob Cratchit was well played by Kevin Rawcliffe. Charlotte Rawcliffe gave a waif-like performance as Tiny Tim and the other members of the Cratchit family were played by Karen Kerr, Nicola Barrett, Jessica Midgley, Sam Crabtree and Michaela Simpson - all giving assured performances. Ted Reid was a very worthy Jacob Marley using his vast stage experience to the full and it was good to see Ted back on the Lancashire stage after so many years "down South". The three Ghosts - Past, Present and Future - were all excellently played by Pauline Woodworth, Peter Walker and Craig Simpson. It was also good to hear and see Peter on stage again thrilling the audience with his rich voice. Good performances came from Anna Cooper, Matthew Barrett, Stephen Reid, Debbie Stopforth, Ian Wrigley, Cynthia Heritage, Jeff Hargreaves and Jeff Pilkington, while Gary Curson and Elaine Morris were well cast as Young Scrooge and Isobel vocalising well together.
The lighting, which created the very essential effects, was good and make-up from Grace Gregory and Team together with Joan Preston's wigs all added to the overall look of this show as did the costumes from Mrs White and her team. An entertaining evening - well done.
THE KING AND I
Accrington Theatre Group
The Rodgers and Hammerstein favourite once again proved its popularity with audiences as the Theatre Group recorded good houses for its run at the Civic Theatre. Director Howard G. Raw also played the King and he and Mary Rose Swarbrick, playing Anna, gave enthusiastic performances.
This was a colourful, well dressed and very well staged production, and Steve Hoyle and his Technical Team must be congratulated in giving the cast such a wonderful "platform" on which to perform.
Playing the young lovers were Patrick Steward and Helen Barrett and both gave sensitive interpretations of these roles, with Paddy's rich voice being used to the full. The role of Lady Thiang was in the experienced hands of Sue Moretta and she gave a strong dramatic and vocal performance. In the cameo roles of Captain Orton and Sir Edward Ramsay Brian Fagan and Roger Dugdale excelled and David Slater was an imposing Kralahome. Two young performers - Oliver T Regan and Alastair Regan - were both excellent as Louis and Prince Chulalongkorn - it was good to see this young talent coming along. Adam Whittle, Gennano Lamberti and Xanthe Taylor completed the cast.
The chorus of wives and children were delightful and the Priest also added weight and voice.
The Ballet, choreographed by Dorothy Bruce was a highlight of the show, interpreting the story of Uncle Thomas through the excellent dancing of many of her pupils and male chorus members. Music was in the capable hands of Patricia Tarrant Gaunt whose orchestra accompanied the show sympathetically. An entertaining show.
ANNIE
B.Y.T.E.S
The infectious enthusiasm of the young cast and many mature performances made this show a pleasure to watch. Sarah O'Connor was a delightful Annie, rising to the demands of the role with ease and assurance. Grant Bromley was excellent as Daddy Warbucks, giving a very mature acting performance and his singing was also very good. Lauren Gosnell was perfectly cast as Grace. Miss Hannigan is a gift of a role for any actress and young Lauren Nield seized the opportunity and turned in a funny, well measured performance. Playing Rooster and Lily were two very competent youngsters - Luke Goodwin and Amy Wilkinson - excellent.
Among the smaller roles there were good cameos from Joseph Geddes as Drake, Lydia Harman as Molly and Roger Nuttall in several roles including an excellent Roosevelt.
Directors Stella Kelsall and Regina Arkwright had obviously worked hard with the large cast and the big chorus numbers were well moved and there were lively and well executed dance routines. Musical Director Simon C. Parker's command of keyboards was much in evidence and his brilliant interpretation of the score did much for the pace of the show.
Mark Tempest's lighting was always appropriate and the sound from Lea Royse was particularly good - you could hear everybody. The sets looked well on the Royal Court stage and the many changes were achieved speedily.
Costumes from Linda Whelan were in period. Thoroughly good entertainment - well done.
BUGSY MALONE
R.A.Y.S. (Rossendale)
A favourite show with youth groups, Bugsy gives plenty of opportunity for young players to act, sing and dance.
Colin Povy's production for RAYS threw up some promising young performers. Playing Bugsy Malone, the laconic, wise-cracking New Yorker was Chris Lawton who gave an assured performance, as did Liam Foulds and Nick Brannand as gangster rivals Fat Sam and Dandy Dan. Marc Noble had a pleasing manner as the ever hopeful Fizzy and his rendition of "Tomorrow" was pleasing. Michelle McCaw gave a real gem of a performance as the vamp Tallulah - I hope to see her again on stage soon. Nicola Lynch played Blousey Brown and showed us a very pleasing singing voice. The numerous gang members and New Yorkers were played with plenty of enthusiasm and the dances - choreographed by Liz Wood - were good.
The scenery, designed by Geoff Jackson, was particularly effective and was well worked by Phil Thornton and his large stage crew. The sets were well lit by Matthew Pitt, John Wilcock and Gareth Turner and the backing sound track music was well done by Martin Colam. First night nerves speeded the dialogue delivery in places, but no doubt as the young cast settled into the run they would pace themselves and the show.
Thanks must go to the many RAYS helpers who show such dedication, working with youth - the future of the amateur theatrical movement.
MACK AND MABEL
Burnley Light Operatic Society
One of the "in" shows on the amateur circuit Mack and Mabel was given the Anthony Williams' treatment in full and the Light Opera company sent a pacey, bright show out over the footlights. With performers of the calibre of Debbie Mitchell playing Mabel, Andrew Summers playing Mack and Joanne Gill playing Lottie, this was always going to be a good night's entertainment and no one in the large cast disappointed. Simon Parker was a revelation as Fattie Arbuckle, and Mark Robinson was well cast as Frank. Geoff Baron and Brian Whittaker, two talented and hard working actors, played Kleiman and Fox with some relish and Barry Pixton was the brash scheming Taylor to perfection. Anne Baron completed the cast giving the role of Ella her own inimitable stamp.
The chorus, who portrayed Keystone Kops, Bathing Beauties, Actors and Dancers all worked with energy, talent and enthusiasm and the show moved on at a good pace.
The sets by David Bamford and David Wrigley were excellent and expertly lit by Mark Tempest. Stage Manager Peter Carroll and his team coped with the scene changes well and the decision to have one basic set helped with continuity. The sound from Lea Royce ensured that the audience heard everything that was said and sung on stage. Costumes and wigs under the expert guidance of Sally Murtaugh and Joan Preston added much to the overall look of the show.
Music was in the capable hands of Jim Newby and whilst this may not be considered Jerry Herman's best musical it does have several numbers that stay in the memory. Entertainment and bright musical theatre at its best.
DICK WHITTINGTON AND HIS CAT
St Stephen's Pantomime Society
The first pantomime of my season came from St Stephen's and was well received by the young (and old) audience the night I attended. Producer Linda Pounder had included all the right ingredients - comedy, pace and audience participation helped along with a little theatrical magic, and this formula once again proved a winner for the Society. The cast headed by the irrepressible Keith Pounder as the formidable Sarah the Cook bowled along at a fair pace and made the most of the thin script. Elaine Taberner played the Good Fairy to perfection while Gary Wilson introduced the "boo" factor playing King Rat. Kevin Kay was an engaging Idle Jack and he worked the audience well. Jean Beeston played Dick Whittington with style and Tracy Heywood was a particularly pleasing Alice Fitzwarren. Christ Wilkinson and Malcolm Stewart introduced plenty of comedy into their roles of Gnawbone and Gnashfang (yes really!) Kayleigh Wassell was a supple and expressive Tommy the Cat and the cast was completed by David Pounder, Kenny Entwistle and Les Newcombe.
The chorus looked well and the choreography by Tracy Heywood was good. Once again Richard I'Anson's lighting worked its magic and David Walton's sets looked very good. The taped music also worked well and was well managed by Smithson and Webster. Good panto fun!!
THE WIND IN THE WILLOWS
Dorothy Bruce School Of Dancing
With a cast age ranging from two years to 40+ years the School's productions always have a special appeal and it is good to see the efforts and patience put in by Dorothy and her helpers reap the reward of a worthy stage production.
Following closely the Kenneth Grahame story of Ratty, Mole, Badger and Toad, this Ron Hall script gave the company plenty of scope. Alexandra Duxbury was excellent as Ratty and she, along with Clair Bruce's Mole, kept the show moving along nicely. David Pollard, one of the senior cast members, played the bumptious Toad and Graham Robinson was particularly good as Badger metering out good sense and good manners. Engaging performances came from Eleanor Tucker (Portly) Rebekah Mason and Francesca Harwood (Judge and Judge's Clerk) Sarah Bruce (Mrs Otter) and Charlotte Norris (Chief Weasel), Other named parts were well played and everyone on stage gave of their best and that was often very good.
The cast wore masks to denote the animal they portrayed and these had been expertly made by Helen Ross, Jane Tucker, Jane Makey and Brenda Maynard and deserve a special mention. Make-up played an important role in the production, too and Jane Makey, Denise Burke and Angela Harwood achieved some creditable make-overs.
The sets were good, set off by superb backcloths hired in from Todmorden AODS. Les Rooks' lighting and effects as always added greatly to the show. The music was all taken from Gilbert and Sullivan shows and this for me added greatly to the appeal of the piece. Brian Townend interpreted and played the music very well and the young cast coped well with the intricacies of the scores. Once again, well done, Dorothy Bruce, Margaret Boyle and all involved in this production. Good entertainment.
OUT OF ORDER
The Rossendale Players
The Players did full justice to Ray Cooney's hilarious farce Out of Order. Award winning director, Len Taylor, had assembled an experienced cast, whose timing and delivery were superb. Phil Brown, normally seen in major singing roles, played Richard Willey MP whose flirtations with an Opposition secretary go disastrously wrong. He showed a natural ability for comedy and, along with Andrew Brown as his unfortunate PPS, fairly drove the play on at a fast and hugely funny pace. Two great performances. Excellent performances too came from Andrew Husband - a totally bemused hotel manager, and Geoffrey Jackson - an hilarious waiter "on the make". And what can I say about Roy Starkie's "Body" - brilliant! Penny Griffin played the MP's wife exactly right and Chantelle Sears was the seductive secretary flitting in and out of doors very scantily clad! Pam Bartram playing Gladys, the PPS's Mother's nurse (are you following me?) ended up even more scantily clad - loved the tattoo! Tony Harris was brilliant as Jane's angst ridden husband and Maureen Jackson's Italian maid added to the general mayhem in Suite 648 of the Westminster Hotel.
A great set from Joe Teasdale, Ian Griffiths and Roy Starkie worked well and the technicalities of the closing window were worked well by the stage team of Chris Auger, Dave Barry and Terence Hayde. The set was well lit and dressed and all these technical aspects added greatly to the atmosphere of this farce. The audience loved it - and so did I. It was good entertainment, which is what we are all trying to achieve. Well done.
CLOSER THAN EVER
Bacup AODS
With a cast of the calibre of Simon Westwell, Judith Riley, Vicki Stott and Michael Mills, directed by Anthony Williams and with music from Nick Sanders this was always going to be a special performance - and it was. Closer than Ever may be a little performed piece but it is an ideal opportunity for four talented players to show off their abilities. Lyricist Richard Maltby Jnr's wonderfully meaningful words are set to David Shire's music to produce a singular piece of theatre. A dinner party for four people during which their lives and loves emerge - often hilariously, often with pathos but always memorably, and then the arrival of the third man - played with ease and panache by Anthony Williams himself.
The songs are all good but I particularly liked Simon's rendition of "One of the Good Guys", Vicki's "Back on Base" (an hilarious number with bass player Guy Lightowler) and the male trio "Father of Fathers". The four players were on top form. Simon's easy manner and total submersion in a role made his a memorable performance. Judith's sophisticated movements and velvety rich voice flowed over the footlights. Vicki's irrepressible spirit and fantastic voice range also made for a memorable performance while Michael - making his debut at the Royal Court - impressed with his vocal and acting abilities. The ensemble of Dave Dossett, Sarah Day, Guy Lightowler and Dion Connolly was perfect and putting them on stage behind the "action" worked very well. The set was superb - simple but so effective and Geoff Knight, Jack Martin and Mark Tempest certainly deserve praise. The lighting from Mark Tempest was fantastic, always picking up the atmosphere on stage and Lea Royse' sound was always subtle.
Only performed for two nights it was enjoyed enormously by the audience (mainly of other amateurs!) the night I attended and I only wish more people could have experienced this very professional production - well done everyone and thanks for the experience!