Year

January 2001 - Region 4 - Gordon Hall

MY FAIR LADY

Ellesmere Port AOS.

Director: The Production Team
Musical Director: Elizabeth Gladman
Choreographer: Julie Rooney

Despite so many TV presentations of the film it is encouraging that this marvellous musical can still pull in a full house as it did for Ellesmere Port at the Civic Theatre. To get it on at all the Company had to surmount the difficulties of losing its director and a major character just a few weeks before the performance and it is to be congratulated on so well dealing with these challenges to provide an enjoyable evening's entertainment.

Hannah Goodison in her first role for the society made an excellent Eliza, playing and singing with conviction. Keith Wheelton as Henry Higgins, despite his strong singing voice, was rather underplaying on the first night when I saw the show and came over as just irascible rather than the supreme egotist dominating the set as usually portrayed. He was supported by a nice portrayal of Colonel Pickering by Roger Gladman.

Only having come in a few weeks before, Robert Hopkins, big of voice and personality, was perfectly at home in this production as Doolittle. Although he has played the role before it came over as fresh as ever and provided a number of high spots in collaboration with his two pals, Tom Saban as Harry and Robin Blythe as Jamie, and the lively chorus.

David Woolf as Freddy sang well and coped with a costume seemingly several sizes too big though the hands in pockets for "On the Street Where You Live" was not a good idea! Enid Butterworth was an aristocratic Mrs. Higgins with Joy McIntosh as the long suffering Mrs. Pearce. Zoltan Karpathy was played by Barry Hickman Germon and Mrs. Eynsford-Hill by Dilys Chadwick.

Once again a company was let down by scenery suppliers with a few highly inappropriate cloths - Ascot seemingly being located in deserted countryside for the walk across and a London Embassy ball taking place in broad daylight with what looked like a view of the Acropolis and other exotic buildings through the windows. Why do they do these things?

With all the pre-performance problems it was not surprising that there was some rather tentative acting on the first night and the musical numbers were lacking in dynamics but all the right ingredients were in place and Ellesmere Port could expect another successful show.

OKLAHOMA!

St. Paul's AOS.

Director: Phyllis Oliver
Musical Director: Victor Knight
Choreographer: Janet Foster

It becomes increasingly difficult to find anything fresh to say about Oklahoma!, for so long a mainstay of the amateur societies. Here we had another colourful and acceptable show from St. Paul's. A blend of young relative newcomers to the society together with its more established players made an interesting combination. After a slightly tentative opening the young lovers, Curly and Laurie, played by Damian McBeath and Cathy Thornborough gave spirited and likeable performances, though Cathy must work on her vocal placement. For me the performance of the evening was given by Tony Watson as Will Parker with great zest and attack, combining well with the flirtatious Ado Annie of Sally Lynam.

There was a major change of role for Steve Riordan after last year's Higgins as he became the villain of the piece, Jud Fry. Tony Lacey's Ali Hakim could have done with a little more Persian comedy but once again we had a young man in his first major role - never an easy step.

Carol Clare gave a nicely balanced performance as Aunt Eller capturing well the combination of frontier grit and solicitous mother figure.

Smaller parts were well taken with Dawn Williams splitting our ears with her laugh as Gertie Cummings and Budge Grounsell as a suitably curmudgeonly Andrew Carnes. A special pleasure was to see Jim Bird, for so long a stalwart in many Wirral shows, making a brief appearance as Ike Skidmore, having travelled from the Isle of Man, where he now lives, to do so.

Chorus and dancers played well throughout. It is to be hoped that the young talent on show will continue to develop and remain in the amateur musical field, where new blood is so greatly needed.

AND THE THERE WERE NONE

Port Sunlight Players

Director: Colin McCarthy

Adapted from Agatha Christie's 1939 crime novel, though with a title amended to reflect political correctness, the play is a true" Whodunit "with many red herrings before the final murderer is unmasked. The curtain rose on a nicely designed single room set in thirties decorative fashion in a house on an island off the coast of Devon though stronger sound effects would have helped establish the location and proximity to the sea of the house which has considerable bearing on many plot strands.

A rather disparate group of characters had accepted an invitation for a weekend at this remote spot from - apparently - someone they didn't know who, in addition, had not turned up, not the best start for a relaxing weekend!!

The opening act was inevitably rather slow as we were introduced to the individuals and their characters established but then matters perked up as one by one they were eliminated by various foul deeds. Our interest is certainly kept alive by seeing who will remain and which means the murderer will chose to accord with the prompting of the rhyme (Ten Little .... - add least offensive group name!). With a cast of 11, several of whom made an early exit, it is not possible to mention all but Jenny Williams as Vera Claythorne and Alan Williams as Sir William Wargrave were noticeable.

Unfortunately there had been a few last minute cast changes so that the Prompt was rather more in evidence than usual on the opening night which I saw. Nevertheless Port Sunlight Players gave us a good reminder of the sort of standard mystery which used to be stock material for the old reps.

ME AND MY GIRL

Chester Operatic Society

Director: Robin Goddard
Musical Director: Graham Pike
Choreographer: Bethany D'Avincourt

What a happy show Me and My Girl is! Happy for company and audience alike. It was a pleasure to sit in the Gateway with a full house and hear the gales of laughter and humming along to well known tunes which comes from an audience thoroughly enjoying an amateur show. Every (let's admit it!) corny joke in the script was treated as though newly minted and the old favourite melodies savoured afresh.

From the moment that Graham Pike gave full rein to his band in the overture we had a fast paced and enjoyable evening. Michael Hetherington as a likeable and cheeky Bill and Clare Camino giving a natural and well judged performance as Sally were the pick of the performances though all concerned made excellent contributions to the evening's success.

There is a danger for the Hareford Hall family to became caricatures rather than characters and while this was occasionally a fault here it did not distract from their impact on the audience. Janie Hughes gave us a Duchess reminiscent of Lady Thatcher at her most imperious with Vaughan Hughes as Sir John. Gary Jones was an Honourable Gerald who would have been a natural for the PG Wodehouse Drones Club while Maureen MacIntosh was the capricious and predatory Lady Jacqueline.

John Phipps as Parchester, the Family Solicitor was a model of pin-striped rectitude and Rob Tolefree as Charles, the Butler could soon be following so many high-class servants by writing his revelations of the goings-on at Hareford. Lord and Lady Battersby (no relations to the Coronation Street Battersbys!) were played by Peter Bird and Vanda Hargen and it was a surprise to see that fine bass Mark Gairrusso wheelchair-bound as Sir Jasper Tring.

The chorus was in excellent voice and, well dressed throughout, made an effective contribution as did the dancers. The applause at the end of the evening showed that Chester had come up with a really audience pleasing show.

PETER PAN

Castaway Youth Theatre

Director: Karen Partington
Choreographer: Karen Jewell

In only its second show the talented young people of Castaway gave us an enjoyable arrangement of Peter Pan, part traditional and part pantomime. Two teams totalling nearly 90 children of ages, in the main character, from 9 to 15, must have involved a great deal of organisation and patience from all concerned. But once again all came up trumps. Of course I only saw one team though several major parts were played throughout by the same player.

From a nicely staged Edwardian opening scene, reminiscent of Mary Poppins and singing "Who Will Buy" we moved on to the story proper in the home of the Darling family with Mr. Darling played by A.J. Caldwell and Mrs. Darling by Rachel Hall. We also met Eliza the maid (Laura Roberts) and, of course, the family nursemaid/dog, Nana, (Robert Downes - of whom, more later!). The Darling children, who were excellent throughout, were Kimberley Brook as Wendy, John Trickett as John and Robin Stott as Michael. Well as these opening scenes were played we were awaiting the appearance of Peter Pan himself and in he flew on the Hi Fly wires. Peter on this evening was played by 12 year old Mark Williamson, building quite a theatrical CV and last seen as a most appealing Oliver for Birkenhead. Once again he showed his abilities as he gave us every nuance of the complicated character of the "little boy who would not grow up". He was accompanied by the naughty Tinkerbell - a really nice performance from 9 year old Natalie Wright. I was slightly disappointed that the production did not show Peter looking for and finding his shadow - surely one of the best known episodes in the book.

Well, soon they all fly off to Never-Never Land, singing, of course, "We Can Fly "and soaring aloft on their wires, serenaded away by Eliza singing "High Flying Adored". In Never-Never Land we had a lively set of Lost Boys and a tribe of tuneful Red Indians (Native Americans) led by Tiger Lily (Charlotte Williams). Above all however we had the dastardly Captain Hook excellently played and sung by Robert Downes, only 15 but already a most assured player, together with his rascally band of cut throats. His chief assistant is Smee, with Robert Lyon, who took over the part at short notice, showing an excellent gift for comedy.

After many alarms and excursions all ends happily though not before a variety of set pieces - underwater ballet, mermaid scene, Indian dance - had added to the fun. I particularly liked Peter's dismissal of Hook - "You are the weakest link - Goodbye!" but, please, "Death" not "Life" is an awfully Big Adventure.

Songs were well chosen throughout and everyone coped well with what was a most ambitious production for these young people. Long may they continue.

SOUTH PACIFIC

Chester Musicals

Director and Choreographer: Robin Goddard
Musical Director: Christine Steele

The problems that beset the society (formerly known as Deeside Orpheus AOS) were legion and the catalogue would take more space than is available. Needless to say they overcame them all with (I am reliably informed) sterling work from their Secretary, Susan Oldfield, and great spirit from all concerned. However, I would not have realised any of this from the creditable performance I saw. Starting with the best set I have seen for the opening, and two delightful children, the two principals John Coppack as Emile de Becque and Jane Chance as Nellie Forbush proceeded to give nicely sensitive performances conveying their mutual uncertainty as their relationship developed. John Roberts as Henri gave an excellent little cameo, showing how even a minor part can have its effect.

Jenny Jackson "wheeled and dealed" with relish as Bloody Mary with Helen Morrish as Liat. Michael Bradley was a believable Lt. Cable though I would have preferred a more sensitive approach to the initial romance between him and Liat though the thought of Bloody Mary as a mother-in-law must be most off-putting!. Luther Billis was played with panache by Jim Davidson (no, not that one!) and was assisted by a raucous and lively group of Seabees - though American accents were often hit or miss... The nurses also came over well. Captain Bracket was played by Peter Oldfield and Commander Harbison by Adrian Hufton.

Perhaps the racial issues, so new in 1949 when the show was first produced, do not have the same impact today but the marvellous score is as attractive as ever. Christine Steele marshalled her small, mainly keyboard, forces well so that we did not miss a conventional orchestra.

THE WIZARD OF OZ

Wallasey A. O. S.

Director: Joyce Porter
Choreographer: Deborah Clarke
Musical Director: Brian Smith

This was the 90th birthday production for Wallasey and a judicious choice of show ensured excellent houses and a great deal of enjoyment for old and young alike. A great pleasure it was to see so many youngsters at the production. Now the trouble with stage adaptations of well loved films is that one carries a great number of preconceptions into the theatre and often the additions written in to extend the action and to provide extra work for the chorus do not match the original work.

And so it proved in this case and it was a special sadness that the excellence of Jason Collinson's Cowardly Lion could not be supplemented by the inclusion of "If I Were King Of the Forest", so memorable when sung by Bert Lahr in the film. I also felt that bringing the chorus on to accompany Dorothy's "Somewhere Over the Rainbow "detracted from the charming simplicity of the number. Obviously these are faults of the adaptation and not of the company and Wallasey had assembled an experienced troop of principals to portray the well loved characters.

With memories of the 17 year old Judy Garland I was also slightly worried that casting Gina Davies as Dorothy rather than someone from their youth group would also be less effective but Gina soon extinguished these doubts. She brought a freshness and excellent vocal quality to this pivotal role. She was well supported by her companions along the yellow brick road. Jason Collinson (like the poor, he is always with us!!) added a fine gift for comedy to the other attributes he has shown on the Wirral musical stage as a slightly camp Lion, while Gerry Johnston turned his straw limbs into rubber as he made an appealing Scarecrow. The Tin Man was well portrayed by Tom Lightburn.

To show further the versatility of some well known players Tia Chang (usually a leading lady) cackled, screamed and generally made herself unpleasant as the villainess of the piece, the Wicked Witch of the West, thoroughly deserving of the resounding boos from the younger elements of the audience. In contrast Norah Cooper was all sweetness and light as the Sorceress of the North. Rodney Banks was particularly effective as the eponymous Wizard. Enid Davies and Ruth Heslam as visiting witches contributed to an amusing "At Home" scene with Tia. Barbara Pickering came over well in her brief appearance as Aunt Em while Bernard McElvogue was his usual bluff self as Lord Growlie.

Minor characters, chorus, children and dancers all made their contribution to an enjoyable evening as did the orchestra ably directed by Brian Smith.

A CHRISTMAS CAROL

Silver Star Amateur Youth Theatre

Director: Barbara McGee
Musical Director: Helen Lynch

Those of us fortunate to be connected with societies that can hire purpose built theatres, costumes and scenery cannot envisage the hard work that must go on for those using community halls and needing to make or borrow everything for their production. Such a society is Silver Star and it is a tribute to the dedicated mums, dads and other , often dragooned , helpers that they are able to stage as demanding a show as this. Perhaps in retrospect the very interesting musical version of Christmas Carol written by Leigh Stanley and Michael Williams of Ellesmere Port Light Opera demanded adult musical ability to deal successfully with the relatively complex score, when so much of the story is carried by the vocal items. However the forty or so youngsters, many of whom had no previous stage experience, are to be congratulated on sticking to their task and giving us an enjoyable performance with many highlights. There are, indeed, many opportunities for a large chorus to shine including a charming nativity scene with an accompanying lullaby and the score includes a number of telling Christmas carol arrangements. Despite the well dressed and atmospheric opening I wondered whether there was a need to establish the main story earlier as we had to wait a long time before Scrooge first makes his appearance and the story proper gets under way When it does however this timeless story is faithfully followed and the young protagonists coped well with their tasks, many of them playing several characters, but with thirty six named players only a few can be mentioned.

Of course the main emphasis fails on Ebenezer Scrooge, and, while it is always difficult for a young person to convey crabbed old age, Stephen Cody did well. His put-upon assistant, Bob Cratchit, was convincingly played by Chris Liston ( who also portrayed Marley ) , with poor little Tiny Tim nicely characterised by young Paul Drew. Alice Lyons, Cassie Joyce and Chris Joyce were the ghosts of Christmas Past, Present and Yet-to-Come and Scrooge's relentlessly cheerful nephew, Fred was played by Phil Lyons. In this version Belle was given rather more prominence and Sarah Castro coped well with a difficult solo.

Great credit must be given to Barbara McGee and Helen Lynch for accomplishing what for any company would be a challenging show. That these youngsters achieved so much will do wonders for their stage confidence and, hopefully, further develop their interest in our absorbing hobby.

SONGS FOR A CENTURY

Birkenhead Operatic Society Trust

This sparkling stylish revue was an ideal vehicle for BOST to display the depths of talent in their company.

Introduced by Gordon Hall, the company rekindled and recaptured the Magic Of The Movies, featuring Mike Carroll, Dee Harris, Clare Thompson, Davina Jones, Bernie Webb, and Julie Davitt in a superb opening sequence.

Stephanie Davies/Gaby Orr brought back memories of Shirley Temple, while show-stopping Mike Eccles and Mike Carroll relived Laurel and Hardy with "Lonesome Pine"; this was an absolute gem.

Pat Davies was in tremendous form with numbers from Annie Get Your Gun, as was Lynda McKay with "Trolley Song" and "Cabaret".

Memories of Fred Astaire and Ginger Rogers came flooding back with a delightful medley by Ian Lloyd, Elaine Connell, Collette Clare, and the dancers.

Highlights from the Sound Of Music by Mike and Julia Carroll and a stirring "Climb Every Mountain" from Meryl Langford delighted the audience as did the Disney Medley featuring Clare Thompson, Joanne Dennis, Robert Downes and chorus bringing the first half to a close.

Highlights from the society's hugely successful spring production of Oliver opened the second half. Copyright restrictions prevented BOST recreating the true mood of this superb production but nevertheless this was wonderful reminder.

Tribute to the Tall Ships from Mark Gairrosso, Meryl Langford, Jamie Lester, Stephanie Murray, chorus and dancers followed, the evening ending with all the passion of "Rule Britannia" led by Meryl Langford with the entire company and the audience in a rousing finale.

The production was directed by Elsie Kelly with musical direction by Tricia Gaskell, choreography by Mavis Taberner and musical arrangements by Dennis Brown.
(JMO)