January 2001 - Region 7 - Tony Adler
OLIVER!
Middleton AO & DS
Director: Melvyn Bates
Choreographer: Jean Ashworth
Musical Director: Jeremy Sleith
Singing Coach: Shirley Harrison
Whilst I think this is rather a good show, it is not one I like to see too often because I know it so well and have mixed memories of a production in which I was involved. I had also seen it but a few weeks earlier duly performed with a high degree of competence and excellence. However, I must confess that Middleton probably put on one of the best Olivers I have seen. It made me realise more than ever what an influence on the show Fagin is. Not only is he a clever villain and a master manipulator of young children with a human heart, but Colin Ward brought a sense of warmth and light relief to the part which I have never felt before. I have seen some excellent Fagins but none whose performance I have warmed to more.
This sense of warmth and enjoyment went right through Melvyn Bates' production and I have no doubt that Jean Ashworth was substantially involved. I suspect Shirley Harrison had worked hard to help the good singing and Jeremy Sleith had good control of the music. Natural sons of Fagin, Nicholas and Michael, were excellent as Oliver and the Artful Dodger, and Jackie Matthews and John Harrison sailed through the roles of Widow Corney and Mr. Bumble respectively. Pat Lowe and Mike Russell again played the Sowerberrys and as expected were totally competent. I am glad that many years ago I suggested they play these parts for first time.
It was probably the first time that I had seen Don Munro play such a part alien to his normal character and I thought he did rather well as Bill Sykes and looked and behaved quite arrogant and evil. Debbie Margolis was perhaps the best Nancy I have seen. Normally Nancys can all sing and look rather affable ladies with a heart of gold and it is hard to equate them realistically as the lover of Bill Sykes. However she looked just right, being a bit rough around the edges and gave the impression of someone who had been about a bit. It was an excellent performance because she still portrayed a soft heart and a considerable singing ability.
All the supporting parts were well played and the use of the kids and their performances, were excellent. It was also good to hear "Who will buy" sung so well. It was very sensible to ask some talented amateur friends with good voices to sing the lead roles. No-one could grumble at the quality and entertainment value of the production.
CHESS
Whitworth AM & DS
Director - Andy Kelly
Musical Director - Andrew Kearns
Choreographer - Maggie Lawrence
Chess is not everyone's "cup of tea" but it is an interesting show. It does however need strong performances both in acting and singing particularly because of the difficult music; also carefully thought out direction. Whitworth is not one of our biggest or more glamorous societies but they will be proud of this show and rightly so.
Darren Fricker as the Russian chess champion acted strongly in the difficult role and mastered the singing well whilst Melissa Wells as Florence Vassy emerged with great credit in this exacting role. Duncan Anderson seemed very much at home as the American chess master and was excellent and Rod Cadd, Don Munro and Alex Parker also showed very good stage craft and ability in their parts. Andy Kelly was the devious scheming Russian manipulator and gave authority and credence to the part but he deserves even more praise for his direction which had a lot to commend it with continuity and dramatic effect as well as making full use of the strength of the company on the limited stage which was appropriately dressed.
The music was pre-recorded by Andrew Kearns and required discipline by the performers which they showed aided by Maggie Lawrence's choreography. Well done Whitworth - it came off despite the fact that it must have been a bit of a gamble and I hope your audience came in and appreciated it. Certainly on the night I was present they received the show and the performances enthusiastically.
THE GONDOLIERS
Greenacres AOS
Producer: Norma Grimshaw
Musical Director: Gillian Farmery
I admit that this show is one of my favourite G and S Operettas as it does not tax my diminishing brain too much. It is quite light and clever with witty lyrics and dialogue and musically is very enjoyable. Indeed the opening musical sequence is of such a length that there is hardly any room for justifiable applause until it finishes. Greenacres put on a good reliable show with experienced performers and enough talent to do what was required and the performers gave the impression that they enjoyed it also which also helps.
The two Janets (Marshall and Milner) were nice and easy as Gianetta and Tessa with voices a pleasure to hear and very expressive in their roles whilst Megan Patrick was a fine Duchess and Pam Bailey was steady and reliable as Casilda. As for the men, I think I have seen Stan Johnson in as many different parts as the late Handel Smalley and he dealt with the Duke in his usual relaxed and competent fashion and Peter Crichton as Luiz was strong and acceptable. Tony Jackson and Michael Kennedy as the two Gondolieri are almost getting to the stage of veterans and I am sure that they would be delighted if younger principals were around to challenge them but they have experience, a sense of fun and rapport with each other, can sing well and they do far more for a show than simply appear and I always enjoy their performances.
I thought Austin McKenna as the Grand Inquisitor gave the strongest performance I have seen from him for some time and deserved full credit for it. The chorus (which naturally could be larger) sang very well as it always does at Greenacres and Norma Grimshaw's production was sound with one or two nice touches. The orchestra backing was perfectly reliable and good to listen to but then I am now getting to the stage when I expect this with Gillian Farmery as musical director because she continues to impress.
THE PAJAMA GAME
Heywood A O & D S (Hey Kids)
Producer/Director Joanne Lord
Musical Director Stephen Gooding
Choreographer Jill McIntosh
Accompanist Alan Turnbull
I do not think that this is the best written show for adults and so for a youth group to take it on was not what I had considered to be ideal but they got away with it quite well. The plot is simple enough as is the dialogue but some of the numbers are a bit tricky.
Philip Sanders as Sid had plenty of stage presence and authority and put his numbers over well and Ruby Turner turned in a good performance in every respect as Babe and they were a convincing couple. There were interesting and enjoyable performances from the numerous supporting players particularly Martin Bracewell as Hines and Katrina Bishop as Gladys and the whole company, including the chorus, worked well together and seemed to enjoy the show.
The staging was good and the production team must have worked very hard - it is not an easy task to discipline youngsters to perform on stage but I suspect they were all well satisfied by the end of the show. I think the audience also enjoyed it judging from their reaction.
CAROUSEL
North Manchester AO & DS
Director Joan Littlefair
Choreographer Jill McIntosh
Musical Director Simon Pickup
My personal views on Carousel as a show should be well known by now as they have been documented in previous reports on the show over the years. Nevertheless, I rather enjoyed this production and great credit should go to the director, Joan Littlefair, on her first full production. Not only were the usual elements of the show pretty faithfully produced but there were one or two other extra little touches which seemed to work. The Society even got away with the ballet (not one of the best for amateurs) without being too ambitious.
Michael Mills was an excellent Billy Bigelow. Whilst it is a singing part which seems to sit better on a lower register, nevertheless Michael sang it very well. On this occasion I thought his characterisation and acting were first class and if anything the better part of an excellent performance. Karen Hamnett as Julie Jordan was probably playing her first lead and did it well. Whether her voice will get a little stronger and more rounded with experience remains to be seen but her acting and dialogue were sound and she looked fine for the part. Carrie was very much Alison Green's "cup of tea" and I thoroughly enjoyed her performance as, indeed, I thought I would. John Jackson was a fine Mr. Snow. Not a dashing lead to show his good tenor voice but this is an ideal part for him to air his talents. Sheila Byrne was a good and reliable Nettie but I cannot completely make up my mind whether Paul Rigney's interpretation of Jigger was totally right. Certainly it was rough, dirty and bullying and much stronger than many other Jiggers but the more I think about it, the more I liked it and perhaps it was more convincing than others I have seen.
The small roles were well played although Vanessa Randall as Mrs. Mullin at times seemed more of an English duchess than an American carousel owner but it was certainly a strong and creditable performance and Geoffrey Holme used all his stage experience to impress his kindly and friendly authority on the split roles of Starkeeper/Small town medic.
The chorus performed and sang well and Simon Pickup as MD and Jill McIntosh as choreographer played their full parts in this successful production. Indeed Jill had two shows running that week so I do not know where she finds the energy. Finally I should like to commend the society on an excellent programme and trust they will consider putting it in to the programme competition.
THE MERRY WIDOW
Saddleworth Musical Society
Producer Brian R. McEwen
Musical Director Harry Butterworth
Choreographer Marjorie Nield
I almost used to dread seeing another Merry Widow because some years ago nearly every singing society seemed to be performing it almost ad nauseam. But not having seen the show for a few years I rather looked forward to it because if you have some good performers and singers then it is one of the best shows around. It certainly goes down well with a more mature audience.
Saddleworth did not disappoint me (or the rest of the audience) and it was a very good show throughout with a little more dancing than I am used to which was very well performed, and directed by Marjorie Nield. The scenic design was a credit to Pat Butterworth, Charles Hopwood and their team of helpers and it added greatly to the sparkle.
Louise Taylor was a lovely Anna, perhaps not quite as earthly elegant or as powerful as some I have seen but she looked so slim, elegant and attractive and sang so reliably that one could only envy Danilo who was played by Martin Roche. Martin is a strong performer in all respects on stage and his interpretation came over as a "bit of a lad" rather than the more relaxed, gentler, debonair and charming Danilo's of old. However, the strength of his performance and singing helped to give the show authority and warmth and indeed it was someone with whom you could identify. Miriam Lawton (Miss Reliable) also gave a different interpretation of the part of Valencienne who is normally a very dignified upper class lady of impeccable behaviour i.e. a very respectable wife, tentatively playing with fire. Miriam almost gave the impression that she had already dipped her fingers in the fire and was rather anxious to withdraw them and could well have been a lady with a past whom the Baron had met in one of his "off duty" moments before he was flattered into a marriage with her - hence the difference in age. Nevertheless she looked good and sang well and was extremely fortunate to have in Gary Davis, her rather dull and humourless French suitor, someone who could sing the part of Camille so well. If I have heard it sung as well or even better, it was once only many years ago by John Hughes and older audiences should not need reminding of his vocal talent so sadly missed.
I did not expect Mike Conroy to be anything other than a first class Baron (which he was) with hardly a line or mannerism wasted - he must be one of the best character actors around, and I warmed to the way in which Frank Boocock played Njegus which was very efficient and his timing was very good.
Supporting players and chorus all did their jobs but the whole effect was enhanced by the quality of the music by the orchestral control and sympathetic direction of Harry Butterworth who figures so often at the bottom of my reports when if the order of the list was based on merit, it would necessitate him being mentioned earlier - if not at the top. Brian McEwen's production was efficient and of an excellent quality and no one will have left this show without experiencing a lot of pleasure.