January 2001 - Region 9 - Mary Parker
THE WIZARD OF OZ
Our Lady's AOS
Producer and choreographer: Lynnden Pickford
Musical Director: Fr. Tony Dearman
The society, unable to cast adequately a Rodgers and Hammerstein show, very nearly opted out of presenting a musical this November. How fortuitous was the decision to continue, for The Wizard of Oz proved to be a success, not only for the large cast but all concerned with the production.
The scenery design and painting by Liz Black was original and visually so attractive. The main set changes, after an unavoidable stumbling block here, just didn't exist. Stage manager, Sue King, and her team planned and effected a very smooth show.
The producer and committee decided to use children to play the Munchkins, who were in colourful 'Diddy-Men' styled costumes, with young Christopher Wilkinson a well articulated Mayor: they were also Jitterbugs and Ozian soldiers. In fact, the soldiers performed a drill routine at the opening of Act II that wouldn't have been out of place on a barrack square. The children were smartly dressed and colour-co-ordinated with the scenery, obviously in subtle shades of green and emerald. Here Princess Gloria played by Kerry Houghton had a lovely moment in the haunting duet, 'Evening Star' with Dorothy. The children sang well and in harmony with the adults and their small stature made them more believable.
The music was well paced and the underscoring was never over-loud. Veronica Morrissey was the Sorceress, complete with a beautiful fairy outfit, viz. the very 'sweet' Billie Burke in the film. Malcolm Gregory was the Wizard of Oz. Jodie Gwatkin was an outstanding Wicked Witch, with good voice and histrionics. The Lion was played with relish by Frederick Knowles. The Tinman played by Ged Murtagh made his dialogue count, in a silver suit guaranteed to make him shed half-a-stone by the end of the week. There was a very good portrayal of Scarecrow by William Mascarenhas. His body language with overplaying as a clown was spot on.
What a lovely part Dorothy is, rainbow and all. Played here delightfully by Annemarie Cooke, she had a good accent and sang her numbers well. Her empathy with the cast and her happy persona made her the lynch-pin of a production that was not only extremely attractive to see but was also very entertaining.
OUT OF FOCUS
Denton Amateur Dramatic Society
Director: Kerry Newton
In the name of progress and redevelopment of the area, Wilton Street Players are leaving their home at Scott Memorial Hall, with its limited playing area, to join Denton West End at a new venue with better facilities: they have thus become D.A.D.S.
The story of the final production here is, ironically, set in a church hall and evolves, with much humour, from the diverse characters of the local community who all claim, due to the vagaries of the Vicar's wife's diary, that they have sole booking of the hall for the evening. They ultimately unite to appear in Mrs Duckworth's pantomime.
The nine characters were well cast and directed and the dialogue was fast, continuous and well cued with an hilarious pantomime scene - sung, I might add.
Kathleen Woodhead was the archetypal bossy 'Stage Akela' Helen Beer. Robert Griffiths was the desired table-tennis player David Wright. Richard Zadoreshnyj played convincingly Wayne Bryant, would-be thespian and would-be achiever. Kerry Newton pulled off the difficult task of being director here and playing Linda Hammond. Peter Larkin as Bob Enfield, who fancies Linda , had many of the well-delivered laugh lines. Karen Smith was Bob's jealous wife, played with a natural ease and delivery - a good portrayal. Andre Bellemere, delightfully eccentric, played the role of the incongruous Leonard Trotter, locomotive slides enthusiast. Caroline Eden was the well played dizzy, insecure vicar's wife Evonne Duckworth. Amanda Shaw gave a relaxed portrayal of the pleasant, understanding Sue Dixon.
The author had, in my opinion, overplayed his hand with the length of the final scene, which made it difficult for the cast to sustain the laughs they had earlier built up; although I could also have put this down to the very damp coldness of the night - for cold and damp it was. The audience was very receptive with its final applause for a well thought out and entertaining production. Best wishes and success, everyone, in your new home. I believe the lovely vaulted, mock Tudor, hall is to be replaced with a super market!
OKLAHOMA!
Stockport AOS
Director: John Harrison
Musical Director: Jeremy Sleith
Choreographer: Angie Draper
It finally happened, the public christening of the re-opened Plaza as a public theatre and, like the phoenix, the emergence of the Stockport Society after losing the much loved Davenport Theatre. After all, it was SAOS's Centenary as an operatic and then musical society. There was so much to overcome in this new venue, viz., the unknown. The society wisely chose Oklahoma! To some extent, an unadventurous choice. It is easy to stage, however, compared to some revivals and new releases. The costumes are simple and shouldn't break the bank and the orchestra players should know their dots. This, then, had to be a guinea-pig production: too late to re-hire and fire at the dress rehearsal. Everything looks good from the stalls but the steep K2 circle needs some overcoming. From my bird's-eye view, the sound is good. The sheer power of the wattage, however, drained the colour from the scenery and most of the costumes.
There was one of the strongest chorus lines I've seen in a society for some considerable time, with youth predominating, but enough older voices with weight and experience to support the singer/dancers in this production.
The dancing was of a high standard and added much. I was more than impressed by the younger principal cast who not only sang but danced so well. The ballet was very good indeed and riveting in parts.
The principal line-up was strong, well directed and they certainly knew what they were doing, keeping absolutely in character in EVERY scene: Sarah Moss (Gertie Cummings), Peter Bowler (Ike Skidmore) and Robert Birtles (Andrew Carnes). What a lovely portrayal of Aunt Eller Shirley Harrison gave, warm and assuring with every word clear as a bell. Mark Turner, in one of his best portrayals was the disturbed Judd Fry, whose intense delivery of his number said everything about his performance. Carl Morgan gave a subtle portrayal of Ali Hakim, so well thought through and with wonder hand histrionics.
The young singing and dancing leads were terrific: Louise Coffey was a sparkling, vivacious, believable Ado Annie, Craig Wright an excellent Will Parker, singing and dancing and achieving a lovely laid-back portrayal which American actors do so well.
Julia Maden made her principal debut here as Laurey. Her vocal naivety suited the role, she had the right accent and danced movingly in the ballet.
John Wood was Curly. From the moment he entered he was absolutely in character. His singing, natural ease and portrayal were spot on. A very good performance.
I was present on the Civic Night of a new theatre, a centenary, a new beginning and a show which should be a bench-mark for future productions for Stockport AOS.
ME AND MY GIRL
Lees Street Congregational Church AM & DS
Director: Pauline Browne
Musical Director: Roger A.F. Browne
Choreographer: Cathy Thompson
This was quite an ambitious show for such a small society to present. There is a large company, therefore, many costumes and difficult scene changes knowing the limitations of this society. Lees St. however, has a team of absolutely dedicated workers and technicians who are prepared to graft, for the sheer love of it. I have never yet been to visit this society when the stage, for example, has not been beautifully dressed. The maxim, "oh, that will do!" has never existed here. The costumes are always good as they were in Me and My Girl. The main difficulty presented here, is trying to fill all the roles adequately. The patient director took on board this time several young people who had never had a part and had not even been on the stage. They slotted in, helped by the more experienced. Though somewhat self-conscious, their sense of achievement must have been enormous.
The MD oft-times producer, director, singer, actor and jazz-band leader fell into the part of conductor at the last minute. The orchestra was good with plenty of pace and cued well.
The show was visually and technically (e.g. lighting) very good. The chorus sang well if in rather confined circumstances, but moved naturally off the stage - no mean feat here.
Smaller character parts were played by some familiar members of the society. Tracy Priest as Lady Jacqueline was vivacious and understood how to present her character. Neil Thompson had a good understanding of what made the Hon. Gerald tick. Margaret Morris-Jones was Maria, Duchess of Dene. How well her previous G&S contralto roles served her. Brian Ganderton played Sir John, really coming into his own in Act II. Lesley Robinson was a sweetly sung Sally Smith and portrayed well her sadness in Act II. Steven Crowther as Bill Snibson showed some inexperience with the timing of his cues in the comedy scenes, but more than made up for it with a bright enthusiasm.
I enjoyed this production. My thanks go out unlimitedly to all members of this society who always make me and my husband so very welcome.
MACK AND MABEL
Brookdale Operatic Society
Producer/director/choreographer - Elaine Wallman
Musical Director: Ron Davies
The orchestra, probably over-loud on the first couple of rows, had plenty of the required pace. The set was well built, but where the stage crew eventually put the train's Pullman carriage I dread to think! However, everything worked smoothly. The technical aspect was strong with good lighting cues.
The chorus showed an obvious enjoyment in its numbers and there were good young dancers in the line-up.
There was a wealth of experience in the cast, while Derek Ward brought much gentle humour to his cameo scenes as Freddie. Rodney Bracewell injected further comedy as Fatty Arbuckle, particularly in the film sequences, but seemed strangely ill-at-ease in several of the musical numbers. Andy Altree and Adrian Fallows were Kleinman and Fox respectively and gave competent portrayals. I liked Neil Lingwood as a sympathetic Frank. The character doesn't appear to have much to do, but is telling nevertheless. Mavis Jordan was suited to the role of Lottie but her greatest strength lay in her singing and the portrayal.
Elaine Fox as a natural soprano brought all her know-how and technique to singing some of the low vocals of Mabel Normand. This led to an almost two-voice quality. She had a delightful opening scene - and her final scene was beautifully moving.
Roger Haslam was a mature Mack Sennett in a strong acting performance. His singing ability, however, was directly opposite in range to Elaine's in that his vocal strength lay in his lower notes. His asides and wry scepticism were well delivered.
I wish copyright would have allowed the omission of the "Happy Ending" number in the last scene for this scene, without the music, stood on its own. The two leads perfectly captured the bitter-sweet tragedy of their life together. Talk about a catch at the back of your throat: it was wonderful!
GODSPELL
S.D.A.R.K. Productions
Director: Richard Ross
Musical Director; David Bradford
Technical Stage Manager: Neil McDonald
Producer: Kathleen Moreton
SDARK lights the stage for this first production. It always gives me great pleasure to see a new, young group or society formed to celebrate the art of whatever chosen discipline. This was also be to an adventurous project for SDARK chose for its venue the Tameside Hippodrome, hardly the intimate auditorium one expects, perhaps, for a debut. Neither did the company have a cast of thousands to fill the large stage. It did, however, enable the cast to test its ability to play to winder dimensions and project their individual personalities.
I expect the production team had little opportunity for much technical rehearsal here, so presumably they blocked and plotted to the nth degree, prior to opening.
The set was simple but effective with excellent use of lighting, the minimum of properties adroitly placed and a first class band of three, Mike Langley, Eliot Henshaw and Guy Lightowler, whose own talents were further enhanced by some audio high-tech aids.
Godspell was set here in something like a Las Vegas chapel with the religious fervour that surrounds a TV evangelist. The ten strong cast positioned themselves exactly for the lighting cues, yet expressed a freedom of movement and spatial awareness. As always in Godspell the individualism has to make an immediate impact with their respective solos.
The choreography and ensemble singing were very good indeed. The cast portrayals were varied, well contrasted and directed.
It would be unfair to single out an individual from the team of Rachel Lee, Chris Randell, Neil Moors, Louise Clough, Staci Counter, Stephy Hawthorn, Caroline Flemming, Caroline Tugwell and K. Moreton (Judas). The central character of Jesus was played with intensity and immediacy by Sean Croke who also could portray the pain and suffering.
This was a very good company debut. I am sure your public will widen and ask for more.
SEVEN BRIDES FOR SEVEN BROTHERS
Dukinfield AODS
Director: Melvyn Bates
Choreography: Jean Ashworth
Musical Director: Paul Firth
Seven Brides ... was one of the most successful MGM musicals ever. It had spectacular dancing and two of the most popular musical film stars of the day, Jane Powell and Howard Keel.
I haven't seen the stage show many times, but have always felt let down in some way - perhaps dwelling too much on long-remembered memories of my teen-age years. This show, however, was quite a delight. I enjoyed every minute of it, including the reprises of musical numbers which, with a less talented team can be, frankly, boring! The production was also a good example of what every producer/director hopes for, strong in every department and everything WORKS! One can usually tell when you are onto a winner by the audience reaction after the show - in the bar and the foyer. The buzz was definitely there.
Technically very sound, well designed and costumed. The main production team, as strong as ever, must have been, to coin a phrase, "chuffed to mothballs." I must also mention page 5 of the programme, a synopsis of the MGM film classic and subsequent shows. It was very interesting and compiled by Bill Owen, who is not only a talented performer but an absolute mine of knowledge on professional musical theatre and film.
What do I write about the very large cast? The chorus and townsfolk were as good as you'll get in any amateur production. The suitors, yes, all of them, could actually dance and were in no way second-fiddle to the brothers but were an integral part of this production. The choreography was excellent. I cannot give higher praise than that. The Brides, Natalie, Lisa, Wendy, Kimberley, Claire and Kerry were attractive and talented. The Brothers, only one has to be mediocre to bring down the others, were terrific. They looked good, acted well and rose to master their steps complementing their brides perfectly. Congratulations Graham, Nigel, Simon, Paul, John and James Wolstenholme as Gideon.
The ever-talented Samantha Bates was a delightful Milly, very well cast with great strengths in every aspect of her character and performance. Stuart Hall was Adam Pontipee, a very strong personality with a super, powerful voice.
Dukinfield Society should, without doubt, feel very proud of this production.
MACK AND MABEL
New Mills and District AO&DS
Director: Dianne Aspinall
Choreography: Julia Cooper
Musical Director: Tim Hawkins
The Arts Theatre at New Mills is the perfect setting and size for Mack and Mabel. Sitting in the circle, looking at the little boxes and the red velvet front tabs, I was ready to enjoy myself before the overture commenced and when it did, wham! What speed! The orchestra obviously enjoyed playing the score, but not being in a pit, was over-loud at times. It is difficult for musicians to play the brass underscoring very quietly and sometimes the dialogue was almost inaudible. After this opening night I know that the balance will be adjusted. There was a good lighting plot, always capturing the right ambience.
After Mack Sennett's introduction to the unfolding story the stage burst into life with the joie de vivre of the company, I might add.
There were some interesting and effective directorial touches, viz. Mabel's Act I and Act II entrances using the long director's boom - a nice touch. The company movement, i.e., rushing about "without bumping into the furniture" - as Noel Coward once said, was well choreographed and, by the end of the week, should be slick. There were one or two male members of the chorus whom I have seen playing leads in other productions, a vital backbone to the more inhibited members, providing just the right touch of period authenticity.
There was an experienced main cast; John Foley, Alan Frater and Sean Stennings as Kleinman, Fox and Frank respectively. Beverley Critchlow was the vivacious, worldly-wise dancer, Lottie Ames. I enjoyed Angela Hulme's portrayal of Ella, the company pianist, always in character and giving the right reactions. Graham Fletcher gave one of his best performances I've seen so far, as the ubiquitous comic, Fatty Arbuckle.
Beverley Brooks gave a good, all-round portrayal of Mabel Normand, with a pleasant singing voice, accent and subtlety in some of her nuances. She does, however, need a bit more attack and vocal volume to reach the back row of the circle.
Barry Aspinall was Mack Sennett. He had a good opening, setting his character and the style of his portrayal from the start. He had warmth, but also the hard edge and unthinking, selfish obsession born out of Mack Sennett's particular love of his craft. Fortuitously, Barry's opening scenes gave us all an insight of his experienced portrayal, despite his having had, and being still fighting, the dreaded 'flu' bug of recent weeks.
This Mack and Mabel was well directed with considerable thought and tailored exactly to the abilities of this enthusiastic company.
TRIAL BY JURY & THE SORCERER
Poynton G & S Society
Co-directors: Richard Huggett, Anne Allwright
Musical Director: David Tibbles
After an even briefer summer break than usual from NODA visits, what an entertaining start to the amateur season this production proved to be.
In both Savoy operas the technical side was well up to standard. The lighting plot evoked the ambient atmosphere of each. The costumes were appropriate and most attractive. The ample chorus could sing in harmony, blending well, accompanied by an orchestra which never over-shadowed any soloists and where the tempi were up to pace. The large ensembles were choreographed so that the chorus and principals moved easily and naturally.
In Trial the principals equipped themselves well, with Lisa Carrington as the Plaintiff and a fine performance from Ian Whitfield, excellently sung, as the Usher.
The Sorcerer, so rarely performed, but recently having quite a revival, is longer and a more ambitious vehicle. There was a strong principal cast of nine here, Jeanette Wood almost unrecognisable in her character part. John Wellington Wells was nicely and suitably played by Michael Nash. The small ensembles and solos of principals were well sung with precision, while Victoria James shone as Aline Sangazure and her solos were a pleasure to listen to. Rehearsal and effort had paid off here to produce two polished productions.
CRAZY FOR YOU
Macclesfield Majestic Theatre Group
Directors: Alison Gorton, Michael Dawes
Musical Director: Heather Hayes-Wilson
Choreographer: Carolyn Farrish-Mayer
MMTG committee is wonderful at giving young people an opportunity. This was no exception being a directorial debut for two young producers of this far from easy show and oft times technically difficult, depending on the venue. Backed by an experienced production team and like-wise stage-manager Keith Preece, ASM Jenny Guilder and all their ever dedicated and imaginative back-stage staff - and I stress imaginative - this opening night could not fail to be anything other than entertaining. You've a lot to learn yet but well done, Alison and Michael.
If there were any downsides it was the thinness of men on the boards, resulting in some quirky casting.
The pace of the orchestra was absolutely right, essential for any Gershwin show, as Heather whipped along her ten-strong ensemble when necessary, making some sweat it out with the multiple dotted arrangements.
The comedy, as always, was in capable hands. Andrew Laidlaw was a tough Lank Hawkins but lacked some experience and, therefore, the cynicism of his character. Debbie Lomas gave a vivacious portrayal as the leading dancer, Tess. Tracey Chuter was able to develop the more meaty acting role of Irene Roth at the same time showing how well she could sing and dance in her mock torch number, "Naughty Baby". Nigel Wells was able to bring his acting experience to the role of Bela Zangler, accent and all.
Gemma Moss was an incredibly young Polly Baker. She has, however, the assurance, particularly vocally and presence of a far more mature actress, to give a very good performance. She was partnered admirably by Kevin Clarke in the Mr Twinkle-Toes leading role of Bobby Child. Kevin was able to dominate with his own portrayal and dancing solos but played generously to his leading lady, Gemma.
The large ensembles were full of life and the Act I finale, "I Got Rhythm" was not only stunning but electrifying. The dancers were shattered in the interval but my, wasn't it worth it?