Year

September 2001 - Region 2 - Keith Painter

DAISY PULLS IT OFF

Arnold School

This was well directed by Colin Snell who bought out the best in the cast. It was a play with plenty of parts for the younger people.

It was presented on an open stage, which worked well. Everybody played his or her part well.

Congratulations to all the pupils from the school who have gone on to drama school to keep up the good work on and off stage.

CALAMITY JANE

Blackpool and Fylde Light Opera

I'm not quite sure what affliction hit the Fylde Coast for so many local companies to attempt Western musicals. Blackpool and Fylde decided to attempt Calamity Jane and a very nice job they made of it.

Cyrilyn Moore was highly entertaining in the title role and grew in confidence as the show went along. Roger Lloyd-Jones was excellent as the gun-slinging Hickock and stopped the show with his rendition of 'Higher Than A Hawk'.

I was also greatly impressed by Dave Kennedy as Danny Gilmartin - a magnificent voice shown to perfection in his duet with Joanne Horsfall's Katie Brown - 'Love You Dearly'.

The quality of performance was consistent throughout the cast - Alastair Whyte (Francis Fryer), Kimberly Edge (Susan), Alan Morton (Henry Miller) and the engaging Anne Lloyd-Jones (Adelaide Adams). But I must give a special mention to Dave Swift, whose performance as Rattlesnake was hilarious - reminiscent of Mel Brooks' old prospector from Blazing Saddles.

A troupe of pretty dancers and a boisterous chorus made this an extremely enjoyable show and a terrific advert for Lancashire talent (although, now I come to think of it, the two leads were actually Welsh!)
(Tommy Warburton)

OKLAHOMA!

Blackpool Operatic Players

Another colourful and lively show presented by BOP at the Grand Theatre, Blackpool.

Amongst a strong cast Nigel Taylor and Karen Gray, as Curly and Laurie, gave spirited performances. Aunt Ella, played by Jane Curtis, gave a strong and balanced portrayal of the character.

The other parts all played good supporting roles and included Erik Blackburn as Ali Hakim, Adam Carter as Will Parker and Carla Green as Ado Annie. Also giving us a treat was John Chesters as Judd Fry.

The scenery was nice and simple and the chorus and dancers looked and sounded good throughout. A very nice evening. Thank-you to everyone.

THE FORSYTE SAGA

Blackpool Theatre Company

In 1967 the nation was gripped by the television series The Forsythe Saga.

This play had a large cast and was directed by Angela Hudson and what a good job she did of it. The set was well made and looked impressive! The play spans over the years 1886 and 1930. The passage of the time was very cleverly achieved by use of lighting on the single set.

There were some wonderful character parts. I must mention the two old ladies who had some good scenes together.

The leading lady and man did an excellent job throughout, especially in their love scenes and, of course, the rape.

We all know the troubles that the Forsyte family got into and how they always wanted to be the best at everything.

Also, I must thank the rest of the cast including the staff and the friends of the family who kept the family together through their trials and tribulations.

EASY VIRTUE

Fylde Coast Players

This Noel Coward favourite was played by the Fylde Coast Players to their usual high standard.

The cast included some memorable characters who all kept up their parts throughout. The story of an older woman who marries a young man and the reactions of his family to the marriage provide some classic comedy moments.

All the cast played their roles well and it would be unfair to mention individuals.

The set looked good, as did the props and costumes. Another very enjoyable evening spent at the Lowther Pavilion.

MURDER BY MISADVENTURE

Fylde Coast Players

Keith Frasier directed this play. The action takes place in a flat overlooking the English Channel. It was very interesting to watch and although there were only four characters in it, your interest was held to the very end.

The main two charaters are on the stage throughout and are trying to catch each other out. The sliding door at the back of the set opens onto a balcony, which has a long drop to the floor, and of course it has a locking device that can only be opened from the inside. So, therefore, you can imagine what funny business goes on there.

Emma tries to help but in the end an inspector is called to sort things out. A very good and interesting play for all concerned.

THE PAJAMA GAME

Our Lady Star of the Sea

This was a very good and enjoyable show. It takes place in a factory, which makes pyjamas, and the ladies of the chorus are mainly the girls who work on sewing machines. Everything goes well until they want a pay rise and the management says "no" then all hell is let loose!

There were some very good parts played by the management, staff and shop floor workers.

Nice simple sets and the music was delightful.

THE SORCERER

St Leonards G & S Group

The Sorcerer is rarely performed but recently is having quite a revival.

This was a very strong cast led by John Wellington Wells played by Kevin Shepherd. He was well supported by the rest of the cast, some of whom had very strong singing voices.

There were good chorus movements and the whole show moved along at a good pace.

A very nice set as usual and a very nice evening.

STATE FAIR

Lytham Operatic Society

State Fair was presented at Lowther Pavilion in Lytham, providing the audience with an entertaining and heart warming show.

The show tells the story of the Frake family, led by an amiable Able (Martin Cope) and his wife, played by Delia Winter, their children, Margy (Mandy Squire) and Wayne (Martin's real-life son Alistair), and their prize boar 'Blue Boy' at the Iowa State Fair of 1946. All the family were played with considerable aplomb and style and one could be forgiven for thinking that they really were a close family unit.

The production sizzled with excitement, humour and obvious enjoyment from a hugely talented cast whose energy deserved to be bottled and sold, just like Ma Frake's very alcohlic mince-meat!

The chorus singing was worthy of a much grander venue and the visual impacts created by the colourful costumes, music and staging were a treat for the eye. Some highly entertaining cameo moments were provided by a seemingly 'ad-lib' barbershop quartet, a typical 1940s torch singer (Played by Jenny Brierley), with her Fairtones and the hilarious judging of the aforementioned alcoholic mince-meat.

This was truly a show with the 'feel good' factor and was an ideal evening's entertainment.

THE YEOMAN OF THE GUARD

The Manx Gilbert and Sullivan Society

Many apologies to the above society for the delay in publishing this review

Director: Douglas Waft
Musical Director: John Elliott

This was a production that improved as it progressed. From a shaky opening chorus from the men we had an impressive rendering of "When our gallant Norman foes" led by the powerful voice of Sue Browning whose characterisation of Dame Curuthers was original and humorous. Colonel Fairfax was played by Gary Corkhill and matched the lovely voice of Karen Elliott who played Elsia Maynard. Terence Qualtrough sang the role of Sergent Meryll well.

We were given two wonderful characterisations by Karen Riordan as Phobe and one of the best "Shadbolts" I have ever seen, Geoffrey Collier did not waste a line and the laughter came from the appreciative audience in such a way that even Gilbert would have been pleased! To crown the evening, Simom Fletcher's Jack Point was of similar standard and he caught the pathos of this young man who for the first time did not leave the audience wondering, "Is he dead or is he not?" by taking his own life at the end. I am not sure about that, but I am sure that we were given a very enjoyable evening's entertainment.

The costumes were delightful and so was the smell coming over the footlights from Shadbolt's snack, a good job I had eaten prior to the show. Thank you to all involved and for your hospitality.
(Colin Magenty)

THE MERRY WIDOW

Preston Opera

The realistic scenery set the scene for the lavish production of The Merry Widow. I would like to thank the orchestra, led by Helen Andrews and conducted by David Sutton, for blending so nicely with the people on stage and not drowing out the voices, as is so often the case.

The show was produced by Marilyn Taylor and what a good job she made of it. There was a very nice opening chorus, which set the pace for the rest of the show.

The night I attended, all the principals gave their all and the powerful singing was a treat to listen to. It is a pity that I can only see one cast, so to the other principals I am sorry to have missed you this time.

The chorus movement and dancing was just sufficient. Although the show is nearly one hundred years old I am sure the lovely music will last forever.

PRIVATE LIVES

Poulton Drama

Wonderful, wonderful, wonderful. This was the most superb production of Noel Cowards bitter sweet play.

Opening in a hotel in France with adjoining balconies we are treated to a superb set and in time meet all four principal characters: Elyot Chase the Noel Coward role played outstandingly by Steven Birch (he was Noel Coward himself), Amanda Prynne the Gertrude Lawrence role played equally well by Stephanie Heaney, and their respective other halves, Sybil Chase (Carey Hurst) and Victor Prynne (Geoff Porter), an excellent supporting duo.

The final act saw a brief appearance by Ruth Cockburn as Louise the maid, brief yes but sufficient to reveal a young lady with enormous potential.

As always at Poulton Drama the sets, props and costumes were spot on with much attention to detail. There was a working wind-up gramophone that played old 78s and a copy of Picture Post, now there is a magazine from the past (I guess it was possible the forerunner to Hello).

Finally, congratulations to Sylvia Hart for her production, a superb evening out.
(Ken Robinson)

RUDDIGORE

Preston G & S Society

The scenery for the two acts - the fishing village and the picture gallery - was just right for the small stage at Lowther Pavilion.

It was a very good and balanced cast with Sir Ruthven Murgatroyd leading the way. He had good support from his brothers and his uncle.

The ladies Rose Maybud, Mad Margaret and Dame Hannah all gave great character performances.

The chorus sang well and it was nicely produced.

ANNIE GET YOUR GUN

St Annes Operatic Society

Annie Get Your Gun was originally intended to be Jerome Kern's swansong but, after Kern's death shortly before production began, it was offered to Irving Berlin and the rest is history.

I was quite happily enjoying this show until Cathy Patterson took to the stage as Annie Oakley. From then on, this show was going to be a huge success. This was possibly one of the finest amateur performances seen in the region for several years. Ms Patterson had the poise, the personality and the voice to make this part come alive - a truly magnificent performance. She had the luxury of a decent supporting cast including Rob Harrison as Frank Butler, whose duet with Annie 'Anything You Can Do' was a true showstopper. In addition, John Chesters was perfect as the great showman Colonel Buffalo Bill. There was also a fine performance from Leo Appleton as Chief Sitting Bull.

With some excellent dance routines (especially from the Indians) and an an enthusiastic chorus this was an entertaining show that continues St Annes Operatic's recent revival. Keep up the good work!
(Tommy Warburton)

OLIVER!

St Annes Parish Church AODS

"Food Glorious Food" - what a very good opening by the children, helped out by Mr Bumble and Widow Corney. This set the pace of the show for the evening. The workhouse set was just enough and Mr Bumble kept control of Widow Corney - just!

I like the scene changes that kept the show moving along at a good pace. The undertaker's scene was very good with Mr and Mrs Sowerberry both giving good performances. Oliver was nice and was supported well by the Artful Dodger.

The evening I attended the boy playing Dodger went on stage with 10 minutes' notice as the original Dodger had been taken ill. What a good job he made of it, too.

Fagin kept up his character all throught the show and kept control of everyone and everything. He was well supported by Nancy who sang well and, of course, Bill Sykes.

The rest of the parts and the children gave their all as usual. Thank-you once again to you all.

SLAUGHTERHOUSE

St Bernadettes Players

A very good play to do, with some excellent parts and this society pulled out all the stops to make it a good one.

The play is about solving a mystery that began 30 years previously and concerning a lady who kept returning to haunt all the characters in the play. Along the way there were plenty of bodies and laughs.

All the characters had their own personalities and made this show as good as it was.

A nice set with props to match. Thank-you to everybody.

CAROUSEL

Thornton and Cleveleys Youth Theatre

A nicely set opening, which is always a good start to this production. How nice to see two young ladies sing so well together as Julie and Carrie sang their first number "Mr Snow"

Billy and Julie worked well together as a couple. "June is Bustin' Out all Over" and all the numbers leading up to the clambake were good production songs with good dancing and choruses.

Mrs Mullin and Nettie Fowler supported by Jigger and Mr Snow worked all worked well and gave good support to the other principals.

The waterfront scene worked well and so did "Up There!"

The schoolhouse was a very moving scene and gave a great end to a wonderful show. Thank-you to everybody for a great show and to anyone helped with the production.

42ND STREET

Thornton Cleveleys Operatic Society

42nd Street is a difficult show to stage and Thornton Cleveleys produced a fine effort.

Although still a little inexperienced, Sarah Coupe as Peggy was quite endearing - I don't think I have ever seen anyone who looks more like a Peggy Sawyer. Andy Bentley, however, was at his best as the robust Julian Marsh and his finale rendition of the title song was excellent. Andy was well supported by some superb character performances from Richard Edwards (as songwriter Bert Barry), Gail Carter (as Bert's partner Maggie Jones), Marc Adams (Pat Denning), Judy Adams (Anytime Annie) and Carol Ballantyne (Dorothy Brock).

An energetic chorus and an accomplished orchestra helped make this a highly commendatory show. The only negative issue was out of the control of the cast - an annoying number of people in the audience who had mobile phones switched on during the performance.
(Tommy Warburton)

GASLIGHT

Trinity Theatre Group

It was a pleasure to see Gaslight being resurrected after so long and Trinity's production of the old classic certainly helped to retain the play's fine tradition.

Gareth Hughes' performance as the sinister Mr Manningham was a splendid mixture of brutality and mystery as he manipulated his wife into believing she was losing her mind.

Gillian Caldicott as the down-trodden Mrs Manningham won the audience's sympathy with her sensitive portrayal. Producer and director, Paul Haigh, also found time to put in a fine performance as the jovial Inspector Crouch, hot on the trail of his victim.

Even the minor roles were well played by Christina Caldicott as the good-hearted housekeeper Elizabeth and Jenna Suthers as the flirty maid Nancy (she can fluff my cushions any time).

With an excellent set, period costumes and intelligent lighting, this play had very little to complain about - I even enjoyed my cup of tea at the interval.

I look forward to returning in December for Hansel and Gretel.
(Tommy Warburton)

THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMEN'S GUILD DRAMATIC SOCIETY'S PRODUCTION OF MACBETH

The Windmill Players

Director: Betty Horrocks
Choreography: Sarah Jane Stone

By the pricking of my thumbs, something wicked this way comes. Wickedly funny that is. The Bard probably hasn't stopped spinning yet, and I must admit that this wonderfully produced and enthusiastically performed murder most foul of Shakespeare's best intentions still has me chuckling now; a good two months later.

The Windmill Players' final production at the bijou Church Hall, Thornton, displayed what is best about amateur theatre, a combination of skill, good direction and hard work that made the ensuing chaos appear natural.

Greeted by the formidable Mrs Reece (Mary Wood) and treated to the Les Dawsonesque keyboard playing of Gwyneth (Dorothy Glennon) the audience took their seats and watched the gradual and at times hilarious destruction of the Scottish play. A destruction so complete as to render it almost unrecognisable at times, and one in which this fine team of players took obvious delight.

Highlights for me were Mary Lime's sublime comic balance as Lady Macduff (eat your heart out Patricia Routledge), Sarah Jane Stone's delightful Macbeth (more principal boy than warrior prince and much the better for it), the multi-faceted and multi-injured Kate (nicely underplayed by Krisia Dugdale), Felicity (Anne George) a very subtle characterisation there, Anne; and of course Henry (David Priestly) as the bewitched, befuddled and bereft Lady Macbeth (as well as a Village People's version of the 8 Kings complete with a multitude of hats). Strangely, David seemed more comfortable in his role of Lady M than as hapless Henry.

Also worthy of special mention is a triumphant rendition of "That Ol' Black Magic" (the Wyrd sisters were never this weird before) and Banquo's Ghost (Maureen McCrea) being shunted around the stage in a shopping trolly.

Staging (both the right way and the wrong way around) worked wonders with such a small space, while lighting, sounds and effects were handled sympathetically and expertly by an obviously experienced crew.

Did I say highlights? The evening was a succession of them and I offer my warmest congratulations to all the cast and crew who proved once again that successful productions are built on good team playing and not the ego-massage style of amateur theatre which all too often wins the day.

Thank you Windmill Players for making our journey from darkest Accrington so worthwhile and may I take this opportunity to wish you every success with your next production and next venue.
(Colin Braidford)