September 2001 - Region 3 - Margaret L. Gillibrand
OLIVER!
Bacup AODS
Played on a Royal Court Theatre stage stripped back to the bare walls, this was an extraordinary production from Anthony Williams, Nick Sanders and their hard working team of clever technicians. The set effectively depicted the London of the late 1800s and the stark reality of the world of poverty and deprivation into which Oliver Twist was born. Stunning atmospheric lighting designed by Anthony Williams and Mark Tempest allowed the set to be changed in seconds from Orphanage to Widow Corney's sitting room to Fagins Den, the Three Cripples, the streets of London and the pièce de resistance - London Bridge. If the staging and technicalities were impressive so were the performances and many of the players given their first major role grasped it with enthusiasm and talent.
Jason Cain's Fagin was bursting with nervous energy and with excellent make-up helping to create the character: this was a very watchable performance. Mark Tempest was a revelation as Bill Sykes as with stature and stage presence he strode through Act 2 the burly cruel thug everyone hates. Mark is usually responsible for many of the excellent technical effects at the Royal Court and elsewhere in Region Three and indeed he designed and set up the lighting for this show - but I hope this will not be the last time we see him on the other side of the 'lights'. Anne Dickinson's performance as Nancy was exactly right, with her acting abilities and vocal range bringing out the best interpretation of the role I have seen for a long time.
Simon Parker and Jennie Lomax were an excellent team as Mr Bumble and Widow Corney. Craig Ovenden and Stella Kelsall gave sound performances as the Sowerberrys, while young Roger Nuttall was a first class Noah and Helen Gallagher, making her first appearance at the Royal Court, was a pert Charlotte. Geoff Baron and Regina Arkwright played Mr Brownlow and Mrs Bedwin with feeling and the versatile Roger Nuttall played the Doctor with wry humour. A large chorus worked hard and moved well. The company numbers were highlights of the show with slick choreography and good vocalising. The street vendors number was particularly well sung. And now for the young members of the cast - all 86 of them! They were a pleasure to watch - well drilled and yet spontaneous and all little characters.
They must have been a challenge, but the production team rose to it and came through with an element of the show which was both hugely enjoyable and obviously a wonderful experience for the children themselves. The title role of Oliver went to ten year old Laurence Giltrow Shaw who was perfectly cast and had much stage presence. He acted and sang with confidence yet retained the naivety of the character. Nine year old Jamie Birtwistle was a real find as the Artful Dodger - a likeable rogue throughout. Every department contributed greatly to the overall excellence of this production. Stage management and scenery design and building from David Walton and his Team; Wardrobe from Linda Whelan; Lea Royse on sound; props from Elizabeth and Michael Haworth and hair and make-up from Joan Preston, Pat Smith and Stone Hair Art - all showed a degree of professionalism which is sadly often lacking in many productions. Nick Sanders' orchestra played the Lionel Bart score with great flair and made a 'sound thread' that ran through the whole show joining the scenes seamlessly. A thoroughly enjoyable evening's entertainment and a show which will have won the Royal Court many return patrons. It was good to see such full houses and this was a fitting reward for such sterling efforts from the whole Society.
OUTSIDE EDGE
Blackburn Arts Club
A very funny play from the pen of master playwright Richard Harris, Outside Edge covers the ups and downs, emotions and relationships of a day in the life of a village cricket team. Expertly directed by Geoff Baron, the play produced many extremely good performances and the play provided good entertainment for the audiences.
Harris' keen observations of character were well played out by an expienced cast. Tony Lewis played the Team Captain and chief motivator with insight and Barbara Cilgram was a delight as his dithering wife, general dogs-body of a wife Miriam.
The "Team" were played by Andrew F. Bell who used his sense of comedy timing to good effect as Bob; David Batterby exactly right as flash Dennis, Paul Heys know-all Alex and David Pilkington - inspired casting as Kevin. Teaming Sarah Nolan with David as his large brash wife Maggie was another brilliant piece of casting, and the two of them worked well together producing some hilarious moments. Bev Slee was Bob's frustrated wife Ginnie and Tracey Hartley made a truly brilliant Sharon - what excellent timing and delivery she had.
Graham Cheshire's set was very authentic and I loved the left-over tinsel caught in the door surround - so typical of many club houses! Playing on such a small stage meant the action had to be well played and it was, with the best use being made of the playing areas. The numerous props from Johnathan Malinson and Helen Gallagher also added plenty of authenticity to the piece and with good lighting and effects the players transported their audience to the village cricket match. Good entertainment.
THE CHALK GARDEN
Blackburn Drama Club
An unusual and riveting drama, Enid Bagnold's play of failed relationships, was sensitively directed by Dorothy Perkins. Set in the home of Mrs St Maughan, the play centres round the eccentric matriach, her wayward Granddaughter, her strange manservant, her unyielding garden and the mysterious Mrs Madrigal. The huge and complex role of Mrs St. Maughan was taken with tremendous skill by Joan McCann, who sailed through the action with effortless ease and richly deserved the applause she received at the final curtain - stunning performance!
Equally engaging was Elizabeth Wood who turned out a natural and flawless performance as Laurel the granddaughter who is a severe trail to the whole household. Michael Eccles was well cast as the manservant, Maitland, who is the butler and nursemaid and who sports a fierce temperament and makes some wonderful observations.
Into this dysfunctional household comes Mrs Madrigal in response to an advertisement for a Governess for Laurel, and she brings a semblance of order into the lives around her. But what is her background and will her behavior be accepted? Muriel Eccles played this role with nervous energy and great professionalism.
Into the household, too comes the Judge on his way to the local Assizes. An old family friend, he dispenses advise, kindness and humour to the gathering. Playing this role with great insight and natural talent was Brain Whittaker - a wonderfully sympathetic performance.
When Laurel's Mother, Olivia, arrives to reclaim her daughter, tensions between mother, daughter and granddaughter are heightened and Jacque Mooney played this role with confidence. The cast was completed by Anita Shaw and Isobel Barret as the unsuccessful applicants for the Governess, post, and Tanya Magell as the nurse in charge of the welfare of the former butler-who would appear to responsible for many of the problems experienced in the "chalk" garden. Never seen this character plays a big part in the tensions of the play. The play was presented against a very well designed set from Geoff Eccles
with garden backdrop by Mike Waters and worked flawlessly by Graham Haworth. Sound from Andrew Smith and Rob Trethewey was excellent as was John Barrett and Mark Duxbury's lighting. The set was furnished and dressed very well and had the opulent feel of an upper middle class household. Written in 1956 this play has not dated very much in its essential themes and certainly has the ability to keep the audience's attention throughout. Well done!
RUDDIGORE
Burnley G & S Society
This was a 'fun' production from director Brian Whittaker and shows what can be achieved with imagination and talent. Ruddigore is perhaps one of the least performed of the G&S operettas and given its unlikely storyline (even by G&S standards!) this is not surprising, but Brian's imaginative interpretation of the script brought out the comedy in spades. The strong cast worked well and turned in some delightful performances. The youthful Debbie Smith was an engaging Rose Maybud, whose acting and singing abilities were shown to good effect and her sense of straight faced comedy was delightful. Matthew Robinson was a wonderful Sir Ruthven - agile and comic and completely at ease on stage. Arthur Griffiths, returning to the local amateur stage after a long absence, was a droll Richard Dauntless giving a very convincing performance and vocalising well. Mick Dawson was perfectly cast as Sir Despard - a very original interpretation, and Judith Briscall was an ideal Mad Margaret - what a splendid couple they made! Heather Nichols was a hugely funny Dame Hannah and the chief 'professional' bridesmaids Barbara Taylor and Helen McCabe gave delightful performances. I enjoyed Jeff Pilkington's Old Adam - a departure from his previous roles and very well observed. John Stinchon completed the principal line-up and turned in another excellent performance as Sir Roderic Murgatroyd. The chorus as always was vocally strong and entered into the spirit of the production with enthusiasm. Geoff Balson's orchestra could not be faulted.
Staging was imaginative and playing on the floor and stage of the Mechanics worked well for the group. Alex Johnson's lighting and sound were effective and the costumes from Perceptions were very good. A really enjoyable night out and one which changed my opinion of Ruddigore!
ABSURD PERSON SINGULAR
Burnley Garrick Club
Directed by Heather Jamison with a light touch, Abusurd Person was written by Alan Ayckbourn before he reached his "dark" period and in consequence is more palatable to a general audience than some of his later darker "comedies". Plenty of pithy, comic dialogue was delivered with pace by a strong cast.
The play follows the rise (and rise!) and fall (and fall!) of three couples over a period of three years, as they negotiate the social jungle of the early 1970s. The action is set in the kitchens of each couple on Christmas Eve as they attempt to entertain the other couples. Playing the Hopcrofts were Kerry Gascoigne and Mark Storton, who both gave convincing performances as the timid wife and pushy husband desperate to climb the social ladder. The next kitchen visited is that of the Jacksons - two very funny and well timed performances by Kathleen Riley and Barry Pixton. Kathleen's abortive attempts to commit suicide - while all around her carry on life at frantic pace - were hilarious.
The Brewster-Wrights, who started off at the top of the social
ladder and therefore have much further to fall, were well played by Lynne Atkinson and Andrew Husband \= two well studied portrayals of disintegrating lives. It seemed a great pity we were not treated to appearances from the Potters as they are painted as a very bizarre couple and would have surely added another dimension to the play - still we could imagine them through the voices of Dorothy Spencer and Norman Bell. Constructing three very different kitchens was no easy task, but the Garrick team led by Harvey Levene, worked the Peter Edwards designed set very well. I thought the snakes and ladders painted on the flats an interesting touch - the rise and fall theme reiterated.
The sets were well dressed by Joyce Bond and well lit by Richard I'Anson and Kylie Raynor. This, the last play of the Garrick's season, upheld the high standard created by previous productions.
OLIVER!
Greenbrook Methodist Church AODS
An ambitious choice for a Society with a very restricted playing area. However the company has plenty of enthusiasm and again stage staff used their ingenuity to overcome the many scene changes this musical demands. Edward Mundy was Producer for the Group and Jack Barrett was Musical Director, Lesley Riley had drilled the junior chorus well and all the musical numbers came through well, with the street vendors' number particularly well sung. Ian Wrigley's Bumble had great warmth and he was well partnered by Andrea Jackson as Widow Corney. Barry Robinson and Susan Barrett made an excellent couple as the Sowerberrys, with Lianne Akbar and William Stockburn playing Charlotte and Noah.
Kevin Rawcliffe was an egaging Fagin and his experience shone through in the interpretation and execution of this complex role. Christine Chadwick's Nancy was convincing and well sung and Jason Morris gave us a very thug-like Bill Sykes.Other roles were convincingly played by Lyndsay Pilkington (Bet), Pauline Woodworth (Mrs Bedwin), Alan Woodworth (Mr Brownlow), and Ernie Redmond (Dr Grimwig). Craig Jackson was a beguiling Oliver with a fine voice and Sam Crabtree's Dodger was very well performed - two very promising performances.
The large adult chorus worked well and moved the big musical numbers with enthusiasm. Once again the Wardrobe Department had dressed the Company very well and with Joan Preston's wigs and excellent make-up from Grace Gregory's team, this show had the authentic look of early Victorian London. Good entertainment.
H.M.Ss PINAFORE
Rossendale AOS
This old favourite was produced by Howard Jones with Don Clarkson as Musical Director. The evening opened with the orchestra playing the orchestral suite from Pineapple Poll and it was good to hear this under-performed piece especially as it was so well played. Vocal prowess is always a strong point with this Society and they didn't disappoint with Pinafore. Playing Ralph and Josephine were Gareth Turner and Deborah Smith, both young but seasoned G & S performers.
Newcomer to the Society, Clive McCoy, was an excellent Captain Corcoran, bringing much humour to the role. Geoff Jackson was in his element playing Sir Joseph and delivered the musical numbers with easy style. Lindsay Wilkinson played Buttercup in true traditional fashion and Harry Turner's Dick Deadeye was vocally strong.
The roles of Hebe (Penny Hood), Bosun (Barry Walton), Carpenter (Paul Swales) and Bosun's Mate (Tommy Burns) all added to the show, and the chorus and dancers choreographed by Liz Wood moved well and were beautifully costumed. Staging was effective and the set well lit. A pleasing traditional Gilbert and Sullivan show.
NEVILLE'S ISLAND
Rossendale Players
A demanding play on many fronts but the Players, led by director Carol Anne Connolly, rose to the many challenges and succeeded in giving their audiences a thoroughly enjoyable, entertaining and thought provoking evening. It was the first production of Tim Firth's comedy in the area, and given the complexities of putting a Lake District lake island onto any stage this is not surprising. Designer David Walton's island was perfect - complete with water, vegetation, undergrowth, rising mists and authentic 'smells' - it was the ideal backdrop for the hapless characters who became stranded on it. Lighting, designed by Tony Bottomley, was very effective and all the technical and back-stage staff contributed greatly to the production.
The cast of four had obviously been carefully chosen and all gave outstanding performances. Tony Harris played Neville with quiet assurance and evolved as the play evolved into a complex character. Playing Gordon, the brash loud mouthed member of the team, we saw Steven Derbyshire at his best - clean cut, well timed and piercing delivery of some wonderful lines. Paul McGowan as Angus was also very well cast and turned in a wonderfully sympathetic and totally convincing performance. Roy is a very complex personality and Colin Braidford played him with understanding and dignity. As the comedy turned dark the acting moved up a gear and the second act was dramatically very strong keeping the audience enthralled.
An excellent script, exceptionally well interpreted by a talented director and actors who totally immersed themselves (sometimes literally) in the characters they played. Excellent entertainment.
THE WEEKEND
Rossendale Players
Mark Storton directed this Michael Palin comedy with a deft touch, and he was well served by his two principal performers - Len Taylor and Sheila Godfrey. Both gave well studied performances and carried off two very large roles with ease. Playing Stephen and Virginia Feeble, somewhat reluctant hosts of regular weekends for their daughter, son in law and granddaughter, they had the task of keeping the play on course and up to speed, and I feel lesser actors would have found Palin's script "clogging".
Sarah O'Connor played their disgruntled daughter and Andrew Husband turned in a sypathetic performance as her erring husband. Full acting credits must go to young Coral Stevens who was excellent as their obnoxious daughter Diana - a refreshing, natural performance. Roy Preston was a suitably gruff friend and Penny Grffin, standing in for the indisposed Jacqui Sears, turned in a credible performance using the script. The cast was completed by Pam Bartram as Mrs. Findlay the "daily" and Brian Carter as a rather unbelievable chiropodist and seducer.
An excellent set, well dressed and lit created a good backdrop to the play.
The play airs many of Micheal Palin's pet topics - world trade, world travel, animals, conservation and the environment and it easy to imagine his close circle of thespian friends taking roles in this play.
In spite of the problems encountered at the beginning of the run the Players provided a good night's entertainment.
STEPPING OUT
St. John Southworth Theatre Group
This was an excellent production of Richard Harris' hugely funny play. Very well cast, director Gordon Ingelby had coached some beautifully observed performances from the players. Phillip Morris was outstanding as Geoffrey, the lone man in the tap dancing class of seven ill assorted ladies. Clare Parkinson and Anne Allan played Dance Teacher Mavis and accompanist Mrs. Fraser with much assurance. Sensative performances came from Kate Smith (Lynne), Julie Demaine (Andy), Rose Horrigan (Rose) and Sheila Mary Hargreaves (Dorothy), while Susan Ingelby was an ideal Maxine.
Pam Newham as the "loud" Sylvia delivered her dialogue with relish and Carole Bardsley's Vera was beautifully timed. All the players worked flawlessly together and their progression from very novice tappers to the well drilled troupe of the final scene was beautifully done. Mark Broom's excellent choreography progressed the "learning" process well. They managed to keep the audience wondering "Will they make it?" but of course they do - eventually!
Staging by Mike McKeown and Ken Parkinson was good and attention to detail created the dingy Church Hall setting perfectly. Lighting and sound from Edward Lee were good. The wardrobe, from fantastically varied dance wear to the top hat and tails of the finale was excellent. The cast appeared to relish their roles and the script, and the audience certainly enjoyed their performances. Well done - good entertainment.
SEVEN BRIDES FOR SEVEN BROTHERS
St John's Great Marsden AODS
A prodution bursting with energy and enthusiasm! This was Director Angela Boults first show as producer and she did an excellent job, with many interesting touches.
The very experienced Brian Townend was Musical Director and the orchestra played the rousing score sypathetically.
Sally Hindle's dance routines for the brides, brothers and suitors were inventive and lively and made the most of the players' dancing abilities.
Leading the cast were Leslee Mckelvey as Milly and Mike McKeown as Adam, and both gave engaging perfomances, moving the action forward with sound acting and vocal skill.
A lively group of young men played the Brothers with enthusiasm and mantained their characters well. Tarl Caple was especially good as Gideon and Kevin Riley, Gary Waugh, Steve Royle, Adam Bowles and James McKelvey all literally "threw" themselves vigorously into the dance routines and "action".
Emma Mitton, Fiona Thompson, Cassandra Tunbridge, Victoria Smart, Susannah Cooper and Catherine O'Connel were delightful as the Brides and their obvious dancing skills were shown to good advantage.
The Suitors were played by Christopher Thompson, Rob Ellis, Anthony Steele, Darren Winstanley, Victor Wood and Gary Edington and they acquitted themselves well. Dennis Royle, Eric Fothergill, Brian Roden, Margaret Boothman and Shirley Kenyon all very experienced members of the society played other roles to good effect and the chorus worked well.
The scenery was good and well worked by the stage crew, while lighting from Messrs. Gluyas and Walton was good and the sound system much improved.
I felt this was a "happy" show and it threw up some commendable performances. It certainly drew the audiences and this was just reward for such hard work and talent.
SWEENEY TODD
Todmorden AODS
Talent, dedication and enthusiasm are needed by any company staging Sondheim's fiendishly difficult musical Sweeney Todd, and T.A.O.D.S were fortunate to have an abundance of all three requirements when they staged the show at the newly refurbished Hippodrome. Director John Edwards was fortunate in his cast and his experience directing drama was evident. The family team of Andrew and Jennifer Mitchell drove the music with amazing results and the orchestra and chorus singing were a credit to this mother and son team. Hours of rehearsals had fine tuned the score and the music was highlight of this production. Another family duo - David and Joanne Gill - took the leading roles of Sweeney Todd and Mrs Lovatt and were both excellent. David's strong lyrical singing voice
coping with the many complexities of this unusual leading man role and he managed to convey the spirit of the tormented soul that was Todd. Joanne's superb sense of comedy timing and rich vocals made her an ideal Mrs.Lovatt and she was responsible for driving the piece forward with great conviction to its terrible climax. Bill Nicholson turned in a dramatic performance as the Judge and Peter Wakefield was a vocally exciting Beagle. Young Jodi Haughton, stepping up from TOYS made a charming Joanna, and although vocally she needs more time to mature, she conveyed well the complex role of Joanna. Gwyn Buckley took the role of Anthony in his stride and he again made the character 'live'. Jim Ogden was an outrageous Pirelli and Matthew Wolfden played the
demanding role of Tobias well. Debbie Mitchell's interpretation of the Beggar Woman had drama, comedy and pathos making the revelation of her true identity very poignant. Philip Hindle played the cameo role of Fogg with much relish ! The small chorus had little movement, but were always a significant presence when on stage and they vocalised well. In the mad house scene they were given full reign of expressions - and we saw some very 'mad' performances! Technically this was a superb production with the stage crew, led by Steven Clarkson, creating a wonderfully 'dark' setting for the piece. The John Thomas designed sets were indicative of the macabre content of the piece. The state was atmospherically lit by Tony Bottomley, Terry Hooper and Ben Smith
and sound from Emily Bell's team was good. Props and costumes both added much to the overall look of the production and this was an exciting piece of theatre - well done!
TIME OF MY LIFE
Todmorden AODS
As you would expect from TAODS the staging for this play was perfect and set the scene immediately. I had seen this play premiered at the Stephen Joseph Theatre in Scarborough and I was interested to observe how TAODS would tackle the scene changes, I was not disappointed.
The story revolves around the Stratton family as they gather to celebrate Laura Stratton's (the mother) birthday. As with most family gatherings there is some unrest and disagreements, this is no exception.
This play is one of Ayckbourn's "time" plays, not the easiest to direct, stage or perform. Timimg is crucial, unfortunately this production took some time to gather pace, however this improved in the second act.
There were some commendable performances. Richard Parkes played a variety of Italian waiters, each one differing from the other. No mean feat.
Michael Church-Taylor played the father well; we saw his life flashing before him as his wife (Brenda Bell) informs him of her indiscretion some years previously, with his brother no less.
Abigail Sharp and Michael Holloway played the son and not quite good enough daughter-in-law. Both of these performers managed to portray a subtle role reversal as the play progressed.
But the highlight for me was the delightful performances from Emily Bell and James Parkes. They both appeared natural, confident and completely at ease with each other. I found myself eager for their return whenever they left the stage. I hope we will see much more of this pair in the future.
Sound by Andrew Rawlinson added to the ambience of the play, as did the
subtle lighting from Terry Hooper. Peter Uren ran a tight crew with some
slick scene changes and appropriate effective props.
(Carol Anne Connolly)