September 2001 - Region 5 - Glyn Neary
YEOMEN OF THE GUARD
The Three Towns OS
When this society sets foot upon a stage one expects (and is rarely disappointed) to see a quality show and this was no exception. Producer David Kay also has a penchant for adding something a little different, in what is otherwise a traditional production, and here we had two younger members acting as 'dolls' to mirror the actions of Jack Point and Elsie Maynard. Andrea Hayes and Ben Warbis as the aforementioned 'dolls' were excellent foils for the two main characters and played their parts very well.
Scenery design by Frank Bowdler, which might have been a little more open at the back to add some perspective was nevertheless very effective with ramped and raised areas allowing for good chorus settings.
Chorus work was also very good with everyone looking like an integral part of the community going about their daily business whilst the story unfolds around them.
Excellent directing to which the company responded very well. There were some excellent performances from the principals with Joan Ashcroft giving a strong performance as Dame Carruthers, Jim Lancaster was in fine voice as Colonel Fairfax as was Derek Jones as Leonar Meryll. Wendy Henshaw as the flighty Phoebe Meryll gave a well studied performance and seemed to have true affection for her father played by George Ashcroft Snr who sang well as Sergeant Meryll.
Colin Magenty has a commanding stage presence which served him well in the part of the odius Shadbolt. Fine characterisation and an understanding of where his place was in the unfolding events. David Kay was outstanding as Jack Point showing a complete understanding of his lovelorn character. He was partnered by Lisa Murphy as Elsie Maynard who sang beautifully, looked the part and had the outgoing characterisation required for that of an itinerant strolling player.
Costumes by the Pantomime Shop were very good, lighting complimented the whole production and a splendid orchestra under the control of Rod Dakin provided sensitive accompaniment for the singers.
A quality evening's entertainment.
FAME
Children's Amateur Theatre Company
Considering the company consists solely of young people one may think that such an ambitious production would be beyond their reach. Whilst the scenery might not have been totally authentic and piano and drums, considering the style of music, provided only adequate backing; what was presented on stage, by and large, was very good indeed.
Christian Brabin played the perfection seeking Nick Piazza with some assurance whilst Lizy Oakes, who may well have a voice to be reckoned with in the future, sang very well as Carmen Diaz. Katherine Davies also sang well as Serena Katz, particularly with the difficutl 'Think of Meryl Streep' number. James Eccleshare, who struggled a little vocally, nevertheless moved quite well in the dance routines and displayed a fine line of teenage 'attitude' as the rebellious Tyrone Jackson. Gareth Cunliffe came across well as the studious Schlomo Metzenbaum and Rebecca Brown's portrayal of the troubled dancer Mabel Washington was well studied.
The teachers played by Nicola Jones (Miss Bell) and Ian Barlow (Mr Myers) captured nicely their differences in attitude and Louise Cohen (Miss Sherman) sang "These Are My Children" very well.
Dance routines were generally nicely choreographed, quite acrobatic in places, and well carried out by the cast.
The quality of acting was also quite good although some of the libretto was hurried and lost its clarity. Director and Choreographer Louise Cohen, doubtless along with an army of helpers, produced a very good show from this group of enthusiastic and talented young people.
BESIDE THE SEASIDE
Farnworth Performing Arts Company
This is the first play in Leslie Sand's trilogy of seaside capers at the Seaview Guest House set in the 1950s. It is the holiday picture postcard brought to life in garish colours, replete with every stock caricature and situation of that bygone era; tyrannical landlady Mrs Austin terrorising her downtrodden lodgers with her bread and butter pudding; gauche newlyweds Mr and Mrs Pepper realising that marriage is no honeymoon, honest Wilf and Ethel Pearson trying to prevent their daughter Sally from running off with a local theatrical trickster etc.
The cast worked hard and the broadside humour hit home with the appreciative first night audience. Jokes were targeted at every British institution from this emerging post-war era. Elaine Nuttall as Ethel Pearson and, in particular, Dave Watson as Wilf Pearson rose above the temptation to caricature everything, delivering honest performances which carried the situation along.
Mention should go to Denise Neary who stepped in at the last minute to play the dragon-like landlady Mrs Austin.
Director Allen Christey certainly injected this 'Holiday Romp' with gusto,
which apparently appealed. The wardrobe and props summed up the ambience
of those austere times. The set attempted the same but lacked finesse and
attention to detail. However, I'm afraid it was a case of gusto over content. Beside
the Seaside was reminiscent of black and white movies we've all sat through
on rainy Sunday afternoons. It summed up an era and a tradition in our history
to be sure. But it showed its age and appeared as dated as Henry Hall, tea
dances and the Berlin Air lift.
(Alan Macpherson)
EUGENE ONEGIN
Opera 74
Once again the company served up a feast of vocal and orchestral talents to what, sadly, would seem a reluctant population judging by the Friday night audience. Whilst their eyes might not be treated to sumptuous sets in the tradition of Grand Opera, their ears were regaled with the highest vocal quality one could wish to hear.
Musical Director Carl Pennington-Williams demonstrated absolute control over an 18 piece orchestra and deserves great credit for ensuring singersand orchestra alike performed so well. Costumes, supplied by the Pantomime Shop, Denton, looked very good and were of the period. Stage direction by Ryan Ellershaw generally worked very well, particularly with the principals, however the chorus groupings might have been a little more attractive.
Stephen Wells as the aloof Onegin was excellent as was Claire Ormshaw who gave an assured performance as the naive Tatyana. They were matched in every department by Gary Davies as the poet Lensky and Karina Lucas as Olga. The supporting roles were also well played and sung by Barrie Wright (Prince Gremin), Damian Trafford (Le Triquet), Derek Jackson (Zaretsky), Susan Bradley (Madame Larina) and Dierdre Rogers (Filipyevna).
As the name of the company suggests it was formed in 1974 - its objective to bring lively and imaginative Grand Opera to the people of Bolton and surrounding districts.
Despite excellent shows over the years it would appear this form of entertainment is difficult to promote in the area. Eugene Onegin was another excellent production and I trust the sponsors and patrons continue to support so that a complete panoply of entertainment exists in the area.
THE SOUND OF MUSIC
Radcliffe St Thomas AODS
It is difficult not to compare a stage production of this show against the definitive film and, most importantly for the stage version, the ingenuity of the stage staff to keep the show flowing through the many scene changes. Considering the limited facilities of the venue the society are to be congratulated for the effective use of sectionalised scenery which enabled smooth changes to be made.
The orchestra under the direction of Derek Riley, who is laying down his baton after 12 years with the society, kept a good tempo and were never overloud. The chorus singing was well up to standard with the "Preludium" being firmly led by Val Greenhalgh (Sister Bertha), Ann Brock (Sister Margaretta) and Maureen Tarrier (Sister Sophia). Sebastian Gooderson did very well in what can be the unrewarding part of Rolf, whilst Elisa Crowley did quite well but looked a little awkward as Liesl. Their 'Sixteen Going on Seventeen' number was well sung but lacked some convincing choreography. The two sophisticates worked well together with Graham Worthington giving a creditable performance as the lovable rougue Max Detweiler and Pat Fountain equally at home as the very elegant Elsa Schraeder.
I saw on Friday night Paul Brandish, Kathryn Smith, William Gaskell, Charlotte Mort, Meghan Moughan and Sophie Mort who combined well together, looked the part and sang strongly as the lovable Von Trapp children.
The film's leading characters are of course hard acts to follow. Ron Waite is a seasoned performer, vocally strong, his acting was sound without being absolutely ideal as Georg Von Trapp. Austrian styled costumes instead of ordinary lounge suits would have assisted the illusion. Julie Ogden sang very well as Maria, developed a good relationship with the children but her scenes with Von Trapp were a little unconvincing.
An excellent acting performance and fine singing from Freda Farnworth as the Mother Abbess, who also produced the show, rounded off an enjoyable evening's entertainment.
MURDERED TO DEATH
St Vincents ADS
The action takes place in the lounge of a country manor house and what a cracking job scenery designers Barbara and Wilfred Jones plus construction by Owen Riley and Eddie McManus had made of the set. This splendid set was occupied by an array of eccentric and amusing characters who had been well directed by first time Producer Howard Clare.
First we meet the wealthy Mildred and her companion and housekeeper Dorothy. These are probably the only two 'normal' characters which were both well played by Mary Riley and Carmela Horne. Their butler, the sherry swigging Bunting, was played by Stan Porter; a classic portrayal of the comedy butler. Bert Halliday was very good as the upper crust old buffer Colonel Charles Craddock, who was ably supported by his wife Mary Craddock played by Barbara Platt. Bill Rogers held his accent well as the French art dealer Pierre Marceau as did Julie Nappin as the high society Elizabeth Harley-Trumpington. Both of these, of course, are not exactly what they appear to be.
The arrival of a certain Joan Maple, preempts the inevitable murder and the arrival of Inspector Pratt and Constable Thomkins. Pratt by name and prat by nature Robert Goodier played the jaw droppingly incompetant Inspector to perfection. He was balanced by the stoical, long suffering and oft times confused Constable Thompkins played with aplomb by Colin Dean.
Comedy is often the most difficult medium to operate in and the company is to be congratulated on a first class play which amused the audience greatly.
DOUBLE BILL
Trinity Church AODS (Farnworth)
Once again the popular double bill of one act plays were enjoyed by the capacity audience. The plays under the direction of Julia Walker provided good quality entertainment with: [
THE MONKEY'S PAW: A salutory tale of a talisman supposedly endowed with powers to grant three wishes to its owner, which it does - but at a cost.
Its current owner, one Sergeant Major Morris (Colin Aldred), relates the story of the talisman to his friends Mr and Mrs White (John Collier and Marion Tague) and a rather sceptical Herbert (Ashley Baxter). Events, of course, take a turn for the worse as the play progresses. The building of tension to the climax of the play is essential and to this end the cast did very well.
The Sergeant Major might have adopted a more military bearing at the outset which would have contrasted better as he finally broke down and relinquished possession of the paw to Mr White who had the right approach as he contemplated wishing for financial gain. His wife's apprehension and Herbert's dismissive attitude were also well played.
The second play in this double bill was:
THINK THE BEAUTIFUL THOUGHTS: A group of friends, Bessi (Nicola Smith), Rachael (Andrea Baines) and Cassie (Jean Hughes) having arranged a meeting with a clairvoyant have to get old Mrs Morgan, who is sure to spoil the proceedings being as deaf as a post, out of the house.
Ann Flannery was very good as the intransigent old dear and she eventually departs to be replaced by Madam Marie Moruzzio. Resplendant in a costume which would have put a Blackpool seaside fortune teller to shame, Christine Field began to weave her spell over the gullible threesome. Inevitably, Mrs Morgan returns early and they all discover that Madam Marie is not exactly what she seems to be.
Everyone developed good characters and rounded off a very pleasant evening's entertainment.
CALL ME MADAM
Walmsley Church AODS
Although perhaps seen as a little dated these days the show contains what are considered some of the best musical numbers to flow from the pen of Irving Berlin such as 'It's A Lovely Day Today', 'You're Just in Love' and 'Can You Use Any Money Today'. It requires a deft touch from the Director, some nifty footwork in the dance routines, an injection of pace from the orchestra and a larger than life leading lady to send the audience home humming the tunes.
Director Nora Howcroft applied the light touch, getting plenty of humour out of the script, whilst Sarah Booth did quite well in her first show as choreographer. Her efforts were somewhat nullified by a lack of pace in such numbers as the "Washington Square Dance", 'The Ocarina' and 'Something to Dance About' from the orchestra and a less than agile chorus.
Another major element in the success of the show depends upon the performance of 'The Hostess with The Mostest' Sally Adams. Kathy Turton gave a bright and humorous interpretation, her numbers being put across with verve and plenty of vocal ability. She was well matched by Eddie Williams who displayed good acting ability and a beautifully resonant singing voice. In turn they were supported by good performances from David and Vicki Wilson. David came across well as the eager to please young diplomat Kenneth Gibson whilst Vicki showed her vocal and dancing abilities as Princess Maria.
The show provides a wealth of scope for cameo roles and these were well played by Andrew Turton as the rather pompous Pemberton Maxwell, David Watson as the dithering Hugo Tantinnin and Harry Lee as the bumbling Sebastian Sebastian. Ron Finney, David Witt and Don Fairclough came over well as the cigar chewing Senators Gallaghan, Brockbank and Congressman Wilkins, whilst Bill Sharples and Joyce Walters looked suitably regal as Grand Duke Otto and Grand Duchess Sophia.
Scenery, with the exception of the opening which looked rather sparse, was up to the society's usual high standard and whilst costumes were adequate, I would have expected a little more glamour in places.
An enjoyable show which would have benefitted from a little more pace.
I was pleased to present a well deserved 30 year bar to one of the stalwarts of the society, Mary Pycroft, at the end of the show.