September 2001
Region 9 - Mary Parker / Sheryl Haydock-Howorth
SOUTH PACIFIC
Bollington Light Opera Group
Producer: Denise Holian
Musical Director: Sheila Kent
Choreographer: Tracy Chuter
What a terrific beginning to my new role as NODA Representative, for area 9, to be invited along to see an old favourite show, South Pacific. I was made so very welcome by everyone that for me it was like my first opening night. As I sat in the Civic Hall I wondered how such a musical could be staged using the flat floor without scenery or curtains. I really needn't have worried, the director's imagination with lighting and use of props certainly set each scene as we made our journey through the lives of the characters during the Pacific war.
Diane McIntyre as Nellie was confident in both her acting and singing: she really understood her character and got so much natural humour out of it. Her 'tipsy' scene was especially good.
Nigel Wells as Emile looked good, but his accent could have been a little stronger. Philip Atkinson and Rebecca Hart gave sincere performances as the young lovers whilst Louise McIntyre as Bloody Mary, although not a strong singer, used her acting ability well especially during her scenes with Luther (Mike Raymond). Mike was just right as the wheeler dealer and his buddies Stewpot and Professor (Don Risley and David Postance) played good supporting roles.
Congratulations to Craig Harris who gave an excellent performance as Capt. Brackett. He brought a different humour to this part than I have seen before and his timing was spot on.
The seabees and nurses sang their numbers well under the competent direction of the Musical Director.
The overall production had pace and originality, thank you for such an enjoyable evening.
RETURN TO THE FORBIDDEN PLANET
The Christie Theatre Company (TCTC)
Director: John Meachen
Assisted by Martyn C H Preston
Director: Angela Ledwich-Draper
Musical Director: Deborah Frazer
Last year TCTC raised a staggering £18,000 for Christie Hospital Cancer Appeal with its production of Little Shop of Horrors.
The company was also nominated for Best Show, Best Director and Best Actor at this year's Millie Awards and congratulations to Martyn C H Preston who collected the Best Director (for a musical) award.
This year TCTC decided to go for a larger venue and chose the recently opened Plaza Theatre in Stockport. A gamble indeed as this theatre at the moment seats 900 which is considerably more than their previous venue. So it was with great admiration that this year the presentation cheque was for a fantastic £19,000. Wow, how many of us can achieve that for a charity in one week?
As we boarded the Interplanetary Space Flight 9 I knew I was in for a real treat. All the crew were on hand to welcome passengers aboard to what I can only describe as a first class flight experience for a scientific survey and a far 'routine'. Under the excellent command of Captain Tempest (John Wood) and his crew, we were whisked off into a time warp of 60s rock 'n' roll music and Shakespeare dialogue. A strange combination you might think, but this show is actually based on The Tempest.
Ariel, a robot played by John Meachen (who is also the Director and Chairman of the company), roller-skated his way around the stage in his silver suit and matching make-up. He was certainly entertaining as he sang and danced and one couldn't help but wonder how he could wear so many 'hats' during rehearsals.
John Woodruff gave an excellent performance as Prospero and also displayed his talents as a drummer, he was ably supported by Suzanne Mott who played his wife Gloria the Science Officer. John Wood and Emily Hutton gave very credible performances. But for me it was Craig Wright as Kookie who stole the show. He had the audience spellbound, singing along and cheering - what a talented performer!
The set, sound and lighting for this show created a cosmic atmosphere and I must make mention of the projection screen and the special guest appearance of Norman Hale (Hale & Pace) as the newscaster. His visual link kept the audience fully updated throughout the show on the progress of the space flight.
Congratulations to all the cast who gave such a vibrant performance.
I have seen many talented musicians perform, but the 'on-stage' talents of some cast members and orchestra must have some mention, especially John and Jill in their cameo spots. The choreography was imaginative and the overall production was slick and very professional.
I really look forward to your next production and long may you continue.
NO MORE SITTING ON THE OLD SCHOOL BENCH
Hyde Little Theatre
Director: Eilleen Southard
I was so pleased to be asked to Hyde Little Theatre again after several years. I have seen some very good dramas here in the past, some excellent and one or two, quite outstanding.
The imaginative set was good, like jig-saw cut-aways. It showed all four walls of the staff-room and corridor without losing any of the atmosphere.
Black humour are usually the words associated with much of Alan Bleasdale's writings. Act 1 was full of sly, in-for-a-dig humour, well brought out by the direction. I must admit I laughed like a drain at some of the dialogue. Act II is, however, a different cup of tea; with prejudice being the name of the game, ending in mayhem and disillusion. This is where the experienced actors scored over newcomers, some of whom couldn't quite control their histrionics and found it rather difficult to tread the thin line between carriacature and reality. Youth was obviously evident in the play, some of whom showed promise for the future. Most of the cast cued well on this opening night.
Drama Societies mainly only play for four nights. It must be rather frustrating therefore, as you are just getting into your stride and reacting automatically to your fellow players that you have to call it a day.
Kate Westcott was Jaqueline the 5S student with definite ideas of her own, whose performance I enjoyed. Maxine Campbell was the invaluable tea lady and Tony Thompson, the caretaker with secret political leanings. Ric Norton played the popular teacher Mr Dean, the antithesis of Roger Boardman's older, jaded Mr Haddock. Kate Billington was the somewhat stressed and increasingly disfunctional Miss McKenzie. The unwitting catalyst of the ultimate breakdown of the tenuous established order, was new broom Mr Wright played by Paul Booth. Derek Lewis, was the Headmaster, Mr Grant, whose motto was 'peace at any price and follow the trend'. His charming vagueness also hid his very strong ability to survive. I enjoyed Derek Lewis's characterisation and interpretation very much. Holding everything together with another strong and believable portrayal was Janice Haughton as Deputy head Mrs Swift.
This was a good production, where the director, the whole production team and the cast were able to make a depressing storyline thought provoking but also entertaining.
LA CAGE AUX FOLLES
Hyde Musical Society
Director: Ann Atkins
Choreographer: Jean Ashworth
Musical Director: Jeremy Sleith
In 1998 Hyde Musical presented La Cage aux Folles, also in 2001. Had the society had a lapse of memory?
Not all all, for with their usual acumen the committe decided to stage once again a show that had previously been a critical and monetary success. The very experienced stage staff ensured that technically this production worked well. The orchestra had a good sound and the tempi were nicely balanced. The choreography was authentic with excellent use of the stage, enabling 'Les Cagelles' to 'Show-off' their sumptuous costumes.
The origional play/film was French. After its Americanisation on Broadway it has since lost some of its Gallic cutting edge.
Some of the cast just missed the sophistication or 'c'est la vie' attitude to life, delightfully observed by Peter Bolger as Francis, the stage mangager. I know the character has some amusing lines, but HIS was a little gem of a performance.
Someone else who knows how to time comedy without upstaging other actors was Kath Coles as the increasingly inebriated Madame Dindon. This enabled Ron Sugden as Monsieur Dindon, to be upright, uptight and uncomfortable in contrast.
Dianne Aspinall was a happy, charming but dizzy Jacqueline and Brian Ashley was outrageous would-be actor, but currently 'a maid', Jacob. James Wolsentome made the most of his singing and movement as Georges' son, Jean Michel. Natalie Metcalf was well cast as young fiancee Anne, very pretty and dancing gracefully.
The cast was in many instances the same as in 1998. One of the most important changes was that of one of the two pivotal characters Georges, played here by Clive Hammett. He had all the neccessary comedy timing and could sing pleasantly. I particulary liked, however the way his characterisation also showed his nail-biting dilemma of having to choose between the interests of the two people he loved most.
Dean Sumner was a good Albin. His understanding and presentation of the role was very good indeed, making Albin's complex personality absolutely believeable. Dean can also put a number across. He uses the full range of his voice, not only in his vocal numbers, but also in his dialogue.
So, in a nutshell, Hyde Musical Society once again presented a polished and entertaining musical.
HOT MIKADO
Marple Operatic Society
Director: Steve Mallinson
Musical Directors: Peter England/David Tibbles
Choreographer: Carole Wilson
Hot Mikado. How hot is hot? This Friday evening was certainly red hot.
Marple Operatic has previously pulled out the stops and been innovative with its productions, but sometimes have tended to be rather safe and conventional. Well, the company certainly scored here. I like Carole Wilson's more flexible choreography and use of the full stage. I was more than impressed by the recent MD's direction. His sheer control of the musicians, fast, swinging tempi and particularly his assistance to the main cast, so that they never missed a trick, was exemplary. Thank you so much Peter England.
The set appeared to be very simple, but the diagonal angling of some pieces allowed entrances to be more effective. Full marks to the technical staff, as staging facilities here are not as easy-peasy as they appear to be from the auditorium.
The chorus rose to heights, both vocally and choreographically.
The principal cast were well cast, turning in some of their best performances to date as Kim Riley, Pitti sing and Rachel Carpenter, Peep-Bo. Vince Powers was Mr.Big, Pooh-Bah. All front and sinister shades which hid the timid persona in Act II. I also liked his vocals. The very versatile Colin Ward was Pish Tush, leaving me to guess who was the character he presented to the world, so camp, or another front to fool the authorities, very clever. Simon Hardisty gave us a nicely relaxed, free and easy portrayal of Nanki-Poo. I think easily his best role so far.
Victoria James was his bride-to-be Yum-Yum. She was able to bridge her usual operetta voice with the free vocal line here and brought out Yum-Yum's Japanese code of public reserve but coquetishness with her suitor.
The title Mikado, apparently is not used by most Japanese, who use instead 'Tenno'. Mi is an honourific prefix and kado is gate. Total, exaulted gate. So here we had "exalted gate" Barry Aspinall as the Emperor, very thinly disguised as Groucho Marx, that creator of mayhem. This was an excellent tongue-in-cheek portrayal with just enough lightness of touch.
Peter Bowler was Ko-Ko. What a lovely performance. It really is a gift of a part, but only if you know how to use it. Peter totally immerses himself in his character. The direction he received and ability to carry it out, particularly the demanding 'athletics' of dashing off the set, around back stage and nonchalant O.P. entrances were super. That, plus the ability to be sincerely humble but also an extrovert, gave for me an outstanding portrayal.
Some people do not like Gilbert and Sullivan. "Too many rum-te-tum tunes"! They would surely have revised this opinion on seeing Mandy Malinson as Katisha, not only giving a brilliant performance but baring her soul to every emotion, in a heart-rending tour-de-force of "Hearts Do Not Break". Yet again, WONDERFUL Mandy!
Steve Mallinson. You are a talented performer and now obviously a talented director. You also, however, brought out latent talents in other people here I never knew existed. Thank you for making this Hot Mikado one of my most pleasurable experiences as N.O.D.A Regional Representative Region 9.
(A sentiment echoed by NODA North West Editor Amanda Braidford and husband Colin who were also present to witness this wonderful show).
Now, as I fade into the setting sun, there remains but one thing to say, "Sayonara".
BIG AL
Mossley AO&DS Junior Drama Club
Director: Colin Ward
Assistant Director: Fiona Ryder
Musical Director: Dave Chapman
Choreographer: Tracey Rontree
Assistant Choreographer: Gary Jones
This is the first time I have seen the junior drama club from Mossley perform and what a smashing surprise I had. It is so encouraging to see such a wealth of talent aged between 9 and 17 years treading the boards and securing the future for us.
Big Al is based on the life of the gangster Al Capone from the 'cradle to the grave'. It is full of humour, drama and excellent musical arrangements.
The production team certainly had its work cut out drilling these young up-and-coming stars and all I can say is, well done on a fantastic job.
Michael Ward made an assured Al Capone with 'attitude'. His accent never wavered, and his acting and singing ability made his character totally believable. He was well supported by Jane Swallow as his wife Mae who showed good emotion and sang beautifully especially her solo. I particularly enjoyed the fun and humour that Shona Melvin brought to Goldi the gangsters moll, her 'one-liners' had us in stitches.
Gary Jones played Ryan O'Hara and Diamond Jim changing accents from Irish to American, not an easy task for some accomplished actors, but he did this with ease. Gary also choreographed two of the numbers, a very talented person indeed. Ben Turton, Nicholas Ward and Helen Plant worked well together as the rest of the Capone family, and congratulations to Roxanne Moores as Lily who gave a good performance. Delia Muir has a terrific voice and performancd her "Broke Blues" number with clarity and style.
There are too many names to mention individually, but well done to all of you. Congratulations to the production team and set designers - you must feel very proud. I wish you all continued success for the future and look forward to seeing you again.
LITTLE SHOP OF HORRORS
Mossley Amateur Operatic and Dramatic Society
Director: Nita Bennett
Choreographer: Tracey Rontree
Musical Director: Paul Firth
This musical, to quote the programme notes, tells the story of 'a meek florist who makes a Faustian pact with a tiny plant'. To be analytical, the plot is awful, but an awfulness which is so sickening as to make one laugh with disbelief. Its ending is earth shattering. Howard Ashman's book and cynical but sometimes moving libretto and lyrics plus some glitzy, sassy, punchy, music by Alan Menkin conceal the real message, presenting, if well done, a very enjoyable entertainment.The very experienced and talented full production team was always in evidence throughout. There was a great understanding of the mood and presentation of each scene, both directorially and musically.
The full company's appearances, though limited, always made an impact. The musical narrators, an integral part of the production were absolutely excellent. They looked terrific and could act with hardly any movement. Their voices had just that right blend and brought out the lyrics beautifully. Sandy Beswick was Chiffon, Alison Foy, Crystal and Claire Crebbin was Ronnette.
John Meachen was Mister Technology, operating to great effect what was, I believe, the very tired alien plant. Poor Audrey II has apparently been working over-time on the amateur circuit and Derby Playhouse, who made and hired her out, MAY be retiring her to their back-stage lot. John Crebbin, who must have a penchant for playing monsters, previously as a brilliant Sweeney Todd, was here the voice of the monster plant.
Vince Kenny gave a strong portrayal of Mushnik, the shop's owner, accent and all.
A portrayal I really enjoyed was Colin Green as the dreadful, sadistic Orin, Audrey's boyfriend. Orin's musical number is always a show stealer, but Colin also gave a very rounded portrayal with good dialogue delivery and without becoming embarrassingly O.T.T.
Heather Schofield was Audrey. She also gave a nicely rounded performance with an intelligent understanding of her character and good musical presentation. Craig Wright was Seymour Krelborn, the catalyst and raison d'être of the story. One of Craig's strongest qualities is that he never appears to be acting. He blends into the role he is playing. His change of mood and expression is very subtle.
All this plus his relaxed singing ability presented the audience with an excellent and utterly believable performance in what was a polished production.
A LIFE ON THE OCEAN WAVES
Our Lady's Amateur Operatic Society
Producer/Choreographer: Lynnden Pickford
Musical Director: Fr. Tony Dearman
Heralding, hopefully a wonderful summer, this bright and breezy offering was just the tonic that was needed. The choice of pastiches and other selections reminded me that the nation really lives on an island.
I never realised that there was so much music, songs and readings about water, seas, rivers, navy, the fleet, boats, ships, sailing and pirates! There was therefore plenty of scope for the diverse age range. I am pleased to say there were very many young people participating in the revue, who not only performed individually or in duos and small groups, but managed to remember an intricacy of choreography and steps. Well done everyone.
With special solos from Annemarie Cook and a rousing "Last Night of the Proms" style finale, I feel sure the audience appearing very happy and pleased, departed looking forward to, and taking in their stride the 'British summer'.
Afterwards, my husband and I (sorry!) were summoned to the Captain's Table for a sumptuous spread.
Thank you so very much for this 'Right Royal Send-Off' at my very last NODA venue as regional representative.