September 2001 - Region 10 - Peter Hendren
ANYTHING GOES
Carlisle Musical Society
A fine production from Carlisle MS, now regularly performing full shows in addition to their excellent compilation concerts. This time they essayed into the huge Sands Centre, using part only of the vast auditorium.
However, the stage is also huge and this caused some pace problems. Setting out from the wings to centre stage took quite some seconds each time and the immediacy of the entries was sometimes lost. Extra masking would have spoiled certain sight lines from the extreme side seats, but this will no doubt be addressed for the next occasion!
Musical Director Janice Jackson was in her element in this music, and marshalled a fine orchestral sound.
In the cast I liked the young newcomers Louise Bell (Hope), Guiseppe Deligia (Billy). Stuart Sokell (Evelyn) and Rachel Huggon (Erma) also impressed. Steady performances from Derek Murphy (Captain), Brain Coulson (Purser) and Jeff Phillips (Moonface) gave authority to the plot, but of course the show belonged to Helene Nicholson (Reno).
In solo work, duets or ensemble items she excelled, with perhaps the best of all in "Blow Gabriel, Blow". The "oomph" she injected affected all the cast so that the finale was a tour-de-force!
ANNIE GET YOUR GUN
Keswick A.O.S.
Keswick A.O.S. presented a lively show set in this fine modern theatre. A long first half means that the pace has to step up in the libretto and songs. I felt that initially the pace slackened in this version, and that "oomph" was required to lift it. Later on Caroline Craghill, as Annie, certainly gave us this especially in the Indian scene and 'I got the Sun in the morning'. Mike Aldred was a laid back Frank Butler, and I liked Chris Briggs in the role of Sitting Bull. Possibly 'mikes' would have been more effective with the lighter voices, and also when speaking through music. The simple set was very effective in the Indian scene and also the ballroom scene, and the fast changes in the 'pro' theatre made for slick continuity. The 'orchestra' of synthesiser and a few musicians was unusual and this meant instead of the Musical Director choosing the tempi, electronics were in charge for the succession of great Irving Berlin numbers. An odd thought occurred during the show on several occasions. I found that the libretto leading up to a number was certainly much lighter, and gentler than the rather forthright words of the songs themselves.
Possibly we have become conditioned to the succession of large American ladies belting out these lyrics? However, a very pleasant evening in Keswick, and thank you for your kind hospitality.
SOUTH PACIFIC
Maryport A.O.S.
An interesting show from this hard working society. Young members were well to the fore in the casting. They were leavened by several experienced people who had "come along to help" from adjoining societies. John Metcalfe gave an urban and polished version of Emile de Becque, and was well matched by the youthful exuberance of Louise Dixon as Ensign Nellie. Bloody Mary was well handled by Sheila Darvill with her daughter doing Liat. As Lieutant Cable, David Renwick Junr was excellently shy and gauche with Liat and nearly succumbed to the machinations of Bloody Mary. Choruses were lively and the highlights were "Nothing like a Dame" and "Honeybun". M.D. Richard Knight controlled his forces well in the pit, and the numbers bubbled along merrily. Lighting was sympathetic and well controlled in the quick scene changes. The stage crew, as ever, worked miracles on the small Civic Hall stage - I always marvel at them! Nowadays sound is another dimension of the show and this was not so well controlled at times. A general comment for all societies is that it is vital that the sound team are completely at home with the action and levels of each cast member.
It was especially good to see the 'outsiders' coming to help this time. It's what it's all about in NODA - where we can all help each other towards good live theatre in each town.
OKLAHOMA!
Whitehaven Theatre Group
A superb show from this multi-talented Society! This was an undoubted landmark in the Society's history. I revelled in the melodic singing quality of the principals and chorus alike. The words of the story, too, were intelligently put over, and the dancing was exemplary. Producer Roger Wilson created some fine ensemble work especially in "The Farmer and the Cowman", and the "Oklahoma" scenes, all in addition to playing the mean Jud Fry. Dale Corless was a fine Curly and Maria Morton played Laurey beautifully. The ministrations of Aunt Eller came easily to Pauline Robertson and all these three are fine singers in their own right. The (only slightly) smaller parts of Will Parker (Tex Houghton), Jud Fry (Roger Wilson), Ado Annie (Marian Fox), and Ali Hakim (Tony Roberts) were all well cast, and played with aplomb! Even the 'smaller parts still' were superb in their cameo roles, so as you might expect, I liked this show! It had life, bounce, pathos and tenderness culminating in the burgeoning hope of establishment of Oklahoma.
Very well done indeed.