January 2002 - Region 3 - Margaret L. Gillibrand
ANNIE GET YOUR GUN
Bacup AODS - B.Y.T.E.S.
It was hard to believe that there were some 80 children in this production they were so well disciplined and engaging. No fidgety bored company here at Bacup's Royal Court Theatre - just a talented and enthusiastic cast of young people who were good to watch and listen to.
Directed by Regina Arkwright and Stella Kelsall with help from Anthony Williams and friends, and music from Simon C. Parker, this proved a lively production with plenty of excellent performances.
The role of Annie Oakley was taken with plenty of gusto and a huge amount of talent by Lauren Nield. She knew exactly what the role was about, and her interpretation of the comedy, pathos and vocals would not have disgraced a senior society.
Luke Goodwin had the looks, acting ability and clear vocal range for the role of Frank Butler and as he strode about the stage with confidence he was a pleasure to watch.
Roger Nuttall drove the action along very confidently as a smooth-talking Charlie Davenport and he was well supported by Grant Bromley as Buffalo Bill - two very intelligent performances.
Morgan Rogers was excellent as Chief Sitting Bull, Lauren Gosnell a confident Dolly Tate, Tom Eastwood a smooth Foster Wilson, and Richard Jackson a roguish Pawnee Bill.
Four delightful performances came from Annie's brother and sisters with Laurence Giltrow-Shaw, Sara O'Connor, Justin Jacques and Danielle Ratcliffe playing the engaging ragamuffins. Certainly performers to look out for in the future.
The large company moved very well and the Indian Ceremonial number was particularly impressive. The large set was well worked and lit and the young crew, led by experienced "hands" must have gained invaluable experience from the technical side of this production.
Linda Whelan is to be congratulated on providing such wonderfully colourful and appropriate costumes for the large company - they really looked good in all the scenes.
The make-up team also transformed some of the young players very well, and everyone who contributed to this show - on and off stage - could feel justly proud of a really excellent production.
ALADDIN
St Cuthbert's ADS, Darwen
My first visit to this Society was to see my first pantomime of the season. The large cast of young and not so young was led by David Lloyd playing Widow Twanky in his own inimitable way. How David can work an audience and his vast experience drove the show on.
He was assisted by a comic Wishee Washee played by Father Nicholas Davis, who was a favourite with the audience.
Aladdin was confidently played by Natasha Byron, and Ruth Lomax was a pleasing Princess. Other promising performances came from Kirsty Byron (Prince), Rebekah Hawthornthwaite (Lady So-Shi), Steve Byron (Emperor) and Philip Knowles (Grand Vizier).
Further comedy was provided by Andrea Lloyd and Jane Coughlin. The "baddie" Abanazer, played by Father Peter McEvitt, scored high on the "hissing factor". Benjamin Makinson and Mathew Nattrass were well cast as the Slave of the Ring and the Genie of the Lamp.
I felt that some of the modern top ten songs chosen for the principal boys and girls were not always appropriate or within their vocal ranges, and maybe introducing some good old tunes ' now and then in pantos would not come amiss. Musical Director and pianist Michael Emery did a wonderful job keeping the evening moving along at a good pace and Producer was Jeff Makinson.
Staging from Ian Ashton and his Team was very good and the magical cave scene was particularly well done. I loved the "Dragon' , a very engaging creature and well constructed.
The costumes were colourful and imaginative. A pleasant pantomime.
ANYTHING GOES
St. John Southworth Theatre Group
This bright and breezy Cole Porter musical was imaginatively staged and well presented by St. Johns. Always ready to take on a challenge the Group's sets by Mike McKeown and Ken Parkinson worked well on their small stage, and with good lighting from Guy Williams, the continuity was good.
Julie Cummings was a feisty Reno and she delivered her numbers with easy style. "I Get a Kick out of You" and "You're the Top" in Act One were super and "Blow, Gabriel Blow" in Act Two was a real showstopper.
Mike McKeown was a somewhat diffident Billy Crocker. Steve Grist played Lord Evelyn for laughs and got them, while Gordon Ingelby was a winner as Moonface - superb characterisation and immaculate timing. Rose Horrigan's Erma was another good comedy performance.
Carole Bardsley and Andrew Husband turned in nice cameo roles playing Mrs Harcourt and the Captain, while Leslee McKelvey was a rather subdued Hoppe. The chorus moved well and looked good and the musical numbers were well sung.
The production team of Clare Parkinson (Director) Dylan Summers (Musical Director) and Catherine O'Connell (Choreographer) could feel happy with this pleasant production which provided plenty of entertainment for their audiences.
BEYOND REASONABLE DOUBT
Rossendale Players
Jeffrey Archer's first play is certainly full of drama and tension and the Players did the script full justice (pardon the pun!). Deftly directed by Stanley Whittaker, it was a compelling court room drama in the first act and an equally compelling domestic drama in the second act. Convincing acting from Franco Paolucci as the accused Sir David Metcalfe QC, and Ian Pickup as Anthony Blair-Booth QC Prosecutor, made this play very watchable, and they were well supported by the other members of the cast.
Roy Preston played the Judge and Brian Carter was Robert Pierson. Chief witnesses in the trial were well played by Len Taylor (Lionel Hamilton), Geoffrey Jackson (Dr. Weeden) and Maureen Jackson (Mrs. Rogers), and the tension of the courtroom was well sustained.
For Act 2 the action moves back in time and to the Metcalfe's home and introduces the "deceased" Lady Metcalfe. This role was sensitively played by Penny Griffiths.
The sets, by the Players' Team were excellent and attention to detail in both the Courtroom and the home paid dividends.
The subtle lighting design by Les Rooks and Warwick Watson was well worked by Chris Watts and props were in the capable hands of Anne Riding and Pam Bartram.
The play is well crafted and the final twist leaves the audience pleasantly shocked. Good entertainment.
CALAMITY JANE
Todmorden Hippodrome Youth Theatre
A very laudable production of this all-time favourite. The award winning production team of Andrew Rawlinson, Christine Clarkson and Rachel Rogers once again proved that hard work and dedication pay off when working with young people, and they were justly rewarded in this production and the performances we saw on the Hippodrome stage.
Vikki Smith was a very feisty "Calam" showing a mature grasp of the role, while Jodi Haughton was a delightful and very watch able Katie Brown. Jodie's mature singing voice was used to good effect in the musical numbers.
The girls were well partnered by Steven Cooper and Joel Whitham as Wild Bill and Danny Gilmartin. Saul Moorhouse was a knock-out as Francis Fryer - such assurance and good comedy timing for such a young person. Sarah Jane Kitchen was an excellent Susan, and Mike Lawless played Henry Miller with maturity.
All the cameo roles were well cast especially Adelaide Adams in the person of Rebecca Morton - a super performance.
The chorus had been kept to a manageable number and Rachel Roger's choreography and general movements showed the company off to good advantage.
The singing was excellent, and I really enjoyed "The Black Hills" number, where the harmonies would have been the envy of many senior societies.
As always at the Hippodrome, staging was first class as were the lighting and sound - I hope these youngsters appreciate how lucky they are to have such excellent technical facilities and staff. A nice wardrobe from Gillian Winslow and her team made the whole piece look good. A very worthwhile night out!
SWEET CHARITY
St Cuthbert's AODS Burnley
Barbara Simpson's production of the popular Cy Coleman musical was peopled with seedy "has beens" and contained many hard working performances.
On the Society's small stage the many scene changes were worked well, and the use of overhead projection to indicate location and mood changes helped enormously.
Christine Chadwick as Charity gave an intelligent performance and her comedy timing was good. Edward Munday partnered her well as the complex Oscar, and their "lift" scene was extremely well done.
Charity's dance hall hostess friends were well played by Janet Gilbert and Karen Kerr and the trio had some of Neil Simon's best Jewish humour lines.
Ted Reid played Herman with laid back ease, and Stephen J. Wharfe was a groovy Daddy Brubeck with one of the show's memorable numbers "Rhythm of Life" to sing. Peter Walker raised the vocal stakes in the role of Vittorio Vidal and his "Too Many Tomorrows" was one of the highlights of the show. His petulant girl friend was played by Pauline Woodworth.
The large chorus had plenty to do and the company numbers were lively, well moved and dressed. The Fan Dango Ballroom Hostesses made a suitable impact, and it was good to see so many individual performances coming through as they played out their dreary lives in the non too salubrious Ballroom.
Music was in the capable hands of Brian J. Townend and the popular score was appreciated by the audience. An entertaining evening.
A CHRISTMAS SPECTACULAR
Bacup A.O.D.S.
Director and Musical Director: Anthony Williams
You are never quite sure what to expect when going to see 'Spectaculars'. The title alone gives one high expectations. I was not disappointed. B.A.O.D.S. entertained me for two hours and not once did I look at my watch!
B.A.O.D.S' youth section, BYTES, openend the show with songs from Oliver!. These youngsters are truly magical to watch. They were helped along by Jason Cain and Ann Dickinson who recreated the roles of Nancy and Fagin from their award winning production eariler this year.
Also from BYTES, their older section and believe me, forces to be reckoned with in the future, Rachel Jackson, Lauren Gosnell, Lauren Neild, Grant Bromley and Luke Goodwin gave very confident and mature performances.
Soloists came in the forms of Viki Stott, whose 'Secret Love' bought tears to my eyes, Ann 'Moyet' Dickinson, Kathy Foster and, making good use of him before he leaves Bacup, Jonathan Eio. He is such a natural performer and he will be missed.
The highlight and may be the star for me was Simon C. Parker. I first saw Simon as Mr Bumble in B.A.O.D.S' Oliver! and could not really make up my mind about him. Well Simon, you can sing 'My Way' and 'Under My Skin' anytime. Super.
Set design by Wally Walton and Harvey Levene and lighting by Mark Tempest were all up to their usual standard - excellent.
MD and Director Anthony Williams co-ordinated the whole show to give us,
indeed, a real Christmas Spectacular.
(Amanda Watmough)
DEAD MAN'S HAND
Blackburn Arts Club
All is not what it seems in Seymour Matthew's thriller and in this production directed by Ann Collins, the twists and surprises of the plot were well worked.
The two couples who arrive separately at the remote Italian villa for a holiday and who seem destined to be murdered one by one, are certainly not what they first appear to be.
These roles were well played by Eddie Hammond, Debbie Lord, Mike Ashton and Dorothy Sanderson, who worked together to create plenty of tension. Michael Rookledge was perfect as the strange Franco - but who is he? Michael certainly kept the audience guessing. If you want to find out, put this thriller on your next play reading list. Andrea Lloyd, completing the cast as Pamela, turned in a well thought out performance.
The set, lighting and many sound effects were in the capable hands of Ian Wilkinson. Quite a surprising evening - well done everyone!
EBENEZER
St. Stephen's ADOS
Billed as a "Rock Musical", this was an unusual and delightful combination of Dickens's Christmas Carol and pop rhythms.
Accompanied by the Church Choir of St Stephens, the show combined traditional carols with lively numbers, upbeat rhythms and witty words. It was an ideal piece for the pre-Christmas season and a Society with a wide age range.
The role of Ebenezer Scrooge was taken with great relish by Keith Pounder. This was a tour de force performance as Ebenezer is always on stage, and Keith's experience and talent drove the musical at a good pace.
Kenneth Entwistle and Jean Beeston were effective as Mr & Mrs Bob Cratchit and their children were confidently played by Donna Ashworth, Luke Williams and Christopher Wassel as the waife-like Tiny Tim.
Malcolm Stewart was a terrific Marly's Ghost and Joan Rogers and Elaine Taberner were delightful as the Charity Workers. All the minor roles were well cast and played.
The company had been well drilled by director Howard Rogers, and I am sure he must have been pleased with his first production for the Society. Stuart North was Musical Director and Choreography was devised by Tracey Heywood and Rachel Rogers.
The sets were very effective and were well lit by Michael Pate. Costumes from Jean Morton and Karen Meek were excellent. Gary Stacey's makeup, especially for Scrooge and Marley, was very good. An unusual piece and very good entertainment.
THAT GOOD NIGHT
Burnley Garrick Club
That Good Night is the second play by N. J. Crisp to be performed by the Garrick in the space of a year, and shows the Club's penchant for thought-provoking drama. They are fortunate in their Directors and casts to be able to stage plays of this calibre and do them justice.
In this production we had Dorothy Spencer (making her debut as a Director) leading an experienced and talented cast through the tale of a man's struggle with his mortality and his realisation of the great worth of life when he is about to lose it.
Alan Hargreaves gave a stirring performance as Ralph, the father and husband suffering from a fatal heart disease, who gives everyone including himself a hard time. Not wanting to suffer the pain and indignities of a terminal illness he takes things into his own hands and decided to end things in a civilised manner in his time and his way.
Enter the Visitor, sensitively played by John Riley. In his briefcase he has the means to end life painlessly and quickly. But "Not so quickly" he says to Ralph who is fairly panting for release. Here, in this character Crisp puts his arguments for and against euthanasia - strong stuff!
Judith Briscall played Ralph's long-suffering and very level headed wife, with great insight and turned in a well balanced and touching performance.
Making his debut with the Group was Phil Brown who, playing Ralph's son Michael, showed what a very versatile actor he is.
Susannah Cooper never fails to impress on stage and she produced another delightful performance as Michael's sparky, pregnant girlfriend.
The Garrick Team's set of an Umbrian villa was to their usual high standard and Richard l'Anson pulled out all the lighting stops to create some spectacular effects.
The atmosphere was greatly enhanced by the music which accompanied the play - an evocative recording from Shostakowich's ballet "Gadfly" - wonderful mood music. An entertaining and thought provoking evening.
HANSEL AND GRETEL
Dorothy Bruce School of Dancing
An unusually good script from Ron Hall enabled this young group to show their paces. Director and choreographer Dorothy Bruce moulded the cast of three to 16 year olds with skill - and obviously much patience! - and the result was an entertaining evening.
Two very assured performances came from Eleanor Ross and Eleanor Tucker playing Hansel and Gretel. Their duet "Where is Love" from the musical Oliver as a highlight of the evening.
The Good Fairy (Alexandra Duxbury) and Wicked Witch (Sarah Bruce) were well matched and moved the action on nicely.
Richard Jackson is proving himself a very versatile young performer and at 16 years old shows much promise as a future "Dame" of great comic ability. His Miss Demeanour was lots of fun. He was ably assisted in the comedy by young Andrew Willetts playing the "village Twit"!
Abigail Hughes and Emma Taylor are two young performers to watch out for in the future. They played the roles of Heidi and Martin with both vocal and acting talent and were not afraid to make use of the stage.
Clare Bruce and Charlotte Norris, two of the School's most experienced young pupils played the Step Mother and Father of Hansel and Gretel.
Staging was well managed by Stewart Duxbury and his Team and the excellent sets were effectively lit by Les Rooks.
Costumes were colourful and inventive - particularly the Robot (well played by Katie Makey) and Cats - congratulations to Helen Ross and Jane Tucker. Jane Makey's makeup was good, especially for the Dame and the Wicked Witch.
Another good offering from the School and one which contained plenty of talent for the future.
THE HERBAL BED
Blackburn Drama Club
What a fascinating play this is. From the pen of Peter Whelan, who is perhaps better known for his Accrington Pals drama, it relates the lives and times of John Hall, a medical practitioner in the Stratford upon Avon of Jacobean England and his wife Susanna who is also William Shakespeare's daughter.
At the core of the play is the temptation to cover up private indiscretions for the sake of public position, and the trouble caused "when first you practice to deceive".
Some fine performances were on display, sensitively directed by Dorothy Perkins. Anita Shaw as particularly effective as Susanna. She went from quiet respectable wife and mother to smouldering lover with consummate ease and her performance showed plenty of nervous energy bubbling under the surface.
Paul Mason played her solid respectable puritanical husband very well, and his portrayal made Susanna's wandering from the marital bed very believable.
Steven Derbyshire was on top form as Jack Lane, Hall's "apprentice" who is over bold, over sexed and devious - a slick performance. Playing Susanna's would-be lover Rafe the Haberdasher, was Clive Stake also on top form and turning in a sensitive, well studied performance.
Shelagh Turner was well cast as Hester the maid servant, and her sense of comedy timing was excellent. We saw an outstanding performance from Michael Eccles as the Vicar General to the Bishop of Worcester. Mannerisms, facial expressions and impeccable delivery of superb dialogue made his a performance to remember. The diffident Bishop of Worcester was well played by Eric Nolan.
The Ecclesiastical Court scene set in Worcester Cathedral was extremely well staged and delivered. The tension was subtly created and sustained by fine acting.
Making up the cast were young Helen and Jane Keegan who played the Hall's daughter Elizabeth on alternate performances.
Always a shadowy figure off-stage is that master dramatist - Shakespeare. He never appears, but the audience are drawn on to believe he might - the ploy of another master dramatist Peter Whelan!
Superb sets from Geoff Eccles and club members, painted with great flare by Michael Waters, was well worked by Graham Haworth.
The props department (Margaret Nolan, Liz Fisher and Joan McCann) are to be congratulated on providing a fascinating collection of period medical paraphernalia and other authentic items which added to the authentic look of the piece. Authentic costumes from Jean Jones also added greatly to the atmosphere.
The set was particularly well lit by John Barrett and Mark Duxbury and sound from Andrew Smith was always appropriate. The last production by the Club at Blackburn College Theatre, The Herbal Bed sent them off to pastures new on a very high note!
HOT MIKADO
Accrington Theatre Group
An energetic production bursting with life, fun and musical dexterity. Perhaps not to the taste of Gilbert and Sullivan purists, this show is nonetheless still very much in the vein of G & S - poking fun at the establishment and extracting humour wherever possible, while showing considerable musical prowess.
The music - excellently directed by Joan Pate - is a complex mixture of jazz, blues, gospel and rock, and the orchestra and cast moved effortlessly between the different beats and styles.
The show was slickly choreographed by Howard G Raw (who also directed) and Kathy Foster, and the large chorus were well drilled and vocally agile.
The line up of accomplished principals was made up of David Norris, a wonderfully comic Ko Ko; Barry Hall, a Poo Bah with great stage presence; Adam Whittle, a very engaging Nanki Poo and Sue Moretta a pert Yum Yum.
Helen Boyes was truly outrageous Katisha, complete with leathers and whip she strutted her stuff with great confidence.
Dawn Marie Power was a vocally strong Pitti Sing, Howard Raw was a rotund Mikado, Lynne Cheshire a lively Peep Bo and Matthew Norris turned in an excellent performance as Pish Tush.
Superb lighting from Patrick Keane and his team made this a very lively and colourful production and the set served the performers well.
A super night out, but alas this show does not seem to be box office - why? Perhaps the world just needs more adventurous audiences to go with our more adventurous societies!!
IT COULD BE ANY ONE OF US
Clitheroe Parish Church A.D.O.S.
This society always presents a very good play and I always enjoy the lavish sets, but this year it was a disappointment. Whether it was the choice of play, I could not tell. The set seemed awkward for the players to work.
There were some nice performances. Dorothy Cushing and Brian Howorth as husband and wife played their parts very well. The star for me was Micheal O'Hagan as the dotty artist, his timing was excellent and his acting was super. He brought light relief to a very wordy play, To me not one of Ayckbourne's best.
After saying all that, it was nice to see people supporting the plays and
live theatre over at Clitheroe and the audience enjoyed it very much, and
really that's all that counts.
(Julie Hopkinson)
KISS ME KATE
Burnley Light Opera Society
A great evening's entertainment provided by a talented cast and chorus directed by Anthony Williams. Not an easy show to stage, Kiss Me Kate demands good principals, slick chorus work, stunning costumes and sets and vocal excellence. Burnley LOS rose to the demands in each area.
Nick Sanders, making his debut as Musical Director for the Society, raised the musical stakes and did full justice to Cole Porter's great score.
Simon Westwell, taking over the role of Fred/Petruchio at a month's notice, dominated the stage with his considerable presence and vocal talent. His contrasting musical numbers "I've come to wife it wealthily in Padua", "Where is the Life that Late I Lead" and "Were Thine that special face" were highlights of the show.
He was well partnered by Judith Riley who was on top form as the sparky and sophisticated Lilli/Katherine, and her wide vocal range suited this role well.
Due to an unfortunate ankle injury Ann Dickinson was unable to play the role of Lois/Bianca for half the show's run.
Her part was taken over at two day's notice by the versatile Sue Avanson. She played the night I saw the show, and was outstanding. Word, move and song perfect, the Society was fortunate indeed to have such a talent in the chorus line up who was willing to take on such a daunting task - well done Sue.
Another of the show's musical highlights - "Too Darn Hot" - was delivered with great style by Wendy Ranwell - she was a good mover too! Baptista was solidly played by Geoff Baron and I loved Brian Whittaker's southern drawl as Harrison - good comedy.
Peter Holden was a real hoot as Paul. Ann Baron played Ruby, Wendy Ranwell Liz and Roger Nuttall Gremio. Rhys Roberts as Bill Calhoun/Lucentio lacked that wicked spark this character should have, and Peter Morville and Barry Pixton disappointed as the Gangsters. Two wonderful comedy roles somewhat spoiled by missed lines and too many inhibitions.
The large chorus were full of enthusiasm and energy, drilled perfectly in routines that worked very well. The show was well dressed, the Shrew scenes were especially glamorous. The stunning set was lit in the most amazing way by Mark Tempest for AWP - totally magical.
This show proved what can be achieved by dedication and talent in every area of a production and was, perhaps most importantly, good entertainment.
MACBETH DID IT
Oswaldtwistle Players
John Patrick's comedy, about the trials and tribulations of a very amateur group of ill assorted characters putting on a production of Macbeth, stretched the boundaries of the imagination. Although the concept of the play was good
the mechanics of the piece somehow did not always work. There were two very good performances from Michael Flanagan as the very harassed director and Wendy Duggan as his outrageous leading lady. Both drove the play on at a good pace, and both had a good understanding of their place in the scheme of things. This play calls for a very large cast and it was good to see. many young players taking roles and gaining valuable exerience.
Most of them gave creditable performances, particularly Helen Jackson as a rebellious punk, Richard Jackson as a groovy Duke Marlborough, and James Riley playing Biff. Leslie Jackson was well cast as Effie. Clare Highton was the long suffering Director's Assistant, and Catherine Alan the interfering person with "experience" of the Cambridge Footlights!
Chris Knight's sets depicting a rehearsal stage was very good and was well lit by Graham Binns. Linden Riley's costuming was original. Director, Gayle Knight, could have done with speeding up her cast and this would have added the pace so vital in comedy verging on farce.
Repeating their Macbeth theme of last season, the Players attracted a good sized audience the night I attended.
MACK AND MABEL
Colne Operatic Society
Jerry Harman's musical journey through the lives and loves of silent movie maker Max Sennett and his star Mabel Normand seems as popular as ever on the amateur stage, and this production for the Colne Society was directed by Stephen Burrows.
Opting for the "happy" ending, this production was I felt a shade slow, and, while the staging was in the main good, continuity was often lost.
Playing Max and Mabel were the experienced and talented Kevin Rawcliffe and Angela Foulds, but even talent need direction and at times the characters became unbelievable. Angela's sense of comedy timing was evident and her vocal numbers "Wherever He Ain't" and "Time Heals Everything" were excellent. Kevin's vocal numbers worked well but the harsh sound was intrusive.
Lottie was played by Nicola Hartley and Kevin Riley was a weird clown-like Fatty Arbuckle. The youthful Kevin Kay played Frank, Denise Lancaster was Ella and David Hargreaves and Mark Raynor played Kleiman and Fox. The "villain" Taylor was portrayed by Steve Royle. Other members of the cast were Deryck Manley and Matthew Leedam.
A large chorus sang the company numbers well and "Tap Your Troubles Away" was an effective number choreographed by Fiona Thompson. Musical Director, Brian Fothergill, unfortunately had little control over the orchestra, which, when accompanying soloists was intrusive and very unsympathetic.
The show was well dressed and everyone on stage participated with enthusiasm.
A MURDER IS ANNOUNCED
Bacup AODS
Agatha Christie purists might question this adaptation of one of Christie's most complex plots as it deviates somewhat from the book and grants the characters with more sense of humour than is normal.
Many of Director Geoff Baron's 12-strong cast were performing on the Royal Court stage for the first time and it was good to see new faces on this impressive stage.
Miss Blacklock and Dora Bunner, around whom the drama revolves, were well played by Cynthia Sanderson and Stella Kelsall.
Playing one of Christie's most famous sleuths, Miss Marple, was Jean Ratcliffe making her debut with the Group. She turned in a witty, well paced performance.
Experienced Kenneth Marshall was very well cast as Inspector Craddock who finally gets to grips with the crime.
Helen Galagher and Roger Nuttall playing brother and sister (?) Julie and Patrick Simmons, kept these roles well balanced, and Tracy Hartley gave a very convincing performance as Philipa. Sarah Nolan was a larger than life Mitzie (the maid, cook etc) and fairly livened up proceedings when she was on stage!
Playing Mrs Swettenham and her son Edmund were Anne Baron and Paul McGowan, both on top form. Mark Tempest made a very brief appearance as the "body" and Geoff Baron made up the cast as Sergeant Mellors.
The action takes place in a Victorian house in middle England in the 1930s and the set from Harvey Levene was excellent. Very well dressed by Regina Arkwright and lit by Mark Tempest, it was the perfect backdrop for this piece. A suspenseful evening with a twist in the tale!
RETURN TO THE FORBIDDEN PLANET
Rossendale Amateur Youth Society
A first class set depicting the inside of a space ship got this lively musical off to a good start. Using plenty of imagination, the set always gave the audience something to look at. The sloping walk-ways leading to the Public Hall floor area, and space ship doors centre back of the stage were particularly effective.
Producer, Colin Povey, had taken on a mammoth task moulding this large group into a well trained "force" but this he had done very well and the cast were well drilled and very well costumed. Dot Hakín, who was responsible for the costumes, is to be congratulated on some very innovative ideas.
Choreography from Liz Wood was perhaps a little repetitive, but given the large cast and the often repetitive nature of the music this was hardly surprising.
Excellent lighting and technical effects are needed in this musical to make it watchable, and Gareth Turner and Simon Lord had designed very effective lighting which created the right effect.
Sound was a problem in Act 1 the evening I visited. This was a pity as it is important to get the gist of what plot there is in this musical to appreciate it. Often the Shakespearean olde English was lost in rather quick delivery, but this was a young cast and more experience on stage will help with their diction.
Musical Director was Julia Killick and the music was on a taped sound track. This of course leads to problems if the tape and cast are out of sequence. On the whole they managed well given that the Musical Director was never in evidence with cues and encouragement.
Mature performances came from Steven Smithson and Liz Wood as Prospero and Miranda, and Emma Jane Cook was a vocally strong Gloria. The important role of Cookie was played with confidence by Liam Foulds who turned in a smooth performance with some good vocal numbers.
Captain Storm Tempest was played by John Moorehead. Chris Lawton's roller skating Ariel was pleasant, although at times his sound effects got in the way of the dialogue. Vicky Farnworth and Nick Brennand, playing the Newscaster and Ray Gunn, came across loud and clear as did Lucy Moores as the In Flight Announcer.
Plenty of feet-tapping, hand clapping 60s music sent the audiences away happy. Well done.
SHAKE, RIPPLE AND ROLL
Pendle Hippodrome Youth Theatre
This large young company presented a night of 50s revival music and no doubt the "oldies" in the audience appreciated being taken back to the rock and roll era. Set in an American Ice Cream Parlour, it loosely follows the fortunes of the manageress, her chief assistance, her customers and a gold digging film star.
Emma Cooper played Mrs. Cohen, the brash Parlour Manageress, James Waterhouse her chief assistant who is suffering from amnesia! and a very confident Katy Oliver was Deanna le Domme, the pushy film star.
Angelo who owns the Parlour has died, leaving a hidden will, and the object of the musical (I think) is to find said will. To this end a detective, well played by Tommy Clough, is hired.
The show has many similarities to Bugsy Malone and so is eminently suitable for a young cast. The music is rock and roll and what lyrics I could hear appeared to be pretty thin.
I visited on the first night and the piece lacked speed, but no doubt it would quicken up. Some of the numbers appeared to be under rehearsed, but maybe the youth were suffering first night nerves.
The second half of the evening consisted of a Rock and Roll Revue featuring some of the older members of the group.
Harvey Levene's set was one of the stars of the evening. It was very well conceived and well lit by Craig Gluyas and Charles Driver.
Sound once again let the side down and the young voices struggled to be heard.
Fiona Thompson was Producer, Lindsay Firth Choreographer and 16 year old Richard Patel was Musical Director. At this young age Richard shows promise and his orchestra was very youthful too. A youth show with the emphasis very firmly on youth.
SYLVIA'S WEDDING
The Garrick Club
The first offering of the season from the Club was a typical Jimmie Chinn comedy drama - earthy, comic, tragic and full of inspired insight. Mark Storton was director and his cast served him well.
Newcomer Anne Allen made an impressive début for the Club playing the title role of Sylvia. Her dysfunctional family was played with great expertise by Kathleen Riley, on top form as the harassed Mother who isn't quite up to the role of mother and housewife; Martin Chadwick, wonderful as the father who has never quite made the social grade but is not bothered by that fact in the least.
Into their small terraced house comes Sylvia's friend Yvonne, a worldly wise divorcee who, by the end of the play, has got into the emotional turmoil of the household too deeply for her own good and everyone else's. This role was played with insight by Trish Hudson.
After many years Sylvia is finally to marry her Gordon, an apparently ineffectual and socially insecure young man with a forceful father and a social climbing mother. These wonderfully written characters were brilliantly played by Steve Grist, Bill Walker and Lynne Atkinson.
The emotions of the piece were well sustained and the comedy was kept well to the fore by an accomplished cast. The set - of kitchen, living room and front garden path - worked well and was effectively lit. Good props and appropriate period music set the mood of the piece well and this was an entertaining, thought provoking evening out.