January 2002 - Region 4 - Gordon Hall
CALAMITY JANE
Chester Musicals
Director: Peter Mulley
Choreographer: Carol Price
Musical Director: Christine Steele
I come from an era when the preferred film style for youngsters was the Western, usually with Andy Devine or Gabby Hayes providing the comedy interest to go with the rather sanitised violence - any love interest was a sign for the young mind to turn to noisy diversion in our Saturday afternoon entertainment.
Later, of course, puberty took over and all of us were in love with Doris Day so that when a musical came along in 1953 that combined our two loves we were ecstatic. The songs all became standards in what passed for the pop charts of the day.
Amazing to think that nearly 50 years have passed but Chester Musicals' production of the stage adaptation by Ronald Hammer and Phil Park took me back to those innocent times.
Susan Oldfield put off her other persona of highly efficient Society Secretary to become the eponymous "Calam" with a highly energetic and enjoyable performance well matched by the strong playing of Mike Kelsall as Wild Bill Hickock - an encouraging "first" for Mike with this company.
Last year's "Nellie Forbush", Jane Chance, again sparkled in the feminine contrast to Calamity's tomboy, Katie Brown. The initial love interest for both girls (proving that a uniform will always get them!) was Lieutenant Danny Gilmartin well played by Tim Jones.
The owner of the Golden Garter, Henry Miller, (incidentally a good set this by Proscenium) was well characterised by Mike Heathcote. Francis Fryer was played by Alan Davies though I found his constant gestures a little distracting.
Minor roles were on the whole satisfactory played but with a variety of accents suggesting recent immigration to Dakota region and one or two needed more projection.
The well costumed chorus obviously shared my nostalgia for the Western by entering into the spirit of things enthusiastically though they would have been more effective in their concerted numbers with better groupings -they did tend to end up in three or four rows on stage.
I know it will sound like fussy carping in what was a most enjoyable show but please could the gentlemen in tails and white tie wear white gloves!
Christine Steele kept the score at exactly the right tempi and her four keyboards, bass and percussion sounded like a much larger orchestra.
CHARLIE AND THE CHOCOLATE FACTORY
Hoylake and West Kirby Juniors
Director: Julia Meadows
This was the first production of the group and what a good job they made of it. The director and the willing band of parents, members and helpers who had done everything themselves - costumes, scenery, lighting, sound, must have worked unstintingly to provide the opportunity for 31 children, average about 10.1/2 to tread the boards. The amateur stage has much thanks to give to the army of such people in many societies who work so hard to ensure the continuity of our work by opening up the opportunities for young people.
The three narrators, Amy Allen, Kate Mellors and Emily Wilson spoke out well to move the well known children's story along.
The youngsters revelled in their opportunities to play the adult parts, several of them doubling roles - Andrew Seddon playing Mr Bucket and Mr Salt, Chrisopher McClenaghan as Grandpa George and Mr Teavee, Jayne Price as Mrs Bucket and Mrs Beauregarde and Charlotte Devereux as Grandma Georgina and Mrs Salt.
In the major roles we had some very nice performances from a very assured David McClenaghan as the eponymous Willie Wonka, Ellie Williams as Charlie and Daniel Johnson as Grandpa Joe.
The chorus gave their all as Oompa Loompas but additionally commented from time to time on the happenings and moral precepts of the story in some excellent choral verse speaking (with occasionally an endearing peer out front to discern Mum and Dad!)
It all added up to a most enjoyable and encouraging summer evening in West Kirby.
GUYS AND DOLLS
St. Paul's A.O.S.
Director: Mike Eccles
Choreographer: June Salisbury
Musical Director: Nickey Molloy
93 years young and still going strongly -- that is this enterprising group now having moved away from the G&S staple of so many years. Their new director, Mike Eccles, made a good start with this most tuneful of shows, certainly one of my favourites.
The amalgam of Damon Runyon's eccentrics with the two contrasting love stories of Sky and Sarah and Nathan with Adelaide ensures that emphasis is constantly shifting. The marvellous Frank Loesser score has hit number after hit number and the book has great humour to carry the story line along.
Perhaps the role of Sister Sarah is not one of the most satisfying, requiring her to be rather po-faced much of the time, but Kate Blair dealt nicely with the part though at times she was not helped in some of her numbers by the sound system. The same problem was visited upon Damian MacBeath, particularly in the "Luck be a Lady". Damian followed up his "Curly" of last year to turn in a confident performance.
For speed and attack, Wendy Newton stole the show for me with a very funny Miss Adelaide, Bronx accent well maintained throughout. She was well matched by the lugubrious and laconic Nathan Detroit of Neil Alveston. Wendy's numbers with the Hot Box girls were particularly enjoyable.
Graham Turner's Nicely-Nicely was not the conventional tubby little man a la Stubby Kaye but he created a good character and his highlight number "Sit Down Your Rocking the Boat" was well sung.
Tony Lacey as Benny Southstreet and Chris Heath doubling up as Harry the Horse and Rusty Charlie gave good support throughout. John Earnshaw was a nicely avuncular Arvide and his "More I Cannot Wish You" always forms a surprisingly tender moment in the show.
Once again President Jim Bird had come across from the Isle of Man to lend his imposing stature and acting ability to Big Julie though perhaps his stated status as a high roller from Chicago would have been more evident with a more distinguished costume.
Minor parts were played by Norah McEneany as General Cartwright and Roy Whiteley as Lieutenant Brannigan. The well drilled chorus also made their contribution.
JACK AND THE BEANSTALK
Chrysanthemum Pantomime Society
Director: Julie Delaney
Co-Director: Graham Leigh
Choreographer: Pamela McKee
Musical Director: Norman Scott
We are delighted to welcome the Chrysanthemums into NODA. They are the oldest amateur Pantomime company in the country, having begun in 1918. Among their stars have appeared Jean Boht, Graham Stark and Nigel Lythgoe. Strangely, in all that time this is only their third Jack and the Beanstalk and a fine job they made of it.
For my first visit to the society I was treated to a good traditional pantomime with every ingredient well served. And what a pleasure to have good amateurs and not the usual gang of inadequate Soap stars and local radio personalities who fill our pro pantomimes these days, chosen for who they are rather than what they can do.
A bright opening by the dancers - 31 of them in three differing age group troups together with five adorable babes giving their all. How they all fitted on the Floral stage only the choreographer knows!
Enter Jack, Melyse Austin, giving a very assured performance in delivery, singing and dancing. She/he was quickly followed by the traditional dame of Terry Davies playing excellently throughout.
Add in a well acted Simple Simon (Craig Williams), not as much of a silly ass as usual, two good knockabout comedian Broker's Men in Jeff Flowerday and Phil Shell (only two weeks since I saw his Billis in South Pacific), and the comedy was bound to flow.
A small criticism is that when frequently on stage together there was a certain amount of overtalking so that occasionally the gag lines were not pointed suffciently.
To add to the seasonal mix we had King Fireball, a Richard the Third look-alike from Alan Bell, an excellent Pantomime Cow (always a favourite of mine!) concealing Louise Widdowson and Michelle Bennet and a nasty henchman for the Giant in Robert Southworth. To add glamour were Lauren Gibson as Princess Rosalind, Gemma Edwards as Poppy and Claudia Bell as Fairy Snowdrop. To add a touch of horror we had the Giant of Bill Gibson - an excellent character this in a fine costume. Indeed, the costumes throughout, made in-house, are worthy of a mention - to clothe alone was a Herculean task.
The experience of Norman Scott on the cinema sound organ ensured that the varied musical score never flagged.
Perhaps a one and a half-hour first act is rather long and some of the comic scenes were slightly self-indulgent and could have been shortend without losing their impact. For instance was it necessary to follow a ghost gag with similar chase with the giant?
That said, however, this was a most enjoyable evening pleasing to children and carping NODA Rep' alike.
Long may Chrysanthemums continue their well-respected tradition.
A MURDER IS ANNOUNCED
The Port Sunlight Players
Director: Lynne Sawley.
In the year which marks the 50th year of The Mousetrap and when a complete run of all the Agatha Christie plays were given professionally it proves that there is still a strong interest in her work.
This was borne out at the Gladstone Theatre when a large audience revelled in the intricacies of this typical mystery.
Once again the Port Sunlight scenery team had provided an excellent set for action and with which the actors appeared particularly comfortable.
With 10 characters it is not possible to mention all but Alan Williams was his usual dependable self as the Inspector with his Sergeant, Mellors, played by Phil Williams.
A particularly good performance was given by Julia Simmons as Adele Riley. Yvonne Crowhurst was Miss Marple, ready as ever to use her common sense to solve the seemingly unsolvable.
Pleasing to see Vice-President Anne Mulheirn in a cameo role. Not all the players were as conversant with their lines as could be hoped and the prompt was more in evidence than usual.
Nevertheless, it was evident from the enthusiasm of the audience that the
play gave a lot of pleasure.
(Elsie Kelly)
OLIVER!
Silver Star Amateur Theatre
Director: Barbara McGee
Musical Dirctor: Helen Lynch
This was my third visit to Silver Star and it is always good to see the continuing development of the young performers and to appreciate the work of all the Mums, Dads and helpers who make it all happen. Oliver!, with its concentration on the youngsters, is always a firm favourite with youth groups with plenty of opportunity for principal and chorus involvement. Of course playing the adult characters can often present problems but Silver Star were fortunate to have a very good presentation of the grotesque Fagin from Phil Lyons.
Another particulary good portrayal was that of Nancy by Lindsay Shakeshaft who conveyed all the mixed gaiety and poignancy of the character coupled with a strong singing voice.
That is not to say that others didn't cope with their parts well and among others to catch the eye were Chris Liston as Bumble, Catherine Roberts as Widow Corney, Darren Drew as Bill Sykes and Gareth Swan and Sam Williams as the Sowerberrys.
For the audience, after Fagin, it is Oliver and Dodger who capture most attention. With an appealing and tuneful Oliver from Carina Prothero and a lively and artful Dodger from Paul Drew they were well served. A note for Paul though - he must learn not to over-act when he is not involved in some scenes.
The chorus of youngsters whether as orphans, gang or adults together with some very athletic dancers sang and played well, all of it adding up to another enjoyable evening with Silver Star.
THE SOUND OF MUSIC
Birkenhead Operatic Society Trust
This was indeed a lavish production, with a very good orchestra to go with it.
Carrying the mantle of Maria was Julia Carroll, who was quite delightful and kept her role bubbly and very convincing. Mike Ellis was perfectly matched as Captain Von Trapp and his transformation from the commanding officer type father to the more gentle, loving and affectionate father was ideal.
Meryl Langford gave a controlled and serene performance as Mother Abbess, and her singing of 'Climb Every Mountain', deserved the rapturous applause. She was well supported by the Sisters 'Berthe' (Edwina Milford) 'Sophia' (Sylvia Gregory) and 'Margaretta' (Tia Chang).
Claire Thompson played the part of Elsa Schraeder with the right amount of sophistication and together with Jamie Lester as a clever Max Detweiller were ideal.
Two talented teenagers - Kate Sharp and Robert Downs - played Liesl & Rolf excellently and their singing was a joy to listen to, whilst the rest of the family Von Trapp was outstanding.
I don't think I have ever heard children in the Sound of Music sing so well and in perfect harmony, so congratulations to Daniel Roberts as 'Friedrich', Stephanie Murray as 'Brigitta', Mark Williamson as 'Kurt', Lucy Rae as 'Marta' and Gillian Welsby as 'Gretel'.
Congratulations to Director Elsie Kelly and Musical Director Tricia Gaskell
for the first class production and apologise for my late arrival due to the
train arriving one hour behind schedule.
(Ken Webb)
SOUTH PACIFIC
Wallasey Operatic Society
Director: Joyce Porter
Musical Director: Brian Smith
50 years almost to the day that it first hit the London stage and approaching the centenary of Richard Rodger's birth it was obviously a good time for Wallasey to perform South Pacific and pre-empt the National Theatre's forthcoming production.
Gina Davies added another to the excellent roles she has played on the stages of Wirral with her playing of Nellie Forbush, though perhaps she could have shown a little more of the tomboyish side of the character. Peter Holmes was a strong Emile, retaining the character well throughout.
For me the highlight of the show was the Bloody Mary of Tia Chang, sung beautifully and with excellent comedy combined with an engaging cackle - reminiscent of her wicked witch last year, and very different from her Valencienne in BOST's Merry Widow!
As always in this show the men revelled in the opportunity to indulge themselves as the sailors, marines and Seabees led by Phil Shell as Luther Billis, a sort of Yankee Del Boy. The ladies chorus obviously enjoyed their roles as nurses and Polynesian ladies.
The secondary love interest was provided by Rufus Beer as Lieutenant Cable with Kirsty Austin as Liat. Minor parts were well taken on the whole though the American accents were inclined to slip at times. Incidentally - is it just my prejudice or does all that business of Billis being rescued from the sea hold up the action?
Brian Smith led his orchestral forces well as the succession of marvellous numbers left the large audience well pleased.
WIZARD OF OZ
Castaway Youth Theatre
Director: Karen Partington
Choreographer: Karen Jewell
Musical Director: Rose McPherson
This was my third visit to Castaway and they seem to improve their already high standard with every show I see, it is just unfortunate that I can only see one of the two teams which alternate throughout the week, with every part doubled. Now performing in the Gateway Theatre, Chester, they ensured that a large audience was as delighted as I was by this fast moving, tuneful and colourful production.
With a bright Hoe Down scene with a lively and beautifully dressed chorus, we were transported first to Kansas to meet young Dorothy and her family and later Miss Gultch (later to become wicked witch) and Professor Marvel who would reappear as The Wizard.
Of course Dorothy is the major character and I saw an excellent talent in Laura Cummings, large of voice and personality, totally at home the role. Not even the loveable Gizmo, playing Toto, could upstage her! On arrival in Oz Dorothy was met by the good witch, Kimberly Brook, at 13 already a veteran of the society, and, as always, acting and singing beautifully.
The junior juniors, some as young as six, delighted as the Munchkins, singing and dancing with great assurance. As with more senior chorus it was noticeable how well these youngsters coped with quite demanding and well designed choreography.
We also had the first appearance of the Wicked Witch of the West, a fine hissable performance by the strong voiced Joanne Dennis. On her journey along the yellow brick road Dorothy meets the Scarecrow of Wesley Pearce, the Tin Man of Chris Wright and the Lion of Jamie Hall. Aided again by the first class costumes, these were all excellent portrayals with humour and good attack. Robert McCrimmon also contributed excellent cameos as The Wizard and the Professor.
The chorus in their varies guises always came over with great attack and none of the self consciousness sometimes associated with youth groups.
I must again mention the costumes which were mainly provided by the company which with good scenery and even flying equipment greatly added to the overall enjoyment.
A special mention for the three trees! A point which many adult societies should note was the way the American accents were kept going throughout by all players with no lapsing into local accents.
Rose McPherson handled her small musical forces well and has obviously worked hard to obtain the excellent vocal quality shown throughout.