January 2002 - Region 5 - Glyn Neary
IN CONCERT
The Three Towns O.S.
With musical direction from Rod Dakin, accompaniment by Maureen Roberts and a very amusing link man in the shape of David Bratt the capacity audience was treated to a polished performance by the company.
A wide and varied programme ran the full gamut from the Chorus of the Hebrew Slaves (Nabucco) and Mozart's Exultate Jubilate to 'I'm shy Mary Ellen' and most musical stopping off points in between.
Solos from Wendy Henshaw, Derek Jones, Colin Magenty and Joan Ashcroft were well received - however, 'I don't know how to love him' lacked the necessary feeling and 'If I ruled the world' was taken at a rather sedate pace.
'The gasman cometh' from David Kay and Douglas Edwards and 'I'm shy Mary Ellen' from Colin Magenty provided some lighter moments whilst a small group sang very well with two madrigals (Now is the month of Maying and Sing we Enchanted), although I found the arrangmen! of 'Georgia On My Mind' rather overcomplicated.
The ladies group made an impression with 'Michelle' and 'Send in the Clowns' whilst the gentlemen contributed well with the 'Peers Chorus' from lolanthe.
There were many numbers from the full company ranging from Ave Verum (Mozart) to 'Climb every Mountain' and 'Close every Door' which was accompanied on flute by Hollie Warbis.
A thoroughly enjoyable evening's entertainment from an accomplished company.
AN EVENING WITH ANDREW LLOYD WEBBER AND TIM RICE
All Saints (Elton) AOS
A very good evening's entertainment fronted by a talented quintet of Katie Clough, Louise Freeman, Irene Lunt, Sean Croke and Jonathan Eio in . the vocal department along with Karen Lunt as the principal dancer and backed by a small chorus.
The production was structured into 'Ballads' in Act 1 and 'Movers' in Act 2 and whilst I understand the reasons for this format, and notwithstanding some
excellent individual performances, it was inevitable that the first half lacked variation and pace. Having said that there were some excellent performances from Irene Lunt (As if we never said goodbye), Sean Croke (Starlight Express), Louise Freeman (High Flying Adored), Katie Clough (Another Suitcase Another Hall) and a very dramatic rendition of 'Pity the Child' from Jonathan Eio.
The chorus were somewhat underused in Act 1, a situation which was remedied with a very lively and entertaining second half.
Another powerful and expressive performance from Jonathan Eio (Gethsemane), an amusing dance routine from Karen Lunt (Canaan Days), Sean Croke with an evocative 'Tell me on a Sunday' and an energetic 'Jacob and Son' amongst many others made for a lively and thoroughly entertaining Act 2.
Accompanied by Musical Director Sarah Day and Peter England, backed by a good set from the society and complemented by excellent lighting by Mark Tempest, this was another quality production directed by Anthony Williams.
FUR COAT & NO KNICKERS
St. Philips ADOS (Bolton)
This favourite from the pen of Mike Harding is garanteed to delight local audiences and this production was no exception.
Producer Graham Cohen had a talented cast to work with and, whilst the opening scene took a little time to gather pace, there were several very good performances from the cast.
Jean Foley took a little time to totally come to terms with the part of Edith Ollerenshaw as did Andrew Sleeman as her son Kevin. Both however showed a marked improvement as the play progressed.
Bert Halliday was very good as the ultra right wing father Harry as was Kathryn Henrys as daughter Dierdre whose wedding to be rather inept fiance Mark, played by Stephen kay, is the fulcrum of the plot.
Stephen Gregory played the long haired 'hippy' younger brother Peter Ollerenshaw with some style whilst Paul Costello made the most of the part of the inebriated father Finbar Molloy.
The parts of the upper class Muriel and Ronald Greenhalgh were in the safe hands of Julie Wright and Alan Hitchen who managed to create a difference between themselves and the Ollerenshaws until Muriel is cut down to size by the acerbic wit of Edith's father George Albert.
Ian Duckworth was the aforementioned George Albert and undoubtably the class act in the production. Excellent delivery, superb timing - a joy to behold.
The Ollerenshaw's living room set was good and the split stage for the pub crawl worked well. A hearty slice of theatre comedy much appreciated by the audience.
GODSPELL
Children's Amateur Theatre Society
I have to admit to some trepidation visiting a youth society tackling such a show but am pleased to report that I was surprised - and pleasantly so.
Louise Cohen Directed and Choreographed a group of youngsters whose ages ranged from 11 to around 17 years and a very good job she did of it. Enthusiasm and no small measure of talent abounded to make this a very watchable production.
Christian Brabin took on the demanding role of Jesus. He put his numbers over well, made every word of the Gospels count and is a talent for the future.
In the same vein the deminutive Daniel Whitehead was a very good Jeffrey. A confident, relaxed and humourous performance. James Eccleshare also coped well showing the fallibility of the arch villian Judas.
Katie Warburton, Lizy Oakes and Amy Sandiford all sang well in their respective roles of Robin, Joanne and Gilmer each contributing much to the overall effect of the production.
Other parts were played by Jonathan Cunliffe (Lamar), Matthew Gavin (Herb), Rebecca Brown (Peggy) and Katherine Davies(Sonia).
Good use was made of simple props, the stage area was well used and chorus work was generally well co-ordinated.
I would have thought a simple gobo effect on what was an otherwise bare stage would have enhanced the proceedings, however the lighting by Ian Henshaw, Alan Dodd and David Hardy complemented the production and competent musical backing was provided by Helen and Mike Walker.
A well constructed production which progressed smoothly to its dramatic conclusion.
GUYS & DOLLS
Bolton Premier Productions
One of my all time favourite shows which, in my humble opinion, is an ideal vehicle for amateur societies.
From the delightfully 'over the top' Runyonesque characters to the excellent music and lyrics by Frank Loesser there are many opportunities for the cast, as well as the backstage, to test their talents.
The opening sequence was well constructed and played against an excellentset supplied by Scenic Projects. The limited stage facilities however, considering the substantial Broadway street set, conspired against the task of scene changes, and whilst this did not matter too much the sewer scene lost much of its impact.
The Fugue for Tinhorns was well presented by Martin Pearce (Benny Southstreet), Paul Costello (Harry the Horse) and Andrew Platt whose performance throughout as Nicely-Nicely Johnson was of the highest quality. (Definitely Bolton's answer to Stubby Kaye)
Adrienne Wormald was the epitome of the naive but dignified Sarah Brown whilst Jason Crompton made a stylish Sky Masterson without totally coming to terms vocally with the part.
Colin Dean made a valuable contribution as the sympathetic Arvide Abernathy, Hughie Brigan held onto his irish accent throughout as Lt Brannigan whilst John Whitehead provided an entertaining performance, with good timming and vocal strength, as the much derided Nathan Detroit.
The pick of the evening was the performance of Alyson Wilson as the long suffering, both medically and otherwise, Miss Adelaide. A well studied portrayal which should have registered 7.9 on anyones Richter scale.
Chorus work was generally well done; however, I would have expected more from the Hot Box girls particularly in 'Take back your Mink' and the Crapshooters Dance which, like the scenery, was practically non existent.
Steve Sandiford and his orchestra were quite at home with the musical score whilst Director Glen Mortimer marshalled his troops effectively to present a thoroughly entertaining show.
HALF A SIXPENCE
Bury Athenaeum A.O.S.
A bright, cheerful production by Mike Donohue with some energetic choreography by Judith Edwards the whole being carried along on the lively pace of a good orchestra under the baton of David Abendstern. This lighthearted musical charts the financial ups and downs of one Arthur Kipps, his relationship with his first love and his brush with the pretentious upper middle classes.
Whilst never quite the complete embodiment of the cheeky cockney, Simon Pickup sustained the character and accent throughout and handled the musical numbers well. Janet Foster was very good as the ever faithful Ann Pornick. A convincing accent along with a strong singing voice and an understanding of the facets of the character made for an excellent presentation.
Noel Hurley (Sid), Philip Harrison (Buggins), Andrew Smith (Pearce), Ben Dawson (Albert) and Daniel Tanner (Granville) made a cohesive team whilst also developing their own characters. The shop girls Claire Larsen (Flo), Helen Perks (Victoria), Jennifer Cift (Rose), Kirsty Nuttall (Kate), Sally Turner (Emma) and Victoria Wray (Alice) also made a significant contribution.
Chris Terry was the definitive OTT melodramatic actor Chitterlow, David Simpson made an imposing Mr Shalford whilst Brain Peters was effective as the fawning Mr Carshot.
Mary Perks (Mrs Botting), Pat Looker (Mrs Walsingham) were all suitably superior whilst Laura Norburn as Helen Walsingham did seem genuinely torn between her overbearing family and her affection for Kipps.
Costumes by Chorus Line looked of the period and scenery by Border Studios which was, (although occasionally noisy) well handled by the stage staff in difficult circumstances, very good indeed as were the set dressings.
A creditable effort by all concerned with the production.
THE MIKADO
Whitefield & District A.O.S.
The society presented a bright, lively modernised version of this Gilbert & Sullivan classic which may have driven the purists into a state of apoplexy: however, the format worked well. Not for them a tinkering with the 'little list' but what appeared to be a total rewrite which was much to the credit of Director Carol McCormack and Musical Director John Goggins.
The overture, played at a good tempo by a nicely balanced orchestra, was enhanced by a silhouette styled Japanese fan dance.
Played against a functional set of the Japanese Embassy gardens in London the production promised much and achieved most.
A strong principal line up included Martin Bradbury who sang extremely well as the Elvis styled Nanki-Poo along with Austin McKenna whose strong voice complemented a steady performance as Pish-Tush.
Keith McEvoy made his presence felt as the supercilious Pooh-Bah whilst David Reeves made an imposing Mikado. Mark Rosenthal was outstanding as Ko-Ko. Excellent timing, great acting and facial expressions - a gem of a performance.
The ladies were equally well represented by the talented Vicki Stott as Yum-Yum who was well supported by Sheila Byrne (Pitti-Sing) and Una Evans-O'Connell (Peep-Bo) whilst Alison Green made a very impressive Kung Fu styled Katisha.
Whilst the gentlemen had put some effort into their Japenese style make-up some of the ladies had not been so meticulous. However this was a very innovative and enjoyable production with some energetic choreography by Shirley Ann Hill which the chorus carried out with exemplary precision.
ONE O'CLOCK FROM THE HOUSE
St Vincent Players
A cautionary tale of a rather dysfunctional family and their efforts to arrange a funeral whilst positioning themselves to claim the inheritance at the expense of the others. Foremost amongst these is the scheming Miriam (Julie Nappin) and her intransigent husband Austin (Robert Goodier). Whilst both played their parts well, I expected a little more vitriol during their verbal sparring.
Their part of the family was completed by the indolent teenage daughter, Josey, well played bt Gemma Barnes. Against this background were paraded a diverse array of amusing characters. Howard Clare, as the slow wilted Tudor, gave a measured performance as did Mary Riely as his timerous wife Avril.
The comeo role of Mansel, who believes his shopping trolley is a dog, was well caricatured by David Johnson; however, plaudits must go to Alice Bowmer, whose portrayal of the psychiatric basket case Mavis, was an object lesson for others to emulate.
Wendy Leadbetter was very good as the heavily pregnant working class Maureen as was Stan Porter as her husband Desmond.
Maureen Clare played the snobbish, domineering elder sister Margaret whose down trodden husband Hugh, played with some style by Bert Halliday, eventually changes his spots.
The set was perfectly acceptable for the chosen period and whilst a slightly overworked prompt interrupted the pace a little this was a very enjoyable evening's entertainment.
GOODNIGHT MRS PUFFIN
Walmsley Church AODS (Bolton)
Set in a typical middle England drawing room the Fordyce family are preparing for the impending nuptial of daughter Jacqueline to Victor Parker. This arrangement will also cement the business aspirations of the respective fathers Henry Fordyce and Stephen Parker. All seems set fair for a Boxing Day wedding until the unexpected arrival of Mrs Puffin, a down to earth cockney from Clapham Junction, whose revelation that the wedding is doomed to failure understandably causes no small measure of concern in leafy suburbia.
The mother Ethel Fordyce, whose main concern in life seems to be bone china tea sets and other domestic paraphenalia, was well played by Irene Bowers. The rather brusque father Henry Fordyce, who tries to bribe Mrs Puffin to 'get rid of her', was in the very capable hands of Ernest Dawson as was Paul Brennan's portrayal of the self opinionated Stephen Parker who finds the whole proceedings an affront to his intellect.
The reluctant bridegroom Victor, dependable but achingly boring, was ideally played by Chris Wilkinson as was Nicholas Fordyce, played by Steven Roberts, who seems highly delighted at his family's discomfort.
Gillian Pollitt and Caroline Burke as sisters Jacqueline and Pamela Fordyce also played their parts well. Yvonne Neary was excellent as Mrs Puffin.
Despite the internecine quarreling her premonitions invoke, she stuck stoically to her task whilst chaos, and no small measure of amusement, happens all around her.
A well structured and enjoyable production from Director Roy Iddon only marred by occasional minor bouts of amnesia from some of the cast.
INTO THE WOODS
Walmsley Church A.D.O.S. (Bolton)
One has to admire the sagacity of a composer/lyricist along with a society that has the confidence to present a show which is not universally acceptable to your average audience. Director Nora Howcroft could be discribed as a devotee of all things Sondheim and her enthusiasm shone through via the cast. With such a convoluted storyline, clarity of diction and an efficient sound system are essential. Both were found wanting to a certain degree and I fear that some of the audience were a little mystified as to the intentions of the plot.
There were some very good perfomances particularly from David Wilson as the Baker and Viki Wilson as the Baker's wife. Lindsey Farnworth made a delightful Cinderella, Renee Easterbrook a suitably dispicable witch, whilst Kathy Turton skipped through the proceedings as the fiesty Little Red Riding Hood.
I would have expected Glynnis Poole to be a little more horrid as Cinderella's stepmother and David Griffiths a touch more dopey as Jack, however Don Howcroft made an expressive Mysterious Man, Mike Taylor a suitably upper crust Cinderella's Prince as was David Witt as Rapunzel's Prince.
Vocally the company coped well with the difficult score and none more so than Ann Haslam who sang wonderfully well as Rapunzel.
Excellent staging with some good special effects and pyrotechnics helped to maintain the healthy pace of the production.
As with some of the Sondheim shows one waits for the 'tune' to appear but, unlike the local bus sevice when three appear at once. it's more like British rail where it's inevitably late, or in this case, it never arrives at all.
Perhaps we have to wait until enough societies have presented enough shows to teach our audiences - however I always thought we were in the business of entertainmeant and not education.
Whichever side of the Sondheim fence you belong, unfortunately I sit uncomfortably astride it, the Director Nora Howcroft, Musical Director Marjorie Hough and the cast have to be complimented on an excellent production.