January 2002 - Region 8 - David Parkes
42nd STREET
Mid-Cheshire A.O.S.
Producer: Sue Chatt
Musical Director: Nicky Jilks
Choreographer: Jo Chatt
In the run-up to the show the producer, set designer and serveral principals arranged a trip to New York to see the Broadway version and, by invitation, to meet their stage counterparts back-stage.
Their return should have been on Tuesday 11th September when the now well documented attack on the World Trade Centre took place.
It was the following day before they could contact those at home to advise that they were safe but they were unable to return until the following weekend. Both local newspapers carried the story on their front pages with banner headlines.
However, the old adage "The show must go on", was proved as the entire cast overcame this worrying incident with a brilliantly staged show dedicated to those who lost their lives to the terrorist atrocities and performed in front of packed houses.
All the principal and minor parts were well cast. The leading roles of Peggy Sawyer and Billy Lawlor which call for all-round dancing, singing and acting ability were excellently performed by Penny Murison and Chris Adlington with fine support from Ted Moss as director Julian Marsh, Kath Pickup as the ageing star Dorothy Brock, Andy Jordan as dance director Andy Lee, Paul Corbett and Jacqui Adlington as performers Bert Barry and Maggie Jones, together with Nigel Bown as Pat Denning.
In addition to choreographing the entire show Jo Chatt brought her undoubted talent to the character of Ann Reilly and she, together with Sharon Caffery as Phyllis Dale and Suzy Wieckowska as Lorraine Fleming, gave stirling performances as the three leading showgirls.
The set, designed by Helen Ashbrook and Ted Moss and made by society members was most effective and provided an excellent backdrop for the well costumed cast.
This show is noted for its dance routines and this was no exception. Producer Sue Chaff proved the value of the Society maintaining its Junior section by including some of the older members in the dancing chorus totalling over 40 in number.
Unfortunately the experiment of recruiting junior musicians from local schools to form the orchestra was not as successful. MD Nicky Jilks is to be congratulated on her efforts with the youngsters but their inexperience in coping with such a complicated score detracted from the overall vibrant brilliance of the show.
At the close of Saturday's performance, NODA Long Service awards were presented to Roger Little (35 years), his wife Judith (30 years) and their son Andrew (20 years); an aggregate of 85 years back stage service to the Mid-Cheshire A.O.S. from the members of one family.
FIDDLER ON THE ROOF
Congleton A.O.S.
Director/Choreographer: Eric Pover
Musical Director: Ian Pickford
A full house on the opening night was treated to this well known story being brought to life in an opening scene with the entire cast, nearly 60 strong, performing a well drilled impressive 'Tradition' routine.
The plum part of Tevye was well played by Albert O'Rourke and his scenes with Golde played by June Goodwin had just the right mixture of comedy and drama. Vicki Bailey (Tzeitel), Sarah Goodwin (Hodel), Helen Snelson (Chava), supported by Sarah-Jane Thomason (Shprintze) and Debbie Moss (Bielke) made an ideal quintet of daughters for Tevya and Golde.
The scenes of the older daughters with their respective eventual husbands Neil Yates (Motel), David Francis (Perchik) and Andrew Boure (Fyedka) were well directed and performed. I was particularly impressed with the voice of Sarah Goodwin, her solo 'Far from the home I love' was beautifully sung.
The Inn scene provided the background for a vigorous session of dancing especially from the young Russians in the 'To Life' number.
Tevye's Dream was yet another well directed and performed scene with Jenni Lee (Grandma Tzeitel) and Yvonne Tilley (Fruma-Sarah) making spectral appearances and the ghostly chorus bringing the action directly to the audience by making forays into the auditorium.
The Wedding scene was sinilarly well performed by the principals and chorus.
The final scene was performed with just the right degree of drama and the show was brought to a close in an innovative manner with a reprise of "Sun Rise - Sun Set" sung by the entire cast.
All the minor principal roles were well cast, the show was costumed well and had very effective sets, the whole being backed by admirable orchestral accompaniment directed at a good pace by MD Ian Pickford.
PS. Note to Props Dept: Would the daughters of the impoverished Tevye each have had a brand new mop for the "Matchmaker" number?
MAME
Centenary O & D.S.
Director: Neil Townsend
Musical Director: Jill Hyde
Choreographer: Beryl Rigby
Having been in existence since 1901, the Society chose to celebrate by giving their first performance of Mame.
The story opens in 1928 in Manhattan when a fabulous party in Mame's apartment is interrupted by the arrival of her young nephew, the newly orphaned Patrick Dennis and his nanny.
Mame plans to show Patrick life to the full but her guardianship of Patrick is shared with the stuffy Mr Babcock, a trustee of the Knickerbocker Bank. Her plans backfire and Patrick is dragged off to boarding school.
Mame loses her fortune in the Stockmarket crash of 1929 and after taking various jobs she meets and marries a wealthy landowner from deep south but, whilst on the longest honymoon on record he dies in a tragic accident, leaving Mame a rich lady.
In the title role of Mame, the versatile Patsy Roberts surely gave the performance of her life. The energy and talent she brought to the character must have been an inspiration to the whole cast, but this was far from a one-woman show.
Sheila Cummings gave a superb performance combining comedy with her musical talent as Mame's friend and confidant Vera Charles.
Mark Murphy was well cast as the stuffed-shirt Dwight Babcock and Clare Ewing as Agnes Gooch revelled in the transformation from dowdy nanny to glamorous young lady sent out into the world by Mame and Vera, turning up six months later as a pregnant young lady!
The scene-stealing cameo of Mame's Japanese manservant, Ito, was excellently performed by Joe Whitlow, whilst the part of Mame's suitor and eventual husband, Beauregard Jackson Pickett Burnside - surely the longest name for a leading man - was well played by Wayne Richards. I was particularly impressed by the way he and all the cast involved maintained the accent of Deep South at the end of Act I.
The part of young Patrick was played at alternate performances by Michael Wrght and Fred Smith. On the night I attended it was expertly played by Michael and I was assured that Fred was equally confident in his performance.
The grown up Patrick was played by Mike Welsh who turned in an excellent performance especially when he falls for Gloria Upson (Emma Benson) daughter of the social climbing Mr & Mrs Upson (Kate Potts & Bob Higham) who have mapped out a stuffy future for the couple.
Needless to say Mame intervenes, the engagement is broken and Patrick meets the trendy designer Pageen Ryan (Nikisha Pearson). They marry and as the years fly by Mame has another youngster, their son, to entertain and spoil once more.
Given that the Parr Hall is not a theatre and back-stage facilities are negligible, the manner in which the sets - designed and made by the society members and friends - transformed the stage made production even more credible. From start to finish it was pure entertainment, beautifully costumed, well directed and choreographed with a super orchestra directed at a cracking pace by Jill Hyde.
After Friday evening's performance, a reception was held to celebrate the society's 100 years. My wife joins me in congratulating the Society and in expressing thanks for the welcome we received, together with the kind hospitality - our best wishes for the next century!
ME AND MY GIRL
Vale Royal A.O.S.
Producer: Cecil Walker
Musical Director: Heather Whyte
Choreographer: Sally Burdin
A well cast, well performed production of this favourite musical comedy with the experienced duo of Damien Burdin and Fiona Walker playing the leading roles of Bill Snibson and Sally Smith. Their all-round performances in the song and dance numbers together with their comedy routines were excellent.
The upper crust of Hareford led by Barbara Farrell as the Duchess of Dene, Chris Wych as Sir John Tremayne, Sharon Caffery as Jacqueline Carstone and Mike Campbell as her fiance The Hon. Gerald Bollingbroke all looked at home in their respective roles. Liam Carter performed well as Herbert Parchester the solicitor and Ian Ogden brought just the right degree of aloofness to the part of the butler, Charles.
All the other minor roles were well directed and the whole show was well costumed with good sets. The dance routines, too, were well planned and performed by the talented dancers.
The musical numbers moved at a good pace with excellent accompaniment provided by the trio of Heather Whyte, Tim Dowson and Tony Whitby.
A good evening's entertainment with which the Society and the production team should be well pleased.
I do hope that the audiences in the latter part of the week increased over the sparse houses of the first two nights. The Society deserves far better patronage from the people of Winsford who do not know what they are missing by not supporting this and other productions by their local Society.
MY FAIR LADY
Knutsford A.O.S.
Producer: Anne Hooker
Musical Director: Keith Mallìon
Choreographer: Helen Bates
Quoting from the Chairman's message in the programme "This show has to be one of the best known and loved musicals of all time. Why go to Drury Lane, London, when you can see it in Knutsford?"
As Eliza Doolittle, Gilly Godwin excelled, making the transmission from flower girl to society lady under the domineering instruction of Professor Henry Higgins ably played by Peter Freeman.
The experienced Ron McCormick made a delightful Colonel Pickering portraying just the right amount of sympathy and concern for Eliza whilst the equally experienced Harold Buck revelled in the role of her Father, Alfred P. Doolittle.
Barbara Fuller made an elegant Mrs Higgins with Diane Anderson looking just as elegant as Mrs Eynsford-Hill. Freddy Eynsford-Hill was portrayed in true Hooray Henry style by Martin Roberts whose singing of 'On the Street Where You Live' was a highlight.
The Ascot Gavotte was most spectacular being immaculate in both costume and performance. I particularly liked the disdainful looks given to each other by the two ladies who happened to be wearing the same styled hats!
All the minor principal roles were performed well, the chorus and dancers were well directed and the orchestra kept a lively pace throughout the evening.
The sets and costumes were good so I echo the Chairman's message - "Why go to Drury Lane, London, when productions of this standard can be seen locally?"
RETURN TO THE FORBIDDEN PLANET
Centre Stage Youth Theatre Company
The story based - very loosely - on the 1956 film Forbidden Planet which was a sci-fi version of William Shakespeare's The Tempest and starts on a stormy night, way back in 2009, and that's the way it started in 2001 when I travelled to Congleton on a stormy night to see Centre Stage Youth Theatre perform their version of Return to the Forbidden Planet.
It's always pleasing to see a show performed entirely by teenagers; after all, these young people are our future. This company has a sound production team, all keen to get the best from these talented youngsters. Lift off was achieved from the word go, with a space ship setting and plenty of special effects with all the musical numbers, belted out at full throttle.
The cast all gave of their best, with some excellnt routines and performances
from Chris Ashman, Neil Yates, Emma Tweats, Dave Francis, Louise Ashman,
Richard Cowan, Andrew Bours, Lindsey Wright and Tina Bangs in the leading
roles. Congratulations to the production team for maintaining pace, so essential,
and to the wardrobe for some super costumes.
(Ken Webb)
SCROOGE THE MUSICAL
Alderley & Wilmslow A.O.S.
Director: Michael Penlington
Musical Direction: Brian Goodwin
Choreographer: Beryl Lowry
The stage musical adaptation by Leslie Bricusse of Charles Dickens' Christmas Carol opened at Christmas 1992 in Birmingham with the late Anthony Newley playing Scrooge but how it could have been any better than Michael Penlington's production for Alderley & Wilmslow A.O.S is difficult to visualise.
From the opening chorus, comprised of a series of complicated harmonies and arrangements, to the finale curtain, it was a masterpiece of performance and design. All the musical numbers were performed in an excellent manner which is all the more creditable considering that the orchestra was located backstage and the cast did not have the benefit of being able to see the MD.
Seldom does a stage crew have so much to do in a show but Tony Hallworth and his team managed all the 23 scene transformations admirably. The slick scene changes combined with the Hi Fly flying effects enabled the production to move at good pace.
In the name part of Scrooge, Nigel Wells gave a masterful marathon performance being off stage for barely five minutes in the entire production.
The ghosts, Jacob Marley (Andrew Higson), Christmas Past (Alison Gorton), Christmas Present (John Grainger) and Christmas Yet To Come (Martin Jennings) were well cast and gave very effective performances.
The Cratchit Family headed by Bob and his wife (Robbie Medina and Ali Davenport) all gave convincing performances especially young Josh Hunt as Tiny Tim.
With a cast of over 40 minor principals and chorus plus a chorus of 17 children this was a spectacular production and I regret that space does not permit me to give individual praise to all the characters that bought it to life.
Suffice to say that this was surely a production that will live in the memory of all those who took part in it and all who saw it.
The final evening's performance was rounded off by a reception during which I had the pleasure of presenting NODA long service awards to Nick Fitgerald (15 years) and the society's Chairman Bob Chaloner and his wife Joyce (30 years each), followed by the presentation of a 40 years award to Liz Hetherington by the NW Councillor Ken Webb. A delightful evening and Elva & I thank you for your welcome and kind hospitality.
SHOW BOAT
Acton A.O.S.
Director & Choreographer: Sheryl Haydock-Howorth
Musical Director: Ann Sleigh
In view of the controversy this show can attract from the PC lobby in some areas, the society made the wise decision to consult the Community Officers of the local constabulary who gave valuable advice to alleviate any problems that might have arisen in the staging of their choice for their 81st Anniversary show.
As Captain Andy Hawkes, David Harrop provided just the right mixture that the part demands - the ebullient showman combined with sincerity and concern for his daughter's future. His scenes with his prim wife Parthy, played admirably by Joyce Walker, were splendid.
The romantic leads - Debbie Comock as Magnolia Hawkes and Mike Malone as Gaylord Ravenal - sang and acted their parts to great effect both bringing the different aspects of the characters to life.
It was difficult to believe that Louise Kaminski and Ross Hogg Robinson had taken on the respective roles of Ellie May Chipley and Frank Schultz at only three weeks' notice. The confidence displayed in their singing, dancing and comedy routines was superb and the society was most fortunate to have their talant available.
Angela Kenworthy brought her magnificent voice and stage presence to the part of Julie Laverne. Her singing of "Bill" was a highlight of the production.
As Queenie, Jennifer Hall was ideal in portraying the down-trodden, hardworking cook and wife of that lazy good-for-nothing Joe. In this role, Tom Nixon was ideally cast and his singing of "OI' Man River" earned well deserved applause from a packed house.
The minor principal roles were well played and the chorus/dancing routines were lively enabling the production to move at a good pace, with the facilities of the Crewe Lyceum Theatre ensuring speedy scene changes.
The super orchestra was well controlled by MD Ann Sleigh although I felt that one or two of the chorus routines could have moved a little quicker.
A fine production with which Sheryl-Howorth and the entire Society should be well pleased.
SWEENEY TODD THE DEMON BARBER OF FLEET STREET
Macclesfield Majestic Theatre Group (MMTG)
Producer: Paul Shortt
Musical Director: Heather Hayes-Wilson
The closing of yet another theatre meant that MMTG had lost their home in which to perform. However, the building of the new Fallibroome Hall in Macclesfield has meant that now, once again they have a home-base.
This is a very modern building purpose built for drama for the students of the school. As always 'purpose built' does not always mean perfect and with no wing space, no fly's, nowhere to hang a cloth, one wonders what the architects had in their minds as to how a theatre operates.
Still whilst this may have been a mammoth problem for some societies MMTG took the challenge on to perform the very first show in this building.
To consider performing any Sondheim musical is a feat in itself, the complexities of the score being just one example, but with the imagination and expertise of the Producer and Musical Director MMTG made this show one of the best Sweeney Todd's I have ever seen.
The set which was designed by Paul Shortt and built in the rehearsal room by the technical staff worked beautifully. Although I am sure it was not without its problems when being taken down and re-built on the stage, but the audience saw nothing of this as we journeyed through the streets of London.
Stephen Clayton was very assured as Sweeney Todd showing good emotion, facial expression and singing well throughout. He was ably supported by Diane McIntyre as Mrs Lovatt who brought a wonderful sense of humour to her character especially in the second half.
Louise Mclntrye as the Beggar showed her good acting skills and again humour of the character whilst the young lovers Gemma Moss and Micharl Daws were well matched, both in acting and singing ability.
Stephen Donnelly as tobias gave a very sincere performance and all the other principals were well cast. A strong line-up indeed.
I must congratulate the production team on the discipline of the chorus who sang well and for most of the show sat on the steps without moving a muscle until their cue. Rarely have I seen such discipline extended as part of the show.
The effective lighting throughout and technical competetence of the stage crew should not be omitted as this made the production slick.
One of the main features of the show is of course 'the trick chair' which worked beautifully: however, we had our own trick chairs in the audience when three ladies suddenly lurched forward as their seats uplifted. Was this part of the show I thought? 'No' I was told, just an unfortunate accicident and thankfully no one was hurt.
However, when during the interval I was suddenly faced with a plateful of pies and asked if I would prefer Priest or Admiral I began to wonder, especially when I noticed that in the second half the ladies were no longer there!
Thank you all for such an enjoyable evening, I sure your 30th Anniversay is one you will always remember, very best wishes to you all.
THE WIZARD OF OZ
Golborne St. Thomas AD & OS
Director & Choreographer: Alison Sheridan
Musical Director: Nancy Wells
Choreographer (Children): Carole Serjent
This adaption by Frank Gabrielson of Frank Baum's well known show involves more children than are usually seen in a major production and the society did well to recruit a singing/dancing chorus of over 20 children who performed their routines and supported the principal characters admirably.
Aimee Scally looked just right in the leading role of Dorothy, delighting a full house with her performance, especially her singing of "Over the Rainbow".
The well known characters of Scarecrow (Clair Pilkington), Tin Man (Matthew Morrell) and the Cowardly Lion (Gary Williams) were well cast and played to good effect.
They were supported by a well directed group of minor principals and I was particularly impressed by the expertly drilled marching in the "Changing of the Guard" routine.
The accompaniment provided by MD Nancy Wells on piano backed by an unnamed percussionist carried the musical numbers along at a good pace.
That any major production can take place on the Parish Hall's postage stamp of a stage with its limited access and facilities is a tribute to the skill of the staging and lighting crew.
The sets designed and constructed by Bob Lord and the team were, as always, splendid.
A good all-round evening's entertainment with which Director Alison Sheridan and the Society should be pleased.
My wife Elva joins me in thanking you for your welcome and your kind hospitality.