May 2002 - Region 3 - Margaret L. Gillibrand
GUYS AND DOLLS
Accrington Theatre Group - Buddies
A commendable production of this bright, vibrant show from a young and enthusiastic company. The production team of David Slater, Patricia Tarrant Gaunt and Adam and Katie Whittle had obviously worked long and hard with the young cast and they could feel pleased with the result. The show was greatly enhanced by some excellent performances and Alex Duxbury's Miss Adelaide would not have disgraced a senior production. A delightful performance from a very talented young lady. Another talented performance came from Stephen Cant as Nathan Detroit. His delivery was smooth and his grasp of the role was perfect. Richard Jackson was well cast as Nicely-Nicely and his sense of comedy timing and total ease on stage are a pleasure to watch. Oliver Regan was an extremely confident Sky and his vocalising was good. Holly Byrom took on the difficult role of Sarah Brown and interpreted it very well. She contrasted nicely with Alex's Adelaide and showed a real sense of comic timing in the Havana scenes. Rachel Entwistle was very effective as Big Jule and has a good presence on stage. Ross Johnson had a lovely Irish accent as Lt. Brannigan and Alistair Regan was a very assured Arvide Abernathy. The other roles were effectively played by Ben Deaville, Adele Honeyman, Nestor Worswick, Kyle Benson, Jennifer Williamson, Matthew Johnson and Joe Thompson. The Mission Band were real characters and the Hot Box Girls moved extremely well, with their Bushel and a Peck number being particularly well moved. An enjoyable "fun" evening - well done.
CAUGHT ON THE HOP
Blackburn Arts Club
A typical Derek Benfield farce, this production by Mike Ashton threw up some well-timed comic performances. The action revolves round Phil a husband who likes to wander and his best friend George who is always expected to pick up the pieces when things go wrong (as they inevitably do!) Michael New playing the long-suffering George had superb timing and was very, very funny. Unfortunately the same could not be said for Nigel Battersby playing Phil and this hindered the play's pace considerably at times. Two smooth and confident performances came from Sarah Nolan and Sara Ashton, playing Phil's lates girlfriend and his stoical wife. Geoff Baron, Helen Gallagher and Jason Ashton played their roles with ease and Bernice Davey was the grumbling "daily" Mrs Puffet. An excellent room set from Ian Wilkinson, with props from Andrea Lloyd, added much to the look and pace of this farce, and the audience found it amusing the night I attended.
THE IMPORTANCE OF BEING EARNEST
Blackburn Arts Club
Oscar Wilde never wastes a word or a line and his Importance is one of my favourite plays. The Club's production, directed by Brian J. Lawson, made much of the script and none of the deliciously funny lines were lost or wasted. Paul McGowan was a laid back, dapper Algernon and Michael Rookledge a pedantic Jack Worthing. The two played off each other very well. We had a very "grand" portrayal of Lady Bracknell from Anne Starks - an intelligent and exciting performance. Sarah Nolan was a delightful Cecily and her natural sense of timing was very well used. Gwendolen was sensitively played by Helen Gallagher, and Barbara Heywood was well cast as Miss Prism. I enjoyed Jim Heywood's Rev. Chasuble - another well timed comedy performance. The cast was completed by Jonathan Mallinson as the stoical Lane, and Michael New as Merriman. The sets were well worked on the Club's tiny stage and the wardrobe was excellent. Good entertainment.
ALADDIN
Bacup AODS
Combining the talents of senior and junior members of B.A.O.D.S. this panto, directed by Anthony Williams, was a smash hit and deserved the full houses it achieved during its run. The cast, led by Elizabeth Haworth and Gina Cole as Aladdin and the Princess, Michael Haworth as Wishee Washee and Kenneth Marshall playing Widow Twankey, burst onto the Royal Court stage with verve and enthusiasm and the pace never dipped once right through to the finale. Craig Ovenden was a mean Abanazar, who really worked the audience into a frenzy, while Mark Tempest gave an unforgettable performance as the Grand Vizier! Genie of the Lamp was played with great style by Luke Goodwin and Lauren Gosnell was a delightful Slave of the Ring. Sally-Anne Bromley gave a gloriously funny performance as the Empress. Youngsters Grant Bromley and Laurence Giltrow-Shaw made an hilarious and spontaneous comedy duo, and Lauren Nield showed off her many talents playing Suzi Pong. The dancers, children and chorus added the final touches of glamour and the whole show moved with slick professionalism. Staging, lighting and special effects were everything a panto should have - spectacular and magical, and the music provided by Simon Parker and his musicians added to the slick pace. Really good entertainment.
CASH ON DELIVERY
Blackburn Drama Club
This was the Club's first production away from their traditional "home venue" of Blackburn College, and for their debut into Darwen Library Theatre they chose the hilarious Michael Cooney farce. A comedy which zips along at break neck speed and with so many twists it leaves you breathless Jean Jones' production was excellent in every way. It was great entertainment and must have won over many new followers for this hard working group. The programme synopsis sums the play up beautifully - "Eric Swan has pocketed thousands of pounds through fraudulent DSS claims, so when lodger Norman opens the door to the DSS Inspector deceptive mayhem ensues! A riotous farce involving an undertaker, a bereavement counsellor, a psychiatrist, Norman's fiancée, a corpse, the ominous Ms Cowper and a rather rebellious washing machine!" Dave Batterby played Eric to perfection and Clive Stack was outstanding as Norman. Two comedy performances completely in tune. Brian Whittaker's interpretation of Mr Jenkins the Inspector contained superb comedy timing and delighted the large audience. Alison Bell was well cast as Norman's unsuspecting and long suffering wife and Bill Walker gave an hilarious portrayal of Uncle George, another of Eric's partners in crime. Kate Roberts playing the bereavement counsellor showed just the right degree of sympathy, frustration and disbelief, while Paul Mason was incredibly funny as the undertaker. We had a wonderfully camp Psychiatrist from Eric Nolan and newcomer to the group Barbara Robb impressed greatly as the formidable Ms Cowper. Anita Shaw completed the excellent cast as Norman's bemused girlfriend. Geoff Eccles' set stood up very well to the handling it received and stage manager Graham Haworth worked the set and the technicalities - especially the foaming washing machine! - very smoothly. Sound and lighting were good and the props added to the general authenticity of this production. A good laugh and a great night out.
DON'T DRESS FOR DINNER
Burnley Garrick Club
Director Barbara Simpson had gathered an experienced cast together for this unusual and very funny comedy by Mark Camoletti. The action is set in a country house in France and the set from Nigel Catterall and the Garrick Team created the atmosphere wonderfully well. With atmospheric lighting from Richard I'Anson the play's mood was created and sustained throughout. Bernard and Jacqueline are a happily married couple - or are they? Jacqueline is off to see her Mother - until she discovers Rupert her husband's friend is coming for the weekend. Bernard is anxious for her to go - he is expecting Suzanne. A domestic agency has been contacted to provide a maid/chef. We discover Jacqueline and Rupert are having an affair and as deception follows deception mayhem ensues and the comedy flows thick and fast. Making his debut with the Club, Brian Haworth was perfect as the smooth Bernard who, as the weekend progresses, dissolves into a nervous wreck. Lesley Haworth was perfectly cast as Jacqueline and her sense of comedy timing was put to good use. A tour de force performance from Adrian Hartley as friend and lover Rupert upped the comic stakes. There was a gloriously funny performance from Angela Boult as the maid who can - and does - turn her hand to anything for a small consideration. Cynthia Sanderson played the bemused and outraged Suzanne perfectly. David Kendrick added the final touch of comedy as George, Suzette's boyfriend who comes to collect her and becomes embroiled in the complicated situation which exists in what appears to be a very innocent house party. A very, very funny play, very well presented. Excellent entertainment.
KINDLY LEAVE THE STAGE
Burnley Garrick Club
Unfortunately this play was not worthy of the Club and its members on and off stage. Billed as a Farce, the John Chapman piece did not appear to be "going anywhere", and the very experienced director Clifford Spencer and the experienced and talented cast failed to breath credible life into it. Chapman, using the hackneyed stage trick of a play within a play, set the comedy during one night's performance of a not very good play being staged by an ill assorted professional theatre company. They suddenly decide to wash all their dirty laundry in public and before their unsuspecting audience. After watching such excellent amateur actors as Andy Greenwood, Carole Bardsley, Anne Chadwick, John Cummings, Dorothy Spencer, Patricia Hudson, Pat Chadwick and Alan Bailey, for over two hours I was left feeling totally frustrated and that has never happened to me before at a Garrick production. With a cast and director of this calibre I could rightly have expected to go home elated.
THE MERRY WIDOW
Blackburn Gilbert & Sullivan Society
Colin Povey's production for the Society looked wonderful - with imaginative scenery and glamorous costumes. Chris Walker's orchestra did justice to the memorable Lehar score, although at times he failed to prevent them drowning the soloists. The large chorus were obviously enjoying themselves and I particularly liked the energy and enthusiasm of the "Grisettes" in what for me was the most memorable number of the show - well done! The men didn't fare as well in the usually show stopping "Women Women Women!" number and this was disappointing - I really look forward to an encore! Playing the Widow was Brenda Murray, and although her acting rose to the occasion, her singing quite often did not. Richard Garnett was a likable, affable Danilo and his rich voice was well suited to the role. Anthony Flanagan and Carole Scadding played Baron Zeta and his flirtatious wife Valencienne, and Jim Lancaster played a vocally strong Camille. The bumbling Njegus was well played by David Pilkington and other roles were taken by Jonathan Scadding, Francis Bolton, Brian Duckworth, José Bulcock, David Holden, Eric Parkington, Carole Bolton and Marion McCumskay.
ALADDIN
Burnley Pantomime Society
A good old-fashioned traditional panto with plenty of comedy, colour and audience participation. Producer Anne Pickles and her assistant Shelly Ingham had assembled a cast with a wealth of panto experience and the show moved at a cracking pace. Comedy was in the capable hands of Daviel Morville and Dave Williamson, with old favourites Neil Tranmer and Ted Reid playing Wishee Washee and Widow Twankey. Dennis Royle was a brilliantly camp Genie of the Lamp, with Angela Preston the Slave of the Ring. Louise Tattersall is always a charming and confident principal girl and her Cha-Ming was no exception. Elizabeth Dixon proved an excellent Aladdin (this role was double cast with Caroline Rhodes playing five performances). Stephen Dixon was a suitably vague Emperor and Peter Morville a very hissable Abanazar. Tracey Young and Laura Chadwick got under the skin of the Camel to good effect, and the cast was completed by Ben Hardy and Elizabeth Halstead. The large young chorus had been drilled well and had many colourful costume changes. The Lynn McCheyne Dancers were excellent with inventive routines. Ken Hardwick's stage team worked hard and the lighting from Mark Simpson and Howard Rogers was effective. Andrew Hodder always produces excellent musical backing and this show was no exception, with lively appropriate numbers well delivered by musicians and cast. A good night out - Oh yes it was!!
SWEET CHARITY
Clitheroe Parish Church AODS
This strange, and strangely popular, Cy Coleman show is full of disjointed incidents, dysfunctional characters, constantly changing times, places and musical tempos. As such it is a challenge to conceive, stage and perform. The Clitheroe society are not short on talent and their chorus members are always lively and enthusiastic performers. The company numbers were well delivered and the "strange" Frug number was imaginatively choreographed by Anne Grogan, although I felt it was lost on most of the audience the night I attended. Disappointingly some of the musical numbers did not come beyond the footlights and into an audience who would have been receptive. The characters are pure Neil Simon and as such the ability to act does, in this musical, supersede the ability to vocalise nicely. Andrena Backhouse played Charity with plenty of verve, and Howard G. Raw (who also produced the show) played Oscar in his own inimitable way. Jean Croft was a particularly effective Helen and Dawn Elliot played Nickie. Roger Dugdale brought his experience to bear on the role of Vittorio Vidal and Suesi Windle played Ursula March. Matthew Bolton was Daddy Brubeck and Stuart Christie a likeable Herman. Other roles were taken effectively by Terry Till, Michael O'Hagan and Barry Phillips. The orchestra, under the direction of Roger Purcell, interpreted the vibrant score well. John Wilkinson and his stage team worked the set efficiently and Martin Butter's lighting was good. As always the company was very well dress and the "Rhythm of Life" scene was particularly colourful. I felt that the Society's collective and considerable talents were perhaps wasted on what is essentially a two role show and look forward to next year's offering of Guys and Dolls which should give scope for these talents to be displayed to the full.
HALF A SIXPENCE
Colne Operatic Society
A bright debut production from Kevin Rawcliffe as director. The cast of principals was made up of the experienced and the not so experienced but they all knitted well together to the give the audience a pleasant show. In the leading roles of Arthur Kipps and Ann Pornick we had a talented Matt Leedam taking his first leading role and what a great job he made of it - and Susannah Cooper who always delights on stage. Playing the shop "boys" were Andrew Scott (excellent as the socialist Sid) Neil Tranmer (a natural performer playing the pessimistic Buggins) and former Pendle Youth Theatre member Richard F. Plummer as the diffident Pearce. Jackie Catlow, Vicky Smart, Angela Foulds and Amy Normanton played the shop girls with enthusiasm and talent. Their dances, choreographed by Thelma Greenwood, were lively appropriate and well executed. Steve Royle was the larger than life Chitterlow and Mark Raynor an excellent Mr Shalford. The Walsingham family were played by Vivienne Thornber on top form, Peter Hook and Justine McLaney. The chorus moved well and were beautifully costumed. The lighting and sound were much improved and the set was effectively and speedily worked by the stage crew. The orchestra unfortunately played too loudly and often not very well and Musical Director, Brian Fothergill, did not seem to be in complete control of the score. This was a pity as slow tempos often hindered the pace of the show and this should not happen. Some delightful performances, elegant costumes and pleasing staging made this a watchable show.
ANNE OF GREEN GABLES
Rossendale Players
Not an easy play to stage, but Andrew Rawlinson's production managed to flow well and, crediting the audience with a little imagination, overcame the many quick location changes. A bright non-stop performance from Victoria Charmer as Anne Shirley left a lasting impression - a young actress to look out for in the future. Kenneth Marshall's very sensitive portrayal of Matthew was excellent and Christine Durkin was the frosty Marilla - melting noticeably as the play progressed. Elaine Ives gave a good brisk interpretation of Rachel Lynde. Sorayah Mafi was well cast as Anne's best friend Diana Barry, and Elizabeth Whittaker gave an easy performance as Mrs. Barry. Leigh Royds played the spiteful Josie Pye with fervour and Russel Doidge was Gilbert Blythe. Bronwen Evans, David Groom and Tom Law played the other school pupils, with Kim Howard playing Miss Stacey. Roy Starkie, Tom Daniels, Mary Taylor and Sam Cullen took the other roles. The set construction team produced a very credible set which was well dressed and lit, and this added much to the period atmosphere of the piece. A worthy production from a cast of varied ages and experience who gelled well together to provide an evening full of comic and tear-jerking performances.
FARNDALE AVENUE TOWNSWOMEN'S GUILD MURDER MYSTERY
Rossendale Players
The Farndale Avenue series of comedies are an acquired taste for audiences and an acquired skill for performers. The Players in their second sortie into the crazy world of the Townswomen's Guild Dramatic Society, fielded a cast of some experience, who were directed by Len Taylor. The set, as in all Farndale productions is vital to the proceeding, and the one provided by Joe Teasdale, Roy Preston, Terry Reynolds and Roy Starkie took a starring role. Well managed by Terence Hyde, it fell apart in all the right places and was completely credible. Leading the Guild players was Mrs. Reece ably played by Maureen Jackson. She changed from one incredible character to another with ease, and kept the play "together" and moving at a good pace. Kirsten Dunkley as Audrey played three female characters with a great sense of comedy timing. Elaine Ives, playing two roles, was at times hard to understand due to a very high pitched vocal approach to the characters. Penny Griffin seemed to be enjoying playing a Butler and a Colonel enormously and her many quick changes were managed hilariously. Playing Gordon the "token man" was Geoff Jackson at his comic best - a well measured performance full of innocent fun. I felt at times the piece needed more pace and focus to achieve the effect the Farndales are supposed to have on their audiences. It is so often very amusing watching audience reaction - "Is this for real?" you see them asking themselves!
JOSEPH AND THE AMAZING TECHNICOLOR® DREAMCOAT
St. John's Amateurs
A new Society to Region 3 and one which usually performs pantomimes. Joseph, then was a challenge for them and I felt first night nerves led to hesitancy on the part of some of the young players. The cast consisted of young people and one "token" adult - David Riley - who played Jacob. Nicola Lynch was an effective Narrator, coping with the constantly changing tempos well. The show was played to taped music and this I always feel is a very brave route to tread. On the whole the young company coped very well, although hitches with the soundtrack did not help the people on stage. It would be unfair to single out any one of the large cast of named roles, all of whom worked with enthusiasm. The simple but effective set was crying out to be lit, but the restrictions of the school hall in which the show was performed were obvious. Perhaps this is an area the Society would do well to look at for the future. There was a vocally strong chorus from stage left who performed spontaneously. The highlights of the show for me were "Go Joseph" which provided a rousing finale to Act 1, "Benjamin Calypso" and "Any Dream will Do". A society with a dedicated production team in Joyce Teasdale, Gemma Cormack, Judith Cormack and Andrew Heslop, and a large audience of family and supporters enjoyed the first night performance very much.
SCROOGE THE MUSICAL
St. John's Great Marsden AODS
Based on Charles Dicken's Christmas Carol, this Leslie Bricusse musical gives plenty of scope for a large company, with many roles and plenty of chorus singing. Connie Mason's production was sympathetic to the atmosphere of Dickensian London and musical Director Brian Townend and his orchestra did justice to the lively score. Victor Wood played the pivitol role of Scrooge and David Evans was a very memorable Jacob Marley. James McKelvey played Harry and young Scrooge, with Elaine Morris playing Isobel and Helen. The three Ghosts of Christmas Past, Present and Future were very well played by Angela Boult, Eric Fothergill and Brian Roden, with their costumes and makeup being particularly effective. The Cratchit Family, led by Gary and Jackie Edington, gave pleasant performances and Dayna Edington was a waif-like Tiny Tim. With a cast of thirty, a chorus of fourteen and twelve dancers, St Johns fielded a big company and they moved about the stage well and had excellent costumes throughout. A very imaginative set from AWP could have been better worked by a the stage crew who appeared to have a total disregard for what the actors were doing on stage the night I attended. The company on stage deserved better lighting and sound. Technicalities apart this was a credible production of a seasonal musical.
ALI BABA & THE FORTY THIEVES
St. Thomas Players
A lively, pacey interpretation of one of David Swan's better panto scripts. Plenty of humour was injected into the script and although some of it fell on stony ground the night I attended, the principals worked very hard and deserved more audience reaction. Good sets from the design and construction team were well worked by the stage crew and very well lit. Sound was excellent and it was good to hear the lines coming across the footlights loud and clear. Lindsey Wilkinson's make-up helped to establish many of the characters. Rousing performances came from Peter Astbury and Ali Baba and Vicky Marsh as Fatima, they drove the panto along at a cracking pace and were greatly helped by Kate Allsop (Rhum Baba), Chris Gariff (the baddie Kasim) and David Allsop (the "Dame") Four very confident performances came from Hayley Winters, Dawn Marsden, Stephanie Artley and Kim McDonald - promising future talent here! Other parts were taken by George Garlick, Vicky Haworth and Carol Vizzard. Colin the Camel was a real winner thanks to the workings and antics of Mark O'Gara and Richard Ormerod, who also did a mean "Sand Dance" in the Cabaret section. The music and songs chosen were appropriate and popular, and the production team of Brian Till, Janet Ormerod, Marjorie Astbury and Eric Taylor could feel satisfied with this panto.
THE RISE AND FALL OF LITTLE VOICE
Todmorden AODS
A new show to me and an impressive production directed by Peter Wakefield. The piece tells the story of the reclusive Little Voice who possesses the ability to reproduce the golden voices of Judy Garland, Shirley Bassey and Marilyn Monroe - but only in the seclusion of her bedroom -, and her overbearing, oversexed Mother who sees the opportunity to cash in on this gift. The play, with music, had a cast of the highest standard, and it was a delight to watch. Rachel Rogers was perfect as LV, catching the mood swings of the character with ease and reproducing the voices of Garland, Bassey and Monroe with uncanny accuracy and feeling. As her brassy tough Mother, newcomer to the Hippodrome, Trish Pemberton fairly burst onto the stage and what an amazing performance! Bill Nicholson was perfectly cast as the seedy agent, Ray-Say, picked up by Mari and amazed to discover LV in such surroundings. A very well observed performance, professionally executed. Kenneth Marshall gave a wonderful cameo performance as the even seedier nightclub owner. Jean Spencer, also making her debut at the Hippodrome, created a big impression as Sadie, the slovenly but big hearted neighbour. Her physical appearance, mannerisms and dialogue delivery were perfect. Completing the cast was young James Parker playing Billy, the quiet shy young electrician who falls for LV and whose ability with stage lighting and sound creates a remarkable finale. The music was unobtrusively provided by Dave Farrington and David Mitchell. The John Thomas set was excellent and David Winslow and his large stage team worked it superbly well. The staging of the fire was particularly well done, but the piece de resistance had to be the hydraulic lift in the finale - a stunning effect. The props, lighting, sound and wardrobe were all of the highest quality and the Group are certainly blessed with a Technical Team to be proud of. A cracking night out and excellent entertainment.
THEFT
Todmorden AODS
Billed as a comedy-thriller Theft is an intriguing play by Eric Chappell which explores marriage, money and crime. John Spooner, making his debut as a director for TAODS, drew together an experienced cast and this production continued to maintain the Society's high standards both on stage and technically. The play revolves around John and Barbara and their friends Trevor and Jenny. Returning from an anniversary celebration they find the house has been burgled and this has more far reaching consequences that one would expect. Playing successful businessman John and his dissatisfied wife Barbara were Guy Liddell and Julie Johnston, who both gave well measured performances. Their lifelong friends Trevor and Jenny were well played by Chris Juckes and Sue Thompson, who developed their complex characters well. Playing the burglar Spriggs was Malcolm Heywood on very top form. This was a delightful performance and an exercise in timing and delivery that could not have been bettered. Technically this production was excellent. John Thomas' set was very effective, well lit by Terry Hooper and dressed down to the last detail by Janet Spooner and Brenda Bell. Great entertainment.