May 2002 - Region 5 - Glyn Neary
BABES IN THE WOOD
Trinity Church AODS (Farnworth)
To my knowledge this is the first pantomime attempted by the society and judging by the reactions of a capacity audience was much appreciated.
Pantomime is a peculiarly British tradition which some people believe is easy to do - not so. Like anything else it is a show which requires excellence in every department and particularly actors who know their trade before they are able to play 'over the top' with any success. One such is Stan Porter, here as Nurse Nightingale, whose rapport with the audience was first class whilst his facial contortions would not have been out of place at the national gurning championships. The church minister Jim Dobson, in a reversal of his working role, was also very good as the extremely unpleasant Baron Stoneyheart.
His efforts to dispose of the babes, confidently played by Luke Haslam and Lauren Tonge, were of course thwarted at every turn by the likes of Sunny Spells (Julia Walker) and were not helped by his bungling sidekicks Nickle and Dime. Bert Halliday and Ashley Baxter as the aforementioned Nickle and Dime, were responsible for the majority of the comedy and both did rather well in that respect whilst Michelle Urmston, although not having a great deal to do, made an attractive Robin Hood.
Other minor parts, which are very important to aid the storyline, generally lacked conviction due, I presume, to a lack of direction.
As I hinted previously pantomime is a serious business and not an excuse to get away with an 'it will do' attitude. Whilst this was an enjoyable production, which contained many plus points, lighting, costumes and choreography could all have been a little better. Improvement in these departments will not only provide an enjoyable production but will undoubtably raise the quality of the society's next pantomime Treasure Island - The Panto.
CARMEN
Opera 74
Concert versions of almost anything can sometimes become rather tedious affairs when the audience are faced with serried ranks of somberly dressed chorus members plus a front row of principals all intent on vocal excellence alone.
So did Bolton's very own opera group fall into this trap - very definitely not. The opulent surroundings of the Victoria Hall were illuminated by a splash of colourful apparel and those who did not attend missed the musical treat of the year.
The 25-strong orchestra comprised of friends and students from the Royal Northern College of Music who, under the leadership of the talented Carl Penlington-Williams, successfully captured the urgency and passion of Bizet's much loved score. Both principals and chorus alike responded well to his tight control.
Karina Lucas was striking as the seductive Carmen her rich sonorous tones suited the role very well. The vocally taxing part of Don José fell well within the compass of the excellent tenor voice of Martin Toal whilst Paul Gibson sang superbly and was a worthy Escamillo. Jane Hyde was excellent as the lovelorn Micaela whilst Barrie Wright coped exceedingly well with the dual roles of Zuniga and Morales. Claire Unsworth, Carol Taylor, Eric Cymbar and Glyn Taylor were exemplary in their quartets as Frasquita, Mercedes, Dancaire and Remendado.
The youngsters from the Children's Amateur Theatre Society were incorporated into the chorus numbers and their singing was both tuneful and clear.
From the body language of all concerned it was apparent that there was a full scale production desperately trying to escape the strictures of a concert version. A truly magical evening of vocal excellence.
SLEEPING BEAUTY
Farnworth Performing Arts Company
Director: Sharron Knott
Choreographer: Denise Neary
This was this company's first attempt at a panto and they gave it a good shot. The sets were good and adequate, although a tab curtain would have helped to hide the ropes. It was very nice to see so many children on stage but they may find it better with slightly fewer.
One thing. that gets children fidgetting in pantos is the songs. In the main there were, again, too many and the gags have to be at their level. We had several which I hope went over their heads, well at least they did not laugh at them.
My final moan is a pet hate of mine, in as much as there is an unwritten rule which says that the evil immortal always enters prompt side and the goody always enters op and neither crosses centre stage but stays within their half of the stage. I mention these points in the hope that they are helpful.
At the end of the day the children still enjoy it if they can shout and involve themselves in the story and the characters in it. It's all about getting a balance and that comes with experience.
As I said, for a first it was an entertaining evening. The children's costumes were good and I particularly liked the bees.
Two performances that stole the show were very well received on each appearance: that was Judith Firth as Lady Pamela Tooth and a smashing pink Fairy Queen in the form of Ann Marie Gorsuch.
I also very much enjoyed the scene between Cheryl Moore as Princess Beauty
and Dum Dum played by Peter Haslam that was a bit of panto magic. Well done
all and good luck with your next.
(Colin Magenty)
OKLAHOMA!
St. Philips (Bolton)
One of the 'standard bearers' in the history of American theatre which probably for the first time blended a serious story line, ballet sequences and much more alongside so many wonderful songs. It also boasts a unique opening with Aunt Eller on stage and the distant voice of Curly singing the opening number.
A facsimile of the professional set served its purpose well. with good lighting depicting the early morning sunrise; however, Curly was onstage far too early which left him prowling around with his thumbs in his belt to no good effect.
The opening sequences can be rather slow if the lib is not taken at pace and this was the main problem with the first half of the production.
Alistair Campbell, being of the right age, stature and possessing a good strong voice, showed much promise as Curly but whose acting ability will no doubt improve as more experience is gained.
Natalie Kirkbright played the part of Laurey with confidence, was vocally sound and captured the characterisation quite well.
Martin Pearce came across quite well as Jud Fry but looked far too clean and tidy and lacked the necessary malevolence to really complete the character.
Murray Brindle improves with each performance and looked comfortable in the part of Will Parker. Whilst perhaps a little vocally insecure he had good stage presence and danced well.
Delaney Brindle was very good as the lively, vivacious Ado Annie who rather overshadowed Paul Costello's Ali Hakim who gave a rather subdued performance which needed to be more flamboyant.
Marion Henrys came over well as the gritty frontierswoman Aunt Eller whilst Kevan Worsley contributed well in the cameo role of Andrew Carnes.
Choreography by Barbara Grant was up to its usual high standard and the company was backed by a competent orchestra under the direction of Brian Lawson.
Although one or two costumes looked out of place they were generally of the right period; however, the cowhands and farmers seem to have suffered a virulent outbreak of anaemia, their makeup needing more attention.
Direction was by Jason Crompton and Production by Liane Critchley.
THE YEOMAN OF THE GUARD
The New Rosemere AOS (Bolton)
The 75th anniversary of this society was marked by an excellent show from producer Jean Horrocks and the many experienced members of the company.
In line with the rest of the production, the stage staff had produced a very good set designed by Philip Lindley, lighting by Jeanette Mason was very effective, costumes by Midland Costume Hire were superb and a 17 strong orchestra provided excellent backing under the direction of John Balshaw.
Yeoman is probably the closest Gilbert and Sullivan got to Grand Opera with its wonderful melodies which were well sung by the ensemble.
Eric Cheetham was not the usual 'gargoyle' styled Shadbolt but gave the character a different dimension being highly amusing at times. His facial expressions, movement, timing and strong Lancashire accent worked very well.
Elizabeth Balshaw was a Dame Carruthers with a strong vocal lower register who also brought out the humour in the part, whilst Martin Swain looked and played well the small role of Leonard Meryll. Derek Jackson was in fine voice as Sergeant Meryll whilst Tom Leyland and Stuart Gregory both sang well and gave commanding performances as Sir Richard Cholmondley and Colonel Fairfax.
Lisa Murphy was a convincing Elsie Maynard, both good diction and vocally sound, whilst Fran Davies was a perfectly competent Phoebe Meryll making the most of the part and singing soundly.
I leave the part of Jack Point to the end for good reason because this performance by Tim Henshaw was excellent in every department - quite the best I have seen Tim play by a very long chalk. Excellent timing, agility, vocally competent and a wonderful feel for this lovelorn character were all much in evidence. Even the poignant and dramatic ending was well within his compass, but for some inexplicable reason, it was ruined by opening the curtain for a finale (of sorts), which rather took the edge off a superb theatrical moment.
This apart, a cracking good show of which all concerned can be proud.
TRIVIAL PURSUITS
Whitefield & District AODS
An extremely humorous insight into what might happen at an 'amateurs' social gathering when the all important choice of the next show is to be announced.
The central character of the producer Nick is a man under pressure from all quarters. Other members have their own agendas and try to influence his decision but Nick, who has his own good reasons, resolutely defends his position. A very forceful interpretation by Paul Rigney. Melanie Rigney was very good as Joyce, the society's established, but somewhat 'over the hill' leading lady, who has 'hit the bottle' after a previous calamitous performance.
Her possible replacement comes in the youthful form of Jessica. Not averse to using her obvious charms on the producer to achieve her own ends, Una Evans-O'Connell gave a first class characterisation whilst a smooth performance came from Marjorie Pinder as the snooty choreographer Mona.
Peter Jones was excellent as Teddy. His facial expressions and sense of comic timing were ideal for the part.
Meanwhile, an impending divorce from Deirdre has sent Derek into a deep state of depression. Michael Pinder was quite effective as the 'dull as ditch water' Derek.
Eddie, the couch potato, was played by James Perkin. This is a nice little cameo part at which James did quite well; however, he was too well dressed for a TV anorak.
The remaining characters who were slightly less manic were generally well played by Sue Pinder (Pearl), Hilary Eastwood (Roz) and Jenny McConkey (Deirdre).
A well paced production by Jenny Gregson which provided enormous entertainment for the capacity audience.