January 2003 - Region 1 - John Flay
PARDON ME, PRIME MINISTER
PADOS Theatre Group
Director: Chris Ainsworth
This fast paced production with broadly drawn characters had a cast of eight, who extracted just the right amount of comic rhythm from the script. A winning formula for this 1970s comedy.
The plot is not simple with politicians (David Osmond, Bernard Mole), exotic dancer (Lauren Anderson), private secretaries (Gavin Lomax, Jayne Leggat), a reporter (Helen Ernst), an understanding wife (Carole Berstein) and the removal of clothing, not forgetting illegitimate children. There was only Edwina Currie missing!
All this came together on an excellent set presented in a very comfortable refurbished auditorium.
This was an entertaining evening with much to be applauded.
FUNNY MONEY
Sale Nomads
Director: Joyce Bates
The much loved and awarded writer of comedy, Ray Cooney, presented quite a challenge for any actor with this piece. I am not going to attempt to explain the plot, go and see it for yourselves! It was great fun.
The dialogue has to be delivered at such a pace and cues picked up just as quickly to make it all work. The cast were well rehearsed and prepared, their sustained energy and cracking pace made for ensemble performances.
The lynchpin in this tale of greed, deceit and blackmail is Henry Perkins (Gary Collins) who came into his stride and led the company to its goal. Perkins' wife, Jean (Diane Machin) showed experience and timing.
The other couple in this tangled web was Betty and Vic played with conviction by Julie Rneshaw and David Black. They were well supported by the rest of the cast.
A good set and lighting made a good night out for all.
MUSIC OF THE NIGHT
Sale & Altrincham Musical Theatre (Amateur)
Directors: Liam Sammon, Petra Leashon & Jeff Harpin
Backing Tracks: Ken Dyer and Paul Malcolm
Dance Directors: Sandie Cowle & Emma Holmes
This revue was put together with great care taking advice on copyright and using all the talent from the membership.
The show was split into four sections and used a wide variety of principals rather than just one set, thereby giving scope for new talent.
With the eye on cost, backing tracks were commissioned which clearly coloured the production.
An open stage was used with a scaffold set which lacked visual variety. Lighting was designed by Robin Watkinson; sound by John Ranson, all contributed to the success of the audience's entertainment.
Musical content was extensive and was delivered with enthusiasm and commitment.
It is true to say that not all the sections were equal in direction and balance of content, but the company worked hard to make this production a thoroughly 'feel-good' show.
OLIVER!
Salford Musical Theatre Company Modern Generation (Youth Section)
Director: Paula Lee-Allen
Musical Director: Karen Massey
All members of the company displayed great enthusiasm in their presentation of the much-loved musical based on the story of Oliver Twist.
It's difficult to realise that this musical is 42 years old. Yet it was refreshing to see the children/young adults (8-18) give good all round performances with several innovative interpretations. It was obvious that everyone on stage tried to approach their performance with a "professional attitude".
Congratulations to everyone. It's worth mentioning the following characters
who gave high standard performances: Robert Jackson (Mr Bumble), Thomas
Tudor (Oliver), Thomas Gill and Heather Norton (Mr & Mrs Sowerberry),
Peter Ellis (Fagin) and Anna Vaughan (Nancy) for her singing. Thank
you for such an enjoyable evening.
(Dr M.J.Doyle)
WEST SIDE STORY
South Manchester Amateur Operatic Society
Director: Nigel Machin
Musical Director: Ian Christenson
Dance Director: Beryl Lowry
Like the Jets and Sharks, South Manchester A.O.S. are fighting for survival after the closure of their last venue, Wythenshaw Forum. The Dance House, the venue for this production, is only host until they take up residence at the Royal Northern Theatre in which we wish them every success.
I would like to convey my good wishes to Beryl Lowry who is retiring. I have worked with and known Beryl for many years and would like to wish her good luck and say thank-you for all the work she has done for the movement.
This was a cast of new faces and raw talent which was harnessed by the production team giving this revival great enthusiasm. The leading players allowed their characters to evolve before the audience. It was seasoned performers like Howard Newhall (Riff) and Dave Mallen (Schrank) who led the way.
Musically the standard was high; it was a shame we had a reduced orchestra as the balance was impeded in certain numbers. Choreography was fluent and delivered within the ability of the cast enabling them to unfold the tragic story.
Scenery comprised of two, two level moving modules, which were choreographed expertly, in such a way that the audience didn't see the changes. This hard work by the company was assisted by good lighting and sound. All this made for a good evening's entertainment.
PICKWICK
Urmston Musical Theatre
Director: Alan Titley
Musical Director: Tim Paton
Dance Director: Christine Meadows
This musical was devised as a vehicle for Harry Secombe and was revived with Sir Harry in 1993. One critic described the show as 'Comic Strip Dickens'. With lyrics by Leslie Bricusse and music by Cyril Ornadel the show gave Secombe the song everyone associates with him, 'If I Ruled The World'.
I feel that most societies omit Pickwick from their show selection because of the difficulty in casting the title role, which is a shame as there is such a wealth of great characters and good music. For this production the part of Pickwick was filled, in every aspect, by Andrew Harrison.
You cannot have a Pickwick without the members of the "The Pickwick Club". Here we had three of the most colourful Dickensian characters played to the full by Aidan Kielty (Snodgrass), John Walker (Tupman) and Andrew Kielty (Winkle).
The rogue of the piece was Colin Titley (Jingle) "Very". Margaret Johnson gave us a very humorous Mrs Bardell, but it was Matthew Judd's interpretation of Sam Weller that completely stole the show.
The rest of the company should be commended for their work in this production, which clearly moved the society forward. This was achieved under Alan Titley's economical, slick direction. Adding to the quality was a good reading of the score, a good set, costumes and lighting.