January 2003 - Region 4 - Gordon Hall
ALADDIN
The Chrysanthemums
Director: Julie Delaney assisted by Graham Leigh
Choreographer: Diana Railton
Musical Director: Norman Scott
The Chrysanthemums have been delighting Wirral audiences with pantomime for 82 years and their Aladdin was a bright traditional confection to add to their many other successes. Although I had initially considered late November a little early for getting into the Christmas spirit I found myself thoroughly enjoying the fun along with a large audience. From the moment that Norman Scott swung into action with his impeccable organ accompaniment and the excellent evil Abanazer of Paul Shepherd (with professional experience of the role) outlined his dastardly plans everything went along at a good pace.
Of course it is always helped when the main principals are experienced and talented in the requirements of the genre and it is certainly the case with this company. Terry Davies is as good a Dame as you will see and his timing and rapport with the audience was ideal. The humour was further enhanced by a knock-about pair of Chinese Policemen, Jed Flowerdew and Graham Leigh, revelling in their comic routines.
Another showing good comic talent and the requisite cheekiness was Craig Williams as Wishy Washy. Cathy Thornborough strutted her stuff well as Aladdin with a sweet Princess from Gemma Edwards. In the lesser parts Alan Bell as Emperor, Chris Molloy as Vizier, Leonie Riley as Spirit of the Ring and Robert Southworth as the Genie all did well. Diana Railton had the daunting task of choreographing for four sets of dancers from the tiny Blossoms, through Blooms and Petals to the older Buds, 43 in all.
They were beautifully dressed and performed impeccably throughout, obviously enjoying themselves and communicating this to the audience. What a marvellous job so many societies do in involving so many youngsters in this way.
Thank you Chrysanths for a fun evening.
ANYTHING GOES
Chester Musicals
Director: Ruth Alexander
Choreographer: Carol Price
Musical Director: Christine Steele
Typical of its time when an inconsequential storyline was a peg to hang a succession of songs loosely connected to the plot, Anything Goes succeeded where others didn't because of the superb range of Cole Porter numbers and the opportunity for a number of splendid characters to be played. In many ways it is escapist nonsense but great fun to watch and, no doubt, to perform.
Swung along by Christine Steele's excellent band Chester Musicals revelled in the show and the uniformly sound cast gave good value.
Although I suspect that the major role of Reno Sweeney was intended for an older actress Hannah Goodinson gave an excellent interpretation, singing strongly and acting well. There was a delightful portrayal of the gangster's moll, Erma, by Helen Morrish, shrill of voice, loud of scream and long of leg - a pity there were not more dance numbers for her.
The young love interest, not the greatest of parts, was nicely played by Eliza Sharp as Hope. Her Mother, Evangeline, was given a good portrayal by Sheila Whittingham but without the American accent I normally associate with it.
There were good performances from the male principals, in particular the major comic role of Moonface Martin, immaculately timed and delivered by Kevin Keegan. As the young hero, Billy Crocker, Mike Kelsall made the most of his demanding role. There was a suitably languid Lord Evelyn from Neil Silcock and an irascible Elisha Witney by Peter Oldfield.
Minor characters were similarly well played and with the chorus obviously enjoying their participation a light-hearted and undemanding evening was assured.
The programme paid a deserved tribute to Christine Steele who for twenty-two years has been accompanist and M.D. She has now decided to retire and, I am sure, the service she has given to Chester Musicals and to our Operatic world will be greatly missed. I would like to add the best wishes of NODA to that of the Company.
OLIVER!
Castaway Youth Theatre
Director: Karen Partington
Choreographer: Charlotte Roberts
Musical Director: Rose McPherson
Once again an opportunity to visit this excellent Youth company. There is sometimes a tendency to lower one's expectations when watching youth groups but with this one it is totally unnecessary as they can rank with the best. So it was with the excellent production of Oliver! at Chester's Gateway Theatre.
It is always a pity that one can only see and comment on one cast when, as so often with such companies, they put up two lots of talented youngsters.
For my evening with them I saw a beautifully played and sung Oliver by James Roden, well matched by the lively Dodger of Mark Williamson, himself a talented Oliver with amateur and professional companies.
Several of their older players are now starting to make their mark with adult societies. This is particularly the case with Robert Downes who played Fagin, never an easy role, with great panache and understanding aided by a fine voice.
Another in this category is Joanne Dennis as Nancy, whose rendition of "As Long as He Needs Me" can rank with many a professional performance. Jamie Hall added to the strong principal line up with a menacing Bill Sykes.
The comic roles were given full measure by Ashley Bolton-Burrows, Charlotte Williams, Jessica Walters, Wayne Jackson and Jack Birkett.
In fact, everyone concerned can be congratulated on their performances to
give a most enjoyable evening which bodes well for the continued success
of Castaway and the future of Operatics in this region.
(E. K.)
A CHRISTMAS CAROL
Ellesmere Port Light Opera
Director: Leigh Stanley
Choreographers: Lynn McKenzie and Kayte Pitchford
Musical Director: Michael Williams
It is indeed rare that one sees a musical which has as its Director the writer of book and lyrics and as M.D. the composer but such was the case in this enjoyable revival of a show first premiered by Ellesmere Port back in 1984.
A special highlight is the orchestral sound produced by the composer using overlays of instrumental sound with a computer and synthesiser. Regrettably in this case the imbalance between backing track and stage vocals meant that where I was sitting most of the first act numbers were almost indecipherable.
This was a shame because this is a quite complex score well worth following and all concerned had obviously worked hard to master it. Fortunately matters improved in the second act where the traditional story really gets under way.
The opening set a beautiful traditional scene with excellent early Victorian costumes for the large chorus - perhaps a little cramped at times on the Grange stage -but singing and moving well throughout.
Minor characters were well drawn and good as the early numbers are it did seem to take a time to get to the main story.
Keith Wheelton, the original player of the role, was again every inch the curmudgeonly Scrooge. Scrooge's nephew, Fred, was well played by Peter Reed with Danielle Tougher as his wife Julia.
The Cratchit family was well realised with a sympathetic portrayal of Bob by Richard Smith and Jean Brocklehurst as Dora. Young George Williamson did well as Tiny Tim with a sweetly sung "Shepherd Boy" song, while the other Cratchit children also made their mark.
The three Ghosts were well characterised: Christmas Past was Jessica Andrews, Present, Roy Davison and Yel To Come, John Brocklehurst.
The part of Belle, Scrooge's young love, has been increased (I was not convinced by the dramatic device of introducing the character prior to the Ghost's revelation) and has two numbers well sung by Margaret Bower.
A high spot was the colourful and tuneful Fezziwigs Ball with Rod Heenan as a jolly Fezziwig. Another scene to stand out among the many well-staged happenings was Fred's Christmas Party.
Everyone concerned (and there were opportunities for most of the company) made the most of their contribution to this ambitious musical, together with the dancers and children, providing a most enjoyable evening.
OKLAHOMA!
Ellesmere Port Musical Theatre
Director: Tom Saban
Choreographer: Sue Hickman-Germon
Musical Director: Stephen Roberts
I have been rather surprised in this Richard Rodgers Centenary Year how few Societies in my region have celebrated this so I was pleased to once again enjoy the special magic of Oklahoma! Despite the familiarity - and mine goes back to the original Drury Lane production - its music never falls to enchant.
Incredible to look back on the problems getting sufficient finance to stage the initial production in New York. Ellesmere Port, back in the recently refurbished Civic Hall, gave us a colourful and lively show.
Jane Chance sang and played well as Laurey, nicely alternating between the femininity and frontier feistiness of the character, though despite the NT example the initial costume did little to aid her portrayal. She was well matched by Graham Turner's Curly.
It was good to see again Mark Gairusso's menacing and definitive Jud Fry and his Lonely Room, though perhaps taken a little fast for my liking, was a highspot.
There was a lively and raunchy Ado Annie from Carly Nickson and Gareth Anderson reinforced the good impression from last year's Sound of Music with his Will Parker.
Ian Devereux-Roberts was the amusing Ali Hakim and Audrey Jones a nicely portrayed Aunt Eller. The dance routines were given over to the chorus and they worked hard and performed well throughout, as did the orchestra under Stephen Roberts's direction.
THE HOUND OF THE BASKERVILLES
The Port Sunlight Players
Director: Lynne Sawley
Conan Doyle's mystery must be one of the best-known titles of the genre and as such ensured an excellent house at the improving Gladstone Theatre. Probably, though, for many people the title is better known than the story itself and perhaps this is just as well as Tim Kelly's play takes many liberties with the original, even changing the villain to a villainess!
A good set and well designed lighting ensured a nicely atmospheric staging in which a good cast played the melodrama to the full.
Lady Agatha Mortimer (again a sexchange from the original Dr. James Mortimer), played by Liz Sharp, worried by the death of her friend Sir Charles Baskerville had invited Holmes and Watson to investigate the mysterious happenings on Grimpen Mire.
Port Sunlight regular Alan Williams was a nicely bumbling Watson and Tony Penny, slightly aggressive at first, settled well into the slightly ascetic and polymath Holmes.
The arrival of the young heir, Sir Henry, another regular, Colin McCarthy, led to increased mysterious happenings and threats with the eponymous Hound very much on the scene or at least in the wings.
Red herrings abounded with the Butler, Barrymore and his wife (John Coward and Jan Coward), an escaped convict (not seen), Jack Stapleton (Mark Hunter) and Laura Lyons (Marion Piggott) all adding aspects of doubtful behaviour to the thickening plot.
The only ones not arousing suspicion were the maid Perkins (a nice performance from Elayne Beggs) and the young lady to whom Sir Henry takes a shine, Kathy Stapleton (Vicky Burr) so I suppose the outcome was obvious - no, this time the Butler didn't do it!
Director Lynne Sawley had drawn well-paced performances from a uniformly good cast and the various alarums and excursions gripped us all till the end.
ANNIE GET YOUR GUN
Silver Star Youth Theatre
Director: Barbara McGee
Musical Direction: Helen Wray and Dave Semans
Silver Star are the epitome of our hobby with everything done in-house by Mums, Dads and friends, an enthusiasm that spills over on to the stage with the large group of youngsters of all ages.
While I sometimes have reservations about junior groups tackling the large purely adult shows it is encouraging to realise that at an early age they are being introduced to a great musical with timeless numbers so that life is not all Sclub7 or West Life!
Annie stands or falls by its two main principals and Silver Star were fortunate to have Charlie Lawson showing verve and attack as Annie Oakley and, as her love interest, Phil Lyons sang and played well as Frank Butler.
Linzi West gave good support as Dolly Tate as did Andy Cody as Charlie Davenport. Mike Cooper came over well as Buffalo Bill with Karl Lund as Sitting Bull and Ian Hodgson as Pawnee Bill.
The youngsters in the smaller parts and the enthusiastic chorus gave their all.
Dave Semans led an excellent pit band of youngsters to give good orchestral support and, as always with Silver Star, I was impressed by the dedication from all concerned in staging an enjoyable show.
KISS ME KATE
St. Paul's O.S.
Director: Mike Eccles
Choreographer: Karen Reynolds
Musical Director: Earl Howarth
This was the second Kate in my region this season and it was once again a treat to hear Cole Porter's evergreen numbers, amazingly written in a period when he was suffering greatly from illness.
I can only agree wholeheartedly with the New York Post's original crit that it is "literate without being highbrow, sophisticated without being smarty, seasoned without being soiled and funny without being vulgar".
Fred/Petruchio was strongly played by Terry Durrance and a soprano new to Wirral and very welcome, Geraldine Metcalf, was an appealing Lilli/Kate. Both created good characters, though perhaps Kate could have been more shrewish in her stage persona and Fred more swashbuckling.
There was a lively Bianca from Danielle Greenall with an attractive stage presence and her Bill/Lucentio was Tony Lacey. Good to see Phyllis Oliver back on stage as Hatty and Bryan Bower was Harry/Baptista.
The two other suitors, Gremio and Hortensio were Damien McBeath and Graham Rannard; Kavan Graney was Harrison Howell.
As usual the two gangsters played by John Phipps and Steve Riordan with their "Brush Up Your Shakespeare" greatly pleased the audience.
Chorus and dancers worked well throughout though is it my personal feeling that for this day and age the dances go on a bit and would benefit from judicious cutting?
The same could be said for the length of several of the numbers such as "Where is the Life That Late I Led" and "Always True To You Darling in my Fashion" with their additional verses.
Nevertheless, personal prejudices aside, St. Paul's gave a pleasing performance.
HELLO, DOLLY!
Wallasey Operatic Society
Director: Joyce Porter
Choreographer: Deborah Clark
Musical Director: Brian Smith
In a week dominated by Firemen's strikes, Royal Butler revelations, possible Iraq war and rain and more rain what better antidote than the feel-good musical Hello, Dolly? Particularly in a lively and colourful production by Wallasey, with Tia Chang pulling out all the stops to give us a bravura performance as the eponymous heroine. Her Streisand-like approach and strong vocal qualities were ideally suited to the role.
Indeed the female roles have the best music in this show and Wallasey are also fortunate to have Gina Davies to add another of her excellent characters with a sweetly sung Mrs. Molloy, aided and abetted by a delightful cameo by Kate Cooper as Minnie Fay.
There was a strong male line-up with Eric Mates as the irascible Horace and Gerry Johnston emphasising the comic side of Cornelius. It is good to see Gareth Earle continuing to develop with a nicely played Barnaby.
Hayley Craswshaw was Ermengarde, Allson Beech, Ernestina, Ruff is Beer, Ambrose and Bernard McElvogue, Rudolph.
Deborah Clark's talented dancers performed well throughout, particularly in a lively Waiter's (and waitresses) Galop - though I still prefer to see some of the food gags on loaded rather than empty trays!
The chorus made their usual competent contribution though the Gladstone stage looked very cramped at times for the concerted items. All in all a most enjoyable evening to lift the gloom of a damp November.
TRIAL BY JURY and HMS PINAFORE
West Wirral Music Society
Director: Barry Presto
Musical Director: Chris Larkin
West Wirral have been carrying the torch for G&S productions on the Wirral since 1955 and gave us a nicely traditional Pinafore, well sung and well dressed.
The principals are all well versed in the requirements of the works so that both song and story came across well. John Alvey's tenor voice was well suited to Ralph and Bernadette O'Keefe was an appealing Josephine.
Director Barry Prescott, a mainstay of many Wirral productions, came out from behind the scenes to give a fine Captain Corcoran; his translation to Scouse Able Seaman much appreciated by the audience.
Grainne Hardman, Company Chairman, was certainly a pleasing (though not so plump!) person as Little Buttercup. Kevin Prendergast was a convincing upper crust political appointee, totally at sea (!) as First Lord though not in his excellent characterisation.
Barry Hartley was a suitably un-appealing Dick Deadeye with Bob Chapman as Bill Bobstay and Joan Oldham as Hebe. They were well supported by Chris Larkin's orchestra though the cymbals were very intrusive at times. One minus point was that the lighting was too up for Act 2.
I didn't find the Trial as appealing with its semi updating combined with some traditional movements. I felt that the company had been given too much leeway in both movement and costume and not all added to the spirit of the piece.
Bob Chapman took the plaudits as the clear voiced Judge, with John Alvey as Defendant, Philippa Hipwell as Angelina and Craig Hardman as Counsel.
It was a pleasure to give NODA badges and bars to a number of people who have served the Company and Wirral operatics well for many years, particularly to Secretary, Pam Nelson, recognising this essential position which often goes unsung.