January 2003 - Region 7 - Tony Adler
IOLANTHE
Greenacres A.O.S.
Prouducer: Annette Owen Musical
Director: Gillian Farmery
A new producer, Annette Owen put on a fairly traditional show for this experienced G & S. Societies have these days, namely the absence of young members with voices which will develop into strong singing leads for the future. Nevertheless, the senior experienced principals worked together to put on an enjoyable production with a competent orchestra under the direction of Gillian Farmery and the usual attractive and efficient stage set.
Perhaps the lady principals just had the edge with Janet Marshall as Phyllis (who does not seem a day older than when I first saw her perform some years ago) and the experienced Janet Millner as the Queen of the Fairies both of whose singing was first class, well supported by Pam Bailey as lolanthe and all the other ladies in the Company whilst Peter Crichton as Strephon was as usual, a reliable lead and Duncan Routledge as The Earl of Mountararat with John Liptrott as his co-peer giving strong support.
Jack Rayner did rather well as Private Willis and John Myers, playing a different role for him, as The Lord Chancellor showed some promise for this type of part in the future which he will no doubt enjoy even better as he becomes more experienced in this sort of role as distinct from playing one of the lead singing roles.
The male chorus, although small, sang their hearts (or lungs) out and it was a very pleasant evening's entertainment.
HELLO, DOLLY!
Hey Kids (Heywood A.O & D.S)
Produced and Directed by Joanne Lord
Musical Director: Stephen Gooding
Choreographer: Jill McIntosh
This was undoubtedly one of the best youth productions I have ever seen. A few years ago one of my other youth groups took it on and initially I had great reservations about Dolly as a vehicle for youth groups. This other group made a better go of it than I would have imagined with an excellent Dolly but I still thought that it was not an ideal show for a youth group. Indeed, I have seen several adult Dollys which have had limitaions. However, I knew Heywood would make every effort to put on a good show supported by their loyal family audience for their youth group, but what I saw surprised and delighted me.
Without commenting specifically on any individual performance, I can state that all the performers were a well cast and balanced group of teenagers with a lot a talent amongst them and able to put over the musical numbers confidently and ably with acting to match.
It was well staged on the whole and costumes were good and the performers all owe a great debt of gratitude to Joanne Lord, the Producer who put it all together with hard work and imagination ably assisted by Jill McIntosh as choreographer whilst the orchestra under Steven Gooding seemed to become better as the show progressed.
This was entertainment not only as good as that of an adult Dolly but probably better than many such adult versions which I have seen and it reflects great credit on those involved.
A short list of principal performers included Anna Sywanyk as Dolly, Adam Brown as Horace, Anthony Quimby as Cornelius, Martin Bracewell as Barnaby, Louise Flynn as Mrs Molloy and Hannah Greenway as Minnie.
We were delighted with this production; it was first class.
OKLAHOMA!
Oldham Metropolitan A.O.S.
Producer: Michael Mills
Choreographer: Dawn Leigh
Musical Director: Malcolm Dean
The next generation of this society who are both regular leads were pressed into service for this show to produce it as well as play in it. Michael Mills, a most experienced Curly, did well as expected and Dawn Leigh was a competent and youthful looking Laurey and sang and acted well in the part. Kathryn Quimby as Ado Annie is now quite experienced and was fine for the part but perhaps reasons which I mentioned and partly because her costume (particularly her hat) made her look a little bit older.
Brent Andrews gave a competent performance as Will Parker but perhaps he over emphasised the fact that he was a cowman by appearing at times still being on a horse. He is an enthusiastic performer with a fair voice and would be even better if he could learn to control the slight exaggeration that some of his movements and expressions have.
Carl Morgan, who is a very competent actor, naturally gave a competent interpretation of Ali Hakim and Jane Pearson supported well as Gertie Cummins with appropiate laugh which is a trade mark of this part.
Paul Rigney gave a villainous and competent performance as Jud in every respect but perhaps I felt his interpretation was a little more sinister and thoughtful than the slow witted character he really should be.
The supporting company was perhaps a little bit too small for a show of this nature and towards the end of the second act, I had the feeling that this show was perhaps too close to the society's previous production and might have benefited from one or two extra rehearsals.
Malcolm Dean and his orchestra supported well and the society is well aware of the need for more male members and it does not need me to be a genius to realise this but the society like others needs a magician to conjure up these extra numbers.
CARMEN
Saddleworth Musical Society
Producer: Brian McEwen
Musical Director: Harry Butterworth
I have previously expressed my admiration for amateur companies playing opera and expressed my understanding about their natural limitations in so doing, by virtue of being amateurs as distinct from professionals. However, with regard to this production, I feel I saw my best amateur opera for years. Principal singing, chorus singing, size of chorus and orchestra and obviously, production are very essential ingredients with ability, numbers and talent in abundance.
There was an excellent set designed and painted by the talented Pat Butterworth and the producer's clever use of the stage meant that half of it led straight into the auditorium and therefore skilful use was made of entrances and exits from the length of the hall and the chorus singing outside in the corridor at the back of the audience in the last act was an inspired part of the production and gave a marvellous stereophonic effect which was so apt and so much better than singing back stage. It also made for better use of the stage, which was needed at Saddleworth School with a large chorus which included children.
I suspect the orchestra may have lost one or two musicians to make extra room for the staging, i.e. there were sometimes only one of some instruments I think, and they all looked rather cosy but nevertheless, they were all competent musicians and under Harry Butterworth's control, were sympathetic to the singers and a pleasure to hear, particularly (and this is rare for an amateur society) the strings.
All the performances were of such a high standard that if I make an odd comment here and there, it is a luxury that I feel I can afford because each performer was being assessed in my mind almost on a professional level and indeed if I make such a comment, then it is almost a compliment.
Jill Taylor was an excellent Carmen. She has a strong presence on stage and can quite dominate it but she also has a superb voice. It is also a strong voice without being overbearing, like some sopranos can be but I could have listend to her all night. Perhaps in the early part of the show, she was conscious of three more performances and just a little restrained, but the further the opera went, the more dominant and stronger her singing became. She looked lovely but I felt she could perhaps have used her sensuality at times in a little more sensitive manner because I am confident it was lurking underneath, but she was certainly as good a Carmen as I have ever seen.
Gary Davies is versatile whether it be as Curly, Fred Graham, Camille or even Bobby in Crazy for You, but I still feel that in this type of part he is natural. His singing was magnificent and his solo in the second act thrilled the audience.
I wondered how the versatile Martin Williams, who will have a go at most things, would cope with the demanding serious singing of the Bull Fighter and I was perhaps a little suprised but delighted. It was strong, appeared accurate and melodious and again, he was the best Escamillo I have seen for some time.
The part of Micaela was beautifully sung by Louise Taylor although she only appears briefly on two or three occasions and there was strong support throughout from Mirriam Lawton, Anne Butterworth, Anthony Hammond and Frank Hindle whilst David Illingworth as Zuniga did well.
The chorus gave excellent support both in numbers and volume and the main set and costumes added considerably to what I consider, as did the audience, an excellent opera. I suspect that the company felt they had done it justice if I judged accurately their reaction afterwards when I spoke to some of them.
This show was a credit to the society, the performers, particularly the producer and his assistant, Frank Boocock and the musicians and I think the audience felt the same.
ALI BABA
St. Herbert's A.D.& E. Society
Director: Harry Ogden
Musical Director: Mark Marshall
Choreographer: Pauline George
The more I see pantomime the less I can find a plausible plot and I should know better than to try. I have great admiration for any Director who has to produce a localised parish cast with comparatively little or no experience of performing on stage for whatever a Regional Rep' may think of pantomime, it is indeed an art form and talent and experience are needed to get the best out of the script, few of which are really top class.
The strong point in this pantomime was the very colourful way that some of the characters were dressed and the odd experienced pantomime performer gave the others the lead in timing and the whole company put in a lot of effort.
The repartee with the audience sometimes showed lack of experience and the performers struggled at times with the delivery of lines and timing and volume but the musical mix was good and Mark Marshall and his two colleagues belted it out all night.
Pauline George, the choreographer, performed a nice tap solo and her four girls were good but perhaps under-used.
I feel that Harry Ogden had done very well considering the difficulties mentioned above and it was a friendly and light evening for the Representative.