January 2003 - Region 8 - David Parkes
SOUTH PACIFIC
Alderley & Wilmslow AOS
Director: Michael Penlington
Musical Director: Brian Goodwin
Choreographer: Sally-Ann Fitzgerald
The centenary of Richard Rodgers' birth is being commemorated this year by a number of societies with productions of his musicals, mainly Carousel and South Pacific, and Alderley & Wilmslow joined in the many tributes with their performance of the latter.
A rowdy crew of Marines and CBs led by Robbie Medina (Luther Billis), Martin Jennings (Stewpot) and David Bradford (Professor) were kept in line by the voluble Michael Strutt and John Goodwin in the respective roles of Capt. Brackett and Commander Harbison.
The outstanding Caroline Keohane gave a stirling performance as Ensign Nellie Forbush but, whilst providing some nice touches, John Grainger did not seem to be wholly at ease in the role of Emille de Becque.
The plum part of Bloody Mary was played excellently by Tina Lynn and the scenes with Lauren Clancy as Liat and Michael Daws as Joseph Cable were tenderly portrayed.
The children, Ngana and Jerome, always draw the "aahs" from the audience and the two pairs playing alternate performances were no exception. Daniel and Matthew Medina playing opposite Bronte Barbe and Olivia Higson respectively.
The customary fine back stage orchestra maintained a good tempo under the baton of Brian Goodwin.
However, I felt that the whole performance was a tad below the extraordinary high standard usually presented by this society.
HOT MIKADO
Acton AOS
Director & Choreographer: Sheryl Haydock-Howorth
Musical Director: Jeremy Woottton
The Mikado has been performed in many varied styles. The original Hot Mikado was staged on Broadway in the 1930s, subsequently updated in 1987 and produced in London in 1995. This version, set in the 1940s, introduced Nanki-Poo (Simon Steele) as a guitarist - which he is - and Yum-Yum (Debbie Cornock), Pitti-Sing (Caroline Payne) and Peep-Bo (Lorna Hickey) in the guise of the Andrews Sisters. Each of them, together with Mike Malone as Pish Tush, performing and singing admirably.
Two young men took on roles usually allocated to older performers and what a superb job they did. Making his debut in a principal role Andrew Hassell was a fine laconical Pooh Bah whilst Ross Hogg Robinson gave a magnificent performance as Ko-Ko. His programme notes mention his passion to become a professional actor. Judging by this performance he is well on the way to realising his ambition.
The portrayal of the scorned Katisha by Jennifer Hall, was breathtaking, her entrance and her singing of The Hour of Gladness and Alone and Yet Alive brought well earned applause from an appreciative audience.
It is said that there is a first time for everything and this, in my experience, was provided by Pete Johnson's tap-dancing Mikado. What a performance!
Well drilled chorus routines and a magnificent back stage band combined to present a fine evening's entertainment.
THE DRESSER
Centenary O&DS
Director: Alan Thomas
A well planned and constructed back-stage scenario was the setting for this play set in the 1940s during the London blitz.
In the role of Norman, the Dresser to "Sir", Mark Murphy gave a brilliant marathon performance being on stage for virtually the entire production. His portrayal of the increasingly alcohol-sustained dresser pandering to the needs and demands of "Sir" was a lesson in timing and stage craft well matched by the performances of Peter Boardman as the over-the-hill Shakespearian actor/manager "Sir" playing King Lear, and Marilyn Baxter as his leading lady "Her Ladyship".
As the domineering Stage Manager Madge, Sheila Cummins later showed a tender emotional side to the character when she disclosed her longstanding devotion to "Sir".
The cast was completed in fine style by Davina Kernahan as the ASM wannabee actress Irene together with Robert Higham, Robbie Coke-Woods and Mark Hemmings as an unlikely trio of Shakespearian actors available solely as they were either too old or unfit for military service!
The attention to detail in the set design by stage manager Aaron Cawley which was constructed by members andd friends of the society complemented this fine production.
THE PIRATES OF PENZANCE (BROADWAY VERSION)
Centenary O & DS
Director: Alan Thomas
Musical Director: Jill Hyde
Choreographer: Christine Whitfield
A pet hate I share with colleagues is to have an overture ruined by the chattering of discourteous members of the audience but on this occasion I needed to have no fear. The moment Jill Hyde's fine orchestra struck up, the Parr Hall audience fell silent and enjoyed the opening of Joseph Papp's version of this G & S favourite.
Led by Mike Hall (Pirate King) and Steve Ross (Samuel), the Pirates buckled their swashes in lively fashion. A bevy of well costumed daughters led by Clare Ewing (Edith) sang well but at times their routines appeared to be rather static. Clare Asprey brought her fine vocal and acting talents to the role of Mabel and it was a pleasure to see and hear Joe Whitlow in his first lead role as Frederick. Their duets were delightful. Also playing his first principal role, Robbie Coke-Woods demonstrated a degree of comedy in the part of the Police Sergeant that one would expect from a more seasoned performer.
The obvious talent of these three young performers carries the promise of fine theatrical futures which I am sure the society will appreciate and nurture.
Patsy Roberts (Ruth) and Mark Murphy (Major General Stanley) performed their respective roles to their customary high standard.
The production would have been enhanced by the addition of half a dozen more males in the chorus, an aspect which is becoming more and more prevalent with many societies. It was particularly obvious when the chorus needed to be divided between policemen and pirates in the final scene.
That said, it was still a fine evening's entertainment.
CAROUSEL
Congleton AOS
Director/Choreographer: Eric Pover
Musical Director: Ian Pickford
"Oh! not another Carousel, you must be fed-up with Carousel" said a colleague but this was not just "another" Carousel, it was a magnificent production from start to finish. The opening with all the action of the fun fair, including a full sized working carousel, held the attention of a packed house throughout the overture.
The herculean task of combining the direction and choreography with the role of Billy Bigelow was accomplished brilliantly by Eric Pover. Rarely can an amateur society possess so many talented individuals to cast a show containing so many principal and minor principal roles to such fine effect. Every character looked and sounded just right in their respective roles.
Sarah Goodwin and Lesley Davies brought their superb vocal talents to the roles of Julie Jordan and Nettie Fowler respectively whilst Helen Snelson was a splendid Carrie Pipperidge.
Richard Wain made a mean scheming Jigger Craigin and I liked the touch of suitably ageing the appearance of Enoch Snow, well played and sung by David Francis, in the final scene.
The beach ballet can be somewhat drawn out but not in this production; the beautiful dancing of Vicki Bailey as Louise partnered by David Lilley - who I believe had not previously danced on stage - together with a well trained troupe of dancers and immaculate Snow children provided a dramatic yet fast moving scene.
All the minor roles were well played with elegant cameo performances by Chris Sheard and Dave Martin as the Starkeeper and Heavenly Friend.
The whole production was backed by a melodious orchestra, fine chorus and dance routines with at least twelve - yes twelve - men some of whom could have stepped straight out of South Pacific. With splendid sets and costumes, which unfortunately were not attributed in the programme, this was amateur theatre at its best and I eagerly await their 2003 production. Oh! not another Oklahoma!
AUTUMN YEARS
GLR Productions
Director: Gwen O'Donnell
Written by: George Greenall & Chris Worrall
A drawback to taking part in one's own production - and I speak from personal experience having done just that myself - is that one is not out front at dress rehearsal to correct problems created by masking and inaudibility. First night nerves probably accounted for some of the slowness in the dialogue but the main problem was inaudibility. Even from front row seats it was difficult to hear all the dialogue. The Rylands Memorial Hall has a deep stage and I found that the positioning of cast in some of the scenes was too far upstage for the dialogue to be picked up by the microphones installed at the front of the stage.
The play was set in a retirement home under threat of closure where Albert (Harold Arnold), his son David played by co-author George Greenall and his nine year old grandaughter Mica (Mica Hope Phillips) attempted to cheer up his dying wife by playing her favourite Elvis Presley records to her. The retirement home was staffed by a miscellany of characters all with problems of their own: a seriously minded divorcee Wendy played by Director Gwen O'Donnell - who also doubled as resident Elsie - an assistant Bev (Karen Masters) worried that her husband's broken arm would lead to his being laid-off from work, a manager Raymond camped up admirably by Paul Dawson and a couple of YTS recruits, the eager Simon (Simon King) and the couldn't care less Becky (Lisa White).
Residents were played by Doreen Oldbury who brought out the comedy of Mabel's selective deafness and John Newall who lacked the clarity to portray the character of retired Major Bernard to its best effect.
The one exception to the audibility problem was nine year old Mica Hope Phillips who showed a confidence beyond her years in her portrayal of Albert's grandaughter, shattering him and her father with the graveside disclosure that when her dying grandmother had been calling for Frank it was not for an already dead relation but for records of Frank Sinatra as he was her favourite singer, not Elvis Presley!
OLIVER!
Knutsford AOS
Producer & Choreogrrapher: Cecil Walker
Musical Director: Heather Whyte
The unavailability of the Knutsford High School enforced the transfer of this production to the Knutsford Little Theatre thereby restricting the audience numbers, but those who were fortunate enough to obtain tickets were treated to a fine production of this perennial favourite. A well designed multi-purpose set by scenic artist Jeff Tenner and the Little Theatre Stage Crew ensured the slick flow of scene changes.
Simon Douglas gave a convincing performance in the title role portraying the tenderness and loneliness of the character, contrasting well with the cockiness of the street-wise Dodger, played in fine style by Chris Hobley, backed by a lively group of children in the workhouse and Fagin's kitchen scenes.
Harold Buck and Tracey Miller brought out the intrigue and comedy of the characters Mr Bumble and Widow Corney, whilst Ken Griffiths and Barbara Fuller, as Mr & Mrs Sowerberry, were as dour a pair of undertakers as you would wish - or not wish - to meet.
A fine performance was given by Debbie Hobley in the complex role of Nancy, portraying initially the brashness, then the "motherly" concern for Oliver following her defiance of Bill Sykes with her heart-rending singing of As Long as He Needs Me.
As Bill Sykes, Tony Barrow dominated the stage in both stature and voice bringing out all the in-built viciousness of the character to frightening effect, whilst Peter Freeman gave a credible performance as the wily Fagin.
The chorus does not have a lot to do in Oliver but the lack of men required minor principals to double up to swell the numbers and to sing offstage in the Who Will Buy routine. The opening of Act II accentuated the shortage of male chorus when the inn seemed to be patronised mainly by women.
Neverless it was a fine evening's entertainment with which the production team and all concerned should be well pleased.
GUYS AND DOLLS
Lowton O&DS
Director: Mike Norris
Musical Director: Craig Barlow
Choreographer: Cathie Davey
A big cast show, with the programme naming over 20 principal and minor principal roles plus chorus and dancers, was a brave choice considering the general dearth of adult males in societies nowadays. But Lowton O&DS assigned a number of roles to younger members with remarkable success.
It was a refreshing change to see the opening 'Fugue for Tin-horns' performed by three such young men, David Molyneux, Gareth Cooke and especially Barry Tonge making the transposition from pantomime camel in Ali Baba to the shady character of Nicely-Nicely Johnson. Mike Morris was a credible Sky Masterson and Peter Denkaat appeared suitably harassed in the role of Nathan Detroit, fending off the advances of Miss Adelaide, to whom he had been engaged for 14 years, played admirably by Jean Gardener.
The Mission Doll character Sarah Brown was portrayed with delightful sincerity by Louise Phelan and Barry Dilworth brought a warmth to the role of Arvide Abernathy especially in his singing of 'More I Cannot Wish You.'
At times, broad American accents were maintained to the detriment of clarity but this was an all-round good evening's entertainment backed by a fine band in which the eight members of the brass and woodwind sections were all young ladies. Shades of Ivy Benson!
SEVEN BRIDES FOR SEVEN BROTHERS
Mid-Cheshire AOS
Producer: Helen Mayne
Musical Director: Catherine Singleton
Choreographer: Jo Chatt
The daunting task of casting six singing/dancing brothers plus six singing/dancing suitors plus seven singing/dancing brides is probably the reason why this show is not more frequently performed. But the Mid-Cheshires pulled it off with remarkable success made even more remarkable by the revelation in the programme that some of them had not previously set foot on stage.
In the role of the chauvenistic backwoodsman Adam Pontipee, Geoff Burgess looked and sounded just right as did Sharon Caffery as his bride Milly who discovered that, by her marriage to Adam, she had become sister-in-law to six rough brothers badly in need of tuition in manners and courting techniques which she accomplished admirably in the 'Goin' Courtin'' number.
The Social Dance, arguably the longest dance scene in any musical, featured the brothers played by Mike Campbell, Andy Reynolds, Andy Jordan, Chris Adlington, Andy Wright and Ben Ireson: the Suitors played by Tom Lightfoot, Adrian Woods, Richard Ward, Carl Harrison, Alan Radband and Adrian Billinge: the brides-to-be played by Jacqui Adlington, Di Quinlivan, Chloe Leigh, Julie Gaskell, Laura Hobley and the choreographer Jo Chatt, plus the townsfolk in a vigourous routine cleverly devised in keeping with the era in which the show is set.
The lustiness of 'Sobbin' Women' and the 'Polecat Lament' contrasted nicely with the tenderness of 'Love Never Goes Away' and 'Glad That You Were Born' in a finely balanced score with backing from a tuneful orchestra maintaining a good tempo under the baton of Catherine Singleton who, at dress rehearsal, managed to combine conducting and nursing her two-week old daughter at the same time!
A super set by Proscenium, costumes by Midland and properties by Howorth Wrightson enhanced a production with which all concerned can be proud.
After Saturday night's final curtain it was my pleasure to present society stalwart Bill Lare with his NODA 25-year long service award.
CAROUSEL
St. Thomas's AD & OS, Golborne
Producer: Anne Hooker
Co-Producer: Allison Sheridan
Musical Director: Nancy Wells
Choreographer: Julie Chambers
Lively fun-of-the-fair action during the overture both on stage and in the auditorium set the scene for this well-loved show. Aimee Sealley and Sarah Curtis brought to life the characters of Julie Jordan and Carrie Pipperidge respectively, contrasting well with Michelle Thompson as Mrs Mullins.
John Preston brought his fine voice and dominant stage presence to the role of Billie Bigelow whilst Clair Pilkington was a heart-warming Nettie Fowler with her cheerful June is bustin' out all over and leading the inevitable tear jerking singing of "You'll Never Walk Alone." Matthew Morrell was a suitably villainous Jigger and Gary Williams overcame the occasional vocal glitch in his keen portrayal of Enoch Snow.
As always the immaculate Snow children stole the beach scene i0 which the part of Louise was played at alternate performances by Sarah Lyon and Becki Casey.
With costumes by Homburgs and the sets designed and made to their usual high standard by Bob & Ian Lord and their team this was yet another fine performance by all concerned.
It was pleasing after the show to talk to members of the cast and the backstage helpers and to renew the acquaintance of John Preston who played King Rat in Golborne's 1981 pantomime Dick Whittington in which Alderman Fitzwarren was played by yours truly.
GIGI
Vale Royal AOS
Producer: Ellan Williams
Musical Director: Eileen Stringer
Choreographer: Kellyanne Griffiths
Although Gigi is not one of Lerner & Loewe's more popular shows, this well costumed production gave it a refreshing outing backed by an opulent set by Boarders. The introduction to the Parisian high society of 1901 was well portrayed by Ron Dodd in the 'anchorman' role of Honore Lachailles whilst Mike Bradley gave a credible performance as his bored nephew Gaston.
In the title role of Gigi Nicola Done admirably conveyed the transition from tomboy to society lady - eventually winning the heart of Gaston - under the guidance of her grandmother, Mamita, played by Barbara Farrell and her Aunt Alicia played by Liz Cassidy.
The movement in the ensemble numbers was sadly restricted by the fact that the ladies outnumbered the men in the ratio of 5 to 1 and apart from the delightful dancing of Laura Sanderson and Ben Ireson during Mike Bradley's singing of "She is Not Thinking of Me" the enchantment and glitz of Parisian nightlife was not relayed effectively by a static chorus. What a difference the addition of another half dozen men would have made to this production! It was necessary for the hardworking men to double or, in Ben Ireson's case as Sandomir and Duclos, treble up in minor principal roles with David Claffey as Manuel and Andrzej Wieckowski as Maitre Dufresne.
The accompaniment of Tim Dowson (piano), Janice Barti (keyboard) and Tony Whitby (drums) moved the musical numbers along at a good tempo under the baton of Eileen Stringer.
Unfortunately the Friday evening performance was played to a pitifully small audience and, as I have remarked on previous occasions, some drastic action needs to be undertaken to attract the support of the Winsford population to the productions of their local society.