May 2003 - Region 4 - Gordon Hall
CAMELOT
Birkenhead Operatic Society Trust
Director: Elsie Kelly
Choreographer: Graeme Henderson
Musical Director: Trisha Gaskell
After thirty years BOST were back at the more intimate Royal Court Theatre
for this colourful, tuneful and exciting
Camelot. When presented like this it is hard to see why so
few Societies are prepared to risk it. Here scenery had been kept to
a minimum with reliance on lighting and the magnificent medieval costumes
to convey the period charm.
To a great extent the success of the show depends on strong casting of the
lead players and here husband and wife team of Michael and Julia Carroll
were in excellent form.
The role of Arthur is difficult and complex as he progresses from naïve wooer, through strong King and finally to reluctant but determined warrior against his great friend, Lancelot. Michael Carroll carried this off triumphantly with his strong voice and sensitive acting. He was equalled in portrayal by the Guenevere of wife, Julia, again a complex role moving from the gaiety of the initial love match to the guilt and despair of the dual love for Arthur and Lancelot. This was a beautifully judged and sung performance. In recent years Ian Lloyd has made a strong mark with the society and he followed up his Billy Lawler in 42nd Street earlier in the year with an excellent Lancelot.
Humour is not a strength of this show but Malcolm McEwen's Pellinore drew every possible nuance from the role. Matthew Casson relished the part of the evil Mordred.
Regional Rep. Gordon Hall hid behind a large beard as Merlin and his farewell scene with a beautifully danced Nimue by Laura Griffiths with the voice of Meryl Langford was very atmospheric. Clare Thompson was a suitably languid Morgan le Fey. The four main Knights were Mark Gairusso, Nigel Reed, Chris Liston and Chris Dale as, respectively, Sir Dinadan, Sir Lionel, Sir Clarius and Sir Sagramore.
The chorus played and sung well throughout and it was good to see so many young players in the ranks. An excellent team of dancers gave added pleasure.
With the strong support of an excellent orchestra under Trisha Gaskell, this was a magical performance well up to the high standard of BOST. (K. W.)
THE WIZARD OF OZ
Ellesmere Port Musical Theatre
Director: Dawn Kennedy
Choreographer: Pam Watson
Musical Director: Craig Price
I sometimes wonder if The Wizard of Oz carries too many memories for us of an older generation to enjoy fully in its stage adaptation. For instance, I always find the interpolated scenes such as the Act 2 opening marching sequence, however, as here, well done, to be rather tedious and leaves me wanting the story line to develop. I do miss the opening sequences where the major characters of Oz first appear as normal people familiar to Dorothy - and it's not the same without Toto! For the younger ones, despite the film's many TV showings, it is probably a different matter and Ellesmere Port's amalgamation of experienced players from the adult company with many members of their youth group will have gone down well.
The show opened to a mime sequence for the labour intensive farm with plenty of work to involve the youth members though freezing the activity for "Somewhere Over the Rainbow" would have been preferable.
Carly Nickson made an appealing Dorothy and was whisked off to Munchkin-Land for a colourful scene. I missed the red shoes of the squashed Wicked Witch though! Dorothy's three companions on the road to Oz were all well played. Barry Hickman Germon was an excellent Scarecrow with seemingly fluid limbs. The Tin Woodman was Grahamn Turner and the loveable but Cowardly Lion was lain Turner. The evil Wicked Witch of the West drew a good screeching performance from Anne Thornwaite and Elaine Cooper was all sweetness as the Sorceress of the North. The Great Oz was played by Derek Rigby.
Minor characters were well portrayed with some doubling up parts. Christine Tomlinson was Aunt Em, Tom Saban, Uncle Henry and Tibia and Andy Nickson, the Munchkin Mayor and Lord Growlie.
The young chorus worked well throughout and Craig Price's small forces provided good support.
SNOW WHITE AND THE SEVEN DWARFS
Ellesmere Port Original Pantomime Company
Director: Joy McIntosh Choreographer: Sharon Albino
Musical Director: Craig Price
People of a certain age such as your Rep. have fond memories of the Walt Disney Classic so it was interesting to see John Morley's Pantomime version well performed by the always dependable Ellesmere Port Company. While for me the interpolated comedy scenes did not always add to the already strong story line it certainly provided an entertaining evening.
Gill Rigby was the appealing eponymous heroine, with Carol Nickson giving a strong hissable performance as the Wicked Queen. Carly Nickson shone as the rescuing Prince Launcelot. Good to see two stalwarts of the Ellesmere Port musical scene on stage with Beryl Rigby thoroughly enjoying herself as Hagwort the Terrible Troll and Ken Bardsley as Marmeduke the much put-upon Court Chamberlain. The comedy sequences were provided by Barry Waddington as Nurse Dora Dumpling and Ian Devereux Robinson as Muddlers, the Footman. Andy Nickson wasthe conscience-stricken Huntsman.
The little ones playing the Dwarfs (in these PC days should we call them vertically challenged small persons?) stayed well in character throughout.
The bright chorus and dancers, well dressed in colourful costumes, made their customary telling contribution and danced well to some imaginative routines.
I would however have preferred a little more variety to the frequent parallel line across stage. There was one section where one dance directly followed another - not a good practice and inclined to slow the action.
If I have a criticism it is my frequent one that amateur pantomimes are often too long and I believe in the pro maxim that two playing hours is ideal. Nevertheless, Director Joyce McIntosh can be well pleased with her first production, obviously pleasing a good-sized audience.
THE PIED PIPER OF HAMELIN
Hoylake and West Kirby Theatre Group
Director: Jan Oxton
Choreographer: Dawn Smith
Well done as they are, a certain feeling of déja vu comes into play when watching the seasonal outbreak of pantomimes so it is pleasing to see something new. This version of the Pied Piper from the NODA collection was new to me and although it still seemed to throw every panto cliché into the melting pot it still added up to an enjoyable evening, though a tad long. It was all helped by having a core cast of established HAWKS players with a sprinkling of newcomers and opportunities for youngsters.
Rob Evans treated us to his excellent traditional Dame and Woz Harris moved
effortlessly from his usual villain character to the "silly ass" Finkifeffer
(or is it type casting at last Woz?). Humour was kept going by Alan Earl
(Dreadful) and Steve Jones (Worse) - their character names not critical comment!
Steve Warrington was Von Blunderbuss the Burgomaster.
Particularly effective was the tall figure and deep voice of George Jones
as the Demon, determined to wreak havoc on Hamelin, ably assisted by his
attendant imp, a nice performance from young Kerrie McLaughlin.
Dawn Smith played the eponymous Piper with good voice and presence and Steph Harris provided the love interest, Katerina. There was a high velocity comic performance from Nicky Jenkinson as Maud - what a shame she ended up with Woz. The Harris family was well to the fore with Debbie as the Fairy Queen, foiling the Demon's dastardly plans and helping all to end happily. Another youngster was Sophie Marsden as her attendant fairy. Indeed the company integrated their youngsters well with Jack Clarke a Tiny Tim-like Hans and Rachel Hobson as Alphonse. The chorus and dancers were also predominantly young.
An effective musical score based on rock and pop tunes kept the audience clapping along happily.
THE WITCHES
Hoylake and West Kirby Theatre Group (Junior Section)
Director: Julia Meadows
Music: Kevin Roberts and Dave Roylance
This was an unexpected pleasure given by a talented group of young people
aided by a hard working back stage crew.
It is not an easy play to portray convincingly, requiring as it does a number
of transformations and other magic effects. By the imaginative use of lighting
and puppetry the changes were very well conveyed. All the many youngsters
on stage contributed well to the production but pride of place must obviously
go to the major protagonists.
Josh Wilson as the boy and, eventually, mouse gave an excellent performance and he was matched by a nicely judged Grandmother by Laura McClenaghan. As Grand High Witch Suzanna Hurst was a personification of evil creating a most convincing characterisation. Harry Machray's Bruno, constantly eating, also shone. Michael Sherlock and Daniel Johnson were a pair of humorous knock-about chefs as well as being responsible for puppet manipulation. Christopher McClenaghan was Doorman and Head Waiter. Other smaller parts were well taken.
I was impressed by the excellent pacing Julia Meadows had given in her direction and the atmospheric accompaniment of Kevin Roberts enhanced the overall effect. With excellent scenery and costumes provided in-house this was a most enjoyable evening.
TREASURE ISLAND
Lifeline Productions
Director: Diane Smith
Choreographer: Brenda Robertson
Lifeline continued with their policy of giving home-grown productions, in this case Lesley Selby's adaptation of Treasure Island. I am not sure that it lends itself to the incursions necessary to turn it into a Xmas extravaganza. It is probable, however, that the predominantly young audience, who certainly enjoyed themselves, take it as performed without reference to strict adherence to the original story. In order to give sufficient involvement to their many young members the story began as narrated to a junior school who later became mermaids and sea creatures.
The regulars of Lifeline made their usual appearances with John McGovern as Long John Silver accompanied by a wife, Sherry, played by Brenda Robertson. There was an all female cast of "goodies". Danielle Evans gave an assured performance as Jim Hawkins with Joanne Sutton as Squire Trelawney and Katie Peers as Captain Smollet. Diane Smith was back in britches as the first mate. Various unsavoury old sea dogs also appeared with Ralph Brady doubling up as Billy Bones and Ben Gunn and Karl Swanick as the villainous Black Dog before re-appearing as the Cannibal leader of Skeleton Island. Adding to the menace of the cannibals was the evil Witch Queen of Leslie Selby, beginning to corner the market in wicked ladies!
In lesser roles, all contributing to the entertainment, Diane Smith had earlier appeared as mine hostess of the Admiral Benbow, Nellie Hawkins with son Jess played by young Ashleigh Molloy. Marie Harrison was Miss Peachey in the Junior School; and Anne Cairney was the narrator, Miss Hawkins.
As always with this hard working small society, costumes and scenery were produced to a good standard by the company all adding up to a happy evening of pre-Christmas entertainment.
CINDERELLA
Port Sunlight Players
Director: Julia Whitehead
Musical Director: Ian Lewis
This version was written by the Director, Julia Whitehead, and has a number
of variations from the traditional story.
There were, as always, some pleasing performances from the Port Sunlight
stalwarts, such as Colin McCarthy as Ugly Sister Wilhelmina and Frank Thompson
as sister Henrietta. They worked hard to give comic impetus but perhaps one
or two of the standard Panto sketches would have helped them.
Alan Williams bumbled along happily as the Lord Chamberlain and Alan Davies
was suitably put-upon as Baron Hardup.
Young Nick Hawkswell showed up well as Buttons but his character was not
written as the standard comic foil or with the bitter-sweet yearning for
Cinderella, which I missed.
The love interest was well catered for with the sweetness of Cathy Gordon as Cinders and an excellent Prince Charming from Joanne Carr, well supported by the Dandini of Vicky Burr. I was sorry the Dandini-Prince switch was not continued for longer with the opportunity for comic business.
In the smaller roles there were good contributions from John Coward as King Maximillian, Tony Blease as Festa and Gerry Johnston as Count Rubitoff. Kim McDonald was a fetching Fairy Godmother.
As always the Port Sunlight chorus performed well throughout and the large number of musical items all came over well under the playing and control of Ian Lewis.
OLIVER!
Port Sunlight Players
Director: Colin McCarthy
Choreographer: Julia Whitehead
Musical Director: Greg Williams
For his first venture as a Director of Musicals, Port Sunlight stalwart Colin McCarthy makes a very creditable debut with this enjoyable Oliver!. Necessity had obviously required the workhouse boys and Fagin's gang to be reinforced by girls (not impersonating boys) but all carried out their routines well. This was particularly so with the appealing Oliver of Samuel Roach and the lively Dodger of Tim Denton (sharing the roles with Bradley Taylor and Matthew Baines throughout the week).
This ever-popular show provides good opportunities for a variety of character roles and Port Sunlight regulars obviously enjoyed the chance to shine.
The ready Dickensian Alan Williams was a natural choice for Bumble with
Jan Coward as Widow Corney. Gerry Johnston came across well as a cadaverous
Sowerberry though I was unsure why he should be drunk at breakfast time!
The other members of the Funeral business all did well with Elayne Beggs
as Mrs. Sowerberry and Nick Hawkswell and Lianne Castree as Noah Claypole
and Charlotte.
Of course the star role is that of Fagin and Port Sunlight were fortunate to have the experienced Eryl Hughes to give his portrayal. Well as he played it I would have liked to sense more of the underlying evil of the character though I accept that the writing does not help in that direction. Vicky Burr was a very good Nancy, singing strongly and conveying both the strength and vulnerability of the character.
A new voice and face to me was in the strong portrayal of the evil Bill Sykes (minus Bull's Eye!) by Stuart Raphael. Strong of voice and menacing in aspect I look forward to seeing him in other roles.
In the smaller roles Bet was played by Emma Healing, Mr. Brownlow by John Coward, Dr. Grimwig by Tony Blease and Mrs. Bedwin by Barbara Whitehead.
The chorus were colourfully dressed and entered into the spirit of their work with gusto.
I must confess I found the ending rather abrupt without the chase to Fagin's den and the arrest of Dodger and the boys before the climactic scene with Sykes. Is this a new version?
The in-house set worked well and good use was made of the catwalk to expand the rather small Gladstone stage. Greg Williams fronted a good orchestra to add to the evening's enjoyment.
BEAUTY AND THE BEAST
St. Alban's Players
Directors: Damien Saul, Jenny Howe
Choreographers: Hayley Jones, Julie Blair
Musical Directors: Ed Coughlan, Billy Hui
St. Alban's have been pleasing their Wallasey audiences with their annual pantomime since 1935 and this year their choice was an in-house written version of Beauty and the Beast.
From the first entrance of their slightly punk Scouse fairy, a very good performance from Sarah Allen, the show buzzed along with plenty of humour and music for everyone. A high energy performance as a Lily Savage-like Dame Lotto from co-writer Keith Simpson, aided and abetted by the zany antics of Moana (Maureen Peers) and Costa (Fliss Saul) gave us the comedy and audience participation in true panto fashion. There were assured performances from Kevin Simpson as Tom, Beauty's Father and Hayley Jones as Margaret, his other daughter.
Beauty was nicely played and sung by Rachel Blackmore and the poor Beast was well characterised by Neil Blackmore, before his translation to the Prince Marcos of Julie Blair.
The "Boos" were reserved and given good voice for the wicked Wizard of Trevor Roberts. Becky Coughlan was Tom's assistant, Edward. I also enjoyed the Ant and Dec sketch by the two young lads.
There was plenty of work for the lively young chorus in various guises and a good variety of music - though hopefully that is the last time I ever hear "Cheeky Girls".
A slight criticism - breaking up the action between scenes for the nightly draw was not a good idea.
HALF A SIXPENCE
Stage One 2000
Director: Brenda Davies
Choreographer: Allison Moffat
Musical Director: Nikki Molloy
It is always a pleasure to enjoy the efforts of this talented youth group, winner of a previous NODA NW Award for a fine production of Honk!. The present show was no exception and all involved pulled all the stops out to give full value to this rather patchy musical.
The rise and fall and rise again of young Kipps was very well portrayed by a fine performance from Philip Connolly, well remembered from his Ugly Duckling in the aforementioned Honk!. He displayed a good grasp of character with an excellent maturing singing voice. He was well matched by a sympathetic performance from Jessica Tomlinson as his enduring love Anne.
Though this is an excellent story it is rather episodic in its composition but it ensures good opportunities for a number of character parts and some lively chorus numbers for the cast.
Kipps shop associates, Ed Dove as Buggins, Andy Moorhouse as Pearce and particularly John Paul Birss as Pornick, gave excellent support. Graham Hicks was a lively and amusing Chitterlow, the actor. There were some pert performances from the accompanying shop girls with Jenny Foulds always noticeable.
The upper-class family that nearly ensnares Kipps again came over well with Aby Wojcik providing the alternative love interest, her snobbish mother, Kate Murray and her devious brother, Phil Birss. Shop owner, Mr. Shalford, was Steve Moffir and his manager, Carshott, was Tom Owen.
There were a number of well grouped and choreographed chorus numbers and the cast of assorted sizes did well, their reactions always well controlled and attentive to the action. The small orchestral group gave good support throughout, adding to another enjoyable evening with this talented youth group.