May 2003 - Region 8 - David Parkes
A NIGHT ON THE TOWN
Alderley & Wilmslow AOS
Director: Carolyn Farrish-Mayer
Musical Director: David Bradford
Yet another lesson in how to perform "revue" styled entertainment from this Society. In addition to their performances I admire the manner in which a theme is devised to give a link to a variety of scenes. Last year it was Musical Decades, this year round-the-world visits to clubs such as the Copaccabana, Fat Sam's Grand Slam, the Moulin Rouge and the Cotton Club provided a fine thread connecting well performed toe-tapping song and dance routines backed by a magnificent trio consisting of MD David Bradford, Guy Lightowler and David Walsh.
The entire twenty-four strong company, including Director/Choreographer Carolyn Farrish-Mayer, combined brilliantly to provide packed houses with entertainment to a very high standard.
After the performance it was with great pleasure that I presented NODA Long Service Awards to Society stalwarts Tony Riley (45 years) and David Hetherington (35 years).
THE PIED PIPER OF HAMELIN
Barnton Variety Theatre Workshop
Never lacking in enthusiasm, I felt this production was one of this society's best. A happy bouncy show, full of the right ingredients, arranged through NODA and written by Leonard Caddy.
The Pied Piper was confidently played by Bethany Davancourt and together with Katerina, played by Jenny Baker, were ideal. Comedy was very much to the fore, with Marion McBride as a wonderful Gertrude Blusterholster and a hugely funny Old Dancing Mistress played well by Neil Silcock. Edna Taylor and Tim Jones made good policemen Dreadful and Worse and Tony Barrow was a strong character as Alderman Von Blunderbus. Susie Jones as Maud Maudlin together with Mike Kelsall as Finklefepper handled their parts extremely well. I wonder who thinks up all these wonderful character names!
A very entertaining show with good scenery and some very nice effects with plenty of audience participation, and nice to see a near full house.
This was a good production and the music ideal, but I felt the show went on far too long.
CAROUSEL
Centenary AD & DS
Director: Eric Rimmer
Musical Director: Jill Hyde
Choreographer: Julie Parry
An obstacle that Centenary has to overcome with every production at Warrington's Parr Hall is that it was not designed as a theatre and there are virtually no facilities for staging theatrical performances. Despite this drawback the show opened with a lively all the fun of the fair prelude in which the dancers portrayed the carousel in a well thought out and performed routine.
Clare Asprey brought charm, sincerity and fine vocal talent to the role
of Julie Jordan whilst Joe Whitlow, in only his second principal role, was
a masterful - if somewhat youthful - Billy Bigelow. The pairing of Clare
Ewing as Carrie Pipperidge and Ray Hanson as Enoch Snow worked well. Their
characterisations were good both visually and vocally.
Twelve years on from the society's previous production of Carousel, incidentally
their first production in the Parr Hall, Sheila Cummins reprised her performance
of Nettie Fowler in the traditional warm hearted manner that is the hallmark
of this role. Steve Ross was a suitably villainous Jigger Craigin and Anita
Warburton was an ideal Mrs Mullins. The scene stealing Snow children were
immaculate and I was most impressed with the dancing and acting ability of
Davina Kernahan as Louise.
Other minor roles were performed well with good chorus and dancing routines accompanied by Jill Hyde's fine orchestra.
One attribute of the Parr Hall is its balcony which enabled Billy to appear with the heavenly friend 'up there' whilst Julie held centre stage singing "if I Loved You" in an eye-moistening finale bringing the curtain down on a good all-round evening's entertainment.
CAROUSEL
Crewe AOS
Director & Choreographer: Audrey Rhodes
Musical Director: David Greatbanks
A lively opening paved the way for a good all round performance of this well known show.
The principals were all well cast with Jim Davidson a capable Billy Bigelow contrasting well with the composure of Julie Jordan played admirably by Linda Race. Claire Thompson extracted all the comedy in the character of Clarrie Pipperidge and Joyce Walker was just right as Nettie Fowler. Mike Campbell was suitably roguish as Jigger Craigin, Liam Carter equally suitably pompous as the ambitious Enoch Snow with Andrew Hassall as Enoch Junior leading the well drilled Snow children. Margaret Taylor portrayed the scheming Mrs Mullin with a well maintained Irish accent.
What a refreshing change to see a chorus of Sailors/Fishermen/Dancers comprised of no fewer than sixteen men of varying ages which, combined with a twelve strong ladies' chorus plus eleven female dancers filled the ample stage of the Lyceum Theatre in well designed and performed routines.
Sian Bebbington as Louise danced beautifully in the.ballet scene choreographed
by Sally Ann Rhodes-Leader.
It was unfortunate that a troublesome gauze curtain distracted the audience's
attention in the heavenly scenes (where everything is supposed to be perfect)
receiving a round of applause when it eventually descended!
SCROOGE THE MUSICAL
Congleton Amateur Youth Theatre
Director: Andrew Bours
Musical Director: Simon Callaghan
Choreographer: Louise Carter
This musical version of Charles Dickens' A Christmas Carol adapted by Leslie Bricusse was given a lively performance by this talented Youth Theatre Group with 36 principal and minor principal characters plus a ten strong chorus.
A well staged opening set the standard for the whole production with a marathon performance by Craig Young as Ebenezer Scrooge wringing out every nuance of Scrooge's meanly existence before his transformation at the hands of the ghostly Jacob Marley, well played by Tom Sargeant, and the ghosts of Christmas Past, Present and Yet-to-Come played by Alison Beech, Daniel Nash and Natasha Harrop respectively.
Space does not permit the detailing of all the individual roles which were all played admirably but I cannot resist a mention of Luke Gray - an Artful Dodger if ever I saw one - who, in the character of Tom Jenkins, led the entire company in a spirited rendition of "Thank You Very Much".
The performance was complemented by the backing of a fine orchestra under the baton of the very talented and youthful Simon Callaghan who, together with the dynamic production team of Andrew Bours and Louise Carter presented an enjoyable evening's entertainment to packed houses.
The talent of this Youth group together with the commitment of all those in the background augurs well for the future of the amateur theatre in Congleton.
DICK WHITTINGTON
Frodsham Panto Group
This Pantomime written by Tom Bright was fun of comedy, which this group, extracted to the full. Produced by Cecil Walker, it moved at a good pace and the scenery, lighting and costumes, as ever, were excellent.
Another good performance from Simon Crooks as 'Sarah the Cook' and Ron Garvie as Alderman Fitzwarren, although I wasn't too keen on some of the dialogue. Rosemary Merry as Dick Whittington & Gemma Lawless as Alice Fitzwarren were ideally cast and portrayed their parts extremely well. Carol Crooks as Idle Jack gave her usual competent performance and Roy Hayes gave a very good portrayal of Captain Birdtable; but a word of praise for Catriona Shenton as Tommy the Cat - it must have been quite warm in that costume, so well done!
Chorus singing was good and showed the influence of Musical Director Andrew Lawless. A very enjoyable production.
CHARLEYS AUNT
Knutsford Little Theatre
Director: Catherine Macdonald Smith
A delightful production of Brandon Thomas's amusing comedy set in St. Olde's College, Oxford, in 1892. Each of the three acts takes place in a different location and it is to the credit of the set designers, constructors and stage crew that the changes were accomplished most effectively.
Nick Denton and David Wade respectively portrayed the characters of the undergraduates Jack Chesney and Charles Wykeham very well but appeared to be somewhat on the youthful side to be undergraduates. Nevertheless they both gave confident performances. As the third undergraduate Lord Fancourt Babberley, Sean Duvall was the essence of the upper class twit eventually taking on the role of Charley's Aunt in some manic scenes involving Tony Turner and Graham Browne as Col. Sir Francis Chesney. Bart, and Stephen Spettigue, Solicitor.
As the respective ward and niece of Spettigue, and the objects of the romantic intentions of Jack and Charley, Sarah Hollins (Kitty) and Louise Mansell (Amy) gave splendid performances displaying the fact that they were fully aware of the intentions whilst maintaining the outward air of innocence.
A stalwart performance by Jim McNamara as the long-suffering college scout Brassett together with Lillian Atkinson as the genuine Aunt and Charlotte Ashworth as orphan Ela Delahay, the lost-love of Lord Babberley, completed the line up for a most entertaining production which was beautifully costumed in keeping with the era.
Well done everyone.
THE ROCK NATIVITY
Lowton S.T.A.R.S.
Director & Choreographer: Louise Phelan
Musical Director: Craig Barlow
Not having previously seen this show by David Wood with music by Tony Hatch and Jackie Trent I was unsure what to expect, but I was very pleasantly surprised by the content which, to quote some of the programme notes, was "A combination of contemporary music and carols - simple yet not naïve - humourous yet not disrespectful".
The traditional biblical account of the Nativity was depicted by a talented group of youngsters who were obviously enjoying taking part in this well designed show.
The characters of Mary and Joseph were admirably portrayed by Kate Lynch and David Molyneux, whose singing of "With You" was accomplished with a fine degree of sincerity whilst Christopher Stacey as King Herod displayed a maturity in his acting and singing ability when bringing out the anguish of the character.
The production was complemented by a fine musical ensemble accompanying a lively and tuneful chorus providing a full house with a toe-tapping prelude to the festive season.
A very enjoyable evening's entertainment which reflects well on the dedication of the production team and all their helpers.
CINDERELLA
Mid-Cheshire A.O.S
This NODA Pantomime written by Peter Denyer was one of the best I have seen for a long time: truly traditional and good all round family entertainment. Playing in their own compact theatre, scenery was made by society members, so congratulations to Ted Moss and John Matzen, Set Designer and Set Manager, for the excellent set.
There was a bright and breezy opening, with good singing and a very good choice of music, which set the standard throughout. Laura Hobley played a confident Cinderella and together with Laura Sanderson as Prince Charming were ideally cast and with good support from Krysia Rose as Dandini they made a perfect trio. The two ugly sisters, Mona and Grizelda Hardup, played by Meg Steward and Barry Billinge, were suitably awful in appearance, but they were a good experienced team and deserve an Oscar for the antics they got up to. The experience of seasoned actors Bob Cleverly and Rosie Humphries was evident in their portrayal of Baron and Baroness Hardup, but outstanding was Andy Jordan as Buttons, he was superb!
Making up the rest of this excellent cast, was Ingrid Cleverly as the Fairy
Godmother and Bill Lare as The Chamberlain.
Pace was maintained by Musical Director Barbara Turner and completing the
excellent production team were Producers Debbie Hobley and David Parkes.
SINBAD THE SAILOR
St. Thomas's AD & OS, Golborne
Producer: Alison Sheridan
Musical Director: Nancy Wells
Choreographers: Alison Sheridan (Chorus) Sarah Curtis (Dancers)
Not one of the usual pantomime titles but a good script by Mary Howarth and Peter Redmond provided the basis for another enjoyable performance by this enthusiastic Society.
Leading the comedy, Gary Williams made his first - and I am sure not his
last - appearance in skirts portraying Mrs Sinbad in the traditional manner
ably assisted by Keith Wilde and Matt Morrell as the Mate and Bo's'un of
the good ship Adventurer. Further comedy was provided by Ghislaine
Coleman as Sic Mo, a Chinese robot who could not stand the word "work".
In a well designed reflective costume she maintained a robotic appearance
in fine style throughout.
In the title role Aimee Scally was a fine principal boy, blending well with
Sarah Curtis as Princess Mitsouka. Their solos and duets were delightful.
The villainy of the plot was provided by Michelle Thompson in the guise
of the Old Man of the Sea. By now she must be accustomed to hearing the boos
having also played the villain in last year's panto! As always, panto villainy
is countered by good - this time by talented ballet dancer Beckie Casey demonstrating
charm and poise as the Princess Oceana.
All the minor principal characters were well cast and they, together with
a well drilled chorus provided tuneful lively routines backed by the duo
of Nancy Wells and Vince Wilcock on piano and drums.
As always the sets by Bob and Ian Lord and their teams were most effective and the principals' costumes by Homburgs of Leeds together with the children's costumes by Freda Thompson put the finishing touch to a fine evening's entertainment.
OLD KING COLE
Shavington Village Festival Committee
Producers/Directors: Howard Gray and Barbara Bispham
Musical Director: Mona Goodwin
Choreographer: Andrea Gibbs
An even larger cast list than last year - fifteen principals, nineteen adult chorus and no fewer than fifty children - was assembled for this panto written by Howard Gray. In addition to the traditional characters of Old King Cole (Andy Locket), Dame Fanny (Marshall Griffiths), Idle Jack (Simon Newton), Prince Nathan (Rebecca Brough) and principal girl Polly (Amanda Hodgkinson) the plot of this production included a brain surgeon, Frankenstein played by Andrew Kirk, his bolt-necked servant Cedric (Jonathan Priest), a female vampire, Cilla played by co-producer Barbara Bispham, Lester the Jester (Ross Hogg-Robinson), a zany detective, Maggie May (Rene Hancock), her word perfect assistant Gloria (Dianne Fletcher), a large chicken Penny the Bird (Rachel Hadzik), a large cat (Natalie Hall), an enormous Indian - Big Chief Little Wonka! (Scott Watson) and a Sheriff (Benjamin Gibbs) plus three fiddlers who bad been kidnapped by Frankenstein to perform with other musicians in "Frankie's Band".
The well drilled chorus admirably performed a variety of numbers with backing at a good pace from a tuneful quartet, and all the principals gave creditable performances in front of well designed sets, especially the Frankie's Band and Frankenstein's Laboratory scenes which were superb. Costumes were a highlight and credit must go to Wardrobe Supervisor Rene Hancock and her team for designing and making such effective costumes for this large cast.
I felt that at times the humour was more restrained than that usually associated with panto, but that said it was a good evening's entertainment well received by an appreciative audience.
BARNUM
Scamps Youth Company
Director: Val Watkinson
Musical Director: Brian Goodwin
Choreographer: Charlotte Searle
Company Producer: Barbara Herd
A challenging choice for any Society, Barnum was performed by this award winning youth company with a panache and brilliance beyond their years.
In the title role Michael Dawes could not be faulted, from start to finish he was the personification of P T Barnum, Showman and the Prince of Humbug. As his long-suffering wife Chairy, Kate Coffey stepped out of the chorus into her first principal role with Scamps with all the confidence and talent of a seasoned performer.
Delightful cameo characterisations were portrayed by 15 years old Chloe Twambley as Joice Heth (the oldest woman alive), Tom Pinnock, also 15 years old as Tom Thumb, and seventeen year old Gemma Moss bringing her fine vocal talent to the role of the Swedish Nightingale Jenny Lind. Fourteen year old Charlotte Silver gave a show-stopping performance as the Blues Singer in the Black & White number and fine performances were turned in by James Wise as Julius Goldschmidt, Gary Smirk as James A Bailey and Oily Jones as Amos Scudder. Oily also understudied Barnum.
We were treated, both prior and during the production, to a variety of circus acts, juggling, clowning, trapeze artists, stilt walkers, tight rope artists - including Barnum himself after just three weeks' tuition - all linked together in a stirling performance from newcomer Sid Smith as the Ringmaster.
All the minor principal parts were well cast with magnificent backing from impeccably trained and costumed dancers and chorus.
Back stage accompaniment was to the usual high standard under the baton of Brian Goodwin. The sets and scene changes were superb and the whole production was one with which all concerned should be justly proud.
SHOWBOAT
Trinity AOS Congleton
Directors: Sheila Hood and Helen Bibby
Musical Director: Ian Pickford
Choreographer: Liz Cardall
It is regrettable that one of the most tuneful scores to come from the pen of Jerome Kern combined with the lyrics of Oscar Hammerstein II can present problems in the current PC era, but the Trinity AOS went through all the prescribed procedures before making their brave decision to perform Showboat.
The Daneside Theatre's auditorium provided an admirable layout for the entrance of the Showboat Troupe led by Captain Andy, well played by David Martin, in a bright and breezy opening scene. His characterisation contrasted well with that of his prim wife Parthy equally well played by Sue O'Rourke.
The romantic roles of Magnolia and Ravenal were performed with sincerity and in fine voice by Helen Snelson and Mike Malone respectively whilst Edna Ferriday and Douglas Parker provided light relief as the larger than life duo Queenie and Joe.
A highlight of this show is the evergreen "Ol' Man River" and this was no exception with fine singing from Joe and the chorus. The two wanabees, Ellie and Frank - Vicki Bailey and David Lilly - performed their routines in fine style but I felt that in both the opening "Ballyhoo" scene and later in "Life Upon the Wicked Stage" Ellie's costumes were too similar to those of the chorus and a more distinct contrast would have enhanced the overall effect.
As the couple caught up in the mixed marriage taboo Julie and Steve were portrayed well by Pam Anstice and David Corney with a fine rendering of "Bill" by Pam receiving well deserved acclaim from the audience.
The dance routines were nicely choreographed and performed, especially the unusual version of the "Dahomey" number which was most effective. The chorus and minor principals all played their parts well in providing a good evening's entertainment backed by a fine orchestra under the baton of Ian Pickford who I am pleased to see in good form following his recent hip replacement operation.
THE SLIPPER AND THE ROSE
Vale Royal Junior Operatics
Producer: Ellan Williams
Musical Director: Barbara Lewis
Choreographer: Sharon Caffery
My first viewing of a performance of this version of the Cinderella story was an enjoyable experience. Whilst the script contains some nice touches of humour, it portrays a far more tender aspect of the story than the usual pantomime versions and this was brought to the fore by the performances of Kimberly Roberts with a delightful portrayal of Cinderella and Ben Lewis displaying fine acting talent as Prince Edward. For a thirteen year old he possesses a pleasing baritone voice, not usually associated with one so young, which should be carefully nurtured. Their solos and duets were a highlight of the production.
The characters of the Stepmother and Stepsisters were realistically performed by Jennifer Icely, Hayley Preece and Laura Smythe. Anthony Ban-Ali provided most of the comedy as the King with nice characterisations of the Queen and Dowager Queen by Victoria Targett and Laura Bason. Sophia Reilly was the Prince's stalwart companion John, and Leanne Humphreys gave a good performance as the Lord Chamberlain but the scene stealer of the show was Stephanie Munro as the Fairy Godmother with some well timed one-liners.
The script contains a multiplicity of minor characters too numerous to mention individually but sufficee to say that all combined well to give a pleasing result.
The scenery, which was not credited in the programme, was very good and the numerous scene changes were well handled by the stage crew. At times the tempo of the music could have moved a little faster.
The production was well costumed but I felt the appearance of the 'male'
characters in the court scenes could have been enhanced had they worn traditional
knee-breeches with their brocade coats rather than modern looking trousers.
With the dedication of all concerned behind the scenes this junior group,
now in its fifteenth year, goes from strength to strength with imaginative
and challenging productions such as this one.
CHRISTMAS GALA CONCERT
Warrington Light Opera
Musical Director: Peter Henry
and the Manchester Opera Orchestra Leader: Kay Thomas
Firstly, may I say what a pleasure it is to welcome Peter Henry back to the podium following the major surgery he has had to undergo since last year's gala Concert.
From the number of items in the programme arranged by Peter it is obvious that he has been far from idle during his period of enforced absence. Accompanied by the mighty 45 strong Manchester Opera Orchestra - occasionally just a mite too mighty for the vocalists - the Warrington Light Opera chorus and soloists performed a well balanced programme of . seasonal music, songs from the shows, and arias from grand opera which, together with a variety of orchestral items, interspersed by witty introductions by Peter provided the appreciative audience with a fine evening's entertainment.
It is customary at these gala Concerts for an instrumental solo to be played by a member of the orchestra and this year we heard an excerpt from a Harp Concerto by Handel beautifully played by Maxine Molin-Rose.
Not to be out-done a member of the chorus, Jens Muller-Alander stepped forward to provide authentic accordian accompaniment to "Do You Love Me?"
In contrast to the familiar musical numbers, the second half of the programme opened with four of the five sections of the little known cantata In Windsor Forest by Ralph Vaughan Williams. A demanding choice but one in which orchestra and chorus combined to give a polished performance.