Year

May 2004 - Region 8 - David Parkes

THE SLIPPER AND THE ROSE

Congleton Amateur Youth Theatre

Director: Stephen Hearson
Musical Director: Judith Hearson
Choreographer: Jenny Brennan

A refreshing version of the Cinderella story based on the film at the same name starring Richard Chamberlain and Gemma Craven released in 1976.

Performed without the usual pantomime trappings the accent is more on the tender aspect of the story although there are some nice touches of humour in the script delivered mainly by the King well played by Craig Young. The role of Cinderella was played at alternate performances by Hester Bond and Anna Buckley who also alfemated in the role of the Queen with Heather Taylor.

The characters of the Stepmother and Stepsisters were given domineering portrayals by Laura Matthews, Alison Beech and Beth Allen and there was a nice characterisation of the Dowager Queen from Poppy Schofield.
Luke Gray was a personable Prince, under pressure from his Father to marry a princess from a neighbouring country but rejecting all suitors until — with the assistance of her Fairy Godmother nicely played by Katie Roberts — Cinderella turned up at the ball. The rest, as they say, is history.

In common with most youth productions, the script contains a multitude of minor characters, too numerous to attribute individually, but all combined to give a pleasurable evening's entertainment with grand costumes, good stage settings and lively routines accompanied by a melodious orchestra.

ALADDIN

St. Thomas' AD & OS, Golborne

Producer: Allison Sheridan
Musical Director: Nancy Wells
Choreographer: Sarah Hutchinson

Scripted by Geoffrey Clarke and Mary Howarth this was a fast moving production with snappy musical numbers and dances performed by an enthusiastic company containing a considerable number of youngsters making their first
appearance on stage.

Leading the mirth, Gary Williams was the traditional Widow Twanky in some hilarious scenes with Michael Cash as Wishee Washee.

An unusual aspect in the script, that of having two principal boy characters, provided a double helping of the romantics in the pairing of Sarah Hutchinson as Prince Pekoe with Rebecca Lee as So Shi and Aimee Scatty as Aladdin with Sarah Lyon as Princess Crystal much to the consternation of the hard-up Emperor, James Holme, and the grand Vizier, Jonathan Kennedy, who had alternative ideas for the future of their respective offspring.

Dave Lucas was ideal as the wicked Abanazer and there were delightful performances by Emma Thompson as the personable Slave of the Ring and Kristian Hillman as the laid-back dead-pan Slave of the Lamp.

The production was enhanced by superb principals' costumes by Homburgs, children's costumes by Freda Thompson and the first class sets one has become accustomed to expect from the 'Lord' team — which this year even included the launching of a spacecraft.

A thoroughly enjoyable evening's entertainment made all the more pleasurable by your customary welcome and kind hospitality.

SLEEPING BEAUTY

Shavington Village Festival Committee

Director: Howard Gray
Producer: Andrea Gibbs
Musical Director: Mona Goodin
Choreographers: Andrea Gibbs & Angie Snell

Another large cast pantomime from the pen of veteran Howard Gray who made a surprise unprogrammed
appearance in the opening scene and who, during the week of the production, was presented with the NODA 50 years long service award. Congratulations.

Adrian Robinson returned to the boards after an absence of 25 years to play a masterful Sergeant Darling with Matthew Hassall as the camp Colonel Twittering-Twice (that is camp as in 'Oooh! isn't he lovely' not camp as in soldiers' accommodation). Additional humour came from Nigel Walters as Dame Clara and Ann Watson as the maid Ethyl plus a collection of 'belles' whilst evil was banished by a charming quartet of good fairies.

Liam Carter made his debut in a Shavington Panto as the thieving Lord Chancellor conniving with the wicked fairy (no— not the Colonel) Matilda, played to great effect by Vanessa Curry. Princess Marie Alice, the sleepino beauty, was nicely played by Amanda Hodgkinson and Rachel Hadzik made the briefest of principal boy appearances as Prince Frederick to ensure the traditional happy ending.

A good tempo was maintained with the musical numbers and chorus ensembles were lively. The wardrobe team is to be congratulated on the high standard of the costumes especially when coping with a seventy strong company and the sets were first class with slick scene changes.

It was particularly pleasing to see House Full notices displayed at the venue and Elva joins me in thanking you for your kind welcome and hospitality.

ALADDIN

Newton Amateur Dramatic & Operatic Society

Director/Choreographer: Jenny Whitaker
Musical Director: Guy Pomfret
Asst. Director/Choreographer: Dawn McGuire

Making her debut as a Director, Jenny Whitaker produced a lively and most enjoyable pantomime.

In the title role Eleanor Roberts was a fine principal boy defeating the foul intentions of the dispicable Abanazar evilly played by Mervyn Whitaker— how dare he hate the lovely Brownies in the audience! In addition to assisting the Director Dawn McGuire was a delightful Princess Jasmine.

Comedy in profusion was provided by Paul Stafford as Widow Twankey, Mark Houghton as Wishee Washee, Aileen Wiswell as Suzie Pony the Peking Scrubber, Annemarie Anderson and Dorotby Delooze as the Chinese Policemen Chop-Chop and Na-Na. Nikki Dunbaven was a spectacular gold-plated Slave of the Ring and Joseph Wiswell looked and sounded just right as the Genie of the Lamp.

Other characters were suitably cast and well performed, the entire show was elegantly costumed with good stage settings. Also making his debut with NADOS Guy Pomfret and his band provided tuneful backing to well selected musical numbers.

A good evening's entertainment. Well done everyone.

JACK AND THE BEANSTALK

Frodsham Panto Group

Producer: Cecil Walker
Musical Director: Andrew Lawless
Choreographer: Fiona Walker

Another success by this specialist panto group, this time with a script based on the traditional story by Tom Bright for UK Productions provided by Magical Musicals.

A smaller than usual cast of principals, led by Jack well played by Rosemary Merry in the customary thigh slapping manner who is selected to fight the Giant Blunderbore in order to marry the Princess equally well played by Ruth Carpenter. Dame Trott (Roy Hayes) and Simple Simon (Carol Crooks) provided the comedy especially in one slapstick room decorating scene with, you've guessed, a bucket of paste and a piece of wallpaper. Dave Bradburne was well cast as the bumbling King. Joseph Kenyon belied his young years with a show stealing performance as the giant's servant Fleshcreep whose evil was countered by Jenny Marlin as a scouse punk Fairy!

Unfortunately the programme did not attribute the two young ladies who added to the fun as the tap-dancing cow Caroline.

The Giant's Kitchen scene was most spectacular featuring an enormous figurehead with a booming voice provided by Simon Crooks and a lifesized crying harp.

With scenic backcloths from Howorth Wrightson, Border Studios and Chriska, the customary excellent costumes by the society and lively musical numbers from Andrew Lawless, Barbara Maddock and Tony Whitby this was a pantomime with which all concerned could be justly proud.

ROBINSON CRUSOE AND THE PIRATES

Barnton Variety Theatre Workshop

Producer: Susan Oldfield
Musical Director: Heather Whyte
Choreographer: Liz Cassidy

A lively production of a refreshing new script by Paul Reakes (Samuel French) was presented at a cracking pace by this specialist pantomime group.

Hilarity from Alan Davis as Ma Crusoe (boy can he sprint round an auditorium), John Gaudier as Willy Crusoe and Susie Jones as the love-torn Bessie Bowsprit plus comical villainy from Mike Kelsall as Blackbeard and John Roberts as his side-kick Patch kept the laughter flowing.

Yet more comedy was provided by Neil Silcock as Man Friday, Mathew Sissons as a Gorilla and Edna Taylor as a straw-clad Medicine Man in some simply staged yet hilarious scenes. Julie Ackerley was a fine principal boy as Robinson Crusoe little realising that the life-saving piratical Crimson Hawk was really his girlf riend Polly Perkins in disguise, a superb double-up performance by Laura Sanderson that had the audience perplexed until the final scene. The principal line up was completed by Tony Barrow as a masterful Captain Bowsprit, always seeking the best for his daughter Bessie, and Peter Oldfield as King Neptune.

Fine scenery from Clifford & Brown, lighting, sound and special effects from Theatre Solutions and Fusion Lighting together with excellent costumes by society members Anne Peers and Estelle Tortoishell enhanced this production which was backed by entertaining chorus numbers and lively musical accompaniment.

BABES IN THE WOOD

Congleton Pantomime

Director: Judith Hearson
Musical Director: Stephen Hearson
Choreographer: Jean Clarke

For their 25th anniversary performance Congleton Pantomime chose Babes in the Wood, the first panto performed by them at the Daneside Theatre in 1985 after their five earlier successes at Astbury Hall, and what a fine job they made of it.

Emma Barnett was a swashbuckling Robin Hood backed by a grand group of merry men. Maid Marion was personified by Michelle Allen and the two babes, Tommy (Jake Convery) and Jan (Emily Barker) were ideally cast.
Comedy was supplied by Simon (Paul Garber), Denis the Menace (Andrew Bours), Minnie the Minx (Sandra Copestick) and Brian Jefferson as Nurse Glucose, a dame in the true mould of the great Jack Tripp with a touch of Norman Evans thrown in for good measure. The villainy of the Sherriff of Nottingham (Neil Garbett) was countered in true panto style by the sprite-like Alfred Acorn (Nikki Heath) who joined with the dancers in well choreographed routines.

The dancing of the pantomime babes who, with the senior dancers, were from the Jean Clarke School added yet more gloss to the production which was enhanced by costumes from Lichfield Costume Hire, wigs from Bromiley of Crewe and the magnificent Albermarle scenery.

The splendid Congleton Pantomime Orchestra under the baton of Stephen Hearson moved the production along at a fine tempo and all concerned combined to provide a grand evening's entertainment.

CHRISTMAS GALA CONCERT

Warrington Light Opera

Musical Director: Peter Henry
and the Manchester Opera Orchestra Leader: Kay Thomas

This eagerly awaited annual gala concert followed the established programme of seasonal carols, show songs, grand opera and orchestral items with the added attraction this year of having a leading figure in the field of light music, Ernest Tomlinson, as guest conductor taking the baton for a selection of his own well known compositions and joining the vocalists in the Hallelujah Chorus for good measure.

Unfortunately Peter Henry had not been in the best of health in the weeks leading up to the concert and wisely took his Doctor's advice to 'take it easy' by passing the baton to Steve Raynor and Keith Hoskisson for some of the musical items whilst insisting on introducing each item in his usual witty manner.

Opening with five carols, three of which were Peter's own arrangements, the programme continued with Sullivan's Overture to The Yeomen of the Guard followed by Mozart's "Alleluia" — a stirring solo by Tina Chester.
The first half was brought to a close by a selection of songs under the umbrella title of 'Hopes and Dreams' including Peter's own arrangement of one of my all-time favourites 'Vienna City of Dream's or as they say in Warrington 'Wein, Wein, nur du allein'.

The second half of the programme opened with an operatic selection commencing with the rousing orchestral Prelude to Act 3 and the Bridal Chorus of Wagner's Lohengrin followed by Puccini 's 'O Mio Babbino Caro' beautifully sung by Karen Dyble who was then joined by Jan Hutchings in a magnificent performance of The Flower Duet (Lakme) which brought the house down.

Further operatic solos were performed by Ronald Birks, Tina Chester and John Alvey the three tenors rolled into one" (Peter's words — not mine 'cos I knew him when be was a slim young man. Come to think of it I knew him when we were both slim young men!)

The full chorus then brought this section to an end with a stirring rendering of Bizet's March of the Toreadors from Carmen.

Further seasonal items brought the splendid programme to a close to the acclaim of a packed Parr Hall.

THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMENS GUILD DRAMATIC SOCIETYS PRODUCTION OF A CHRISTMAS CAROL

Davenham & Sandiway Players

Director: Rob Almquist

It is a special pleasure to welcome the Davenham & Sandiway Players to NODA as it was in a production by the then Davenham Church Players in 1956 of a play entitled And This Was Odd that Elva and I were cast as an engaged couple. We did get engaged and were married the following year.

The plots of the 'Farndale' series extend the Sod's Law theory that if anything can go wrong — it will" to "and if it doesn't go wrong — we will help it go wrong!"

Judy Carter was the archetypal bossy Guild President Mrs Reece, whilst Jan Hollingworth proved the point that every society has one in her keen portrayal of Thelma, the Guild's prima donna contrasting well with Rosemary McDowell as Felicity, always trying to overcome her nervous disposition.

Karen Norwood was the accident prone Mercedesstruggling against all odds of injury and incapacity to play her part in the play and her real life husband Dave Norwood was Gordon, the long-suffering man of many parts.

With the cast struggling from one scripted disaster to another the comedy ensued even involving unsuspected audience participation at one point and providing a pleasant evening's entertainment well suited to the Players' compact little theatre.

BRASS AND VOICES

Mid-Cheshire AOS

Musical Director: Barbara Turner
Barnton Silver Band
Conductor: Steve Yates

After many attempts to establish a date when both were available the Mid-Cheshires and the Barnton Silver Band eventually combined in a fine evening's entertainment at the society's Oakwood Lane Theatre.

The Band opened their programme with Sousa's stirring march 'King Cotton' followed by the overture 'London River'.
Christopher Taylor played the cornet solo 'Bright Eyes', the band then played the lively 'La Samba' and brought their first half contribution to a close with Glenn Osser's 'Italian Festival'.

The Operatic Society then performed a selection of solos and chorus numbers from their repertoire of show tunes, and opened the second half with a further selection finishing with a London set.

The Band's second half programme included Clive Baraclough's march 'Simoraine, My Cherie Amour', a flugel horn solo by Karen Probert, Lennon & McCartney's 'Ticket to Ride' and Irving Berlin's 'Puttin' on the Ritz'.

The Mid-Cheshires and the Band then combined in The Last Night of the Barnton Proms with the audience joining in lusty renditions of 'Jerusalem', 'Rule Britannia' and Elgar's magnificent 'Land of Hope and Glory' which of course demanded an encore.

A well received concert which, hopefully, will become an annual fixture.

PS. What a pleasant change to see and hear our National Councillor blowing his own cornet! (Only joking, Ken)

SNOOPY THE MUSICAL

Mid-Cheshire AOS

Producer: Fiona Owen
Musical Director: Ian Garner

This "small cast" show was given its North West amateur premier performance by MCAOS members in the Society's compact Oakwood Lane Theatre.

Based on the comic strip Peanuts by Charles M. Schulz the staged version brought together the characters of Snoopy, the extrovert beagle (Rob Dakin), Charlie Brown, the inveterate worrier (Roman Wieckowski), his sister Sally Brown (Sharon Gallery), the intellectual Linus van Pelt (Andy Jordan), his bossy sister Lucy (Suzie Wieckowska), Peppermint Patty, the tom-boy (Jo Chat) and Snoopy's best friend, the tiny bird Woodstock (Chloe Leigh) in a most entertaining and enjoyable production.

Each character was portrayed to the full and it would be invidious to give individual praise in what was a magnificent "team" performance.

A large kennel on which Snoopy could he atop to idealise his life's philosophy dominated the simple stage setting most effectively. Costumes were again simple yet in keeping with the characterisations.

The musical numbers, although new, were pleasant to the ear and were accompanied at a good tempo by the keyboard/drums duo of Ian Garner and Bill Lowe.

It is an unfortunate fact that theatregoers are reluctant to patronise shows with which they are unfamiliar and, regrettably, this production did not receive the support it deserved.

Those that did not see it missed a brilliant performance of a most refreshing show that was a credit to all concerned in its production.

SNOW WHITE

Vale Royal Juniors

Producer: Ellan Williams
Musical Direction: Barbara Lewis & Tim Dawson
Choreographer: Sharon Caffery

A change from the pantomime, this pleasing version was adapted for the stage by producer Ellen Williams from the original classic story by Jacob Grimm.

Natalie Curlett gave a charming portrayal of Snow White and Lucie Barnes — making her stage debut — was an excellent Wicked Queen. Comedy was provided by Ben Lewis as the foppish Clarence partnered by Hannah Merson as Matilda in well scripted and delightfully sung scenarios. Anthony Ban Ali made a fine King, Kimberley Roberts was a personable Prince and Victoria Targets displayed fine clarity as the Narrator.

Of course no performance of the Snow White story would be complete without the Seven Dwarfs and we were treated to a smart well drilled team who, together with the animals of the forest, performed nicely choreographed routines.
The remaining characters were well cast and added to the overall success of the production which was superbly costumed backed by excellent sets from Borders.

The musical numbers were well chosen and accompanied at a good pace by a tuneful trio.

This was a delightful evening's entertainment Well done everyone.

SWEET CHARITY

Scamps Youth Company

Director: Val Watkinson
Musical Director: Brian Goodwin
Choreographer: Charlotte Searle
Company Producer: Barbara Herd

Please forgive me if I run out of superlatives for this production. Previous performances by this multi-talented company have earned well deserved acclaim and NODA awards, but in my humble opinion Sweet Charity is the best to date.
The staging, set at varying elevations gave height and depth to the sets which, with excellect lighting plots, ensured slick changes from one scene to the next so that the action 'flowed non-stop. Costumes were superb and the orchestral backing magnificent.

In the title role Gemma Moss personified Charity Hope Valentine perfectly, her acting, dancing and singing successes have been chronicled in reports of previous shows but this performance surpassed anything I have seen from her in the past. At the ripe old age of eighteen this was Gemma's farewell performance as a member of Scamps as she is moving on to undertake a three year degree course at Arts Ed, Chiswick. I am sure that her years of experience with Scamps, Alderley & Wilmslow AOS and the Macclesfield Majestic Theatre Group will hold her in good stead in her 'future career and I join with them in wishing her well.

Her three comrades-in-arms at the Fandango Ballroom, fifteen year old Lizzie Schofield (Ursula), sixteen year old Chloe Twambley (Nickie) and fifteen year old Leah Goodhind (Helene) were exceptionally good, leading the other hostesses in a memorable 'Big Spender' number.

The Pompeii Club routine was remarkable for its brilliant choreography, costumes and lighting effects.
Sixteen year old Tim Pinnock (Oscar), already a veteran of seven years with Scamps, showed a fine talent for comedy and timimg in a masterful performance.

Also sixteen, Matthew Williams, appearing in his sixth show with Scamps had all the panache necessary to carry
off the part of Vidal ideally partnered by Lizzie Schofield as Ursula March, whilst 011ie Jones, in only his second Scamps production was a delightfully 'camp' Herman.

The principal line-up was completed by Phil Mason as Daddy Brubeck and Ben Walton in several cameo pads, indeed as programmed "Man of many parts".

Everyone in this production performed to an incredibly high standard and I congratulate all concerned. I would also congratulate the committee for obtaining the necessary sponsorship without which a show of this magnitude could not take place.

THE MUSIC MAN

Crewe AOS

Director & Choreographer: Eric Pover
Musical Director: David Greatbanks

Having previously enjoyed the film of this show I was particularly looking forward to seeing the stage version and was not disappointed in the production at the Crewe Lyceum Theatre.

Led by Jim Davidson in fine form as the con-man Professor Harold Hill and Linda Race in fine voice as the librarian and piano teacher Marion Paroo the show moved at a cracking pace with good all-round performances from the principals, chorus, dancers and student band.

Making a welcome return to the musical stage Ray Cowdall was well suited to the role of Mayor Shinn, as was Margaret Taylor bringing her considerable stage experience to the role of his wife Eualie Mackecknie Shinn (whoever thought up that name!) appearing with her friends acting out some comical scenarios in outlandish costumes.
Making his debut in a principal role Mark Pountain excelled as Marcellus Washburn.

The suspicious Mayor instructed the four-man board of school governors to delve into the Processor's credentials but they were conned by the Professor into forming a barber shop quartet. Thereafter Eric Denyer, Darren Thornhill, Danny Williams and Bill Kynaston drifted in and out of various scenes with well sung melodies.

Susan Dodd (whose real-life family of Caroline, Ellen and Joseph were also in the production) brought Irish witticism to the role of Mrs Paroo, mother of Marion and young Winthrop played outstandingly by Simon Thunder.

Also outstanding was junior member Susannah Davies who gave a charming performance as Amaryllis and there were pleasing performances from Charlotte Platt as the Mayor's daughter Zaneeta defying her father's wishes in her romance with Tommy Djilas played by Josh Fischer.

Paul Nevitt was convincing as Charlie Cowell whose attempt to denounce the fake Professor was countered by Marion's defence and the arrival of the student band in their resplendent uniforms so ensuring a happy ending.
The production was enhanced by scenery by Proscenium, costumes by Triple C, wigs by Bromiley and properties by Howorth Wrightson and was backed by a good band.

Yet again, a brave attempt by a Society to perform something out of the ordinary proved to be unpopular at the box office which is a great pity.

Hopefully the opening night audience would spread the word and ticket sales would increase during the week as this fine production was deserving of much better support.

SOUTH PACIFIC

Centenary O & DS

Director: Neil Townsend
Musical Director: Jill Hyde
Choreographer: Betty Hall

Regular readers will know from my previous reports that the Parr Hall lacks the basics for accommodating staged performances and I must firstly compliment Neil Townsend and the construction team on the design of the sets for this show.

Julie Parry combined her acting, singing and dancing talents — she choreographed Centenary's recent performance of Carousel — in a nicely modulated portrayal of Ensign Nellie Forbush partnered by Mike Hall who gave a good performance as the complex character Emile de Becque, the Father of Ngana and Jerome delightfully played by Laiken Burns and Daniel Murgatroyd.

As Lt Joseph Cable, Sebastian Farrell brought a degree of tenderness and a pleasing voice to his scenes with Liat, beautifully played by Kathryn Cooper, but I felt that he could have been more assertive with the Seabees on his initial appearance.
The Seabees and Sailors, led by Steve Ross as Luther Billis were the typical raucous bunch in the well performed "Bloody Mary" and 'Nuthin' like a Dame" numbers but Anita Warburton, at times, showed rather less exuberance than that usually associated with the role in her nicely sung portrayal of Bloody Mary.

Colin Magenty was a blustering and blistering Captain George Brackett ably supported by Walter Brown as Commander William Harbison.

The chorus routines, especially the "Thanksgiving Follies" and "Honeybun" numbers were well choreographed and the backing of Jill Hyde's customary fine orchestra put the finishing touch to a good evening's entertainment.

BILLY

Centre Stage Youth Theatre Company, Congleton

Director/Choreographer: Jean Clarke
Musical Director: Ian Mackintosh
Producer: George Tweets

My first viewing of the musical version of Billy Liar was a very pleasant experience especially as it was performed by this multi-talented youth group supplemented by three experienced 'Old Stagers' David Martin, Katrina Watson and Edna Ferriday who looked just right in the respective roles of Father, Mother and Gran to Billy Fisher who lived in his own glamorous world of make believe.

In the title role, seventeen year old Phillip Maxwell made a dream stage debut, hardly off the stage for the entire show, he acted, sang and danced like an experienced trouper in a masterful performance. His Walter Mittyish fancies resulted in his being engaged to two young ladies, the brazen Rita admirably portrayed by Sarah Boyle and the more serious Barbara, delightfully played by the golden-voiced Sarah Wright. Unfortunately he had only one engagement ring the possession of which was the cause of some mayhem in the local dance-hall. The one person who could bring Billy down to earth was his third girl-friend Liz charmingly played by another young lady with a beautiful voice, Jo Cutlell.
In his fanciful world his love-life was further complicated in that his bedroom wardrobe was inhabited by Marilyn Monroe personified splendidly by Vicky Garbett.

There were good supporting performances by Andrew Bours and Andy Jones as Billy's mates Stamp and Arthur, Al Berry as Billy's employer, the undertaker Mr Shadrack, and a sincere characterisation of Councillor Duxbury by Chris Little whose singing of It Were All Green Hills" was one of the many highlights of the show.

The musical numbers were well staged with the backing of a good band and nicely choreographed, especially the finale to Act I in which Billy led the dancers in an extravagant routine which also included his parents and grandmother in Spanish costumes. Marvellous stuff.

The sets were well designed and the production was enhanced by costumes by Lichfield Costume Hire and wigs by Bromiley's of Crewe.

There should not have been an empty seat for any of the performances of this show, but again a fickle theatre-going public displayed its tendency not to support an unfamiliar show. They missed a first-class production by this very talented group.

THE MUSICAL NUMBERS GAME

Alderley & Wilmslow AOS

Directors: Sally-Ann Fitzgerald and Michael Caws
Musical Director: David Bradford
Choreographer: Sally-Ann Fitzgerald

An all singing dancing revue production, this year with the various items on the programme linked to numbers issued by a lottery machine and hosted by an unlikely couple — sex-bomb Ivana Umpalot and God's gift to women Bobby Devine, otherwise known as Ali Davenport and Phil Mason.

The action was fast and furious and one can only wonder at the vast amounts of energy expended in the vigorous dance routines.

The numbers covered a spectrum from West End stage shows and film musicals and included some charming items from the Junior Company.

A good evening's entertainment by this very talented company.

ANYTHING GOES

Zodiac AOS

Director: John Corcoran
Musical Director: Peter Thirsk
Choreographer: Beryl Rigby

The stage of the Frodsham Community Centre housed the largest stage set I have seen there, a massive construction from Proscenium which provided the backing for a lively and most entertaining production which was enhanced by an on-stage band in which the woodwind section was comprised of members of the Band of the Prince of Wales Division (Clive).

All the principals were well cast, Eve Leather as Reno with her 'Angels' Vicki Patheyjohns, Bredgeen Smyth, Mary Hyde and Valarie Ball all gave good performances.

Jennifer Ball was delightful as Hope Harcourt, Carmel Leather was elegant as her widowed mother, Evangeline, whilst Vicky Williams was splendid as Erma the gangster's sexy moll.

Daniel Shaw was a fine Billy Crocker, a young man who can sing, act and dance, quite a rarity these days. Aaron Cawley looked and sounded just right as the upper-class twit Lord Evelyn Oakleigh, hamming it up for all he was worth and Tim Jones almost stole the show as public enemy number thirteen Moonface Martin.

Director John Corcoran was in fine form as the inebriated short sighted tycoon Elisha Whitney.

The chorus routines were well done and Homburg's costumes put the finishing touch to a pleasing production.

ALI BABA AND THE FORTY THIEVES

Mid-Cheshire AOS

This NODA pantomime by David Swan had all the necessary ingredients for an enjoyable family evening's entertainment.

Pantomime can be very hard work and needs a lot of time and effort to succeed, and David Parkes together with Debbie Hobley are to be congratulated for their interpretation of a very good script.

Comedy was provided by Freya Sutton and Emily Hack as Bubble & Squeak and together with Bob Cleverly as the Dame got it just right.

Rhum Baba played by Jenna Finnigan and Polly Jones played by Chloe Leigh were ideal, but the experienced Rosie Humphries and Meg Stewart as Vanilla & Delight were hilarious: it had to be seen to be believed.

Wayne Storey as Kasim Baba (aka El Scorpio) the Leader of the Forty Thieves together with the Policemen, the Tap Dancing Thieves and the Spirits of the Cave, are to be congratulated, especially the Camel (Stacey Mathews and Holly Bowe).

There are far too many to mention by name but they were all stars on the night, including the orchestra under the direction of Barbara Turner which complemented a very enjoyable production. Well done!
K.W.