January 2005 - Region 4 - Gordon Hall
RED RIDING HOOD
The Chrysanthemums
Director: Julie Delaney
Choreographer: Emma Warrington
M.D. Norman Scott
A month before Christmas did not put me in the mood for pantomime but such was the liveliness of this excellent Chrysanths effort that my mood was quickly changed. What does one demand of a good pantomime? Well, in my case I want lots of humour to go with the music and costumes and plenty of "oohs" and "aahs" and villains to boo! Well I got it all in this production. To a great extent it was the abundance of humour that carried things along at a good speed. Most of the senior actors are seasoned performers in the genre and it certainly showed. Terry Davies as Mother Hubbard must be one of the most experienced amateur dames around and the equal of many pros. His rapport with the audience was excellent. The comedy duo of Jed Flowerday (Snatchit) and Graham Leigh — who also wrote the script (Grabit), the two bungling brokers men were involved in many of the comic routines. I especially liked their "slosh" scene — never an easy one to time well. Alan Bell as the wicked Sheriff of Nottingham gave rise to a good volume of "boos". Not much opportunity was given to Robert Southworth as Simple Simon but he came over as a likeable character.
Aged only 9, Chloe Victoria Gleave as Red Riding Hood gave a delightful and very self - assured performance. The romance and musical roles are taken by relatively younger players but were nonetheless well done and strongly sung. Maid Marion was played by Roxanne Male and Jennifer Barkley played Robin Hood, ably supported by Jessica Leigh as Will Scarlet and Becky Bennet as Sally. Charlotte Delaney was the Fairy and the Wolf was Craig Williams.
One of the joys of the Chrysanths is the four groups of dancers from age about three up to late teens — the Buds, the Petals, the Blossoms and the Blooms — 46 in all and how they all fitted on stage and danced to Emma Warringtons delightful choreography is amazing. The costumes, produced in house were noteworthy and with the music driven along so expertly by Norman Scott on the organ, this was another Chrysanths success.
MAME
Wallasey Operatic Society
Director: Iain Lewis
Choreographer: Colette Atkins
M.D. Craig Price
Good to see Wallasey coming back to form with this colourful and tuneful show. Looking back through the NODA magazines shows that it is a relative rarity for Companies despite having at least three fine parts for females and quite a few character roles. With no real drama it is nevertheless an entertaining and undemanding evening for the audience with an enjoyable score. In the bravura name part Gina Davies sang and acted with panache though I was rather disappointed that she was not given more opportunity to show off her dancing talents (remembering Ginger Rogers' high kicks in the original West End show). As her "Bosom Buddie" (one of the high spots), Jan Davies was suitably outrageous and there was a delightful portrayal of the repressed Agnes Gooch from Alison Wootton.
There was a particularly impressive and self-assured debut from Andrew Nance as Young Patrick with his older self portrayed by Richard Dodd. The male parts are very much supporting roles but with Bernard McElvogue as Mr. Babcock, Mike Lockley as Beauregard, Emerson Betteridge as Ito and Jermaine Gaines as Lindsay this support was well provided. Among the female smaller roles Corrindar Hartley as Sally Cato, Hayley Crawshaw as Gloria and Alison Campbell as Pegeen did well.
With an enthusiastic chorus, beautifully costumed, the show went merrily along though I did feel that perhaps there were times when the humour could have been more brought out, particularly in the first act. Nevertheless this was a bright way to spend a chilly Friday evening.
ANNIE
Ellesmere Port Musical Theatre
Director: Joan Guy
Choreographer: Pam Watson
Musical Director: Craig Price
Annie is an accepted crowd-pleaser and this was underlined by the long queues waiting to enter at the Civic Hall. What a pleasure to see so many youngsters in the audience and enjoying themselves (even if the modem day whoops and screams in lieu of applause can be a bit off- putting!). The cast well deserved their enthusiastic reception. As Annie young Katie Williamson gave a delightful performance both vocally and in her acting and she was well matched by the exuberance of the other orphans. There was a powerfully voiced Miss Hannigan from Liz Legerton as the main source of humour aided and abetted by Barry Hickman-Germon as the oily Rooster and Julie Rooney as the blowsy Lily.
Gareth Anderson gave his usual excellent performance as Daddy Warbucks though they might have aged him more and when the Warbucks Hair Restorer is marketed I'll be first in the queue. (Only joking, Gareth!). There was another nicely sung portrayal by Laura Coad as Warbuck's P.A. Andy Nickson was Drake, Ian Devereux-Roberts Bert Healy and Tom Saban Roosevelt Minor roles were competently done though American accents varied greatly. The chorus came over well in the concerted numbers and it all contributed to an enjoyable feel-good evening.
BLOOD BROTHERS
Port Sunlight Players
Director: Liz Sharp
Drawing full houses for a play is an achievement and it is one which the Players thoroughly deserved for their atmospheric production of Willie Russell's original school play of "Blood Brothers". Once again, simple but effective sets allowed the drama to shine through and the well-drawn characters were perfectly in tune with the essentials of the plot.
Portrayals throughout were excellent and pride of place must go to the performance of Mark Ward as the working class Mickey. From the exuberant play and make believe of the boy to the disillusion and depression of the adult he was totally convincing. He was well supported by Joanne Can as playmate, girl friend and, ultimately, wife. As Eddie, the separated and middle-class twin, David Cope also played well.
Other fine performances came from Dawn Smith as Mrs. Johnstone, whose decision to surrender one of her twin babies sets in train the final tragedy. Samantha Arnold also shone as Mrs.Lyons, conveying her increasing paranoia with great conviction.
Stuart Raphael as the brooding narrator gave a powerful interpretation and underlined the inevitability of the tragic outcome. With minor roles taken by Alan Williams and Craig McGrath this was a very satisfying evening of theatre.
The refurbishment of the Gladstone Theatre continues and at a time when so many local theatres in the public domain seem to be either pricing amateurs out of existence or converting to the so-called "leisure centres" the voluntary Trust which has worked so hard and achieved so much deserves the highest praise.
HOBSON'S CHOICE
Guilden Sutton Players
Director: Gail Young
It is always a great pleasure to welcome a new member to our NODA family, especially when one is treated to as good a production of a favourite play as this. Played in the round in the local village hall with a simple set and well chosen props (where did they get all those clogs from?) they created a feeling of 1880 Salford. This was enhanced by the excellent cast, well costumed and the ladies with correct hair-styles (often forgotten).
In the enjoyment of the humour of the play it is easy to forget that it was set at a time when the lower middle class prejudices of Hobson and the place of women in society was the standard. Even at the time of writing women were still campaigning for the vote with little changed. It is above all a study of human nature and old fashioned attitudes to trade and to class. All this was well conveyed in this production without losing any of the fun.
As Hobson, the King Lear of Salford, with his three rebelling daughters, there was an excellent performance from Robin Norris ideally domineering, cantankerous and managing his descent into resentment and self pity well. He was equally well matched by a fine portrayal by Anna Morris as the strong Maggie finally standing up to the sneers of being an old maid with breaking conventional middle class attitudes by seemingly marrying beneath her status.
As her chosen there was another fine performance by Rob Jones as Willie Mossop. This character is often overplayed, going from village idiot to businessman with little in between. Here nothing was overdone and the increase in confidence was beautifully managed. Alice and Vickey (Sue Beaumont and Sarah Bell) were equally well drawn with the subtle differences between their characters brought out. Their admirers, Albert (Simon Johnson) and Fred (Alex Waring) made telling contributions as did the minor characters.
Thank you Guilden Sutton for a thoroughly entertaining evening and, again, welcome to NODA
42nd STREET
Chester Musicals
Director: Peter Mulley
Choreographer: Rob Stevens
M.D. Gary Carpenter
There are few better openings to a show than the partly raised curtain revealing the energetically tapping feet of this feel-good show. The well known music guarantees an enjoyable evening of nostalgic entertainment with the 1980 musical closely following the classic film of the thirties. Its' continuing appeal is reinforced by the successful revival now running in New York. As someone who finds a step-ball change difficult I can only applaud the hard work involved for many members of the chorus in training up to the performance levels for the show.
The major performers were uniformly well played led by the stage struck chorus girl Peggy Sawyer of Bethany d'Avincourt who "goes out a youngster and comes back a star". As the show's juvenile, Billy, Gary Jones also shone but I was surprised that he was not more featured in the dance routines. The part of Julian Marsh, the martinet Director of the show was played by the ever- dependable John Coppack. Perhaps a little avuncular compared with some interpretations but nevertheless a good characterisation. The other major role is that of Dorothy Brock, the imperious ageing star, and again we had a good portrayal from Gwen Cowan.
Minor roles were well taken, particularly that of Andy, the choreographer played by Neil Silcock, totally new to tap dancing prior to the show. David Padley was Pat Denning and theatrical "angel" Abner Dillon was Peter Oldfield. The chorus all worked well and obviously profited from all their training. One small point, the girl's hair might have been more styled to the show's thirties period.
With the score driven along by the experienced baton of Gary Carpenter and the excellent pit band drawn from the Royal Northern College the whole show added up to a pleasant evening at the Chester Gateway. What a shame that this excellent venue is to be redeveloped and, as I understand it, not replaced with a purpose built theatre
MY FAIR LADY
Heswall Operatic Society
Directors: Pauline Eaton and William Roscoe
Choreographer: Val Hynes
M.D. Michael J. Scott
Often a Regional Rep is slightly worried to inflict himself on a Society on their opening night when nerves and getting familiarity with the stage and set can sometimes inhibit performance. Heswall Operatic (and how good to see them producing musicals again after a two year gap) had few such problems from their largely experienced principal line-up. Steve Riordan, with his immaculate enunciation and suave manner, was totally at ease as Higgins, ably supported by the avuncular Pickering of Alan Williams. Eryl Hughes gave his experienced Doolittle with great attack.
As Eliza Tracey Loran gave a good performance, managing the change from vivacious cockney to spirited lady well. Kevin Nugent also did well with a nicely judged and sung portrayal of Freddy. Smaller parts were all effective with Tim Currie as Zoltan Carpathy and Rebecca Burke as Mrs. Pearce. The well-dressed chorus made a strong contribution . So first night nerves did not set in and mar in any way an enjoyable evening at the Gladstone.
THE PAJAMA GAME
St. Paul's A.O.S.
Director: Joyce Porter
Choreographer: Karen Reynolds
M.D. Brian Smith
I have always enjoyed The Pajama Game though it has appeared relatively infrequently in my Region. Perhaps its' lively and tuneful score and down-to-earth story line is rather negated by the length of some numbers and occasional longeurs in the book. I note from the informative St. Paul's programme that a projected New York revival will have a revised book and two new numbers.
This was an enjoyable performance, marked by two excellent leading ladies- the Babe Williams of Geraldine Metcalf and Helen Roberts as Gladys ( her Steam Heat was a highlight). Comedy was well to the fore with another fine characterisation by Eric Mates as Hines. Although in a lesser part, Tia Chang revelled as the man-killing Mae and Mabel was played by Helga Whiteley.
Graham Turner was a nicely laid-back Sid, enjoying his battles with the devious Hasler of Steve Riordan. Prez was Tony Lacey and Brian Bowers, Pop.
The chorus performed well but were rather constrained by the numbers to be accommodated on the relatively small stage and the need to present some numbers before a rather forward cloth. There was at times a need to speed up action and responses to cues, particularly in an overlong Act One, again not helped by scenery changes in this non-flying theatre which required several overlong cross-overs.
With MD Brian Smith commanding a good orchestra, these reservations did not detract from a most bright, tuneful and pleasant evening.
WEST SIDE STORY
Castaway Youth Theatre
Director: Karen Partington
Choreographer: Rachel Wynn
M.D. Tim Jones
Since I saw their very first show I have been keen to sing the praises of this marvellous youth group and it was no surprise that one of their number, Warren Sollars, should be making such a mark in the MusicalityTV programme. This performance of West Side Story more than equalled the excellent productions they have given us over the years and, indeed, I run out of superlatives for the evening of tension and emotion these talented young people put before us.
From the exuberant and menacing opening of two mindlessly brawling gangs, through to the desolate scene where one more death brings some realisation of the futility of it all, every player was one hundred percent committed to the performance. While the excellent leads stand out it was in ensemble playing and energetic dancing that the whole company shone.
Phil Cross has already built up an impressive CV of pro and amateur roles. His Tony was a sensitive and beautifully sung performance well matched by Jessica Walters appealing portrayal of the young immigrant girl, Maria, willing to risk everything for her first love. Again this was beautifully sung and, as with all the principal players, the maturity of her young voice was notable. As Anita, Jamie- Lee Edge was big of voice and character and the "A Boy Like That" duet with Maria was a highlight ( among many).
Although only on for the first half, Al Caldwell as Riff and Daniel Lee-Davies as Bernardo led their respective gangs with the necessary swagger. Daniel's portrayal of the Puerto-Rican fighting against the contempt and injustice of his environment was particularly well done. Ashley Sollars was Chino but all on stage are worthy of mention as they seemed to develop their own character whether a speaking part or not.
With the fiendishly difficult score well played by Tim Jones' orchestra and an excellent set by Scenic Projects it all added up to a moving and exhilarating evening of theatre. I doubt if I will ever see a better amateur performance of this show. Congratulations to all concerned.