January 2005 - Region 7 - Tony Adler
THE YEOMEN OF THE GUARD
Greenacres A O S
Producer : Annette Owen
Musical Director : Gillian Farmery
Although I may have seen overall stronger singing in other productions of this show, this was indeed a very good and well balanced performance with every principal worthy of excellent marks and both the stage and musical direction matched. Indeed both I and the audience came away well satisfied that justice had been done to one of the G & S more dramatic shows although, in fact, this was quite a light production.
From a singing point of view, the four ladies, Janet Marshall, Janet Millner, Megan Patrick and Alison Brailsford, all of whom are experienced G & S players, took the honours whilst George Smith as Shadbolt showed his fine timing and stage personality, bringing excellent comedy to his role. The chorus was large enough to fill out the show. All the other roles did well, not least Peter Crichton as Colonel Fairfax, which is not one of my personal favourite G & S characters. Gillian Farmery, who normally concentrates on brass, in this case, had strings which gave the appropriate musical balance for the show. She kept it under control and the orchestra did justice to the excellent score. A G & S offering which would have gone down well even 20 years ago.
THE SOUND OF MUSIC
Oldham Metropolitan AOS
Entire production under the direction of Geoffrey Holme.
Musical Director : Anthony J. Quimby
Considering the modest size of the stage which has limitations for a large-scale musical and with the help of suitable scenery, the society, under the experienced hand of the director, Geoffrey Holme, put on a show which the audience seemed to enjoy. Perhaps the performers were not quite out of the top drawer of our amateur movement but nevertheless, they worked hard to give the right emphasis and effect to this musical and the children did their share.
Kathryn Quimby took on the very large part of Maria and seemed to warm up as the show went on being more at home as the Nanny/maternal figure than as an innocent young novice and. indeed. in the more mature aspect of the show. she did very well. Paul Rigney as Von Trapp, whilst not being totally convincing as an authoritarian sea captain. nevertheless portrayed the father of the family in a fairly convincing manner, particularly when he relaxed as their father which is as it should be. Jane Pearson, new to musicals I believe, was a very attractive Elsa and did well, even though there was not enough age contrast between Maria and herself because she seemed a little youthful for the more mature Viennese socialite with business interests which would have needed perhaps an older and stronger character but again, she did well. Stuart Booth as Max, a part he has played more than once previously, is quite a natural for this role and carried it out to excellent effect.
Overall, the society will have felt it did a reasonable show and I am sure that the audience would have felt the same way and the few imports for the Nuns' Chorus sang well and were necessary. Rita Deighton as the Mother Abbess, who has been missing from the stage for a short time, was competent and experienced and appropriately cast. The performers were backed up by a young orchestra under the direction of Anthony J. Quimby and they will all be pleased with their contribution to the show even though they were not visible.
However, one thing I felt worthy of mention is that I did not think it would be necessary to use microphones in a Theatre like Crompton Stage Society (where even I performed years ago ); indeed, no one is ever going to learn that projection is part of performance if they rely on chest mic's in this pleasant little venue.
HALF A SIXPENCE
Heywood A O & D S
Produced and Directed by : Joanne Lord
Musical Director : David Abendstern
Choreographer : Jill McIntosh
This is the third annual consecutive show by Hey Kids (the youth section) where I have heaped praise on the society for an outstanding youth production. I know the show very well with all its faults and I can honestly write that this production ranks with the best I have seen or been involved with. Indeed, by the second act, I had quite forgotten it was a youth show (which, in a way, tells me something). Although it was a young cast throughout, only in an odd older part did one notice it.
Martin Bracewell was a fine Kipps and moved quite well. He certainly put his numbers over in an excellent manner and was totally convincing. Ruby Turner as Ann could have stepped into an adult production of the show and been a star in the role because she was about the correct age, looked right and fitted the part perfectly. Jack Robertson was an excellent Chitterlow. This is a part which, in any show, can sometimes be almost "over-the-top" and, whilst he did not try to do this, nevertheless it was excellent and full of personality and certainly not over played but without losing any of the character.
Every one of the rest of the company supported very well in their various smaller parts and all the numbers were put over in a competent and appropriate manner. Indeed, in comparing notes on a friendly basis with my counterpart from the Greater Manchester Drama Federation, I think he felt exactly the same way — that it was another superb show following on a magnificent Brigadoon and Hello, Dolly!.
Whenever I used to go to a youth show, I always expected limitations but at the moment with Hey Kids, I will be disappointed when I find any limitations in future productions, even though it must surely happen when the youth grows older and leaves the society. The society uses its younger members well in the chorus; and the producer, musical director and choreographer seem to work so well as a team and must be congratulated for all their hard work and indeed success. Indeed, I thought the orchestra was excellent.
This show rated equally with most excellent adult productions which I have seen in recent years and the audience quite rightly, loved it. I enjoyed it not only as a youth production but for its innate quality. Even young professionals learning their skills for a professional stage career would have struggled to better it. There was not an adult in sight on the stage!
LA VIE PARISIENNE
Saddleworth Musical Society
Producer : Brian McEwan
Musical Director : Harry Butterworth.
This is not a show for any society to produce unless it has virtually a captive audience (which Saddleworth usually has) and, more particularly, an excellent group of outstanding vocal principals for the lead singing roles and a sizeable singing chorus. Even Saddleworth has struggled to renew the strong parts of the society over recent years and this is not a show which will attract performers these days in abundance because it belongs to an era when you could succeed with a show provided that the singing was first class and the performers had plenty of character and warmth, as well as stage personality.
Whilst the music is good as one would expect from an Offenbach show, there are no real hits which you are humming as you leave the performance. Certainly, it shows the difference between the modern show and the good old singing shows. Probably the best voices on stage belonged to two of the ladies, Gwen Yates and Karen Robinson, (who it was nice to see on stage again), and they played their parts well up to standard; they both sang well and looked right and attractive on stage. Anne Dobell stood in at the last moment, in true amateur tradition, to cover for Miriam Lawton who had to drop out due to work commitments as the show dates approached and Maureen Samuels gave a nice little cameo performance as a housekeeper.
John Myers as Raoul - (and I have recently found an old programme for another society some years ago when John was virtually at the bottom of the supporting roles) - used his experience to lead the male performers who all did some good things in the show but perhaps without the necessary vocal quality their respective parts demanded. I felt at times that Brian McEwan was aware of some of the limitations he had and may not have been as much at home with this production as others but nevertheless, he had obviously worked very hard to try and bring out some of the nonsense and timing which this show requires, and indeed, John Butterworth had his moments as Baron Gondremarck. How this society must long for the days when they had so many choices of leads with considerable singing talent and numbers in the chorus. Perhaps those days will return but sadly, what I have just written could probably be said about so many of our singing societies these days.
HABEAS CORPUS
North Manchester AO and DS
Producer: Jean Ward.
I suppose towards the end of autumn it is quite nice to have an invitation to a play, as distinct from a musical. I am not quite sure how I would classify this play but if you accept the odd dress or pair of trousers disappearing from the owner, then I suppose it might be considered a farce. But I would not say that it was a traditional farce because Alan Bennett's writing has some quite clever touches not immediately associated with farce.
Nevertheless, the whole of the cast performed it well under the capable direction of Jean Ward and I am reluctant to pick anyone out for an individual mention even if I felt that one or two were just slightly better than others but, on the other hand, everyone played well.
The set was comparatively simple but perfectly adequate and there were some parts of the play which raised laughs from a contented audience. Only now and then did I struggle to hear some of the "asides" when they were spoken softly. This society seems to enjoy its plays and this one had a fair sized cast, all of whom had something to do and, as I have said previously, it gives people a chance who might not be quite as successful in a musical. The Grafters (back stage staff etc.,) all played their full parts and it was very much a society effort and full credit to them.
ALADDIN
St. Herbert's A.D. and E.S.
Director : David Wild
Musical Director: Carl McIver
Choreographer : Pauline George.
As pantomimes go, this was quite a good offering. Certainly the audience both young and not so young enjoyed it and quite rightly so. The script written by the director and Dame, David Wild had been kept up-to-date and indeed, I found it was more suitable for a local pantomime than many of the scripts which I have seen and heard performed by some of the more well known names in pantomime scripts. The music was probably more suitable as well with songs coming at regular intervals instead of after lengthy gaps. Indeed, I think the music had some semblance to Bye, Bye, Birdie.
In particular, three things stood out for me. The scenery was probably equal to any I have seen at this society and Ray Murphy is good at designing pantomime scenery (as well as playing the percussion) and particularly, bearing in mind the restricted off stage movement, all the stage staff did very well to set the various scenes without delay. The costumes, particularly for the Dame, were superb and the pace of the show never slackened and was continuous throughout. The company was adult which was good and so there were none of the scenes with little children which can sometimes be embarrassing and indeed there were some very pleasing individual performances. The small band was on the ball and there was even a genuine female Principal Boy who was attractive but perhaps a little more leg might have been more visible to advantage or perhaps my eyesight is not so good - or the dirty lamp which Abanazar was seeking was a little bit dim - like your Regional Representative. - Oh no he isn't — Oh yes he is!