January 2006 - Region 3 - Catherine Allan
ANYTHING GOES
Burnley Light Opera
.... AND IT DID!
To say that the production of Anything Goes by Burnley Light
Opera Society hit the deck running is no exaggeration. From the opening
announcement by 'The Captain' advising the audience of 'Safety Procedures
and Lifeboat Drill' aboard the SS American we knew we were in for a
treat... and we were not disappointed!
Once safely aboard we were introduced to the colourful passenger list,
headed by Reno Sweeney, played by Vicki Stott. Altogether a superb
exhibition of a brilliant all-round performance, singing and dancing
her way through Cole Porter's wonderful music with enormous style and
panache. Her performance of 'Blow Gabriel Blow', in Act 2, was a real
showstopper!
I have seen productions of this show, in the past, where the characters have been somewhat bland and some even forgettable - not so in this production. What a splendid cast of principals, each realising their character to the full.
The plot, it has to be said is a little thin, but this cast did its
utmost to bring alive the wit and style of the story line, so much
so that we were soon caught up in the world of the hapless gangster
and his glamorous moll. Lord Evelyn Oakleigh and his fiancée, Billy
and his short-sighted boss Whitney - played with immense humour by
Geoff Baron, Evangeline - a rich widow, who is brought to life in style
by Anne Baron, and Reno and her Angels ... add to this the ship's
crew and the other colourful passengers (not forgetting the dog) who
is going to marry who at the end of the cruise?
Guy Loveday in the role of the 'broken down broker' and stowaway Billy
Crocker, gave for me, a near faultless performance. Effortlessly commanding
the stage, playing romance, comedy and scaling the highs and lows of
Cole Porter's music with equal ease. Perhaps at his comedic best,
when verbally duelling with Moonface Martin, played with obvious
relish and great comic timing by Jason Cain - their scene together
in 'the brig' has to been seen to be believed!
All gangsters must have a Moll, and Zoe Tompkins, who was a feast to the eyes, did not disappoint us. As the sexy Erma, she had ample opportunity to dazzle us with her dance and vocal skills, particularly in 'Buddy Beware' accompanied by four burly sailors!
Which brings me to Lord Evelyn, who, in my opinion gave the performance of the evening? It is so easy to over-play this role, turning him into rather a grotesque caricature. David Slater skilfully avoided this and was a totally believable Lord Evelyn, with a wonderful 'cut-glass accent', each line crystal clear bringing out every ounce of humour, as he struggles to come to terms with American phraseology. Sometimes with hilarious consequences, and his performance of 'The Gypsy in Me' accompanied by four motley musicians had the audience crying with laughter!
All credit must go to Ann Dickinson playing what is so often the
bland role of Hope Harcourt (Evelyn's fiancée) Not only did she look
stunning, wearing the 1930's gowns to the manor born, but brought out
a feisty side to Hope's character. Her lovely mellow voice, so
right for the period, was heard to great effect in both 'Goodbye, Little
Dream, Goodbye' and 'All Through the Night' - wonderful!
Thank you to all the principal characters, who gave such seemingly
effortless performances, and here must go many congratulations to Director
/ Choreographer Anthony Williams, who 'steered' this whole production.
What a delight it was to see such sympathetic attention given to the
style of the piece, in every department.
A superb set (incorporating the ship's wonderful orchestra, conducted
by Simon Murray) making the most of every inch of space at the
Mechanics. A special pat on the back here for David Walton, and his
superb back-stage crew, for the unobtrusive, yet efficient scene changes
from the ship's deck to the passenger's staterooms - and in such a
tight space too!
The chorus of passengers and crew, who both looked and sounded superb in their set pieces, 'Anything Goes' and 'Blow Gabriel Blow' - 'Commodore Williams' has obviously run a 'very tight ship' which is evident in the outstanding quality of the entire performance!
There is a line spoken by one of the lady passengers, in which she complains 'there are no celebrities on this ship'......... I would beg to differ, the SS American, was loaded with them!
Congratulations to the whole cast and crew, and thank you for a wonderful
evening's entertainment, surely one of Burnley Light Opera's best -
Splice the Main brace!
Sue Bowring
On Golden Pond
Rossendale Players
This well known play by Ernest Thompson tells the story of an ageing couple spending the summer on 'Golden Pond' in Maine. Like all long married couples growing old together, they bicker and fall out, yet their relationship is one of deep love and respect. The routine is shattered by the arrival their daughter, along with her new partner and his teenage son. When the boy stops for the summer, the mature couple have to reassess their lives.
Len Taylor and Sheila Godfrey, as the couple give well researched and measured performances, bringing out the bitterness and resentment the ageing process brings. Although Len's movements were restricted the night we saw the play, due to an injury, he still managed to portray perfectly the rediscovery of his character's zest for life, which the arrival of the youngster brings.
Alexander Marlow was wonderful as the teenager Billy, exhibiting a maturity of performance well ahead of his years. He was totally unfazed at performing alongside the more experienced actors. This young man surely has a great future in theatre.
Brian Carter had a field-day as the eccentric postman Charlie. An amusing character that added pace to the production. The cast was completed by Emma Mills as the daughter, Chelsea, and Michael Whewell, who gave his best performance to date, as the boyfriend, Billy Ray.
Director Carole Bardsley should be proud of this production. It was a brave choice for a relative newcomer to direction, but her increasing experience showed through. She coped well with the limitations of this small stage, helped by the wonderful design of the set.
WEST SIDE STORY
Bacup A.O.S.
This is the third time that I have seen this show at Bacup, never
thinking that the first two in 1993 and back in 1964 would be bettered,
but they were! Expertly directed and choreographed by Clare Round in
her directing debut. I particularly liked her Finale.
The music was under the direction of Julie Killick who took over only
six weeks before and what a splendid job she did with the score which
is not one of the easiest to master.
The sets by Wally (Dave Walton) were superb and brilliantly worked by a competent stage staff. Costumes by Chorus Line were again up to a fine standard. Lighting and sound were in the capable hands of Pete,Dave and John.
As to the cast, all were excellent, not one weak spot and the energy that came from this young cast was breathtaking. Special mention to David Rhodes and Peter Astbury as Riff and Bernardo, they captained their respective teams with authority. Also to the girls who moved and danced their way through all their numbers, especially "America" which was led by Anita, Jodie Ratcliffe, who also supported Maria in their scenes together.
The stars of this show were undoubtedly Debbie McGough and Grant Bromley as Maria and Tony. As professional a performance as you could possibly see on an amateur stage. One special moment was the number "Somewhere", beautifully sung by Sophie Lord and the ballet performed by Fayhe-Louise Mitchell. She played Anybody's and Mark Paterson Snowboy. The last time I saw this guy was as Fagin in Oliver!.You never can tell!
The senior members of the society, who played Strank, Dot, Krupke and Gladhand were John Bartlett, Ken Marshall, Jim Rowe and Paul Higginbotham, which all added to a polished show.
Two minor blips on the first night, which I am sure were later rectified, were a dark spot down stage right and the orchestra was a little too loud in the Maria and Anita duet in the second act.
One disappointing feature was that on the opening night the circle was only quarter full!
Come on, the people of Rossendale, if you want a theatre in the Valley, please support your local societies!
G. Jackson
OLIVER!
Accrington Theatre Group
Director - Howard G Raw
In choosing Oliver! as its autumn production this theatre group must have realised that they must be onto a winner - and so it certainly proved!
This Lionel Bart musical - first performed in 1960 was brought to the Civic Theatre stage as fresh and alive as ever thanks to Howard Raw's inimitable and innovative direction. The opening number launches the action, as there is no overture. The stage set was superb, and as soon as the workhouse kids entered with their rapturous chorus of 'Food, Glorious Food', we knew we were in for a very entertaining evening.
Young Ben Fourie is the youngest Oliver I have seen on the amateur stage, but he, nonetheless, captivated the audience with his very sensitive portrayal of the orphan, who finds himself in the workhouse. David Norris, as the loveable, low-comic rogue Fagin was a joy to watch, working well with the children and they in turn, with him. All the members of this well-cast show gave competent performances - no more so than Mr. Bumble (Howard Raw) and Widow Corney (Sue Moretta) in their domestic encounters. Poor Howard must have been "eating for England" prior to his performance in order to portray the very portly Mr. Bumble!!
The small orchestra under the direction of Trish Gaunt was as good as ever. The stage crew moved props and scenery unobtrusively as the story unfolded.
My only disappointment was the omission of the beautiful ensemble singing of 'Who Will Buy?' when Oliver looks down on the market sellers going about their early morning chores. Despite this however, the show was most enjoyable and will certainly bring in the audiences which it undoubtedly deserves.
Gary H Worthy
The Diary Of Anne Frank
Blackburn Drama Club
The audience was profoundly moved on the night I attended Blackburn Drama Club's revival of Hackett and Goodrich's, The Diary Of Anne Frank.
Everything about this production was outstanding, from the music, composed by Wayne Avanson, to the lighting from John Barrett. The props from Margaret Nolan, Liz Fisher and Tanya Harrison were faultless. Geoff Eccles and Ken Wilkinson's set was ingenious. Hair by Jean Jones and make up by Joan Woolmington were historically accurate. Graham Haworth worked the stage well.
There was much to savour in the presentation by the actors. Jean Jones impressed as Mrs. Van Daan. Joe Connor played her husband with skill. Anita Shaw shone as Mrs. Frank. John Hindle's playing of Mr. Dussel was multi-layered and subtle, a delight to watch. Rebecca Schofield was well cast as Margot. The smaller parts of Mr. Kraler and Miep Gies were ably managed by Martyn Pugh and Suzanne Nolan.
Eleanor Pearson Cooper demonstrated she had the range of emotions to match the young Anne Frank. This was a first class depiction. As Peter Van Daan, Patrick Walsh was her perfect foil turning in a convincing portrayal. Andrew Smith, as Otto Frank, delivered a performance of considerable stature and dignity. Muschi was purr-fect!
Eric Nolan clearly knew how to get the best from his accomplished team. He is to be congratulated on directing a memorable, thought-provoking production.
Geoffrey Farmer