January 2006 - Region 5 - Glyn Neary
Out of Focus
St Paul's (Astley Bridge) AOS
The annexe to a church hall provides the backing for this hilarious Peter Gordon play. The set, well dressed with the usual church hall clutter and badly drawn notices, looked quite authentic. however, I was puzzled as to why the skirting board extended across the kitchen doorway causing the cast to step delicately over it. The lighting, with no particular dead spots, did everything asked of it whilst the sound cues, generally well handled, did suffer occasionally from feedback problems. It would also have been advantageous to have the offstage sound of a boisterous brownie pack to set the piece at the opening.
Director Cecilia Keefe should be congratulated for running a tight ship, keeping an upbeat tempo and developing the relationships between the characters. With a large cast masking can prove problematical and cast members should be encouraged to allow laughter to subside before continuing with the lib.
Eileen Powell was excellent as the pugnacious, opinionated brownie pack leader, Miss Helen Beever as was Ian Duckworth as the rather tedious 'man with a slide show for all occasions' Leonard Trotter. The pairing of Jenny Peters and Peter Smith as the acrimonious Kath and Bob Enfield worked very well as did the cause of the acrimony, the rather striking office femme fatale Linda Hammond, well played by Emma Powell.
Carol Gannon played the downtrodden vicars wife Evonne Duckworth. With all the attack of a dormant dormouse this was, as she was fond of saying, a 'super' characterisation. Jen Carney as Sue Dixon and Robert W Peters as David Wright played their parts well as their relationship developed whilst Howard Cohen made quite an impact as the Walter Mitty styled Wayne Bryant.
An excellent evenings entertainment with plenty of laughs along the way.
Me & My Girl
St Catherine's AMS (Farnworth)
As the acronym of this society (SCAMS) might possibly suggest this production, colloquially speaking, was no scam. It is to the credit of all concerned that such a show, with its demanding requirements, can be successfully staged in such limited facilities. The substantial improvements gleaned over recent years have been well maintained with this production.
Paul Hancox, as the energetic Bill Snibson, was perhaps, initially, a little over aggressive. However, he hit the floor running and gave an eminently successful, high-octane portrayal. On the other side of the coin Claire Whitehead, despite singing sweetly, did not quite engender the spirit of the East End — maybe Monday night nerves. There is much potential in this young lady and I am reliably informed, from an independent source, that there was much improvement later in the week.
Nicola Jones as the effusive Lady Jacqueline Carstone had no such inhibitions. An eye catching performance if ever I saw one and most assuredly the 'vamp of Hareford Hall'. Her opposite number, the limp wristed Gerald Bollingbroke, was well portrayed by Martin Taylor as he twittered his way successfully throughout the production.
Tim Shorten was very good as the obsequious solicitor Herbert Parchester whilst Stan Porter, he of the disapproving countenance and stately deportment, gave a consummate performance as Charles, the Butler. Excellent support came from Debbie Bolton as the imperious Duchess of Dene along with Colin Dean as Sir John Tremayne.
The limited stage area was successfully negotiated by a large well-drilled chorus; scene changes were effected well (if occasionally noisily); costuming was excellent and the pace of the production was maintained throughout.
Producer, Paul Cohen and Musical Director, Allen Christey should be well please with the overall result.
Chess
Bolton Catholic MCS
This was a production where one is in grave danger of running out of superlatives and where the word 'amateur' became completely redundant. Alongside an exceptional principal line up the choral section of the society added much to the production displaying the full range of its vocal abilities.
The show is not to everyone's musical taste and the complex storyline can be quite difficult to follow. This problem was obviated with the technical input, screens and video, which helped to guide the audience throughout.
Adrian Pollitt as Anatoly Sergievsky gave a moving, assured performance and his singing of the 'Anthem' was pure honey on the ears. Likewise Joanne Duckworth was equally impressive as Florence Vassy. This lady has an astonishing vocal range and her duet 'I Know Him So Well' with Svetlana Sergievsky, here played by Clare Unsworth, was beautifully balanced.
Scott Unsworth was vocally up to the mark as the petulant Freddy Trumper as was James Eccleshare, who moved extremely well in the dance routines, as the very precise Arbiter.
Excellent support came from John Matthias as the devious Alexander Molokov and Paul Stanley as the entrepreneurial Walter DeCourcey. They both also showed what enormous vocal talents they possess.
Other productions I have seen have been rather hard edged and in your face whereas this captured the intrigue, wheeling and dealing, romance and tensions brilliantly.
Choreography by Barbara Grant superbly portrayed the storyline and alongside excellent acting this was a production to savour. Set design, dramatic lighting, costuming and sound (perhaps a little overpowering for some) all staked their place in this fantastic production.
Credit must go to producer Robert Margolis for his vision and to musical director David Wilson for an orchestra that was on top of its game. This show sets a new high water mark in the history of the society.
I have now run out of superlatives — nuff said!
Me & My Girl
Whitefield AODS
This debut production by director Neil Coe contained some innovative touches which added much to what is already a jolly show.
Simon Pickup gave a measured performance as Bill Snibson. The usual hilarity associated with the 'couch' and 'tiger skin' seemed a little underplayed. However, this was a fine performance and a good characterisation. Together with an excellent portrayal of Sally by Amanda Crump they provided a solid base around which the rest of the show revolved.
Mark Rosenthal was a wise choice for the part of the Hon. Gerald Bolingbroke: excellent timing, great facial expressions and ably supported by Alison Starr as Lady Jacqueline Carstone. Keith McEvoy gave a convincing performance as the stuffed-shirt solicitor Herbert Parchester as did Jim Edmonds as the stately butler, Charles.
The upper crust image of the landed gentry was in the capable hands of Melanie Rigney as the domineering Duchess of Dene and Martin Williams as the compassionate Sir John Tremayne. They were well supported by Peter Jones as the alcohol-loving Lord Battersby and his ever-vigilant wife Lady Battersby played by Jackie Kay.
Vocally the society was up to the mark. Choreography by Sara Hudson was very good and the whole production was supported by a competent orchestra conducted by Sarah Day. The set design by lan Legate was excellent which helped to keep the show moving. However, the costuming, sadly, left a little to be desired.
Many thanks for the society's hospitality and congratulations to the society for producing an excellent programme and a worthy evening's entertainment.
The Late Mrs Early
St Vincent's ADS
This Norman Robbins comedy has a light touch and a rather unlikely storyline but who cares about the storyline when it contains a barrel of laughs.
The acid tongued Mrs. Early meets her maker due to an accident with a dodgy electric kettle but instead of going to heaven, or more likely hell, she returns to haunt her long suffering family a friends.
Julie Nappin played the tyrannical Mrs Early with single minded venom, her reincarnation being no sweeter tempered than before, whilst her quiescent husband Sam was played by Howard Clare. Both gave excellent performances.
Maureen Clare gave a very good comic portrayal of the self-appointed, neighbourhood busybody, Mabel Sutton whilst Stan Porter provided his usual consummate performance as Sam's drinking buddy Joe Gittens. An excellent drunk scene was well controlled and not overplayed as can so easily happen.
Ben Kilburn gave a competent performance as Terry Early who unwittingly rekindles the flames of an inter-family feud when he becomes engaged to Susan Rickworth, soundly played by Kate Dobinson. Bert Halliday and Constance Wilson played the smaller parts of Reuben and Lucy Rickworth.
The living room set was up to the society's usual high standard as was the set dressings and the sound effects.
Congratulations on another excellent evenings entertainment.
Anything Goes
Walmsley Church AODS
Despite the rather bizarre storyline the production, along with the S. S. America, floated along on a raft of excellent Cole Porter music and lyrics which make this an entertaining, light-hearted and watchable show if you don't take it too seriously.
Director Nora Howcroft provided the deft touch to steer the ship to a successful conclusion. Steve Taylor's orchestra coped well with the score and Delaney Brindle's choreography added considerably to the overall effect.
From the moment she stepped on stage Kathy Turton (Reno Sweeney) put her numbers over with power and clarity whilst Christian Brabin (Billy Crocker) has a promising voice and looked quite at home with the part.
Mike Fallon was delightfully 'over the top' with his P. G. Wodehouse styled Lord Evelyn Oakleigh whilst David Wilson successfully milked the part of Moonface Martin for all it was worth. Vicki Wilson was very good as the bubbly, swivel hipped gangsters moll Erma. The part of Hope Harcourt is not the best defined in the musical world. However, Lindsay Farnworth made the best of what the part had to offer. The experienced Joyce Walters (Evangeline Harcourt) and Don Howcroft (Elisha Whitney) both contributed fully to the overall production.
The Angels, Charlotte Fallon, Karen Millington, Carole Brooks and Elizabeth Pycroft worked well together. However, I felt their costuming did little to enhance their showgirl image. Otherwise costuming looked authentic and the stage set looked great.
Congratulations to all concerned – a most enjoyable evening's entertainment. My thanks for the society's hospitality.
The King and I
St Philips Junior W.T (Bolton)
Not the easiest show for a junior group to tackle but this enthusiastic society made a very respectable job of it. There are, of course, many levels of ability in such a group and I was pleased to note that several members were quite accomplished whilst others, with a little application, should also make the grade.
As with all such productions there has to be a myriad of helpers along the way. From director Mina Kirkbright, choreographer Barbara Grant to some wonderful costumes made by Jean Foley, properties by Liane Critchley and excellent sets by the backstage team all can be well satisfied by the end results.
Holly Ogden was excellent as Anna Leonowens. Good diction and a strong
singing voice made for a very good characterisation. In a similar vein
Daniel Bolton, despite his stature, had the correct posture and mannerisms
as the King and was vocally promising.
Adam Critchley as Louis Leonowens and Zack Thornley as Prince Chulalongkorn
also provided commendable performances. Despite struggling a little
with the songs Brad Makinson (Lun Tha), Cara Yates (Tuptim) and Bhavisha
Kukadia (Lady Thiang) all carried their parts well and with a little
perseverance should also make the grade vocally.
The ballet by Emma Foley, Charlotte Davenport, Danielle Hayes, Rachel Whelan, Rachel Stanton and Hannah Walmersley was well presented. Captain Orton and Sir Edward Ramsey were played by Peter Henrys and the Kralahome by Daniel Baker.
A satisfactory production and a beacon for the future of the society.
In Concert
The Three Towns OS
Yet another demonstration of brilliant vocal gymnastics from this talented society, whose programme managed to cater for most musical tastes.
From the heavyweight end of the musical spectrum we were regaled with the likes of the 'Pilgrims Chorus' (Wagner), the' Grand March' (Aida) and From to Us (The Messiah).
The musicals genre offered us 'Any Dream will Do' (Joseph and his Technicolor Dreamcoat), 'Anything Goes' and a selection from Oliver!. The spirituals were not forgotten either with 'Swing Low Sweet Chariot' and 'Kumbayah'. Even 'Gwahoddiad' (sung in welsh no less) was stirred into the mixture. The selection was completed by 'Thank You for the Music' and 'Super Trooper' - all of the above arrangements sung by a superb choir.
The evening was not without some impeccable solos and duets. 'On My Lips Every Kiss Is Like Wine' (Lehár) from Marlene Oldfield, an expressive 'Bali Ha'i' (Joan Ashcroft), the 'Major Generals Song' (David Kay) sung at a blistering pace, 'The Music of the Night' (Jim Lancaster) and 'Do You Love Me?' from Fiddler on the Roof (Enid and Colin Magenty) were just some from many others.
The whole package was neatly tied up by the articulate David Hall, oft times amusing and always informative. The baton was precisely wielded by Rodney Dakin whilst Margaret Dakin's fingers skipped dexterously across the keyboard.
An evening where the most jaded taste buds found something to savour - and an audience clamouring for more can't be wrong!
LES MISÉRABLES
Children Amateur Theatre Society
An absolutely riveting performance and of a standard which many a senior society would have been delighted to achieve. With an enviable depth of talent and an imaginative production team this can be justifiably be considered the jewel in the crown of junior productions.
Daniel Whitehead gave an impressive display as Jean Valjean. With
an excellent singing voice and a bucketful of emotions this performance
rates very highly. Another commanding performance carne from Jonathan
Cunliffe as the menacing and persistent Javert.
The trio of Rachel Whitehead (Fantine), Louise Davenport (Eponine)
and Lucy Telleck (Cosette) were all excellent vocally particularly
Lucy who tackled top Cs with no apparent effort. On the dramatic side
Louise Davenport really lived the part as she chased her forlorn love
of Marius.
Martin Foster as Enjolras led his students effectively at the barricade whilst Robert Flitcroft was most convincing as Marius. Tom Glynn Whitehead was excellent as the cheeky Gavroche and Emily Cohen made a delightful young Cosette.
Congratulations must also go to the set designers and builders for an excellent set complete with an impressive revolving barricade.
Effective sound, lighting and costumes created the right atmosphere and the sets were changed with clinical efficiency.
The orchestra conducted by David Bamford was excellent and director/choreographer
Louise Cohen can be justifiably proud of the group's achievements.