January 2006 - Region 6 - Colin Magenty
Amadeus
Chorley A.D.O.S.
Director: Mark Jones
This was an excellent piece of theatre. The only criticism is that the play is a little long. Mr Shaffer's fault, not yours,. As for the acting and direction it was first class and not a weak link in the cast.
The narrators, Rachel Brennan and Annaka Lee, were both excellent and how lucky can this group be with three new members, all male and all very capable on stage; well done to James Rogerson who played Van Swieten, Rob Tryner who was Von Strack and Mozart himself, Martin Clarke. I hope for the society you all stay and I look forward to seeing all three in future productions.
Barry Callender again turned in a creditable performance as Orsini—Rosenberg, as too did Joe Simmons as The Emperor Joseph. Beccy Andrews has shown that she can do more than comedy. The only thing I would point out, however, is that we lost her when she speaks softly; we still need to hear the words. We lost projection which I know she has. Finally Dave Reid played Salieri; this actor gave a superb performance as Pip Last year and this performance was just as good, if not better, capturing the change of personality between the old and younger man to a professional degree.
My congratulations to the whole cast and its director. Well done, and thank you .
Oliver!
St. Helens A.O.S.
Director: Eric Rimmer
Musical Director: John Flood
Choreographer: Elizabeth Hill
This has become a classic British musical being a child of the '60s at a time when home grown musicals of this quality were few and far between. The show, to work, has to get across the dirt and grime of Dickensian London. The children and staff were too clean, and the death of Oliver's mother at the beginning just did not work with people watching the Punch and Judy show; they would not just stand there. When the chorus moved, as in the inn the numbers, it was not bad at all but, unfortunately, the chorus was too static most of the time. It was apparent, also, that they did not have the correct underwear as the ladies showed far more than was acceptable at that time, and that applied to the dancers.
Oliver had a lovely singing voice but unfortunately he was too tall. After last years very good production the company would seem to have taken a step backwards. I missed Fagin's Jewishness and the facial hair was not right. He failed to do justice to his main solo number 'Reviewing the Situation'.
Nancy's voice was not quite up to her big numbers but she was not helped by the scene change which went on in plain view of the audience when it needed a tab line in or, at least, the back-stage crew needed to be in black.
Bet, the night I saw the show, was too young for the part and again she did not have the right undergarments on. I did like the performance of Neil Butler as Bill Sykes although I missed the dog. I unfairly saw this on the opening night and I'm sure that it was a different show as the week progressed. It was evident that the cast had worked hard but this was not one of the society's better shows.
Bouncing Back
Chorley Little Theatre
Written and Directed by Joe Mills
This continuation of the original from the pen of John Godber, and with his consent, Bouncers was re-born. All the old characters were there and the cast, which performed in the original, returned for this production: Les by the writer Joe Mills, Ralph by Brian Clarke, Lucky Eric by Barry Callander and Judd by Steve Unsworth. All of them gave the same characterisations as before and all that can be said is they all played their parts extremely well.
You either like or loathed Bouncers and although the language used tends to become less shockable as the evening progresses because you hear so much in the same vain. I found that the first half of this sequel was funny but the second half less so, and at least fifteen minutes needs to be cut in that half; but I did like the twist at the end.
An entertaining evening and Joe's other characters were very well acted by this talented young man. Congratulations and my thanks for an interesting evening.
Dazzle
S.O.N.G.
Director: David Siebert
Choreographer: Victoria Harrocks
Musical Director: Pete Scholes
This was a well-directed and choreographed show ,where it was obvious that everyone in the cast were enjoying the experience. This came across in their performance.
All the cast were well-defined individuals and came across well. I particularly enjoyed the performance of Vicky Murray who played Dazzle herself; this was, yet again, a very good portrayal by this talented young lady. Other excellent performances were those of Kirsty Tattler as Angela and Ella Brennan as Lolita. For the boys Matt Clare and Tom Mackley were up to their normal standard.
The best thing about the whole production was the chorus and the total involvement of the cast.
Thank you for a very enjoyable evening
LES MISÉRABLES
St Paul's Players Youth Group
Director: Graham Cohen
Musical Director: Anthony J. Quimby
This was a delight from beginning to end; well directed, well performed and a superb youth orchestra with a musical director who, at the tender age of 16, did an job with this company which would be hard to better by any of his peers.
The set was impressive, especially the barricade which revolved as well. To match the set we had some lovely performances, none more so than 6 year old Georgia Cohen who sang 'Castle On a Cloud' beautifully. Other outstanding performances were those of Sophie Elliott as Fantine and Vicki Forester as Eponine. As for the gentlemen, Sam Crowder as Javert and Sean Hargreaves as Marius were extremely good.
These were well supported by Jonathan Pryor as Valjean and the two likeable villains, Ms and Madam Thénardier played by Craig Nixon and Jennie Heeks. A special word for Gavroche; this was a nice cameo by Thomas Heyes.
Very good show backed by a well trained chorus: my congratulations to all.
Carmen
Liverpool Metropolitan Opera
This concert version of Bizet's famous work was received by a full house at the Arts Centre venue in Southport and was well sung by the principals. The chorus were small in number but did its best considering the limitations.
The role of Carmen was well sung by Valerie Watts. Nick Hardy, who
played Don José, was on the top of his form and was a delight.
David Palmer gave Escamillo life and sang the part extremely well.
Frasquita was sung by the effervescent Pam Ashcroft but the role which
really was outstanding for me was that of Michaela superbly sung by
Lesley White.
The whole production was held together by musical director, Huw Dunley. This was a very enjoyable evening: my thanks to all concerned.
Dead Ringer
St Ambrose' Players
Director: Liz Procter
This is a bang up-to-date comedy thriller which this society carried off very well. It had one of the best sets I have seen for some time. With excellent direction, a very strong cast, it was a most enjoyable production. John Sangster's duel roles played very well, as was the role of his wife Eva, played by Mary Peck; a very natural performance this.
Dick Marr, played by Lionel Glover, and the Colonel, played George Birkin, gave sound performances as we have become to expect from these two actors. David Quick did well as Ray but the performance that really made the evening was that of Delia Rutlidge who played Frances; she was superb.
A special word for the only other member of cast not mentioned and that is Lee Bradbury whose portrayal of Nigel was a lovely cameo for one so young. All in all, a very enjoyable evening: my thanks to everyone.
TRIO
Chorley A.O. D.S.
Waking
Director: Brainne Edge
This one act play was only short, but in it we had some extremely good acting from the two members of cast; these being Rachael Hilton and Tom Cohen. It moved well and the performances did bring it to life. I did loose some dialogue when the volume dropped, however. Although this play is a conversation piece at no time can you allow it to be just a conversation. Even though the theatre is small you still have to project. But this was a very interesting play, well Done
Keeping Annabelle
Director: Brainne Edge
This was a short but amusing playlet and well played by Michael Wignall and Katie Griffiths
Birthday Greetings and a Bottle of Wine
Director: Brainne Edge
The third and longest of the evening of one-act plays by the young and talented Rachael Welch was well handled with Joe Simmons as the anchor part playing Albert and his old mate, Freddie, played by Alan Pearson - not type casting this time. A nice comedy this with two excellent performances from Sue Hilton as Blyth and Bobbie Day as Vera. Tony Vanerweele was fine but did tend to go a little ott with the role of Jeremy. Last but not least, Rebecca Andrews gave her usual sound performance.
Encore, Encore!
Adlington Music and Arts Society
Director; Diane Simmons
Choreography; Gillian Pilkington
The way the society had set out the auditorium deserves to be noted. It was a wonderful sight to see and a credit to all involved, The production did not let the side down either. This was a slick, well-drilled ensemble piece with so much to praise that it would be folly to try - but I will.
Phillip May set the standard with a humorous "Wilkommen" only to be topped by Joy Plowes and the girls and "Mein Herr". The solos were all of a more than acceptable standard and Alison Smith, Philip Smith, Diane Simmons and Susan O'Brian all shone.
I very much enjoyed the two numbers from "The Best Little Whorehouse
in Texas" and the two leads, Chris Higson and Sharon Morris.
Gillian Pilkington, as usual, did a great job with the choreography
and the first half finished with a splendid selection from "Chitty
Chitty Bang Bang"
To start the second half we had a selection from Blood Brothers which was brilliant to say the least. During this second half several new faces came to the fore and numbers featuring Natalie Makinson, Becki Charnley, Louise Gregory, and Edward Keller all came across well. But, for me, the highlight of the second half, apart from Blood Brothers, was the duet between Gareth Beardsworth and Nicola West who sang "Suddenly Seymour" from Little Shop of Horrors
The only criticism would be that I would have finished with the Blood Brothers numbers: but that's just me. This was a production to be proud of; well done, all of you.
Hay Fever
Matchbox Theatre Company
Director: Bernie Hughes
This Noel Coward Classic has a wonderful script and well drawn characters so typical of the "Master" but, in this production, the costumes just did not help and, in several cases, were not right. The set was adequate and the cast did give it all they had. We did see several good performances; Ann Case as Clara was a well drawn character as the maid. Rob Murray at times grasped the style but the two outstanding performances were the understated Brendan Gallagher who was the essence of normality and Freya Brooks whose Sorel Bliss was spot on and most enjoyable.
My thanks to both cast and company for their hospitality.
Blood Brothers
Too Friendly Theatre Company
Director: Cliff Gillies
The sign of a well written and well acted play is when you become so absorbed with the characters and story line that you forget you are there primarily to review the performance. This was definitely the case with Blood Brothers. Willy Russell was originally asked to write the play specifically for performance by Merseyside Youth Peoples' Theatre Company. The dynamics of the story line shift from humour through despair, anger, joy and tragedy and the competent cast was skilled in carrying out every subtle change of mood of the piece.
The play held the eyes and ears of every audience member. The source of the drama is social conflict, with class and moral issued being addressed. The five main characters allowed the story to unfold with forceful credibility.
Helen Haygarth as Mrs Johnston gave an outstanding performance. Her mannerisms, especially showing nervous tension and anguish, helped to define her characterisation. Cliff Dillies as Mickey, her son, also gave us a believable character. Mickey's gradual change throughout the play from a seven-year old to adulthood was most skilfully portrayed, Eddie, played by John Windsor, added just the right tone as Mickey's twin brother. He is brought up in a more affluent environment, as his mother, unable to cope with another mouth to feed, gives him to the Lyons family. The scenes between Mickey and Eddie were full of rhythm, movement and action giving us more than the required energy to carry the play along.
Adding to this duo is Linda, played by Joanne Wasilew. Her actions and reactions to the eternal triangle, which developed between Mickey, Eddie and herself, were played with sensitivity.
Sue Thomas as Mrs Lyons was a force, albeit delivered gently, to be reckoned with. Her love for Eddie – her adopted son - was acted throughout with conviction. Added to this strong cast was Mark Haygarth as the Narrator. He set the mood and rhythm of the piece from the beginning. Ronnie Orr supported the cast well with his three small, but important cameo roles.
The scenery and lighting were adequate, the programme was rather a mishmash, no cast list, no setting of time or place for example. As much as the Company is familiar with the plot it cannot be assumed that everyone in the audience knows the play. But these are minor points after seeing a well-crafted piece of theatre where all the elements came together to give the audience a night to remember.
Barbara Worrall
Hello, Dolly!
Maghull Musical Theatre Company
Director : Eric Rimmer
Musical Director : Paul Goulden
After the society's last production of Guys and Dolls earlier this year I was a little disappointed, as this was not up to the same standard of production. Gone were the young men necessary for the "lightning" waiters and the use of the auditorium was over used.
Dolly, played by Pam Ashcroft, was not right for the part as it did
not suit her voice. I enjoyed the singing though of Stacey Davies,
in
particular "Ribbons Down My Back" but this would have made
more impact if the number had had less movement.
Both Derek Barr and Peter Brennan as Cornelius and Barnaby showed promise as did Gill Thornton as Minnie Fay.
As for the role of Horace Vandergelder, I initially thought that Neil Butler was too young but he gave a very creditable performance as the grumpy storekeeper.
My thanks to all for an entertaining evening , and my congratulations to Paul Goulden and his colleagues for a nice sound from the pit .
Saving Grace & Lord Arthur Savile's Crime
Too Friendly Theatre Company
This was an enjoyable evening presented by this talented group of actors. However, I would have preferred to see the plays in reverse order starting with the Oscar Wilde and concluding with the Cliff Gillies.
The pace of Lord Arthur Savile's Crime was good and I think the cast did well to portray the characters in what I consider to be a play without much substance or humour. However Mark Haygarth's diction suffered in his portrayal of Herr Winckelkoft as he concentrated more on his German accent.
Saving Grace was indeed a triumph. The performance gripped you until the end with the roller-coaster of emotions portrayed excellently by the three actors involved. Ronnie Orr's portrayal of Charles was bullish and he brought out the very worst in the character. Conversely John Windsor's David was full of sadness, remorse and feeling. Helen Haygarth superbly played the part of Grace; she really got under the skin of the character, a mammoth performance that ebbed from sadness to joy, from despair to assertiveness, finally finding true love.
Both plays were well staged with a minimal set.
David Kay
Fiddler on the Roof
Birkdale Orpheus Society
Director: David R Charters
Musical Director: Doreen Bridson
Choreography: Pamela Bamber
This is a production of which this company should be very pleased. The minimalist set worked well as did the cast. Together with a well-controlled orchestra, the result was a very enjoyable evening.
Tevye is so important in this show that with good performance from this one actor it can change the whole production. This society was so fortunate in having Steve Coghlan who gave a superb performance which towered above everyone on stage. We also had a good performance from Dorothy Prothero as Golde; they both played off each other well. The three eldest daughters Tzeitel, Hodel and Chava played by Sarah Moreland, Deborah Bloom and Lisa Proctor sang their joint number 'Matchmaker' very well indeed and were stronger than their male partners Motel and Fyedka played by lan Ashcroft and Michael Evans. Perchik played by Steve Bennett, on the other hand sang, his own number very well.
Well supported by a good strong chorus and two nice cameo parts by Ron Bridson as Lazar and Fruma Sarah played by the talented Liz Clarke, this was a very enjoyable show. My thanks to all concerned including Pete and his team: well done!
On Broadway
Pilkington MTC
This show was a potpouri of extracts from popular shows including A Chorus Line, Bombay Dreams, Fame, The Lion King, Barnum and Miss Saigon amongst many others.
The production encompassed not only the adult members of the company but also the junior and senior kids from the Stage Factory which is run by the companies very talented producer/choreographer Helen Roberts. She was assisted by Jean Aspinall and Suzanne Kinsey who, between them, contrived to present a slick, well staged and well costumed show.
In such a production there are far too many contributions to comment
on individually. However, the following will give just a flavour of
the proceedings. 'Together Wherever' (Diane Glover and Helen Roberts),
an excellent arrangement of 'Bye Bye Blackbird' (Full company), 'The
Colours of my Life' (John Dawson) and 'Someone to Watch Over Me' (Jean
Aspinall) were all worthy of note.
The Junior and Senior kids of the Stage Factory contributed well with
some energetic dance numbers and even the gentlemen, who I doubt would
consider themselves athletic, featured with 'Night Fever' complete
with dodgy wigs and Elvis masks much to the amusement everyone.
The driving force behind the production was undoubtedly the producer/choreographer, Helen Roberts, whose 'Steam Heat' number was particularly good. This lady is a dancer par excellence who managed to use the limited stage space with some superb dance routines.
The cast smiled (others please note), the audience smiled, and all was well with the production.
Many thanks on behalf of Denise and myself for the company's hospitality during the evening.
Glyn Neary