September 2006 - Region 4 - Robin Blythe
BARNUM
Ellesmere Port Light Opera Company
Bringing the circus to town EPLOC excelled itself in the Civic Hall, by invoking the spectacular career of P.T. Barnum, America's greatest showman from 1835 until he partnered James A. Bailey, to form "The Greatest Show on Earth".
On arrival, the audience was entertained in the foyer by the Ringmaster and circus performers. Then they were ushered into a splendid exhibition on the life of Barnum, expertly guided by Karen Fellows, as Amy Beecher to explain the posters and entertain us with the facts and let us marvel over the small chair actually used by one of Barnum's greatest crowd pullers - Tom Thumb.
Michael Crawford, who achieved fame in the character of Barnum, Prince of Humbug had sent a message to the society (printed in the excellent and informative programme,) and it was in this role that Peter Reed starred. He was on stage throughout, conjuring, singing, dancing, walking the tightrope and dealing with his real life successes and disasters such as the fire that destroyed his great museum.
Everyone in the huge cast deserved praise for their skills and dedication with the director Leigh Stanley excellently controlling such a diversity of people, and making all the set changes and the ups and downs of Barnum's life exciting and interesting.
Jane Chance was superb as the wife Charity, and Davina Jones made a most glamorous and seductive Swedish nightingale as Jenny Lind. A contrasting singing style was well used by Hayley Parker with her deep notes as the Blues Singer. The Ringmaster, Colin Hodson performed with authority and aplomb, and I was struck by Stan Williams as the white-faced clown, using the sadness of a real clown, and the almost humble involvement in a world of wonders.
Somehow the stage accommodated everyone and everything, and with no fly tower, cloths were drawn by hand, trucks brought on and off, and with the aid of the central aisle and the passerelle, we had a grand parade and extravagant costumes. It was a most ambitious choice and really worked! Stilts for attendants, and such a huge chair Tom Thumb did appear small.
Great free standing pieces of scenery gave height for boxes, and there was constant visual pleasure and excitement. Lesley Ann Wood was the musical director, and Kayte Pitchford the choreographer.
EPLOC is to be heartily congratulated on tackling such a challenging
musical and enthralling its audiences.
J.L.G.
Calamity Jane
Chester Operatic Society
Artistic Director Leslie Churchill Ward
Musical Director Graham Pike
Choreographer Claire Jones
The show got off to a cracking start with the wonderfully lively overture from the orchestra under the direction of Graham Pike who controlled and maintained the musical pace from beginning to end.
The production, under the artistic direction of Lesley Churchill Ward, was crisp and clear and every member of the company was totally involved. Dia Steinthorsdottir played the gun-toting Calamity with such energy and commitment. Jonathan Francis was Wild Bill Hickock and played the gunslinger/lawman with power and humour, and what a voice! Bethany D’avincourt played a delightful Katie Brown. Gary Jones was the handsome Lieut Danny Gilmartin. Robin Chambers played Henry Miller, the concerned owner of the Golden Garter, with panache and style. Julian Eyre as Francis Fryer, wowed the audience with his dancing and comic timing.
Special mention must be given to Wayne Morgan-Williams, who played Rattlesnake. Although not a large role he maintained his character throughout. We are not forgetting the wonderful Adelaide Adams played by Maria Keel.
The choreography was simple but effective. I particularly enjoyed the ensemble numbers, with artistic lighting and sympathetic staging. Altogether a wonderful evening’s entertainment. Thank you so much for your very kind invitation.
Nick Cowan
HELLO,DOLLY!
Birkenhead Operatic Society Trust
Director: Elsie Kelly
Choreographer: Graeme Henderson
M.D. Trish Gaskell
What a show! It is very rare that all the constituents of a production come together with such excellence but at the cavernous Liverpool Empire Theatre they certainly did! Cast, dancers, costumes and orchestra were all on top form to give a colourful, fast moving and highly amusing account of this favourite musical.
Of course, a great deal of the success depends on the casting of Dolly herself and here BOST had a stunning performance from Julia Carroll with the perfect singing voice for the character and a splendid New York/Jewish accent. She was well matched by real life husband, Michael Carroll, a far cry from his usual leading man roles, as the curmudgeonly Vandergelder, drawing every ounce of humour from the part.
This can very often be a one-woman show but in this instance the secondary characters were so well cast and their business so well conceived that they were almost on an equal footing in audience appeal. The lively duo of John Tetlow as Cornelius and Chris Liston as Barnaby provided strong singing with agility of movement and formed a delightful quartet with two other strong performances from Gina Davies as Irene Molloy and Elaine Connell as Minnie Fay (with a scream to shatter glass!). With Jessica Walters as Ermengarde , A.J. Caldwell as Ambrose and Edwina Milford as Ernestina this was as strong a supporting group as I have seen. The tap-dancing horse in 'Elegance' was another audience favourite.
The strong Birkenhead chorus was in fine voice and the major ensemble numbers filled the vast Empire stage with sound and colour. With the 'Parade' number augmented by a very professional set of Cheer Leaders from “League of their Own” and Russian acrobat jugglers from “ Shizzy Mizzy” this was a real show-stopper. In the Harmonia Gardens with another fine cameo role from Jamie Lester as Rudolf, the twelve boy dancers gave a stunning 'Waiters Gallop' and then were joined by the men's chorus for a tremendous 'Hello, Dolly!'. Interpolated within this was an amazing tap dance routine by choreographer, Graeme Henderson.
With the fine orchestra giving full reign to the lively Jerry Herman score under Trish Gaskell this was a worthy production to mark BOST's 80th Birthday. Last year the Daily Post voted the Company's “Anything Goes” as the best musical of the year at the Empire and the reviews of both local Dailys were full of praise for this production by Elsie Kelly (her 33rd year as BOST Director) – I can only echo their praise.
Liz Davies