September 2006 - Region 7 - Tony Adler
THE FULL MONTY
Middleton A.O. and D.S.
Director: Mike Sammon
Choreographer : Jean Ashworth
Musical Director : Simon Pickup
I had not seen this show previously but just like most people, with exceptions to which I refer below, I was rather familiar with the plot, despite it being moved from Sheffield, England to Smalltown USA. I did not in any way find it distasteful but on the contrary, it was a lot of fun and good entertainment due, no doubt, partly to the director and partly due to the performers. The whole company mixed in well and bonded together and it showed on stage and the casting was pretty good.
Without going through all the male parts individually, I felt they were a fairly good example of very ordinary working blokes who were stuck for jobs due to being out of work which then imploded on their domestic lives. A variety of ordinary characters who had achieved financial disaster at the wrong time of their lives and took on board drastic measures to earn some money.
I name the males without any precedence - Ian Bennett, Stuart Hall, Duncan Anderson, John Meachen and Rodney Cadd, assisted by Mike Hollinshead, Keith McEvoy, Rob Buchanan and Mark Robinson - and congratulate them all on their bare cheek or cheeks.
In some respect the ladies had a more difficult role to play but Nicky Mead, Alison Stans, Jane Pearson, Abbe Felters Jakki Clarke and Dawn Leigh all did well and particularly Suzanne Nixon who put her number over superbly.
Even Dawn Leigh managed to make her stage husband, Rodney Cadd, play successfully a part he should have been too old even to contemplate. I must even give credit to young Ashley Margolis who now has to wash his mouth out daily to cleanse unsuitable words from his vocabulary - some hope!
It all worked very well with some appropriate, if not entirely memorable, music and full credit to the musicians under Simon Pickup. Perhaps the authenticity of the piece was exemplified by the presence at one show of some young ladies who misunderstood what they were going to see and thought it was a bone fide "girls night out" and were somewhat surprised at what they were offered.
Nevertheless, I understand that by the end of the show they had enjoyed it for what it was and participated accordingly.
THE ELIXIR OF LOVE
Rochdale Phoenix Opera Society
Musical director : Susan Morris
Producer/ Choreographer : Norma Grimshaw.
This was an ideal cast for an Opera Company consisting of only 5 Principal singers and a chorus. Phoenix have an open audition policy and the principals were all good and well cast duly backed by a fair sized chorus and an excellent orchestra with the very experienced Donald Clarke as the Leader. Added to all of this, was an acceptable set which needed only one large and colourful back cloth which must have made life easier for the Stage manager, David Lloyd and the stage staff.
Jane Hyde as Adina was an attractive lead whose singing was very well controlled and accurate and full of expression whilst Peter Ruane as Nemorino, aided by a hat which provided a very suitable prop for his facial expressions, and at times a "Compo" type performance, produced what can sometimes be a little unusual for an amateur performer, namely volume without a struggle. He gave a very convincing and suitable performance.
Kevin Ormond as Doctor Dulcamara gave a powerful performance as the Quack Medicine Man dressed in a costume which high-lighted his character and of a strength of personality and expression which fitted the part admirably. A regular member of Phoenix in the person of Tony Joy who has played many parts for them over the years was a suitable "randy" and "crafty" Sergeant whilst Margaret Robinson as the leading peasant girl was very expressive and gave enthusiastic support.
All the chorus of ladies gentlemen and children supported well and as ever, Norma Grimshaw's production was sound and enabled the whole company to project their voices to their full advantage. Donizetti's show is full of good music, particularly when played so well by an experienced orchestra, and despite the fact that there is perhaps only one easily recognisable and popular aria on the score. Sadly, Susan Morris the Musical Director who has been such an asset to the Society both as a principal and more recently as musical director, will be leaving the area shortly but the Society owe her a considerable debt and will find her hard to replace. We wish her well for the future in her retirement.
THE MIKADO
Woodhouses Church AODS
Producer : Tony Kerr
Musical Director : Pat Jacques
Accompanist : Christine Grindrod
It is hard not to enjoy a G & S at Woodhouses if only because it is so good on your ear drums and the proximity of the performers to the audience makes you almost feel that you are part of the Show, which in fact I suppose an audience is. Good backcloths, and excellent costumes by Elizabeth Stagewear and satisfactory singing all combined very well under The Mikado's direction and indeed, some of the makeup was excellent.
The size of the company also helped to fill the stage so well in the full company scenes and added to the atmosphere. I felt there were many excellent character performances in this production which had an emphasis on lightness and comedy. If perhaps it was just a little slow at times it had a company who played it with a smile on their faces even under their Japanese makeup.
I am sure that John Myers as Nanki-Poo enjoyed his first outing with the Society. He was a strong Nanki-Poo playing well opposite Anne Butterworth as Yum-Yum who is a very reliable singer and performer. Duncan Routledge had the build, voice and authority to be a formidable Poo-Bah – indeed I am quite surprised that he did not make the cabinet re-shuffle that weekend due to his varied experience of high political office whilst Austin Mckenna as Pish Tush supported well and more than adequately. Sarah E.W. Corbley and Andrea Marshall supported their sister as necessary and Anne McCabe did her best to convey some nastiness and frustration as the rejected and unattractive Katisha. Tony Kerr was a mild mannered but authorative Mikado who gave regal dignity and colour to the role whilst George Smith played KoKo as a typical George Smith character. He really does have superb timing and projection and brings a great sense of fun to his role, in this case KoKo, and he is thoroughly enjoyable to watch and yet seems to work well with his fellow artists.
Certainly, some of the libretto was modernised (which often does happen in this Opera) and which proved to be very funny. Full congratulations must go to all who took part, certainly not least, Pat Jacques and Christine Grindrod who had a lot of work to do. This was a very relaxed evening's entertainment for me and for the traditional Woodhouses audience. The programme also was a good read, particularly for anyone who did not know the show, but sadly it does not have the necessary reference to Noda.
HONK!
North Manchester AO and DS
Producer and Director : Joan Littlefair.
Choreographer : Janine Ball.
Musical Director : Anthony J. Quimby
I knew virtually nothing about this show save that it was based on the tale by Hans Christien Andersen. Having now seen it, I have yet to make up my mind as to whether it would be better played straight, for laughs or even as a Pantomime. It is certainly different and can be a very enjoyable and relaxed way to spend an evening with a light hand on the production and good performers. I did not find the music, although pleasant on the ear, particularly memorable but congratulate Anthony Quimby and his band for the way they dealt with it and Anthony, in particular, for his keyboard playing.
Simon Pickup was indeed an Ugly Duckling and portrayed the role extremely well with many apt mannerisms. I suspect that the length of time allowed for the costume change from Ugly Duckling to Yuliee Swan was a little too limited to create a final handsome and immaculate transition but who cares? Certainly there is plenty of meat ( or poultry) in the role. Jakki Clarke as his Mum did all that could have been asked of her and gave the impression of a very caring Mater with a very soft spot for her unusual offspring without neglecting her love and maternal affection for the rest of her awkward brood. Keith McEvoy, as her partner, was perfectly acceptable as a typical male appendage to any family who had to be pressed into service to accept his share of parental responsibility.
Kathryn Quimby, Jane Pearson, Eunice Hamnett and Bruce Dawson all waddled in and out of the farmyard appropriately (perhaps Kathryn's waddling was the most prolonged to keep in character) whilst Eunice is naturally a top bird (so the programme called her). Stuart Crowther showed some nice touches as the glutinous, amorous and villainous cat and may well develop into a very competent character performasee with more experience but he certainly showed some nice touches. I am not sure whether Karen Hamnett as a domesticated and pampered cat might be at home in my household but it would be interesting I am sure!
Jeanette Brown as Lowbutt played her part quite well and considerable support was given by a large farmyard of herons, turkeys, moorhens, quails, pheasants and geese of all different ages and Dave Ball ( supported by Maureen Samuels) as a typical Flying Officer Kite type did all that was necessary. John Meachen however stole the show as the Bullfrog, a cameo part he has played previously I understand, aided by appropriate makeup and presence, personality and timing and the audience fully acknowledged and delighted in it. The whole of the Company must be applauded for sending a full audience home in a happy and pleasant state of mind.
CHESS
Rochdale Amateur Operatic Society
Director: Peter Wakefield
Co-Director : Lesley Abbott
Musical Director : Harry Butterworth
Choreographer : Janet Thiel.
When I first saw this show performed professionally many years ago, I did not warm to it, but having seen amateurs perform it 3 or 4 times since, I enjoy it very much if it is well done even if it is not a great vehicle to fill seats.
I thought this was a competent production which was very well performed and staged and the direction was sound.
When Laura McLaughlin as Florence Vassy first appeared, I wondered whether I was going to enjoy her performance, but as the show progressed, I warmed to it and by the end of the show I felt she had been excellent and her voice was ideally suited to the part and quite frankly " terrific" and by far the best I had heard. She was a very attractive and talented performer. Daniel Winters as Frederick Trumper was a very young man I had not seen before and he did well in the difficult role. Perhaps he was not quite mature enough in some respects but he made every promising effort to portray the difficult and neurotic character and put his numbers over more than adequately. Darren Fricker as Anatoly Sergievsky is an old hand at the part (I have seen him do it before) and it suits him down to the ground and his voice and appearance are totally appropriate for this part. It was nice to see Julie Colson back on stage and she gave an efficient potrayal of Svetlana Sergievsky a part which really only appears in the second act and her duet with Florence "I Know Him So Well" was very well balanced and sung by them both. Mike Conroy naturally acted the part of Molokov in an ideal manner but his singing was just as good as his acting. It was also good to see Paul Firth on stage again instead of directing an orchestra and his personality and performance as the Arbiter were excellent. Peter Wakefield, in addition to directing, was a very competent Walter De Courcey and Charles Foster appeared on screen as an appropriate person to give the necessary news flashes.
The chorus backed up well, particularly the dancers, and I am sure Peter Wakefield, a player as well as Director, was grateful to Lesley Abbot for her hard work as co-director. Janet Thiel was an efficient choreographer and Harry Butterworth's musical direction from behind the performers was as sound and efficient as ever. Perhaps the love triangle relationship was not portrayed quite as strongly as I have seen it done previously but this is a difficult show for amateurs unless they have the right ingredients and Rochdale certainly had and indeed the simplistic but attractive type staging was effective and all that was necessary as was the lighting.
CALAMITY JANE
Heywood A.O. and D.S.
Produced and directed by: Joanne Lord
Musical Director : David Abendstern
Choreographer : Jill McIntosh
This is not normally one of my favourite shows but I thoroughly enjoyed
the production at Heywood. Whether it was the very good production
by Joanne Lord or the choreography by Jill McIntosh, I cannot be sure
but I felt a lot of credit must go to David Abendstern and his orchestra
which all helped to make the show run smoothly and sounded very musical.
I felt that Sarah Davey made a pretty good job of Calamity and portrayed the major character very well. She worked well with Shelley Byrne as Katie Brown whose performance in that role was one of the best which I have seen and full of promise in all the appropriate ingredients. Dominic Beaver was a fair Wild Bill Hickock, if at times the performance was a little mixed but then I have seen much more experienced and quality performers portray the part no more successfully. Chris Hardy as Lt. Danny Gilmartin did not let the side down despite his obvious inexperience in a major part which I have seen in the past played very unsuccessfully by a number of performers. James Earnshaw as Francis Fryer played it differently but well and very suitably whilst Rod Fitton had many good aspects in his performance and his contribution as the hapless Henry Miller was worthwhile. Anne Dickson did all that was required of her as Adelaide Adams whilst Jo Weetman's portrayal as Susan came over well and as a sweet but strong character.
The chorus and dancers backed up well although there was an unusual bit part as Rattlesnake which was played by a female (Helen Greenway) instead of the usual wizened old character actor. Perhaps it is a part that would have suited myself. One of the problems with this show is that apart from the two female leads, the material for the other characters needs a lot of improvement over the way it has been written and put together — not the performers fault. Nevertheless, thanks to the hard work of the production team and the performers, no one in the audience would have gone home disappointed.
HELLO DOLLY
St. Dunstan's AODS
Producer : Pam Dyson
Musical Director : Karen Massey
Choreographer : Marjorie Catlow
I have, on other occasions, expressed the view that this is one of those shows which you either manage to do very well indeed or which is going to be a struggle to put over the appropriate message. It cannot help any society to fall into the superb category when it has a smallish stage and budget, a less than fully professional orchestra and a team of dancers male and female, which have not been long and well trained at an appropriate Dancing School.
St Dunstan's put on an efficient production which, unfortunately, had an additional difficulty because poor Dolly lost her voice earlier in the day on the opening night but who had the courage and personality still to go through the performance with the backing of Stella O'Reilly singing the numbers for her at the side of the stage. I believe she had played the part many years ago which undoubtedly helped. If ever there is a part written which is to be played over the top, then it is this one and when laryngitis or a similar illness strikes, what can you do? I give full marks to Margaret Turkington for what she was able to do but how I shared in her disappointment after all her hard work over the months at rehearsals. She must however earn full credit for her performance despite simply being unable, for medical reasons, to play it as she would have wanted with the appropriate brash performance for the character which is Dolly.
Paul Rigney was a fair and competent choice as Horace Vandergelder, a part which I personally don't quite like as a character. Probably the only one I ever warmed to was Walter Mattheau and there are not many of him around! The problem with Cornelius played by Brent Andrews, was my familiarity with Brent as a person. I am not sure whether he was ideal for the part but I know his bald head too well and a wig can only change an actor's persona so far. Nevertheless, he performed nobly and with enthusiasm in a part for which he was not a natural candidate but he looked after his young companion Barnaby Tucker very well. Indeed it was a delight to see Peter Rigney in that part and he made a most promising debut despite his tender age and I hope it bodes well for his future.
Susan Milligan is now becoming an experienced performer and she did full justice to the part of Irene Molloy and she was very attractive and competent with support from Natalie Jane McGovern as the young and vivacious Minnie Fay. The supporting minor parts were competently played and the chorus played their full parts.
I was extremely pleasantly surprised with the way that the Society dealt with the "Waiters' Gallop". This can be an essential part of the show and even big Societies rarely have enough male waiters who can move to perform the scene successfully. Even with ladies dressed as male waiters, the scene was probably the best one in the show and was extremely well done. Once the orchestra had warmed up, they were up to their job under the direction of Karen Massey. Taking everything into account, I thought Pam Dyson, the producer must have been very pleased with what she had achieved which was played, on the night I attended, before a full house and appreciative audience.
LITTLE SHOP OF HORRORS
Congress Players
Director : Martyn Preston
Choreographer : Jean Griffiths
Musical Director : Andrew Mitchell
Some years ago I was rather doubtful whether this show would appeal to me but after I had seen it for the first time I decided that I rather enjoyed it. Since then it has become more popular and I have to say that I have yet to see a poor or bad amateur performance. The production by Congress continued this trend and they have all been a little different. This one was bright and colourful with excellent performances directed with some originality by Martyn Preston with choreography by Jean Griffiths and the usual high standard music by Andrew Mitchell.
I particularly enjoyed the highly competent and rather way out Ronnettes in the interesting shapes of Lisa Kay, Dawn Leigh and Debbie Mitchell (who was a little bit physically over shadowed by the other two). They were all full of talent and fun and a pleasure to watch and listen to. I was interested to watch the performance of Sarah Thewliss as Audrey. She is a rather attractive, tall, young lady whose roles I have seen in the past have not been anything like this. She had obviously worked very hard to adopt the unusual accent and the enunciation of her lines that must have been very alien to her but I felt she must be very well complimented for her adjustment to this type of part and it was indeed a very good performance.
On the other hand, Simon Hardisty was a very nerd-like Seymour with a totally negative personality deliberately played down and he put his numbers over very well in keeping with his acting which was very appropriate. The part of the seedy Flower Shop proprietor Mr. Mushnik was well characterised and portrayed by the versatile Rodney Cadd who dressed down accordingly but I have wondered previously whether I prefer this part with a slightly mid —European accent or not. I now think that an accent (not overdone) works better than a simple American accent. Ian Draper was well received by some members of the audience as the sadistic and masochistic Dentist (in fact, I wondered whether some of the female audience identified him with their own boyfriends from their reactions) and the very small cameo role in the early part of the show which I assume was John Meachen was an absolute delight.
Perhaps one little disappointment was Audrey 2. Not I might add John Crebbin who has played it so often, he is growing roots, nor John Meachen - one might call the Engineer – who is similarly experienced but the plant itself. I have seen several quite "delightful" amateur plants and been on a guided tour of some very intricate internal parts of them but this one did not quite come up to Chelsea Flower Show standard. It might have been more acceptable for the local allotment. This was a very good and acceptable show but one that makes you think twice about buying your girlfriend an unusual plant for her birthday - on second thoughts, it may not be such a bad idea!
I would also like to commend the Society on a slightly different but
excellent programme.