Reviews
Stars out of five
‘Allo ‘Allo
The Fellowship Players
Grange Playhouse, Walsall
****
ALMOST military precision has gone into the
staging of this much loved TV show, starting when the customers arrive
to be welcomed by female members of the French resistance, in trench
coats and berets.
There were a few hiccups on opening night; the café’s
front door jammed and some of the accents needed a bit of attention,
which should improve during the run, but overall it is an enjoyable
telling of David Croft and Jeremy Lloyd’s tale.
Mike Klymko is a convincing Rene, keeping his affairs
with waitresses Yvette (Michelle Jennings) and Mimi (Emma Thorp) secret
from his wife Edith (Ruth Bosman).
There are also strong performances from Sam Crawford
(Italian Captain Bertorelli), Roddy Lynch (Lt Gruber), Bryan Jennings
(Colonel Von Strohm), Francesca Richards (Helga) and David Brown (Herr
Otto Flick) . . . but did the latter forget his limp when first
appearing?
Directed by Jennifer Smith, ‘Allo ‘Allo runs to
11.02.12
Paul Marston
Lords and Ladies
Lichfield Players
Lichfield Garrick
***
RATED as the biggest player’s production for some
time, the challenge of Terry Pritchett’s fantasy is met with a fair
degree of success.
Some people may find it difficult to follow at times,
staged as it is in the mountainous forests of Lancre on Discworld,
involving witches, wizards, lords and ladies – dangerous elves led by a
queen (Lydia Clements) and a king (Brian Todd) - and a range of other
bizarre characters, including an intelligent ginger orang-utan!
There are outstanding performance from Gina Martin as
witch, Esmeralda Weatherwax, ably supported by the humorous
broomstick-toting Adrienne Swallow (Gytha Ogg).
Fine contributions, too, from Sarah Stanley (Magrat
Garlick), Brian Asbury (the wizard Professor Mustrum Ridcully), Ian
Davies (King of Lancre) and Maurice Allden (Casanunda, the world’s
second greatest lover).
Paul Marston
Our House
Coppice Performing Arts School
Grand Theatre, Wolverhampton
***
YOU can’t help admiring the enthusiasm of the
young cast in this show, featuring music and lyrics by Madness, but even
that doesn’t lift the story above the average.
At times the action stumbles along in the rather
confusing tale of hapless urban teenager Joe Casey who celebrates his
16th birthday by breaking into a building site overlooking his home,
apparently believing it will impress his girlfriend.
The story is heavy going, illuminated only by the
best known songs Our House and It Must Be Love and a
lively finale.
Jay Wiley is a confident Joe, and Amy Goodall reveals
the best voice in her role as girlfriend Sarah.
Our House was directed by Stephen Clifton, with Nick
Lacey’s musical direction. To 28-01-12
Paul Marston
Cinderella
Spotlight Youth Productions
Brownhills College Theatre
***
SPOTLIGHT’S panto, updated by director Steve
Groves, sees a cast of over 60 revelling in the story of Cinderella.
Helping her rags-to-riches rise is Fairy Jobmother,
splendidly played by 12-year-old bundle of energy and charisma,
Charlotte Travis who - with a star on the end of her wand - is magical;
and there are many other outstanding performances.
Strong contributions, too, from Jessica and Charlotte
Foulkes as step-sisters Davina and Cheryl, Luke Groves (stepmother
Martha), David Anderson (King James) and Deborah Allen (Queen Barbara).
Produced by Nigel Anderson with Ian Windsor's musical direction, Cinderella tuns to 28-01-12
Paul Marston
The Pied Piper
Aldridge Youth Theatre
****
IT may be the final pantomime of 2011 – of
first of 2012 - but this lively show by AYT is a real cracker.
Neville Ellis's story of rats plaguing
Hampton-in-the-Marsh gives the talented cast a chance to show just what
they can do and with the help of Dexter Whitehead's direction and Joanne
Billingham's choreography, the youngsters deliver.
The leads are outstanding, with Joseph Cryan,18, in
sparkling form as Paddy O'Piper, ably supported by his amusing
side-kick Dougie Drum (Will Young).
A superb performance, too, from Aimee Hall, rarely
off stage as untidy farmer Heidi Hayseed. Paul Atkins is a splendid
Rizzo Rat with strong contributions from George Caulton (Dame Dilly
Dumpling), Natalie Webster (Madam Zaza), Savannah Cook (Ned Dumpling)
and Katie Arblaster (Greta).
Excellent music is provided by Guy Rowland (piano)
and Ray Vale (drums). Further performances will be given on January
14, 19, 20, 21, 26, 27 and 28.
Paul Marston
Christmas Cabaret
Grand Theatre Glee Choir
Newhampton Arts Centre
****
IT’S easy to imagine some of the youngsters
in this impressive show making it onto the professional stage at some
point in the future.
Aged between eight and 18, they performed with
supreme confidence in a cabaret with a Christmas theme, staged on two
nights.
Formed nearly two years ago by Louise Bent, education
officer at the Grand Theatre, the group now has about 80 members, some
of whom have already appeared in professional shows at the City’s
premier theatre.
The cabaret was cleverly compered by Tara Brown and
Faraz Rafiq who also combined in an amusing duet, Fairytale of New York
before the finale, O Holy Night, featuring the full company.
Ben Croydon provided one of many highlights playing
guitar and singing Happy Christmas (War is Over), and there were
outstanding contributions from Nicole Appleby (Hallelujah), the Rock
Chix 6 (Greatest Time of the Year), and Elise Poole (I Saw Mummy Kissing
Santa Claus), while Tilly Thompson and Ben Evans delighted the audience
with the humorous Baby It’s Cold Outside.
Some confident choreography, too, with Alicia Barnes
chipping in with an attractive ballet dance.
Christmas Cabaret was co-produced by Louise Bent and
Elaine Buckland, with Zara Phillips’ choreography.
Paul Marston
The Producers
WBOS
New Alexandra Theatre
*****
IT'S hard to believe this Mel Brooks musical
about staging a Broadway flop is being produced by an amateur company.
The wonderful cast simply revel in the tale of the
get-rich-quick scheme cooked up by a struggling producer and his
accountant to oversell a lousy show then cash in when it closes after
one night.
They find a sure-fire flop - Springtime for Hitler, a gay romp written by ex-Nazi, Franz Liebkind (Jake Sharp ) - recruit the worst director in New York, flamboyant, gay Roger De Bris (John Wetherall) – and he show . . . becomes a smash hit.
Simon Pugh is superb as producer Max Bialystock,
there's a fine performance from Leon Davies as accountant Leo Bloom, and
the latter's wife. Rachel, is a delight as blonde Swedish bombshell
Ulla, Springtime’s leading lady.
Directed by Mike Capri, with musical direction by
Adam Joy and Claire Kramer's choreography, the show runs to 26-11-11
Paul Marston
Sinbad the Sailor
BMOS Youtheatre
The Old Rep
***
IT'S panto time and the youtheatre are
navigating through Sinbad's adventures with great enthusiasm.
The encouraging audience reaction helped confidence
of the cats, aged 10 to 18, particularly in the second act in an
amusing Walk Like An Egyptian number set in a Cairo bazaar.
James Mateo-Salt and Hannah Sefton combined well as
Sinbad and Princess Miranda, with strong support from Karina Holness (Evilena),
Nancy Ling (Fortuna), Nathan Queeley-Dennis (The Caliph), Griff
Llewellyn-Cook (Tinbad the Tailor) and Charlotte Hill (Prince Said).
Comedy came from the dame Norma Snickers, (James
Reidy) and Silly Sally (Izzie Robinson), with young Luke Tollis as The
Wazir and William Mateo-Salt and Jenna Simpson an amusing duo, Snaffle
and Trace.
Sinbad d by Alan Hackett with Melanie Flint's
choreography and Chris Corcoran's musical direction runs to 12-11-11.
Paul Marston
The Pajama Game
WBOS Youtheatre
Lichfield Garrick
****
NO danger of anyone nodding off watching
this musical about life in a pajama factory by the West Bromwich
Operatic Society Youtheatre.
Nearly 60 members of the company, aged 10 to 19, have
it all sewn up with some very impressive singing and dancing during the
pay battle at the Sleep Tite works in 1950s America.
They have two strong leads in Roberto Petrucco as Sid
Sorokin, the factory superintendent, and Lucy Fellows, the wprkers’
leader, Babe Williams, who falls for her boss..
They are impressive, particularly in the duet There
Once Was a Man. Roberto also shines with the hit song Hey There
Bright comedy, too, from Frazer Shine, the factory
foreman, Hines and there are important contributions from Lauren Key
(Gladys), Maison Kelley (Prez) and Jack Webb, company boss Hasler, With
sharp choreography from Lisa Metcalfe, directed by John Wetherall with
Ian Stephenson's musical direction it runs 12-11-11
Paul Marston
A Christmas Carol - The Musical
Bilston Operatic Company
Grand Theatre, Wolverhampton
***
FULL marks to this amateur company for landing the
regional premiere of the musical adaptation of Charles Dickens' classic
tale.
They manage a tough challenge with reasonable
success, but the opening scenes lack flair and overall the show suffers
from a lack of big numbers.
A couple of flying ghosts lift the action, with Tom
Winfield revealing a fine voice as the Ghost of Christmas Past, and
there is a big improvement all round after the interval.
Stephen Harper is excellent as Scrooge and there are
fine performances, too, from John Halford (Ghost of Christmas Present)
and young Ben Evans as Tiny Tim. Costumes are good, though even the
desperately poor appear well dressed.
Janette Cole is director-choreographer and Paul
Woodhall musical director To 12.11.11
Paul Marston
The Crucible
Lichfield Players
Lichfield Garrick Studio
***
ARTHUR Miller's play about the 1692 Salem
witch trials show how easy it was in 17th
Century Massachusetts Bay for anyone to be accused of witchcraft and
hanged.
The story focuses on a witch hunt sparked by young
girls seen dancing in the woods at night, and the clash of farmer John
Proctor with the authorities when his wife is accused.
Chris Stanley gives a powerful performance as
Proctor, whose past affair with young Abigail Williams now puts his own
life is in danger. He faces the dilemma of hanging or signing a
confession to save his life but lose his self-esteem.
Stephen Brunton is convincing as Deputy Governor
Danforth, and there are fine contributions from Eve Fehilly (Abigail),
Ian Parkes (Rev Samuel Parris), Hannah Freeman (Elizabeth Proctor) and
Don Harris (Giles Corey).
Paul Marston
The Pirates of Penzance
Erdington Operatic Society
****
AFTER a year's break from Gilbert & Sullivan
the EOS have returned to their first love with this amusing tale of
pushover pirates and clueless cops.
This is a stand-out production, helped by high
quality costumes and a good orchestra under musical director David
Allen.
Nick Hardy is excellent as Frederic who, because of a
blunder by his ex nurse, is apprenticed to a pirate inseam of a pilot,
and Letty Cheadle is a sparkling Mabel, falling for the reluctant pirate
who plans to leave the band of cutthroats on his 21st birthday.
Colin Lapworth, more than 40 years with the society,
not only directs and choreographs the show but gives a cracking
performance as Major General Stanley.
Peter Turner is in fine voice as the Pirate King, Pam
Cooper impresses as the bungling nurse, Ruth, and Brian Trott (Sgt of
Police) and his seven terrified bobbies are a real hoot. To 05-11-11
Paul Marston
West End Now!
Lichfield Operatic Society
Lichfield Garrick
****
MORE than 50 songs from 12 current West End
shows have been packed into this sparkling show which gives the company
an opportunity to parade a wide range of talent .
Researched and compiled by vice-chairman Brian Smith,
it is a musical kaleidoscope of memorable hits, coupled with some clever
choreography by Jemma Tiso and amusing introductions from Craig Allen,
Lichfield's 'Singing Postman'.
Due to copyright restrictions, original scenery,
costumes and props cannot be used, but that proves no handicap as
soloists and the chorus deliver high quality performances, helped by a
strong orchestra directed by David Easto.
The show opens with three numbers from The Lion
King and closes with an exhilarating selection from We Will Rock
You, and in between there are many fine songs from some leading
musicals.
Act 1 ends in spectacular fashion with the chorus
singing One Day More, and Jenny Barlow Jennings, Robert Bannon
and Ray Hibbs impress with solos from the same musical.
After the interval Dan Anketell, Patrick Jervis, Nick
Lawrence and Mark Johnson are fine as The Jersey Boys.
From Chicago, Wendy Clarke, Rebecca Bowley,
Sarah Clark, Natalie Haslam, Charlotte Middleton and Kathy Coombes are a
delight in Cell Block Tango, Melanie Sutton is arresting in
When You're Good to Mama and Sophie Randal outstanding with Only
the Good Die Young (We Will Rock You).
A terrific performance, too, from Georgie Jones
with Love Never Dies in a splendid show directed by Martin Rainsford.
To 5.11.11.
Paul Marston
The Circle Players, Aldridge Youth Theatre
***
FOR much of the first act in Derek Benfield's
comedy it's tempting to think it should have been titled Beyond Belief.
Six people, usually workmen, have died in
strange circumstances over a period of time at Andrew and Jane's country
home, but it seems no more than a coincidence until the couple's
boyfriend arrives.
Geoff, played with a little too much nervous tension
by Matt O'Hare, misunderstands a conversation he overhears and is
convinced his prospective new family are killers.
It all seems a little over the top until Thom
Handley, playing the local vicar, turns up to give the action a lift
with his amusing and comfortable style, before he, too, becomes a victim
of the accident-prone home.
Clair Tregellis plays Jane, George Georgiou is Andrew
and Eleanor Ball their daughter, Sally, in a play which benefits from a
fine set but needed too many prompts on opening night.
Directed by Carol Grice, it runs to 22.10.11
Paul Marston
Guys and
Dolls
South Staffs
Musical Theatre Company
Grand Theatre,
Wolverhampton
****
WHEN it comes to
multi-tasking Maria Shee holds all the cards in this musical about
gamblers, gangsters, girls
and a mission in need of sinners!
She gives a delightful performance
as Miss Adelaide, girlfriend of Nathan Detroit
who runs the oldest floating craps game in New York.
But Maria is also the
choreographer and the quality of her work stands out, particularly in
Take Back Your Mink with the Hot Box Girls and when Nicely Nicely
Johnson leads the cast in the stunning Sit Down You're Rockin' the
Boat.
It's a sparkling musical by a
talented company on its 75th anniversary, with Lucy-Ellen Parker and
Simon McGee excellent as salvationist Sarah Brown, battling to keep the
Save a Soul Mission open, and gambler Sky Masterson, just as determined
to take her out and win a bet.
Alf Rai (Nicely Nicely), Roger
Stokes (Nathan Detroit) and Will Phipps (Benny Southstreet) also impress
in a fine musical directed by Karl Veltman with James Maddison's musical
direction. T0 15-10-11
Paul Marston
The
Graduate
The Fellowship Players
Grange Playhouse, Walsall
YOUNG Daniel Holyhead landed the challenging part of
brilliant graduate Benjamin Braddock in this stage version of the famous
1967 American film, and he passes the test with distinction.
The teenager is totally convincing as the rich
man's son trapped into an, at first, unwanted affair with the alcoholic
wife of his father's business partner and best friend.
In the motion picture Benjamin was played by
Dustin Hoffman and the sexy Mrs Robinson by Anne Bancroft, and Terry
Johnson's adaptation of Charles Webb's novel works extremely well,
despite the need for fourteen scenes.
Here Susan Lynch is excellent as Mrs Robinson, and the seduction scenes in the play, directed by Stephen Ralph, are cleverly staged after she strips to her underwear, at first to the anguish of blushing Benjamin. To 15.10.11
Paul Marston
Hobson's
Choice
Aldridge Youth Theatre
****
THE youth theatre's senior section reached
new heights in staging Harold Brighouse's classic Lancashire comedy
about Salford bootmaker Henry Horatio Hobson.
Set in the 1880s, it reveals how the successful
businessman used his three daughters to run the shop - unpaid -
while cashing in on the skill of timid worker Willie Mossop.
Not an easy task for the teenage cast, but they
simply revelled in the Victorian humour, were totally convincing, and
thoroughly deserved the cheers at the final curtain.
There was a memorable performance from Joseph Cryan
as bootmaker Mossop, terrified of his bullying boss - splendidly played
by Alexander Fisher - and stunned when Hobson's eldest daughter, Maggie
- brains behind the business - decides she is going to marry him and set
up a rival shop.
His transformation from frightened worker to
confident businessman was exceptional, while Natalie Webster sparkled as
the determined Maggie, and Katie Arblaster and Savannah Cook - Maggie's
sisters Vickey and Alice - delivered a range of wonderful expressions.
Strong contributions, too, from George Caulton
(Albert Prosser) and David Bruce (Freddy Beanstock) in a play well
directed by Patricia Harrison.
Paul Marston
An
Ideal
Husband
The Crescent Theatre Touring Company
Botanical Gardens
****
YOU have to admire the spirit of people who
organise open-air events during an English summer, and this
company's 2011 tour has opened in what could be called typical weather.
On the first night a downpour soaked the cast in
their period costumes, but the show went on, and the second night in the
beautiful setting of the Botanical Gardens saw the audience of over 100
huddled in overcoats, woolly hats and covered in blankets against the
chill wind after enjoying their picnics, wine, and hot coffee.
But the acting in Oscar Wilde's 1895 comedy-drama was
superb, and if anyone missed a word of the clever dialogue it was only
because a peacock strutting through the folding chairs chose to call his
mate a few times.
The story involves an attempt at blackmail over an
incident of political corruption - so nothing new there - and Sally Wood
is a delight as the scheming Mrs Laura Cheveley, an attractive guest
during a social gathering at the plush Grosvenor Square home of Sir
Robert Chiltern, a rising statesman with an apparent blameless
background.
Gerry Hudson gives an outstanding performance as Sir
Robert who is suddenly faced with the prospect of resignation from the
House of Commons unless he agrees to Mrs Cheveley's demands, and there
are excellent contributions from Simon Garrington (Viscount Goring),
Anna Downes (Lady Chiltern) and Alan Bull (Earl of Caversham).
Directed by Robert F. Ball, the play continues its
tour at Castle Bromwich Hall Gardens (July 2 & 3), St Nicholas Place,
Kings Norton (July 5 & 6), Highbury Hall (July 7), Hall's Croft,
Stratford-on-Avon (July 9) and Harvington Hall (July 16 & 17).
Paul Marston
Outside Edge
Circle Players,
Aldridge Youth Theatre
***
THIS Richard Harris comedy about a village
cricket team and the women behind the players gets off to a very slow
start.
Some of the early humour is rather predictable, but
thankfully the pace in Gill Troman’s production increases in the second
act as the hundred comes up on the scoreboard.
The impressive set representing the inside and front
of the club's pavilion was designed by Bob Jeffcoat, Lee Tregellis and
Colin Troman, and it works well.
Clive Barlow is convincing as Roger, the pompous club
captain, and Liz Bennett, playing his timid wife, Miriam, gives an
amusing performance coping with all his excessive demands until she
rebels and wrecks the scoreboard.
Also enjoying a decent innings are Liz Daly (Maggie),
Stan Hubbard (Bob), Thom Handley (Dennis), and Matt O'Hare (Kevin). To
25-06-1.
The Fellowship Players
Grange Playhouse, Walsall
****
HUMAN relationships are examined in Peter
Quilter's four amusing mini-plays set in four different apartments on
one stage.
How the company manage such a slick changeover
between the two stories either side of the interval becomes a very
important part of the enjoyment for the audience.
Instead of quietly moving in to change the window
view, the colour of the settee, the kitchen unit and the position of the
front door (on wheels), scene shifters Sue Richardson and Stephen Ralph
ham it up to music.
Wearing high visibility jackets, they sing as they
work - A Fine Romance for their first offering, then Me and My Shadow,
all put together with some neat choreography. If the posing pair didn't
exactly steal the show, they certainly borrowed it! With the help of
Mike Klymko (keyboard).
Dale Roberts (Jonathan) and Jill Simkin (Wendy) get
the ball rolling in Blind Date, meeting in his flat after making contact
through a dating magazine, she arriving with a chunk of cheese rather
than a bottle of wine. Their negotiations are a hoot.
In Secretarial Skills, Kay Munday plays Janet who
seems to attract no romantic interest from gay boss Barrie (Mark
Dallison), but in the end he sends her on a cruise, and agrees to go
too.
Sam Evans (Bobby) and Rachel Holmes (Shelley) are in
a Spanish resort finalising their divorce in The Holiday, and the final
play features Naomi Millard as bride-to-be Angela, preparing for her
third wedding with the help of brother Toby (Alan Lowe) while coping
with a string of hitches.
Directed by Dawn Vigurs, Duets runs to18.06.11
Sweeney Todd
The Crescent Theatre, Birmingham
****
THIS is a razor-sharp production by the
Crescent Theatre Company who have hardly missed a trick with the musical
version of the demon barber of Fleet Street.
The dark, eerie set, representing a decaying area of
London in 1775, gets the audience in just the right mood for a show
which has a remarkable mixture of terror, joy, humour and excellent
music.
And how the cast rise to the challenge of a
frightening story describing how a vengeful Sweeney Todd returns to the
capital after 15 years transportation on false charges and hunts down
the crooked judge who had eyes for his lovely wife.
Walsall's Lee Hodgetts is magnificent as Todd and has
a splendid partner in Karen Leadbetter, playing Mrs Nellie Lovett
who has a failing pie shop below the barber's shop Todd sets up to lure
his victims!
She displays a real sense of fun to give the tale a
bit of a lift as business booms with the Todd’s victims, supposedly more
than 150, filling her pies.
The cleverly designed set includes a special barber's
chair which sends victims plumetting to the depths.
Outstanding performances, too, from Mark Horne
(Tobias), Nick Thompson (Anthony) and Amy Thornhill Comerford
(Johanna),.
Directed by Keith Harris with Gary Spruce's musical
direction, the grisly tale of the cut throat barber runs to Saturday
night 04.06.11.
Paul Marston
Recipe note: The printed programme contains
special thanks to city stores which provided the pies used in the show.
They might have wanted to keep that quiet!!
Disney's Beauty & the Beast
Brownhills Musical Theatre Company
Lichfield Garrick
****
FOR its 40th anniversary production this
outstanding company chose the story as old as time, and it's a beaut of
a show.
Dave Hayward is excellent as the spoilt prince turned
into an ugly horned beast when he spurns an old woman's plea for help,
and he forms an ideal partnership with young Phebe Jackson, an
impressive Belle in her first principal role.
The pair are convincing as the drama unfolds.
Another debutant, Stephen Clancy, lights up the stage
at times as Lumiere, the human candelabra, and Richard Haines is
humorous and menacing in the role of the village bully, Gaston.
Fine contributions, too, from
The scene where the Beast is transformed back to the
handsome Prince could be improved, but overall Tim Jones's direction is
excellent. So too is the musical direction of
Paul Marston
West Bromwich Operatic Society
Grand Theatre. Wolverhampton
****
EXACTLY ten years since they last staged the
show, the talented company finds director and choreographer Mike Capri
ensuring that it's as fresh and lively as ever.
Sarah Moors is an outstanding Nancy, girlfriend of
the murderous Bill Sykes, and she thrills the audience with
Oom-Pah-Pah and As Long as He Needs Me.
Steve Coussens is a powerful Sykes and bulldog Buster
takes the biscuit for his impeccable behaviour as the villain's pet,
Bullseye.
A sound performance, too, from Terry Gormley playing
Fagin, while young Ben Evans acts and sings confidently as Oliver Twist
and Maison Kelley is a confident Artful Dodger.
Callum McArthur and Chris Sandhu give a very sexy
slant to the roles of Mr Bumble and Widow Corney, with Craig Smith and
Rebecca Thorne a visually spectacular Mr and Mrs Sowerberry, the creepy
undertakers.
Jonathan Hill is musical director of a cracking show.
To 14-05-11
Paul Marston
Take a
Bow
WBOS Youtheatre
Mill
Theatre, Sedgley
****
FULL of
enthusiasm and bursting with talent, the 64-strong cast - aged 10 to 19
- revelled in the programme of 38 numbers.
The full company sparkled in
Speed Your Journey, One Short Day, and six Abba songs which produced
a rousing finale.
Grace Wyatt gave a fascinating
performance with Taylor the Latte Boy, Connie Ross sang Don't
Rain on My Parade impressively, and there were other strong solos
from Lauren Key, Tom Whitehouse, Ross Hadley and Frazer Shine
In the duets, outstanding
contributions came from Lucy Follows and Grace Wyatt and from Ellie
Dabbs and Maison Kelly.
A graphic piece, too, was
delivered by Kathryn Day, Bethany Mahoney, Laura Binsley, Kayleigh
Timmins and Charlotte McNally in Cell Block Tango from Chicago,
and a very amusing duet featured Lydia Stephenson and Connor Bacon, with
zimmer frame and three-pronged walking stick, singing an old-timers’
version of Sixteen Going on Seventeen which became 60
Going On 70.
Musical direction was by Ian Stephenson with Lisa Metcalfe and Claire Kramer's choreography. To 01.05.11
Paul Marston
My Fair Lady
Lichfield Operatic Society
Lichfield Garrick
****
MAKING her debut as production director for the company, Ruth Harvey has made quite an impact with this story of how the famous Wimpole Street phonetics expert, Professor Henry Higgins, transforms common Covent Garden flower girl Eliza Doolittle.
He accepts a challenge to use his elocution expertise
to make the dustman's daughter into a lady capable of mixing with the
elite, and the acton includes some great songs, like Wouldn't it be
Loverly and I could have danced all night.
Jordan Adams is an excellent Higgins, and
there is a superb performance from Jo McAllister as Eliza, the 'prisoner
of the gutter' who blossoms to the point where she charms royalty.
Wonderful comedy, too, from Craig Allen playing
dustman Alfred P. Doolittle, while David Hill impresses as Colonel Hugh
Pickering and Eoin Edwards proves the ideal toff, Freddie Eynsford-Hill.
The costumes are good, but the staircase in
Higgins' study could do with a coat of paint. David Easto is
musical director and Heidi Cresswell choreographer of a happy show .
Paul Marston
Aldridge Youth
Theatre
* * *
THE two chosen plays proved heavy going for the audience if good acting practice for the
youngsters.
Black Comedy, a farce by Peter
Shaffer, was often irritating, and there was little to lift the spirits
in the second offering, The Fall of the House of Usher, by Edgar Allan
Poe.
The comedy, directed by Dexter
Whitehead, began in complete darkness, with two characters - shadowy
figures on stage - chatting away for a few minutes in what, for them,
was normal light.
But when the lights came on
(thankfully) it was supposed to be pitch black after a power cut for the
cast who felt their way around, bumping into furniture or doorways,
mistaking identities and spilling drinks. Even when one of the
characters turned up with a giant candle, the flame went out!
Joseph Hicklin impressed as young
sculptor , while Savannah Cook played his fiancee and there were
confident performances from Geroge Caulton (Colonel Melkett), Natalie
Webster (Miss Furnival), and Joseph Cryan (Harold Gorringe).
The Fall of the House of Usher,
directed by Richard Howell, featured strong performances by Joseph Cryan
as Roderick Usher and Natalie Ashcroft (his sister Madeline), and
while the Gothic tale was gloomy, it enabled the cast of six to test
their acting skills, without props or scenery, opening imaginary doors,
eating or pretending to be furniture and one even becoming a musical
instrument.
The final performance was on
Saturday night. 09-04-11
Paul Marston
The History Boys
Fellowship Players
Grange Playhouse, Walsall
****
EIGHT young actors succeed with flying
colours in Jennifer Smith's production of Alan Bennett's touching story
about life in a fictional Sheffield grammar school.
They play the students being prepared for an Oxford
University entrance examination,. Classroom antics include an hilarious
scene where one of them ends up trouserless as the startled headmaster
(Michael Penn) walks in. One of the students is bedding the
head's attractive secretary and there are even hints of gay activity,
but while a few four-letter words fly around there's nothing offensive.
The lads also score as scene shifters, transforming
the classroom into a locker room and back again for the clever set
designed by David Tonks
Alan Lowe gives a superb performance as the
eccentric, motorbike-riding teacher. To 16-04-11.
Paul Marston
Willenhall Operatic Society
Dormston Mill Theatre, Sedgley
***
Director-producer Andy Poulton has given the
show a circus setting and it proves a colourful way of getting the
religious message across.
Jesus becomes the ringmaster in red tail coat and top hat, Judas a clown and various other characters emerge as majorettes, a strongman, ballerina, cowboy, red indian etc . . .
Alf Rai, who has proved a real find, is excellent as
Jesus, with Chris Dowen a confident Judas in his first principal role
for the society.
A sparkling comedy performance, too, from Colette
Forsyth (Joanne), and strong support is provided by Andy Robinson
(Jeffrey), Lydia Lavill (Sonia) and Rob Lehman (Herb).
Choregography by Meg Dowen is impressive and the big
numbers like Day by Day, Prepare Ye the Way of the Lord and We
Beseech Thee bring out the best in the chorus, though on a few
occasions words were drowned because the music was too loud.
Michael Cotton is the musical director. To 09-04-11.
Paul Marston
Garrick Youth
Theatre
Lichfield Garrick
****
HERE'S a cracking young
company who have the audience - let alone Oliver Twist - pleading for
more at the end of Lionel Bart's much loved musical.
Even adults would be satisfied
with this performance which is jam packed with quality acting and
singing from an enthusiastic cast of 50.
Oliver has been entertaining
people for more than 50 years, and it's easy to see why. The story is
good, the music excellent and it is ideal for youngsters taking early
steps in the theatre.
The principals are superb, with
Romayne Sturridge outstanding as that crafty rogue, Fagin, leading his
gang of kiddy crooks with a brand of humour that is infectious.
Amy Mallaband sings beautifully in
the role of Nancy and gravel-voiced Mark Johnson is a convincing as the
brutish Bill Sykes.
Wonderful contributions, too, from
Lewis Sanders (Mr Bumble), Georgina Jones (Widow Corney), Charlotte
Middleton (Mrs Sowerberry), Joe Barnes (Mr Sowerberry, the undertaker)
and Gus Wade (Oliver).
Directed by Julie Mallaband with
Oliver Rowe's musical direction and choreographer Jemma Tiso earns top
marks for the various dance sequences. Oliver runs to Saturday 09-04-11
Paul Marston
Walsall Operatic Society
Lichfield Garrick
****
NICELY done! Craig Smith, chairman of this
talented society, takes one of the key roles in Frank Loesser's
entertaining musical and becomes the star of the show.
Assistant head of a Wednesbury secondary school, he plays the ever-hungry Nicely-Nicely Johnson and his acting in the story of New York City gamblers, gangsters and Salvationists is spot on, topping a great performance with that sparkling number Sit Down, You're Rockin' The Boat.
Tom Fletcher is excellent as big time gambler Sky
Masterson, though he could do with a sharper suit and hat, and Charlotte
Mills proves the ideal missionary, Sgt Sarah Brown, despite a somewhat
ill-fitting wig.
Paul Bickerton sparkles as the crafty rolling crap
game organiser, Nathan Detroit, while Helen Figures proves a real hoot
as the squeaky-voiced Miss Adelaide, star of the Hot Box night club and
long-time fiancee of Detroit.
She has a big moment with her sexy female dancers who
do a semi-strip in the other big number, Take Back Your Mink, and there
is an impressive contribution from Les Middleton (Arvide Abernathy).
Richard Poynton directs, Michelle Baker is
choreographer and Jack Hopkins musical director of a lively show that
runs to Saturday night 19.03.11
Paul Marston
High School Musical on
Stage!
Wolverhampton Grand Theatre
*****
Wolverhampton Music Comedy Company’s
production of Disney’s High School Musical on Stage! is fun, high-energy
family entertainment under the direction of Denise Robinson who is also
choreographer and producer.
Set in East High School, adolescent teenage
sweethearts Troy Boulton (Tye Harris) and Gabriella Montez (Holly
Stringfellow) have received a call-back after auditioning for the leads
in the high school musical, Juliet and Romeo, but this conflicts with
commitments to the basketball team and the science decathlon. Their friends engineer a way for them to attend call-back during the
competitions. They win the parts much to the chagrin of Sharpay Evans
(Kimberley Robinson) president of the drama club and school star and her
twin Ryan (Pip Harper).
Tom Winfield plays Jack Scott and provides excellent
links between scenes as the narrator. Boulton and Montez
steal the show in the second half with Start of Something New.
Some of the dialogue was lost due to intermittent
problems with the sound system or mikes but overall this was a highly
entertaining, polished and very professionally delivered amateur
production. A big well done to everyone involved.
Lynda Ford
Meanwhile in the other class. . .
* * *
A CASUAL glance round the audience on
opening night provided an instant picture of who loves this Disney
musical the most - youngsters and the young at heart.
Scores of children - mainly little girls - packed
three levels of the auditorium, many dressed in red and silver dresses
and waving pom-poms, just like the cheer leaders on stage, and parents
were there too.
The company has risen bravely to the challenge
offered by the cult show about rivalry at East High School in America,
Denise Robinson, the director, producer and choreographer, has ensured
that the numerous dances are superbly delivered, some of the movement
being worthy of skilled gymnasts with its innovation.
Making his debut with the company, Tye Harris excels
as Troy, with Holly Stringfellow an impressive Gabriella, and there are
substantial performances from Kimberley Robinson (Sharpay Evans),
Pip Harper (Ryan Evans), Tom Winfield (Jack Scott), Veronica Bould (Ms
Darbus) and Dexter Whitehead (Coach Boulton).
Karl Babarczi is musical director of the show in
which one of the hit numbers, We're All in This Together, says it all.
To 19.03.11
Paul Marston
The Mikado
Walsall Gilbert & Sullivan Society
Brownhills Community College Theatre
****
ON her debut as director-producer, Karen
Lyon has brought a fresh and lively approach'. Working with her former
school chum Rachel Eyre (musical director and Pittie Sing), she has
introdcued new features that work well. The gentlemen of Japan
appear as Kung Fu fighters with bamboo staffs.
And there is a delightful moment during the
singing of Tit Willow when a loveable bird puppet with a giant
yellow beak accompanies Ko-Ko and, having plunged to its death, returns
wearing a halo.
Ian Askew excels as Ko-Ko, whose little list of
people who never would be missed includes mobile phone users, girls who
are ambitious to become soccer WAGS, and even tabloid journalists! But
were cufflinks worn in ancient Japan?
John Stacey is a confident Nanki-Poo, with a fine partner in Letty Cheadle (Yum-Yum), and strong support from Brian Marshall (Pooh-Bah), Michael Taylor (the Mikado) and Rachel Simpson (Katisha). Retired MD Brian Hirst has returned as guest conductor. To 26-02-11
Paul Marston
Something's Burning
Fellowship Players
Grange Playhouse, Walsall
***
WHEN Nell Adams' husband suddenly deserts
her she doesn't have much time to mourn the departure of the dodgy
builder.
She is soon targeted by an equally suspect local
teacher and poet, and the pair embark on a risky affair.
Jill Simkin is excellent as Nell whose initial
rejection of the new suitor quickly disappears - but just how genuine is
George Rush when he expresses his love for her? Sam
Evans perfectly reflects the unsteady character of George who gets a
wake up call when an older man from the area, widower Jim, falls for her
charms, too.
Gerry Joyce is an amusing Jim, involved
in some lively verbal clashes with George as the two men almost come to
blows in their attempts to claim the lady's affections.
Good supporting performances, too, from Charlotte
Richardson (Nell's sister Gail) and Rachel Holmes (George's wife,
Helen).
A well designed set by David Tonks helps the action
of Eric Chappell's play, directed by Chris Pomlett. To 12-02-11
Paul Marston
Season's Greetings
Lichfield
Players
Lichfield Garrick
****
JUST when you thought Christmas was over for
another year, here comes Alan Ayckbourn's little cracker about a festive
party for the Bunker family and friends.
It's an entertaining comedy, if a shade slow getting
into top gear. Two scenes at the end of the first act and just before
the close had large audiences in stitches.
The first highlight sees blonde hostess Belinda
Bunker, enthusiastically played by Sarah Stanley, darting from room to
room late at night with one of the guests, Clive (Ian Davies) with a lot
more than a kiss under the mistletoe in mind.
And they accidentally set off one of the mechanical
toys under the Christmas tree, bringing the rest of the household from
their beds.
There's even a shooting incident and laughs galore
when dodgy doctor Bernard (Brian Asbury) stages a puppet show while
grumpy old Uncle Harvey chips in with his own sarcastic commentary. Tom
Rowley is a hoot as the agony uncle, a former security officer who is
convinced he has spotted a crook at the party.
The set, designed by Jim Warrallo, works particularly
well in an enjoyable play directed by Barrie Atchison. To 05.02.
Paul Marston
Creepy Hollow
Spotlight Youth Productions
Brownhills Community College
Theatre
***
This young company describes its latest
musical show as a scary panto, and it hits all the right notes.
Written by director Steve Groves, following an idea
by Nigel Anderson, the story is set in the haunted Creepy Hollow Hotel
and features a lively cast of ghosts and zombies.
There are many opportunities to introduce well-known
songs, sometimes with a little twist, such as GhostDusters.
Inevitably Thriller is there, along with Monster Mash,
and Karen Lyon's choreography enables the cast to move and dance in
style suitable to the spooky scenario.
Andrew Cox is outstanding as the hotel's hunchback
buter, Seymour – he could have been recruited from the Rocky Horror
Show - and his duet, Suddenly Seymour, with the cook, Mrs B
(impressively played by Lucie Bunce) is a genuine highlight.
The Sleeping Beauty
Aldridge Youth Theatre
****
THE Youth Theatre's version of the
traditional story, written and directed by Neville Ellis, is a real
cracker.
It is fresh, lively, colourful and includes clever
new features which are thoroughly exploited by an enthusiastic cast of
more than 50 youngsters.
The show doesn't end with a kiss from the handsome
prince awakening Princess Rose from her 100-year sleep. She turns down
his offer of marriage until he kills a dragon and wins her love.
Joseph Cryan gives a professional-quality performance
as Nanny Gripewater and Savannah Cook also attracts plenty of audience
participation as the evil Fairy Mildew.
There are sparkling comedy turns from George Caulton
as Private Barrel, the soldier with a strong Black County accent, and
William Young, a little gem as Cuddles the jester.
Guy Rowlands (piano) and Raymond Vale (drums) provide
the music. Full marks to the parents and helpers who created the
costumes and scenery. To 22.1.
Paul Marston
Songs for a New World
Not So Productions Grange Playhouse, Walsall
****
HAVING pledged to bring some of the most
innovative and new musicals to the Midlands, this exciting young company
can look upon its latest production as a triumph.
Jason Robert Brown may not be a household name over
here, but the American song writer and lyricist has talent which comes
bursting through in a revue-type show containing music for just about
every emotion.
Although the vocally-demanding score is a stern
challenge, Karen Cockitt, Timothy Gough, Kate Rock and Richard Haines
come through with flying colours, whether in solos, duets or as a
foursome.
The songs deal with a particular moment in different
individuals' lives - and the cast, who have all enjoyed key roles with
Brownhills Musical Theatre company in the past - show a keen
appreciation of the situations involved.
There are humour, sadness and pathos in the music,
and Sarah Haines' choreography helps the visual quality of a show well
directed by Dexter Whitehead, who described it as one of the most
exciting pieces he had ever worked with.
A strong performance by the four-piece band, directed
by Matt Walker, is vital to the success of the revue. To 27.11.
Paul Marston
Summer Holiday
WBOS Youtheatre
Lichfield Garrick
****
THE young company delivers an energy-packed
show in John Wetherall's production, with clever dancing to Lisa
Metcalf's choreography.
Four London bus mechanics, led by Don (George
Stuart), decide to convert a red bus into a mobile holiday home and head
for the South of France, giving a lift to stranded girl band en route,
then collecting a stowaway 'boy' who turns out to be a well known girl
singer.
George Stuart (Don) excels with his singing, forming
an excellent partnership with Abigail Poulton (Barbara), and there are
fine comedy spots featuring Grace Wyatt (Stella) and Connor Bacon
(Jerry).
Some early hitches with the sound equipment didn't
unhinge the cast who impressed with top Cliff Richard songs. Musical
direction is by Ian Stephenson. West Brom's got talent.
To 13-11-10.
Paul Marston
Return to the Forbidden
Planet
Bilston Operatic Company
Grand Theatre, Wolverhampton
***
A RATHER slow lift-off doesn't deter this
company as it stages Bob Carlton's spaceship musical.
It does eventually hit the booster button, the
improvement coinciding with the arrival of roller-skating robot Ariel
(Jon Dempsey), who glides smoothly round the stage and, at one point,
even pops up in the stalls shaking hands with the 'passengers'.
He also sings well as the cast light up the show with
its rock 'n' roll hits.
Stephen Harper impresses as Prospero, and Amy Spinks
provides the love interest as his daughter, Miranda, who takes a shine
to the spaceship commander, Captain Tempest (David Walters).
Although the set works reasonably well, and BBC
newsman Nick Owen is amusing with his recorded narration on the
spaceship screen, the space monster's giant tentacles didn't look too
good when they flopped through the roof with supposed menace.
Direction is by Simon Pugh with Bambi Dahmi's choreography and Peter Smith's musical direction. To 13-11-10.
Paul Marston
A Night at
the Musicals
Brownhills Musical Theatre Company
Brownhills Community Theatre
****
ALWAYS prepared to try something different,
this excellent company includes puppets in its latest spectacular show
and it works a treat.
The muppet-sized, hand-operated creations are
used in a selection of numbers from Avenue Q, and the first night
audience loved them, particularly the humorous If You Were Gay.
Members of the cast operate the puppets while
they sing five songs, and they manage to get the mouth movements near
perfect.
The show, produced by Pete Smith and Tim Jones,
opens with Dave Hayward and the ensemble in Bohemian Rhapsody, from We
Will Rock You, followed by a real bonus as young Georgia Holmes and the
children sing and act scenes from Annie.
Paul Bailey, Elizabeth Casey and Kate Rock
impress in a selection from Anything Goes, and John Cruxton and
Colin Coleman sparkle in Always Look on the Bright Side of Life, from
Spamalot, and Julie Lomas sings Whatever Happened to My Part with real
feeling.
A great show ends with five numbers from
Hairspray. Colourful costumes, exciting To 13.11.
Paul Marston
Crescent Theatre, Birmingham
*****
THE intimacy and connection between actors and
audience are wonderful, as one is able to catch every nuance, expression
and vocal intonation in an exceptional theatrical experience.
Friedrich Schiller's play has been given a new
translation by director Andrew Cowie, and the stark stage setting and
subtle lighting make for clever use of scene changes and focus the
emphasis on the text and the storyline.
Karen Leadbeter, as Catholic Mary Stuart, delivers
every line with strength and passion. Imprisoned for 19 years, and
usurped by her Protestant cousin Elizabeth I, Mary seeks reassurance
from friend and former lover, Lord Leicester, played with warmth and
compassion by Stewart Snape.
Lord Burleigh is played with just the right amount of
anger and menace by Colin Simmonds. Naomi Gilbert, as the regal, virgin
Queen, makes her first, majestic entrance in full, opulent Tudor
splendour, so, top marks for wardrobe mistress Anne Curry.
Congratulations to all the cast and backstage team
for a truly thought-provoking production. To 13-11-10
Elizabeth Smith
Orpheus in the Underworld
Erdington Operatic Society
Sutton Coldfield Town Hall
****
THE company can feel well satisfied with
its staging of Offenbach's colourful operetta - a romp, full of energy
and imagination.
A few weeks before the show opened, a leading
member of the cast had to drop out through family illness, but Letty
Cheadle stepped in to fill the role of Eurydice with aplomb, while Colin
Lapworth - also director and choreographer - proved an amusing Orpheus.
A fine performance, too, from Pam Cooper as
Calliope, and Paul Wozniak was a hoot as the super-fit Mercury, darting
on and off stage like some demented soccer sub.
David Allen was musical director of a devilishly
good show.
By the way, this is one of the few societies - is
there another? - who always play the National Anthem before curtain up.
To 6-11-10
Paul Marston
Jesus Christ
Superstar
West Bromwich Operatic Society
Alexandra Theatre Birmingham
***
Jesus Christ
Superstar is now 40 years old. If that puts the writing into its
mid-life, there was certainly no crisis in WBOS energetic resurrection.
With its overtones
of a black pagan mass, this production has ambition to punch well above
its weight and at times achieves it.
Possibly benefiting from their
week at the Wolvehampton Grand, the entire cast was position perfect and
`in the moment’ in every scene.
There really were no weak vocal performances although lack of good mic technique occasionally sent a few notes into distortion .The clearest surprise was the young Lydia Hackett who crafted her superb vocals and acting into a mature compassionate Magdalene.
On every level there’s plenty to
at look at. Herod’s song featuring John Wetherall was the most
surprising with its Fosse like choreography and scantily clad decadence
that would not have gone amiss at a Madonna concert.
It’s not all gimmick, the glitter
just serves to effectively contrast the pain and emotional depth of the
more torturous scenes.
Possibly out of respect, the
curtain call was taken in somber character but against the elated
audience applause though, I kept thinking, smile a little, this is a big
production and you just nailed it.
Jeff Grant
Jekyll and
Hyde – The Musical
Lichfield Operatic Society, Lichfield Garrick
*****
Lichfield Operatic Society
have triumphed again with Leslie Bricusse’s Jekyll and Hyde - The
Musical. The show is jaw-droppingly good and there is absolutely nothing
amateur about this production; the show is full of ‘best bits’ and
closed to a long and enthusiastic standing ovation.
The three principle characters are
perfectly cast. Eoin Edwards plays Dr Jekyll and Mr Hyde, Kerri
Davies is the doomed tart with a heart, Lucy Harris, and Jenny
Barlow-Jennings, the new girl on the block, plays Jekyll’s fiancé, Emma
Carew. The trio are all very talented and accomplished actors and
songsters.
There are many words to describe
the show; special, extraordinary, skilled, expert and accomplished are
but a few. The whole production team and cast did a marvelous job and
the orchestra, lead by Oliver Rowe, was outstanding, particularly the
percussion section.
Just a final note, and not a
criticism at all, but the band momentarily overpowered the narrator in
the opening scene and in the final moment of the show there was a bit of
feedback from Emma’s mike. Still a five star show though. To
6-11-11
Lynda Ford
IF you hadn't read the posters you would never know
this was an amateur production.
And that is a tribute to a fine cast and
production director Julie Mallaband who have put together a terrific
show from the adaptation of Robert Louis Stevenson's classic tale.
Eoin Edwards is magnificent as Jekyll, particularly when he transforms to the murderous, manic Hyde, simply by ruffing up his hair, altering his expression and body shape and giving his voice a blood-curdling growl.
A stunning performance, too, from Kerri Davies,
playing the beautiful prostitute, Lucy Harris who gets involved with
both Jekyll and Hyde, though the moment her body is dragged off stage,
feet first, in semi-darkness - but spotted by the chuckling audience -
needs attention.
Jenny Barlow-Jennings impresses as the doctor's
fiancée, Emma Carew, with high marks for Paul Roberts as John Utterson,
Mark Johnson
Oliver Rowe is musical director and Jemma Tiso the choreographer.
Paul Marston
Jesus Christ
Superstar
West Bromwich Operatic Society
Wolverhampton Grand
Theatre
****
WBOS have undertaken the
huge commitment to perform Andrew Lloyd Webber and Tim Rice’s dramatised
musical, Jesus Christ Superstar, for two consecutive weeks in two
theatres.*
The show gives a view of the
mental and physical torture of Christ in his last week on this earth
and, whilst set to rock music, is definitely not light-hearted.
The whole cast made a splendid
effort despite issues with the sound in the first act which detracted
somewhat from performances. I suspect some first night nerves as
well. Individual performances in the second act were more assured,
much improved and promise even better for future.
Tim Prottey-Jones plays the
‘haunted and hunted’ Christ. In Act I he did
a good job with some difficult pieces but in Act II
he really found his voice. Lyndon Flavell (Judas) gave a high-energy
performance. Lydia Hackett has a great voice and her moving
depiction of Mary Magdalene was a performance to note.
Best song of the night was I
Don’t Know How To Love Him. I also enjoyed the lighter King
Herod’s Song and the happy, clappy Superstar. A big
well-done to the orchestra.
The simple set was transformed
through imaginative lighting and the crucifixion of Christ, whilst sad,
was a powerful vision. The show is dedicated to
Peter Davis who was to have directed the show but sadly died earlier
this year.
Lynda Ford
****
THE highly talented company has
accepted a difficult challenge in staging this Tim Rice/Andrew Lloyd
Webber musical in professional theatres on two successive weeks, but the
amateurs are turning it into a triumph.
On the 40th anniversary of the show, they will
follow a week at the Grand with another at Birmingham's Alexandra
Theatre, and a treat for audiences is guaranteed.
This rock opera tells the story of the last
seven days in the life of Jesus Christ, and while it is a tense
tear-jerker at times, there are lighter moments too, particularly when
the portly King Herod (John
And the attractive girl dancers sparkle to the
choreography of Claire Kramer during Herod's big scene, which contains
some very sexy contortions.
Tim Prottey-Jones, in his first appearance with the
company, is an impressive Jesus, delivering a powerful Gethsemane,
though I am not sure about that jet black wig, and the crucifixion scene
needs attenton. On opening night there was too much fumbling by soldiers
attaching him to the cross, losing some of the dramatic effect.
There are outstanding performances from Lyndon
Flavell (Judas) and Lydia Hackett (Mary Magdalene), with strong
contributions from Craig Smith (Annas), Callum McArthur (Caiaphas), and
Luke Hopson, Simon Peacock and Roger Shepgerd as the priests.
Directed by Tim Brown and produced by Mike Capri, with Jonathan Hill's musical direction.
Paul Marston
* The show moves to the Alexandra
Theatre on Tuesday 2nd November through to Saturday 6th
November 2010.
The Circle Players
Aldridge Youth Theatre
*****
THIS dramatic and haunting play by Arthur
Miller brings out the best in this company, surely one of their finest
productions since they were formed in Kingstanding 76 years ago.
It grips the audience from start to finish, the only
respite being the flute music from Sarah Broder during scene changes
ending with Amazing Grace. Delightful.
The story focuses on the Puritan purge of witchcraft
in old Salem in 1692, the author drawing a parallel with America's fear
of Communism in the 1940s and 50s.
Wearing period costumes, the cast of 25 - including
children - deliver a memorable performance. Thom Handley is magnificent
as farmer John Proctor, whose courageous defence of his wife accused of
witchcraft eventually threatens his own life.
Clive Barlow is a superbly menacing Deputy Governor
Danforth, and there are other outstanding contributions from Fay Mason,
as Proctor's loyal wife, Elizabeth, Eleanor Ball (Abigail Williams),
Stan Hubbard (Rev Samuel Parris), Alex Howell (Rev John Hale), Rebecca
Lucas (Mary
Warren), Lee Tregellis (Judge Hathorne) and Ian
Toulouse (Giles Corey). Directed by Liz Daly. To 23-10-10.
Paul Marston
Spring and Port Wine
The Fellowship Players
The Grange Playhouse, Walsall
****
THIS Bill Naughton play provides a fascinating look at what life was
like for a typical working class Lancashire family in the early 1960s.
Seems hard
to imagine, in this day and age, how stern father Rafe Crompton could
dominate his wife and four growing-up children so comprehensively, but
times have changed and the comparison is interesting.
Chris Pomlett (did they
wear black shirts in those days) gives a totally convincing performance
as Rafe who keeps his loyal wife, Daisey, so short of cash she has to
resort to all kinds of schemes to cope, yet there is plenty of money
locked away in dad's desk.
He is at his best in the
scene where he delays dinner while carrying out an extraordinary
'witch-hunt' into who gave a lone herring to the family cat when he was
determined to make reluctant daughter Hilda eat it.
Sue Richardson is
impressive as the downtrodden Daisey, desperate to keep her children
happy and, despite her own financial worries, still managing to help out
her scrounging neighbour, Betsy Jane (Charlotte Richardson).
Eventually the four
children - Florence (Rachael Holmes), Wilfred (Adam Purchase), Harold
(Sam Evans) and Hilda (Naomi Millard) - reach the point of revolt, but
their father is not easily beaten.
Dale Roberts, family friend
Arthur, completes fine cast in a play directed by Anne
Chamberlain. It runs to Saturday night October 16, and the excellent set
for the Cromptons' home, designed by David Tonks, adds realism.
*The
family's fluffy white cat in this production was clearly a cuddly toy,
so why the note on the foot of the programme: "We would like to reassure
patrons that no animals have suffered in any way during this
production"? To 16.10.10
Paul Marston
Khaotic
- The Fred Karno Story
From The Top Theatre Company
The Old Rep
****
NEARLY everyone over a certain age will
know, and probably have used, the expression 'just like Fred Karno's
Army', many not having a clue who the man was.
It was that comment, from a friend describing
apparent chaos in the author's Lichfield office, that led Streetly-born
David Crump to start researching into the man dubbed the King of Comedy,
and this excellent new musical is the result.
The show is having its world premiere in Birmingham
this week and is certain to be in great demand when it becomes available
to amateur companies from next Spring.
It contains some fine original music by Peter Smith,
with Crump's lyrics, and gets an extra fillip from such memorable old
music hall songs as Waiting at the Church, The Boy I Love is Up in
the Gallery, All the Nice Girls Love a Sailor and It's a Long Way
to Tipperary.
Fred Karno began his showbiz career as an acrobat,
but went on to discover many talented performers, including Charlie
Chaplin and Stan Laurel, and his shows toured the world for 30 years.
The new musical is presented in a lively,
entertaining style, with Michael Fleming impressive as Karno's eldest
son Freddie. In that role he also acts as compere, as well as turning
his hand to being a policeman, barrister, reporter and a few other
characters.
David Crump leads from the front as the ambitious
Karno, and his wife Debbie gives a fine performance as Mrs Edith Karno
who has to cope with her talented husband's moods and infidelity.
Charlotte Gessey is a convincing Marie Moore, the
attractive younger woman for whom Karno leaves his wife, and there is a
wonderful moment when Steve Birch, playing Stan Laurel crashes on to the
floor with his boss and produces a stunning replica of the great star's
unique facial expression.
Produced by Jan Chambers, this endearing musical will
be visited by some of Karno's relatives before it closes on Saturday
night 09.10.10
Paul Marston
Two One Act Plays
Vesey Players
The Other RSC
VESEY Players, for many years panto
specialists, have re-invented themselves as an amateur dramatics group
with two lively one act comedies at The Other RSC pub theatre at The
Station in Sutton Coldfield.
In the first, The Worst Day of My Life, Dave
Newman is deadpan as Charlie Brown, just a man who can't say no, whose
stay in hospital is nothing compared to his wife trouble - lots of them.
There is steady secretary Joanne (Michelle Wilson), fussy house-proud
Evelyn (Janet Daniels) and the excellent Tabitha Hughes as good time
(had by all) girl Melissa and they all want a piece of Charlie. Even
Nurse Samantha (Kerry Daniels) gets in on the act in a fast paced piece
that delivers the laughs.
David Tristran’s Last Tango in Little, in this case, Aston should be a comedy banker and a Vesey quartet of Colin Townsend as Gordon, Steve Paterson as Bernard, Vivien Smith as Margaret and Tina Romano who excelled as Joyce did not disappoint, turning it into a winner.
It is the tale of an amdram group on its uppers who, with just four members, often still find themselves with more cast than audience until they find the secret of success - sex. Although with an enthusiastic full house they seem to have already found their own way of packing them in.
Next production at The Other RSC is David Hendon’s
From Me to 3792 starring Caroline Nash on November 3&4.
Roger Clarke
South Staffs Musical Theatre Company
Grand Theatre, Wolverhampton
****
DISCO classics get the audience on their feet
in this high energy show which is proving a successful experiment for
the talented South Staffs company.
In the past they have only performed traditional
musical comedies or operettas, but with a young cast available they
switched to Boogie Nights and a chance to let their hair down.
Maria Shee has done a wonderful job as choreographer,
particularly with the dancing to I Lost My Heart to a Starship Trooper
at the start of the second act, and the electrifying finale of We Are
Family - a standing ovation showed just what the audience thought
about it.
Simon McGee fits snugly into the role of Roddy, a
Jack-the-lad who specialises in birds, booze and boogie while dreaming
of becoming a rock star. His antics threaten to cost him the love of his
girlfriend, and appropriately he sings If You Leave Me Now with
considerable emotion.
An excellent performance, too, from Lucy-Ellen Parker
as his anxious partner, Debs, with Luke Renwick and Jessica Harper - the
couple's best pals Terry and Trish - equally impressive, and Roger
Stokes is amusing as Roddy's Elvis-loving dad, Eamon while David
Reynolds can feel well satisfied with his debut as director. To
09-10-10.
Paul Marston
Lichfield Garrick Youth
Theatre
Lichfield Garrick
****
The musical version of Footloose emerged
from the 1984 movie starring Kevin Bacon. It received mixed reviews on
Broadway – the main consensus being that whilst the score was strong,
the plot was weak. Despite the critic’s response, audiences loved
it and the show enjoyed long runs both in America and in the West End.
It continues to tour regularly today.
The story is simple - the youths in a backwater town
in Tennessee are discouraged from having any fun by its God fearing
elders (Dancing, it would seem, is the work of the devil). The
kids, being kids, want to party and no outdated party pooper is going to
stop them strutting their stuff. Something, somewhere, has got to
give.
The Garrick Youth Theatre has something of a
reputation for quality. Recent successes such as ‘ Les Miserables’ and ‘
West Side Story’ have propelled them into one of the top musical
theatre youth groups in the country – an accolade earned not only from
the sheer talent of the young performers but also the level of technical quality that supports it.
The sheer logistics of putting on a show like this
are huge. Director Aimee Berwick (herself a former Youth Theatre
member) has to cast roles from a wide range of ages and ability. With so many people needing to be cast there is danger in it
looking as though performers are there simply to make up the numbers
(after all, tickets need to be sold and the more in the cast, the more
chance of that happening ) but Berwick avoids that trap and accommodates
the large cast with real thought.
The show is surprisingly wordy for a ‘teen driven’
musical but the cast mostly handle this well. Cues are sometimes
slow to be picked up and the nuances of comic timing are at times missed
but these are skills that take time and experience to learn and there is
no better learning environment than on a main stage before a real
audience.
As with all good musicals though, the heart lies in
the score. There are some great songs here – as well as the title track
we all know, there is the supremely camp ‘ Holding out For A Hero’ and the catchy ‘ Lets Hear It For The Boy’ ( beautifully sung by
Abbigail Tong) amongst other less well known numbers. The Ensemble
singing is strong and choreography by Jessica Lambert is simple but
effective.
Youth Musical theatre audiences are keen to clap and
‘whoop’ – they are given ample opportunity here for both.
Several performances stood out. Georgina Jones as
‘Vi’ played her part with a maturity beyond her years. Her scenes
with her husband Shaw (played with real pathos by Nick Lawrence) were,
for me, the best in the show. Lewis Sanders, as ‘nice but dim’ red neck
‘Willard’ showed real comic ability – If the Youth theatre ever do panto,
he is a shoe in for ‘ Dame’ ) Charlotte Middleton is convincing as the
daughter who struggles to be reined in by her strict father and Jack
Moreton cuts a dash as Ren. There are no weak links
though and it’s equally pleasing to see some of the younger members
taking their chance to shine.
Credit too for some impressive staging, There are a
fair few locations here – a kitchen, a railway bridge, a gymnasium, a
burger bar, and a church to name but a few. No easy task getting all
that on around a cast of around 50.
There were some problems at times with the sound mix
– dialogue onstage being drowned out by the orchestra. A tricky balance
to get right. That said, the orchestra, conducted by Oliver Rowe, were
excellent throughout
Footloose runs until Sat Oct 2nd. Treat yourself and get a ticket.
Tom Roberts
Lichfield Players
Lichfield Garrick
***
IN deciding to open their new season with this
Daphne du Maurier classic thriller, the players made a wise choice.
The story is a fine mixture of drama, intrigue, love
and fear which begins when wealthy Maxim de Winter returns with a new
wife to his plush home, Manderley, in Cornwall.
The mysterious drowning of his first wife, the
beautiful Rebecca, a year earlier, still haunts the building, and the
situation is not helped by the sinister attitude of the spooky
housekeeper, Mrs Danvers, well played by Karen Fisher.
There were a few early hiccups on the first night,
but the cast grew in confidence as the play progressed to its dramatic
and unexpected conclusion.
In her debut with the players, Hannah Freeman
impresses as the new Mrs de Winter, helped by Bill Killick's strong
performance in the key role of Maxim who appears to have been somehow
involved in Rebecca's death.
Stefan Dufaye (Frank Crawley), Denise Baker
(Beatrice Lacy), Andrew Bodger (Giles Lacy), David Titley (Jack Flavell)
and Phil Shaw (Colonel
Julyan) all make good contributions as the tension
builds.
The set is impressive, with the possible exception
of a chandelier which is too high in Manderley hall and a doorbell that
seems better suited to a fire engine.
It is directed by Carol Lawford. To September 18.
Paul Marston
Spotlight Youth Productions
Brownhills College Theatre
***
WHEN it comes to sheer enthusiasm and not a little skill, the Spotlight youngsters take some beating.
This musical story written by their director, retired West Midlands policeman Steve Groves gave full rein to the splendid cast of 60.
Some well known 70s songs were woven into the tale of TV company SYPTV suffering from a plunge in audience figures, so the chiefs launched a new show, Pops at the Top, with big personalities like Timmy Saville (Matt Kinson), Smashey (David Anderson) and Nicey (Nick Allen).
Outstanding choreography by Karen Lyon and her team brought the best out of the youngsters, particularly the Pam's People group led by Amber Lakin (Pam) and Grace Foulkes (Alisha).
Fine performances, too, from the leads Charlotte Kinson (Mandy) and Chris Allen (Graham), with Jonjo Smith brimming confidence as Chris, the TV show director.
Ian Windsor was musical director in charge of a lively band. To 17.07.10
Paul Marston
The Railway Children
Aldridge Youth Theatre
* * * *
THE intermediate group of AYT gives a first-class performance in Edith Nesbit's classic tale.
Directed by Isobel Taylor, Dave Simpson's adaptation for the stage enables the youngsters to portray the humour, sadness and joy involved in the story of a young family's struggles when the father, a Foreign Office official, is wrongly jailed for a crime he didn't commit.
Mrs Waterbury, her two daughters and son, have to leave their plush London home and live in a tiny cottage near the railway station on the Yorkshire Moors, but the friendship the children strike up with an old gentleman passenger on the trains eventually leads to a happy ending.
Lauren Clark is convincing as the mother, while Emily Castles (Roberta), Amundeep Rajania (Phyllis) and William Young (Peter) act and deliver their lines with great confidence.
Miles Carlisle is impressive as Albert Perks, the station porter, who also links the action together neatly as narrator, and Alexander Fisher makes his mark in the role of the Old Gentleman.
Nearly 30 volunteers had helped in support work, including construction of the excellent set which contained the livng room of the Waterburys' cottage, part of the countryside and the station, with a framed painting of a stream train and three children waving to passengers and the driver.
On several occasions the centre of a copse is lowered to reveal a tunnel and railway lines. And the sound effects of steam trains creates atmosphere. To 10.07.10
Paul Marston
The Merry Wives of Windsor
Crescent Theatre Touring Company
Birmingham Botanical Gardens
* * * *
OH, what a giggle in the gardens as this talented company began their summer tour with Shakespeare's naughty domestic comedy.
The story of how down-on-his-luck Sir John Falstaff plans to restore his fortunes by seducing the wife of one of Windsor's wealthy citizens is the ideal vehicle for this trip.
Thankfully there was no rain to mar the launch of this open air event at which the audience enjoyed picnics with food and wine while a variety of wildlife - particularly the screeching peacocks - joined in the fun.
Vincent Clarke is in sparkling form as the portly Falstaff who escapes an angry husband on one occasion in a basket full of filthy laundry, then, on another uncompleted mission, dressed as a woman.
His scheme to seduce Mistress Alice Ford is scuppered by the cunning of the attractive woman, well played by Sonia Bethell, and her friend Mistress Meg Page (Debbie McEwan).
Terrific performance, too, from Colin Simmonds as the threatened husband, Francis Ford, and there are outstanding contributions from Pat Dixon (Mistress Quickly), Patrick Bentley (Dr Caius), John Whittell (Sir Hugh Evans), Paul Brotherton (Master Abraham Slender) and Ivor Williams (Master Robert Swallow).
As the sun began to set and was replaced by a chill breeze, some members of the audience used the interval to fetch their car rugs, but the action of the play, directed by Robert Ball, left a warm glow.
The merry wives continue tormenting Falstaff at the Botanical Gardens on July 1 then at Hall Gardens, Castle Bromwich (July 3 and 4), St Nicolas Place, Kings Norton (July 6 & 7), Hall Croft, Stratford-on-Avon (July 10), and Harvington Hall, Kidderminster (July 17 & 18).
The box office is on 0121-643-5858.
Paul Marston
Dick Barton - Special Agent!
The Circle Players
Aldridge Youth Theatre
***
IT opened with the famous theme tune The Devil's Gallop, then this drama group, founded in Kingstanding, cantered through the spoof of a musical drama about the brave deeds of Dick Barton who comes into conflict with the villainous Baron Scarheart in Phil Willmott's amusing story.
The audience played their part, too, booing the nasty characters, panto-style, then humming along with Land of Hope and Glory while waving the Union flags provided.
Stan Hubbard, in trench coat and trilby, excelled as Dick Barton, even impersonating his sidekick, Snowy to confuse the nasty foreign enemy Baron Scarheart, cleverly played by Clive Barlow, with a dodgy eye patch and accent!
Clair Tregellis was superb as the Baron's sexy assistant, Marta Heartburn, with Matt O'Hare an impressive Jock, and Fay Mason a cute Daphne Fritters, daughter of the missing chief, Sir Stanley Fritters.
Directed by Anne Troman, with Vincent Byrne's musical direction, Dick rides to 12-06-10
Paul Marston
The Fellowship Players
Grange Playhouse, Walsall
***
TWO students are so convinced they have committed the perfect murder that they stage a supper party at the scene of the crime in Patrick Hamilton'a play.
They even use a chest containing the body of a fellow undergraduate as a makeshift table for their guests who include the victim's father, Sir Johnston Kentley.
Lee Hodgetts is outstanding as the over-confident ring leader, Wyndham Brandon, and David Brown gives a fine performance as his pal, Charles Granillo, who starts to buckle under the pressure.
But the plot has some weaknesses. Why, for instance, does Granillo so casually pocket, then mislay, a coliseum ticket that was bound to be a vital clue?
Books given to Sir Johnston (Mark Dallison) on the night of the party are tied up with string, when a piece of rope has been requested. And in the Hitchcock film version the very rope used to strangle the student was used to parcel up the books!
There is, however, a dramatic end to the play when one of the guests, Rupert Cadell (Michael Penn) returns to challenge the guilty pair, having found the boy's show ticket. The acting is outstanding throughout on a perfectly designed set. Directed by Stephen Ralph. To 19-06-10
Paul Marston
One for the Road
Lichfield Players
Lichfield Garrick Studio
*****
HATS off to the Lichfield Players on an excellent production of Willy Russell’s comedy drama, One for the Road. Directed by Sarah Stanley, the cast of four are, captivating, polished and very, very funny with many laugh out-loud moments.
The Garrick Studio is the ideal arena for this production, the audience could be guests in the Cairn’s lounge/dining room. Rachel Duncan plays the fussy Pauline Cain with conviction and Nigel Lowe as the mischievous and witty Dennis Cairn. They await the arrival of his parents, who never actually make it.
There have been tales of strange happenings in the neighbourhood, with beheaded gnomes and the defacing of the Venus di Milo. Surely the Parnes kids are responsible.
Dennis is 45 tomorrow and wants to be free of his dormer bungalow trap. He wants to be free, to hit the road. He hates Richard Claydermann and John Denver with a passion as symbols of the life he leads.
But Dennis has a secret locked away in the Queen Ann dresser. Friends Roger (Ian Davies) and Jane (Louise Brennan) come for dinner and throughout the evening secrets are revealed, Roger is a serial philanderer. Pauline is having an affair with Roger; Wednesday afternoons she is Roger’s “Bakewell Tart” to his “John Denver” much to the dismay of Jane. The ensuing tussle uncovers Dennis’ secret.
Lynda Ford
An alternative road . . .
*****
WHAT happens when Dennis Cain stands on the brink of a mid-life crisis leads to some brilliantly funny dialogue in Willy Russell's sparkling comedy.
And Sarah Stanley's direction brings out the best in the players' cast of four who are word perfect with the witty exchanges taking place during preparations for a dinner party arranged to celebrate his 45th birthday.
Nigel Lowe is superb as disillusioned Dennis, bored with life on Phase Two of a private housing estate where social climbing is the name of the game, and apparently ready to head for the open road with just a rucksack for company.
His anxious wife, Pauline, beautifully played by Rachel Duncan, tries hard to ignore his rants, but when their posing neighbours and friends Roger and Jane Fuller arrive, Dennis takes a turn for the worse..
Excellent performances, too, from Ian Davies and Louise Brennan as the posey Fullers who find a few skeletons popping out of their own cupboards as tempers become frayed, and Dennis's proposed escape route is blocked in an unexpected and hilarious climax.
The debate between Dennis and Jane, convinced his problems are of a sexual nature, is a hoot. To 12.06.10.
Paul
Marston
Singin'
in the Rain
Sutton Coldfield Musical Theatre Company
Lichfield Garrick
*
THIS is a very
entertaining production although not always for the right reasons and
it fell just
short of expectations; just like the custard pie launched at leading
lady, Lina Lamont (Sarah Clarke) by Kathy
Seldon (Heidi Creswell) in the first act.
Talking movies are the future which causes quite a problem for silent movie stars Don Lockwood (Phil Bourn) and Lina Lamont whose irritating, screechy voice will drive the public away. When the silent Dueling Cavalier is turned into the musical Dancing Cavalier the only way to success is to overdub Lina’s voice with that of Don’s new love, aspiring star, Kathy, much to the chagrin of Lina, who deludes herself that she and Don are partners on and off screen.
She conspires to lock Kathy into a long term
contract as the voice of Lina Lamont ensuring Kathy’s chances of stardom
are doomed. The film is a huge success, but Lina’s scheming is
undone. Don and Cosmo conspire to uncover her lack of vocal skills and
Kathy is acclaimed as a star.
The audience was appreciative of a
cast which was energetic and enthusiastic. Richard Ham produced a
brilliant comedy performance as Cosmo Brown in Make ‘em Laugh
and, again when he joined leading man Phil Bourn (Don Lockwood) in Moses
Supposes. Clarke really touched a nerve with that dreadful
screechy voice.
Bourn did really well in the lead
role of Don Lockwood delivering some very difficult dance routines; in
particular with the title song Singin' in the Rain. However, he did seem to be dancing by numbers on occasion.
This was the second night and some
things didn’t work that should have, like the pie that missed the mark
and the failing smoke effects.
The black and white silent film
and the talking Dancing Cavalier were really well done and caused
much amusement.
Lynda Ford
Aldridge Musical Comedy Society
Prince Of Wales Theatre, Cannock
****
THIS much loved Lerner and Loewe musical based on George Bernard Shaw's Pygmalion was a joy for the cast and a double triumph for Garry Bailey.
He not only directed the show skilfully, but also played Professor Henry Higgins who transforms common flower girl Eliza Doolittle into a charming woman fit to attend an embassy ball.
Bailey has appeared as Higgins on two previous occasions but this was his first time on stage with the Aldridge company and his confidence rubbed off on the cast.
He formed a fine partnership with Rachel Carruthers, convincing as Eliza in her switch from the Covent Garden pavements to mixing with the aristocracy, and she managed to cope well with th effects of a throat infection.
What a performance, too, from Chris Parry as Eliza's dustman dad, Alfred P. Doolittle. His Get Me to the Church on Time was one of the highlights. Ken Beckett (Colonel Pickering) and Mark Nicholls (Freddy Eynsford-Hill) also impressed, while the orchestra, directed by Ben Batt, excelled. To 22.05.10.
Paul Marston
Brownhills Musical Theatre Company
Lichfield Garrick
***
THE production was short of real fizz in the early scenes, and even the first of the big numbers - Hey Big Spender - didn't see the cast raise the tempo.
But gradually Kate Rock lifted the show as the hapless Charity, portraying the sweet nature of the girl destined to fall for the wrong type of men until she seemed to have found 'Mr Right' in the so-shy Oscar Lindquist (Richard Haines).
One of the highlights was Baby, Dream Your Dream, beautifully sung by Katherine Woolridge and Sarah Thomas, as Nickie and Helene.
It was a surprise when Gary Pritchard (Vidal) took off his tuxedo jacket but climbed into bed with his lady friend – still wearing his smart trousers. Clearly not an Italian stallion!
To 8.5.10
Paul Marston
Lapworth Players
Lapworth Village Hall
***
WHETHER Mike Leigh’s now near-period-piece play does in fact join the
Comedy of Manners pantheon, as it has been suggested that it might,
remains to be seen. Certainly, it is a biting satire on estate
neighbourhoods of the 1970s and the getting-a-bit-above-themselves
citizens who failed to hide the shortcomings standing between them and
acceptance in educated society. It would have been good to see Mr Leigh
mentioned in the programme.
Beverly is
the hostess of the gathering to which Sue has been invited so that she
can escape from the shindig that has been arranged in her own home by
her daughter Abigail – and it is Beverly who carries the principal
burden of inadvertently holding up herself and others like her to
ridicule. It is Beverly who flamboyantly accepts a bottle of Beaujolais
from a guest and disappears after revealing that she is about to put it
in the fridge. It is Beverly who is prone to upbraid her long-suffering
husband in the presence of others. It is Beverly who makes a play for a
new man whom the night has produced. It is Beverly who repeatedly makes
our toes curl.
And it is
Claire Hill who is charged with ensuring that no aspect of the awfulness
of Beverly escapes us. She does this admirably, with a voice that whines
incessantly and a tendency to describe everything as little – an
adjective she uses about a dozen times in the course of the evening. Huw
Cooper is her husband Laurence, a clearly-stressed estate agent who can
rarely do anything right for her and who wins our sympathy vote
hands-down.
Pam Watt
is Sue, the shy, diffident mother in flight from her daughter’s first
big party; the woman whom the dreadful Beverly presses to drink and more
drink before giving her considered opinion that when you’ve been
vomiting in front of blokes it’s embarrassing. In contrast, Sue arrives
as an understated role that offers relief from the arguments and false
joviality that surround her.
Mike Brunt
is Tony, the taciturn, monosyllabic computer expert who blossoms after
initial hesitation before the onslaught of his hostess; and Monica Byng
(as his wife Angela) allies an outlandish laugh with some wonderfully
erratic walking in response to Beverly’s endless insistence on giving
her more drink. She did have some problems with the script on the first
night, but much can be forgiven for a character so rosy, so happy and so
effortlessly funny.
At one point in Sue Wall's production, four of the five characters were smoking, which was interesting, because it had been a long time since I had seen a production get under way without the statutory dire warning about having nothing to do with the evil weed. Nor was there the seemingly inevitable reminder about turning mobile telephones off. It took 13 minutes for one of them to ring in a row near the front. It failed to ruin the evening. To 1.5.10.
John Slim
Lichfield Operatic Society
Lichfield Garrick
****
All aboard that’s
going aboard for a fun-filled trip on the SS American. Cole Porter’s
Anything Goes has been delighting audiences for more than 75 years and
you won’t be disappointed by this latest offering by the Lichfield
Operatic Society.
The show is fast
paced, full of fun and Porter classics including I Get a Kick Out of
You, It’s De-loveley, Anything Goes and Blow, Gabriel, Blow. Set
in the early 1930s, Billy Croker’s boss is sailing from New York to
London. Billy should be at work on Wall Street but his love Hope
Harcourt is also aboard planning to marry her wealthy but dim fiancée Sir Evelyn Oakleigh, during the crossing. Billy stows away
believing he can convince Hope to marry him instead and helped by
nightclub singer Reno Sweeney and Public Enemy #13 Moonface Martin it
all comes right in the end for Billy and hope and Sir Evelyn falls in
love with Reno to tie up loose ends.
Dawn Welch plays Reno
Sweeney and after a nervous first night start produced an excellent
performance.
Jordan Adams seems a
natural as Billy Croker and Eion Edwards is perfect as the foppish Sir
Evelyn while Craig Allen is hugely entertaining as the second rate
gangster Moonface Martin and, for me, Kerry Davies as Bonnie stands out
as best performance of the night with Buddie Beware.
The staging captured
the atmosphere of ocean going liner with slick transitions between
scenes and the costumes definitely captured the essence of the era.
I had heard that
Anything Goes “may probably be the most admired musical of all time” and
having watched this production I understand why. To 01-05-10
Lynda Ford
THERE was an unexpected interval during the first act of the opening night when a female cast member literally fell overboard. The member of the chorus fell heavily off the set at the rear of the stage and the curtain was closed for 20 minutes while paramedics were called and the lady treated and checked out before being allowed home
Thankfully the only damage is heavy bruising and not only did the show go on, in full, in the finest theatrical tradition but the lady herself has vowed to be back on board and is expected to take her place on deck on Thursday night
Anything else . . .
****
A GANGSTER
steals the show with Craig Allen giving a superb performance as Moonface
Martin – Public Enemy No 13 – disguised as a clergyman but with a
machine gun in his violin case.
He gave the show a
happy boost after a real-life drama when, 30 minutes into the first
night, a senior lady member of the chorus fell headlong down steps
leading from the ship at the rear of the stage.
The curtain came down
and there was a 20-minute delay while paramedics treated her for severe
bruising before she was taken home and the show resumed. The splendid
cast went on to delight the audience with fine numbers, and Anything
Goes provided a spectacular end to the first act.
Dawn Welch is an
excellent Reno Sweeney; Jordan Adams makes a powerful Billy Crocker and
Eve Fehilly impresses as Hope Harcourt. There is a terrific comedy
performance, too, from John Cleese look-alike Eoin Edwards, as Sir
Evelyn Oakleigh, while Kerri Davies shines as gangster's moll Bonnie.
Faye O'Leary is production director, David Easto musical director, and Charlie Welch and Jessica Lambert choreographers of a quality show.
Paul Marston
Watershed Theatre Company
Grange Playhouse, Walsall
***
SIX talented singers delivered a well-chosen programme of old and new songs in this Sunday cabaret evening.
Inevitably, they chose some of the hot numbers from popular musicals, including Miss Saigon, Oliver! and Les Miserables of the more recent shows, with a few oldies such as Oklahoma, Gypsy, Carousel and Ragtime for good measure.
Dawn Horne was first to impress with The Man That Got Away, from A Star is Born, while Jennifer Smith and Alan Lowe sparkled in If I Loved You (Carousel).
Lee Hodgetts delighted the audience in several numbers, combining particularly well with Alan Lowe in Well, did You Evah, from High Society.
Excellent contributions, too, from Karl Steele (Mr Cellophane from Chicago) and Helen Norgrove with an alternative version of Somewhere Over the Rainbow (The Wizard of Oz).
In an powerful finish the full company joined together for the show-stopper from Les Mis – One Day More.
Mike Klymko and Richard Bateman provided the music.
Paul Marston
Disney's Beauty and the Beast
West Bromwich Operatic Society
Grand Theatre, Wolverhampton
*****
Disney's timeless fairy story is delivered with style, imagination and vivid colour – plus the spectacular happy ending when the Beast is transformed back into a handsome Prince with a mid-air spin.
The emotional musical runs like clockwork, with the leads outstanding and the chorus work impressive throughout.
John Wetherall is a magnificent Beast, both when snarling and violent or, as his relationship with Beauty begins to develop, tender and loving. He has a fine voice, and forms the ideal partnership with Kim Lavender, who is bright and bubbly as Belle, the beauty with the power to remove the spell from her hideous captor.
Excellent performances, too, from Leon Davies as the village bully, Gaston, Sam Robinson (Lumière), Nicholas Sullivan (Cogsworth), Sarah Moors (Mrs Potts), Tye Harris (Lefou) and Peter Worrall (Maurice).
Costumes and special effects are top-notch, as are Mike Capri's direction and choreography, and Jonathan Hill's musical direction. To 24.04.10
Paul Marston
The Pirates of Penzance (Australian Version)
Willenhall Operatic Society
Dormston Mill Theatre, Sedgley
*****
ALL the famous songs of Gilbert & Sullivan's classic operetta had been updated and I have never seen the show performed with such enthusiasm and outrageous humour. Producer-director Andy Poulton ensured a triumph, and he even built the stunning pirate ship,
Alf Rai was a joy as the Pirate King, Rob Dixon sparkled as Frederic, and there was wonderful comedy from Colette Edwards (Ruth). Fine contributions, too, from Charlotte Wood (Mabel), John Wiley (Major General Stanley) and Mark Friedl, the Sergeant of police.
The chorus was in great voice, and the squad of terrified policemen and women a real hoot as they charged through the auditorium in pursuit of the amusing pirates.
Laura Canadine and Meg Dowen provided imaginative choreography, with musical direction by Mike Cotton who, with a specially strengthened baton, even had a sword fight with the pirate king. To 17.04.10
Paul Marston
The Fellowship Players
Grange Playhouse, Walsall
***
THERE are times during this Alan Ayckbourn play when you have to remind yourself that it's a comedy rather than a drama about an elaborate police drug sting operation.
Would the young actress - or actor as Rosie Seymour calls herself - really adopt the identity of the absent owner while only standing in for the caretaker, or be prepared to hop into bed with the neighbour who apparently pops in for a chat?
The place is supposed to be bugged by a forest of mics and spy cameras, yet some of the 'good guys' involved in the plan to catch a drug dealer behave as though no one can see them.
Sarah Philips is excellent as the sex-starved actress, and there are amusing scenes as she prepares to seduce caller Sam Berryman (Sam Evans) only to find he has hopped it while she was undressing in the bedroom.
Then Chris Gardner, as another security man in the 'sting' team, offers an indecent proposal and is felled by the truncheon he invites Rosie to test!
Gerry Joyce impresses as the team leader, and Naomi Millard is an amusing enforcer, while Sue Richardson plays the dangerous drug dealer.
A superb set for the Docklands apartment was designed by David Tonks.
Directed by Chris Pomlett. To 24-04-10
Paul Marston
Garrick
Youth Theatre
****
A TALENTED young company celebrates its 25th anniversary in
style, with Richard Poynton’s impressive directing début.
Jessica Lambert’s choreography enables the youngsters to demonstrate
their skills, especially in the lively prologue where the teenage
Americans and Puerto Ricans flex their muscles.
The lads are in great form with the comedy number,
Officer Krupke, and there are
strong performances from Daniel Breakwell (Tony), Phoebe Wade (Maria),
Robert Glynn (Bernardo), Charlotte Middleton (Anita) and Romayne
Sturridge (Riff) – though Daniel Breakwell needs to show more fury in
the knifing scene and when he is told of his new girlfriend's supposed
death.
Oliver Rowe is musical director. To 10.3.10.
Paul Marston
Walsall Operatic Society
Lichfield Garrick
****
ONE of the first musicals to contain a tragic plot, this Rodgers and Hammerstein classic is given the full tear-jerker treatment in a splendid production.
From the fairground opening with its impressive carousel horses, juggler and acrobat the atmosphere is perfect.
Director Richard Poynton deserves great credit
helped by the fact that the leads are excellent and the chorus strong,
particularly in the big numbers like
June is Bustin' Out All Over,
A Real Nice Clambake, and of
course the show-stopper, You'll
Never Walk Alone.
Trainee solicitor Tom Fletcher makes a fine Billy Bigalow, the handsome but ill-mannered carousel barker who is lured into crime by the dangerous Jigger Craigin (Simon Docherty).
Fletcher has a strong voice and the ideal partner in University of Birmingham undergraduate Charlotte Mills, playing the pretty but naive young mill worker Julie Jordan who falls for Billy's charms and suffers for his faults.
Outstanding performances, too, from Cassie Woolridge as Carrie Pipperidge and Craig Smith, her fisherman boyfriend, Mr Snow, with Jayne Ison (Nettie Fowler), Rose Marie Burnell (Mrs Mullins) and Philippa Mills (Louise) also on song.
Ian Room is musical director and Michelle Baker choreographer of a cracking show. The Carousel keeps turning until 20-3-10
Paul Marston