Reviews
Stars out of five
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
Excellence on the way to Sidcup
The Caretaker
Sutton Arts Theatre, Sutton Coldfield
*****
A SUPERB production by Claire Armstrong-Mills finds its company of three in unwaveringly fine form, backed by a set designed to be of breathtaking decrepitude and augmented by lighting of unobtrusive excellence.
This is Pinter par excellence. It’s that word again, twice in two paragraphs but utterly fitting for an evening of theatre at its best. The play is customarily associated with a downbeat atmosphere, exploring as it does the relationships between a man who owns a dilapidated house, his mentally disturbed brother who occupies one room, and the tramp who turns up and moves in.
But there is humour a-plenty, too – often gentle, as when the tramp is asked whether he can provide any references to support his chances of becoming the caretaker; sometimes savage, in his unpredictable encounters with Mick, the house owner.
Tim Hughes is Mick, worryingly threatening; apt to smile unexpectedly, which somehow does not ease the tension he conveys. Patrick Richmond-Ward is the tramp, Davies, adroitly manoeuvring his mood according to a frequently-changing situation that sees him begin by begging for a bed and leads him to becoming top dog in his exchanges with Len Schofield (Aston) – heart-warmingly unassuming, reclusive, but bravely defensive when his place in his own home is under threat when all he wants to do is build his shed.
These are three fine performances, sometimes involving long soliloquies delivered without a hint of a stumble; sometimes, in the case of Patrick Richmond-Ward, providing challenging traps in requiring the tramp to repeat himself, with the ever-present danger of creating one of those seemingly interminable loops of dialogue.
And David Ashton’s lighting won’t have anything to do with the mock-darkness which so many productions use as a substitute for the Stygian black that their audiences are require to imagine. This is real blackness, with no recourse to the pale lighting whose only purpose is to irritate the onlooker and prevent the actors from bumping into the furniture.
This is theatre at its best. It is a privilege to have watched it unfold. To 24.4.10.
John Slim
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
Strauss conjures up a night of fun
Die Fledermaus
Great Witley Operatic Society
Swan Theatre, Worcester
****
FORMER director of music at Worcester Cathedral, internationally known
as a conductor, appointed OBE in 1993 for services to British music –
Donald Hunt has a career packed with memories and a reputation built on
baton expertise.
But the
first night of joyous Johann Strauss II music gave him what may well
prove to be his most surprising memory of all. The human mind is a
wonderful thing – which is why there was silence in the orchestra pit
when the prison guards should have been entering to a musical
accompaniment. It was a remarkable hiatus in an evening of fun, flair
and accomplishment. Let’s face it, it could happen to anybody and it
didn’t spoil the evening for anyone except possibly Donald Hunt, who was
otherwise his usual masterful self at the helm of his orchestra.
The prison
scene dragged somewhat at times, but Roberta Morrell’s colourful
production has lots of life and movement and a company containing
attractive voices. It even manages to bring in a reference to an
advertisement for a taxi firm: Stephen Byers – Private Hire. There is a
lovely moment involving Adele and a florid, wide-eyed gaoler.
Indeed,
this is a show that is full of fun – which is usually the case and which
is why it is a shame that its name probably deters many people from
investigating it, because it sounds like one of those foreign opera
jobs.
Caroline
Causier (Adele) and Suzanne Millington (Rosalinda) steal the vocal
honours, although it is a bit of a surprise to see the sisters Rosalinda
and Ida (Anna Hainsworth) presenting their cheeks and greeting each
other in moi, moi style. Another slightly disconcerting moment is in the
ballroom scene, when five elegant ladies in their gorgeous gowns sit on
the floor – although in fairness it is hard to see how else they could
have been accommodated, given the considerations of space.
Martin
Jones (Eisenstein), Colin Mills (Dr Falke) and Michael Powell (Alfred)
sing nobly. Prince Orlofsky is traditionally played by a woman – in this
case, Pam Mallaber, who is also in good voice – especially, perhaps,
with Chacun à son gout, but needs more projection in deploying it. There
are several examples of excellence in duets and trios, and the chorus
knows how to look happy while making a joyful noise.
Paul Thompson, as prison governor Frank, has a pleasingly authoritative speaking voice and Andrew Boughton comes amusingly to Frosch, the drunken gaoler. To 27.3.10.
John Slim
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