GREASE

Grease

CYGAMS

Civic Theatre, Chelmsford

Friday 11th April 2014

Grease is the original "High School Musical" and the bright, retro design of Jeremy Tustin's production for CYGAMS this week escorts us warmly back to its 1950s setting.  Such a familiar story, this classic musical is brought to life with some excellent touches - the full scale 'Greased Lightning' car being a delightful addition for Kenickie's big number.  

Although the pace has a tendency to drop during the spoken scenes, this current CYGAMS incumbent definitely thrives on music and there are some stand-out numbers throughout the evening.  'Those Magic Changes' is given a confident rendition by Charlie Toland as the charming Doody, complete with golden backing girls.  'It's Raining on Prom Night' is styled as a powerful split scene duet between the Prom's vocalist, beautifully sung by Kathryn Peacock, and the lovestruck heroine Sandy, a doe-eyed characterisation by a talented Natasha Newton.  The group numbers are also sung with style and enthusiasm, particularly the big Prom dance contest number 'Born to Hand Jive', led by Elliott Elder as Johnny Casino.

Henri de Lausun leads the cast as the charismatic Danny Zuko, singing with power and excelling in the dance numbers.  Ben Wilton gives attitude as bad boy Kenickie, and Edward Bonney is an endearing Roger.  The Pink Ladies include the dreamy Frenchy played with a cute grin by Monique Crisell, and Sophie Walker's intelligently characterised Marty, thoughtfully and confidently acted.  A wonderfully funny dance break for geeky Eugene wins a deserved cheer for Jack Toland, maintaining his character with consistency.  

It is very difficult to teach stage presence.  It is the X-Factor, that extra something, and if a performer has it naturally it will draw the audience in completely.  Tamara Anderson is ideally cast as the tough, confident Rizzo, and she shows a depth of feeling and understanding during her 'There Are Worse Things I Could Do' number that is a rare moment of genuine emotion in this otherwise frivolous show.  She doesn't have the purest voice of the group and she isn't the best dancer, but the maturity she brings to her perfectly pitched characterisation is the highlight of the production.

Another unfailingly entertaining evening from this committed group of youngsters.  Excelling musically as an ensemble, their next production - the sung-through Andrew Lloyd Webber dance show Cats - will suit them perfectly, playing at the Cramphorn in April.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

Joseph and the Amazing Technicolor Dreamcoat

CYGAMS

Civic Theatre, Chelmsford

Friday 15th November 2013

Andrew Lloyd Webber and Tim Rice's early biblical collaboration has well and truly stood the test of time.  The upbeat energy, musically varied score and tongue in cheek lyrics prove a timeless mix with wide appeal.  Numerous professional productions are frequently taking place all over the world and with a history of high profile stars in the lead role the show has been enjoyed by many thousands of audiences.  Originally written for performances by schools the rights for youth groups have only recently become available, and the energetic, ambitious team at Young Gen have been keen to grab the opportunity to perform this popular show.

Opening in front of a bare white cloth, the narrator is surrounded by the delightful chorus of CYGAMS' youngest members, performing the roles of enraptured, awestruck student onlookers with panache - oohing and ahhing to add a lovely richness to the iconic "Any Dream Will Do" and throughout the show.  As the curtain opens to reveal the busy golden set we are transported to the biblical Middle East and the excitement and energy of the entire cast never drops through two hours of vibrant, fun-packed performances.

Jayden Booroff is perfectly cast in the title role with a natural, laid back stage presence. Handsome and relaxed he is a constant delight, performing the centrepiece songs with skill and flair.  The energetic character number "Song of the King" is taken on by a consummate Chester Lawrence whose confidence and personality shine through as Pharaoh.  James Bantock doubles up as both aged father Jacob and suave millionaire Potiphar, performing both parts with equal success.

This is inevitably a very male show, and the ensemble of eleven brothers are superb, surpassing expectations without exception.  Brilliant together they master their involved and frequent choreography with charm and sing ideally as a unit, but there are also some sterling individual performances among the group; Ben Wilton as eldest brother Reuben gives a smooth, confident rendition of "One More Angel in Heaven" complete with country twang and a twinkle in his eye, Sam Wolstenholme sings the Benjamin Calypso as Judah with ability and some snake-hipped dance moves, and Jack Toland's Simeon leads the whole group in a fantastic scene for "Those Canaan Days".  There is plenty for the girls to do too, with a well drilled female ensemble of wives and others doing complete justice to their many dance routines and remaining noticeably focussed and in character throughout the entire show. 

Technically there is much to enjoy too - the lighting design is spectacular, the costume and make-up faultless including some miraculously executed quick changes, and the choreography by Jeremy Tustin, who also directs, is ambitious, well-rehearsed and enthusiastically achieved.  The excellent band maintain a tireless energy throughout, never missing a beat in this sung-through score.  

There is one performer however, among a cast of wonderful talents, who leads the show from the very first moments carrying its success on her steady, reliable shoulders.  Kathryn Peacock as the Narrator (who shares the role through the week with Alice Masters) is a complete joy to watch, performing with maturity and professionalism beyond her years.  Her beautiful vibrato soars out across the audience with astonishing control and power, and her clipped, schoolmarmish characterisation is perfectly pitched and strongly maintained.  A performance to inspire the next generation of Young Genners who gaze up at her as the on-stage students, this was a show-stealing achievement by a committed and extremely accomplished young performer.

CYGAMS continue to achieve success after success with each show they undertake, and this much anticipated and entirely sold-out production does not disappoint.  A fantastic, fun-packed evening deserving of their well-earned standing ovation.  

HAMLET

Hamlet

Chelmsford Theatre Workshop

Old Court Theatre, Chelmsford

Friday 8th November 2013

A considered character exploration opens the CTW programme, written by co-directors Lynne and Mick Foster, analysing Hamlet's place as a literary "hero".  Should we be taken in by his intelligent and profound speeches, or see past them to the terrible actions we witness him perform?  Should we be influenced by Hamlet's twisted opinion of the other characters around him, or judge them by their own conduct?  An interesting take, and one that cleverly opens the way for thought-provoking direction to engage those with prior experience of this epic work, but does not clutter or confuse the story for those approaching the play for the first time.  Similarly the cuts made to the script, drawing the usually 3 1/2 hour piece to a close at a reasonable 10.30, were made with care and retained the key elements to the plot with distinctness.

Barry Taylor's young Prince Hamlet is given a melancholy characterisation, exploring the directors' interpretation with a particularly nasty portrayal, especially in his chilling treatment of both Ophelia and Gertrude.  His madness remains subtle, more of a consistent depression, and his delivery is relaxed and instinctive with an engaging style.  In a supporting ensemble cast of mixed experience there are some standout performances.  Beth Crozier gives a compellingly regal interpretation of Gertrude with particularly impassioned reactions to Ophelia's tragic demise.  Her new husband Claudius is played by Simon Burrell with conviction and although his posture could be more majestic his delivery is clear and engaging.  Sarah Bell's Ophelia is very gentle, quietly done her descent is all the more intense for it's calmness and a pin can be heard drop during her singing scene.  Christian Search is assured in his performance of Horatio, and Robin Mahr holds his own as Laertes with particular commendation for the well executed swordplay.  A strong couple of cameos too by Jim Crozier as the ghostly old Hamlet, and Robin Winder as the garrulous gravedigger.  

The set is uncluttered with black walls and simple candles serving for all of the rooms of Elsinore.  Although having the audience set in the round allows for more acting space for the numerous cast, a lot of time is spent on or near the stage generating a crick in the neck for those with a side view.  Where the space was used fully it was particularly effective, especially the final death scene.

A fluent and accessible version performed smoothly with moments of quiet intensity.  The hand of the directors can be felt throughout, generating interest for audiences both familiar and new to one of Shakespeare's most famous and influential plays.

WHISTLE DOWN THE WIND

Whistle Down the Wind

Springers AODS

Cramphorn Theatre, Chelmsford

Wednesday 6th November 2013

Andrew Lloyd Webber's 1996 musical is based on the 1961 film of the same name starring Hayley Mills, with the action moved from Lancashire to a small town in Louisiana.  After failing to even reach it's Broadway opening in the US, a UK concept album from the show saw Boyzone cover a version of the beautiful "No Matter What" and subsequently achieve a platinum single that was number 1 in 18 countries.  Reworked, the show subsequently played in the West End for over 1000 performances.

Springers' production is adorned by a children's chorus of Offspringers, their youth section, who perform with an overall sense of confidence and energy.  Their singing voices are clear and melodic, despite occasional lapses of diction in the speaking scenes, and their handling of the classic "When Children Rule the World" is charming.  

The lead in this show is a child role, played by 13 year old Offspringer Katy Forkings in an excellent performance of maturity and consistency.  Her pretty voice is strong throughout and her performance is assured and engaging.  Swallow is a role usually played by an actress with a couple more years under their acting belt, but Katy creates a believable and absorbing character full of innocence and conviction.  Her on-stage siblings, Matthew Scott as Poor Baby and Charlotte Golden as Brat, are also played with appeal.

The Man in Swallow's barn is given an earnest and impassioned characterisation by Springers' stalwart Ian Pavelin.  Relaxed and reliable, his resonant voice handles the challengingly high songs through this show smoothly and his performance is emotionally convincing.  The duets "Try Not To Be Afraid" at the opening of Act 2 and "Nature Of The Beast" towards the end, both sung opposite Swallow, are emotional and dramatic highlights performed with understanding and flair on both sides.  

Among the rest of the cast there is a wide variety of success with the tricky American Deep South accents, and an occasional habit of slipping out of them altogether during the songs, but the singing is always melodic and particularly strong in the ensemble numbers.  There is a delightful cameo from Ross Rogers as Ed who sings the upbeat "Cold" with bags of charisma and an excellent singing voice. Aaron Crowe relishes his bad boy image as Amos, but shines particularly in the more emotional second act matching up with equal strength to the two leads in "A Kiss is a Terrible Thing to Waste".  His "Tire Tracks" duet with an assured Bethan Anderson as Candy is also enjoyable, with them both handling the large motorcycle set piece with ease.

The set is thoughtfully constructed to make the best use of the limited Cramphorn space, with the open wooden flats being hung from runners to aid swift and regular scene changes.  The lighting design is atmospheric, if a little patchy, and the timing of the cues is somewhat sporadic with lines being performed in the dark on a number of occasions.  The setting of this show does not require much glamour from the costumes, but all choices fitted the requirements well and helped to create the atmosphere of the period - the blood make-up for The Man looked particularly effective. 

After teaming up for a couple of productions in a row, Springers and Offspringers go their separate ways for their next ventures.  Offspringers take on The Wizard of Oz in March and Springers have their "Baggy Trousers" at the ready to welcome you to the "House of Fun" that is their June production - Our House.  

HONK!

Honk!

Little Theatre Company

Palace Theatre, Southend

Friday 4th October 2013

Hans Christian Anderson's The Ugly Duckling is a timeless fairytale told to generations of children all over the world, and in 2000 this Stiles & Drewe musical adaptation fought off The Lion King and Mamma Mia! to win the year's Olivier Award for Best New Musical. History has prevailed over the Olivier judges decision perhaps, with Disney and Abba still packing out West End houses 13 years on, but through its popularity with amateur societies Honk! continues to reach audiences.

The show follows the story of Ugly, the last-hatched son to Drake and his wife Ida. With its laudable moral of tolerance - "different is just... well... different" - repeated continuously throughout, the show is primarily aimed at youngsters although there is a speckle of humour for their parents to appreciate too.
 
LTC's slick production graces the Palace this week, directed with unequivocal skill by Tim Cater.  With every scene intelligently thought out, intricately framed and polished to a shine the guiding hand of this accomplished director can be felt throughout the staging. His attention to detail in drawing out rounded and developed characterisations - not only from the principals and named supporting roles but also from every individual chorus member - is absolutely key to the success of this impressive production.   Ali Graves' choreography is also well pitched to be consistently achievable by the cast while ensuring a high level of energy and variety in every number.

The set is designed to maximise performing space while also suggesting the edges of the farmyard and lake, with changes in location and the regular split scenes all achieved through the excellent lighting design.  For this show the costumes play a particularly important role in the completion of each character, and the choices made by the team at LTC are exemplary.  The various birds and other animals are suggested through careful choices of colour and material and the overall clarity of design achieved by the Creative Director with the wardrobe team is a constant delight - outstanding.

Ugly is played with innocence and sincerity by Darren Harper whose bold, smooth vocals are consistently impressive.  Darren's wonderfully expressive face and endearingly awkward posture are entirely fitting for the character and combine for an absorbing, polished performance.  Stephanie Wilson's mother duck Ida is beautifully sung and tenderly acted, playing the fussy parent with warmth and just enough sentimentality.  The Cat is an absolute peach of a character role, and Simon Bristoe seems to truly relish playing the villain of the piece.  A tricky comic number in "Play with your Food" he must be careful not to compromise the obvious quality of his voice by throwing away the lyrics, but his lithe physicality suggests a necessary feline quality and his excellent characterisation is wonderfully entertaining. 

One of the many performance highlights of this superb show must go to the fabulous quartet of duckling siblings played by Laura Harper, Gemma Carracher, Laurelle Gallimore and Jamie Redgate.  Each of these accomplished performers has entirely understood the individuality of their character and they work ideally together as an attention-grabbing chorus.  One of the joys of this musical for amateur societies is the array of smaller character parts that can be shared among the group.  Shining from among the many examples of LTC talent that can be found throughout the supporting cast is an exquisite cameo from Creative Director Bradley Green.  Squeezing every ounce of humour from his scene as Bullfrog, his comic timing is exemplary - a skill that will need to be further developed in some of his fellow members ready for the society's next venture into the riotous world of Avenue Q. 

The staging of the curtain call and final number sum up this feel-good production ideally - the cast enthusiactically portray that they are having a fantastic time, and there is no better way to leave your audience feeling just the same.  An accomplished production in every sense, both on and off stage - I look forward to seeing this talented society rise to the inevitable challenges of working with unruly puppets in their next exciting production in April.

THE BOY FRIEND

The Boy Friend

Trinity Methodist Music and Drama

Trinity Methodist Church Hall, Chelmsford

Friday 27th September 2013

Sandy Wilson's 1953 musical comedy, The Boy Friend, is an affectionate pastiche of musicals of the roaring twenties and is set among the gaiety of the French Riviera.  A group of "Perfect Young Ladies" at Mme Dubonnet's finishing school are consumed with desire to find that most necessary of accessories for a seventeen year old girl - a boyfriend - and the sweet, simple story follows the attempt of one young heiress to find true love.

This is a frivolous, feel-good show - the essence of which even the predictable plot line and weak book can do nothing to dispel - and this youthful Trinity cast brings a vitality and spirit to the stage.  Polly Browne, set to inherit her father's fortune but wanting to find love regardless of money, is played with earnest sobriety and a sparklingly beautiful voice by Jessica Edom.  Ben Huish gives delivery boy Tony a bumbling posh-boy interpretation, with a comic characterisation that would not be out of place in a P.G. Wodehouse novel and a smooth, confident singing voice. 

Hands held at constant right angles, fluttering lashes over wide eyes and fixed smiles with shiny white teeth, the English roses of the finishing school are played with stylised elegance by Charlotte Watling, Helen Quigley, Amy Coster and Nina Harrington.  Their enthusiastic Charleston-style choreography is well matched by the strong male support from Joe Gray, Dom Short, Dom Light and Ed Tunningley.  All relevant parties spiritedly maintain their French accents, especially Emma Byatt who floats around the stage as a graceful Madame Dubonnet.  An enjoyable cameo too from Director Tony Brett who exudes personality while playing lecherous Lord Brockhurst with a twinkle in his eye.

The set is nicely designed, although it may look more complete if the open space above the short side flats were covered.  The hanging basket for Act 3, with its fixings suspended in mid air, is a little too dominant for such a central position, but the furniture and props are well chosen and the set changes are handled smoothly through the two intervals.  The costumes and wigs are all excellent, chosen to ideally depict the period and suit each individual character.  The busy three piece band are reliably led by Musical Director Gerald Hindes who pitches the volume levels ideally to ensure that the performers voices are always heard.

It is lovely to see a talented group of young faces joining the established performers at Trinity, and the result is a fun-filled production with the enthusiasm of the cast reflected by the appreciative audience.  An entertaining evening.

Photograph by Val Scott.

CRAZY FOR YOU

Crazy for You

Chelmsford Amateur Operatic and Dramatic Society

Civic Theatre, Chelmsford

Tuesday 24th September 2013

Based upon a 1930s show by the same writing team this 1992 Gershwin musical firmly belongs in that glamorous, old-fashioned, pre-war period in both content and style.  The thin, predictable plot - everyone falling in love at the drop of a hat, bursting into big-chorus song and dance numbers every five minutes, lots of tap dancing and girls in short skirts with bright white smiles - fits in perfectly with other 1930s musicals; Anything Goes, 42nd Street, Top Hat.  Yet in 1992 Broadway was filled with the new wave of British musicals - Phantom, Les Miserables, Cats, Miss Saigon - and this typically American story, full of dancing and sentimentality, was a welcome return to the traditions of the "Musical Comedy".

Following a London revival in 2011, CAODS have chosen to present this energetic musical still warm from the West End and have appointed the reliable talent of Sallie Warrington to the Director's chair.  Sallie's ability to inspire the best from her cast shines through the mixed talent on stage, but it is her ideally pitched choreography for the glorious group of ladies making up Zangler's Follies where this production really succeeds.  Without exception this chorus of dancers ooze poise and elegance, sing beautifully, and with just the right number of them to ensure the stage is never overcrowded they have room to throw themselves into the more energetic tap numbers with genuine accomplishment too.

Henri de Lausun plays Bobby Child with assurance and skill.  His singing voice is smooth and strong even through the vigorous tap dance routines which he also performs with flair.  His ongoing battle through Act 1 with a false moustache with a mind of it's own was handled with a twinkle in his eye and his professional attitude and determination certainly won the audience over at this opening night performance.  Christie Hooper is equally charming as the plucky cowgirl Polly, her superb voice a musical highlight especially in Act 1's "Someone To Watch Over Me".  Her stage presence draws the eye equally in the group numbers and she leads the company in "I Got Rhythm" with grace and ability.  Kevin Richards' heavily accented Zangler was difficult to understand at the very top of the show, but he soon found his stride and his duet with Bobby is one of the highlights of the production.  Karen Kelleher makes the most of Irene with a seductive performance of "Naughty Baby", and Jonathan Lloyd-Game is assured as Lank, if sometimes a little overdone.  

The swift and various changes of location are well managed by the slick CAODS crew and the often bare stage maintains an unobstructed dance floor throughout.  The costumes for this show are a huge part of the overall feel of the production and the numerous changes for the chorus of Follies are all stunning - and importantly well-fitting - right down to the enormous feathered headdresses for the finale.  The music throughout is handled with care and skill, as always, by Musical Director Patrick Tucker and his consummate band.

An entertaining evening of old-fashioned musical theatre performed with CAODS' usual spirit and assurance.  

SWEENEY TODD

Sweeney Todd

Shenfield Operatic Society

Brentwood Theatre

Friday 14th June 2013

Sondheim is a notoriously tricky composer to deliver, and Shenfield Operatic Society's courageous choice of Sweeney Todd must have presented an array of challenges.  Recently revived by the Chichester Festival and then enjoying an acclaimed West End transfer just last year, stars Michael Ball and Imelda Staunton both won awards for their memorable performances as the bloodthirsty barber and his encouraging co-conspirator.  Big inspiration for Shenfield as they embarked on this tricky project.

The intimacy and flexibility of the Brentwood Theatre auditorium allows for an imaginative approach to the staging, the enormous revolving cube dominating the space creating an essential upper level as well as an ominously overbearing shadow across the acting space.  The well constructed chair and trapdoor worked smoothly, and the stage was well managed to ensure the correct cube positioning and furniture placement was carried out efficiently within the timing constraints of the music.  The separate platform used for Johanna's room was not to the same standard however; the decoration and furniture chosen not nearly grand enough for the rich, powerful Judge Turpin's home. 

Some costume worked well, with Todd and Mrs Lovett both ideally dressed, and the Beggar Woman particularly good with some excellent make-up.  However there were some noticeably ill-fitting items which were worn uncomfortably, and considering the regular reference to Johanna's hair the wig looked very untidy.  There was some nice use of lighting, especially during the split scene of "Kiss Me" toward the end of Act 1 and to evoke the seaside during "By the Sea".  The sound levels were also good, and the band worked extremely hard throughout this sung-through show to produce an excellent quality of musical accompaniment, under the leadership of Adrian Ure as Musical Director.

An enthusiastic chorus did a particularly good job with the tricky score, rousing in the opening "Ballad" and the repeated echoes throughout.  At particular moments the ensemble moved as one, creating an eerie tone for this atmospheric piece.  

This commendable chorus work backed up a sharp cast of principals, led by David Pridige in the title role.  Sweeney Todd was played with a vengeful, dramatic concentration in an engaging interpretation with a vocal performance to match.  Kerry Cooke shone as Mrs Lovett, her ready smile becoming chilling as she reveals her enterprising idea, and on picking up the timing her sparkling soprano was glorious.  Ian Southgate was superb as sailor Anthony, his beautiful voice making the tricky switches in range and pace seem easy; a captivating characterisation.  His Johanna, played by Lauren Ramshaw, brought a wide-eyed and slightly wild fear to the role, handling the timing well despite struggling with some of the notes.  Joanna Hunt played young Tobias, a boy's role often played by a girl, and despite her voice not quite managing the power to sing above the crowd during the Marketplace scene, she did a heart-wrenchingly charming job with "Not While I'm Around" in Act 2.  Judge Turpin was given a fittingly creepy characterisation by Hugh Godfrey, whose concentration was evident although it held him back somewhat from really absorbing the character.  Quite the opposite was true of David Ward, who entirely embodied The Beadle creating a slimy and genuinely hateful character and singing with confidence and skill.  The tough operatic role of Pirelli was taken on by Rick McGeough, whose characterisation was well studied despite the vocals required not suiting his range.  Louise Byrne did a commendable job as the Beggar Woman, her beautiful singing voice soaring and her frantic physicality suiting the part well, although her diction tended to slip in the small sections of dialogue becoming difficult to understand.

This was an enjoyable and accomplished production, directed by Louise Hunt, which must have proven a challenge to all involved.  A worthwhile step away from the usual lighthearted fare of amateur musical theatre, and one that certainly entertained throughout.   

THE SOUND OF MUSIC

The Sound of Music

Springers AODS

Civic Theatre, Chelmsford

Wednesday 12th June 2013

The remarkable story of the Von Trapp family's escape from an occupied Austria in 1935 is heart-warmingly familiar, as are the characters, scenes and songs from this time-honoured Rogers and Hammerstein musical, which has a special place in so many people's hearts.  This feel-good show, made a cult classic through the ever popular Julie Andrews film version, is brought sparklingly to life in the Civic by a hard working cast.  

Production values are high with some delightful design throughout, particularly the wedding at the Abbey and that beautifully framed final moment on the mountain.  Some winning costume choices too, the congregation of monochrome nuns, the children looking adorable in their curtain-esque play clothes, Maria in a beautifully fitting wedding dress.  The sound levels however were disappointing, the beautifully sung harmonies of "Preludium" at the opening spoilt by volume mismatches and sections of dialogue missed through tardy cues.  The follow-spot cues too should blend into the scene unnoticed by the audience but they became a distraction at times.  With so many scene changes into various locations the organisation of the stage management was important, and although executed smoothly there were too many periods of dark silence - a simple underscore could help to make the waiting time less obvious and would be effortlessly manageable by MD Ian Myers and his flawless band.

Kayleigh McEvoy was glorious as the effervescent Maria, characterised to almost Disney-fied appeal she was full of energy with an ease and grace throughout.  Her singing voice was magnificent as the demands of this almost non-stop role were met with skill and confidence.  A real talent, Kayleigh will be an asset to her Classical Singing course at Guildhall next year.  Mat Smith was solid as her handsome suitor Captain Von Trapp, singing "Edelweiss" with enough charm to win the audience over into a patriotic singalong.  Catherine Gregory's classy rendition of "Climb Every Mountain" matched her tender characterisation of Mother Abbess, ably flanked by Nicola Myers, Natalie Schultz and Sara Mortimer as the Sisters asking "How do you solve a problem like Maria?".  For me, there were standout performances of the hateful Baroness from a wonderful Olivia Gooding, whose effortless acting style made for a refreshingly natural performance, and Barry Miles as a genial Uncle Max in a witty and engaging characterisation.  Given the two musical numbers that did not make the film version, they had a tough job to win round an expectant audience, which both actors achieved with captivating skill.  The children, selected from the society's talented youth group Offspringers, were enchanting.  Mae Pettigrew's elegant Liesel, Bethan Evans' confident Brigitta and Bernice Bushell's smiling Marta all delightful alongside their capable and enthralling on-stage siblings. 

Another accomplished show from this friendly society, who do themselves proud with the bonded ensemble feel to their accessible productions.  Another chance for the Offspringers to join in too perhaps as we look forward to their next production, Whistle Down the Wind.

NEVILLE'S ISLAND

Neville's Island

Ingatestone & Fryerning Dramatic Club

Ingatestone & Fryerning Community Club Theatre

Saturday 25th May 2013

Tim Firth is currently firmly in the heart of the amateur theatre world, with productions of his modern classic Calendar Girls being performed by amateur societies up and down the country, and indeed all over the world.  It is therefore refreshing to see that his back catalogue of work has not been forgotten, as Neville's Island offers a humorous script and challenging staging opportunities to make for a rewarding and entertaining production.

A group of middle-aged, middle-class, middle-managers on a team building exercise in the Lake District, we join Team C as they run their boat ashore on a small island in the middle of a river a mile from their hotel.  With just 4 characters, a cast of reliable leading men are required to deal with plenty of dialogue and action, including getting soaking wet, climbing a tree and smearing themselves with blood.   

All four gentlemen gave recognisable characterisations of this team of flawed colleagues, each written with a level of realism or tragedy that gives this play depth and interest over and above the witty script.  Neville, played by Tony Szalai, is level headed and accepting of responsibility, a born leader always watching over his team mates.  Played with an assured confidence and well maintained characterisation Tony also led the cast in a very relaxed performance.  Martin Reynolds took on the villain of the piece, self-centred Gordon, whose thoughtlessly acerbic comments failed to amuse his colleagues and were the source of both the comedy and tension in the script.  Despite some moments of hesitancy with lines, Martin's performance was well pitched and convincing as the selfish bachelor.  Super organised Angus was taken on by Duncan Hopgood in an intelligent performance.  As Gordon's words ate away at his initial confidence he was left an uncertain shell of himself and the descent was well directed, developing gradually as the doubts planted by Gordon blossomed and grew.  Roy Hobson was very convincing as breakdown recoveree Roy, who had found God while suffering with mental health issues after an attempted suicide, and who coped worst with Gordon's sarcastic nastiness.  Dealing with a humorous storyline with such delicately realistic undertones is a difficult task, but this character was both directed and performed with well judged sensitivity, without losing the overall comic value of the situation.

The set was sturdily built, with an impressive full-height tree, strong rocks and a tree stump used as seating, and a wet pool to be fallen into from the first moments.  The foliage upstage right was probably not needed and it would have been additionally atmospheric to attempt generating the fog mentioned throughout the script - although just a light haze rather than the impenetrable gloom described.  The music and sound effects were well chosen, although the assistance of voices in the final track could not cover that the cast were still unsure of the song.  Some excellent lighting equipment was also used to good effect to create the split scenes between the tree and the "camp", and to give the effect of the various approaching vehicles.

This was a tricky production to take on, but with a hard earned and rewarding result that was well received by an appreciative audience.  A change of tone and another suicide storyline in IFDC's next venture, Rattigan's The Deep Blue Sea in November.

SHAKERS

Shakers

Chelmsford Theatre Workshop

Old Court Theatre, Chelmsford

Friday 24th May 2013

Following the resounding success of CTW's excellent production of Bouncers last year, Artistic Director Joe Kennedy has chosen to produce John Godber's all-female follow up this season.  Structured similarly to the male version, an almost bare set houses a cast of four actresses who play the waitresses at "Shakers", as well as the cocktail bar's various male and female customers.  Jaded to varying degrees by the clichés involved in selling a never ending stream of "Slow Comfortable Screws", the ladies' weary smiles and feigned politeness are coupled with a collection of witty asides and touching monologues developing a core of rounded characters.

The four attractive ladies in CTW's cast took on the challenges of the format with relish and energy.  With extended sections of choreography, a diverse range of characterisations, and individual moments of poignancy, an assorted skill set was called upon giving each of the ladies an opportunity to show their strengths.  Catherine Hitchins' acting skills were matched by her evident dancing ability, as both her choreographed and improvised movement showcased her talents and complemented her overall performance.  Both Caroline Wright and Helen Quigley shone in their emotional monologues, switching the mood of the room as they divulged their character's secrets.  Gemma Robinson proved herself an accomplished all-rounder, superbly expressive with a natural flair for comedy, she danced with skill and adapted to each character with striking contrast in an excellent, comic performance.

It is difficult not to make comparisons against Godber's original Bouncers script, and Shakers never quite lives up to the quality of the male version.  The humour is far subtler than the unrelenting, insightful, laugh-out-loud comedy written for the men, and despite some lovely moments from the tight-knit cast there were times where the slick pace started to waiver.  

Director Joe Kennedy and assistant Jacob Burtenshaw were clearly inclusive and collaborative in their approach, benefiting from the perspective and skills that the company could contribute.  The result overall achieved another entertaining and enjoyable production from CTW, who change the tone for their next show with political drama Frost/Nixon.

THE DROWSY CHAPERONE

The Drowsy Chaperone

Leigh Operatic and Dramatic Society

Palace Theatre, Southend

Wednesday 8th May 2013

LODS have taken a potentially risky approach with their summer offering this year, with the relatively unknown The Drowsy Chaperone.  A show within a show, we are welcomed by an unnamed man who remains on stage throughout, narrating us through his chosen musical as it plays on his record player in the background.  Through the magic of theatre we then see his imagination come to life, as bursting through his patio doors and his extra large fridge the entire cast of The Drowsy Chaperone perform his unseen favourite.

The set is ideal in its simplicity, depicting the man's apartment complete with fireplace, kitchen and armchair, with any additional items required by The Drowsy Chaperone wheeled on within the action.  The lighting design is more theatrical, matching closer to the style of the imagined musical, but also with a lovely effect through the patio doors.  The staging of the aviatrix scene works ideally, with a clever plane effect created smoothly within the scene.  The sound is nicely done too, with a difficult transition between record player effect into live band right at the opening handled with very slick timing. 

The show is a parody of the 1920s "hammy" vaudeville style, full of glamour and over-acting, and under the able direction of Helen Sharpe the cast seem to relish in the challenges of the genre.  With a long list of principals spread throughout the show, this is a great choice to give a leading opportunity to a larger than usual number of members.  Although there is not room to mention them all individually, I will choose some highlights from a hard-working and talented ensemble cast.  

Young starlet, and the bride in The Drowsy Chaperone Janet van de Graaff, is played by the glamorous Kathy Clarke whose pretty voice and dainty moves suit the character well, especially in the exhausting "Show Off" number.  David Shipman plays her leading man and groom Robert Martin with a constant cheesy grin, handling the skates and blindfold with ease.  He also does a particularly impressive job of the tap routine alongside talented dancer Matthew Ford, who plays frantic best man George.  Dotty dowager Mrs Tottendale is characterised to ditsy perfection by an excellent Dani de Gregorio, with her butler Underling performed comically straight by a composed Paul Ward.  The title character is played with aplomb by Samantha Gourley, who staggers about the stage with a drowsy elegance, and maintains a wonderful expression while being seduced.  Her seducer Aldolpho is characterised hilariously by Andrew Seal, tongue firmly in his cheek as he struts about the stage pouting and posing at every opportunity.  An exceptional young talent too in Lily-May Byfield, whose dancing stands out amongst a very good dance ensemble, and whose powerful singing voice makes her performance as Trix particularly memorable.

The performance of the night however can only go to the fabulous "Man in Chair", Peter Brown.  Peter played this part as though it had been written for him, winning the audience over immediately with his warm characterisation and engaging style.  On stage throughout, although rarely the focus, he maintained his character constantly and by the final scene, where the performers of his beloved musical welcomed him to the stage, he had melted our hearts.  A difficult part to judge, played excellently by a talented actor.

The very antithesis of accessible, with in-jokes galore, this is a musical designed directly for musical theatre aficionados, and it may well leave those who do not consider themselves connoisseurs of the art form somewhat bemused.  However, for those of us who recognise themselves in the character of "Man in Chair", it is a warm hug of familiarity and affection.  Well done to LODS for giving this excellent musical another outing.

THE LION, THE WITCH AND THE WARDROBE

The Lion, the Witch & The Wardrobe

CYGAMS

Cramphorn Theatre, Chelmsford

Wednesday 17th April 2013

Following the graduation of CYGAMS' previous generation of leads last year, after their acclaimed production of Les Misérables - School Edition, this production of The Lion, The Witch and The Wardrobe welcomes some fresh faces into the principal cast, some for their first time in a lead role.  The increasingly popular decision to dual cast gives even more children the opportunity for a lead, grouped in this production into the Winter cast for Tuesday, Thursday and Saturday evening, and the Summer cast for all other performances, including the Wednesday night I attended.

The ambitious set consists of a simple backcloth for the real-world scenes, complete with iconic wardrobe, all smoothly swept aside to reveal a multi-level snow covered Narnia behind.  The few pieces of furniture for the homes of Mr Tumnus and the Beavers are well incorporated into the hollow staging, set swiftly by members of the cast.  The simple snow coverings are quick and easy to remove when the winter spell begins to lift, and the multiple heights add some interest to the staging.  With such a large chorus however, the scale of the set on the relatively small Cramphorn stage reduces the potential for depth and forces a fairly linear approach to the staging.  That said, sections such as the battle towards the end are very well achieved, with the chorus taking the opportunity to act out the dramatic, slow motion fights with relish.  Frequent use of the auditorium also helps not to crowd the stage, with entrances by the White Witch and her entourage being particularly effective.  Costumes for the Pevensies are ideal, evoking the feel of the 1950s setting, and the Witch looks both fierce and glamorous in her flowing white dress and striking make-up.  The one-piece animal suits are a bit twee, with perhaps a more personified approach - waistcoats, hats, etc - working much better as a fitting style for Narnia, as per the effect achieved with the Beavers.

Performances across the board are confident and lively, with the simple choreography being well handled by the whole cast and performed with charm and energy.  The Summer cast of Pevensies include a confident Elliott Elder as eldest brother Peter, with a clear voice and commanding stage presence, flanked by the stunningly smooth vocals of a beautiful Charlotte Broad as Susan.  Little sister Lucy was strongly acted by Emily Ford, who captured the spirit of the piece in a well pitched performance with a heart-melting smile throughout, and an exceptional Matthew Hedges was entirely compelling as wayward brother Edmund.  Highlights among the rest of the cast included Eve French as the sinister White Witch, Samuel Wolstenholme as the timid but lovable Mr Tumnus, a charming partnership from Jayden Booroff and Rebecca Clarke as Mr & Mrs Beaver and an absolute star turn from the excellent Tom Tull as Lionhearted hero Aslan.    

The Chronicles of Narnia are classics of children's literature, and the story itself will always charm.  This version however is very mediocre, with underwhelming musical numbers and a frustrating adaptation of the plot that somewhat labours the early setup of the story but rushes the climactic battle and final conclusion.  This is not the fault of the cast however, who are as charming and hard working as ever, performing with skill and commitment and achieving an entertaining result despite the questionable source material.  An exciting prospect to look forward to next for CYGAMS with one of my favourite musicals, Joseph and the Amazing Technicolor Dreamcoat, in the Civic this November.

HARRY'S HOME & THE LAST RED

Harry's Home & The Last Red

Theatre at Baddow

The Reading Rooms, Great Baddow

Friday 5th April 2013

Theatre at Baddow's resourceful extension into the "Studio" space of the Reading Rooms hosted an exploration of new writing this weekend, with a duo of one-act premieres.  

First up was Harry's Home by Hannah Puddefoot, a piece following the effects of an Alzheimer's diagnosis on a grandfather and his family.  Harry was affectingly played by Bob Ryall in a studied performance.  Memories fading and frustrations mounting, we saw glimpses of his early degeneration through his self-centred family members and the generous understanding of his carer, Rob (Chris Piper).  He is brought home by daughter Theresa, played by Sally Ransom, a genuinely well-meaning but selfish woman whose condescension goads her father into biting back.  Also at home are adult grandchildren Laurie (Sarah Bell) and Keith (Roger Saddington), whose aloofness towards their grandfather gradually grows throughout into a protective affection.  Performances were entertaining and generally well portrayed, but all would have benefited from a faster uptake on their cues to make for a slicker feel to the piece.  

There seemed a character too many and, with an attempt at a fragment of storyline for each of them, just too much going on to do full justice to the central story of Harry's decline or the wider issue of Alzheimer's disease.  That said, director Helen Quigley did a worthy job to bring out the variation of effects of Harry's homecoming on the family, and managed to stage some of the difficult scenes in the small space to good effect.  Perhaps centralising the armchair rather than the far less consequential sofa would have framed Harry better and saved his slightly awkward turn towards the audience, but the use of lighting towards the end was effective considering the small performance space.

After the interval and a quick change of scene, Daniel Segeth's play about a former republican guerrilla in the Spanish Civil war takes the stage.  Part nostalgic memoir, part patriotic history lesson, this annual family ritual between Emilio and his daughters Eve and Penny is developed beyond a lecture to a touching recollection of previously hidden details in the past of this interesting man.  Mike Nower's interpretation of Emilio is a triumph, not just of memory in this very wordy role, but of characterisation in a careful and thorough performance.  He was ably accompanied by Laura Hill and Ruth Cramphorn as his daughters - natural and relaxed, both actresses provided solid and generous support, remaining engaged throughout and never detracting from the central performance. 

Staged very simply, the set was carefully arranged to fit the studio space without looking cramped, and by setting the table to the far side some purpose was sought for the few moves that were interspersed throughout the naturally static piece.  Emilio didn't come across as quite old enough to fit with the dates of the story compared to the modern setting (he would have to be in his 90s?).  This is no critisism of the casting choice, but had the directors sought to make the character more frail, breathless, perhaps even wheelchair bound, it would give more purpose to the daughters' moves to comfort and assist him, and more reason for them to take over sections of the familiar story.  These are small details however, as the story was compelling and well researched, directed and performed with skill and a clear passion.  The narrative arc would suit development into a full length version, that could use this script as narration and build upon some of the key episodes in Emilio's life, introducing the characters alluded to in his memories. 

Overall this was a highly entertaining night from TAB, the first time I have experienced their Studio setting.  As long as they remember to ensure that the space is the only compromise, not the quality of production, this should be a very valuable addition to their portfolio of work that could allow them to branch away from the safety of naturalistic pieces and try out something completely different.  Congratulations to this enterprising group for trying something new, and I look forward to seeing how this venture continues to develop. 


 

BLACKBIRD

 

 

Blackbird

Chelmsford Theatre Workshop

Old Court Theatre, Chelmsford

Friday 15th March 2013

 

First performed at the Edinburgh Festival in 2005, this intense one-act drama is simultaneously thought-provoking, argument-inducing, morality-examining, belief-questioning and doubt-inspiring.  Focusing on a 90 minute, one-off meeting between a pair of ex-lovers, it is revealed that the 29 year age gap between them, while disconcertingly significant now with Una in her late 20s and Ray his late 50s, was radically more centric to their relationship at the time - when she was 12 and he 41.    

 

Uncomfortable from the moment one enters the auditorium - traverse, the layout is dauntingly cavernous for an essentially two-handed piece, the ideally realised set strewn with discarded rubbish and lit with harsh, bright strip lighting - a lone worker creates atmosphere, subtly introducing us to the unnamed, ambiguous workplace setting.  Much remains ambiguous throughout, we never learn more about these two characters than they reveal to one another - we know nothing of their backgrounds, class, locations, professions - yet the remembered detail of their short time together is recalled, often in minute detail.  With no other characters and no other opinions expressed, we hear only first hand accounts - memories and their direct effects. 

 

Una, beautifully played by Kat Hempstead, is most damaged.  It is clear her emotional development has been affected, and the status she commands at the opening; strutting, loud, confident; is a front that gradually diminishes into flashes of the 12 year old girl; trusting, naive, vulnerable.  The demise of this early tenacity is delicately directed and gracefully acted, never allowing Una to seem too unstable or become too unsympathetic.  The nuances of emotion displayed are always extremely natural, softly flowing from one to another without becoming disjointed or unbelievable. 

 

Richard Baylis is utterly convincing as Ray, in an intelligent performance that carefully displays no judgement about the character.  He is never sleazy, never even unpleasant, and it is testament to the quality of performance that despite hearing some intricate details of his illegal relations it is hard not to be convinced, along with Una, by his remorseful charm and insistence that this was a one-off affair of the heart.  It is not until right at the end of the play with the appearance of the young Girl (Chloe Wiles) that doubt comes sharply back to the fore and new, even more harrowing questions begin to raise themselves about this captivating man.

 

Sara and Mike Nower direct with careful precision, allowing the light and shade of the weaving emotions to progress with the just the right pace and variation, ensuring the action remains captivating throughout.  Having chosen such a talented cast, their understanding of the text is clear in the deliberate control of the characters' progression and development.  A play based almost entirely around a lengthy duologue, the action is never allowed to feel static, nor do the characters wander around without purpose - the large acting space is used skilfully to reflect Ray and Una's wavering emotional intimacy through the shifts in their physical proximity. 

 

David Harrower's intricate writing allows the facts to be laid bare by the two characters as they see them, minus the certainty of a legal or moral presence to influence the audience's judgement.  Although exploring the societal consequences and the effects of these on the characters, the play does not define the morality of their actions, instead leaving open some difficult questions for the audience to examine.  A harrowing production, this is theatre designed to challenge rather than enjoy.  CTW have done justice to an exquisite play and a difficult subject. 

 

 

A CHRISTMAS CAROL

 

A Christmas Carol

Pica Productions

Writtle Village Hall

Saturday 22nd December 2012

Pica Productions bring Dicken's tale of the converted miser to life as a rehearsed reading this festive weekend, raising funds in the spirit of the season for Great Ormond Street Hospital. 

In an adaptation by Jim Crozier, a cast of seven voices narrate the famous Christmas story and portray the variety of well-known characters.  With Victorian costumes, tapestry style hangings from the script stands, Chrismassy candles, a cake stall and mulled wine with mince pies on offer, a particularly festive atmosphere was created in the already merrily decorated Village Hall. 

An entertaining, heart warming tale, told engagingly by an excellent cast, raising money for a wonderful cause - nothing could be more ideal to see in Christmas in theatrical style.

THE ODD COUPLE

 

The Odd Couple

Chelmsford Theatre Workshop

Old Court Theatre, Chelmsford

Wednesday 19th December 2012

 

The Odd Couple explores the relationship between slobby layabout Oscar and his exacting, uptight roommate Felix.  Achieving notoriety in both a film and TV series, the characters in this play are sad and tragically recognisable, but through well developed caricature their mismatched personalities are explored in a fast-paced and witty comedy script. 

 

Set entirely in the flat shared by the two divorcees, the piece begins during Oscar's weekly poker night.  There were some hard-working attempts at the differentiation of the various characters round the card table, pulled off especially well by Barry Taylor as Speed, but the necessary pace of these scenes was too often missing and there were some laughs that were not as well exploited as they could have been, if not lost entirely.  This lack of pace or comic timing, though a shame, was not true of the entire piece, for as soon as the duologues began between Dave Hawkes and Kevin Stemp as Oscar and Felix respectively, all else was forgotten.  Slick, energetic and timed to perfection, this comedy partnership could not have been better executed.  The British Pigeon girls, played by Naomi Phillips and Vikki Pead, were well performed and created an ideal focus for the central pair to fail to seduce. 

 

A worthy production to end the year that although not complete in it's accomplishments, where it did succeed, it triumphed.