THE MEMORY OF WATER , WRITTLE CARDS
Director – Nick Caton
Performed at Writtle Village Hall – 3/7/09
Three sisters are thrown together at the eve of their mother Vi’s funeral, played by the courageous Shirley Piggott who bravely took the role despite losing her husband shortly before auditions. This must have been a very hard play for her and I raise my glass to her for her sterling performance. The remembrance of her Alzheimer’s condition was really haunting to watch.
In this emotional performance we had the three sisters with totally contrasting memories of the mother and their family past, none seemed to have any warmth or empathy for their mother, or each other. In a run down bedroom with cracks in the wall, it made the small stage look even smaller but gave us the overpowering feeling of their sense of loss and grief.
The three sisters were played by new member, Sharon Goodwin as Mary the doctor who is having an affair with married doctor Mark (Neil Smith), Jean Speller as the hard faced, domineering Teresa and Hazel Reilly as the insecure chaotic Catherine. All three worked well together and the hilarious scene at the end of act one when they dressed up in their mother’s clothes getting drunk and high on reefers when Frank – Teresa’s husband - walked in at the end was marvellous. The two men had little to do in this play but still gave good performances especially Frank (Boot Banes) who was very comfortable on the stage and played the underdog to his wife with perfection.
This production lost something in the lighting when the blue light was used for Vi as the ghost. Both Vi and Mary sometimes lost their light and were in the dark. Additionally inappropriate shadow sometimes detracted from the effect. A little more pace & energy in the first half and reblocking Catherine away from stage right against the curtain during the second act would have improved a good production for this society.
Reviewer – Christine Davidson
Welcome to Nodarama
This is a site dedicated to reviews of plays, musicals and pantomimes in Region 8 of the Eastern Area of NODA. Please feel free to add your own comments and suggestions about this site.
Stewart Adkins
Tuesday, July 07, 2009
Young Expressions The Dracula Spectacula
The Dracula Spectacula, Young Expressions,
Directors – Liz Gibson and Allen Clark
Musical Director – Cathy Edkins
Performed at Ingatestone and Fryerning Community Centre, June 26, 2009.
With a company of approximately thirty souls (I am giving Dracula and his attendants the benefit of the doubt in the souls department!) The Dracula Spectacula was a highly appropriate show for a young musical group. There was plenty of action to keep the chorus busy, as zombies, brides, Brauhaus visitors and other, some lovely cameos (eg pilot), as well as a good variety of principal roles for the more ambitious cast members. The backcloths and lighting were all conducive to the mood, especially the castle and Brauhaus scenes, and the costumes and make up excellent. The sound balance between small orchestra and the stage was good so the sound system must have been working well. Sometimes I felt the orchestra and sound effects between scenes or as introductions to characters or mood changes could have been louder and more dramatic and faded out less abruptly. My understanding of the script (only from listening once through; I have not read it) was that this show combined parody with melodrama, which was not as obvious in the delivery as perhaps it could have been. The closest to it were Hans, Genghis and of course Dracula himself, whose delivery was excellent. Nevertheless, there were some fine voices on display in one or two of the more memorable songs, my favourites being Just the way she likes me and I’m a nice little girl. There was also some good harmony from the Pretty Girl Singers in Fly Transylvanian Airways and I loved The Lubbly Glublick Song which was lively and involved almost the whole cast. Overall, this was an enjoyable production that gave plenty of scope for the talent on stage to emerge.
Reviewer – Stewart Adkins
Directors – Liz Gibson and Allen Clark
Musical Director – Cathy Edkins
Performed at Ingatestone and Fryerning Community Centre, June 26, 2009.
With a company of approximately thirty souls (I am giving Dracula and his attendants the benefit of the doubt in the souls department!) The Dracula Spectacula was a highly appropriate show for a young musical group. There was plenty of action to keep the chorus busy, as zombies, brides, Brauhaus visitors and other, some lovely cameos (eg pilot), as well as a good variety of principal roles for the more ambitious cast members. The backcloths and lighting were all conducive to the mood, especially the castle and Brauhaus scenes, and the costumes and make up excellent. The sound balance between small orchestra and the stage was good so the sound system must have been working well. Sometimes I felt the orchestra and sound effects between scenes or as introductions to characters or mood changes could have been louder and more dramatic and faded out less abruptly. My understanding of the script (only from listening once through; I have not read it) was that this show combined parody with melodrama, which was not as obvious in the delivery as perhaps it could have been. The closest to it were Hans, Genghis and of course Dracula himself, whose delivery was excellent. Nevertheless, there were some fine voices on display in one or two of the more memorable songs, my favourites being Just the way she likes me and I’m a nice little girl. There was also some good harmony from the Pretty Girl Singers in Fly Transylvanian Airways and I loved The Lubbly Glublick Song which was lively and involved almost the whole cast. Overall, this was an enjoyable production that gave plenty of scope for the talent on stage to emerge.
Reviewer – Stewart Adkins
CTW's Marat/Sade
Marat/Sade – Chelmsford Theatre Workshop
Director – John Kyte-Hunt
Performed at The Old Court Theatre, Chelmsford, June 19,2009
This play within a play was an uncomfortable experience for the most part. It is a rare occurrence when I am not able to apply at least one of the usual adjectives, entertaining or enjoyable, to a play I am asked to review but Marat certainly represented one such occasion. Consider the following situation: the Marquis de Sade puts on a play about the assassination of Jean Paul Marat by Charlotte Corday using inmates from the Charenton asylum for the benefit of the director of the institution, Monsieur Coulmier. The backdrop is an asylum full of suggestible patients, equally capable of ear-splitting screaming or sexual antics at the mere hint of such activity during Sade’s dialogue. The Marquis de Sade himself shares his warped philosophy of selfish individualism for the benefit of his onstage and offstage audience while Marat, sitting in his bath provides the alternative view of revolutionary violence for the greater good. In the meantime we see a semi-comatose Charlotte Corday manipulated in almost puppet-like fashion to commit the act of murder that history and art records so well. Throughout this action, if it can be described as such, the Herald tells us what is going on in verse. The unfolding of this play within a play is interrupted by songs and the occasional outburst from Coulmier who is upset that the text has strayed from that which he originally sanctioned. I cannot say that this was badly done since I have not seen it done before and have no comparator. Rather, the play itself was extremely difficult to engage with; the main characters, although undoubtedly convincing, were impossible to like since they were so thoroughly unpleasant. Perhaps this was the main point of the play – to provoke the audience and force it to react in some way. Those who don’t have to write a review are not required to make sense of the play but simply let it wash over them. I tried to make sense of it and failed; perhaps I am as puzzled as the poor downtrodden citizens of France who seemed to be no better off after the revolution than they were before.
Reviewer – Stewart Adkins
Director – John Kyte-Hunt
Performed at The Old Court Theatre, Chelmsford, June 19,2009
This play within a play was an uncomfortable experience for the most part. It is a rare occurrence when I am not able to apply at least one of the usual adjectives, entertaining or enjoyable, to a play I am asked to review but Marat certainly represented one such occasion. Consider the following situation: the Marquis de Sade puts on a play about the assassination of Jean Paul Marat by Charlotte Corday using inmates from the Charenton asylum for the benefit of the director of the institution, Monsieur Coulmier. The backdrop is an asylum full of suggestible patients, equally capable of ear-splitting screaming or sexual antics at the mere hint of such activity during Sade’s dialogue. The Marquis de Sade himself shares his warped philosophy of selfish individualism for the benefit of his onstage and offstage audience while Marat, sitting in his bath provides the alternative view of revolutionary violence for the greater good. In the meantime we see a semi-comatose Charlotte Corday manipulated in almost puppet-like fashion to commit the act of murder that history and art records so well. Throughout this action, if it can be described as such, the Herald tells us what is going on in verse. The unfolding of this play within a play is interrupted by songs and the occasional outburst from Coulmier who is upset that the text has strayed from that which he originally sanctioned. I cannot say that this was badly done since I have not seen it done before and have no comparator. Rather, the play itself was extremely difficult to engage with; the main characters, although undoubtedly convincing, were impossible to like since they were so thoroughly unpleasant. Perhaps this was the main point of the play – to provoke the audience and force it to react in some way. Those who don’t have to write a review are not required to make sense of the play but simply let it wash over them. I tried to make sense of it and failed; perhaps I am as puzzled as the poor downtrodden citizens of France who seemed to be no better off after the revolution than they were before.
Reviewer – Stewart Adkins
Sunday, July 05, 2009
CTW Present - Breaking the Code, 21-25 July
BREAKING THE CODE by Hugh Whitemore
21st -25th July 7.45p.m. Tickets £7 (£6) Box Office 01245 606505.
Based on the book Alan Turing, The Enigma by Andrew Hodges
Please note the play contains some strong language.
A brilliant enigma
Breaking the Code tells the tragic and moving story of one of the world's most brilliant mathematicians. Alan Turing was the father of modern computers, whose work at Bletchley Park during WWII helped save Britain by breaking the German Enigma code. Yet despite his brilliance, he was shunned by his country after breaking another code, the English code of sexual discretion, by refusing to disguise his homosexuality at a time when it was illegal. His uncompromising stance may have helped him achieve his scientific goals, but it was also his personal undoing.
Hugh Whitemore tells Turing’s story in this mesmerising play, combining humour with compassion, and skilfully interweaving different timescales to build up a complete picture of Turing and those around him.
During the war we see the code breaking genius at work; given personal authority by Churchill himself for all the resources he needs. After the war we see Turing’s continuing passion for research as he develops the modern computer; at the same time getting progressively entangled in the law after he confesses to his homosexuality. The play provides real insight into the dilemmas faced by a genius who refused to compromise his personal standpoint; not just by the man himself, but by his family, his professional colleagues and The State’s preoccupation with national security.
Turing died in 1954 after eating an apple laced with cyanide. There is some controversy over whether he intended to commit suicide after his harassment by Britain’s security service, or whether it was an accident (he was notoriously careless about washing his hands after scientific experiments). The rainbow Apple Mac logo, used from late 1976 to early 1998, is said to be a homage to Turing.
It took many years before Turing was publicly honoured. In 1994 a stretch of the Manchester ring road was named ‘Alan Turing Way’. And in 2001 a memorial statue was unveiled in Sackville Park in Manchester. A plaque at the statue's feet says: "Father of computer science, mathematician, logician, wartime codebreaker, victim of prejudice".
He is one of the 60 ‘gay icons’ chosen for the forthcoming National Portrait Gallery exhibition in London (July – October 2009).
21st -25th July 7.45p.m. Tickets £7 (£6) Box Office 01245 606505.
Based on the book Alan Turing, The Enigma by Andrew Hodges
Please note the play contains some strong language.
A brilliant enigma
Breaking the Code tells the tragic and moving story of one of the world's most brilliant mathematicians. Alan Turing was the father of modern computers, whose work at Bletchley Park during WWII helped save Britain by breaking the German Enigma code. Yet despite his brilliance, he was shunned by his country after breaking another code, the English code of sexual discretion, by refusing to disguise his homosexuality at a time when it was illegal. His uncompromising stance may have helped him achieve his scientific goals, but it was also his personal undoing.
Hugh Whitemore tells Turing’s story in this mesmerising play, combining humour with compassion, and skilfully interweaving different timescales to build up a complete picture of Turing and those around him.
During the war we see the code breaking genius at work; given personal authority by Churchill himself for all the resources he needs. After the war we see Turing’s continuing passion for research as he develops the modern computer; at the same time getting progressively entangled in the law after he confesses to his homosexuality. The play provides real insight into the dilemmas faced by a genius who refused to compromise his personal standpoint; not just by the man himself, but by his family, his professional colleagues and The State’s preoccupation with national security.
Turing died in 1954 after eating an apple laced with cyanide. There is some controversy over whether he intended to commit suicide after his harassment by Britain’s security service, or whether it was an accident (he was notoriously careless about washing his hands after scientific experiments). The rainbow Apple Mac logo, used from late 1976 to early 1998, is said to be a homage to Turing.
It took many years before Turing was publicly honoured. In 1994 a stretch of the Manchester ring road was named ‘Alan Turing Way’. And in 2001 a memorial statue was unveiled in Sackville Park in Manchester. A plaque at the statue's feet says: "Father of computer science, mathematician, logician, wartime codebreaker, victim of prejudice".
He is one of the 60 ‘gay icons’ chosen for the forthcoming National Portrait Gallery exhibition in London (July – October 2009).
Thursday, June 18, 2009
Springers/Offspringers - Oliver!
Oliver! - Springers and Offspringers,
Director – Fiona Lipscomb, MD – Ian Myers
Performed at Civic Theatre Chelmsford, June 13, 2009
“Oliver!” has always been a favourite with audiences and this production certainly didn’t disappoint the matinee crowd who clearly loved it. The opening set, which was the backdrop for most scenes except for a few insets, was excellent, incorporating an arch/bridge at the back, adding an extra dimension for entrances and exits as well as allowing for more dramatic effect, for example in the Sykes death scene. The use of the arch and stairs to enter the Thieves Kitchen gave a real subterranean sense of isolation, which suited the mood. The lighting was always complementary and conveyed the dankness of the “Kitchen” as well as the gaiety of the opening scene in Act 2 in The Three Cripples pub. The workhouse children/Fagin’s gang provided a more wholesome façade than I was expecting (they were really rather clean) and the opportunities to inject a realistic feel rather than the lighter touch we experienced were rarely seized upon. Perhaps that was deliberate. The big exception was Bill Sykes who came across as a truly evil man, not a caricature; this made the relationship with Nancy all the more difficult to understand but of course, that is the point. The contrast between Sykes’ malevolent presence and Nancy’s warm and generous nature was really strong. Bill’s one “song” was excellent, as were all of Nancy’s, although the reprise of As Long As He Needs Me was truly moving and easily worthy of a smile from Andrew Lloyd Webber. Both Oliver and Dodger came across well as did Fagin, a more muscular character than usually expected but that gave greater credibility to his partnership with Sykes which was portrayed as much more equal than usually played; this worked well and allowed Fagin to elicit genuine empathy from the audience. Mr Bumble was a beautifully sung, larger than life character and his duet with Widow Corney a delight. This little gem (the song, not Widow Corney!), not seen in the film, is a gift for a good actor and actress and there was no doubt about these actors’ abilities. The other roles were well cast and I must praise the cast in Act 2 Scene 2. Mrs Bedwin sang beautifully and the Who will buy? Number from Oliver and the street criers I have rarely heard better delivered. Costumes, choreography and the company completed the recipe for an enjoyable and successful show.
Reviewer – Stewart Adkins
Director – Fiona Lipscomb, MD – Ian Myers
Performed at Civic Theatre Chelmsford, June 13, 2009
“Oliver!” has always been a favourite with audiences and this production certainly didn’t disappoint the matinee crowd who clearly loved it. The opening set, which was the backdrop for most scenes except for a few insets, was excellent, incorporating an arch/bridge at the back, adding an extra dimension for entrances and exits as well as allowing for more dramatic effect, for example in the Sykes death scene. The use of the arch and stairs to enter the Thieves Kitchen gave a real subterranean sense of isolation, which suited the mood. The lighting was always complementary and conveyed the dankness of the “Kitchen” as well as the gaiety of the opening scene in Act 2 in The Three Cripples pub. The workhouse children/Fagin’s gang provided a more wholesome façade than I was expecting (they were really rather clean) and the opportunities to inject a realistic feel rather than the lighter touch we experienced were rarely seized upon. Perhaps that was deliberate. The big exception was Bill Sykes who came across as a truly evil man, not a caricature; this made the relationship with Nancy all the more difficult to understand but of course, that is the point. The contrast between Sykes’ malevolent presence and Nancy’s warm and generous nature was really strong. Bill’s one “song” was excellent, as were all of Nancy’s, although the reprise of As Long As He Needs Me was truly moving and easily worthy of a smile from Andrew Lloyd Webber. Both Oliver and Dodger came across well as did Fagin, a more muscular character than usually expected but that gave greater credibility to his partnership with Sykes which was portrayed as much more equal than usually played; this worked well and allowed Fagin to elicit genuine empathy from the audience. Mr Bumble was a beautifully sung, larger than life character and his duet with Widow Corney a delight. This little gem (the song, not Widow Corney!), not seen in the film, is a gift for a good actor and actress and there was no doubt about these actors’ abilities. The other roles were well cast and I must praise the cast in Act 2 Scene 2. Mrs Bedwin sang beautifully and the Who will buy? Number from Oliver and the street criers I have rarely heard better delivered. Costumes, choreography and the company completed the recipe for an enjoyable and successful show.
Reviewer – Stewart Adkins
Monday, June 01, 2009
Coming Soon - CTW's Marat Sade
Marat Sade by Peter Weiss
The Persecution and Assassination of Marat as performed by the inmates of the Asylum of Charenton under the direction of the Marquis de Sade. He is the famous inmate of the asylum of Charneton, Paris and has written a play to be performed by his fellow inmates. Sade was imprisoned for his subversive, pornnographic writings but it is 1808 and the Napoleonic authorities believe in rehabiliation.
The play is set in 1703, during the French Revolution and concerns the assassination of revolutionary thinker and leader Jean Paul Marat by a young girl Charlotte Corday. Why did she travel to Paris to kill a great man, crippled by illness? Why murder a hero?
Strong languary and sexual innuendo.
Dates 18-20 & 25-27 June at 7.45p.m. £7 (£6 concs on Thurs only each week)
Saturday, May 30, 2009
Rhiannon Heap wins Best Performer Award
At a CYGAM rehearsal on Saturday May 30, Stewart Adkins, the representative of NODA for the Chelmsford District, awarded Rhiannon Heap the Peter Green Cup for the best individual performance in a production in 2008, for her role as Peggy Sawyer in 42nd St. . This award took into consideration over 30 plays, pantomimes and musicals that Mr Adkins had seen throughout 2008.
Commenting on why he chose Rhiannon against competition from perhaps 100 principals seen on stage in 2008 Mr Adkins said “Rhia delivered the complete performance from the moment she walked on stage. She exuded energy with every gesture and epitomized why Peggy Sawyer was able to step into the shoes of Dorothy Brock in 42nd St; she could not only sing, dance and act but do so convincingly and capture the audience’s heart. I look forward to seeing what else Rhia and her fellow performers at CYGAM can deliver over the coming years”
Wednesday, May 20, 2009
Flushed - Headgate Theatre, Colchester
Having just seen the dress rehearsal for Flushed, a three handed musical, I felt compelled to write a few words of praise for what is an original and highly entertaining idea. It would be a great shame if people who enjoy the theatre missed this production because they were reluctant to see something new or misunderstood what was on offer. Shy, young Brian Cartwright is obsessed with designing toilets and has rather suppressed his natural desires for the rest of mankind and focussed on the unrequited love of his porcelain and plastic creations. His secretary has a yearning for Brian but cannot compete with the object of Brian's love - the new Executive Comfy Loo, soon to be released with much fanfare. Richard Spleen, a freelance investigative reporter for Toilet Trade journals, tempts Brian with the prospects of untold riches and career recognition if he signs a contract with him. While Brian is distracted and dreaming of how his stock amongst the lavatorial luminaries will rise Spleen steals the plans for the new Executive Comfy Loo. Upon receipt of a letter blackmailing Brian into signing a contract or risking his plans being leaked to a rival firm, Brian is distraught. But Stephanie, seeing a way to win Brian's heart, hatches a plan to lure Spleen into the office and steal back the plans. As she succeeds in doing this and saving Brian's career Brian finds the scales falling from his eyes and sees how much he loves Stephanie. With witty dialogue, clever songs and a strong cast Flushed is wonderful entertainment. It is absolutely suitable for children and apart from a few euphemisms and lavatorial allusions is as clean as a brand new toilet bowl.
Flushed is a 45 minute show in the first half of a double bill. After the interval is Trial by Jury, one of G&S's comic creations poking fun at the British legal system. With a lovely set, excellent costumes and a hand-picked cast, collected from the notable singing societies in the area, this is a sure fire winner. There are tickets on the door for each night (Wed-Sat at 19.45 and Sat matinee at 14.30) as I write but why not call the Box Office to be sure http://www.headgatetheatre.co.uk/whatson.php
# Booking Office: 01206 366000
Stewart Adkins
Flushed is a 45 minute show in the first half of a double bill. After the interval is Trial by Jury, one of G&S's comic creations poking fun at the British legal system. With a lovely set, excellent costumes and a hand-picked cast, collected from the notable singing societies in the area, this is a sure fire winner. There are tickets on the door for each night (Wed-Sat at 19.45 and Sat matinee at 14.30) as I write but why not call the Box Office to be sure http://www.headgatetheatre.co.uk/whatson.php
# Booking Office: 01206 366000
Stewart Adkins
Tuesday, May 19, 2009
Tollesbury Amateur Players - Allo Allo
Tollesbury Amateur Players, ‘Allo Allo, May 15, 2009
Director – Alex Neal
What a difference a few years can make. Not so long ago, perhaps 2007, TAP were trying to manage my expectations so that I would not judge their inexperienced but enthusiastic cast harshly. Now I find myself reaching for the superlatives as I review not only one of the funniest but also best executed productions I have seen in a while and bear in mind this is my third Allo Allo in 24 months. Firstly, the set was very cleverly designed, well constructed and practical to use. The origami-like folding and hinged side flats were used for at least three different scenes; the piano turned 180 degrees to become a double bed; Café Renee has stencilled glass in the window, the bar shelf actually accommodated real bottles and glasses and a lovely touch was the pasting on the wall of adverts for French products sold during WW2. This attention to detail, which included a working electric wall light on the flat stage left, operated by a switch in the middle of a cracking plaster wall by the bar, was highly commendable, all the more so since the set was designed and constructed by the backstage team ie not hired. The set was well lit and the cinema effects of the flashing lights also came across very well. Continuing the authenticity and attention to detail were the costumes, the uniforms, the hats and props. All looked to be appropriate for the play and nothing seemed incongruous in any way. The production was blessed with a superb Rene, played by James Oakley. His accent was good without being OTT and his rapport with the audience was immediate. He was confident, unflustered and never close to losing his character despite the temptations as outrageously funny things happened all around him. The interactions with his wife, Edith, played by Joanne Smith and his two waitress/lovers, Yvette (Sarah-Grace Neal) and Mimi (Nicki Hatton) were hilarious. These characters were all well cast, the young and vivacious Yvette providing a striking contrast with the more pugnacious (and shorter!) Mimi and the more mature Edith; Edith who was blissfully unaware of her lack of singing talent and her husband’s peccadilloes elsewhere. Herr Flick (Jared Heigham) and Helga (Kim Phillips) were a successful combination that made a hit with every scene and all of the German (and Italian) officers managed to capture the essence of their roles within the play, understated in the case of the Colonel (George Traer-Clark) or OTT in the case of Bertorelli (Tony Christie). Officer Crabtree (Jonathan Salmon) deserves special mention for not only learning his lines but learning the mangled English that was his lot; that must be especially difficult. The supporting roles of Resistance Girls, Leclerc, peasants and airmen were all strong. This was the complete package and despite one or two minor mishaps TAP’s Allo Allo was a hugely entertaining production with very high production values. TAP has set a high hurdle for future productions but with hard work and effort they can do it; the talent and enthusiasm is definitely in place. Congratulations to all involved.
Reviewer – Stewart Adkins
Blackmore Players - A Night at the Musicals
Blackmore Players, A Night at the Musicals, May 14, 2009
Directors – Rosemarie Nelson and John Daldry
Reaching a significant landmark, such as Blackmore Players’ 40th anniversary, is a notable achievement in its own right but to celebrate it in such fine style warrants extra credit. The effort needed to put on a compilation of numbers, never mind the backstage melee there must have been changing costumes, is far greater than that to do a straightforward show. There were at least a dozen chorus numbers, as well as a similar number of small ensembles and solos, far more than in most shows. Not only the effort but also the achievement should be applauded. There were some fine voices on display, amongst the youngsters as well as the not so young, and some of the latter showed the rest that maturity is no barrier to tap dancing or shaking a “zimmer”. The choice of material was excellent, combining the lustily sung chorus numbers with some beautiful solos and some humorous interjections. Blackmore Players is not afraid to send itself up and did so quite wonderfully in the Grease set and the I am sixteen number from Sound of Music. The youngsters acquitted themselves well in the Oliver set and Where is love brought a lump to my throat. Summertime and When you lose your heart were also strong contenders for my favourites of the evening but perhaps the melodrama, Unhand me Squire takes the honours. Overall, this was a well balanced evening’s entertainment. The set, consisting of flats covered in photographs and the Night of Musicals backcloth, provided just the right amount of colour without leaning towards one particular show or another. The music was never too loud and the rifle mikes generally worked well, picking up the solo voices when needed. The costumes were delightful and contributed to a colourful, varied programme and a highly enjoyable evening. I wish BP continued success for the next 40 years and beyond.
Reviewer – Stewart Adkins
Directors – Rosemarie Nelson and John Daldry
Reaching a significant landmark, such as Blackmore Players’ 40th anniversary, is a notable achievement in its own right but to celebrate it in such fine style warrants extra credit. The effort needed to put on a compilation of numbers, never mind the backstage melee there must have been changing costumes, is far greater than that to do a straightforward show. There were at least a dozen chorus numbers, as well as a similar number of small ensembles and solos, far more than in most shows. Not only the effort but also the achievement should be applauded. There were some fine voices on display, amongst the youngsters as well as the not so young, and some of the latter showed the rest that maturity is no barrier to tap dancing or shaking a “zimmer”. The choice of material was excellent, combining the lustily sung chorus numbers with some beautiful solos and some humorous interjections. Blackmore Players is not afraid to send itself up and did so quite wonderfully in the Grease set and the I am sixteen number from Sound of Music. The youngsters acquitted themselves well in the Oliver set and Where is love brought a lump to my throat. Summertime and When you lose your heart were also strong contenders for my favourites of the evening but perhaps the melodrama, Unhand me Squire takes the honours. Overall, this was a well balanced evening’s entertainment. The set, consisting of flats covered in photographs and the Night of Musicals backcloth, provided just the right amount of colour without leaning towards one particular show or another. The music was never too loud and the rifle mikes generally worked well, picking up the solo voices when needed. The costumes were delightful and contributed to a colourful, varied programme and a highly enjoyable evening. I wish BP continued success for the next 40 years and beyond.
Reviewer – Stewart Adkins
Trinity - Kiss Me Kate
Kiss Me Kate, Trinity Methodist Music and Drama,
May 13, 2009
Director – Beccy Ashton; Musical Director – Susannah Edom
I admit I was apprehensive when I heard that Trinity was tackling Kiss me Kate. Cole Porter’s finest, in my opinion, is technically challenging for the backstage crew and is physically and vocally demanding, especially for Fred/Petrucchio. And what a step up from a regular diet of G&S to a combination of Shakespeare and schmooze! But Trinity rose to the challenge, i’ faith, and produced the best show I have seen them do. To be fair, this play within a play has a strong storyline (it is Shakespeare after all) and some glorious music, which I understand was from the Broadway version, rather than the “regular” show, thus accounting for some extra music and slightly different harmonies at times. So the basis for a good show was always there. However, some great principals, a mobile chorus, good orchestra and strong direction were also key ingredients needed for success and these were all in place. Starting with orchestra; the music was glorious throughout and although that perennial battle between orchestra and onstage volume was comprehensively won by the orchestra this was a price I, for one, was willing to pay for the richness of sound, especially from the brass, during the bigger numbers. Scenery, lighting and costumes were all good and I was glad to see that the director had forsworn the “men in tights” look in favour of doublet and breeches for the men. The former is usually unflattering and always distracting, especially when the men are, how shall we say, more mature. I enjoyed the build up of action during the overture, which gave the chorus more to do and the little touches such as the progressive tiredness during successive choruses of We open in Venice, were fun. Strong directorial touches were seen also during Where is the life that late I led, a beautifully choreographed and lustily sung number. The principals, some new talent and some home grown, were very good, all with strong voices. David Slater as Fred/Petrucchio was equally at home as director/lover or Shakespearean actor; his strong delivery was full of nuance and fun throughout. Janet Moore was a worthy shrewish adversary and I particularly enjoyed her So in love which gave free rein to her lovely voice. Alex Moore as Lois/Bianca and Richard Rosetti as Bill/Lucenti were convincing as ditzy blonde and gambling ne’er do well, respectively while the gangsters, played by Derek Lee and David Ehrlen were highly entertaining throughout. The smaller roles were well cast; I saw far more talent than I was aware of from previous shows. My final word must go to Adam Sullivan as Harrison Howell; his stereotype of the military officer combined with the best delivery of From this moment on I have ever heard had me in stitches. His performance epitomized the whole production. I had few expectations before the performance but came away delighted and hugely entertained.
Reviewer – Stewart Adkins
May 13, 2009
Director – Beccy Ashton; Musical Director – Susannah Edom
I admit I was apprehensive when I heard that Trinity was tackling Kiss me Kate. Cole Porter’s finest, in my opinion, is technically challenging for the backstage crew and is physically and vocally demanding, especially for Fred/Petrucchio. And what a step up from a regular diet of G&S to a combination of Shakespeare and schmooze! But Trinity rose to the challenge, i’ faith, and produced the best show I have seen them do. To be fair, this play within a play has a strong storyline (it is Shakespeare after all) and some glorious music, which I understand was from the Broadway version, rather than the “regular” show, thus accounting for some extra music and slightly different harmonies at times. So the basis for a good show was always there. However, some great principals, a mobile chorus, good orchestra and strong direction were also key ingredients needed for success and these were all in place. Starting with orchestra; the music was glorious throughout and although that perennial battle between orchestra and onstage volume was comprehensively won by the orchestra this was a price I, for one, was willing to pay for the richness of sound, especially from the brass, during the bigger numbers. Scenery, lighting and costumes were all good and I was glad to see that the director had forsworn the “men in tights” look in favour of doublet and breeches for the men. The former is usually unflattering and always distracting, especially when the men are, how shall we say, more mature. I enjoyed the build up of action during the overture, which gave the chorus more to do and the little touches such as the progressive tiredness during successive choruses of We open in Venice, were fun. Strong directorial touches were seen also during Where is the life that late I led, a beautifully choreographed and lustily sung number. The principals, some new talent and some home grown, were very good, all with strong voices. David Slater as Fred/Petrucchio was equally at home as director/lover or Shakespearean actor; his strong delivery was full of nuance and fun throughout. Janet Moore was a worthy shrewish adversary and I particularly enjoyed her So in love which gave free rein to her lovely voice. Alex Moore as Lois/Bianca and Richard Rosetti as Bill/Lucenti were convincing as ditzy blonde and gambling ne’er do well, respectively while the gangsters, played by Derek Lee and David Ehrlen were highly entertaining throughout. The smaller roles were well cast; I saw far more talent than I was aware of from previous shows. My final word must go to Adam Sullivan as Harrison Howell; his stereotype of the military officer combined with the best delivery of From this moment on I have ever heard had me in stitches. His performance epitomized the whole production. I had few expectations before the performance but came away delighted and hugely entertained.
Reviewer – Stewart Adkins
Monday, May 18, 2009
Awesome Musical Double Bill - Wednesday-Saturday
This neck of the woods is blessed with some very fine exponents of Gilbert and Sullivan Operetta. South Anglia Savoy Players, Wivenhoe and Ipswich G & S Societies and Colchester and Witham Operatic Societies. All have put on some of their work in recent times to significant audience and critical acclaim. Therefore when Nick Clough, one of the duo’s most knowledgeable and loyal fans looked to assemble a cast for a production of Trial by Jury it was only right that he should cast his net across all of these groups. His catch is significant having landed some superb principals and what I expect to be the finest chorus to have appeared at The Headgate Theatre in its seven-year history. The company fall under the musical baton of another G & S talent in the person of Andrew Burke. Andrew has appeared at the Headgate on a couple of occasions previously and impressed enormously. Platform Musicals feel that it is a real privilege to have both Nick and Andrew on board for this show. In addition the first half of the evening will present a brand new musical written by William Hooper. This is called Flushed. The cast consists of three stars of local musical theatre, Kim Anderson, Jamie Fillery and Graham Bowden and I know that William has returned to the territory where he is most comfortable for this show, that is the witty, clever both worded and musically, songs and duets.
Evening shows start at 7.45pm and there is a Saturday Matinee at 2.30pm. There are still some tickets available for each performance.
http://www.headgatetheatre.co.uk/whatson.php
Evening shows start at 7.45pm and there is a Saturday Matinee at 2.30pm. There are still some tickets available for each performance.
http://www.headgatetheatre.co.uk/whatson.php
Wednesday, May 13, 2009
Trial by Jury - Headgate Theatre May 20-23.
Come and see a musical double bill at the Headgate, Colchester May 20-23. Flushed is a new musical based on love and intrigue in a toilet factory! Trial by Jury is Gilbert & Sullivan's satirical look at the legal system. With each show running just 40 minutes here is an ideal opportunity to experience the best of both worlds -traditional and modern.
Tuesday, May 12, 2009
Stomp Workshops in Witham
Workshops at Witham Public Hall
Thursday 28th May
Four 90 minute sessions starting at 9:30am
Phone 01376 512902 to book your place
Tickets £5 per session
Workshop start times are 9:30, 11:10, 13:40 & 15:20
11 to 18 years of age.
Sunday, May 10, 2009
BLACKADDER AT GALLEYWOOD LIBRARY FOR ADULT LEARNING WEEK
BLACKADDER AT GALLEYWOOD LIBRARY FOR ADULT LEARNING WEEK
On Saturday 9th May, Chelmsford Theatre Workshop were asked by Galleywood Library if they could arrange a display and a demonstration of scenes from one or their plays for Adult Learning Week. Also to talk about their experiences of being involved with the group and the opportunities there were and how to get involved.
They were very keen to take this on and were able to hire their costumes once again and reprise a few scenes from Blackadder which they produced recently at the Old Court Theatre Chelmsford for Comic Relief where they managed to raise over £2000. They also had one of their actresses give a monologue from Shirley Valentine and had their artistic director Steve Holding and the Blackadder director Dean Hempstead there to talk to the public who turned out and packed the library and a fun time was had by all. Imagine 'Flashart' striding through the library and shouting 'hurrah' to everyone - there was no shooshing on that morning, only laughter by the crowd who had turned up to see them.
Chelmsford Theatre Workshop is very keen to promote their theatre and all the voluntary work that is involved to everyone who is interested and might like to join. Although they are coming to the last three plays of the season they have a fantastic group of plays being submitted for next year and would love to see lots of new people come and be part of the Third Theatre in Chelmsford. They are not only looking for actors and actresses but people to come and design and erect sets, painting, lighting, sound, prompts, backstage crew - the list goes on.
If anyone would like any more information please look at our website www.ctw.org.uk and if you would like to get involved email us and we will get back to you.
Maldon Drama Group - One Flew Over the Cuckoo's Nest
One Flew Over the Cuckoo’s Nest - Maldon Drama Group
April 24, 2009
I must be one of the few people who has not seen this play or the famous film with, Jack Nicholson .consequently I did not have any preconceived ideas. This play centres on an US State Mental Institution during the early 1970’s. The inmates are governed by the terrible Nurse Ratched who rules them with a cold icy calculating determination; played by Ghislaine Davis to good effect. They live out their lives on tranquilisers, while for the more disturbed electric shock treatment is prescribed and finally if that fails a frontal lobotomy is used.
Narrated by the docile "Chief" Bromden, who has pretended to be a deaf-mute for several years, you see, through his eyes the events in the hospital as they take place. Bill Thurkle was very convincing in this role and his stillness in the first half was amazing. His eyes showed his inner self to the audience and I was truly moved.
Randle Patrick McMurphy, a happy-go-lucky transferee from a prison is sent to the mental hospital. Having been found guilty on a battery and rape charge, McMurphy fakes insanity to serve out his sentence in the hospital. This role was a marvelous vehicle for Dave Hawkes’ talents as an actor. As soon as he stepped onto the stage his presence and projection brought all the cast up a notch and it became an exciting production. His professionalism with this role shows how it should be done and I congratulate him on his wonderful interpretation.
All the cast worked so well together and it showed the hard work of Director Neil Davis. Every little body movement, of each character, was continued through the play as their madness progressed. One of the youngest members, at just 15 – Adam Strudwick, really stood out as the young, hapless Billy Bibbit, a nervous, shy, and boyish patient with an extreme speech impediment. Billy cuts himself and has attempted suicide numerous times. He is ruled by his overbearing mother and Nurse Ratched. He was consistent in his role and totally believable, allowing the audience to emphasise with him.
I understand there was only one day allowed to erect the freestanding set, which was excellent. There were one or two lighting and sound issues especially with the projector due no doubt to the limited “get in” time but it did nothing to spoil this play. May I send my congratulations to everyone who worked on this excellent production.
Reviewer – Chrsitine Davidson
April 24, 2009
I must be one of the few people who has not seen this play or the famous film with, Jack Nicholson .consequently I did not have any preconceived ideas. This play centres on an US State Mental Institution during the early 1970’s. The inmates are governed by the terrible Nurse Ratched who rules them with a cold icy calculating determination; played by Ghislaine Davis to good effect. They live out their lives on tranquilisers, while for the more disturbed electric shock treatment is prescribed and finally if that fails a frontal lobotomy is used.
Narrated by the docile "Chief" Bromden, who has pretended to be a deaf-mute for several years, you see, through his eyes the events in the hospital as they take place. Bill Thurkle was very convincing in this role and his stillness in the first half was amazing. His eyes showed his inner self to the audience and I was truly moved.
Randle Patrick McMurphy, a happy-go-lucky transferee from a prison is sent to the mental hospital. Having been found guilty on a battery and rape charge, McMurphy fakes insanity to serve out his sentence in the hospital. This role was a marvelous vehicle for Dave Hawkes’ talents as an actor. As soon as he stepped onto the stage his presence and projection brought all the cast up a notch and it became an exciting production. His professionalism with this role shows how it should be done and I congratulate him on his wonderful interpretation.
All the cast worked so well together and it showed the hard work of Director Neil Davis. Every little body movement, of each character, was continued through the play as their madness progressed. One of the youngest members, at just 15 – Adam Strudwick, really stood out as the young, hapless Billy Bibbit, a nervous, shy, and boyish patient with an extreme speech impediment. Billy cuts himself and has attempted suicide numerous times. He is ruled by his overbearing mother and Nurse Ratched. He was consistent in his role and totally believable, allowing the audience to emphasise with him.
I understand there was only one day allowed to erect the freestanding set, which was excellent. There were one or two lighting and sound issues especially with the projector due no doubt to the limited “get in” time but it did nothing to spoil this play. May I send my congratulations to everyone who worked on this excellent production.
Reviewer – Chrsitine Davidson
Friday, May 08, 2009
Colne Engaine Drama Soc - Snake in the Grass
Snake in the Grass, Colne Engaine Amateur Dramatic Society, May 1, 2009
Director – Sally Nower
It is a rare treat to be asked to review a play for a group outside one’s normal circle of dramatic societies and have no preconceived ideas whatsoever. Colne Engaine Village Hall has a stage that barely warranted the name and yet on this Tardis-like acting area had been created a fantastic set including a vine-encrusted tennis court, a garden fence, summer house and even a well! Snake in the grass is a three-handed, all female play, premiered just seven years ago and is regarded as a companion piece to the ghost story, Haunting Julia. Although Snake in the grass has haunting elements to it the reasons for its dark tones lie in its subject matter – parental abuse and the inter-generational impact that such abuse can have. What appears to start as a simple blackmail plot, with Alice, the deceased father’s nurse, claiming to have written proof that Miriam, one of two sisters in the play, sacked the nurse in order to murder the father, gradually unfolds into a much more macabre plot indeed. The credibility of the performance depends very much on the ability of the two sisters Annabel and Miriam, played by Brenda Newman and Michele Jones respectively, to find some common ground after 35 years of physical separation and leading very different lives. They find that common ground as they reveal to each other the experiences of abuse by their father. Annabel escaped the physical brutality by leaving home and building a life on the other side of the world, only to find herself accepting a relationship with a brutal husband from whom she could only get attention when he made up to her after beating her. Miriam implies she was abused sexually by her father but gets trapped in a confused relationship with him until she finally drugs and kills him. Both actresses portray convincingly the experiences they endured; Annabel, sharp-tongued, reformed alcoholic, determined to rebuild and shocked at her sister’s revelations; Miriam, for too long a victim, helpless, quiescent but turned into a pre-meditating murderess, with not one but ultimately three victims. The frequent bouts of breathlessness of Annabel as she suffered angina attacks were spot on and the emotional detachment of Miriam in Act 2 allowed us to catch glimpses of the unfolding plan which she may have been hatching for years. Alice, a much smaller part, played by Sally Frost, played the threatening nurse well and coped admirably with the physicality of collapse and being dumped in the well. The technical achievements on set; the shaking leaves, the moving wind chimes, rocking horse, creation of a well that allows Alice to fall below stage, the firing tennis balls, all these worked well. There were some genuinely spooky moments although I would have liked to have seen Alice climb from the well as a heavily bloodied zombie rather than merely slightly soiled. There were also a few prolonged periods of dialogue when I could only see the back of Annabel’s head, a shame since she had an expressive face. Despite these observations Snake in the grass was an entertaining and well-conceived production that I and the rest of the full house thoroughly enjoyed.
Reviewer – Stewart Adkins
Director – Sally Nower
It is a rare treat to be asked to review a play for a group outside one’s normal circle of dramatic societies and have no preconceived ideas whatsoever. Colne Engaine Village Hall has a stage that barely warranted the name and yet on this Tardis-like acting area had been created a fantastic set including a vine-encrusted tennis court, a garden fence, summer house and even a well! Snake in the grass is a three-handed, all female play, premiered just seven years ago and is regarded as a companion piece to the ghost story, Haunting Julia. Although Snake in the grass has haunting elements to it the reasons for its dark tones lie in its subject matter – parental abuse and the inter-generational impact that such abuse can have. What appears to start as a simple blackmail plot, with Alice, the deceased father’s nurse, claiming to have written proof that Miriam, one of two sisters in the play, sacked the nurse in order to murder the father, gradually unfolds into a much more macabre plot indeed. The credibility of the performance depends very much on the ability of the two sisters Annabel and Miriam, played by Brenda Newman and Michele Jones respectively, to find some common ground after 35 years of physical separation and leading very different lives. They find that common ground as they reveal to each other the experiences of abuse by their father. Annabel escaped the physical brutality by leaving home and building a life on the other side of the world, only to find herself accepting a relationship with a brutal husband from whom she could only get attention when he made up to her after beating her. Miriam implies she was abused sexually by her father but gets trapped in a confused relationship with him until she finally drugs and kills him. Both actresses portray convincingly the experiences they endured; Annabel, sharp-tongued, reformed alcoholic, determined to rebuild and shocked at her sister’s revelations; Miriam, for too long a victim, helpless, quiescent but turned into a pre-meditating murderess, with not one but ultimately three victims. The frequent bouts of breathlessness of Annabel as she suffered angina attacks were spot on and the emotional detachment of Miriam in Act 2 allowed us to catch glimpses of the unfolding plan which she may have been hatching for years. Alice, a much smaller part, played by Sally Frost, played the threatening nurse well and coped admirably with the physicality of collapse and being dumped in the well. The technical achievements on set; the shaking leaves, the moving wind chimes, rocking horse, creation of a well that allows Alice to fall below stage, the firing tennis balls, all these worked well. There were some genuinely spooky moments although I would have liked to have seen Alice climb from the well as a heavily bloodied zombie rather than merely slightly soiled. There were also a few prolonged periods of dialogue when I could only see the back of Annabel’s head, a shame since she had an expressive face. Despite these observations Snake in the grass was an entertaining and well-conceived production that I and the rest of the full house thoroughly enjoyed.
Reviewer – Stewart Adkins
Essex Police Musical Society - Hello Dolly
Essex Police Musical Society - Hello, Dolly!
April 24, 2009
Director – Pam Corrie & MD – David Sherman
This was a very ambitious show for this group to tackle for a number of reasons. Their stage is not large, their company is not large and they are not reputed for dancing. But it didn’t matter a damn! They rose to the challenge and provided a very enjoyable evening’s entertainment. They must have made some cuts but I didn’t identify where so it clearly had no impact on the plot or the flow of the story. Set mainly comprised backcloths but beautifully painted and were good representation of where the action was taking place. Scene changing was slick as the backstage team appeared well drilled. Lighting and sound were fine but when sitting in the front row, one doesn’t always have the best perspective on these. Costumes were very much in keeping with the period. The small cast did tremendously well in doubling up and consequently, found they had plenty to do. Their singing was good but whilst the harmonies were good I needed more volume. Principals were well cast. Dolly, in a major role for the first time, gave good account of the character but could have milked the many funny lines to a greater extent. Her singing voice was adequate although some of the numbers had been written down to accommodate her range. I’m not so sure that this was necessary as she handled the title number very well and coped very satisfactorily with the higher notes. I suspected that it was more to do with confidence than ability! Vandergelder was an old hand and gave a very pleasing portrayal of the grumpy old man and sang his numbers very fittingly for the role. The lesser roles were presented well with good attention to expression and style. The ‘foursome’ looked good together as ages were just right! Finally, notwithstanding my earlier comments, the gallop was executed in such a way that the participants displayed humour, good movement and energy. All in all, a good show!
Report – Eric Smart
April 24, 2009
Director – Pam Corrie & MD – David Sherman
This was a very ambitious show for this group to tackle for a number of reasons. Their stage is not large, their company is not large and they are not reputed for dancing. But it didn’t matter a damn! They rose to the challenge and provided a very enjoyable evening’s entertainment. They must have made some cuts but I didn’t identify where so it clearly had no impact on the plot or the flow of the story. Set mainly comprised backcloths but beautifully painted and were good representation of where the action was taking place. Scene changing was slick as the backstage team appeared well drilled. Lighting and sound were fine but when sitting in the front row, one doesn’t always have the best perspective on these. Costumes were very much in keeping with the period. The small cast did tremendously well in doubling up and consequently, found they had plenty to do. Their singing was good but whilst the harmonies were good I needed more volume. Principals were well cast. Dolly, in a major role for the first time, gave good account of the character but could have milked the many funny lines to a greater extent. Her singing voice was adequate although some of the numbers had been written down to accommodate her range. I’m not so sure that this was necessary as she handled the title number very well and coped very satisfactorily with the higher notes. I suspected that it was more to do with confidence than ability! Vandergelder was an old hand and gave a very pleasing portrayal of the grumpy old man and sang his numbers very fittingly for the role. The lesser roles were presented well with good attention to expression and style. The ‘foursome’ looked good together as ages were just right! Finally, notwithstanding my earlier comments, the gallop was executed in such a way that the participants displayed humour, good movement and energy. All in all, a good show!
Report – Eric Smart
Tuesday, May 05, 2009
TAB's Journeys End
Journey’s End, Theatre at Baddow, April 30, 2009
Director – Matthew Jones
This poignant reminder of life and death in the trenches during the Great War seems a little dated today but still has the ability to elicit strong emotions of sadness, fear and anger. The cast captured well the long and tedious periods of waiting for action, relieved only by occasional whizz-bang and meal times. The latter provided many of the lighter moments as we enjoyed Mason’s down to earth comments on the food he served and Trotter’s equally amusing rejoinders. The incongruity of having to eat artificial cutlets made of processed meat while having access to plenty of whisky somehow seemed perfectly acceptable in this crazy world of stalemate, where just 60 yards of no-man’s land and barbed wire separated two armies that only lapsed into barbarism on the orders of their masters. There were times in Act 1 when audibility of dialogue was a problem and the reconciliation of that delicate balance between the establishment of a character and being heard was not achieved. However, Act 2 was not marred by such issues, partly because the character lines were drawn and the tension stepped up a gear or three, with plenty of scope for more volume. It was in Act 2 that the personal conflicts really did unwind, with the scenes between Stanhope and Hibbert and between Stanhope and Raleigh being very powerful. Raleigh really hit his stride and the hesitancy of Act 1 became a huge asset in Act 2. Hibbert was a convincing shirker, who nevertheless did his duty under the forceful personality of Stanhope, whose convincingly explosive bursts of temper bore witness to the intolerable pressures under which he was working. Osborne played the mild-mannered former schoolteacher to a tee. His concern for the younger men/boys and his apparent stoicism in the face of almost certain death gave a human face to the stiff upper lip stereotypes we have come to associate with a certain class of men during the First World War. The set was convincing and the final collapse of the dugout as it took a direct hit was a nice touch. However, I was not convinced by the sound effects throughout. So weak were the noises offstage that at times they were simply annoying, while during the final scenes I would have expected sound that was almost ear-splittingly loud, so that the collapse of the dugout was an inevitability. Furthermore, the death scene of Raleigh and the touching reconciliation with Stanhope would have been all the more moving against a crescendo of crashing bombs. This may have been a limitation of the sound equipment or directorial choice, I don’t know. Nevertheless, this was a moving production, which I enjoyed and was pleased to have seen.
Reviewer – Stewart Adkins
Thursday, April 30, 2009
Wickham Bishops - An Evening of One Act Plays
AN EVENING OF ONE ACT PLAYS – WICKHAM BISHOPS DRAMA CLUB
4TH APRIL 2009
As newcomers to this group we were given a wonderful welcome from a friendly and very smartly dressed front of house team. The new hall must be a God send to them as it has everything that any group could wish for.
Crossways by Jane Parry Davies.
The play began with Elizabeth moving into an old thatched cottage after the death of her husband. She had the feeling that she had lived there before and that there is a reason for her being there. A few bits of furniture with a good fire and mantelpiece were all that was needed to feel we were in an old cottage and the story commenced with wonderful pace. Her strong and supportive cast of mother, friends and callers quickly made this play real to me from the start. Elizabeth, who under hypnosis from Dr Johnston, regressed to become Sarah, was a wonderful role and Karen Scollard superbly demonstrated her skills as an actress by ageing from 18, to 40, to 60, in front of our eyes. Finally being accused as a witch and being burnt on a stake outside her home. As Elizabeth is left alone that night the fire catches the chimney alight and you are left with her sleeping in her smoke filled lounge with the phone ringing. Well done to all the cast and the director for this play, as for me it was the strongest and the best of the three.
A Cut in the Rates by Alan Ayckbourn
The music of Roald Dahl’s Tales of the Unexpected started as the curtain opened and with this being an Alan Ayckbourn play we felt that we were in for a treat. The play was very clever with Miss Pickhart, from the town hall, coming to find the tenants who had not paid the rates. She is accosted by a neighbour, hanging out of a window, who says that there has been no one there for seven years. When she enters the building she is met by a scary man who says he was Mr Ratchet, an illusionist. Miss Pickhart is left in the cellar and a ghost appears who says she was murdered by Mr Ratchet during the “Sawing a Woman in Half” illusion. Between them they scare off Miss Pickhart and get ready to do the same to the taxman who is coming next.
This should have been an excellent one act play but unfortunately it needed more direction and was not as well cast as perhaps it could have been. So many of Miss Pickhart’s lines needed to be worked on by the director and I never felt that the cast believed in their own characters. I understand how hard it is to get men to act in amateur theatre these days but although the illusionist tried hard I considered that he was too young to do justice to this role.
Additionally the set was a trifle messy and more thought could have been given to allow the three areas to be believable. Lighting could have been used to isolate individual acting areas or maybe the use of swing flats to hide the window and turn the front door during the interior scenes. Some shadow on the face of the illusionist also detracted from the overall effect. I came away disappointed with a feeling of how it could have been better.
Departure by Stephen Smith
To end the night we had a comedy which took us back to 1988 and the sounds of Cliff Richards Summer Holiday to open the scene. Just a couple of boards with posters and some chairs gave us the feel of being in an airport although I would have like to have heard a bit more of the airport noise as it only seemed to come on suddenly and then go off just as quickly. Stranded in the lounge we found Rosemary and her daughter Mandy who gave us a superb double act. They worked really well together and the joys of seeing Mandy eat her roll during the play were hilarious. Well done to Sue Matten and Michelle Bacon for two very strong performances, They meet Dennis and Sheila Tippet who are obviously been together a long while and snipe and pick at one another constantly and are on the verge of divorce. Again this pairing of Jerry Foster and Sue Walker was excellent and made me feel very sorry for the husband. His scene when he gets ambushed by children in the airport and comes back looking totally dishevelled was very funny.
Presenting three totally different one act plays can be a joy as it gives members of the group an attempt at something that they have maybe not done before and with such a lovely group of members and such a wonderful hall I urge people to go and support this company as we will from now on. Well done to all.
Reviewed by Christine Davidson
4TH APRIL 2009
As newcomers to this group we were given a wonderful welcome from a friendly and very smartly dressed front of house team. The new hall must be a God send to them as it has everything that any group could wish for.
Crossways by Jane Parry Davies.
The play began with Elizabeth moving into an old thatched cottage after the death of her husband. She had the feeling that she had lived there before and that there is a reason for her being there. A few bits of furniture with a good fire and mantelpiece were all that was needed to feel we were in an old cottage and the story commenced with wonderful pace. Her strong and supportive cast of mother, friends and callers quickly made this play real to me from the start. Elizabeth, who under hypnosis from Dr Johnston, regressed to become Sarah, was a wonderful role and Karen Scollard superbly demonstrated her skills as an actress by ageing from 18, to 40, to 60, in front of our eyes. Finally being accused as a witch and being burnt on a stake outside her home. As Elizabeth is left alone that night the fire catches the chimney alight and you are left with her sleeping in her smoke filled lounge with the phone ringing. Well done to all the cast and the director for this play, as for me it was the strongest and the best of the three.
A Cut in the Rates by Alan Ayckbourn
The music of Roald Dahl’s Tales of the Unexpected started as the curtain opened and with this being an Alan Ayckbourn play we felt that we were in for a treat. The play was very clever with Miss Pickhart, from the town hall, coming to find the tenants who had not paid the rates. She is accosted by a neighbour, hanging out of a window, who says that there has been no one there for seven years. When she enters the building she is met by a scary man who says he was Mr Ratchet, an illusionist. Miss Pickhart is left in the cellar and a ghost appears who says she was murdered by Mr Ratchet during the “Sawing a Woman in Half” illusion. Between them they scare off Miss Pickhart and get ready to do the same to the taxman who is coming next.
This should have been an excellent one act play but unfortunately it needed more direction and was not as well cast as perhaps it could have been. So many of Miss Pickhart’s lines needed to be worked on by the director and I never felt that the cast believed in their own characters. I understand how hard it is to get men to act in amateur theatre these days but although the illusionist tried hard I considered that he was too young to do justice to this role.
Additionally the set was a trifle messy and more thought could have been given to allow the three areas to be believable. Lighting could have been used to isolate individual acting areas or maybe the use of swing flats to hide the window and turn the front door during the interior scenes. Some shadow on the face of the illusionist also detracted from the overall effect. I came away disappointed with a feeling of how it could have been better.
Departure by Stephen Smith
To end the night we had a comedy which took us back to 1988 and the sounds of Cliff Richards Summer Holiday to open the scene. Just a couple of boards with posters and some chairs gave us the feel of being in an airport although I would have like to have heard a bit more of the airport noise as it only seemed to come on suddenly and then go off just as quickly. Stranded in the lounge we found Rosemary and her daughter Mandy who gave us a superb double act. They worked really well together and the joys of seeing Mandy eat her roll during the play were hilarious. Well done to Sue Matten and Michelle Bacon for two very strong performances, They meet Dennis and Sheila Tippet who are obviously been together a long while and snipe and pick at one another constantly and are on the verge of divorce. Again this pairing of Jerry Foster and Sue Walker was excellent and made me feel very sorry for the husband. His scene when he gets ambushed by children in the airport and comes back looking totally dishevelled was very funny.
Presenting three totally different one act plays can be a joy as it gives members of the group an attempt at something that they have maybe not done before and with such a lovely group of members and such a wonderful hall I urge people to go and support this company as we will from now on. Well done to all.
Reviewed by Christine Davidson
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