TAB's "Funny Money" Raise Real Money for Essex Air Ambulance

Who said the Arts are always in need of subsidy? Not the folks at Theatre at Baddow. They managed to make a pofit from their most recent production, Funny Money, and gave the lot to Essex Air Ambulances. Great news for audiences, who clearly enjoyed this Ray Cooney farce, and great news for Essex Air Ambulances and the people of Essex who benefit from the rapid emergency service the Air Ambulance provides. The photograph shows Sheila Talbot, director of Funny Money and some of the cast handing over a cheque for £809.95 to Diane Leggett, a representative from Essex Air Ambulances.

Young Expressions - Cinderella

Cinderella, Young Expressions
Performed at Ingatestone Community Centre, November 28, 2009

Director – Louise Hunt, Musical Director – Andrew Lindfield

I liked the return to a traditional pantomime with a witty script by Jim Sperinck interspersed with some well known, modern songs. The sets and costumes at Young Expressions always show good attention to detail and this year’s production was no exception. What was different was the use of midi or backing tracks rather than a live band, which was handled extremely well from both technical and artistic standpoints. If there was a conductor I didn’t spot him and so great reliance was placed upon the performers to follow the music, which they did very well. Less successful, in my view, was the use of microphones, which appeared to work only sporadically and left some singers somewhat overwhelmed by the backing track. Placing of mikes just below the hairline or attached to the side of the face usually works best since this avoids picking up the rustling of clothes and reduces the risk of movement during costume changes. However, this may work less well if mikes are being shared. Nevertheless, Cinderella had a strong voice with or without amplification and was also an extremely good actress. Buttons too was confident in her vocal delivery and was very engaging. The ugly sisters worked extremely well together and managed to bring out all the fun of such excellent roles. Short, Back and Sides added to the comedy as did Baroness Boracic-Lint, with her OTT performance. The Fairy Godmother had a strong voice and was a good foil for Penny Peace, while Prince Charming and Dandini, although a little quiet, looked suitably dashing. There were so many individual and group roles that most of the cast must have been quite busy changing costume for their next scene. There was no evidence of haste on stage since scene changes were efficient and all characters were prompt and on cue. This is good evidence of a well-rehearsed production. Congratulations to all involved.

Reviewer – Stewart Adkins
NODA East, District 8

Writtle Cards - Farndale Avenue's The Christmas Carol

Writtle Cards presents The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of The Christmas Carol.
Performed on November 26, 2009 at Writtle Village Hall

Director –Shirley Piggott

The “Farndale Ladies” produced a seasonal spectacular up to their usual standard; such a shame that Mercedes had injured her legs and arms, thus slowing down her, no doubt, usual lightening fast responses to cue lines. Mrs Reece’s relentless good humour and tolerance of the inadequacies of her fellow man (or Townswoman) even allowed the extension of a hand of friendship to a visiting foreign exchange student. Well done Mrs Reece for introducing our foreign brothers and sisters to good quality English drama. I don’t suppose they have much theatre behind the Iron Curtain or wherever. Mrs Reece’s mastery of microphone technique didn’t quite stretch to discovering the on-off switch but she could not have known that her radio frequency was the same as that of the local emergency services. Actually I think it is rather a cheek for the police to be chatting to each other at the same time as the Christmas show. You would think these Community Constables would have more respect for their community. Anyway, Mrs Reece’s ability to change character from master of ceremonies to Tiny Tim, to Fred’s wife and even a ghost was remarkable. Were it not for her handbag I doubt that many in the audience would have recognized her. Thelma was a constant source of delight, playing Scrooge with aplomb. If I am to be a teeny weeny bit critical I wonder whether she could have been made to look a bit older and maybe more like a man, possibly more Scrooge-like? But then having so many lines to learn (her own and everyone else’s) perhaps is sufficient burden for any one actor. Gordon seemed to be having an off day on the night I saw the play. Sorry Gordon but I don’t remember you being quite so grumpy last time you appeared on stage. Knocking over the snowman not once but twice and then one more time seemed a trifle overdone; I fear for the mental health of the children watching the play, they may think it is real. Knocking over Mercedes in the second act is ok since that was obviously meant to happen – I think they call that ironic in the theatre. Finally, Felicity looked lovely, particularly as Fred and she sang so well too. Perhaps next time she could have a slightly bigger costume when she plays the top half of a ghost. I thought that bit was just a bit weak since the suspense of that spectral scene when Scrooge saw the ghost was spoilt by the realisation that Gordon was giving Felicity a piggyback. Up until that point I had been totally absorbed by the magic of it all – I thought Gordon’s “whoo-whooing” as Marley’s ghost was so frightening – but seeing Felicity’s legs just burst that ghostly bubble. I was delighted to see the village hall so well decorated for Christmas and particularly enjoyed the mince pies and mulled wine. Thank you for inviting me to review your Christmas play, I so much enjoyed it and only wished more of the ladies of Farndale would follow your lead and be so public-spirited. I did hear a rumour that Andrew Lloyd Webber was going to release Starlight Express for amateurs. This could be right up your Avenue; although I suspect Mercedes would need to get better first.

Reviewer – Stewart Adkins

CTW's The Importance of Being Earnest

If you want an alternative to panto this Christmas why don't you come along to The Old Court theatre in Springfield Road and enjoy the costumed comedy 'The Importance of Being Earnest' by Oscar Wilde. It is on from the 9th -12th and 16th - 19th December at 10.45.p.m and mulled wine and mince pies will also be on offer as well as a full bar and coffee service.

Here is some info to wet your appetites. Join us and have a great time with the award winning Chelmsford Theatre Workshop.


CHELMSFORD THEATRE WORKSHOP PRESENT


THE IMPORTANCE OF BEING EARNEST

by Oscar Wilde

The truth is rarely pure and never simple

Jack Worthing is keen to propose to his beloved Gwendolen, but needs the permission of her mother, the fearsome Lady Bracknell. Will her nephew Algernon help or make matters worse? Will Jack have to reveal the secret of his birth, which may prevent him from marrying? And can Jack and Algernon continue to lead double lives in the town and country without anyone finding out? In Wilde's classic comedy, Jack battles to hide his past and secure his future happiness, while trying to discover the vital importance of being Earnest.

If you are looking for an alternative to pantomime this year come and see this costumed comedy at Old Court. Mince Pies and mulled wine will also be on sale to put you in the Christmas mood.

Dates 9-12 & 16-19 December 19.45 p.m. The Old Court Theatre 233 Springfield Road Chelmsford CM2 6JT Booking Office 01245 606505 Tickets £8 ((£7 concs except Fri/Sat)

Young Gen's Bugsy Malone

Chelmsford Young Generation, Bugsy Malone,
Performed at Civic Theatre Chelmsford, November 10, 2009

Director Jeremy Tustin, Musical Director – Bryan Cass

It is truly remarkable how a youth society’s age mix can change in the course of a year -from a mature but energetic 42nd St in 2008 to a youthfully enthusiastic Bugsy Malone in 2009. Thankfully the constellation of musical choices can accommodate these changes and all credit to CYGAM’s management for detecting the different challenges that a less experienced cast would have to face and choosing an appropriate show. Despite having a company of 48 young people they could all be accommodated and many had to double up on the parts they played – what a wonderful introduction to musical theatre for those making their debut. Although the plot of Bugsy Malone is wafer thin the set was considerably more solid, with four discrete acting areas including Fat Sam’s and Dandy Dan’s offices on different levels, a slightly raised platform at the back and the main body of the stage. Although visually interesting and conceptually appealing to have such space there were times when I wasn’t quite sure who was speaking or to whom. Perhaps the most obvious clue that these were less experienced actors on stage was the speed of dialogue, sometimes too hurried and lacking in clear enunciation. Although the American (and Irish) accents came over well most of the principals could have benefited from a more deliberate approach to the dialogue. Microphones, although necessary in such a large theatre, should not be a substitute for vocal projection, an important point for such a wordy musical. This was not generally a problem for Bugsy himself, confidently played by Sam Toland. I very much enjoyed this mature, yet comfortable approach to a role that included excellent timing, some romance and even tap dancing. Sadly his role didn’t involve much singing and yet his miked up contribution to company numbers, particularly noticeable during the calls, was really good. Callum Crisell’s Fat Sam was a suitably exasperated mob boss and contrasted well with the more calculating Dandy Dan (Bart Lambert). I liked Blousey’s (Sophie Walker) hard to get persona and her lovely rendition of I’m Feeling Fine while Alice Masters’ Tallulah played the spoiled gangster’s moll with just the right languor. It is an intriguing idea that some of the best songs belong to minor roles, from a plot perspective, but Elliott Elder’s Fizzy and Oliver Fox’s Cagey Joe respectively sang Tomorrow and So you wanna be a boxer with aplomb. The Bad Guys was nicely done and I particularly liked the juxtaposition of little and large. The dance numbers, particularly those in which the girls featured highly, were extremely enjoyable and the closing calls in which everyone moved were a real treat. Having not mentioned the band before I must conclude that they played well and in a way that was in balance with the stage singers, which is as it should be. Congratulations to all. I look forward to watching this company tackle bigger challenges as it gains in experience.

Reviewer Stewart Adkins

Ingatestone MOG Anything Goes

Anything Goes, Ingatestone Musical and Operetta Group
Performed in Ingatestone Community Hall, October27, 2009

Director – Meryl Spinks; Musical Director – Dorothy Taylor

This is the first time I have seen this version of Anything Goes, with numbers like Gypsy in Me and Buddy Beware replaced by Let’s Misbehave and Heaven Hop. It says something about the flimsiness of this genre of pre-war musicals that musical numbers can be chopped and changed and even sung by different characters without influencing the overall feel of the piece. Nevertheless, this was never meant to be high drama, rather a great evening’s entertainment and after I got over my disappointment that this was not the version I knew and loved, I enjoyed it very much. The balance between orchestra and stage was good and at no time were the principals overpowered. This was not always true of the company but I suspect that those who found themselves on the “top deck” had their voices stolen by the acoustic black hole that was the stage ceiling. But the occasional loss of volume was a fair price to pay for the increased variety of the tableaux available when the top deck and stairs were used. Thus, spacing and groupings were good and choreography was entertaining. It was good to see most of the company moving, if not tapping, during the title song and others. The set was a straightforward set of matching steps with gangway above and pivoted doors below. Simple props such as beds, bars and chairs dressed the stage when necessary and scene changes were generally quick. Costumes were colourful and appropriate to the time as far as I could see, with plenty of fur, stoles, hats and double breasted suits on display. The principals were well matched for talent although artistic license was needed to accommodate the age difference between Hope and Sir Evelyn or Billy. Although the other version can often seem like the Billy and Reno show this version appeared to distribute the songs and dialogue more evenly. It certainly allowed Moonface Martin to shine; he was consistently funny without appearing to overact. Bonnie too was very funny but her gangster’s moll voice sometimes inhibited her singing volume and expression, I felt. Billy and Hope sang their duet, All through the night, beautifully and both maintained their characterization of happy-go-lucky and serious-minded personas, respectively, throughout. Reno showcased her strong and powerful voice during the toe-tapping Blow Gabriel Blow and Sir Evelyn was an hilarious stereotype of the English gentleman, although not so gentlemanly as to avoid turning Plum Blossom into Plum Tart by getting her up the Plum Duff. There was good support from the minor leads, such as Whitney, Mrs Harcourt and the Captain and I was pleased to note several young people in the chorus and the dance troupe (as well as Hope of course). Congratulations to the Director for a fine musical theatre debut.

Reviewer Stewart Adkins

Marlborough Drama Club's Dead Man's hand

Marlborough Dramatic Club, Dead Man’s Hand
Performed at The Memorial Hall, Brentwood School, October 23rd 2009.

Director – Louise O Connor

It’s either a treat or a trial to watch a group that is unknown to you perform a play that is unfamiliar in a theatre that you have never visited before. I am pleased to confirm that this evening was a real treat. The Memorial Hall is a barn of a hall for the production of a play and is easily one of the largest venues for a play that I have seen in the area. This does have the disadvantage of reducing the intimacy that is common in smaller venues and makes you very much aware that you are watching something on stage rather than being almost part of the performance. On the other hand the acting basics of projection and enunciation are forced upon the cast if they are to be heard and understood and these skills were generally very much in evidence, whereas lesser actors can get away with weaker basic skills in smaller village halls and studio theatres. There were one or two losses of audibility, particularly from Guy Harding’s Brian, especially when he turned away from the audience but these were rare and did not detract from what was a strong performance. In fact the cast was very well balanced with no weaknesses. I was captivated by Lindsey Crutchett’s characterization of Jennifer as the confident and liberated housewife who, one felt, would have no problem moving on with her life if her marriage to Brian did indeed fail. Full of energy and nuance Jennifer owned the stage and I found it hard to believe we may not see her again after her murder. Brian was more conservative, controlled and highly credible as the husband indifferent to his wife’s needs. Martin Reynolds resisted overplaying the gritty Northerner, Derek, and together with Natalie Sant’s Corrie as his wife (verging on brassy but with redeeming features of honesty and judgement) made a highly convincing couple. This could so easily have moved into crass stereotype that director and cast must take credit for holding back here. The one character that stood out as being out of place was Franco, played by Nick Lupton. His every appearance during the opening scene cried foul, not because of his cod Italian accent which was fine but because of his moustache. I suppose that this was a director’s and perhaps author’s hint to the audience that this scene was not what it seemed and was deliberately meant to throw audience suspicion on Franco throughout the subsequent scenes.
When the play within a play format was revealed the plot started to twist and turn in so skilful a manner that there were no obvious clues for the audience to follow. Pamela, played by Lesley Curtis, was cleverly added to the plot as the stage manager and threw us into more confusion as the first proper murder was revealed. Pamela’s anguish and shock during this scene was palpable and gave me my first frisson of excitement. The shifting of suspicion from player to player was extremely fluent and the revelation of Franco’s death by Brian/Martin left the entire audience in a quandary. Although the eventual solution and the motivation for it was deliberately contrived it was clear that this was a very clever and well written play, extremely well cast and intelligently directed. Character assessments made in earlier scenes and even my own critical thinking about the set quality was put into context and explained by subsequent events. Lighting, especially the dedicated stage lamps, worked well and the music between scenes was well chosen and highly appropriate for the mood. I very much enjoyed my visit to Marlborough Dramatic Club; this was entertainment of a high order and I suspect I was not alone in that opinion. Congratulations to all.

Reviewer Stewart Adkins

The Unexpected Guest - Maldon Drama Group

The Unexpected Guest, Maldon Drama Group
Performed at Maldon Town Hall on October 15th 2009.
Director - Michelle Edgington

From Agatha Christie’s fertile imagination comes this intriguing murder mystery in which the opening curtain reveals the victim (a very still Dave Hawkes) and the apparent murderer holding the gun as well as admitting to the crime. Were it not for the “unexpected guest”, who stumbles in to the living room from his broken down car outside and persuades Laura not to confess to the police this would be a very short and rather dull play indeed. However, these two characters, Laura Warwick, played by Lydia Bazzard and Michael Starkwedder, played by Scott Peters, not only construct an alternative reality for the murder but also cleverly reveal a potential motive, in order to divert suspicion from Laura, as well as introduce us to the remaining characters in the play before they are seen on stage. Laura and Michael are very well played and hold the audience’s attention for the long opening scene. They are the standout performers in this production but then, so they should be; without their credibility the play would not work. Lydia Bazzard should be particularly pleased with her confident performance on her debut. Were it not for Michael Starkwedder’s unusual name, a clear corruption of the German for “bad weather”, he would not have been on the audience’s suspect list. His manipulation of Laura and the police was convincing and revealed an extremely sharp mind but his motives for doing so, relying on our belief in his chivalrous defence of Laura was more suspicious. However, there were several characters who behaved suspiciously and of whose guilt or complicity in the murder we would not have been surprised to learn. Jake Hawkes characterization of the “retarded” half brother, Jan Warwick, as suggestible, wild and unrestrained was excellent. Sandra Dudley’s Mrs Warwick was also very strong with particularly good diction and projection, the epitome of the matriarch. Extremely suspicious or at the least rather slimy was Bill Thurkle as the thoroughly unpleasant Henry Angell. Miss Bennett’s attempt to cast Jan in a poor light for the benefit of he police who were listening next door also put her in the frame from the audience point of view. Ian McDonald’s Julian Farrar, Laura Warwick’s lover, was played as a weak and venal character and his desertion of Laura in her hour of need dispelled any sentiment we may have had for him. Finally, when the solid and dependable Sergeant Cadwallader, well played by Ben Markham with a lovely Welsh accent, and the redoubtable Inspector Thomas (Ron Dudley) find the crime solved by Jan Warwick’s implicit admission, the plot twists for the final time as Starkwedder reveals himself to be the murderer, exacting his revenge for the death of his son through the reckless driving of Richard Warwick, the murder victim. The set was generally good although perhaps unfinished since the door architraves were clearly unpainted. Costumes were also broadly consistent with the period but Julian Farrar’s jacket was far too small and somewhat distracting since it seemed to restrict his movement and caused him to hunch his shoulders. Perhaps he too should have had a double breasted suit as the other men. This aside this was an enjoyable evening with a good cast but it was disappointing for the cast that so few people attended the first night.

Reviewer – Stewart Adkins

Phoenix Theatre Group - Caught on the Hop

Caught on the Hop, Phoenix Theatre Company
Performed at Christ Church, Chelmsford, October 8, 2009
Director – Chris Wright

This extremely funny play was given full justice by Chris Wright’s production. The set was well-conceived with three exits/entrances and a couple of windows in the solidly-constructed flats. The walls were decorated with paintings and a calendar, as the plot required and the overall effect was of a functional if not plush living room that had enough furniture to be credible without compromising the acting area. Perhaps the boundary between the top and bottom halves of the colour-matched walls could have had a dado rail for even more authenticity. Introductory music could have been a touch louder to demonstrate more purpose rather than being merely ornamental and signalling the start of the play. However, the oven explosion was definitely too loud and more appropriate to a roadside bomb; I am surprised that anyone survived! The lighting plot was simple but effective and the contemporary costumes were presumably the actors’ own clothes. Andy Millward is a welcome addition to the company. He had a likeable stage presence and good rapport with George, although occasionally he did anticipate other characters’ dialogue or actions a fraction early. His gauche moments when stage whispering to George belied what must have been, by comparison, a spectacular pick-up technique on the No 49 bus. Phil perhaps could have displayed more agitation all the way through the play, especially when he was so close to being rumbled. The prospect of being able to go through a whole evening without his wife or girlfriend knowing about the other was so absurd and yet so tantalizingly possible with George’s help that we should have been on the edge of our seats. But we needed to know that the stakes were high if he was found out. Unless we feel there will be fireworks or perhaps even hand to hand fighting if his affair is discovered we feel no suspense. This may seem strange since the notion of living next door with his girlfriend and being able to remain on close speaking terms with his wife is so ridiculous as to be laughable; exactly so, this is a comedy but there should still be suspended belief as long as possible. Nevertheless, this unlikely Lothario still played a strong central character around which the play revolved. George, played by Syd Smith, had most of the best lines (the rest belonged to Mrs Puffett) and he delivered them superbly, without overplaying or deliberately playing for laughs. This was admirable restraint and came across the better for it. Maggie, played by Joan Lanario, appeared comfortable in her role as Phil’s wife and elicited strong empathy with the audience. There were occasional hesitant moments, which may have been due to late entries from other characters but here it is better to continue the energy of the dialogue or action rather than stop altogether. Angie Gee’s Julie was suitably romantic and was able to play the role completely straight, without foreknowledge or suspicion throughout. The lesser principals, Greta (Leila Francis), the fireman (Reg Peters) and Alan (Geoff Hadley) were well characterized as was Liz Curley’s Mrs Puffett. Liz Curley created a hybrid between Mrs Overall from Acorn Antiques and Les Dawson’s Gladys. The Birmingham accent coupled with her indignant prudery made her unintended double entendres all the more delicious. This was a lovely performance that squeezed the maximum humour from what could so easily have been throw away lines. This was an entertaining evening that had the whole audience laughing. Congratulations to all.

Reviewer Stewart Adkins

Dracula - coming this week and next

Blackmore End's A Letter from the General

A Letter From The General, Blackmore Players
Performed at Blackmore Village Hall, October 2, 2009
Director – Ian Lodge

How refreshing to see a company tackle a drama with a strong storyline and good characterization, rather than a superficial, albeit entertaining, comedy. This play, by Maurice McLoughlin, made strong demands of its cast and packed a powerful punch with its tension and emotion. The set was excellent and conveyed well the spartan quarters of a religious mission, with good use being made of back lighting and additional scenery through the windows and door. I can’t remember whether there was introductory music or link music between scenes; if there was it made no impression on me; if there wasn’t I would recommend it be considered in future. Appropriate music settles the audience at the beginning and can help maintain tension and interest through the scene changes. Costumes were good, especially Ruth Stilton’s dresses which were the most obviously contemporary costumes, the rest being rather timeless habits and uniforms. With respect to characterization there were two standout performances; Sharon Free as Sister Bridget and Julia Cohen as Ruth Stilton. Sister Bridget, portrayed as a novice (in the religious hierarchical sense of the word), with her hair over her eyes and her youthful lack of restraint, developed empathy with her audience straight away. Her Irish accent seemed to me not only flawless but her projection, fluency and timing were also impeccable. She may have been a few psalms short of a New Testament but she was gutsy and irrepressible. Such an authentic Irish accent does set a standard for the others and I wonder whether the director agonized over the issue. For my money Sister Lucy was on par with Bridget, although the character was less interesting. I would have encouraged the others to stick to English. There was only one reference to going home to Ireland in the whole play; besides a Mother Superior would probably have had a better education and there must have been English catholics in Chinese missions! Ruth Stilton played the “bored housewife” to a tee. Her very slightly clipped, yet accent-less English was just right for the time and her position as the wife of a minor diplomat. Her distracted air, self-absorption and inner turmoil slowly dissolved as she was able to displace the entirely negative thoughts surrounding her blind hatred of Germans, following the death of her son in the war, with a more positive and compassionate defence of a priest, despite him being German. The catalyst for this wonderful irony was the aggressive behaviour of an English soldier, who had joined, on pain of death, the Chinese Republican Army and was now responsible for removing the nuns from the mission and closing it down. In many ways Barry Kirk, as Captain Lee, had the most difficult role. He was prone to violent outbursts as well as irrational fears for his own health and well-being, perhaps emanating from his own poor sense of security and his entrapment in a world he didn’t belong to or understand. He coped well with this role and while his lack of stature, compared with Father Schiller, was presumably not deliberate casting, a strong sense of the Napoleon complex came through. The final word must go to Ann Doherty as Sister Magdalen in what was a pivotal but almost cameo role. Her simple but touching faith in her former pupil who was now a Chinese General was shattered in the final scene as she tears up the letter from the General, presumably in response to her own. As an audience we are left to ponder what is in the letter but we must surmise from Sister Magdalen’s emotional breakdown that she has sacrificed her own life for that of Father Schiller. However, her distress is less the concern over her decision than the reason for it – the misplaced faith in a young boy who has eschewed everything Sister Magdalen stands for and chosen a path of violence and destruction. Ann Doherty captured all of these emotions in her quiet and dignified performance.

Reviewer – Stewart Adkins, NODA

Theatre at Baddow's Funny Money

Funny Money, Theatre at Baddow
Performed at Baddow Village Hall, Sept 30, 2009

Director Sheila Talbot

Thankfully a very funny script and a supportive local audience carried TAB through a hesitant first night of this Ray Cooney farce. Despite some dependence on prompts and a few timing issues (and farce does rely heavily on timing) the sheer ridiculousness of the plot and the running visual gags, especially sex under the blanket, had the audience chuckling throughout. Pauline Saddington as Jean played a convincing occasional drunk of the silly, rather than aggressive, variety and husband Henry, played by Alan Ireland, managed to keep his head despite the mounting confusion over the host of alternative names required to keep the two separate police officers off the scent. Jean Speller was strong as the eager and somewhat conniving Betty while Bob Ryall conveyed the slow but endearing Vic, husband of Betty, very well. The two detectives had less to do but added to the fun as the bent and straight coppers respectively, while Bill the taxi driver played the increasingly impatient taxi driver with gusto. The set was very good since the tall flats behind the proscenium arch gave the impression of a room with a ceiling. The solid architraved doorways and the staircase, complete with banister, added to the realism. Lighting was also good, with the green glow on the back wall not only adding interest but could looking so easily as if it was from the landing light up the stairs.

Reviewer – Stewart Adkins

CTW's Dracula coming soon

21-24 & 28-31 October 19..45

Box Office 01245606505

The Old Court Theatre 233 Springfield Road Chelmsford CM26JT

£8 (£7) no concs Friday or Saturday

CAODS - Chess The Musical

Chess The Musical , CAODS
Performed at the Civic Theatre, Chelmsford, September 25, 2009

Director – Sallie Warrington, Musical Director – Patrick Tucker

I had been looking forward to seeing Chess, having enjoyed the West End version twice, and was desperate to see how an amateur company would cope with the famous video wall, slanting stage and giant warrior chess pieces, never mind the amazingly high pitched vocal lines. That these should be my abiding memories of a show more than twenty years old was more a tribute to Trevor Nunn’s budget than the essence of a musical which, in CAODS’ production, was no less exciting despite having just one video screen (albeit a giant one), no slanting stage and the few games of chess actually played with just inch-high pieces. CAODS’ set was highly stylized and evocative of a chess tournament, with giant flats of chess pieces interspersed with checkerboard and a diagonal “chess” motif. A sliding door at the back, with giant video screen above, was the single grand entrance/exit and the only piece of set that moved. Large props, such as the bed and tables/chairs, pole dancing cages etc were quickly brought on and off stage as the different scenes evolved and smaller props, together with lighting and costume changes, were sufficient to change the scene and mood. The video screen was used to great effect, even when not being used to show Budapest’s invasion or Trumper’s commentary, the diffused red light seemed symbolic of a dominant Soviet Russian presence with a hint of Orwellian big brother thrown in. Even before the front tabs rose and the set unveiled the overture brought the musical memories flooding back. This was a wonderful score that was brought to life by a very strong orchestra. It was, however, slightly too loud throughout, particularly during the underscoring, making dialogue almost impossible to hear. Friends in the audience, who were sitting at the front, back and in the balcony all commented on the sound. For those in the balcony the sound was fuzzy; for those in the front it was dominated by percussion and for those at the back simply too loud. This was a shame and the only criticism of a great production. I had forgotten just how important was Florence, who was the object of both Trumper’s and Sergievsky’s affections. Florence, played by Sarah Barton, was simply sublime. Pitch perfect and with a range of emotions that encompassed anger, regret and bitter sadness sometimes within the space of a few moments, it is impossible to heap too much praise. I wasn’t convinced that the wig was necessary, assuming the photograph in the programme is accurate but apart from that she was outstanding and never dogged by the sound problems that others suffered. The two chess players, Sergievsky (Gareth Barton) and Trumper (John Escott) were well matched. While Trumper was edgy, arrogant and driven Sergievsky was cool, controlled and thoughtful. Trumper’s Pity the Child , moved me to tears and Sergievsky’s Anthem was also powerfully affecting. Vocally, these were hugely demanding roles and both acquitted themselves very well indeed. John Sullivan’s Molotov was highly convincing as was Diana Baker’s Svetlana. Strong acting skills were displayed by Ben Martins’ Arbiter and Sean Quigley’s Walter de Courcey, both of whom also had strong voices. The Civil Servants were enormously enjoyable and allowed us some comedy in what was an otherwise intense production. The six dedicated dancers were excellent and the choreography lively and refreshing. The chorus seemed to have plenty to keep them busy and offered a good variety of tableau, shapes and supporting movement to the dancers. I loved this show. It was slick, fresh and exciting. Congratulations to all.

Reviewer- Stewart Adkins

CTW's Relatively Speaking

Relatively Speaking, Chelmsford Theatre Workshop
Performed at The Old Court Theatre, Chelmsford Sept 23 2009.

Director – Mike Nower

This four hander, by Alan Ayckbourn, was a little slow to develop but came alive when all four characters began to talk at cross purposes in the last three scenes. Although the lines in the first scene were not obviously funny the comedy perhaps could have been developed through more characterization. The audience had little emotional investment in either Ginny or Greg since the plot developed too slowly and Greg’s love for Ginny (at least sufficient for him to ask her to marry him) was not credible in view of her fairly obvious infidelities. This may have been a plot weakness which could have been covered up by much brisker action. Ginny was meant to be late for work and yet showed no haste in dressing or getting ready. Perhaps a more bubble-headed portrayal by Ginny and a more naïve, puppy-dog characterisation by Greg could have filled in the gaps and raised the stakes for the audience. Without higher stakes we found it hard to believe that Greg would trek across London to “Bucks” to ask Ginny’s supposed parents for her hand in marriage. Nevertheless, when the plot unfolded and we could see that the consequences of exposure would be potentially disastrous for Philip and Ginny the audience perked up significantly and we couldn’t wait for more. We were in wonderfully safe hands with Sara Nower (Sheila) and Terry Cole (Philip), whose portrayal of the middle class stereotype was excellent. Sheila’s restrained almost unflappable naivety, mixed with just an occasional tinge of rebellion, provided the perfect foil to Philip’s exaggerated presence. Danny Segeth’s Greg and Rebecca Errington’s Ginny were also much more comfortable with the cross-purposes dialogue with both Philip and Sheila, with the age gaps making these scenes entirely credible. Here the audience laughter flowed freely and the play settled into a rhythm that was maintained to the end. As is usual with CTW’s productions the sets were excellent, making full use of hinged flats and add-on trellises to transform a brick-faced loft apartment into a garden scene. The change of lighting provided a realistic sunny day feeling and the subtle birdsong completed the effect. This was an enjoyable production that with repetition through the week will no doubt have picked up pace and banished my few doubts on the Wednesday evening.

Review – Stewart Adkins

CTW - Romeo & Juliet Auditions 11/12 October

CHELMSFORD THEATRE WORKSHOP - OPEN AUDITIONS
Sunday 11 October 5.30 – 8pm & Monday 12 October 7.30-9.30pm
The Old Court Theatre, 233 Springfield Road, Chelmsford
ROMEO AND JULIET by William Shakespeare
This familiar tale of “star-crossed lovers” will be given a new twist. A large and enthusiastic cast are needed to bring it life. Members of the cast will double as stage crew – but the emphasis will be on the words and acting so not much furniture removal! There will be training in fighting and verse speaking so don’t worry if you have done neither before.
Audition pieces will hopefully be available for main characters on the CTW website soon – if not copies will be available to prepare on the day. You are not expected to learn them – just be familiar with them.
Performance dates are 24-27 February and 3-5 March. Rehearsals will be on Mon and Weds evenings from 16 November (with a few Sunday afternoons thrown in - 12-3pm) and a regular Sunday rehearsal 3-6pm from 27 December up to the first performance week.
“The characters in Shakespeare mainly want one of two things: to kill someone or to sleep with someone” (F Shaw)

Characters Playing ages
• Escalus, prince/chief of city over 35
• Paris, a young nobleman, kinsman to the chief approx 22
• Heads of two houses at variance with each other
 MONTAGUE approx 50s
 CAPULET 35-45
• Romeo, son to Montague approx 18-19
• Mercutio, kinsman to the chief, friend to Romeo approx 18-19
• Benvolio, nephew to Montague, friend to Romeo approx 18-19
• Tybalt, nephew to Lady Capulet approx 18-19
• Franciscans
 FRIAR LAURENCE over 40
 FRIAR JOHN any age
• Balthasar, servant to Romeo 16-20
• servants to Capulet
 SAM 16-20
 GREG 16-20
• Abe, servant to Montague 16-20
• An Apothecary Any age
• LADY Montague, wife to Montague Approx 50s
• LADY Capulet, wife to Capulet 35-40
• Juliet, daughter to Capulet 15-16
• Nurse to Juliet 30-45
• Citizens of Verona ,Pages, Guards, Watchmen Various
• Chorus/tabloid journalist any age
www.ctw.org.uk

CTW - Breaking the Code

Chelmsford Theatre Workshop – Breaking The Code
Directors –Mike & Sara Nower
This is a beautifully written play with two stories running in parallel; the first concentrating on how the Enigma Code was broken during WW2 and the second concerning the chap who did it and how he dealt with his homosexuality. The two stories, however, are inextricably linked through the leading character, Alan Turing and he was on stage throughout the piece except for the very short scene where the announcement of his suicide was made. Jim Crozier in this role, gave what I thought was an Oscar-winning performance. His diction was superb. His antics including a most convincing stutter, an habitual nail-biting as well as a slight standoffishness were all played to perfection. He was required to deliver some huge monologues; one where he described a most complicated mathematical theorem and a second where he was supposedly addressing a boys’ school at a prize-giving ceremony – not a single hesitation. I could go on but I could not find sufficient superlatives to describe this performance. Having said that each and every one of the cast played their parts very well, even those where the characters played in only one or two scenes. A great amount of time had been spent on the detail and style of delivery and it did indeed pay off. The play is written with a great number of scenes and the company coped admirably and principally because it was a multi functional set comprising, in the main, versatile square and rectangular boxes which the cast moved according to the scene. The two backdrops on either side of the stage displayed hundreds of possible code words and never let the audience forget for a moment what the centrepiece of this play was. I was totally absorbed!
Reviewer – Eric Smart

Wickham Bishops Drama Group's "You Cant Stop the Beat"

You Can’t Stop The Beat, Wickham Bishops Drama Group

Director – Michelle Bacon, MD – Thomas Duchan
Performed at Wickham Bishops Village Hall, July 11, 2009

WBDG goes from strength to strength! Each year this group unveils new talent and new equipment for the benefit of its audience. This year’s equipment includes new Tannoy speakers that definitely add sufficient sound to fill the auditorium. And making good use of the sound equipment was MD and pianist, Thomas Duchan. New to the group, Thomas has raised the stakes for WBDG, taking the quality of the singing to new levels, particularly with the sopranos who now carry a solid and reliable tune, against which the occasional harmony shines through. A fuller band also provides a richer sound, although the beautiful guitar solo during the Queen set was somewhat lost; a technical malfunction perhaps? Several new members have swelled the ranks, not only of the singers but also the dancers. The dance troupe of nine young women must have gladdened the heart of their choreographer, Heather Howard, since their display in Rhythm of Life and Dolls on a Music Box was tight and controlled. My heart was gladdened too during Firedance but perhaps for different reasons! The musical programme consisted primarily of seven excerpts from West End favourites, past and present, punctuated by dances, monologues or comedy turns to provide both variety and valuable time for the chorus to change costume. The costumes were excellent and must have taken a lot of time and skill. Hats off to the wardrobe department! The Junior Workshop were involved in most sets and often had a number of their own, with some lovely solos from Paige Rowell and James Bacon. The flow from one set to the next was excellent, helped by appropriate blackouts and lighting changes. Some of the “sets” were perhaps a little ambitious, relying on accurate choral singing rather than movement to perform the songs and this can be difficult for any society. There were also one or two numbers in which the chorus waited for a long time before singing, with soloists carrying the burden of audience attention on their own, Bohemian Rhapsody being the best example. Perhaps the protracted solos could have been reset as chorus numbers or alternatively lighting could have left the chorus in darkness until needed. Having said this there was plenty of talent on display; not only was it great to hear Jack Williams sing but also to hear Dick Shakespeare and Katie Hopgood deliver fine solos for the first time. The overall choice of numbers, their order and delivery seemed balanced and well judged to me. This was an enjoyable afternoon’s entertainment of variety and surprise. I do hope that Michelle Bacon, the Director, was pleased with the end result and not just because of the fine debut of her youngest, the extremely cute boy in Truly Scrumptious. Any concert or revue represents more work than a dedicated show, with far more for chorus to learn. WBDG has more cast members on stage than most societies in the area; it has a young dance troupe (can they tap?), a junior section, a wealth of emerging singing talent and from the plays I have attended plenty of acting skills too. The wardrobe and set building capabilities are not in doubt. WBDG is only a conductor and brass section away from putting on a whole West End show!

Reviewer – Stewart Adkins

Writtle Cards - The Memory of Water

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

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