NODARAMA

CTW's Man and Boy

2012-02-12T09:50:00.000Z

Man and Boy, CTW
Performed February 10, 2012 at The Old Court Theatre
Director – Mike Nower

As a Rattigan first-timer I thoroughly enjoyed CTW’s production of Man and Boy and certainly voted for more during the Talkback session. From the outset here was an incredibly effective set that not only showed bedroom and living room onstage but gave realistic hints to bathroom, kitchen and ground floor (above the basement) via a window onto steps lit by a streetlight. There were plenty of large props to reinforce the 1930s authenticity including large radio, table lamps and what appeared to be Bakelite US-style electric sockets and plugs with twisted cable. I couldn’t attest to the age and style of the sofa but it worked for me as did the stockings and suspenders, coats, hats and hairstyles, especially of Florence. The time and mood were also set appropriately by the opening bars of Rhapsody in Blue, a theme echoed by Carol’s singing in the shower the 1934 hit from Anything Goes.

Every character was fluent yet subtle and entirely believable, both as individuals and as part of a series of relationships; lovers, father/son, employer/employee, husband/wife, master/faithful servant, all of these relationships were on view with some explored more than others, with some deliberately left for the audience to ponder. Amanda Drury made a very assured debut as Carol Penn and the opening scene in which James Christie’s Basil Antony changed from pensive lover to angry socialist set us up for the first of several suspenseful mysteries that unfolded during the play.
What was especially impressive was that the pauses were as dramatic as the dialogue. The temptation to fill the silence is often too strong to resist but here the direction was spot on. Although late in the play the dramatic turning point, as well as the proof that Antonescu was not a complete sociopath, was the hug between father and son. This could so easily have been rushed but it was long enough to see the emotional tug of war on Gregor Antonescu’s face (superbly controlled by Dave Hawkes) and sufficient to allow the audience’s previous antipathy to Gregor to thaw. However, blood is clearly thicker than water and while Antonescu revealed to himself his love for his son this beneficence did not extend to his friend Sven Johnson (well characterized by Robin Winder)
or to his wife Florence.

The scene between Antonescu, Herries and Beeston was also cleverly done. Not only was the manipulative and cunning nature of Antonescu on full display but the cross-currents between these three characters were sufficiently subtle to be intriguing without being so obvious as to be crass. Catherine Kenton as Florence was wonderfully controlled, vacillating between social climbing ice-queen and loyal, if not loving, stoical wife; not such a complex character but once again made interesting. Accents were all solid, be they American, English or Eastern European and what a joy that every line was audible, something that this reviewer can’t always take for granted. Congratulations to all involved.

Reviewer – Stewart Adkins
NODA East District 8

Phoenix Theatre Group - The Monkey's Paw

2012-02-12T09:49:00.001Z

Phoenix Theatre Company – The Monkey’s Paw / The Horrible Thing in the Garden
Director – Tricia Childs
Christchurch Hall – Tuesday 7 February 2012 (Dress Rehearsal)
These two short plays were presented in contrast to one another – the first being dark and somewhat macabre and the second light, fluffy and more comedic. The contrast was definitely achieved although the same set was able to be used (with minor dressing changed) for both plays. In the first, (although I did make some allowances for being a dress rehearsal) the authenticity of the characters was a little lacking. Interestingly, the essence of the story was not in doubt though, as they did manage to put this across. I had to kick into my imagination to contemplate what a cottage ‘on the outskirts of Fulham’ might have been like in the early 1900’s. It was complicated as I could hardly comprehend what outskirts of Fulham would have been like. However, the cast made the most of this eerie tale and whilst costumes may not have been quite right, they were acceptable for the script. The players needed to be conscious of playing to the front. On occasion, near the beginning of the play, some dialogue was missed due to their delivering across or upstage. The interaction amongst the characters was very good and the emotion of the piece was certainly achieved. In the second play, the characters were better drawn and I particularly liked the portrayal of Miss Violet by Helen Langley – completely OTT but played the part down to the ground. But all of these ladies were ideally suited for their parts. Costuming here was very good as was lighting and the props deserve special mention as they had been well conceived and true to the period. The story, whilst hugely far-fetched amused me immensely and I congratulate the cast and director on their achievement.
Eric Smart

Writtle Cards - The Glass Menagerie

2012-02-12T09:49:00.000Z

The Glass Menagerie – Writtle Cards
Performed February 3rd at Writtle Village Hall
Director – Laura Bennett

This was my debut as a reviewer of a Tennessee Williams play and in the absence of context it was hard to separate my reaction to the production from that towards the play. However, the fact that the Wingfields were stuck in a rut and that the whole memory flashback by Tom illuminated that rut so vividly was, I suppose, the point. This play seemed to be about family stereotypes and their reaction to circumstances not of their own making, the most important of which perhaps was the deliberate abandonment of the family by the father, whose photograph dominated centre stage. This left the mother, Amanda, played by Paulette Harris, rudderless, constantly harking back to earlier and better times and trying vainly to relive her early life of gentlemen callers vicariously through that of her daughter, Laura (Megan Hill). Paulette had a wonderfully fluent Southern drawl that was nevertheless easy on the ear and a larger than life bustling robustness that seemed to shrug off any and all criticisms from Tom. This was a very convincing performance and was perhaps the centre of gravity of the whole play.

Tom, moodily played by Nick Caton, alternately giving way to angry outbursts and prolonged periods of frustrated suppressed energy, manifesting itself in smoking and dreaming of escape, was the reluctant breadwinner. Trapped in a job he hated (this is clearly autobiographical) Tom found his escapism in movies, while Laura escaped within herself and her glass menagerie. Nick captured this frustration and anger very well while Megan personified the fragility of her glass animals. However, it seemed to me that the broken glass animals may have been sufficient signposts to the symbolism within the play without the addition of the written words and phrases on cushions and blankets (Brechtian devices, I am told) but this is the director’s prerogative. Ben Fraser’s Jim O’Connor was a very natural actor on stage and brought some normality and even optimism to the play before announcing he was already engaged. At this point I think we knew that this was the last straw and the Wingfields’ last hope of a normal life. Tom left home to join the merchant navy but we never did find out what happened to Amanda and Laura . Women without choices and few chances.

The set was darkly lit which contributed to the mood of the play. The only well-lit spot was the central screen which showed Mr Wingfield or other photographs according to the script. Good use was made of the auditorium for Tom’s long walks away from or towards home and the incidental music contributed to the moody ambience. Tennessee Williams may be an acquired taste but Writtle Cards made a very good fist of The Glass Menagerie.

Reviewer Stewart Adkins
NODA East

TAB's A Few Good Men

2012-01-29T15:45:00.000Z

Theatre at Baddow – A Few Good Men
Director – Patrick Willis
Great Baddow Village Hall – Thursday 26 January 2012
When reading a play such as this, whatever would persuade a drama group to produce it, having identified the huge challenges it would present? The film also having been a classic of its day may also be a reason to reject it as a drama project. Well, TAB certainly did accept it as a project and I am overwhelmingly pleased that they did. I loved the film and therefore was so looking forward to the play albeit with some trepidation when considering how it might emulate its forerunner. I need not have been afraid. This was a team of highly determined, talented and formidable people. The heavy tension that so often exists in a courtroom drama was witnessed on many occasions whilst having some tender and humorous moments to break such tension. But the piece had excellent pace, so much so that in some of the shorter scenes, one had to really prick up ones ears to make sure nothing was missed. In executing the American accents, most were well accomplished but a couple spoke so quickly and softly, I feel compelled to mention it. Notwithstanding a cast of 12 men and 4 women, it was not difficult to follow the plot or the characters and on a number of occasions, I really felt I was sitting on the edge of my seat. The staging and direction was excellent, presenting the piece with minimal scenery and furniture. This assisted with the smooth transition in and out of the many scenes. The acting honestly left nothing to be desired. The characterisations were superb with top marks going to the three leading players – Jesse Prowis as the Colonel, Ben Salmon as Kaffee, the defence lawyer and most especially Kelly McGibney as his overenthusiastic and well meaning assistant. I make special mention of John Mabey as Kaffee’ sidekick, also who played his significant little part with real humour and passion. The others were excellent in support and whilst the curtain came down at 10.50, I would happily have sat through another hour or so of this stupendous production.

Reviewer Eric Smart

Wickham Bishops Drama Group - Cinderella

2012-01-29T15:43:00.001Z

Cinderella – Wickham Bishops Drama Club
Performed at Wickham Bishops Village Hall, 5th January 2012
Director – Ian Lodge
This is the first time I have seen a Wickham Bishops pantomime with no significant adult chorus and in many ways this is a great shame since it takes away one key element of the genre – hearty singing en masse. There are no doubt other negative consequences, although not perhaps from a production viewpoint. However, while it may seem churlish to mention it the upside of having no adult chorus was that the production ran smoothly and seamlessly, with no awkward breaks or contrived moments for the obligatory song. It also meant that the curtain was down by 21.45, a great result when so many pantomimes elsewhere are directed in such a way as to prolong the event way beyond the audience’s tolerance for hissing and booing or competing with other singers during the sing-along.
In fact singing was subsidiary to acting throughout this production, perhaps accommodating the inclinations of the group. The songs that we did hear were traditional, against the recent trend to incorporate West End hits or pop songs, but this was no bad thing. The one change that could have been made would have been to have raised the pitch of Prince Charming’s duet with Cinderella a few tones. Laura Kittle was a delightful Prince, with an expressive face and good dialogue but was forced to sing in her boots for half the song. At a reasonable pitch, either with Cinderella or Dandini, she sang well but the low notes did not come across.
The music was provided mostly by a small band and on occasion, usually when the lovely junior chorus was dancing, by backing tracks. This blend worked well and while I am a fan of backing tracks they only work when the singing is loud and lusty. The more subtle approach was also the best approach in this production. The technical effects were excellent, with timely lighting changes and special effects; the clock countdown as midnight approached, was especially effective. Scene changes were also smooth and efficient and the colour and variety of sets really good. I noticed the effect of the light on a small piece of fabric behind the coach windows giving a sense of depth – a lovely touch.
Costumes at WB are always superb and the fact that they are made by members of the group is so impressive. I do hope that Jenny Higgins is able to share her considerable skills with others so that beautiful costumes remain a talking point of the pantomime for generations to come. I lost count of the number of costumes used but at commercial rates they would surely cost £2000+ to hire. This is well worth bearing in mind should the group decide it needs to supplement its income.
Turning to the cast itself, I shall confine my remarks to the principals, who were all strong. However, the ugly sisters (Dafydd Bates and Jack Williams) were easily the best ugly sisters I have seen – loud, excellent diction and great timing. They represented the core around which this production revolved and lit up every scene in which they appeared. Maddy Lyman was a pretty Cinderella and had good poise, especially when dancing. Sue Walker, as Buttons, had good rapport with the audience and was clearly a good actor but I would have preferred a brasher, louder and less nuanced characterization. This was an unusual gender reversal, perhaps from necessity. Overall, this was an enjoyable evening which benefited from good direction and slick changes. The lack of chorus is a shame for the group but ironically did not represent a problem from the audience’s perspective.

Reviewer – Stewart Adkins
NODA East
District 8

Danbury Players Dick Whittington

2011-12-20T15:10:00.000Z

Danbury Players – Dick Whittington
Performed at Danbury Village Hall, December 11, 2011
Directors- Vicki Hammond, Rebecca Tovey, James Tovey and Trevor Hammond

With a cast of seventeen and a backstage and front of house staff of about the same number Danbury Players is rebuilding well. Dick Whittington was a good choice of pantomime involving the usual mix of cross-dressing cast, stupid double act, love interest and even a cat. The costumes were colourful and well made, the scenery particularly impressive (I especially liked the interior of Fitzwarren’s shop) and the choice of songs included many West End numbers that was aimed more at the younger element perhaps. Chorus songs from Hairspray and even Les Miserables, suitably expunged of the earthier content were delivered well. In fact the chorus made a good sound throughout and delivered a good medley of favourites during the finale. There was no shortage of technical effects from lighting and sound departments, which worked well and there was extensive use of radio mikes for songs and dialogue. The first performance on Sunday was well attended and I do hope the support continues to build.

Reviewer – Stewart Adkins
NODA East, District 8

CTW's My Cousin Rachel

2011-12-20T15:07:00.001Z

My Cousin Rachel – Chelmsford Theatre Workshop,
Performed Dec 15, 2011, The Old Court Theatre
Director – Christine Davidson
Billed as a play of passion, jealousy and murder I would add infatuation, manipulation and greed. This dramatic adaptation of the Daphne du Maurier classic revolves around the relationship between Rachel and Phillip. With the suspicion of Rachel’s murder of Ambrose already declared in the first scene it is intriguing to see how Rachel, wonderfully played by Catherine Bailey, not only charms Phillip but also the audience. How can this wide-eyed beauty from Italy, so apparently open and honest, and surely deserving of sympathy as the widow of a husband with whom she clearly shared so many hopes and dreams, possibly be capable of murder? This characterisation was enhanced by a velvet voice delivered with just a hint of Mediterranean lilt that was as bewitching as it was delightful. No wonder that Phillip fell in love, or at the very least became infatuated with her. But somehow the audience’s suspicion of Rachel’s motives lingered. Why was she so enamoured of tisane with its bitter taste – which she also drank in the first few scenes? Why did she so obviously lead Phillip on with her, oh so, sensual flirtations and ultimately the invitation to share her bed?
Phillip’s character was not as complex as Rachel’s but nevertheless very well captured by Harry Sabbarton. The age gap between him and Rachel was just right, wide enough for all but the most confident of young men to be entranced by the expressions of interest shown by this experienced older woman. His youth and naivety explained his impulsiveness in giving away the family jewels and his subsequent sulky and surly riposte to Mr Kendall’s insistence that the jewels be returned. This large range of emotional responses to Rachel’s apparent acceptance and then rejection of Phillip’s advances was expressed well by Sabbarton and entirely convincing. The dramatic moment in the second act when Rachel became aggressive in her rejection of Phillip and something snapped in Phillip’s mInd, was a turning point that altered everyone’s perception of everyone else. I am not sure that the final scene, in which Phillip lets his love for Rachel be trumped by jealousy of Rainaldi, thus sending Rachel to her certain death over the unfinished bridge in the sunken garden, was quite so convincing. Should the dominant emotion have been steely-eyed revenge followed by remorseful self-preservation? This would have made more sense of the opening tableau with the hangman’s rope and the delivery at the end of the play the lines about the men hanging from the gibbet.
Nevertheless, this was an excellent production, in which everyone played their part very well. All credit to Richard Baylis for Seecombe – no apologies for coming late to the part were needed since he was flawless. Kevin Stemp as Rainaldi delivered a thoroughly convincing Italian without over-egging the accent and Nick Gulvin’s Kendall was a strong guardian and mentor to Phillip despite having a thankless part in many ways. It was good to see new members of the company coming along and we shouldn’t ignore that Louise Kendall, played by Sophia Charalambous, had her own sub-plot of passion and jealousy going on, providing some of the lighter moments of the play. Finally, a word on the technicals which are always of a high standard. Fantastic set and costumes, as always and slick scene changes. Congratulations.
Reviewer – Stewart Adkins
NODA East – District 8

Young Expressions - Treasure Island

2011-12-20T15:05:00.000Z

Young Expressions – Treasure Island
Performed at Ingatestone Community Hall, November 27, 2011
Director – Louise Hunt. Musical Director – Andrew Lindfield

This production got off to a good start with the company coming in from the back of the auditorium to the music of Living in Sunshine. Most of the soloists seemed to be miked and the balance of sound between the backing tracks and singers was generally good. The backcloths were excellent and together with the colourful costumes provided the spectacle that we have come to expect. The ship's deck scene was especially good since it benefited from the extra height from the rostra and steps thus giving a greater diversity of tableaux. I liked the Pirates of the Caribbean theme and echoes of Titanic, while the smoke effect and the arrival of the sea monsters provided extra interest and more for the chorus to do. I did wonder whether the Skeleton Cove scene, with the dancing skeletons, could have benefited from UV lighting.

Treasure Island and the pirate genre hold a natural fascination for young people and it is perhaps easier to develop a character within the pirate context. It also provides the opportunity for a consistent costume theme, sword play and plenty of nautical humour. Jim Sperinck's script, no doubt augmented in parts, was funny and contained plenty of topical references. The choice of songs was uptodate and no doubt appealed to the young cast although one or two were less melodic than some and less easy to sing well. The audience participation was very good and there were certainly plenty of opportunities to shout “Aye, Aye” on Blind Pugh’s entry or to alert Spot the dog when his bone was threatened.

Harry Kemp has great projection, excellent sense of timing and an ability to adlib which makes him a natural comic. I liked the Little Britain “I am a lady” references and the high energy maintained throughout. Alec Stevens’ Long John Silver was also very strong and his enthusiastic rapping as a prelude to Bad very good. Roger and Pugh were a good double act and the combination of the Aye Aye and Spot catch phrases kept the audience on its toes. The air guitar was funny and the truth hat also. Spot the dog added the cuteness factor.

Sally Forth and Long John Silver, played by the “old hands” within the group, were such dominant and strong characters as well as having the majority of the dialogue, that the rest of the cast, somewhat younger perhaps, were a little overshadowed. It will be very interesting to see who steps up and fills the shoes of these faithful and talented servants of Young Expressions. I have no doubt someone will. I also hope that Harry and Alec find another outlet for their talents. There is no shortage of opportunities.

Congratulations to all for another enjoyable pantomime season.

Reviewer – Stewart Adkins
NODA East, District 8

Writtle Cards - Absurd Person Singular

2011-11-24T11:03:00.002Z

Absurd Person Singular, Writtle Cards
Performed Nov 19, 2011 at Writtle Village Hall

Director Michele Moody

Despite the early 1970s stereotypes of snobbish bank managers, liberal professionals and the aspirational lower middle classes there are still sufficient fundamental truths within the text of Ayckbourn’s Absurd Person Singular to resonate today. Each of the three married relationships explored through the three acts were broken, or at least rather less than perfect and were sufficiently well characterized that the audience could probably sympathize with all of them. The extent of that sympathy no doubt depended on the degree of identification with one’s own or a close friend’s marital situation. Seen through the lens of a post-feminist age it is hard to see why Jane put up with Sydney or why Eva put up with Geoffrey. But then there must be plenty of Janes and Evas who do just that and find some justification for carrying on. The first Act clearly establishes the characters of hectoring husband Sidney and his eager to please wife Jane. Neil Smith is excellent as Sidney, barking orders to his wife as though thoroughly in command and yet panicking at the first sign of trouble (no tonic left!) in front of his social superiors. His transition through the play, as he prospers, is good while Sharon Goodwin, as Jane, is also convincing as she slots into the classic dutiful wife role, happier cleaning the oven than socializing with supposedly useful contacts. Daniel and Liz Curley convey the cynical older married couple, Ronald and Marion, beautifully. Ronald’s vicarious enjoyment of Geoffrey’s status as local Lothario betrays a deep-seated unhappiness with his own marriage. Sure enough we discover a broken relationship which Ronald stoically endures but from which Marion escapes into a bottle. These were very assured performances full of subtlety and nuance. Not subtle but certainly hilarious was Ronald’s electrocution and subsequent nursing as he was wrapped in various items of underwear. Marion’s descent into a drunken stupor was also well handled. Shelley Goodwin was an attractive Eva who milked the schadenfreude during the multiple suicide attempts in Act 2 and for whom I suppose we felt the most sympathy. However, being married to serial philanderer, Geoffrey, well played by Chris Ivermee, was clearly not an ideal basis for a happy marriage. That Geoffrey’s own circumstances should change and that he should become emotionally dependent on Eva was a nice plot twist and Eva’s emergence as nurse to Marion in Act 3 revealed yet another facet of her character. Perhaps what we conclude is that nothing is what it seems and that there is nowt so queer as folk. That was certainly the message from Sydney as he poured another drink, turned up the music and danced his cares away as the curtains closed.

This was an enjoyable return to Writtle Cards after a period of absence through date clashes and holidays. Congratulations to all involved. This was a great night out with a strong cast, good set and high production values.

Reviewer – Stewart Adkins
NODA East, District 8

Young Gen's The Wiz

2011-11-24T10:48:00.002Z

The Wiz – Young Gen
Performed on November 19, 2011 at The Civic Theatre, Chelmsford

Director – Jeremy Tustin
Musical Director – Bryan Cass

With a young cast of almost fifty souls, at least ten assorted dancing/moving groups, fourteen named parts, three big ensemble numbers and costumes by the truck load here was a logistical exercise more appropriate for a royal wedding than a musical production. Yet Jeremy Tustin and his production team not only moved Dorothy from Kansas to Oz but transported the whole audience with him. I have loved this show since I first saw it twelve years ago; it has one of the few soundtracks that can stand alone in my view. CYGAMS certainly did it full justice with glorious costumes and lighting and a wonderful sound from both pit and stage. Also I have rarely if ever seen so many explosions, fireworks and smoke effects onstage during a musical. These can often be a source of technical failure and massive source of frustration and yet they all worked to perfection and added to the overall visual spectacle. But to praise the sights and sounds without mentioning the performers would be empty praise. One of the joys of watching young people perform is the energy and enthusiasm that is often missing in the older performer. These qualities were clearly present in the talented principal line up but particularly in those characters who spent most time on stage – Dorothy, Scarecrow, Tin Man and Lion, not forgetting The Wiz himself. All had strong vocals and charisma, adding strong likeability to their hard acting skills. My only constructive criticism is that Bart Lambert was handicapped as the Lion having to wear a prosthetic nose/muzzle, which looked great but made dialogue sometimes difficult to hear. I know from other shows that his dialogue is usually excellent.

The choreography in all the numbers was inventive and fun; the use of special dancers as the Yellow Brick Road, as well as Poppies, the Tornado etc was clever and worked well. All the choreographers and dancers must be applauded for their hard work since the effect, especially during ensemble numbers when the stage was alive with movement, was superb. It is perhaps dangerous to pick anyone from the crowd but I must mention Jemma Wilson, who was so slick that she drew the eye. Congratulations to everyone who contributed to this show, not forgetting the costume makers. Their productivity must be awesome and should be harnessed to eradicating the national debt.

Reviewer – Stewart Adkins
NODA East, District 8

Springers - Bad Girls

2011-11-21T18:01:00.002Z

Bad Girls – Springers
Performed at Cramphorn Theatre Chelmsford, Oct 10, 2011.

Director – Sharon Scott, Musical Director – Ian Myers

Once again Springers took a risk on a less well known show and it paid off handsomely – theatrically, without a doubt; financially, I suppose we shall have to wait and see. For me Bad Girls – The Musical was an unknown quantity apart from a distant memory of a half-watched TV series while channel-hopping long ago. But a musical? Well, Chicago did well enough for a prison genre musical so why not Bad Girls? It has music from all sorts of styles – from gospel to cabaret – and emotions stretching from fun and laughter to sadness and pathos. Its also has a strong narrative and some excellent sub-plots, requiring good characterisations. Bad Girls also requires lots of talented women, of which Springers seems to have more than its fair share. Amy Jones, in her principal debut as Shell Dockley, not only provided much of the erotic frisson of the production but had an amazing singing voice and portrayed the somewhat laid back, manipulative vixen beautifully. Natalie Petto as Nikki Wade in another debut principal performance was another revelation. Great voice and attitude.

The two Julies, Deborah Anderson and Sharon Gardner, were just right, with Deborah having the wonderfully poignant song, Sorry. Joined by Catherine Gregory as Yvonne Atkins, who delivered an extremely confident performance and a rip-roaring A-List, the two Julies also gave us the hilarious All Banged Up. I was confident the girls could manage an encore but wasn’t sure if straight-laced Justin Mattison, the straight-laced prison officer (excellent, controlled performance by Pete Spilling) could cope twice in a night. There is no doubt that Ian Pavelin’s Jim Fenner was up for anything, however frequently he was required, but what a peach of a part. Arrogant, devious, downright evil in The Key but with just enough humanity (even fun during The Future is Bright) that you wanted to watch him and see what happened. This was a great performance and no doubt the envy of every red-blooded male in the audience.

I loved Tamara Anderson’s aggressive, energized Denny and her vocals displayed a strong chest voice – a mezzo perhaps? Nikki Myers captured the Caribbean accent of Crystal Gordan well and sang Freedom Road with great power and feeling. Maz Clarke as Sylvia Hollamby was a good foil for Jim Fenner and Mae Pettigrew did well as the victimized Rachel Hicks. Beth Neame portrayed the Wing Governor, Helen Stewart with compassion and sensitivity and sang a great duet with Nikki Wade. Colin Shoard was a strong Number One in what was almost a cameo role and Wendy Barber added some great one-liners as the old con with a drug habit.

The set, costumes and sound effects were spot on for this show and don’t warrant more comment. The balance of sound between band and company was good and the whole production was slick and pacy. The choreography was fun and, at times, such as during All Banged Up, hilariously so. Occasionally the actors needed to punch out the lines a bit more during the dialogue but this can vary from night to night. Congratulations on a thoroughly enjoyable and highly professional show.

Reviewer – Stewart Adkins
NODA East, District 8

Blackmore Players - Trivial Pursuits

2011-10-24T14:24:00.001+01:00

Blackmore Players – Trivial Pursuits
Performed at Blackmore Village Hall on Oct 1 2011.
Directed by Phil Davis

A summer evening's barbeque is the setting for a meeting of ‘The Blackmore Amateur Operatic Society’ where their next production is going to be announced by their stressed director Nick, (Mike Jefferyes) who has promised the lead roles of different musicals to four people. As the evening progresses each character's foibles are revealed. Joyce, (Irene Davis) once talented is now a drunk, - her rendition of ‘I am what I am’ was very funny. Teddy (nicely played by Barry Kirk) is the old camp luvvie who loves to bitch, and his last scene dressed up in basque & fishnet tights showed just how much he enjoyed the production even if his singing was a bit off key! Derek (Simon Haskell) is a depressive, suicidal & pathetic business man with a divorce looming which was played very convincingly. Another strong performance by Sharon Free who played the ‘old cow’ Mona wanting to constantly produce West Side Story and will do everything, even trying blackmail to get her way.

A very realistic set and good choice of songs from musicals before the start of the show helped to set the scene with excellent props. There were many funny moments during this play which made me laugh but I must admit it did seem to go on a bit too long and maybe some cuts could have been made. At times the pace flagged and there were some prompts and searching for lines. Occasional blocking issues where people were masked and where the director should have checked his sight lines. These are minor points though as the whole cast and crew had worked very hard to make this an enjoyable summer’s evening at their lovely venue.

Reviewer – Christine Davidson

Maldon Drama Group - Blackadder

2011-10-22T06:53:00.000+01:00

Maldon Drama Group – Blackadder,
Performed in Maldon Town Hall, October 13th, 2011

Director – George Greenham

Choosing to produce Blackadder without scenery allowed MDG to perform episodes from three different historical eras, with seamless scene changes and pacy dialogue. Adaptations of TV shows can otherwise be a little turgid if instant digital edits are replaced by boring curtain pulling marathons. Blackadder and Baldrick were constant throughout the evening while most of the other characters were unique to their own episode. This allowed involvement for a cast of sixteen without massive amounts of dialogue to learn except for Blackadder himself. Each episode was very funny although the final one was clearly more satirical than the others, with the cemetery setting at the end representing a very poignant contrast to what had gone before. Neil Fisher lacked the extreme sardonic style of Rowan Atkinson but nevertheless brought a more energetic and assertive personality to the role. Ian McDonald was a splendid Baldrick and the other standout characters were Andrea Dalton as the androgynous Kate, Ben Markham as George and Dave Hawkes both as Minstrel and Mr Keanrick. The ballad between episodes in Act 1 was not only very well performed but a lovely touch that covered the costume and props changes. Although this device was not necessary in Act 2 another verse or two would have been a welcome introduction. Each of the three scenes was strong and well balanced as far as casting was concerned but the most hilarious moments must surely have been in Sense and Senility during the Macbeth scene; this was a delicious case of schadenfreude as we witnessed not only the sending up of the superstitions of the acting fraternity but the rather painful antidote. This was another enjoyable evening’s entertainment from MDG which do these comedies rather well.

Reviewer –Stewart Adkins
NODA East

Phoenix Theatre Group - Murder by the Book

2011-10-22T06:51:00.000+01:00

Phoenix Theatre Group – Murder by the Book
Performed at Christchurch, Oct 8, 2011

Director – Chris Wright

With more twists and turns than a mountain road this five-handed murder mystery combined pace and intrigue in equal measure. Light comedy also emerged from the sharp-tongued dialogue between Selwyn and his wife Imogen in Act 1 and from John Douglas’s facial expressions, caught in the crossfire of the bittersweet verbal arrows from both Imogen and Selwyn. Andy Millward, as Selwyn, did very well to control the evolution of this tortuous plot while clearly demonstrating Selwyn’s intellectual narcissism. This was a tough role, jousting with Imogen on the one hand while remembering the business with drinks, pills, guns, keys, doors and daggers on the other. Occasionally the “fourth wall” was penetrated and perhaps Selwyn would have been better advised to keep head up and stare at the back of the hall rather than the audience during his more contemplative moments but with such a low-rise stage that is clearly difficult. There was also scope to vary the pace of dialogue at times, slowing down the self-indulgent soliloquies, milking the cleverness of the lines, being more expansive and then speeding up the barbed comments.

The variety in pace was very evident with Steve Holding’s Peter Fletcher, who was in many ways a similar character to Selwyn. This was a very confident performance, an appropriate self-satisfied smile never far from the lips of this armchair sleuth. His partnership with his friend, the secretary Christine (Jean Speller) worked well and the reason for the somewhat constrained dialogue between Christine and Selwyn in Act 1 became clear as her response to her suspicions unfolded. Syd Smith’s John Douglas was an unlikely accomplice to murder and his second act performance as the pawn in the game of murder, the rules of which were clearly beyond him, was very funny. Tricia Childs was strong as the scheming wife who was ultimately one step ahead of her husband although some of the sneering could perhaps have been traded for bored raising of eyebrows or a more langorous body language to show variety in her disgust for her husband while maintaining the persona of a woman who clearly collected men.

This was an enjoyable production with a strong cast that complemented the high quality of the set. I look forward to the next production.

Reviewer – Stewart Adkins

TAB - The Day after the Fair

2011-10-22T06:48:00.001+01:00

Theatre at Baddow – The Day After the Fair
Performed at Baddow Parish Hall on Oct 5, 2011.
Directed by Mike Nower

TAB has developed a fine track record with the quality of its productions and The Day After the Fair maintains that standard. Attention to detail was excellent. The set was beautifully constructed, complete with alcoves, curtained windows and the entrance hall behind. Costumes were good with Edith having a change of dress for each scene I think. The sound of the Fair was loud and clear at the beginning of Scene 1 and became suitably muffled after the window was closed. Claire Lloyd as Edith was superb, delivering a delicately pitched performance as her growing frustrations with her marriage were replaced by the increasingly strong feelings for her virtual lover. From the audience perspective the transition was subtle and our realisation that Edith was knowingly deceiving her maid, Anna, and perhaps unwittingly deceiving herself, dawned slowly. Hints at the source of Edith’s frustration were few and far between and may have been more obvious if her husband Arthur (played by Jesse Powis) had been much older. As it was we were left to wonder about the role played by Letty, Arthur’s sister, in this marriage and assume that the catalyst for Edith’s growing coldness towards Arthur was Edith’s imagined fidelity to her correspondent. Jesse Powis’s characterisation of Arthur was as a busy, self-absorbed businessman who nevertheless cared for his wife deeply and was keen to do the right thing. Letty (Sara Nower) was perhaps more aware of Edith’s frustrations but powerless to influence her. Anna’s chance encounter at the fair and the subsequent request for help in letter writing was the spark that Edith needed to fulfil her desires, albeit through writing letters. Anna, delightfully played by Vicky Wright who maintained a rural accent throughout, was the main victim in all this, despite her deceit in pretending to have skills she didn’t possess. Charles, played confidently by Bruce Thomson, did the decent thing in marrying Anna but only because he got her pregnant. The denouement was indeed tragic and the dramatic payoff was that we had sympathy for everyone. Only the other maid, Sarah, saucily played by Ruth Cramphorn, seemed to escape with her emotions intact.

Reviewer – Stewart Adkins
NODA East

CAODS Annie Get Your Gun

2011-09-28T10:42:00.001+01:00

Annie Get Your Gun – CAODS
Performed in the Civic Theatre, Chelmsford, Sept 27, 2011.

Director – Ray Jeffery; Musical Director- Patrick Tucker

After a lonely start for Buffalo Bill, who appeared sans music for what must have appeared an age to him, the Prologue got under way in a dramatic style that set the tone for the rest of the piece. This was a play within a play that allowed the Director free rein to be creative with the transitions. The staccato, puppet-like movements into the scene, to be repeated at the end of Act 2, were both clever and interesting, as though the actors were winding up to perform. All the chorus entries, of which there were several more, I suspect, than were written, were impressive. Not only were they full of colour but full of variety of movement. It helped to have Indians, cowboys, show dancers, socialites and other types of character in the plot but to give them different choreography turned show business into spectacle. Additional touches like the “rifle drill” and the percussive use of rifle butts to add urgency and pace to parts of the dialogue were much appreciated. The wonderful sets added to the overall impression of a production with fine attention to detail.

The two main principals were exceptionally strong. Claire Carr’s Annie Oakley was an entirely convincing hillbilly complete with gurning features, bow legs and mangled American vowels. Her characterisation was possibly too stereotyped for some tastes but her consistency was very amusing and it made the “love” scenes with Frank all the funnier. This was a wonderful portrayal overall and both singing and acting were of a high order. Richard Harrison’s Frank had less to do but the partnership with Annie was superb. Harrison’s height and physical presence suited the character and his singing, always excellent, had a delightful timbre that I had not noticed in his previous roles. Kevin Richards’ Charlie Davenport had an energy and sharpness to his performance that drove the production forward and Elle Moreton’s Dolly could be relied upon to add some spice to a scene. The young lovers, Winnie and Tommy, were well matched for dancing and singing but had at least one song, I think, that I don’t remember from the pre-1999 production. The smaller roles were all strongly delivered, especially Annie’s Family Two.

Apart from some moments required to acclimatize the brain to the unusual accents the audibility was good, while the balance between band and company was always spot on. It may have helped audibility having the band at the back of the stage but it certainly helped visibility having the apron at the front, bringing the cast much closer than usual to the audience.

Congratulations CAODS for yet another artistic success. I do hope that you get good houses since the show deserves to be enjoyed by as many people as possible. The show may be sixty years old but this production was young and fresh.

Reviewer – Stewart Adkins
NODA Representative, NODA East
District 8

TAP's The Titfield Thunderbolt

2011-09-09T16:38:00.002+01:00

The Titfield Thunderbolt – Tollesbury Amateur Players
Performed at The Centre. Tollesbury, September 8, 2011

Director Nicki Hatton, Musical Director – Alex Neal

For those who remember the age of steam and the original film,The Titfield Thunderbolt was a gentle ride down the Nostalgia Line. The photo displays, the posters, uniformed ticket sellers and punched railway tickets all served to jog the memories of the largely middle-aged to elderly audience of what a less frantic life we used to lead. That anyone should be happy with a 25 mph speed restriction seems shocking to us now but I suspect there would be many people happy to trade speed for reliability and the latter is what TAP continues to deliver. The Titfield Thunderbolt is not the most dramatic of plays and has a storyline as old as the hills and valleys through which the trains themselves do run. But as a metaphor for community spirit, the sort that TAP continues to embody, this play is a classic.

The addition of a series of rostra below the level of the stage was a neat way of creating the railway line itself. The bus driver’s cab and train driver’s firebox stage right and left respectively worked well and the central scenes, using double-sided flats and changing pictures and props was effective albeit the scene changes were a little slow. The sound effects were good and I wondered whether a projected black/and white video/film of steam trains rolling through the English countryside would have filled the gaps during the changes. No screen would have been necessary since the ghostly images projected onto the back wall, interrupted by stage hands, would have fitted perfectly well with the piece.

The players were well cast, with an appropriate mix of youth and experience. I don’t know whether Blakeworth and Weech are usually played by the same actor, similarly Harry Crump and Sergeant Wilson, but the opportunity for in-jokes was plentiful and they did not go unmissed by the audience. John Dorsett as Blakeworth/Weech did a fine job of creating two distinct characters and seemed to have an excellent partnership with both Jackie Quilter’s robust battleaxe Lady Chesterford and his niece, Joan, nicely pitched by Tricia Capes. The brothers Crump (Jared Heigham and David Smith) were a splendid contrast between spivvy and steady while James Oakley’s Mr Valentine was wonderfully camp and seemed to have most of the witty lines. Ian Clark played a suitably curmudgeonly Dan the Railway Man while Sarah-Grace Neal’s actress playing a Welsh Union Leader, was, rather like new-comer Ed Adcock’s Mr Clegg, a fine cameo role.

Full marks to Nick Hatton for the vision to stage this play in such a small venue and for being able to create an almost 3D version of the railway engine, The Titfield Thunderbolt, using sections small enough to turn the corner stage right.

Congratulations to all.

Reviewer Stewart Adkins

Young Expressions - Bugsy Malone

2011-07-28T21:26:00.002+01:00

Bugsy Malone
Reviewed by: John Warburton on Friday 24th June 2011
Venue: Ingatestone & Fryerning Community Centre
Type of Production: Musical
Directors: Liz Gibson & Allen Clark
Musical Director: Cathy Edkins

Imagine - two rival gangs spoiling for a fight in the Speak Easy world of New York in 1929, and taxi driver Bugsy Malone getting heavily, though not intentionally, involved. Imagine further- a cast list with 59 individually allocated parts, plus extras as Patrons, Guards, Chinese Laundry workers etc. then allocate all this characterisation to 30 youngsters aged 8 to 14 yrs.of widely varying statures, rehearse over a period of months and stage it in the 30 scenes and 20 locations used to tell the story.
This was the first time that I have had the pleasure of seeing a production by this group and I must say that I enjoyed it immensely. To stage something like this successfully there has to be an underlying discipline to ensure that things happen to the right people in the right place and at the right time, and this was evident from the opening to the end. The scenic maze was very well handled, using minimal scenery and different parts of the stage to cover the wide range of locations, all very swiftly and efficiently put in place to keep up an impressive overall pace. What with this and the task of representing something like 70 characterisations from 30 youngsters, there was impressive activity backstage in the costume and make up departments, not to mention props with an adequate supply of ammunition for the splurge guns and custard pies!. Lighting was well handled to enhance the various locations. Given the age range and size of the cast sound was always going to be something of a problem and so it proved though not to any great extent and the sound crew did a really good job in the circumstances; all this was aided by an excellent orchestra, carefully led to pay due attention, both in accompaniment and underscore, to avoid overpowering the stage.
As for individual performances, this was very much a show for all those involved, with each one making an important contribution, but I must mention Alec Stevens as a Bugsy, who, though a little on the quiet side at times, did an impressive job in avoiding total disaster, once he realized that being a taxi driver to the no nonsense Fat Sam, (played by Harry Kemp) leader of one of the rival gangs, was no picnic. Rebecca Craythorne, as Blousey Brown, Bugsy’s girl with a strong urge to star in Hollywood, coming across well as a further interesting diversion to his current pressing problems, whilst at the same time being chatted up by Fat Sam’s girl friend, Tallulah! Dangerous! Dandy Dan leader of the rival gang and Fizzy, played by Ralph Stevens and Suzy Jennings respectively were suitably nasty in making a complex situation even worse! I must also congratulate Ella Harget-Dash in playing Tallulah so well despite being on crutches because of her damaged leg. A determined young lady – with useful weapons when things got tough!
Congratulations to everyone who contributed in making this such a memorable evening, with spirit and to spare both on and back stage, and an enthusiastic response from a full house

Report by John Warburton, Regional Councillor

Writtle Cards - East Lynne

2011-07-28T21:05:00.003+01:00

Writtle Cards – East Lynne
Director – Daniel Curly
Writtle Village Hall – Friday 22 July 2011
In shows where scenery is sparse or even non-existent, one relies heavily on the acting taking place onstage. Sometimes it works, sometimes it doesn’t. Here it was most definitely the former. The imaginative direction really set the scene right from the opening where the entire cast appeared onstage singing a muted version of ‘Just a Song at Twilight’ – beautiful. The play was also drawn to a close by the same – most touching for the audience having experienced the action of this classic piece. Acting was of a very high standard with the majority of principals depicting their characters most convincingly. Laura Bennett, playing Lady Isobel Vane, was present onstage for almost the entire play and she not only mastered her character and emotions but also her very significant wordy dialogue. ‘Dead, and never called me mother’ is a great headline for the piece and how wonderful to be entertained to this degree with such a presentation of Ellen Wood’s wonderful story. Exceptional performances were also provided by Liz Curley (Cornelia), Josephine Curley (Emma), Ben Frazer (Francis) and Paulette Harris (Barbara). Andy Millward’s (Archibald) acting was good, but he needed a little help with his body language and gestures. Other players showed their characters with great authenticity mentioning especially Sharon Goodwin (Joyce – the maid). Costuming was good with the period being properly taken into account. Because of the passage of time, it would have been nice to have seen some change their costumes, probably at the commencement of the second act. Full marks are given also for the ingenious use of cast, not only to change scenery (always to the delightful ‘Skater’s Waltz’ [I think]), but to enhance the mood and tension of some of the highly charged moments throughout the piece. This was one I thoroughly enjoyed, notwithstanding being my first visit to the group.
Eric Smart

CTW's Closer - coming soon

2011-07-14T09:14:00.001+01:00

A Tale of Two Annas
Chelmsford Theatre Workshop closes its successful season with a modern classic with a twist….
After a hugely successful season with varied productions Chelmsford Theatre Workshop (CTW) has boldly chosen ‘Closer’ by Patrick Marber to wrap up its 2010-2012 season. Dubbed a modern classic ‘Closer’ examines relationships, sexual politics and the true meaning of love between 4 individuals. Fans of the movie by the same title will immediately recognise the iconic poster image- however a closer examination reveals one key difference: there are five faces staring back at you.
Director Joe Kennedy has given his own stamp on CTW’s production and has (perhaps controversially) chosen to cast 2 actresses in the role of Anna. By casting two actresses in the same role Kennedy has effectively given us the audience two versions of the same story. ‘It became immediately clear during the audition processes that there were two versions of Anna emerging. It was frankly a no-brainer to embrace these two interpretations of the same character and allow both actresses to create the role separately, which essentially gives you two different plays’.
The two-week run will be split between these two versions, but Kennedy is tight-lipped as to which actress will perform on each night. ‘Neither version is correct, both are completely valid and worth watching. It’s the same with love and relationships: there is never one right answer.’ The actresses’ performance schedule will be published in the programme so if an audience member wishes they are able to see the alternative version in a future performance, however Kennedy adds with a slight grin ‘the audience will never know what version they will see first.’
‘Closer’ runs at the Old Court Theatre
26-30 July & 4-6 August 7.45 pm
Tickets £8 (£7 Concessions excluding Friday & Saturday performances)
Pre-booking via the Civic Theatre Box Office: http://www.chelmsford.gov.uk/index.cfm?articleid=8629
http://chelmsfordtheatreworkshop.wordpress.com

Springers Best Little Whorehouse in Texas

2011-06-27T09:27:00.000+01:00

Springers – Best Little Whorehouse in Texas
Performed 14th June 2011 in Civic Theatre, Chelmsford

Director – Maz Clarke, Musical Director – Ian Myers

I’ll bet this was just as much fun rehearsing as it was to perform but the audience got the benefit of a magnificent set, colourful costumes and a great balance between band and cast. The audience was clearly unsure of quite what to expect in this show but the first scene, which included simulated sex and a cowboy having his bits washed, soon dispelled any notion that Springers would pull its punches. The bevy of beautiful girls in the chicken ranch gave the distinct impression that they enjoyed displaying their raunchy side while I enjoyed every side from where I was sitting. The men came into their own (so to speak) as they showed their versatility as hilariously camp followers of Simon Brett’s bewigged and anatomically enhanced Melvin P Thorpe in one scene and testosterone-filled Aggie boys the next. I have seen this show a few times but never with so many touches that added so much to the overall humour of the piece whilst also taking the sting out of what could, if handled badly, be simply gratuitously offensive. The choreography was very strong throughout but never more so than in the Aggie Song. The overlapping leg stretch while sitting on the bench was great and the synchronisation during the boot-stomping was perfect. Added to the surprise and general titillation of the boys stripping down to their jock straps the choreography made this a clearly crowd-pleasing and memorable number.
Despite some dialogue that was a little hard to hear (Simon Brett’s Melvin P Thorpe and Deborah Anderson’s Doatsey Mae being honourable exceptions) the principals coped very well with quite wordy dialogue. Texan accents were credible on the whole and the singing excellent across the board. Some of the solo singing in Hard Candy Christmas and also The Aggie Song could have benefited from extra mikes. These are two lovely songs and standing near the rifle mikes didn’t quite add enough volume. Nevertheless, this was a thoroughly entertaining show that was well directed and choreographed, had a strong cast and highlighted some lovely songs. The band delivered a truly authentic country sound and the whole show had a feel-good factor that left me smiling all the way home.

Reviewer – Stewart Adkins
NODA East, District 8

CTW's She Stoops to Conquer

2011-06-27T09:25:00.001+01:00

She Stoops to Conquer, Chelmsford Theatre Workshop
Performed 22, June 2011 at the Old Court Theatre

Director – Christine Davidson

This was a very thoughtful production with great efforts being made to create an atmosphere of authenticity throughout. The accompanied songs at the beginning before the dialogue began and ironically even the clever verse encouraging us to switch off our mobile phones were great contributions to the evening’s entertainment. The set was of a very high standard and although 99% of the action took place on stage there was good use of the auditorium and the stage steps when the action demanded. Lighting changes were slick and scene changes generally quick, thus allowing the pace to move along.

I don’t know whether there were TV monitors back stage but the cues were all picked up really well despite the fact that rarely did the actors for the next scene have line of sight of the action on stage. Despite so many entrances from upstairs or from behind the door stage right the action flowed and never sagged. Characterization throughout was very good with the acting honours going to Naomi Phillips as Kate Hardcastle. Her facial expressions and body language were a joy to watch and never out of sync with her dialogue. In other words here was a very natural actress indeed that had a firm grasp of the meaning of her words, their impact and how to time them. Whenever she and Marlow were in dialogue, either as Kate or as the barmaid, the dialogue fizzed along and the audience with it.

Marcus Churchill was an excellent Marlow, not only mastering the RP accent but also moving easily from a man of modesty in front of ladies who are his social equals to a silver-tongued rogue when ladies of more humble origins crossed his path. Robyn Gowers was a delightful Constance and although a less substantial role than that of Kate was never over-shadowed by her. Phil Drew made a fine debut as Tony Lumpkin. Although the Yorkshire accent wasn’t quite 100% his energy and enthusiasm around the stage always raised a smile and laughter from the audience. His inherent quick wittedness may have been more than I envisaged from Tony Lumpkin but this didn’t matter. Richard Baylis and Lynne Foster as Mrs and Mrs Hardcastle respectively were polar opposites. Solid and reliable Mr Hardcastle, who couldn’t care less for the fripperies of modern fashion was played as a down to earth Yorkshireman (with an education). His wife was the epitome of a harmless social climber who, though not naïve, had a blind spot where her son was concerned. Both parts were well done. Kevin Richards was very much at ease on stage and was a good partner for both Marlow and Constance, although occasionally the dialogue was a little rapid.

What is so good about CTW is that even the cameo roles are strong with great performances by Peter Nerreter, Mark Preston and Robin Winder. This was a thoroughly entertaining evening with good attention to detail and a talented cast.
Congratulations to all.

Reviewer – Stewart Adkins
NODA East

Phoenix Theatre Group - Bad Day at Black Frog Creek

2011-06-27T09:22:00.000+01:00

Bad Day at Black Frog Creek, Phoenix Theatre Company
Performed 10th June, 2011, at Christchurch, Chelmsford
Director – Kenton Church

Supposedly set on Christmas Eve, as a centennial celebration of the founding of Black Frog Creek, this show is part play, part musical but mostly pantomime (or even cartoon-like) without the cross-dressing. However, silly jokes, outrageous characters and audience participation are still part of a recipe which delivered a highly entertaining evening. The set was fantastic, creating an entire timber-framed saloon bar, complete with several entrance/exits, stairs to the upstairs, shelves fully stocked with booze as well as numerous articles stuck on the wall to give the bar authenticity. I was particularly struck that the saloon walls were sufficiently high that the impression was given of a ceiling above – thus there were no telltale stage paraphernalia to spoil the illusion.

The members of the cast were balanced well, one against the other, with great characterization by the four main principals. Joan Lanario’s Ma Treacle was a treat, capturing the essence of the warm-hearted cook but who was certainly no pushover. Neil Smith’s Big Brad played the Sheriff, who was one point short of a tin star, to a tee. He had sparkle and yet didn’t betray his character by letting us in on the secret that he knew we knew he wasn’t really like that. His dialogue with Angel Delight was always funny and Maria Dockree must take plenty of credit. She had a very expressive face that could show delight or disappointment. Her slow delivery described the dumb blond wonderfully, her body language was good and her accent was no barrier to understanding in this production since she was indeed playing someone from foreign parts. Jean Speller’s Diamond Tooth Lil was excellent, always moving purposefully if only to show us her tongue was firmly in her cheek. The Muldoon Mob was great value, with each character showing a different wacky personality. Filthy Frank (Peter White) had a classic Western drawl as the stinky old gold prospector and I liked the fact that Richard Langley’s Yipee Brown was a young and enthusiastic contrast to the older cast members.

The costumes all looked great and the whole atmosphere was one of fun and goodwill. This was a feelgood production that left you with a smile on your lips and an annoying desire to sing “Black Frog, Black Frog Creek”. Although this was by no means a blockbuster show it was technically very slick, with the sound effects (eg the spittoon sounds), the backing tracks and lighting changes working seamlessly and at the right time. Congratulations to all for a fun show and an opportunity to involve a few more cast members than is usual.

Reviewer – Stewart Adkins
NODA East, District 8

Danbury Players - Fame the Musical

2011-06-27T09:19:00.001+01:00

FAME – The Musical, Danbury Players
Performed at Danbury Village Hall, June 9, 2011

Director –Trevor Hammond, Choreographer – Rebecca Tovey
Musical Director – James Tovey

It is over 30 years since the original film, Fame, appeared in cinemas and subsequently spawned a TV series and two musicals, one of which was Fame – the Musical. Very few of the original songs have survived the transition but Fame – the Musical still has several poignant numbers as well as the hard-driving title song. The fascination with performing arts schools comes and goes but there seems little doubt they are on the way up at the moment and perhaps small wonder that a reformed and regrouped Danbury Players should use Fame as a magnet to attract local young potential performers, despite the ambitious nature of the project. The difference between Fame and previous productions, which were mostly pantomimes and plays, could not have been greater. In a sense this was a performing arts project about a performing arts project with life imitating art imitating life. For a debut, then, with a cast largely new to the stage, this was an enjoyable production that sets the baseline from which to aspire even higher.

The strong core running through the middle of this production was James Tovey’s band. With ten players in the “pit” this was always going to be a strong sound and although it did overpower the singers at times, particularly during the underscored dialogue, it was of consistent quality. Such a strong band necessitated that all principals had radio mikes and while these worked well most of the time I did wonder whether they were all switched on since there were occasions when singers could not be heard. Getting this balance between band and cast is always difficult and perhaps will be adjusted during the run.

The set was small but clever, consisting of three pivoted panels that could be swivelled to create either an indoor or outdoor effect. Large props, such as drum kits and lockers were wheeled on and off as appropriate. Costumes were modern day but with the emphasis on dancewear, as appropriate. In terms of the cast there was clearly a directorial decision to drop any pretence of an American accent. This was understandable but a shame since it is much easier to inhabit a character if you can use a different voice and an American accent is probably easier than most. As a consequence some of the cast had nowhere to go to develop a character (or perhaps nowhere to hide, metaphorically speaking) and may have simply played themselves. Furthermore, it is more difficult to lose yourself in the production, as a spectator, when the dialogue delivery doesn’t match the content ie US content with an Essex accent. Having said that, there were some strong performances, especially from Katherine McKeon as Carmen, Megan Cutts as Serena and Andy Prideaux as Schlomo, with Andy having a particularly good singing voice. Katie Grant’s Miss Sherman had wonderfully poignant song in Act 2 and Jamie Haines, as Tyrone, was very natural on stage. Overall, the production gelled well and the quick scene changes helped maintain the pace.

I loved the chorus numbers, especially Fame and the medley at the end, which came over with energy and enthusiasm. Rebecca Tovey’s choreography was simple but effective on this small stage and the overall effect was very pleasing, particularly the tableau at the end. Congratulations to all involved in this new departure for Danbury Players. I am convinced that with some more stagework under their belts this group will go from strength to strength. I look forward to the pantomime and would be delighted to help if you want to organize workshops for the future.

Reviewer – Stewart Adkins
NODA East
District 8

CYGAM's Whistle Down the Wind

2011-06-05T11:34:00.001+01:00

CYGAMS – Whistle Down the Wind
Performed April 16, 2011 at the Cramphorn Theatre, Chelmsford

Director – Ray Jeffery, Musical Director – Bryan Cass

I am privileged to be able to review many productions in the district but not every one of them leaves me moved as this one did. Here is a beautifully simple story, based on the faith and optimism of children contrasted with the cynicism and cruelty of the grown ups. It is less a musical than a play with music and rather difficult music at that. But the cast not only coped but triumphed. The Northern accents, the intensity of the acting, the relationship between the characters, especially the three lead children, Cathy, Nan and Charlie, were all exceptional. Cathy (Kathryn Peacock) has a pure soprano voice which was used to great effect and she engaged the audience from the first plaintive note she sang. Her brother and sister, Nan (Monique Crisell) and Charlie (Jack Toland) completed a partnership that was absolutely convincing throughout. This was not a show with big production numbers but rather a storyline that unfolded with honest simplicity. Every single child onstage contributed to a whole that was spellbinding to watch and often quite emotional. The pictures created within the small barn were especially good and the remarkably clever set, combined with the lighting, was sufficient to provide both variety and credibility. The balance between singers and band was just right. I assume that microphones were used but I honestly don’t know because the sound was so natural. I thoroughly enjoyed this production and remain intrigued by the ending. I did notice the imagery reminiscent of the Last Supper, Peter’s denial of Christ, Judas’s betrayal and The Man’s wounds. This was no doubt intrinsic to the play but it was always done with a light touch. I am so glad that CYGAMS chose to do a production that provided not only a real challenge but also many lasting memories.

Reviewer – Stewart Adkins
NODA East

Ingatestone & Fryerning DC - Funny Money

2011-06-05T11:32:00.000+01:00

Funny Money by Ingatestone and Fryerning Dramatic Club
Performed at Ingatestone Community Hall, May 25th, 2011.

Director – Margaret Goldstone

This production was pacy, slick and hilariously funny. In fact, this is just what the doctor ordered for those looking for an anti-dote to the problems of the day. The set was entirely convincing, creating as it did a very large living room that was not totally dominated by the four-seater leather Chesterfield down stage right. With exits left and right as well as stairs to the landing and a door to the dining room there were plenty of opportunities for the cast to make an error but I didn’t spot one. Despite this being the first night the timing of entrances and exits, telephone rings and cue pick ups were generally spot on, suggesting very careful direction and intense rehearsals. Best of all were the gunshots and the impact on the flowers, radio and cuckoo clock. It wasn’t just one gunshot and its impact that was perfectly timed but all three. This was a wonderfully tight cast that worked well together and perhaps hadn’t realized until they had an audience just how funny some of the situations were. There were few inherently funny lines, this was not strictly a comedy, but a farce with so many moments when the lines taken in the context of the action were “laugh out loud” funny and occasionally eye-wateringly so.

Josie Brut as Jean began as a wonderfully wet wife whose bravado and ability to stand up for herself grew with every nip of brandy that she consumed. It is not easy playing someone who gets more and more drunk through the night and yet Josie managed this without going OTT. Her grey and formerly wimpish husband Henry, played by Graham Poulteney managed to juggle names of fictitious brothers, sisters-in-law and briefcases, sometimes at breakneck speed, with aplomb, and never gave a hint that he was losing control. Perhaps some hints of this should have been forthcoming prior to his “confession” to Slater but this may be nit-picking. Mel Hastings, as Vic, gave a very good account of someone struggling to keep up with the plot that was unfolding around him and his reactions to the accusations of what was going on under the blanket were priceless. Angie Beckett’s Betty was finely judged. With less to do and say than the other main principals she nevertheless successfully portrayed someone who didn’t think much beyond superficial thoughts, making her decision to go to Barcelona with Henry a perfectly obvious thing to do. Her hair, make up and dress also conveyed that superficiality well.

The remaining characters had less to do but were by no means overshadowed. Duncan Hopgood as the bent policeman Davenport was a polar opposite to the straight man Slater, played by Martin Reynolds while Martin Goldstone’s exasperated taxi-driver, Bill, was also excellent. The passer-by, or Mr Big as we now know him, made a brief or should that be brurf, but very effective appearance.

Congratulations to all.

Reviewer – Stewart Adkins
NODA East, District 8

CTW's Travesties

2011-06-05T11:31:00.000+01:00

Travesties – Chelmsford Theatre Workshop
Performed at The Old Court Theatre, May 5, 2011
Directors – Pete and Lois Jury

As the audience drifted in to their seats, free seating on three sides of the auditorium, including the “stage”, several of the actors were already in place in the main acting area set up as a library. With small painted cloths representing shelves of books on two sides of the auditorium, beautifully gold painted embellishments surrounding the blacked out windows, and a very efficient librarian urging us to be quiet, the effect was entirely convincing. The raised platform to the right, which served as Carr’s drawing room, was well appointed and the steps to stage left and the functioning drawing room entrance completed the series of three linked acting areas. I didn’t even notice the screen at first and only became aware of it as Carr gestured to it during his tour de force opening monologue. Not being familiar with the play I don’t know whether the allusion to the projected images on the screen is usual but suspect so. In this respect the seating arrangement wasn’t perfect since those audience members close to the right hand wall would be unable to see the screen. However, this was perhaps a small price to pay for the huge freedom of movement that the actors enjoyed.

The costumes, an important part of the play, given Carr’s predilection for fancy tailoring, were good and the technical effects, music and lighting all worked well. I understand that the lighting manager had no direct sight of much of the auditorium from his perch at the lighting desk and that he relied on CCTV and scripted cues. Despite these handicaps there were no obvious lighting problems or projection delays that I spotted. All technical aspects of the production worked well and even the singing in Act 2 between Gwendolen and Cecily, to a backing track, was in time, in tune and of high quality.

The very beginning of the play was a little frantic as the three historical figures introduced themselves and it took a few minutes to attune my ear to the Irish accent of Danny Segeth’s Joyce, not because it was poor but more because I couldn’t always see who was speaking. After that the production unfolded well, getting better and better as the literary allusions became more obvious and the audience could focus on one thing at a time. Audibility was rarely a problem since vocal projection and enunciation were good, the actors all making sure to keep the entire audience involved by constantly turning around and speaking to them directly during monologues.

I imagine Travesties was a very dense script that could have fallen flat without clever direction. Thankfully the direction was excellent and the characterisation very thoughtful. James Christie’s Carr was superb, delivering his lines with fluency, variety of pace and tone. Whether as an old man or young man he conveyed wit, charm and eloquence as required and with occasional barbs being reserved for his memory of Joyce. His dialogue with Bennett (wonderfully played through gritted teeth by Michael Gray, as the role reversal butler who seemed to knew more about politics than his master) in Act One was excellent. This appeared to include several restarts with different endings, punctuated by a tram’s stop bell, a clever device that did not seem affected in this context. His Act 2 “Bunburying” adventure with Cecily, revealing a much lighter side to his younger character was wonderfully timed and very funny.

Vikki Pead, as Tzara, was a revelation. She radiated energy throughout and made a big impression. She was fluent, optimistic and convinced me of the merits of Dada – whatever they are! Danny Segeth’s Joyce coped well with the Irish accent and managed to convey a down to earth rebelliousness. I wasn’t convinced his trousers didn’t match his jacket but sartorial elegance is not my strongpoint. The cast worked extremely well as a group but no time more so than during the very clever Limerick scene. Not only was the timing and delivery of the lines spot on but there was movement aplenty as well. Although Gwendolen was involved in that scene she came into her own during the sung section with Cecily. This was a remarkably long song for a play but Catherine Hitchens as Gwendolen and Catherine Bailey as Cecily had excellent mezzo and contralto voices respectively. This highly stylized scene in which both women thought they were fighting for the affections of the same man was very well done, with good movement about the stage and great facial expressions. Catherine also showed good range of characterization, first as the spinsterish librarian, then the sexy vamp and finally the old and perhaps disappointed wife/companion of Henry Carr.

Geoff Browne as Lenin and Fabienne Hanley as Nadya had less to do but hats off to them for impressive Russian speaking and convincing earnestness, perhaps appropriate in the circumstances. I really enjoyed this production and felt that I could have enjoyed it even more a second time through. Only a literary and intellectual snob, I suspect, would pick up all the allusions to Oscar Wilde throughout the play but perhaps this says more about my own science-based education than the play itself.

I will be interested to discover the audience feedback from this play since it was complex but superbly well done. The compromise between box office appeal and company satisfaction is a difficult balancing act but I applaud this production and hope it was sufficiently successful overall to allow more along these lines.

Reviewer – Stewart Adkins
NODA East

Theatre at Baddow - Much Ado About Nothing

2011-06-05T11:26:00.001+01:00

Much Ado About Nothing, Theatre at Baddow
Performed May 27, 2011 at Baddow Parish Hall
Director – Joanna Windley-Poole

An amateur production of Shakespeare is such a rarity that it tends to reawaken (in me at least) memories of school plays and English O Levels, not wholly pleasant thoughts. And yet it may be that those long forgotten verses, faded and musty with age, could be dusted down and burnished brightly to restore them to their former glory. This was definitely the case with TAB’s production of Much Ado. Judiciously edited to a running time of less than 2 hours and performed in the round this was a breath of fresh air to blow away the accumulated cobwebs of my misconceptions. The acting area was bounded on three sides by the audience and on the fourth side by the stage, set as the entrance to a grand house. The well-lit central area became a courtyard basking in the Sicilian sun, providing five entrances/exits for the cast, while the house served as the grand entrance and exit as well as providing the necessary candlelit window to display Hero’s supposed infidelity with a man other than her betrothed Claudio.

Music that was appropriate for the time was composed by Owain Jones and the trio of players created both an authentic sound and the right mood allowing the audience to settle down to watch the play. With twenty named parts and most of the cast being the right age for the roles (for example, there were six young men, most with black beards) this could have been complicated to follow. However, the coloured sashes worn by the men gave some visual cues as to who owed allegiance to whom (I think this was meant to be the case) and it did not take too long to work out what was happening. The direction was astute, there being enough space in the auditorium and sufficient bushes to hide behind that the “hook” scenes could be delivered without stretching credulity too much and the gaps between the blocks of seating provided the cast with room to march, saunter or run as they wished, adding to the credibility of the piece.

Of course, context cannot make up for poor acting but TAB can call upon some fine actors and many were on display during this production. Space does not allow comment on everyone but Roger Saddington’s Benedick and Claire Lloyd’s Beatrice were outstanding. Their understanding of the meaning of their dialogue was clear, showing in the inflections of the voice, their facial expressions and their variety of pace. And yet they maintained the metre of the piece and the integrity of the whole. Their soliloquies were good but their repartee perhaps even better. Neither of these actors had an artificial accent or sounded old-fashioned in any way but managed to convey standard English that was both natural and easy on the ear. Two smaller roles I also mention, if only to serve as examples of how enunciation, projection and the right pace (ie not too quick) makes a world of difference to an audience’s ability to understand; Beth Crozier as Ursula and John Mabey as Borachio stood out for me. I heard, understood and enjoyed every word.

This was a very enjoyable production of which all taking part and especially the director, Joanna Windley-Poole, making her debut, should be justly proud. I do hope that the box office covers the costume bill (certainly worth it for lovely costumes) and other expenses. One advantage of a large cast is lots of family and friends and they seemed to be very supportive on Friday night.

Reviewer- Stewart Adkins
NODA East
District 8

CTW's She Stoops to Conquer coming in June

2011-04-26T23:42:00.002+01:00

Phoenix Theatre Group - Beyond a Joke

2011-03-27T21:04:00.001+01:00

Beyond a Joke - Phoenix Theatre Company
Performed on Feb 18, 2011 at Christchurch, Chelmsford

The curtain opened on one of the most effective sets I have ever seen, the stage being bisected by a “wall” with a window and door that lead from the living room to the garden. The living room also had a functional cupboard as well as an additional door into what I presume was a hall or kitchen. The garden area had brick built columns stage left, trellises and flowers at the back and a garden path that clearly ran behind the living room. Large props such as sofa in the living room and rustic seat in the garden, together with small props, combined to create two excellent acting areas. Furthermore the movement around the stage, sometimes with as many as eight cast members on stage simultaneously (including the vicar, who was dead by this time), was clever, with no-one masking anyone else.

This play was highly reminiscent of a 1970s sitcom, with initial misunderstandings being compounded to create a whole series of dialogues at cross-purposes. This began as mildly amusing in Act 1 and built to such a crescendo of silliness in Act 2 that one couldn’t help but laugh. I was slightly resentful of such a weak script in Act 1 struggling hard to accept that such a catalogue of misfired communications could possibly take place but by the middle of Act 2 had suspended my disbelief long enough to go with the flow.

Given that the script was what it was the key to success was pace and delivery and Geoff Hadley, as the rather curmudgeonly Andrew was the lynchpin to this play. He was good during Act 1 but really got into his stride in Act 2 in terms of speed and vocal inflection. Angela Gee, who played Andrew’s wife, Jane, was a good foil to Geoff and together they conveyed just enough faux concern for their unfortunate visitors that one felt that Geoff, played by Richard Langley, could have been right all along with his belief that these visitors were victims of foul play. Richard made a strong debut as Sally’s boyfriend and Maria Dockree was a delightful Sally. Joan Lanario plays the dizzy parts very well and her Sarah combined the slight hesitancy of someone under pressure with the almost carefree calculation of a criminal quite accustomed to tipping a TV repair man in the pond until it was convenient to move him elsewhere. Chris Wright’s vicar was excellent, managing to capture the clerical stereotype of a bygone age, complete with bicycle clips and battered straw hat. Julie Lissamore and Syd Smith as Geoff’s parents Audry and Edgar had less to do but were convincing as the visitors confused by Jane’s curtain-drawing fetish and dazed by Andrew’s wheelbarrow rides for the vicar.

This was an enjoyable production albeit with a play that is perhaps not as fresh as it was 10-20 years ago. Nevertheless, Phoenix has a strong track record with comedies (Trivial Pursuits being my favourite) and have demonstrated they can do them well. I look forward to the next one.

Reviewer – Stewart Adkins

CAODS Hello Dolly

2011-03-11T16:55:00.001Z

Hello Dolly – Chelmsford Amateur Operatic Society
Performed 2 March 2011 at Civic Theatre Chelmsford
Director – Sally Warrington, Musical Director – Patrick Tucker

CAODS has been on a roll over the last two years producing some spectacular shows that brought West End quality to Chelmsford. Hello Dolly continues that lucky/planned streak, maintaining the high level of production values generated during the 90th year celebrations. Whereas Beauty and the Beast was visually intense and almost overwhelmingly busy in parts Dolly was somehow more relaxed and musically biased. This is not to say that it lacked visual appeal since the sets, costumes and the production numbers were wonderful. I don’t recall a recent show that had such large sets and so many fly cloths. No, my comment relates to the musicality of the show and its plot. From the moment those opening notes struck up in the pit there was a sense of reassuring familiarity; here was something I knew and knew I would enjoy. The eponymous heroine, Dolly Levi, was deliciously played by the incomparable Kim Anderson; she was larger than life, with a wonderful smile and expressive face and yet warm, funny and magnetic to watch and listen to. Richard Harrison brought a richly-timbred voice and huge stage presence to Horace Vandergelder, managing to combine the curmudgeon with a reluctant charm. We knew that he would eventually fall for Dolly but we also came to understand why she wanted him.

The young clerks, Cornelius and Barnaby, were vibrantly played by Rob Burdett and Adam Rollingson, while Cassie Estall brought a sultry sensuality to Mrs Molloy, through her dialogue and lovely rendition of Ribbons down my back. The smaller principals were well cast and supported the leads well. Despite a relative lack of male chorus, which only really showed in the balance of voices, the big production numbers worked well with the dance troupe providing much of the spectacle and doubling up as androgynous waiters in Act 2. I imagine this was of necessity given the lack of men but their ability to dance surely made this an easy decision. You can give me a group of nubile, I mean mobile, waitresses in tight uniforms every night of the week and I can be a generous tipper.

The patterns made by the full chorus, especially the steam train wheels and also during the parade number, were really clever. This production was slick, with timely scene changes and spot on entries to countless musical cues. The band played to perfection, the balance between voice and band was just right and I am delighted that CAODS is now doing mainstream shows without losing their quality.

What a good evening out.

Reviewer – Stewart Adkins

Writtle Cards - Comic Potential

2011-03-11T16:54:00.001Z

Writtle Cards, Comic Potential
Performed at Writtle Village Hall,

For the March production Writtle Cards chose Comic Potential by Alan Ayckbourn.. Being his 54th play I hoped it would still be as funny as plays that brought him to fame in the 80’s.

It is the 21st Century and a once big time American director Chandler Tate – loud, brash and well acted by Neil Smith is now reduced to directing futuristic daytime television soaps with robots called actoids who are manipulated by an electronic switchboard.

Along comes the handsome naïve Adam Trainsmith played with great humour and empathy by Ben Fraser who wants to persuade the powers-that-be to let him write some comedy scripts and work alongside the great Chandler Tate. He falls in love with an actoid called JC31333 or Jacey Triplethree as he calls her, who seems to have a mind of her own and a sense of humour. In an almost updated, futuristic version of Pygmalion he teaches her to read and act in comedy roles. As she gets more and more confused about her feelings she decides to be melted down and only at the end do you see her return to Adam, like Eliza Dolittle with Professor Higgins in Pygmalion and start her new life. This role was very ably played by Elaine Reynolds who really got to grips with being a robot and showing her feelings as the play went along – not an easy role to do.

The play was well supported by the other cast members who were on stage in various roles. Daniel Curley played the three roles of Adams’ old crusty uncle Lester Trainsmith who only communicates through his sexy assistant Marmion, the hotel desk clerk and hotel waiter. He has the ability to become totally different characters on stage and with just the use of his face and voice, he shows what a really experienced talented comedy actor he is. His wife Liz Curley also had a great role as the ball breaking Carla Pepperbloom and she really seemed to have a wonderful time being totally mean to everyone until a custard pie was pushed into her face – marvellous! I am sure she really enjoyed playing up to Adam on stage!

The cast worked well as a team and obviously enjoyed working together and it showed. A lot of hard work went into this production and the director – Sarah Wilson must be pleased on how well it went. The audience really loved it and it was good to see a full house for this hard working group. Well done to all.

Reviewer – Christine Davidson

Theatre at Baddow - 84 Charing Cross Rd

2011-02-23T11:12:00.001Z

Theatre at Baddow – 84 Charing Cross Road
Directed by Helen Quigley
Within the list of the characters in the programme belies a camouflage of unrivalled proportions. There were 7/8 individuals named but in the delivery of the piece 2 especially bore the brunt of the dialogue. When one examines the text, it does nothing more than outline communications between a lady author in New York and a book shop (an in particular it’s manager) in London. Not a great potential plot for a play one might think. But oh dear, how wrong one can be! This was a highly charged, emotional piece of writing and it was so beautifully delivered. I understand that Helen had not directed before and she is to be congratulated. With restricted space (albeit terrifically staged) two principal characters aging over 22 years and the detail of the text, she did a fantastic job. The set, as always at TAB was nothing short of first class ingenuity, where everything essential was in evidence and much detail beyond that added the extras in the overall dressing. I have one observation. I would have turned the apartment desk on the open angle, thus revealing a wider and more open stage. Costumes were matched well to the period and the lighting and occasional music and sound effects had been well thought through. But it is the acting to which I now turn. This was astounding with Beth Crozier in the lead role (Helene Hanff, also being the ultimate author of this book which led to the play) giving us a performance demonstrating reality, humour, emotion and thoughtfulness. Roger Saddington as the book shop manager was tender and true and his portrayal complemented the slightly harder Helene magnificently. The supporting actors, who played important little cameos, contributed very well to help with the understanding of the sentiments throughout. There were many tears shed by the audience in the closing scene. I loved it!
Report by Eric Smart

Blackadder returns to Chelmsford Theatre Workshop

2011-02-11T15:19:00.002Z

Book your tickets now. This was a great event last year and should be so this year.

Young Expressions - Babes in the Wood

2011-01-30T20:02:00.000Z

Young Expressions – Babes in the Wood,
Performed 28th November, 2010, Ingatestone Community Centre
Director – Louise Hunt, Musical Director – Andrew Lindfield

This is the first of the season’s pantos for your hardworking reviewer and Babes in the Wood gets me off to a flying start. What was very noticeable this year, perhaps more than in previous years, was that the sound was very good. The combination of midi tracks, some radio mikes and rifle mikes provided a good balance of sound between voice and backing. Being able to hear is a huge bonus and not something I take for granted. Also very strong this year was the choreography, which was varied and sometimes challenging but always successful. I particularly enjoyed the chorus Hairspray numbers but also the contemporary dance of the Sheriff and Nurse Nightingale, which was both clever and well executed. Some of the tableau scenes, such as the positioning of the Merry Men in the forest for their Pack Up number were also very well done. The choice of music was modern yet relevant. Costumes and set were, as usual, of a high standard and the advantage of a genuinely witty and well written script is that the older more experienced actors have something to work with. This was particularly true of Harry Kemp’s Sheriff, who was able to create a great character role. He was strongly supported by Rebecca Craythorne and Todd Brand as Nickle and Dime respectively. Alec Stevens’ Nurse Nightingale also had a peach of a part. The remaining principals had much smaller roles but all did very well. It is clear from the programme that Young Expressions is well supported by the local community, as evidenced by 15 adverts as well as a Behind the Scenes page of names that mirror those of the Cast.
If the enjoyment of the audience, who were there in large numbers, translates into a financial success this is no more than Young Expressions deserves. This was a very enjoyable production. Congratulations.

Reviewer – Stewart Adkins

Wickham Bishops Drama Group - Dick Whittington

2011-01-13T15:52:00.000Z

Dick Whittington, Wickham Bishops Drama Club
Performed on 6th January, Wickham Bishops Village Hall

Director – Jenny Higgins

It is perhaps unfair that I should review the opening night when the audience was outnumbered by the cast. Pantomime, as a genre, is inherently dependent for its success on audience participation, the booing of the baddies, the cheering of the goodies and the automatic and vocal responses to the sight of key characters, such as Idle Jack. In the absence of a critical mass of people in the hall there is no anonymity for the individual and a self-conscious mumbling gives way to an embarrassed whisper. This is a great shame since I am sure that most of the ingredients for success were in place. The set and costumes were colourful and inventive, the five piece band provided a good full sound and this was matched by excellent lighting and sound effects. When the entire cast was singing the overall effect was very pleasing, providing a good balance between voice and band. The audience factor was perhaps the main reason why Act 1 seemed slow by comparison with Act 2, although I am bound to comment that experienced hands like Richard Cowan’s Sultan and Colin Bellett’s Captain Barnacle, whose scenes dominated Act 2, did generate a distinct buzz that was not present in Act 1. Not only could they both sing exceptionally well but their projection, vocal attack and unself-conscious delivery of dialogue made me want to listen. Dafydd Bates as Dick Whittington was also a strong physical presence, whose bearing and constantly sunny outlook did generate considerable warmth. The choreography was generally good and I particularly enjoyed the confrontation between pirates and police and the harem scenes. I noticed a few new faces – Anne-Marie Latter was an excellent Fairy Rosebud, Madison Lyman a very promising Simon – but I missed the massed ranks of singers and dancers from I cant stop the beat, two summers ago.

Reviewer – Stewart Adkins
NODA East

CTW's Lion in Winter

2010-12-22T10:52:00.001Z

The Lion in Winter, Chelmsford Theatre Workshop,
Performed December 14, 2010 in The Old Court Theatre.
Director – Mike Nower

The Lion in Winter is an intriguing historical drama set at Christmas, 1183, a time when Henry II was planning his succession, despite being at the height of his powers and having six more years of life ahead of him. Although there are many anachronisms for artistic reasons the tone of the play is apparently well founded on accurate historical sources. We are introduced to Henry, his mistress Alais Capet (Philip II’s half sister and Eleanor of Aquitaine’s step-daughter), Eleanor of Aquitaine (Henry’s estranged wife), the three surviving sons of Henry’s marriage to Eleanor, Richard, Geoffrey and John, as well as Philip II himself. Henry is powerful, yet retains an emotional component to his psyche that has survived 30 years of aggressive expansion of his “empire” and even an armed revolt by his sons and his wife Eleanor ten years earlier. This power and dominance, tempered by what might be love but certainly respect and admiration for his wife, shines through in Dave Hawkes’ portrayal. Given to emotional outbursts and apparent vacillation when it comes to decisions about his children Hawkes’ Henry II managed the transitions well and never skipped a beat. Sara Nower’s Eleanor (Sara reading in for Christine Thomson, laid low by laryngitis that afternoon) conveyed the more calculating mind of a Queen 10 years Henry’s senior, never losing control of her emotions and manipulating everyone around her. Perhaps Ian Willingham’s Geoffrey was closest to his mother in temperament. This was a controlled yet powerful performance by him and contrasted well with the bullishness of James Christie’s Richard and the childish, almost pouting ways of Jake Reevie’s John. Harry Sabbarton’s characterisation of 18 year old Philip II was strong and conveyed cunning through careful slow delivery as though weighing up the effects of his words. Finally, Roxanne Carney as Alais Capet, was an excellent foil for Dave Hawkes’ Henry II, in whose company she mostly found herself. This was a well cast production that shed light on an interesting period of English history. The costumes and set all provided superb context and even the stage hands were appropriately dressed in costume so that the 12th century mood could be maintained from scene to scene. Scene changes involved the clever use of different coloured drapes, together with rearrangement of large props, to create new scenes within the castle. The scene changes, however, were numerous and sometimes I wondered whether a quick lighting change and a focus on a different coloured drape may have been sufficient to denote the change of dominant character in the scene. This would have shaved 10 minutes off the running time and provided a pacier production. Nevertheless, this was an enjoyable evening and one which the audience clearly appreciated.

Reviewer – Stewart Adkins, NODA Rep, District 8

Young Gen - West Side Story

2010-11-27T08:11:00.000Z

CYGAMS – West Side Story
Performed Nov 17, 2010, at the Civic Theatre Chelmsford
Director – Ray Jeffery, Musical Director – Bryan Cass, Choreographer – Gavin Wilkinson

More than 50 years old and West Side Story still has the power to resonate strongly in the hearts of a modern audience. This is partly due to the music of Bernstein but mostly, I believe, due to the timeless nature of the story. This classic tale of love transcending racial and tribal differences descends into violence and retribution. At one level there is no happy ending and yet there is still a hopeful optimism expressed in the reprise of Somewhere as Jets and Sharks combine to take Tony’s body to a better place.

The set gave the right impression of urban neglect combining first floor rooms (Juliet’s balcony) with ground level mean streets. Doc’s Drugstore, the bridal shop and Maria’s bedroom were all created from swinging flats and large props. Together with atmospheric lighting the ambience was in turn threatening or romantic as appropriate. I was mightily impressed by the choreography; even the boys, not usually known for their footwork, were excellent in the set pieces. Bart Lambert’s Riff especially seemed to exude testosterone and was aggressive to his fingertips. This was reflected in the power of his movement, which never became effeminate despite some very balletic movements. Callum Crisell’s Action was also powerful, walking around like a coiled spring. Baby John elicited maternal feelings from the mums in the audience and all the Jets gave a very strong account of themselves, whether dancing or during the brilliant Officer Krupke number. Whenever Jets and Sharks met on stage the tension was palpable, as it should be. Although the plot gives the Sharks less to do they were a strong counterpoint to the Jets and I actually felt Bernardo (well played by Henri de Lausen) had been given a rum deal having to face the giant Jet.

The girls on both sides also danced beautifully, with America a favourite of mine. Alice Masters had the Latin looks of a feisty Puerto Rican and worked very well with Maria in A Boy Like That. Maria (Emma Bennett) had a wonderful innocent vulnerability that contrasted well with Anita’s attitude and experience. Maria’s relationship with Tony was also very credible. Sam Toland was a very relaxed and yet controlled Tony. Vocally excellent he also had the maturity of a leader that could see beyond his immediate environment. One hand, one heart was particularly touching and the movement of the dress dummies around the shop was clever.

The one part of the show that didn’t quite work for me was the ending. The absence of a gunshot meant that the emotional shock was missing and this made the subsequent death scene and Maria’s soliloquy lack force. No doubt this was a one off technical problem but it demonstrates how such simple things can influence audience perception. Nevertheless, this was a thoroughly enjoyable production and possibly the best I have seen from Young Gen for a while.

Reviewer – Stewart Adkins, NODA East, Regional Representative, District 8

Springers - Jesus Christ Superstar

2010-11-27T08:08:00.001Z

Jesus Christ Superstar – Springers
Performed November 16, 2010 at the Cramphorn Theatre, Chelmsford.

Director – James French, Assistant Director – Deborah Anderson,
Musical Director – Ian Myers

For those who grew up in the 1950s, 60s and 70s and for whom RE (Religious Education) was not only a part of the school curriculum but unashamedly focussed on the New Testament, JCS is neither shocking nor surprising. That section of the audience can put JCS into the wider context and recognize that the betrayal, violence and rejection by his own establishment was essential if it was to give meaning to his subsequent resurrection and salvation of mankind. But for those who did not have that education JCS must have been an assault to the senses and perhaps raised many awkward questions for parents to attempt to provide answers to. For JCS at Springers was unremittingly dark, both visually and metaphorically; dark costumes, an absence of light on some areas of the set (or alternatively, very focussed spotlights), brutal scenes of violence and shocking visual imagery. No happy nativity scenes with fluffy sheep and angels here. JCS rather concentrates on the latter days of Jesus’ life and necessarily the unpleasant bits. It is what it is but the depiction of the interrogation by Pilate, including the calculated beating with baseball bats and truncheons to the heavy beat of a drum, together with the swinging noose at Judas’s suicide and the crucifixion itself was very powerful theatre indeed.

Cleverly updated to the modern idiom with the use of mobile phones during What’s the Buzz, and the carrying of a laptop as almost a badge of priestly plutocracy and privilege, this was an intelligent production. I liked the use of the TV screens as a way of reinforcing modernity but at the same time conveying that JC was an ordinary bloke. There were scenes I didn’t understand, such as what was happening in the overture, but maybe the fault lies with me. The psychedelic screen imagery of Pilate and others added some necessary colour and the use of the coloured water tank for Pilate to wash his hands was a neat trick; what it lacked in subtlety was replaced by wry amusement. All of the principals were strong but particularly Jesus and Judas who coped manfully with songs that I suspect dogs could hear better than I could. However, those who were un-miked and sang single solo lines could not be heard at all. Of course, JCS is a rock opera and should be loud but I found the balance between singers and band too often favouring the band. The sound was very close to the edge of being uncomfortable with many bass notes and some electric piano accompaniment unblended. This is always a difficult balancing act but turning the band down a notch may be a start.

Choreography was very strong, particularly what might be described as the structured movement, such as that during Herod’s number (Herod was excellent by the way) and the selective use of the ensemble was appropriate since there were sometimes a lot of bodies on stage. It was clear that many of the cast were extremely moved during the crucifixion and subsequent removal of the body through the auditorium. However, I found myself strangely disconnected from this production and rather less engaged than usual, particularly during Act 1. This remains a puzzle to me since Springers is a very talented group. I can only think that despite my own 1960/70s religious education I prefer the sheep and angels.

Reviewer – Stewart Adkins

Ingatestone and Fryerning Dramatic Club - The Ghost Train

2010-11-22T07:45:00.003Z

Ingatestone and Fryerning Dramatic Club, The Ghost Train
Performed on Nov 11, 2010, at Ingatestone Community Centre

Director – Mel Hastings

This classic ghost story with a twist began with an empty set ie no people, and the opportunity to enjoy not only the recreation of a 1920s waiting room but also the special lighting and train sound effects, not to forget the smoke. All of the technical elements of this production were excellent, beginning with the solid set, including two large multi-paned windows, gas lamp and the beginning of a ceiling. This did create a genuine feeling of being transported to an earlier age. This feeling was compounded by the costumes. I am no expert on costumes but they seemed to me to have an authenticity that very much complemented the atmosphere. The men wore hats, the women had coats, one with a lovely fur stole and the dresses seemed to be period. Only Jackson’s hat seemed to be somewhat incongruous, a later model perhaps or simply too big.

The action was well dispersed around the room and good use was made of what was a big set, including central door to the platform, the door stage right to the ticket office and the ticket hatch. Sight lines were all good and there were no instances of upstaging. The actors coped well with the patterns of speech and the colloquialisms of the time and the slightly clipped accent of the upper middle classes. The cast was very well balanced and all strong. Candy Lillywhite as Peggy Murdock could perhaps have projected a little more since some lines were hard to hear but her acting and the relationship with her husband, well played by Ben Salmon, were good. Pam Hemming was lucky to have a great character part as Miss Bourne, which she played to the full. Her short drunken scene was just right. I particularly liked Nick Lupton as Teddie Deakin, again another character part. He captured the Woosteresque “silly arse” very well and I was completely taken by surprise when he shed this character and reverted to what we suppose is his true competent self. The frosty demeanour of Chrissie Mallet’s Elsie towards her husband Richard (Gary Catlin) was well established and the slow transition as the mounting tension thawed her out and she derived support from Richard developed well. Emma Moriaty evoked sympathy as Julia, drawn into madness by the ghost train and helped build the excitement as the train approached. The ladies’ screams at appropriate times did provide a frisson in the audience and that whole scene worked well.

The Ghost Train was an enjoyable production that needed impeccable timing of technical effects to work well and that was indeed the case. Congratulations to all.

Reviewer – Stewart Adkins, Regional Representative NODA

CAODS - 90th Anniversary Concert Nov 7. 2010

2010-11-14T11:27:00.000Z

CAODS - Be Our Guest
Performed at the Civic Theatre, Chelmsford November 7th 2010.
Director- Cheryl Jennings, Musical Director – Patrick Tucker

What a finale to a great 90th Anniversary year for CAODS! The recent annual concerts have been hugely enjoyable and this was no exception. A combination of modern classics by soloists, duets and ensembles, together with some strong company numbers showcased more than the usual principals we have seen in recent years. Members who were more prominent in former years shared the stage with those who took the honours more recently as well as with nascent talent that doesn’t have the opportunity to shine in shows where competition for principal roles is high. What is intriguing is that here was a wonderful concert that needed no Rogers and Hammerstein, Cole Porter or Sondheim to succeed. I am a big fan of all the aforementioned composers and so it speaks volumes that musical theatre can provide wonderful entertainment with music from just the last third of the 90 years that CAODS has been in existence. I hope and believe that musical theatre will keep alive an eclectic mix of songs across the spectrum of the 19th, 20th and 21st centuries but fully understand why today’s West End and touring shows feature strongly in the mix. The opportunity to sing winners from shows that have yet to be released to amateurs is too good to be missed and CAODS took full advantage. Songs from Legally Blonde, We Will Rock You, Sister Act, Wicked and Love Never Dies gave this Chelmsford audience a taste of what can otherwise be heard only in London but at a fraction of the price. Given the strength and depth of young talent on display in the Civic Theatre I have very high hopes for the 100th Jubilee and feel no need to visit London any time soon.

Reviewer- Stewart Adkins, NODA East

Phoenix Theatre Group - Harvey

2010-10-25T01:07:00.000+01:00

Phoenix Theatre Company – Harvey
Performed in Christ Church, Chelmsford, Oct 16, 2010

Director – Andy Millward

Harvey is an enigmatic play in which the main character Elllwood P Dowd claims to travel around with a six foot three and half inch white rabbit, named Harvey. Although clearly a comedy with some wonderfully funny lines there are also some steely undercurrents: of selfishness, as manifest in the behaviour of Myrtle Mae and Veta Louise Simmons (Dowd’s sister) and intolerance, as shown by Dr Sanderson. As an audience we warm to the old world courtesy and harmless innocence of Dowd, who is well played by Syd Smith, but we also have doubts about his sanity and his culpability, given the ambiguity as to whether excessive drinking (which he could control) or a psychiatric disorder (which he could not control) are at the root of his hallucinations. A further ambiguity is introduced when Dr Chumley appears to believe in Harvey and Marvin Wilson reads a personal comment to himself in an encyclopedia reference to a pooka, a Celtic spirit in animal form which Dowd claims Harvey is. Phantom door openings increase the audience’s speculation surrounding Harvey’s existence as real or a figment of Dowd’s imagination. In one sense the existence or not of Harvey becomes irrelevant as the plot is overtaken by redemption for all when the taxi driver demands his fare, claiming that his passengers are perfectly lovely on the way to the clinic but perfect bastards after their so called cure. This triggers the realisation in Veta that she would rather live with her brother happy go lucky but believing in a harmless fantasy than being “a perfect bastard” and having nothing to believe in at all.

The play is perhaps a little difficult to convey at every level but is relatively easy to do as a straight comedy. In this respect Dowd and Veta Louis Simmons get the acting honours since theirs are the roles that delivered the best lines and in the right way. In fact, this may have been the best part that I have seen Helen Langley (Simmons) play, delivering both a flawless American accent as well as a convincing mother and sister to Myrtle Mae and Dowd respectively, with emotions ranging from frustration to anguish and guilt. The best scene in the play was Simmons’ return from the clinic and her description of her treatment at the hands of the brutish nurse Marvin Wilson. Accents, while not essential, can help enormously with characterisation. Generally most of the actors struggled with the American accent, it being almost absent, variable or too far West. The notable exception was Dr Sanderson, played by Neil Smith, who was both fluent and convincing. I found the accents distracting at best and disturbing at worst. There were also a few costume issues which I found unhelpful and possibly impacting the actors’ perception of themselves. Myrtle Mae Simmons’ blonde wig was far too severe and did not seem to fit well. Marvin Wilson’s trainers and white costume seemed to imbue him with an athletic and perhaps over-active persona that should perhaps have been more subservient and restrained, in my view. Finally, Judge Gaffney’s suit should perhaps have been black, more in keeping with the sobriety and upright nature of the stereotype. A simple costume change may have curbed the tendency towards speaking with a Texas drawl rather than the East Coast aristo he should probably have been.

Reviewer – Stewart Adkins
Regional Representative
District 8, NODA East

Maldon Drama Group - Outside Edge

2010-10-25T01:05:00.001+01:00

Maldon Drama Group – Outside Edge,
Performed at Maldon Town Hall, October 15, 2010.

Directed by Sandra Dudley

Richard Harris’s Outside Edge uses village cricket as the comedic device to bring together an eclectic bunch of people who would otherwise have nothing in common. Ron Dudley’s Roger is the skipper who seems to embody the Peter Principle, having reached his level of incompetence early in his career and cricket apart probably spends his time on the boundaries of life dropping catches. His wife Miriam, splendidly characterized by Michelle Edgington, is the backbone of this play, loyal to a fault, heavily put upon by husband Roger, and yet only dimly aware that her husband is a bit of a pratt. Feminism is probably a dirty ”F” word for Miriam and so the contrast with feisty Virginia (Ghislaine Davis) and earthy Maggie (Helen Rasmussen) is rather a good recipe for a cricketing tea for which Miriam is legendary. Maggie and her husband, Kevin, wonderfully played by Scott Peters, make a great couple. Appropriately cast given the script’s call for the difference in size here was a fluent relationship that provided much of the comedy element to the play. George Greenham’s Bob successfully co-mingled the clandestine as well as the indignation as he juggled his off-pitch affairs with his affront at being run out by the young solicitor Alex (Ben Markham). Alex, whose role was relatively minor, nevertheless conveyed all the arrogance of youth as well as disdain for the opposite sex that might be expected from a cad. Contrast this with Dennis (Bill Thurkle) who oiled his way around trying to win friends but whose insecurities run so deep he has to buy his friendship by providing discounted goods he subsidizes. Finally Nikita Eve was a wonderfully vacuous Sharon (an early Essex stereotype?) with a weak bladder.

The set was good, making use of the full width of the stage and being split between pavilion and outside pavilion. Far stage left was impossible to see if you were sitting on the right hand side of the theatre but limited space perhaps made a more angled SL exit impossible to manage. Audibility in this theatre should never be a problem and all the actors projected well while the introductory music I have always associated with cricket on the TV was well chosen and set the mood. While not as exciting as a 20/20 MDG’s Outside Edge certainly provided an enjoyable evening.

Reviewer – Stewart Adkins

Tollesbury Amateur Players _ Old Time Music Hall

2010-10-17T11:00:00.001+01:00

Tollesbury Amateur Players – Old Time Music Hall
Performed at The Centre, Tollesbury, 14th October 2010.
Director – John Dorsett

What an enthusiastic, eclectic and egalitarian exuberance of entertainment was presented by a positive plethora of performers to an appreciative and applausatory audience in Tollesbury on Oct 14th. The Leeds City Variety stage had been somehow transported to the Tollesbury Centre providing a curtained concert hall pulsating with crowd-pleasing songs, conjuring, dancing, novelty acts and even an appearance by Zelda, whose death-defying feat on a tricycle was one of the highlights that delighted all in attendance. Her Majesty Queen Victoria and her Royal Consort, Prince Albert, both seemed transfixed in their Royal Box by the talent on display but I suspect Prince Albert would have preferred my humble stalls seat in the second row when the Can Can dancers turned and flashed their cheeky derrieres for the commoners to see. The acts were as varied as they were talented, with stirring songs, a self-scripted melodrama, hilarious Punch and Judy scene, balletic balloon dancing, ventriloquism, tap dancing and even an enigmatic exhibition of wine glass singing. There were so many acts, all costumed in the appropriate style and set against a backdrop that was constantly changed by a busy and bustling stage crew, that one cannot remember them all. What is remembered, well after the show is over, is the afterglow of satisfaction of an evening well spent in the community-spirited company of terpsichorean, thespian, tenacious, talented Tollesburians! Thank you.

Reviewer – Stewart Adkins
Regional Representative
NODA (District 8)

Theatre at Baddow - Emma

2010-10-12T22:41:00.001+01:00

Emma by Theatre at Baddow,
Performed at Baddow Parish Hall, Oct 8, 2010.
Directors – Matthew Jones, Joanna Windley-Poole

A one-night adaptation of a Jane Austen novel, that usually requires TV treatment over several episodes with stunning backdrops, original buildings and sumptuous costumes, will always struggle on stage in my view. Emma is a fairly gentle story that necessarily unfolds slowly and deliberately, with readers of the novel getting character nuances and detailed descriptions of social mores that cannot easily translate to the stage given the time available. Although the dialogue was perhaps true to the novel’s text (I haven’t checked so make the assumption) what was not so true in this production were the patterns of speech and modes of delivery. Of course, there can be no recordings of speech from that time since the first recordings were made in the 1860s but we may have expected a more declamatory style delivered in flawless RP English. RP or not RP is perhaps a matter of subjectivity but RP would at least have provided more depth of character to those of higher social standing and provided more differentiation between Harriet, Mr Martin and Miss Bates perhaps on the one hand and the upper crust on the other. An exaggerated RP by Augusta may also have provided everyone with another reason to despise this social climbing Harpie and feel even more sorry for Mr Elton’s hasty marriage on the rebound.

This is ultimately a matter of choice, of course, but elocution remains one of the few tricks left to an actor when his or her costume, dialogue and stage directions are pre-determined. Having said that this production was charming, used exquisite period costumes, particularly for Emma, made good use of the stage and auditorium, included a lovely dance section necessary to show how considerate of others’ feelings is Mr Knightly and moved quickly through the 18 scenes flawlessly. The set was a very solid looking room with leaded light window dressed with different furniture props depending on whose house or church we were supposed to be in. Dialogue was fluid and became quite animated during Emma’s dressing down by Mr Knightly. It was good to see a number of newcomers onstage as well as the regulars, some of whom stepped up to take bigger roles than usual and acquitted themselves very well. I suppose gentility and acute social observation are the essence of Jane Austen but I have never found Austen to be essential. This surely says more about me than it does about TAB.

Reviewer – Stewart Adkins
NODA East – District 8

Blackmore Player - Mystery at Greenfingers

2010-10-12T22:38:00.001+01:00

Blackmore Players’ Mystery at Greenfingers
Performed at Blackmore Village Hall, Oct 1, 2010.
Director – Phil Davis

This intriguing comedy wrapped up in a murder mystery format was cleverly directed by Phil Davis making his debut. The set was extremely effective, presented as a staff room within the hotel and complete with period table and chairs, an old wireless set, travel posters and a message board typical of the pre-war period. Despite much of the action taking place behind and around the table the sight lines were generally good, with no-one being masked or alternatively upstaging other actors. After getting over the shock of such bright blue eye make-up on the women (this could be toned down a lot without loss of eye impact) I settled down to an extremely enjoyable evening.

The cast was a wonderful collection of characters, ranging from flamboyant and emotional French chef, played by Keith Goody, to the solidly reliable amateur female detective, played by Gina Daldry. Add to the mix the incompetent but well-meaning professional (Barry Young) and a sprinkling of hotel staff straight from the book of acting stereotypes and the formula was complete. You would be hard-pressed to find a more engaging pair of housemaids than Linda Raymond’s well-meaning but simple Clara or Irene Davis’ s sassy but careworn Sally. Gail Hughes played a blinder as the cynical but case-solving book-keeper, Edna Sandars. Her Northern accent was extremely good and her characterization unwavering. Martin Herford’s barman on the make, Fred Poole, contrasted well with Liane Pritchard’s attractive but ultimately crooked Helen Tennant. Glenys Young came across well as Mrs Heaton, the housekeeper with a secret while Andrew Raymond had the toughest job in some ways, playing the trusted and naïve young manager, Keith Henley.

Given how much the play followed a tried and tested formula for a successful parody of a murder mystery I wonder whether it would have worked even better by sending up the characterization a notch more, not too melodramatic but enough to give the over the top characters more context. This would have provided more scope to the French chef, Clara the maid and Fred the barman to enjoy their roles without appearing too caricatured. It would also have allowed Keith Henley to play up the dramatic interventions (“You mean?” and “Drugs?” etc) without seeming to be too demonstrative. Sometimes the blend of characterizations jarred ever so slightly as the audience had to switch from serious mode to comedy mode and back again. This is not a big criticism and could easily vary from performance to performance. Overall this was a highly entertaining evening and deserves a successful box office. I congratulate Phil Davis on his directorial debut and look forward to his next production at Blackmore Players.

Reviewer - Stewart Adkins
NODA Rep (District 8, NODA EAST)

CAODS' - Beauty and the Beast

2010-09-30T18:05:00.002+01:00

CAODS Beauty and the Beast
Performed at Civic Theatre Chelmsford September 21, 2010.
Director – Ray Jeffery, Musical Director – Patrick Tucker

CAODS have taken the celebrations for their 90th Anniversary seriously – very seriously indeed. Not only have they raised the bar for all future productions but they have given Chelmsford a taste of the West End, albeit at Essex prices. With quality like this, following on from their superb production of Chess, CAODS should carry more weight than any other user at the Civic Theatre. With full houses, an ecstatic reception and a busy bar what more could any theatre manager want? This was a professional show in all but name – sets, costumes, music and performers – simply stunning. Good touring companies would struggle to match what CAODS produced this week.

Disney’s Beauty and the Beast is a variation of an original French fairy tale and the stage version does seem to be true to the 1991 animation, with consequently lavish costumes, seemingly endless numbers of back cloths, set variations and technical effects, all of which worked well. The cast of principals was excellent. The young heroine, Belle, played by Sarah Barton, was true to her stage name in both looks and singing, delivering a wonderful performance. She worked very well with her eccentric and hirsute father, Maurice, played by Trevor Lowman. Sarah’s off-stage partner, Gareth Barton, as the Beast, managed to convey humour and pathos with a very physical performance. Singing and acting through a huge headdress and the physical limitations of a mouthpiece cannot be easy to cope with and yet the result was excellent. What a find was Richard Harrison as Gaston! Surely he was made for this part, which required not only a great singing voice but the masculine presence and intelligence to portray a muscle-bound narcissist with his tongue firmly in his cheek. He was ably supported by Jimmy Hooper as the frantic and acrobatic Lefou.

The Castle staff was as fine a supporting cast as I can remember on the Civic stage. Kevin Abrey’s masterful Cogsworth contrasted with the flamboyance of Ben Martins’ Lumiere. Solid and reliable and with the best song in the show was Diana Baker’s Mrs Potts, while Noah Miller melted more than few hearts a Chip. Elle Moreton’s operatic Madame de la Grande Bouche and Rachael Brown’s Babette were both exquisitely cast. The aptly named Three Silly Girls and Monsieur D’Arque completed this great line up, contributing comic timing and malevolence respectively. The singing and choreography was exceptional throughout but particularly in the big production numbers such as Be Our Guest, while the standout scene for novelty, entertainment and energy was surely the clanking beer mug scene in The Tavern.

This may be a show that is too cheesy for some but for my taste it was spot on and directed with fine attention to detail. Congratulations to every single participant front and back of stage. This was an anniversary celebration to be proud of and which blurred the distinction between amateur and professional so much that I can’t wait for Hello Dolly.

Reviewer – Stewart Adkins
NODA East, District 8 (Chelmsford and environs)

Blackmore Players - Mystery at Green Fingers Oct 1/2

2010-09-01T15:28:00.003+01:00

CTW's The Dog in the Manger

2010-08-02T11:52:00.001+01:00

CTW’s The Dog in the Manger
Performed at Thee Old Court Theatre, Chelmsford, July 29, 2010.
Director – Christine Davidson

Ii is difficult to imagine a better introduction to Lope de Vega’s vast canon of plays (over 500!) than CTW’s production of The Dog in the Manger. Sumptuously costumed and subtly directed this cast of thirteen brought to life the honour-bound mores of seventeenth century Naples. Sometimes high drama, sometimes farce, sometimes poetical in its use of rhyming stanzas the pace was strong and audience interest maintained throughout. The main plot between haughty Diana, Countess of Belfor, played by Kat Tokley, and her silver-tongued but ever respectful secretary Teodoro, played by Dean Hempstead, provided most of the fireworks. The gamut of emotions displayed by Diana, from jealous rage at Teodoro’s love for Marcela, the delightful Ruth Cramphorn, to cold disdain as the dictates of her social position overcame the pull of her heart, reflected great versatility. Teodoro’s vacillation between the slim chance of social elevation by marriage to Diana and the realistic probability of a life of love with Marcela came across as an interesting mix of dithering and calculation. Barry Taylor’s Tristan, Teodoro’s lackey, provided much of the humour as he cleverly manipulated his indecisive master. This was a very big and physical performance but with subtle nuances of hand gestures and eye movements that completely won over the audience. His cod Greek merchant scene was reminiscent of Harry Enfield at his best. The other element of humour came from Diana’s suitors The Marquis Ricardo and Count Federico. The Marquis, played by Jeremy Battersby, was hilariously camp and pulled off the outrageous codpiece scene with aplomb. He also worked well with Federico (Mark Preston) who was not in the least overshadowed by the Marquis despite their difference in height. The competitive floral tribute scene in which Federico produced a limp posy was very funny. All in all this was an enjoyable and accomplished production, with a strong cast and strong production values. The costumed helpers, servers and musician in the foyer also added to the flavour of the evening.

Reviewer – Stewart Adkins

Young Expressions - Thoroughly Modern Millie

2010-07-28T09:34:00.002+01:00

Young Expressions – Thoroughly Modern Millie
Performed at Ingatestone Community Hall, June 27, 2010.

Directors- Liz Gibson and Allen Clark, Musical Director – Gemma Hawkins

Millie is not an easy show to pull off, usually relying on a glitzy set and big tap numbers to rescue an indifferent score and thin plot. However, this young cast, ranging in age from 8-14, was convincing and created an enjoyable production, despite the absence of any tap dancing at all. The excellent five-piece band set the tone for an upbeat show that was blessed with an engaging Millie (Laura Maze) and handsome Jimmy (Alec Smith) as the two leads. Millie had a strong voice and easy acting style, while Jimmy was forceful as well as able to handle comedy lines. Mrs Mears (Rebecca Craythorne) was well characterized with a good cod Chinese-English that brought out the humour in the role. She was well-supported by Bun Foo (Grant Clark) and Ching Ho (Emma Beard), who sang well and with great emotion, especially during the Mammy number. Trevor Graydon was played with maturity and poise by Harry Kemp, with the patter song and Ah, sweet mystery of life both coming across well. Miss Flannery (Georgia Stableford) and Dorothy Brown (Juliet Ware) provided good support to the main leads. There was plenty for the young chorus to do as secretaries, waiters, etc and there was enough movement to maintain interest as well as provide challenge if needed. I note that this was a much smaller cast than usual and so it must be hoped that more members join for the pantomime. Congratulations to this young cast for an entertaining and successful show. What a shame that the earlier curtain up than originally envisaged didn’t foreshadow a better England result.

Reviewer – Stewart Adkins

TAB's Man of the Moment

2010-07-24T08:48:00.001+01:00

Theatre at Baddow – Man of the Moment
Performed at Baddow Parish Hall, April 29, 2010
Directed by Pauline Saddington
I was stunned that I had to queue to gain access to the venue. It was back to the old days when I recall having to queue for almost every production! It took the packed house no time at all to settle into the theme of this Ayckbourn. There were many hints at the plot but we were kept in suspense for some time before the mist was finally cleared. It centred round heroes and villains and provided a superb medium for some great acting. We were not disappointed. Within the cast of 9, there were three leads – one hero, one villain and one storyteller. Their characters appeared to be people that the entire audience had met at some time or another and therefore they were easy to relate to. The players’ expertise in providing colour to these characters was amazing. I have to draw particular attention to Kenton Church, however, playing the role of Douglas, who was immaculate in every respect – his timing, gestures, timidity, sensitivity and dreariness all beautifully demonstrated. The set, as we have come to expect from TAB, was fantastic and included a swimming pool as well as an extensive patio and lighting was used well to accentuate the pool. I found humour in this piece within five minutes of curtain up and that remained throughout. The audience loved it!
Eric Smart

CTW- Two One Act Plays

2010-06-25T11:15:00.000+01:00

Scarborough and Ae Fond Kiss, Chelmsford Theatre Workshop
Performed at The Old Court Theatre on 17th June 2010.
Directed by Lynne Foster, Assistant Director – Steve Holding

Both of these short plays addressed the issues of relationships between teenagers and adults. If that weren’t uncomfortable enough Scarborough was set in such a way that the audience was practically on top of the actors, sitting just feet away from the double bed where most of the action took place. Intriguingly, and this doesn’t happen often enough in amateur theatre, the actors were all the appropriate age for their roles. To clarify, that meant a woman in her late twenties (Kelly McGibney) playing a sexually charged role with a 17 year old boy ( David Woolford) and in Scarborough 2 a man in his late twenties (Danny Segeth) playing opposite a 16 year old girl (Anna Jeary). Hmmm! Dangerous territory.

It soon became clear that the older person in this illicit relationship was the younger one’s teacher and while the teacher was having doubts about the viability of the relationship, the audience were perhaps thinking a hundred different things depending on their viewpoint. The newspapers are full of headlines reminding us that such relationships are a clear abuse of position (a teacher and pupil, for heavens sake!) and yet my immediate thought of Scarborough 1 was “lucky devil, I wish my PE teacher had been that attractive”. Had I been the mother of the boy I might have thought differently. Certainly I was encouraged to rethink my views when Scarborough 2 began. Here was an identical plot and almost identical dialogue but with the genders reversed. With thoughts of my own daughter in my head I was forced to confront my double standards.

Scarborough worked because the actors maintained their intensity throughout, despite the distractions of friends and family just an out-stretched arm away. It was entirely believable and was a tribute to their skills that situations that could so easily have been awkward were handled quite naturally. All four actors were excellent but the younger ones deserve special tribute owing to the difficulty of the roles and their presumably lesser experience.

A Fond Kiss was a much less intense experience, less thought provoking but far more entertaining in the traditional sense. Debbie Miles was superb as the prostitute Lola, letting the vulnerability of Zed, wonderfully played by Sean Hammond, slowly melt her tough exterior to reveal the heart of gold beneath. Both actors maintained the Scottish accent credibly to the end. The stuttering nervousness of a young lad on his 18th birthday being encouraged by his so-called friends to lose his virginity to a prostitute was both funny and poignant. The business of escaping Lola’s well meaning attempts to accelerate the transaction was never overdone and timed to perfection. Lola’s emotional response to confronting the realisation of what she had become and her subsequent recognition that Zed was perhaps in more need than she, was captured beautifully. A Fond Kiss was a touching slice of life that left me wanting more.

What a great evening this was; wonderfully acted and directed. Congratulations to all.

Reviewer – Stewart Adkins

My Fair Lady - Springers

2010-06-21T21:52:00.000+01:00

My Fair Lady, Springers
Performed in Chelmsford Civic Theatre, June 16, 2010
Director – Jacqui Tear, Musical Director – Ian Myers

It seems a while since Springers have performed a “mainstream” show, seemingly preferring lesser known, almost quirky productions and accepting the artistic and financial risks that accompany them. It is hard to imagine a more mainstream show than MFL and yet Springers still took risks in other ways, with the casting of someone new to the stage for the male lead and a big promotion for the female lead. However, with Anver Anderson as Professor Higgins and Olivia Gooding as Eliza Doolittle these risks clearly paid off. Anver was a softer and less aggressive Higgins than is often portrayed and this allowed for the chemistry between Higgins and Eliza to come through. Let there be no mistake that his sing-speaking of Let a woman in your life was no less lustily sung than normal but his demeanour when Eliza left Wimpole St and his singing of Why cant a woman be more like a man was as much a sign of his frustration at being unable to communicate with Eliza as a hymn to misogyny.

On Eliza’s side her demand for a demonstration of affection from the hapless Freddie was an appropriately aggressive response to her frustration with Higgins. I could have danced all night was beautifully sung and began to show the affection that she felt. The second act dialogue between Eliza and Higgins in Mrs Higgins garden was the culmination of the relationship growing between these two in which it was actually Higgins that left the emotional door open, while Eliza showed true strength of character by walking out. This was an excellent debut by these two actors. I wonder whether the final scene could have been a little more drawn out, so that we could have seen or felt the pain and subsequent emotional release on Higgins face as Eliza returned.

By contrast most of the rest of the show was a little lacking in pace in my view and I don’t mean just the scene changes, some of which seemed to be a fraction long as we waited for the lights often in silence ie no underscoring to fill the gaps. This will, no doubt, pick up with repetition throughout the week but was my main observation. There was a need for faster pick-ups on cue lines, earlier character entrances and a generally faster delivery, obviously without rushing.

Costumes were appropriate throughout and absolutely stunning for the Ascot scene.
The set was excellent, especially Higgins’ study and Mrs Higgins garden but special mention must be made of the picture frames in the overture as each group of characters was introduced to the stage starting as a spot-lit tableau. This theme was used again as Eliza reflected dreamily on what she would have liked to enjoy during Wouldn’t it be lovely. This was a novel feature that worked well in my view. The choreographed scenes were well done and I especially enjoyed the big production number I’m getting married in the morning and the synchronized dancing of Doolittle and his two mates out of the pub. Bob Ryall’s characterisation of Doolittle was excellent although his singing was occasionally masked by the orchestra.

The other characters, many doubling up in chorus or as servants, were strong. Pickering was a good foil for Higgins and a credible sympathetic supporter of Eliza. Mrs Higgins maintained her accent and bearing without being stuffy, Mrs Pearce was a very firm housekeeper and Freddie was suitably wet, especially after being thrown to the floor by Eliza with such violence that his walking stick snapped! Simon Brett reprised his role of Karpathy and brought some fun and excitement to this brief cameo.

Congratulations to all but especially to the two leads who amply vindicated the faith placed in them.

Reviewer – Stewart Adkins, NODA East.

CAODS' - Beauty and the Beast

2010-06-16T14:37:00.001+01:00

Writtle Cards - Two One Act Plays

2010-06-16T14:36:00.000+01:00

Writtle Cards – Two One Act Plays
Performed in Writtle Village Hall, May 21, 2010.
Directors – Laura Bennett and Hazel Reilly
For their May production Writtle Cards presented two of Noel Cowards one act plays Still Life and Fumed Oak, each written as one of ten plays that make up ‘Tonight at 8.30’, a cycle to be performed across three evenings. Still Life was later transformed into the wonderful film Brief Encounter, voted the most romantic of all time.

The stage for Still Life, portrayed a refreshment room at Milford Station, good detail with Nestle posters on walls, open fires and check table cloths, gave this an air of times gone by. Being such a small stage it was sometimes difficult for the cast to enter through the door if other actors were nearby. This could have been avoided by angling the buffet table. Consideration should have been given to let the lighting help suggest the month or time of day, as it always seemed to be black outside.

Michele Moody and Nick Caton were in the main roles as Alec & Laura. Their costumes was good and Michele really got to grips with the sad role of middle class Laura but I never felt that Nick was entirely comfortable with the role of the Doctor and I didn’t really believe that he was really in love with her.

The comic roles of Myrtle and Albert (Sharon Goodwin and Boot Banes) worked well, as did the marvellous cameo by Daniel Curley as Stanley who shone on stage as the cheeky chappy, with an eye for young waitress Beryl (Michele Ashby). Hilary Jones, who came on at the end as Laura’s neighbour Dolly, was excellent and used her ‘refined voice’ to perfection. What a shame the lights went off before they exited for their train, it made the ending awkward rather than terribly sad. Vocal projection was sometimes lost when actors spoke ‘upstage’

Fumed Oak is a short, two scene play and concerns a middle-aged browbeaten husband living with his family and the mother in law from hell which was excellently portrayed by the talented Jean Speller. Her facial expressions were a treat to behold. I did feel sorry for her though having to wear that awful wig!! The set was again good portraying the modest home of the Gow family although again the window outside showed no sign whether it was night or day. .

Boot Banes returned to the stage again to become Henry Gow who can only take so much and finally after a few drinks has the courage to leave them to their arguments and petty squabbling; and to start a new life elsewhere. Boots has a wonderful ‘presence’ on stage and I enjoyed his retribution speech at the end. His screeching wife Doris (Elaine Reynolds) and Elsie his spoilt daughter (Clare Williams) made you realise just why he was leaving. A good play to end the evening.
.
Reviewer – Christine Davidson

Ingatestone and Fryerning Dramatic Club

2010-06-11T16:12:00.002+01:00

The Lady in the Van – Ingatestone and Fryerning Dramatic Club
Performed at Ingatestone Community Hall, 26th May 2010.

Director – Graham Poulteney

What a pleasure to find a “new” society (new in the sense that it has just joined NODA and invited yours truly to review a production for the first time) that is choosing interesting and challenging plays to perform and producing them really well. The Ingatestone Community Hall is not the most intimate of venues; indeed, it is positively barn-like compared with the facilities that most local drama groups contend with but has the advantage of a stage large enough to accommodate different sets and lighting options without the sense of claustrophobia that besets many companies. In The Lady in the Van the director was able to place a sizeable van to stage left, covered by a black tab when necessary, while having a permanent study and garden set on stage right. This physical separation of sets also allowed for a greater physical separation of Alan Bennett from his diarizing alter ego, Alan Bennett 2, the latter staying largely but not exclusively behind his desk effectively speaking his diary entries.

Alan Bennett 2, played by Alan Thorley, captured the slightly nasal and definitively Northern vocal inflections of the real Alan Bennett very well, instantly establishing an audience rapport and amusing us with his witty reflections on the hum drum lives of ordinary people. In one sense he was the anchor for this play, since they were his words ultimately committed to paper and he was the filter through which his fellow Bennett had to communicate. But if Alan Bennett 2 was the head, Alan Bennett was the heart of this complex dichotomy. Delightfully played by Mel Hastings, Alan Bennett was gentle and understanding without being a pushover. His warm Northern accent was mellifluous, never harsh, and despite the fundamental differences with his neighbours and Miss Shepherd was never judgmental.

That the author’s diary should transfer so neatly to the stage play ten years after Miss Shepherd’s death is perhaps no surprise but for the play to maintain an even temperament whilst retaining dramatic purpose and interest is a testament to both playwright and the skills of the actors. Some characters had clearly been given additional weight in the play and some, such as David Stewart’s Underwood, simply added. However, the main reason for the success of this play is the enigmatic portrayal of Miss Shepherd. The diary entries focus on description and dialogue, from which it is difficult to discern any obvious character traits. The superb Jan Ford, as Miss Shepherd, chose to play her as intelligent, eccentric, slightly paranoid about certain aspects of her past (the motor cycle incident, possibly!) but with a measured tone, so that you hang on every word, however ridiculous. Jan Ford’s portrayal of Miss Shepherd as a relatively fit elderly lady allowed her to extract interest from even her slightly swaggering walk, contrasting with her occasional use of the wheelchair later on. Overall, she was superb.

This was a highly entertaining and yet thought-provoking production that encouraged me to re-read the original diaries and discuss with friends what would be the motive for an intelligent woman to live 15 years of her life in a van in somebody’s driveway. Some form of madness perhaps or a lifetime’s penitence for imagined sins committed when in the company of nuns early on in her life. Whatever the answer, this was a great introduction for me to the capabilities of Ingatestone and Fryerning Dramatic Club.

Congratulations to all.
Review – Stewart Adkins, NODA East, District 8

Blackmore Players - Anything Goes

2010-05-24T09:22:00.000+01:00

Anything Goes, Blackmore Players
Performed at Blackmore Village Hall on May 13, 2010
Director – Rosemarie Nelson, Muiscal Director – Thomas Duchan

It was with some trepidation that I attended Anything Goes at Blackmore Players since I could not envisage how the deck of a ship and the cabin scenes could be accommodated by the small stage in Blackmore Village Hall. I was also wondering how this group that normally does pantomimes, revues and plays could handle a full blown musical. Having seen My Fair Lady successfully produced here I knew it was possible but still had niggling doubts. Those doubts increased as I saw an orchestra of just electric piano and drums and an opening scene in which the men’s chorus was out-numbered by women 4 to 1. But these doubts slowly dissolved as I became immersed in the unfolding of the story.

My fascination with this show was partly triggered by my own society’s soul-searching for a company show that would be fun, affordable and popular with the audience. My preconceptions were a barrier to clear-headed analysis and it was Blackmore Players’ performance that lifted the veil from my eyes. All the reasons for preferring a proper show to a revue came flooding back to me. In a show you have a raison d’etre, a plot, characterisation and the time to develop it, relationships between characters and something at stake, which the audience cares about. Revues are more about instant gratification and although fun leave a lingering sense of disappointment, an opportunity missed. Rosemarie Nelson’s decision to take on a proper production was an excellent one in my view. This was something that demanded company ambition and ultimately got what it wanted.

Part of this ambition was manifest in the strength of the chorus singing, (more accurately the female chorus since there really weren’t many men to be heard- not their fault, just arithmetic) better than I have heard for a while on this stage. I have witnessed Thomas Duchan achieve this result before with other societies so have no hesitation in giving him credit for this. Responsible for unleashing most of the principal’s ambition was Craig Stevens as Billy Crocker who commanded the stage. His was the voice that could be relied on to do real justice to Cole Porter’s melodies and his was the intelligent characterisation that brought pace, humour and nuance to the role. Whether he was dancing, singing or acting the fool, as he did often with short pants, various silly disguises and his wonderfully sneering version of Public Enemy Number One, he was the focal point of the audience attention. This is a peach of a part which can easily be overshadowed by Reno but not last night.

But Crocker cannot carry a show on his own; he needs support, which he got from his fellow actors. Moonface Martin was a deliciously comic gangster that made the most of his lines, while Sir Evelyn’s silly arse characterisation was excellent and Eli Whitney was a great cameo part that elicited a good response from Evangeline Harcourt. Liane Pritchard was an attractive Hope Harcourt, Tracy Slade the classic dumb blonde Erma and Gail Hughes an assured Reno, who had a good rapport with Billy.

All credit to the set designers who did indeed create the deck of a ship, a cocktail bar and cabin/brig scenes with the use of hinged flats. Good lighting made these scenes all the more credible.

The Beaumont version of Anything Goes is the best version of this popular show in my opinion since it seems to accommodate more Cole Porter classics than the alternative and it can clearly be done on a small stage. I do wonder whether those in the back row could hear everything but a few more shows like this, perhaps some projection technique/vocal exercises and those doubts too should evaporate. I thoroughly enjoyed this honest production. Delightful, delovely! I really believe that a proper musical forces a company to stretch itself, especially one which is accustomed to revues and pantomimes. I was also delighted to see young people in charge of the music; they were sympathetic to the company on-stage and worked hard. There is obviously great talent at Blackmore, as I have said before, but it needs to be nurtured in a way that a diet of revues and pantomimes perhaps cannot satisfy. Please keep stretching yourselves Blackmore Players, since the result is so much more satisfying – especially for a reviewer!
Review – Stewart Adkins

CTW's Worlds End

2010-05-24T09:21:00.001+01:00

Chelmsford Theatre Workshop – World’s End
Performed at Old Court Theatre, Chelmsford, May 19, 2010
Directed by Sara Nower
This was not a play one would want to see if depressed or in need of uplifting: having said that, there was a disturbing quietness across the audience as they listened to the breaking up of a two year relationship between Ben and Kat. In the early part of the play, conversation was sparse and quite argumentative. As the plot developed, we had many mixed emotions in evidence. Ben is not quite sure why Kat’s leaving and he is intrigued to know a lot about her new partner, Josh, whom he meets shortly. They don’t hit it off and it eventually results in Ben receiving a rather convincing punch on the nose. The set was extravagantly dressed, in order for the props and furniture to be removed having been packed away ready for Kat’s moving out. Kat’s friend, Thea arrives to lend a hand and momentarily is almost seduced by Ben who asks her to stay on. Arguments prevail until such time as Josh agrees to drive Thea to the tube station. This leaves Ben & Kat alone. They talk over old times – both good and bad and it is not until the very last moment that the audience realise that Kat really is going to leave! Once gone, will Ben be suicidal, relieved or depressed? There is a mild suggestion that he has a ‘problem’ which has required the help of a ‘doctor’ and we are never really enlightened as to whether this is an alcohol, medical or mental problem. To me, this play was just so true to life. The players were very good in maintaining their characters and only one minor criticism – the diction in the early part of the play was sometimes lost, which resulted in a failure of the audience being kept in the loop. But this was well acted, staged and designed.

Reviewer – Eric Smart

TAP's Farndale Avenue Murder Mystery

2010-05-24T09:19:00.000+01:00

Tollesbury Amateur Players – The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery
Performed in Tollesbury Centre, May 20, 2010

A warm welcome was given by the Tollesbury Amateur Players who were dressed as Townswomen Guild characters, complete with hats and badges, offering home made fudge as you entered the hall, what a nice touch!

The production centres on the four ladies of ‘The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society’ attempt to mount "Murder at Checkmate Manor". They are a force to be reckoned with; the sheer scale of their ambition is only matched by overwhelming confidence in their abilities to act all fourteen roles. Something they try to do with help from their poor, put on stage manager, played by Pete Sheldrick, who later acts as the Inspector. He did a splendid job of both roles.

The play is set in the drawing room of Checkmate Manor where they all gather to hear the reading of the will. Someone has designs on the millions and will stop at nothing to get them. Hilarious murders where the actor crawled off stage after dying added to the fun of the evening. Jackie Quilter amazed me with her numerous characters and her ability to do two backward rolls off the stage, what a performer!

The buxom Miss Farndale (Alison Murray) gamely played the teenager Daphne and the older role of Rose. She also clearly enjoyed doing a mimed song and dance act with the Inspector. Maybe a shorter version of the song would have given the play a bit more pace, as would a shorter film and scene changes.

Sue Felstead was given four roles which gave her scope to try out different accents and she seemed to really relish acting in the play, which was unfolding in front of her, with fits of laughter on stage. Teresa Harris as Pawn the Butler and the Colonel had the tough job of continually changing costumes and did really well in the role. What fun this must have been for all of them in rehearsals!

The falling scenery, sound effects in the wrong places, the ham acting and cues that are missed all help to give the feel of a really terrible am dram play which had the audience laughing from the start. The cast carried on regardless, showing a film of their outing in Clacton, a fashion show with an incredible space ship coming down from the church roof and a murder mystery quiz.

The projection of voices from all the actors was superb and the set that fell apart took a lot of effort from the huge crew that helped out at this production. Having only a weekend to get all this set on stage showed how committed Tollesbury Amateur Players are to putting on a production. This certainly was a team effort and you really felt that each and everyone of the team on and off the stage had really enjoyed this production. Well done Tollesbury Amateur Players. I look forward to coming again. Oh and what wonderful cakes in the interval!!

Reviewer – Christine Davidson

Ingatestone Musical and Operatic Group - Yeomen of the Guard

2010-05-09T12:23:00.000+01:00

Yeomen of The Guard, IMOG
Performed on Thursday April 29th 2010 at Ingatestone Community Hall
Director and Musical Director – Betty Moore

“Yeomen” is one of my favourite Gilbert and Sullivan Operas and is as near to Grand Opera as they ever get within The Savoy Canon. I haven’t seen the orchestra at Ingatestone play from the centre front before and it worked well. It was a compact, but efficient group well controlled by the M.D., Betty Moore, and the balance with the vocals on stage was maintained sympathetically throughout the piece. I noticed how much the sound system had improved since I visited last and this also added to the enjoyment of the evening.
The lighting was effective and the use of the small stage was enhanced by imaginative direction and extra entrances and exits to the front of the stage. Paul Lazell’s scenery was of the accustomed high standard and Tony Brett’s costumes were, as usual a delight to behold.
The use of the chorus in backing some solo numbers was effective and the doubling up by the ladies in the opening scene got the piece off to an energetic start. Sir Richard Cholmondelely was played with much gravitas and his accomplished acting was backed up with a good singing voice. Colonel Fairfax acted the part of the wronged nobleman convincingly, although he occasionally experienced problems with his intonation.
Sergeant Meryll was a pocket battleship of energy that belied the character’s age but was enjoyable to watch and this thankless part, I always think, was portrayed with the obvious knowledge of an experienced Savoy Opera follower. Leonard Meryll, always a difficult part to play, was handled, with credit, by someone, who I believe is new to the stage. Jack Point persuaded, at the denouement of the piece, that he was heartbroken, or even dead, and although he was not the archetypal jester of the opera, was nevertheless totally convincing and performed a difficult part with much dexterity and skill. Wilfred Shadbolt was amusing and sang well and his scene with Phoebe during the removal of the keys worked extremely well. Dame Carruthers was, for me, a little too benign for the “battleaxe of The Tower”, but, having said that, sang and acted the part convincingly. The voice of Elsie Maynard was a delight and she also portrayed the part of the innocent, but gullible, young strolling player with sincerity and effectiveness. Phoebe Meryll sang well and, on the whole, her acting was complementary. I did feel, however, that the portrayal, in places, lacked sufficient emotion.
Throughout the opera, the chorus was animated and sang and moved well. I cannot finish reporting this enjoyable evening without mentioning The First Yeoman. Here was obviously someone who should have or had played front line principle parts. He had a lovely voice and acted this small part with aplomb.

Thank you, I.M.O.G., for a highly entertaining evening.

Nick Clough

WAOS - review of Chess

2010-05-04T14:48:00.000+01:00

WITHAM.A.O.S.
CHESS

Directed by Nikki Mundell-Poole
Musical Director Stephen Kenna
Performed at the Witham Public Hall 29th April 2010

Set against a cold war background with an intricate story line Chess first played for three years in the West End in 1986 and in 1988 premiered on Broadway.
This is a very demanding show for a company which requires some very strong voices to take the principal leads. Witham were blessed with some outstanding voices to play the male leads singing extremes of range from almost Falsetto to Double Bass. All the principal men did justice to their roles and we had some fine singing from John Escott as Freddie Trumper, David Slater as Anatoly Sergievsky, Stewart Adkins as Alexander Molokov, Tom Whelan as The Arbiter and Tim Sheppard as Walter de Courcey.
I was totally convinced by the characters they portrayed with a variety of styles, all very different and interesting. The principal ladies consisted of Florence Vassy played by Jenni Leggett and Svetlana Sergievsky, played by Kathryn Adkins.
Their duet I know him so well was excellent and both gave great performances.
The four part singing, some of it in a Russian style, was balanced beautifully.
Every show has highlights and I particularly liked Pity the Child sung so well by Freddie, the moving Anthem sung with great feeling by Anatoly, and the super The Soviet Machine sung by Molotov and Chorus. The overall feel of this show was of a very high standard and the best “Chess” I have seen for some time. The inclusion of the three screens displaying events relating to the chess tournament, the TV coverage and the like worked very well and was informative and interesting. The publicity for local traders on the screen during the interval was a good marketing idea. The set was very well designed with the crew working well, moving sets in a way which did not interrupt some very tense moments. The costumes all fitted well and looked very elegant.
The pit singers added to the overall singing on this show, and the Orchestra under Stephen Kenna was really supportive with a demanding score and many changes of style. Stephen kept a good pace throughout. Nikki Mundell-Poole should be extremely pleased with this production and must have worked so hard to produce one of the best shows I have seen at Witham. Many congratulations. This felt very much like a real company effort which came across as such to the audience. I wish the society well with forthcoming productions.

Reviewer - Ann Platten

Maldon Drama Group's Fawlty Towers

2010-04-28T13:36:00.001+01:00

Fawlty Towers –Maldon Drama Group,
Performed in Maldon Town Hall, April 22, 2010.
Director – George Greenham

MDG made a big effort to tackle three episodes of Fawlty Towers - The Hotel Inspectors, Communication Problems and The Germans - with a cast of 18. While it is difficult to avoid comparisons with the TV show it is clear that any production like this cannot be judged as some form of impression but rather as a dramatic interpretation in its own right. In this respect MDG produced a highly entertaining evening. The Fawlty Towers staff and residents remained the same throughout and the same set was adapted for each episode. Full marks for scenery since here was reproduced the reception area we know and love, as well as the dining room, by having a doorway centre stage between the two main acting areas. Two additional areas to the front and side of the stage were used as the office and guest bedroom respectively. With two formal exits at the back centre stage, one to the outside and the other to the upstairs of the hotel, this was a complex but fully functional set.

Large props, such as the reception counter, were a constant feature; other large props, such as the hospital bed were brought on and off as required. The technical elements of the production worked well, with good coordination of action with sound and appropriate business. For example, the radio scene worked well in Communication Problems and the moose’s head was also a triumph.

The staff of Fawlty Towers made a good team and their movement about the stage, entrances and exits were all fluid. Neil Fisher as Basil Fawlty warmed to his role throughout the evening becoming more and more uninhibited, culminating in the hilarious goose-stepping scene towards the end. Ghislaine Davis, as Sybil, was a very frosty and formidable foil to her husband and Nikita Eve was a very attractive and loyal Polly. Manuel had some of the best scenes and was particularly funny in his “I know nothing” and “fire in the kitchen” scenes. Alfred Knightbridge’s forgetful Major came into his own during Communications Problems.

Space does not permit comment on every member of the company but Pearl Brown as Mrs Richards deserves a mention, not only for keeping her voice clipped but maintaining her character throughout the business with the hearing aid and telephone – not easy. This was a splendid company show that was extremely well received on its first night. I hope it sells out every other night and entertains Maldon as much as it did me.

Reviewer – Stewart Adkins, NODA East, District 8

Young Gen's Little Shop of Horrors

2010-04-28T13:33:00.000+01:00

Young Gen’s Little Shop of Horrors
Performed at the Cramphorn Theatre, Chelmsford, Monday 19th April 2010
Director – Jeremy Tustin
Musical Director – Bryan Cass

Young Gen made full use of the limited space in the Cramphorn with a largely fixed set and a folding wing stage left. Double doors stage centre provided space for Audrey II and her manipulators. A shop window and door overlooked Skid Row with its dustbins outside. Thus, the two acting areas were delineated. The set and scene changes generally worked very well despite a wayward door that would not stay shut. With the band above/behind the set a good sound was achieved and the balance between band and company generally good.

The Girl Singers were strong, danced well and had attitude. I liked the choreography throughout; it was sharp, contemporary and well adapted to the limitations of the stage. Chorus was given plenty to do despite there being only a few opportunities in this show to appear, my favourite being The Meek Shall Inherit. All the principals were well characterized, particularly Annabel Bond as Audrey with her breathy vulnerability and permanently defensive arm gestures. She sang beautifully and acted well; perhaps she could have been a little louder in Act 1 when it was sometimes difficult to hear the endings of the lines. However, I suspect such a technical issue will have been resolved by the second night. Sam Pridige was a suitably geeky Seymour and portrayed the emotional spectrum between love and anger very well. Kevin Jarvis was a good Mushnik with strong delivery and characterization, while Sam Toland as Orin Scrivello, the evil dentist (or is that tautologous?) probably has a career in sadism ahead of him, such was his credibility. Bart Lambert, as the voice of Audrey II, was great and managed to squeeze both humour and power from his role. Finally, Callum Crisell as all the other speaking parts, had great stage presence even when his costume occasionally failed him.

I have always loved this show since I first saw it done by a youth group and so Young Gen had a headstart with a strong show choice. However, the direction and execution of the show was excellent and apart from a few first night teething problems (mentioned above) this production certainly lived up to expectations. Its suitability for the age group involved was good and there were no weak links. This was a great night out – pity there were a few empty seats.

Reviewer – Stewart Adkins
NODA East District 8

Congratulations to NODA Award Winners

2010-04-24T18:49:00.002+01:00

At the NODA EastAGM the awards for Best Pantomime, Best Play and Best Musical were awarded today at the Stoke by Nayland Golf Club.
* Best Pantomine was won by Wickham Bishops Drama Group for Panto at the OK Corral
* Best Play was won by Tollesbury Amatuer Players for Allo Allo
* Best Musical and best overall production was won by Chelmsford Amateur Operartic Society for Chess.

CTW's Steel Magnolias

2010-04-19T15:01:00.000+01:00

CTW - Steel Magnolias,
Performed in Old Court Theatre, Chelmsford, 9, April 2010
Directors – Jenny Almond and Catherine Kenton

Set in a hair salon in Louisiana, Steel Magnolias takes its audience through the gamut of human emotions from joy to despair in the course of just four scenes. As usual at CTW the set was impressive. The salon chairs, facing the audience and the imaginary mirrors, together with shelves of shampoo, towels and hairspray, even a working sink with shower attachment, created a highly credible acting environment. The raised platform at the back, set apart behind banister rails, not only allowed upstage actors to be seen but also broke up the set into different working areas. Larger props, such as the lighted Christmas tree and radio, all actually worked and added to the credibility. The music between scenes was also well chosen.

For a first night the fluency of the dialogue was truly impressive; I didn’t detect a missed beat. Therein lay a slight problem for me since the accents took some while getting “tuned-in” to and a slightly slower pace and, on occasions, more volume, would have helped the audience’s understanding. Perhaps as the production relaxes during the run the diction will settle down. Truvy, the hairdresser with a heart of gold, was entirely convincing in her acting, her accent and her hairdressing! She managed to chatter away, as hairdressers seem to do, without losing dramatic pace or audience engagement. Her facial expressions, whether she was speaking or listening, were totally engaging. Truvy is actually the glue that sticks the six characters together, not just because she is a constant presence in the salon rather because she represents normality. All the other characters have some type of flaw or anxiety. Annelle played well the nervous fidgety girl who was rather ashamed of her past, reflecting this in her posture, movement and invasion of personal space. Clairee, the wealthy widow with the sharp tongue, had less to do in Act 1 and yet she had some of the best laughs with her piercing one-liners. This character developed through the play as the sum of the one-liners, amplified a little by the occasional explanation, somehow created an image of a selfish survivor who could be relied upon to defuse a fraught moment with a well-chosen bon mot. This proved to be the case in Act 2 as Clairee managed to turnaround a poignant moment of angry desperation for M’Lynn into a funny and yet entirely believable joke. M’Lynn was finely judged as the American wife and mom, caring for the mental anxieties of the community during the day, and yet nursing her fears for her own diabetic daughter Shelby all the time. Here was a “mom” who did indeed know best, took easy charge of her daughter’s “hypo” and made hard choices look easy when she gave a kidney to allow Shelby to have a normal life. The contrast between loving concern and howling despair in the final scene tore at the heartstrings as the audience’s sympathy flowed like the tears we all shed. Shelby herself was a delightful young girl, untroubled by her diabetic condition and her subsequent dialysis but more aware of her husband, Jackson’s selfish pursuits. This knowing but uncomplaining character was played well and one wonders whether Shelby knew that the cutting of her hair and gathering of the shorn tresses was prescient of her own life being cut short. The final character, Ouiser, was a curmudgeonly woman whose larger than life persona brought an extra dimension to the play. Her veneer of indifference was soon scratched and dented by her reaction to seeing Shelby’s baby’s photograph and by M’Lynn’s distress when she talks about Shelby’s final moments. The essence of this play seems to be about love and friendship in equal measure and these fine actresses gelled well, convincing the audience that they had known each other for years. CTW’s Steel Magnolias was extremely well directed and well played to create an enjoyable yet moving night out at the theatre.
Reviewer – Stewart Adkins

CTW's World's End - coming soon

2010-04-19T15:00:00.002+01:00

Tollesbury Amateur Players - Coming soon

2010-04-12T13:40:00.002+01:00

ESSEX Police presents Forum

2010-03-29T23:19:00.001+01:00

CAODS - Fiddler on the Roof

2010-03-15T08:39:00.001Z

Fiddler on the Roof – CAODS
Performed at Civic Theatre, Chelmsford, February 25, 2010
Director – Ray Jeffery, Musical Director – Stuart Woolner

I was surprised at the relative lack of spectacle, technical wizardry and general stage magic that we have become used to at CAODS. Once I became acclimatised to the simplicity of the constant backdrop of village houses, perhaps even caricatures of houses, with a very large expanse of sky above it, I settled in and was able to let the music and dialogue speak for itself. This was a very “clean” production in some ways – no dirty clothes and faces for this peasant people – but it strove for authenticity in others – plenty of superstitious spitting and the rather tiresome pronunciation of Sabbath as Shabbatt/Shabbas. This cleanliness continued with the use of simple large props (table, cupboard or bed for the inside of Tevye’s house, the village well, the inn, a station halt etc) thus allowing plenty of room for what was a very large cast. The ambience created was thus one of spaciousness, even isolation, conveying the twin messages of hardship and community. This worked particularly well when Tevye had the stage to himself, pulling his milk cart and talking to God, with no distractions. It also worked well when Hodel and Tevye waited at the station halt in what was obviously a bleak, cold and desolate place. The lighting plot was excellent, combining bold colour backdrops or snowstorms for the sky as well as focused spots and down lighting on freezes and song/scene endings.
The singing could not be faulted and the large cast, split between Papas. Mamas, Sons and Daughters, created a wonderful wall of sound that seemed very natural, with perhaps less need for amplification than usual. This allowed for an excellent balance between stage and orchestra, which meant that the orchestra was not intrusive and simply blended in. The movement of such a large cast was also good, with Tradition and Sunrise Sunset both being outstanding. The principals were well cast for acting age, compatibility and vocal skills. Tevye was superb with a resonant voice that sang beautifully but which also had a rumbling ethnic authenticity. His characterization was also excellent, providing a lightness of touch that generated plenty of humour but which also evoked enormous sadness. The humour came through without undermining the sensitivity of the “engagement” scenes and was most obvious after “The Dream”. The sadness at its extreme, provoking an almost unanimous audience grab for the Kleenex, was Tevye’s rejection of Chava. When Chava was dragged along the ground by Tevye’s cart the emotion was almost too much to bear.
Space does not allow much comment on the rest of the cast but Golde was a shrewish foil for Tevye and her handling of Chava’s disappearance and Tevye’s rejection of her was extremely good. Each of the three singing girls was strong and well cast as were their partners. Motel played the weedy tailor well and provided a strong contrast with the headstrong Perchik. Lazar Wolfe, Yente, Grandma Tzeitel and Fruma Sarah all completed a strong cast of major principals.
This was an excellent production that succeeded on the strength of its cast and the underlying story. Who needs spectacle and stage trickery when the rest of the ingredients are in place?

Reviewer – Stewart Adkins
NODA Rep District 8

Auditions for Dog in the Manger - CTW

2010-03-15T08:28:00.001Z

Auditions for The Dog in the Manger by Lope de Vega and translated by David Johnson.

Chelmsford Theatre Workshop are holding open auditions on Monday 19th and Tuesday April 2010 at 19.45p.m. at The Old Court Theatre. The readthrough of the play will be on Friday March 26th at the same location & time.

The play will be on from July 22nd-24th & 28th - 31st with a special charity evening attended by the Mayor and Mayoress of Chelmsford on Tues 27th July.

We would love to see old and new members come along to our open auditions and for more information please look at our site www.ctw.org.uk

Wickham Bishops Drama Group - Pinocchio

2010-02-20T10:16:00.000Z

Pinocchio, Wickham Bishops Drama Club (WBDC)

Reviewed Friday 8th January - 7.30pm, at Wickham Bishops Village Hall

WBDC is clearly a society who does not shy away from a challenge. The story of Pinocchio is complex and this production directed by Richard Cowen, assisted by Linda Burgess, took the audience on a journey from the village of Collodi to Funland, The Circus and the inside of a Whale. It was indeed a lavish production with no expense spared paying much attention to detail throughout.

The fourteen main characters performed well and were supported by a competent chorus who showcased many talents especially in the Circus scene. It was particularly pleasing to see such a wide age range in the chorus and some new faces.

Pinocchio, played by Claire Burgess provided good characterization with a lively performance. Len Howard as Gepetto was endearing and showed great sensitivity, particularly in his rendition of ‘Wish upon a Star’. Lampwick, played by Rebecca Lee supported Pinocchio well, and it would have been nice to have seen more of her. Jack Williams as Mr Cricket was confident, clear and enthusiastic, engaging well with the audience.

Dafydd Bates played Mr Fire Eater and The Ring Master. As Mr Fire Eater he was the key in setting the plot and achieved good audience participation. As the Ring Master, with his touch of Monthy Python / John Cleese, he provided a clever mix of fear and humour. The Coachman, played by Ashley Saunders sang ‘Join the Circus’ from Barnham well. Mr Fox - Laura Kittle, and Miss Cat - Debbie Allen matched well and gave polished performances.

Linda Burgess as the Blue Fairy gave a solid performance and ticked all the boxes of what a pantomime fairy should be. Cynthia Stead as the High Court Judge added some much needed comedy.

There were many parts of the show where the special effects achieved by sound, lighting, costume and scenery were outstanding, in particular the use of UV lighting and costumes in the ‘under the sea’ scene. Also the combination of sound, scenery and lighting inside the whale were very effective.

Musical Director and pianist, Tom Duchan aged 18, headed a young band which was well balanced but could have been used more. Also the simple but effective choreography was supplied by Heather Howard, making good use of the Junior Workshop Group.

Overall, this was a most enjoyable production of which WBDC should be proud. However, the script was rather ‘wordy’ at the expense of some of the more expected traditional elements of Pantomime and musical numbers. There was a good mix of the old Panto jokes. They were, however, often missed possibly due to the lack of accentuation from the Percussion.

Thank you WBDC for a most enjoyable evening and such a warm welcome.

Reviewed by Sue and Steve Rogers

St Andrews Youth Fellowships - Hunchback of Notre Dame

2010-02-20T10:15:00.001Z

ST.ANDREWS YOUTH FELLOWSHIP SOCIETY -HUNCHBACK OF NOTRE DAME
Director: Peter Ellis
Musical Director: James Tovey
Performed at Sandon Village Hall. On 16th February 2010

An unlikely subject, one might think, for a Pantomime, but all the ingredients were there, except perhaps for a witch, and therefore we had oppression of the citizens, lots of misunderstandings, some characters doing silly things, others doing good things and above all a happy ending with love and laughter. Believe me there was lots of laughter, and quite the best reaction between stage and audience that I have experienced for some time. Generating this reaction early in the performance is essential to success in pantomime, but here the link was established during the Director’s pre-opening remarks about safety and welcoming visitors, and before the curtains opened on the Cathedral bell tower, occupied by two gargoyles whingeing about the terrible noise of the bells, a lasting theme through the show.
A small cast of 14 youngster made a good job of potraying 21 named parts, including villager chorus, with some very smart and quick costume changes. Jessica Moore played Quasimodo, the Hunchback, who was suitably humble and pleased when things went right. Sebastion Pountney was the brutal and unforgiving Justice Minister, Claude, with lots of stamping and shouting. Katherine McKeon was a delightful Esmeralda, the gypsy dancer, who stole the heart of Phoebus, the Captain of the Guard played by Jade Cooper, and Laurence Green got himself (herself?) into a bit of a tangle, mostly intentional, as Fe Fe Fe La Large, the innkeeper. Great efforts had been made with scenery and costume and I was particularly impressed with the UV display in the Court of Miracles. There was plenty of familiar music in the show fitting well into the plot, and ensemble singing came through well, but I do feel that the 3 piece band should have kept their volume lower for the soloists.
This was a first night performance and included some of the pitfalls that can occur on these occasions, such as missed cues, late entrances and so on. Yet all of this was accepted by a highly enthusiastic audience as part of the fun. As the evening progressed there were signs of increasing confidence and later in the week the audience will be seeing a more polished performance, BUT will they contribute as much to a great occasion as did the first night audience of which I was delighted to be a part? Thank you all for a most enjoyable evening.

Report by John Warburton Regional Councillor

Phoenix Theatre Group - Three One Act Plays

2010-02-20T10:13:00.001Z

Phoenix Theatre Group
Performed 12th February 2010, in ChristChurch, Chelmsford
The Cobbler’s Ball, Director – Tricia Childs
The Fifteen Minute Hamlet and The Celebration, Director – Michael Lewis

This triple bill of one Act plays started well with The Cobbler’s Ball, a melodrama complete with exaggerated gestures, a sneering villainess and a Leonard Sachs-style Chairman (Reg Peters). This was a good debut by Jo Peplow-Revell as the hapless Vanilla and Rob Francis’s Ronald, the innocent simpleton, was very funny indeed. Elizabeth Myddleton-Evans made the most of her role as Mother and Angie Gee as Lady Jasmin was an excellent female cad. The set was simple but effective, the audience participation was strong and the twist at the end turned what was an otherwise run of the mill melodrama into something a little more interesting.

The Fifteen Minute Hamlet did not live up to my expectation. Although the set was very clever in its construction the requirement to change it slowed down what should probably have been a much slicker play. This lack of pace was compounded by the trumpet solos in between scenes. No doubt these were inserted to add some gravitas to the play but they simply slowed down the action. (this was not the fault of the trumpeter, let me stress). The production was also hampered by some poor enunciation in some parts and by the time I had worked out what was probably said I had missed some vital progression of the plot. It may have been slowness on my part but when actors double up on characters it is perhaps helpful to make the differences between their roles more obvious. The use of modern dress I have no objection to but the lack of differentiation between characters was a problem for me. How to act without physical props is an interesting debate. The absence of props, such as lanterns or swords, I understand but acting or miming their replacements needs very careful handling if the result isn’t to look a bit, dare I say, amateurish. Enough said.

The Celebration, by Chekhov, was the complete opposite to the previous play. It was costumed, it was slick, there was purposeful movement and good use of the stage. Each character was finely drawn and well played, with good facial expressions, body language and lively interplay between the actors. Andy Millward was the misogynistic misery-guts to a T and Neil Smith’s Andreyevitch was smooth, self-satisfied and slick. Joan Lanario’s Tatiana was wonderfully lively and amusing while Faye Armstrong’s Nastasia brought a down to earth doggedness to the production and whose dialogue provided the exasperation needed to trigger the explosive and exhausting finale. The best was definitely saved until last in this triple bill.

Reviewer – Stewart Adkins

Blackmore Players = Blackmore's Got Panto

2010-02-04T23:16:00.000Z

Blackmore Players, Blackmore’s Got Panto
Performed at Blackmore Village hall, January 22, 2010.
Written and Directed by Margaret Boreham and Pauline Skerritt, Muiscal Director – Shirley Parrott

I am always impressed by those who are self-reliant, being fairly dependent on others myself. The ability to design, construct and paint scenery and make good quality costumes is wonderful but to write the script for your very own pantomime is something else again. Not only did this production include all the usual formulae expected in a pantomime - the dame, the stupid duo, principal boy and girl, love interest, pantomime horse, catchphrases, community singing, a UV scene, young children as fairies and animals and a baddie in black that we could boo and hiss at - but also the central theme was brought right up to date by using reality television as the driver for much of the plot. Using Pantoland as the backdrop for the pantomime characters was clever and allowed all members of the cast to have a character and a colourful costume. The rhyming couplets used by Fairy Nearly, as narrator, were witty and new but kept to the spirit of traditional pantomime. Some of the dialogue and stage business veered off-piste occasionally but probably worked successfully at both a child and adult level. This was an enjoyable modern take on the pantomime genre that could have been even more so had it been judiciously pruned by 30-40 minutes. There were no scenes that were extraneous but each scene could have been trimmed by 4-5 minutes, making for a pacier production. On many occasions I felt it was time to move on, the joke had been played out and yet there was one more verse or one more variation. Nevertheless, this was a strong production with a good cast. Time and space precludes a comprehensive review but all credit to Jack Jollity (Sandra Marriott) and “Simples” Simon (Phil Davis) who were consistently strong and audible throughout. I loved Mrs Pushy (Irene Davis) and Fairy Small (Jenny Pavitt) and thought Tiddles the cat (Glenys Young) did a fine job. Congratulations to all.

Reviewer – Stewart Adkins

Tollesbury Amateur Players - Dick Whittington

2010-02-04T23:14:00.000Z

Dick Whittington, Tollesbury Amateur Players
Performed 29th January at The Centre, Tollesbury
Directors – Nicky Hatton and Jared Heigham,
Musical Director – Alex Neal

What a transformation TAP has made in the few years that I have been privileged to witness their performances. Oh yes it has! Not only does TAP make its own sets, props and most of its costumes but it has managed to fit 25 adults and 22 youngsters onto a small stage when the need arises. It also accommodates around 150 members of the audience in a correspondingly small hall but is still willing to provide refreshment and a piece of cake for a donation. The beauty of a small hall and stage is a feeling of intimacy. This is where theatre is at its best. There is nowhere for the cast to hide and so you get to see every expression and even see the brain ticking at times. This was an excellent production that showcased a huge amount of talent, not to mention energy and enthusiasm, which can be euphemisms for lack of talent sometimes but certainly not in this case. From the moment we witnessed the dialogue between Fairy Rosebud and King Rat, the former in a light pink costume and the latter with fantastically ghoulish make up and a tail the size of a kangaroo’s I knew that attention to detail was going to be a highlight. Dick Whittington was a wonderfully fresh-faced and strong character with looks and voice to match, while Ferdinand the Cat was graceful and the epitome of feminine felinity or feline femininity! The Fitzwarrens, father and daughter, were both strongly cast and the shopworkers, Simon, Sally and Widow Greasy were excellent supports. Serenity Suett was wonderfully over the top (I particularly liked the My Way duet with Barnacle) and Idle Jack made an instant rapport with the audience as a stroppy teenager. Captain Barnacle was a superb comic actor with a great voice and excellent timing. Shipshape was an excellent foil for Barnacle and was faultlessly funny as the dim-witted but hilarious First Mate. The business with the portholes and the water pistol was side-splittingly funny and yet both Barnacle and Shipshape stayed in character- great stuff. Just when I thought it couldn’t get any funnier along comes the Sultan, Yasmin and Wazir with a variation of the sand dance. Then the Sultan’s I got you Babe duet with Serenity was another hit. Needless to say, I loved this production, which not only gave 22 youngsters the chance to look cute as pixies, ratlings or Londoners etc but also represented for many a first taste of stage work. A large company had lots of opportunity to show their talents which they exploited to the full. It may seem strange to say it but I prefer to see a strong local pantomime than a polished professional show; the emotional connection is much stronger, knowing that these are local people pursuing a hobby rather than polished pros making a living. This production represents everything that’s good about a community but why should I be surprised. Having seen how Tollesbury raised the £35,000 to begin the repair of their production venue who could doubt that this group could do almost anything.

Reviewer – Stewart Adkins

Theatre at Baddow - Whose Life is it Anway?

2010-02-04T23:10:00.002Z

Photograph by David Pridmore

Whose Life Is It Anyway?, Theatre at Baddow
Performed at Baddow Village Hall, January 30, 2010.
Directors – Matt Jones and John Mabey

I was prepared for a gloomy night when I read the programme and saw the hospital bed centre stage but this production cleverly combined humour and compassion in such a way that it was impossible not to feel moved and strangely satisfied at the very end. This was partly due to a strong script and partly the way in which Roger Saddington, who played Ken Harrison, the quadriplegic, brought light and shade to the role. Technically, Roger was perfect, betraying not a flicker of movement in any of his limbs (despite what must have been overwhelming temptations to gesticulate during the animated scenes, or even to scratch an itch). Dramatically, he was also superb, characterizing Ken as intelligent and quick-witted without spilling over into self-pity; but his bursts of anger ostensibly at the system that brought the Hippocratic oath in conflict with the right to die, also betrayed his frustration for the things he knew he had lost for ever. This was a fine performance complimented by the supporting cast. The quiet but sympathetic ministrations of soon-to-be-qualified Nurse Sadler (Vicky Wright), and her relationship with straightforward John the porter (Iain Miller), all taking place either centre stage or in the acting area stage left was a subliminal reminder that as the life force from one human being diminishes the flame burns ever brighter in another. Dr Scott (Caroline Wright) was a sympathetic young doctor quickly won over by Harrison’s charm rather than just his desperate plight and fought his cause with her boss, the trenchant Dr Emerson (Robert Bastian). Bastian’s performance was very strong, defiantly sticking with his views that the medical establishment knows best but softening at the end, without betraying his principles – subtly done. Sister Anderson (Helen Quigley) was the unbiased spectator, taking no sides but ensuring that the ward always functioned and that life, for some at least, goes on. Despite having a small stage TAB created four acting areas, each one appropriately lit when the need arose but keeping Ken and his hospital bed centre stage. When the action moved away from Ken he was still nevertheless in shadow, another reminder that whatever else was going on he could do nothing but think, speculate and agonize over what the future held. This was a very strong production. Congratulations to all.

Reviewer – Stewart Adkins

A Fantastic Fiddler - CAODS Feb 23-27

2010-02-02T13:37:00.001Z

A FANTASTIC FIDDLER ON THE ROOF… FROM C.A.O.D.S

Chelmsford Amateur Operatic and Dramatic Society, celebrating its 90th year,

opens at the Civic Theatre, Chelmsford, with its new production of the timeless classic Fiddler on the Roof from 23rd - 27th February 2010.

With outstanding stage direction by professional producer/director, Ray Jeffery and familiar favourites such as ‘If I Were a Rich Man’, ‘Sunrise, Sunset’, and ‘Matchmaker, Matchmaker’ under the proficient baton of musical director Stuart Woolner, Fiddler on the Roof is guaranteed to warm your heart.

Ray Jeffery cleverly combines humour and heartache in this thought-provoking production. Its central character Tevye, a dairyman, is an old-fashioned father who wants to see his daughters married in the traditional Jewish way. But revolution is in the air and the young are guided by their hearts, not their elders. Set in Tsarist Russia in 1905, this tale of the emotional turmoil of a family facing upheaval in their lives and the world around them is an uplifting experience.

With its simple stage set, pared down for a minimalist feel, C.A.O.D.S Fiddler on the Roof is almost Chekhovian in its detail. Still pertinent and powerful, the story has a dramatic dignity which the entire cast deliver with skill and stage presence. The experienced principal line-up perfectly portrays the delights of Fiddler on the Roof adding beautifully detailed comic business, but with total respect of the show’s sentiment.

Book your tickets now from the

Chelmsford Civic Theatre box office tel: 01245 606505

Springers - The Full Monty

2009-12-17T08:23:00.001Z

Performed at the Cramphorn Theatre, Chelmsford, November 19, 2009
Director – Drew Shepherd, Musical Director – Ian Myers

Hats off to the cast and crew of Springers for a thoroughly enjoyable evening! Once again the intimacy of the Cramphorn was used to good effect, with simple sliding screens and a few large props (table, chairs, urinal, toilet cubicle, car!) being used to indicate outdoor and indoor scenes. The lighting was effective; I especially liked the down-lighting creating shadows on stage during the “redundancy” scene, which was a prescient warning of the gaps that would appear in the lives of these ordinary men from Buffalo. “Ordinary men” doing an extraordinary thing is the key issue that gives this play (with songs) its emotional strength. The loss of their jobs withdrew the psychological props that each of these men appeared to need to keep them steady. And so we witnessed the attempted suicide, the marriage breakdown, the pretence, the potential destruction of the bond between father and son; until a common purpose gave meaning to their lives and slowly allowed each man to understand his true worth in the eyes of his wife, his son or, in the case of Malcolm and Ethan, themselves. The chemistry between the six lead men was superb but this was especially so between Jerry (Pete Spilling) and Dave (Simon Brett), who gave wonderfully natural performances. Performing in a studio theatre requires a different style of acting, more realistic and less expansive than on the big stage at the Civic. The facial expressions that were so funny during Ethan’s audition, for example, would probably not be seen half way back in the Civic auditorium. Dave’s half-hearted attempt to wrap himself in Saran-wrap in order to shrink his torso was genuinely poignant as was the simultaneous realisation by the audience and Malcolm himself that Malcolm was gay. But there was no shortage of laughs during this production, as the chauvinistic Man, deliciously sarcastic Big Ass Rock and schoolboy humour of Big Black Man clearly showed. At the other end of the scale was the pathos of Breeze off the River and You Walk with Me. In fact, all of the songs were great if not entirely memorable the day after. There are too many individual roles to do justice to in this review and so I will stick with the men, whose night this truly was. Full credit to the newcomers on stage who made a fantastic debut and to the young Nathan (Owen Green) who was excellent as Jerry’s son. Despite what appeared to me to be a very difficult vocal score and in the absence of microphones all the singers did very well indeed and I suggest the absence of mikes improved the realism of the whole show. There was nothing unreal about the ending, which came after mounting tension during a fantastic closing number, Let it Go. I could almost hear the sound of 150 women licking their lips above the sound of the screaming. I don’t know whether the lighting cue was slightly late at the end of the show but 95% of the audience, the women, definitely got what they came to see – The Full Monty. Hearty congratulations and great respect.

Reviewer – Stewart Adkins
NODA East, District 8

CTW's The Importance of Being Earnest

2009-12-14T22:18:00.001Z

The Importance of Being Earnest, CTW,
Performed at The Old Court Theatre, Chelmsford on December 11, 2009.

Director – Mark Preston

I am so pleased that CTW is willing to tackle these classic plays, which seem to get very little airing in the amateur world these days. Perhaps a modern audience cannot appreciate all of Wilde’s commentary on Victorian mores, since the intervening century thankfully has made liberals of most of us but the wit, especially delivered by such a strong cast, still comes through very strongly. The central pairing of Algernon (Barry Taylor) and Jack/Earnest (Dean Hempstead) was excellent; the gently mocking tone of Algie, who took nothing seriously, contrasting with the more strident and indignant manner of Jack, whose hypocritical approach to life was so stoutly defended. Christine Davidson made an excellent Lady Bracknell, imperious and controlling, delivering few overtly funny lines, apart from the delightful paradox about having ones origins in a terminus, but being the splendid mouthpiece for so many of Wilde’s caustic views on Victorian values. Kat Tokley’s Gwendolen was a convincing mini-Bracknell and contrasted wonderfully with the apparent rustic naivete of Stephanie Price’s Cecily. Cecily was particularly well played since at no time was there any hint to the audience from facial expression or body language that what was being said, which was often arrant nonsense, was anything but the heartfelt truth. The third pairing of Miss Prism (Helen Bence) with the Reverend Chasuble (Peter Nerreter) also worked very well, both actors proving fluent and confident in their delivery. Mike Nower’s aloof yet knowing butler, Lane and Ivor Jevons’ creaking old retainer, Merriman, completed a fine cast. The three sets were not as elaborate as we have been used to seeing at CTW, Algie’s flat perhaps being less ornate than one would have expected. However, having to treble up as garden and a drawing room probably limited the options for elaboration. Lighting and sound, as usual, was good, especially the garden scene and I commend Barry Taylor for stuffing himself with cucumber sandwiches and muffins for the sake of his art. This was a splendid production that made good use of the auditorium as an additional entrance/exit and breathed new life into an already vibrant play.

Reviewer – Stewart Adkins

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

2009-12-11T08:28:00.003Z

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

2009-12-08T00:21:00.000Z

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

2009-12-08T00:19:00.000Z

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

2009-11-21T08:45:00.002Z

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

2009-11-20T16:46:00.000Z

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

2009-11-08T13:34:00.000Z

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

2009-11-08T13:31:00.000Z

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

2009-10-21T18:48:00.001+01:00

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

2009-10-21T18:45:00.000+01:00

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

2009-10-19T13:45:00.003+01:00

Blackmore End's A Letter from the General

2009-10-08T22:47:00.000+01:00

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

2009-10-08T22:45:00.001+01:00

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

2009-10-05T16:51:00.002+01:00

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

2009-10-03T14:16:00.001+01:00

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

2009-10-03T14:14:00.000+01:00

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

2009-09-26T19:01:00.001+01:00

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

2009-08-19T08:25:00.000+01:00

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"

2009-07-17T14:08:00.001+01:00

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

2009-07-07T08:44:00.001+01:00

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

2009-07-07T08:42:00.000+01:00

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

CTW's Marat/Sade

2009-07-07T08:40:00.000+01:00

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