Betty Blue Eyes – Mad Hatter Productions, The Headgate Theatre, Colchester
The story revolves around a chiropodist and his wife stealing a pig being illegally reared to celebrate Elizabeth and Philip’s royal wedding banquet in 1947. Set in austerity Britain the opening number ‘Fair Shares for All’ instantly establishes the fragile optimism of that time.
With a company of 22, it would be fair to say you might expect a few weaker performances here and there but there were none.
Nathan Rigg as Gilbert Chilvers gave a warm and endearing performance as the Chiropodist who has ‘Magic Fingers’ – which could be interpreted as a comment of the sexual frustration of many women in the 1940’s while their men were away at the front. He gave a very credible performance and was a joy to watch. He was well paired against Ella D’Arcy Jones as his wife Joyce, who was indeed a force to be reckoned with due to her need to be recognised as ‘Somebody’. Ella performed extremely well, showing lots of skill in her interpretation of the part.
I also loved Ellena Bacon as Joyce’s mother, who thinks Gilbert and Joyce are planning to kill her rather than the pig. Ellena never once broke from character even when moving furniture in scene changes. She had great comedic timing and rang every nuance out of the part.
Alex Terry as Dr James Swaby had great stage presence and was completely believable as the snobbish middle aged doctor and town councillor along with Wade Ablitt as Henry Allardice who also had great stage technique, especially when in the presence of his beloved pig, Betty.
There were many other great performances from numerous cast members but I must mention the close harmony singing of Alice Molnar, Emily Bate and Martha Mugford in both ‘Magic Fingers’ and ‘Lionheart’. All three girls had lovely individual singing voices but they blended beautifully together and the close harmonies were sung to perfection.
The show was well choreographed and had lots of great moments but I do have to mention that in some cases the strength of the company vocals was also its downfall, as often when the ensemble were singing behind principal characters you just couldn’t hear the principal lines and often instead all that could be distinguished were the backing vocals. It would have benefitted the show if they had dropped their volume to support the principal characters rather than overpowering them.
The star of the show quite rightly so, was Betty herself, masterfully brought to life by Bethany Adamson.
Once again Mad Hatter Productions provided a great evening’s entertainment.
Joseph and the Amazing Technicolor Dreamcoat – KYDS, Tiptree
Joseph was Andrew Lloyd Weber’s first musical and along with Tim Rice as the lyricist this musical was first performed way before any of these youngsters were even a twinkle in their parents’ eye. So, for them, it was a fresh piece of theatre to take on and perform.
This young cast approached the show with great enthusiasm which shone through with many young cast members giving strong and steady performances.
The show rests on squarely on the shoulders of the part of Joseph which was ably taken on by Ben Collins. Ben was confident throughout the show with a nice singing voice and good stage presence. He was also supported well by the girls sharing the part of the narrator. All of them presented the show well and took us on Josephs story with aplomb, however, it was Charlotte Kane who particularly stood out to me with her ease of performance.
Other notable performances were from Charlie Warner as Pharaoh – who literally brought down the house with his Elvis interpretation as Pharaoh and I also particularly liked Millie Sheldrick as brother Judah who not only worked hard throughout the whole show but sang and performed Benjamin’s Calypso very well.
The set was lovely on two levels with silhouetted palm trees in Act 1 and pyramids with a fantastic pharaoh head on the back wall in Act 2. This allowed for some great opportunities to stage some pictures with the cast. This set along with some great costumes gave a real wow factor to the show.
As a musical Joseph can be a tough, as there is very little dialogue and it is nearly all sung through, consequently there were a few shaky vocal moments from some of the soloists but with such a young cast this is to be expected and I commend all of them for their bravery in standing up there and giving us their very best. One area that felt a little weak were some of the dance numbers which looked a little under-rehearsed and a bit challenging for some of the cast. While some of them could obviously manage the routines perhaps others should have been given something a little simpler enabling them to deliver it well and give a polished performance. One number where this was not an issue however, was the Song of the King which was excellently delivered on all levels.
It seemed to me that this company thoroughly enjoyed performing this show and there were huge levels of joy and excitement rolling off the stage in waves. It was a pleasure to watch them and I am sure many of them, as a result of performing with this group, will go on to gain greater confidence both on and off stage which is great credit to Director Alex Berriman and her team. I look forward to seeing another KYDS production in the future.
‘All Shook Up’ , CMTS – Princes Theatre, Clacton on Sea
Photo: Robert Wong
All Shook Up is jukebox musical featuring the songs made famous by Elvis Presley and using the concept of Shakespeare’s Twelfth Night.
Every number is an Elvis Classic which the audience will recognise and hum along to.
The show opens with the fabulous Jailhouse Rock. Right from the start Sam Small as Chad had the swivelling hips and the charisma necessary for this character. He commanded the stage in all his scenes with just the right amount of narcissism and style. Playing opposite him was Kirsty Heathcote as Natalie. Kirstie had all the small town charm as Natalie but was also very convincing as Ed with her deeper voice and manly stance. Kirstie has a natural flair for comedy and this was very evident with her facial expressions and body language throughout the show. This was never forced making her a joy to watch. She also showed with or without Blue Suede Shoes she has all the dance moves.
For me the under sung hero of the show was David Richardson as Dennis – his every move was nerdish and awkward but it was just marvellous to watch. He lived the character completely as the love struck best friend and also proved he has a fine singing voice. His rendition of ‘It Hurts Me’ in Act 2 was the best solo number in the show. Another Strong performance was that of Rachel Welham as sex siren Miss Sandra. She oozed sex appeal and her stage presence was perfect.
Although there wasn’t an orchestra and the society opted for backing tracks instead, this was a brave choice giving them the complexity of a full orchestra or band but unfortunately it was far too loud meaning the radio mics were ramped up making the sound very tinny and in places performers were trying to outdo the volume causing shouting and pitch issues.
Other notable performances were Chris Whiteman as Jim who was just right as Natalie’s father and very believable in his attempt to be cool and mimic Chad and Steve Church as Sheriff Earl who finally finds his voice which was greatly appreciated by the audience. There were other good performances from Phoebe Wiggett as Sylvia and Victoria Huxster as the Mayor and despite both these young ladies singing exceptionally well they were perhaps just too young to deliver the maturity that these roles require which was evident when played against the correct age gentlemen.
The dance routines and the chorus numbers were all well delivered with some great costumes and the set and lighting added lots of atmosphere.
This was a rock and roll extravaganza and deserves better audiences than the one tonight so get some tickets for the final performances and get yourself All Shook Up!
Handbagged, Chelmsford Theatre Workshop – The Old Court Theatre, Chelmsford.
I do remember Mrs Thatcher although I was too young to really grasp the political climate at the time but this playful and interesting speculation on what might have gone on behind closed doors during the 11 years that she was Prime Minister and her weekly meetings with Her Majesty was very enjoyable and at times quite moving too.
There are usually two Queens and two Thatcher’s on stage at any one time: these are older and young versions who occasionally disagree. It was reported that both Margaret and the Queen had a difficult relationship and the brilliant writing and portrayal of this piece surmises that perfectly.
Even the interval is a bone of contention: The Queen wants a break, but the PM is determined to press on.
Debbie Miles as the older Mrs T gave a solid performance showing great control in her delivery of the part and she was partnered by Andrea Dalton as the younger and more aggressive Margaret. In fact, Andrea had got the intonation and mannerisms of the part down so well it was hard sometimes to remember that you weren’t watching the actual Iron Lady herself.
As Her Majesty, Jane Smith gave a very convincing performance as the older Queen, her vocal imitation spot on and very believable as the slightly irritable monarch at times while Laura Hill as her younger self, had all the Royal composure you would expect and when both greet the commoners you did feel like you were in the presence of gloved royalty.
Casting Mark Preston, who seemed to morph into every character he undertook and Kevin Stemp, who reminded me of Tony Robinson, in all the smaller roles was inspired. Both played multiple parts as various people involved in the headlines of the day including Dennis Thatcher, both Ronald and Nancy Reagan (Mark Preston looking very fetching in a red dress and leopard skin heels), Gerry Adams, Arthur Scargill, Neil Kinnock, Michael Shea and Geoffrey Howe, as well as breaking down the fourth wall by chatting to the audience.
To complete the circle, the actors periodically get to comment on the way the show is being handled and the parts they are required to play.
Many of the major events of the period are touched on, including Zimbabwe independence, the Falklands War, the miners’ strike and the Brighton Grand Hotel bombing, but this is anything but a dry history lesson. We will never know what actually happened every Tuesday for 11 years in those meetings but tonight’s production gave us a glorious peak into what might have been.
Do try and see this if you can as it offers a great evening’s entertainment which won’t disappoint.
Farm Boy – The Mercury Theatre, Colchester
Photo: Robert Day
What a charming piece of theatre this is. With 2 actors, a musician and a collection of props including a tractor this production, which is aimed at the younger generation was heart-warming and emotional, showing a wonderful relationship between Grandfather and Grandson and all the life stories Grandpa can impart to him and the audience watching.
Danny Childs as the Grandson led us, like a narrator through the piece, his ability to bring to life every character and to show us a wide range of emotions through his face was captivating. As an audience you relived every joy and every sorrow with him.
On the other side there was glorious interaction from Gary Mackay as Granpa. He bumbled and staggered through the characters with such charm and affection that you loved him as if he were your own grandfather.
The play dovetails into the War Horse story perfectly which is also by Michael Morpurgo- introducing it to a younger audience who may not be familiar with the piece. Farm Boy was not only wonderfully written but beautifully acted with all the different parts both characters portrayed. The inclusion of snippets of music here and there from Ru Hamilton added extra depth making it even more thrilling in places.
There were times when I had a tear in my eye and couldn’t help but think about my own grandfather.
As one of the few adults without children in the audience it was a pleasure to see so many young faces also captivated by the performance and I hope for many it is the start of many years visiting the theatre. If this was their first step into live theatre and the arts, I could not think of a better play to see and to encourage them to see more. However, this is not just a piece for children and any adult privileged to see it will walk away as we did full of memories and having enjoyed a wonderful piece of theatre.
When Frank Met Ella – Blackmore Players, Blackmore Village Hall.
When you see Frank Sinatra and Ella Fitzgerald in the same sentence you are talking about 2 all-time greats – legends in fact! So, going to see an evening of their music I wasn’t sure whether it would live up to expectations.
On arrival, it was clear a high amount of effort had gone into the evening from the red carpet with the nightclub name on to the coasters on the tables – all adding to the overall ambience. The actor/waiters impeccably dressed and all wearing radio mics also gave a slight feeling of a Disney Themed restaurant where you expected them to jump on the tables and belt out a number or two and in that aspect, we were not disappointed.
Other than a steady diet of Musical Theatre I was brought up on the big band sound of Glenn Miller, Benny Goodman and the Rat Pack so I recognised most of the songs on the playlist and knew if nothing else I would have a grand sing-along night however, once the band started up and the evening was opened by the lovely Lisa Rawlings, I knew it was going to be far more than that.
I must commend all the performers tonight, it is always challenging standing up front and centre and to sing in front of a half-lit house with little else to distraction from your vocals.
There were some great moments in Act 1 – the fun duet between Barbara Harrold and Martin Herford, the Bad, Bad Leroy Brown sung by Sam Haskell which was Good, Good and Matthew Pearsons rendition of Strangers in the Night which showed great phrasing and breath control. There were other moments when numbers were pitchy or a little shouty but we must remember that these songs have been made famous by true stars and we can’t all deliver a number like Frank Sinatra or Aretha Franklin.
One young man who showed great promise – if only he would relax a little was Ryan Stevens – I was praying for a smile or even a small grin because when we smile on stage we are inviting the audience to smile with us. Ryan has a good singing voice and with work on relaxing his body and letting us see it isn’t as torturous as he made it look we would all enjoy his performances far more – I really thought in his Duet in Act 2 – he would manage a small grin –I felt we were so close and I was rooting for him the whole way! – that little smile would make such a big difference.
Sandra Trott delivered both Georgia on My Mind and Misty with great confidence and was a steady and reliable performer who showed her strengths easily.
However, there were a couple of complete stars with Linda Raymonds ‘Stormy Weather’ which was a fabulous bluesy rendition in both feel and tone and this was then topped by her duet with Simon Haskell as Louis Armstrong with ‘Summertime’ – this was an outstanding delivery and as good as any professional performance I have ever seen.
Act 2 also delivered on many levels – opening with James Hughes interpretation of Minnie the Mooch complete with Audience participation which was a light relief after lots of traditional numbers in Act 1. James also delivered well in his duet with Simon and ‘Aint that a kick in the Head’. Lisa Rawlings was a sensational songstress in this act and not only sang all her numbers with great panache she acted them well – making it as interesting to watch as it was to listen to. Barbara also sang well and her vocals really took me back to the era of the songs she performed and without being insensitive, I was impressed that as a more mature woman she has little vibrato in her voice which is a usual trait of singers as we age.
There were many great numbers in Act 2 – particularly ‘Mack the Knife’ and ‘The Lady is a Tramp.’ I thought that as the show came to a close, there were some lovely moments but I must comment that James number ‘All the Way’ perhaps needed different staging. It was more of a Television level performance – almost too cool for school and whilst I don’t want to take anything away from him – I felt we were right at the front of the hall and could see every tiny move but those at the back may not have done – I would have taken this down to a follow spot or special and focused in on him without other on stage distractions.
Once again the highlight of this act was Simon Haskell and his delivery of ‘One for the Road’– the subdued lighting and staging was perfect.
This was a great evening with lots of great songs and some stunning performances. Congratulations to all involved.
Footloose – Springers Amateur Operatic Society, Civic Theatre – Chelmsford.
Footloose is best known from the 1984 film and in 1998 it was released as a Musical on Broadway and has been a popular choice for amateur societies since.
The music written by Tom Snow and Dean Pitchford is a joy to listen to and the Band under the baton of Ian Myers did it credit.
The show started in 1984 glory with rara skirts and neon colours in a Chicago nightclub and with some fabulous choreography courtesy of Helen Arbor it exploded onto the stage. The action then takes us to Bomont where ‘Dancing is against the law’.
The story pivots around Ren McCormack who struggles with his fathers abrupt departure and a constrictive new life in Bomont. Jon Newman as Ren found much of the torment that he goes through and tackled the dance part of the character well. He was paired well against Mae Pettigrew as Ariel, daughter of the Towns Reverend who is a rebellious and troubled teenager.
Colin Shoard as her father Reverend Moore delivered a passionate performance as a man torn between his fear and his love and his wife Vi Moore played by Deborah Anderson, gave a strong thought-provoking performance as a woman ‘Learning to be Silent’. This is one of my personal favourite numbers in the show and Mae, Deborah and Catherine Gregory who played Ren’s mother Ethel did not disappoint with this rendition.
I love the show and I enjoyed this version but I have to comment on the lack of diction which at times made it difficult to hear both the vocals during the songs and the dialogue. If there was one word of advice I could give this company was to annunciate better so we can enjoy every single moment of their performances.
Much of the lighter element of the show comes from Willard played by Daniel Shultz and Rusty played by Alexandra Philips. This was a lovely pairing and both worked well together in fact “Let’s Hear it for the Boy’ in Act Two was my highlight of the show. Alexandra has a fabulous voice and especially when blended with Nicola Myers as Urleen and Kat McKeon as Wendy Jo, the trio sang well and delivered some great harmonies. However, at times I felt perhaps the sound was not quite on par as it sounded very shouty which was a real shame. Daniel grew into the character of Williard throughout the show, I felt he could have perhaps taken him a little further towards the simple country lad but he came into his own with his backing group in my other favourite number in the show – Mama Says!
I am not a fan of big scene changes and I felt there were times when these could have been done on an open stage as audiences today are used to seeing them happen as part of the action rather than during a dark void but I have great respect for all who work behind the scenes and appreciate we can all criticise without knowing the circumstances.
As a big dance show this is always a challenge for any amateur society who traditionally have a dancing cast with different levels of ability. It was clear that Helen Arbor worked extremely hard with this cast to deliver strong dance routines and from a choreography point of view I loved her concept of “I’m free” with the different groups doing different steps like a singing round.
Every member of the cast looked like they were having a complete ball on stage and it did come across to the audience. I’m not sure if there are still tickets available but if you can get a ‘golden ticket’ to see this show – go and I am sure you will leave with a smile on your face as we did.
Hot Mikado – Shenfield Operatic Society
Modern variations of Gilbert and Sullivan classics are something we have all become familiar with and The Mikado has seen many of these including the Black Mikado and the Jazz Mikado. The Hot Mikado is no exception.
Shenfield embraced this show from the opening with a strong male company performing Gentleman of Japan. It was notable that some of the older gentlemen certainly had ‘all the moves’ and that swing feel and it was a real pleasure to see them dancing with such commitment and enjoyment.
Jack Lloyd as Nanki-Poo had the looks of a heart-throb in his first entrance and delivered his introduction to the character with the song ‘Wandering Minstrel’ well but it was when he was paired with blonde bombshell Liberty Watts as Yum-Yum that he really got into the character. The two worked well together, particularly in “This is what I’ll never do” Liberty also shone in her solo “The Sun and I” which she didn’t just sing beautifully but acted it well too.
Jamie Fudge as Pish-Tush and Lloyd Bonson as Pooh-Bah/’Lord High Everything Else’ were both strong and reliable performers on stage and were excellent foils to Allister Smith as Ko-Ko. Allister reminded me very much of Ray Bolger (famous for his role as Scarecrow with Judy Garland in Wizard of Oz) with an amazing rubber face and almost freakishly flexible body moves.
Paired opposite him as Katisha was Kerry Cooke who embraced this role fully. Her solo “Alone and Yet Alive” was so soulful and delivered a real punch in this otherwise upbeat and clap-happy show.
For me, however, the stars of this show were the voices of Kate Smith and Rachel Watson who both delivered exceptional vocal acrobatics in the end of act one section. This is what the show needs to give it the lift and different feel from the G&S original.
I absolutely loved the setting being ¾ in the round meaning that the cast had to work to all sides and I thought Director Louise Byrne did an excellent job in putting the show together in that format. The set’s simplicity with the stairs and side rostra gave height and allowed lots of lovely pictures adding to the overall enjoyment of the piece.
My only down on the evening was not related directly to the show but did affect my enjoyment and that was the theatre seating, there was simply not enough leg-room to sit comfortably and sadly I couldn’t wait for both acts to finish so that I could stand up and stretch my legs.
However, we left the theatre singing and dancing and the show was a delight from start to finish. I understand ticket sales have been good but if you can buy, borrow or steal a ticket to see this before it finishes then you will not be disappointed!
The Rivals, Kelvedon Players – Kelvedon Institute
This Comedy of Manners was Sheridan’s first play and was considered to be one of his masterpieces, even coining the reference “Malapropism” taken from the famous character Mrs Malaprop – a moralistic widow. Set in Bath in the 18th Century, a town that was legendary for conspicuous consumption, fashion and wealth; The Rivals centres around the story of two young lovers, Lydia and Jack, infatuated with their alter egos that they portray to each other, whilst also poking fun at the upper classes and their social etiquettes.
As soon as you enter the auditorium you are taken back through song. The light melodic tones on the Harpsichord are heard over the speakers, inviting you in. This was coupled with a few members of the cast, in character, greeting audience members and even having Lucy deliver the standard “please turn off your mobile phones” message, again perfectly in character.
Director Andrew Millward, who also made an appearance as Thomas the Coachman, clearly put a lot of thought into how to convey this almost 250 year old play to a 21st Century audience. There were a couple of instances where references to modern society and pop culture were made; a fist bump handshake and a homage to Celine Dion’s “My Heart Will Go On”. They were perfectly considered and executed but unfortunately with so few similar references, felt a little out of place and didn’t have the desired impact overall.
For a cast of 13 it was delightful to see lots of great performances, too many to talk about individually, but all must be commended for their strong and varied characters. However special mention must go to Lucy, played brilliantly by Barbara Hardwick, who had great stage presence with expert comic timing throughout. There was always a twinkle in her eye which told you she was up to mischief!
Other notable performances were given by Heidi Hamber, who played Lydia Languish; Russell Winsor, Sir Anthony Absolute and Michael Howard, Faukland (the applause after his first appearance was very much deserved!). Although everyone held their character throughout, projected clearly and had excellent diction, the 3-aforementioned had exceptional rapport with the audience which helped to invest in them completely.
It is a shame, however, that there was an issue with the stage right door during the first half but the cast dealt with it professionally and didn’t let it deter from their scenes. Thankfully this was rectified in the interval and was no longer a problem afterwards.
Away from the cast, a nod must be directed towards the tech team. Although the set was kept minimal, there were many scene changes throughout and all were handled with speed and precision by a team that had clearly planned, choreographed and rehearsed the changes to a very high standard – well done!
Although not the societies fault, the length of the play did detract from the all round enjoyment towards the end; there were a few tired eyes in the audience! This is something that hampered the play even in 1775 and required a rewrite from Sheridan 11 days after first opening. That said you can’t take away from the sheer hard work and energy that Kelvedon Players put into this production. It was very much a labour of love and it was great to see that radiating from everyone on stage.
If you are passionate about plays, especially the “less obvious” ones then this society deserves your patronage. Do keep an eye out for their Autumn 2017 production of “Can’t Pay? Won’t Pay!” by Dario Fo.
“9 to 5”, Little Theatre Company – Palace Theatre, Southend
Based on the 20th Century Fox Pictures film starring Jane Fonda, Lily Tomin and Dolly Parton, the musical gives us the same story but with the wonderful Music and Lyrics from Dolly herself.
Opening the show with a personal statement to the audience and introducing the characters Dolly sets us up for an evening going back in time to the late seventies when the office was the male domain and the women ‘mere secretaries’ but at Consolidated Industries all is about to change….
The cast is led by three strong women, all well cast and who are equal in strength as the shows conspirators against male dominance.
Lianne Larthe as Violet Newstead is completely in control as the executive secretary with her eye on promotion. She has strength and charisma and delivers a very competent performance throughout giving great stability to the show. Alongside her are Louisa Strachan as Doralee and Eleanor Softly as Judy. Both these ladies ‘Shine like the Sun’ in their respective roles, Eleanor as the recently single Judy who is trying to find her way in the workplace, develops the character beautifully throughout the show from the shy and weepy to the strong and independent. Sadly, I found the activity of Hart on stage during her number ‘Get and and Stay out’ extremely distracting and I felt it was a disservice to her wonderful performance of this highly emotional number.
Louisa Strachan as Doralee was just divine, every nuance was perfect with a real Dolly Parton feel to the character but with her own interpretation. She was captivating every time she came on stage.
The three ladies all delivered their own numbers beautifully but together they were simply outstanding.
Ian Benson as Franklin Hart gave a solid performance as the sexist, egotistical, lying, hypocritical, bigot however, I still felt he could be more sleazy in his character but maybe this was because he is a modern man and just not used to the 1970”s ‘Life on Mars’ type of guy. Playing against him as Roz his ever-loving administrative assistant was Stephanie Wilson. Her number Heart to Hart was great and showed us the real provocative side to the character. This was a real case where experience and talent came to the fore.
There were many other great characterisations from the cast in some of the minor roles and I have to despite what was a small cast size for a big all singing, all dancing show the company singing was top class along with a fabulous orchestra – which was probably one of the best I have heard recently.
The company coped extremely well with a large and cumbersome set but they never let it stop the flow of the show and the audience watching tonight enjoyed everything from start to finish. This is a “feel-good” show with uplifting music and a fun storyline and LTC delivered it in an engaging and exciting way.
“Waiting for God” – The New Wolsey Theatre, Ipswich
Based on the 1990’s TV series of the same name which starred Stephanie Cole and Graham Crowden, this adaptation by original writer Michael Aitkens, has all the best bits of the TV series and lots more new laughs too.
Nichola McAuliffe as the cantankerous long term resident Diana Trent is the star of the show with superb timing and a look that could wilt spinach at 30 feet! When Tom Ballard played by Jeffery Holland comes to stay at Bayview we see their friendship blossom. Holland has all the charm of an older gentleman but with the twinkle in his eye of a true rebel – and who doesn’t love that quality. As a pairing, they work so well together making you relish their outrageousness and in a slight change in the words of Nora Ephron – “I’ll have what they’re having”!
Watching life through their eyes including a heart attack, a birth and prostrate problems we witness the acerbic comments and emotions of the residents who feel anything but old!
Much of the humour revolves around McAuliffe but she is superbly backed up by a small but perfectly formed cast. Samuel Collings as Harvey Baines the self-obsessed retirement home manager is suitably irritating and gets his fair share of her walking stick and abuse while Emily Pithon as Jane Edwards, Harvey’s sweet and childish assistant is charming in her naivety and simplicity.
David Benson as Geoffrey Ballard gave a humorous performance as the cuckolded son and Sarah Chase as Diana Trent’s niece was perfect as the next generation Trent with a backbone of steel.
As someone who is no longer a spring chicken – this production resonated with me as Holland and McAuliffe smack the conventionality of growing old in the face and remind us age is only a number.
A fantastic nights entertainment – including the odd cheeky adlibs – god bless a runaway grape – but if you haven’t seen it – get to the New Wolsey Theatre this week and relish the art of growing old disgracefully!!
“Spamalot” – Mercury Theatre, Colchester
Monty Python, I am often told isn’t everyone’s cup of tea but there is no mistaking their talent & their creativity. I remember watching Monty Python and the Holy Grail in my youth and laughing out loud throughout it.
The audiences tonight at the Mercury Theatre were also all laughing out loud throughout the entire show. Spamalot is a cross between a musical and a pantomime which lovingly takes the mickey out of itself and what we now know as a musical theatre.
From the opening with the Historian and the misunderstanding of Finland for England you know that you are in for an evening of belly laughs and giggles.
I particularly liked Bob Harms as King Arthur – sometimes Arthur is played as the straight man to Patsy’s comedy but Harms gave the character depth and showed some great comedic moments. Partnered with Dale Superville as Patsy it would be easy for Harms to be constantly upstaged with Superville’s rubber face and excellent comedic timing but the two worked in perfect harmony – never more so than in ‘All Alone’ – which has always been a personal favourite of mine – this was a wonderful piece of acting with Superville’s easy facial expressions and Harms command of the stage.
Working with a small cast means everyone must play a wide variety of parts and go through constant crazy costume changes and accents! I only missed there being a larger cast in a couple of the company numbers where a few more bodies would have stopped the stage looking a little bare but I cannot say this was detrimental in any other way to the overall performance.
I also should pick out Marc Ankinfolarin who seemed to be constantly on stage playing such a wide range of characters and who kept me in stitches throughout the evening – never more so that in the Lancelot number and I can honestly say I could not take my eyes off John Brannoch who was the third laker girl – he out danced the girls in every way!
I could name the entire cast person by person but they were all excellent and the whole cast had perfect timing and it was greatly appreciated by all the audience around me who cheered, laughed and applauded in equal measure.
Despite knowing the whole show word for word – dialogue and lyrics – I was so entertained and challenge anyone to go see the show and not feel the same. Get your tickets sit back, forget global issues and laugh! I promise you won’t regret it.
Chelmsford Young Gen’s – “13” – A musical story about becoming a teenager, a boy in a new town and young love… (24th April 2017)
In the world of amateur theater it is sometimes difficult to find something new, or at least, something you haven’t seen before. So tonight I went to see Chelmsford’s ‘Young Gen’ production of 13 the musical. So what’s it about? A story about all the bad luck in the world? No! Not that kind of thirteen.. or is it? The story is based around turning thirteen and all the trials you face growing up. A kind of High School The Musical meets Looserville , with a little bit of Fiddler thrown in for good measure if you like.
The story begins when New Yorker Evan Goldman (Played by Charlie Toland), a young Jewish boy, talks of his becoming a man and looking forward to the best Bar Mitzvah ever. Evan, centre stage, is joined by his class mates as he hands out the invites and the cast build the intensity in a ‘Busted’esk style routine. A number full of youth and abundant vigour gets the musical off to a great start – only to be interrupted by Evan’s mother calling him on his mobile and destroying his dream. His parents are splitting up and he is moving to Indiana!
Thirteen is a show with many parts for a cast to play and each has its own nuance making it individual from the other. The part of Patrice is one such role. Played well by Heather Nye, as she takes an emotional journey through the ensuing scenes. Shunned by her peers, let down by her new friend Evan, yet deep down inside the beating heart of a teenager begins to stir. In stark contrast, enter on stage the swagger of Brett (Played by Matt Barnes) in what can only be described as the most unlikely wooing technique. But it seemed to work as he got the girl (Kendra – Played by Phoebe Walsh)! Both parts were played well and casting seems to have been just right – Football champ and all round Mr Popular meets ditsy cheerleader. But love, or getting Mr Popular, is not quite so easy when supposed ‘BFF’ Lucy (Played by Hope Davis) is on the scene. Played well by Hope, her crafty and underhanded tricks certainly made the character one to watch out for; however, vocally I feel Hope struggled in some of her numbers. In fact this is true of many of the cast, which I put down to a combination of first night nerves and a issue with the balance of sound. Often cast seemed to be shouting the louder sections which lead to a few tuning issues, which is my only real criticism of the show.
Other nice characterisations were performed by ’The Girls’ Cassie, Charlotte and Molly (Oliva Khattar, Lois Chapman and Amy Hollingsworth) and not to forget Archie, Exquisitely portrayed by Oliver Gardener, who eked out every bit of comedy from the role. But with all this, wait for it… They were all upstaged by the Jersey boys of Malcolm, Eddie and Richie (Reuban Beard, Matt Wickham and Jack Toland). What dream parts to play and a very good lesson for all budding young actors. Not all principle roles and certainly leading principle roles are the best parts to play. Well done for bringing an enjoyable slant on musical style in the show.
A show where musical style was so varied it gave us pop and hip-hop to soul and a touch of traditional ‘Musical Theatre’ meaning all the numbers had a separate identity, something a lot of modern musical seem to lack. The imaginative use of the set with revolving flats kept the movement of the scenes flowing and led to the feel of youth and that time in school throughout many of the numbers. However, youth theatre is about learning the craft and the art of entering and exiting, whilst ensuring the flats were returned to the closed position, was far from the minds of some members of the cast. The occasional arm reaching out from behind the scenes was evident, but it was clear that, for some, the stagecraft had been learnt as they went out of their way to set the scenery right.
So thank you for a new and enjoyable all-round experience… Well done to Young Gen for doing it! All too often these lesser known musicals are put on the back burner as they are too risky financially for societies to put on. But how are they to become known if nobody does them. Bravo and here is to a good run!
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