NODA

The NODA report of my production of MMT’s Sweet Charity is in and it is very good indeed.

 

MOLESEY MUSICAL THEATRE
‘SWEET CHARITY’ – JUNE 2018

This well known period musical set in New York in the age of flower power and hippies round 1968/9 has become a classic because its central theme is the aching to be loved.   This theme surely touches all of us!

MMT shrewdly engaged the services of James Fortune to direct and his inspirational vision was in ample evidence throughout this sparkling production.  Featuring musical classics such as “Big Spender”, “If My Friends Could See Me Now” and “The Rhythm of Life” and much else too, the show is firmly anchored in the top division of musical history. Musical director, Elizabeth Cooper, marshalled her vibrant nine players (but eleven instrument) band with controlled panache and her band was among the very best I have heard.

The critical choice of lead player was wisely accorded to the all-round performing talents of Polly Ashton as Charity Hope Valentine. Polly played this vulnerable, ‘heart on her sleeve’ character for all she was worth, and how it showed!

Playing opposite Charity was the gawky, shy Oscar Lindquist, given a brilliant characterisation by Tim O’Shea.   What a dream couple of lead players!  The lift scene was achingly real.

I much appreciated the excellent changes of the many scenes, where great thought had clearly been given to the continuity and therefore cumbersome and lengthy set changes were totally avoided – credit too therefore to stage manager Peter White and assistant SM Jo Smith and their crew together with the director’s planning.

Lighting and follow spot, courtesy of Steve Farr, was superbly used and in the fabulous show highlights of the “Rhythm of Life”, the power of the drugs scene was brilliantly painted by all. A special mention must go to the sinuous, lean and charismatic Tyrone Haywood, who inhabited, rather than acted, the persona of Daddy Johann Sebastian Brubeck. What a star performance!

Suitably realistic costumes were provided by MMT and other local groups and wardrobe mistresses Joan Cannell, Rita Anderson, Andrea Soundy and Valerie Abercrombie worked wonders with them.

A host of other performers gave full support with notable performances;  Valerie Carr and Kavitha Parameswaran as Nickie and Helene respectively being outstanding.   Other dance hall hostesses (taxi dancers) who all did well were:-

            Carmen            Amanda Jayne Scott
            Suzanne           Shirley Sledge
            Frenchy           Heike Heath
            Betsy                Charlee Clutten
            Rosie                Diane Slater

All the dancers clearly relished their roles as ‘good time girls’ and the sleazy atmosphere of the night-time dance hall was aided by highly effective use of a ballet barre, to show off all the girls’ legs and  general shape to the male “customers”.  Appropriate stage dressing and red lighting enhanced the bleak reality of these girls’ working life.

Kevin King was a most authentic Vittorio Vidal with a fine Italian accent and Diane Slater matched his skill as Ursula March, the beautiful and jealous film star.                

David Strike gave a forceful impression of Herman, the boss of Fandango Ballroom manager.

Joint Choreographers Valerie Carr (Nickie) and Amanda Jane Scott (Carmen), not only showcased their own outstanding dance talent on stage, but also ensured the other cast members, especially female ones, gave  noteworthy performances.  The dancing was, overall, of really good standard and gave a real boost to the whole atmosphere of the show.

Director James has a real knack of enthusing his cast with his own dedication to detail and the unexpected, as I have often noted in his other shows. MMT would be wise to tempt him back again and very soon!

This production had pace, vibrancy, good singing, colourful costumes, top class sound and SFX (both by courtesy of Steve Lonsdale and James Rogers), raw emotion and really touched the heartstrings.

Finally, a positive nod of approval to the well designed and attractive programme, with a heartening full mention of NODA.  

All in all, this was a show to remember and to treasure.

Jon Fox
Area 19

National Operatic and Dramatic Association

The NODA report of my production of WAOS’s Little Shop of Horrors is in and it is very good indeed.

Neither Brian, the MD, nor I agree with the only negative comment which was it was too loud. It’s a rock opera for Goodness sake! 🙂 Oscar, our sound, engineer did a splendid job. If this was a West End show, it would have been much louder. I had a couple of West End producers in who make no comment on the sound other than it was good.

 

WOKING AMATEUR OPERATIC SOCIETY
‘LITTLE SHOP OF HORRORS’ – NOVEMBER 2018

There is little I can add to the information in the programme regarding this zany musical except that it opened at The London Comedy Theatre in October 1983 and ran for 813 performances – a third of the time that it ran in New York. It is not staged very often but appeared to be great fun for those taking part in this rather dark musical.

The set was good and converted easily from the interior of the down-at-heel flower shop into the exterior on Skid Row, and the ‘stoop’ stage left was used to give varied levels to the action.

James’s stage direction and use of the space available could not be faulted. He had a large cast to deal with and had given them a wide variety of characters to portray so that in the company numbers there was always something interesting happening.

Brian is also experienced in his own field as musical director but whilst the music was played well by the six musicians it was too loud for quite a lot of the numbers, especially in the trumpet and percussion sections. This is not a reflection on Brian’s ability but on the need for more awareness in the sound /production team as to the balance. Even though the personal mikes were also loud it wasn’t always possible to pick up dialogue in the underscored sections.

Choreography was nicely stylised for the period and Zoe Davis did well in her solo début.

Matt Gardener gave a first rate performance as Seymour the flower shop assistant, awkwardly shy and secretly longing for Audrey but without the confidence to step forward and let her know.

As Audrey, Beth was a delight to watch and her rendition of ‘Somewhere that’s Green’ and ‘Suddenly Seymour’ was excellent. Beth and Matt coped wonderfully with the tricky opening number to Act Two ‘Call Back in The Morning’ and her fear was almost palpable in the presence of the vile Orin Scrivello.

Graham Kirby–Smith was very good in that despicable (but I’m sure fun to play!) role. He came across as quite terrifying and he dealt with the protracted death scene brilliantly. ‘Dentist’ was a good company number.

The three girls, Chiffon, Crystal and Ronette, played by Jemma, Jenny and Susana respectively, were super. Their voices blended well and they were the epitome of girls from that era.

Mark made a believable Mr. Mushnik and his Jewish accent was fairly consistent. He really looked the part and I enjoyed ‘Mushnik and Son’ with the additional ‘Fiddler on the Roof’ style choreography. He did pitch his voice low and because of that it was sometimes a little difficult to pick up the dialogue.

The Winos (Samantha Bottle and Patrick Coad) were convincing and like everyone else on stage looked as though they were thoroughly enjoying taking part in the show.

The various cameo roles added to the overall presentation of the musical and as Bernstein, Mrs. Luce, Skip Snip, Patricia Martin and the AM Radio Disc Jockey the actors taking those parts acquitted themselves soundly. I noted that Alex Haben had a strong singing voice.

The voice of Audrey Two was brilliantly done by Tim Beasley – all credit to him for taking a ‘behind the scenes’ role.
The three puppeteers, Georgina, Ellen and William, kept Audrey Two under control and made her seem almost human!

The finale was most impressive but again over amplified.

Costumes were a wonderful mix of items suitable for the characters represented on stage and the properties were good too. Orin’s biker gear looked great.

If there are children in a production then they should be advised not to go into the foyer in costume and make up at the end of the show.

Your programme cover is eye catching and the programme contains plenty of interesting information.

I’m fully aware that it’s in the script, but in an otherwise comic musical there’s something uncomfortable about watching a man dominate and beat a woman. This is certainly not a musical for the squeamish or politically correct, but it appeared that the majority of the audience really enjoyed it, and that is after all the aim when bringing a show to the stage for the public.

Thank you for inviting me to see ‘Little Shop of Horrors’ and for your hospitality on the evening. It was good to meet James and Brian again in the interval and of course the hard working, energetic cast, on stage after the final curtain.

I wish you all a very happy Christmas and a peaceful and healthy 2019, and look forward to seeing ‘Moll Flanders’ in May 2019.

E. Gloria Smith – NODA South East Regional Representative District 12

Yes, wonderfully I have received another NODA Award! 🙂

Epsom Light Opera’s production of my version of HMS Pinafore (which I wrote and directed) has been awarded a Best Gilbert & Sullivan Runner Up Award! Make that what you will. 🙂

My production Mame, recently staged at the Epsom Playhouse, received some wonderful personal reviews:

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“What a fantastic production last night. Amazing music, singing, dancing and casting – a feast for the eyes and ears, in fact, quite a banquet!”

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“What a superb show, I loved it! There just wasn’t a weakness in the whole thing, a truley impressive and thoroughly entertaining evening.”

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“WOW, absolutely wow, we couldn’t clap loudly enough.  Can’t wait to see your next show in April.”

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NODA Review – By Jon Fox
Reviewed on Wednesday 19th October 2016

This sparkling, energetic and touching musical began life on Broadway in May 1966 and ran for over fifteen hundred performances winning several Tony awards for the leading players. Its genus was however from the 1955 novel by Patrick Dennis and the 1956 Broadway comedy “Auntie Mame” and 1958 film of the same name. Because of the necessary cost of fabulous costumes, big sets and large orchestral sound, it is rarely staged now by amateur companies, more’s the pity.

Director James Fortune’s spirited production had all the necessary ingredients: talented players in great depth, magnificent staging and stage sets, sumptuous costumes, fabulous dancing and choreography backed by a vibrant and brassy band. The show had energy enough to satisfy the Duracell Bunny! It had pace, emotion, pathos and some memorable songs, not least the title song “Mame”. However, for my taste one of the most heartfelt and moving songs ever written for the musical stage is “If He walked into my Life” sung hauntingly by the indefatigable and richly talented Lisa Scott as Mame. It would be incorrect to say Lisa carried this show, as so many others were also top notch but without a stunningly charismatic lead like Lisa this show could not possibly succeed.

Set in brash and bustling New York shortly before the 1929 Wall Street Crash, this production featured over fifty people hurrying to keep up with the Big Apple’s busy schedule. There was even a Lithuanian Bishop! Crossing the stage busily in both directions all New York City life was represented. Young Patrick played with a rare confidence by eleven year old Freddie Wilson (one to watch!) and his nanny, Agnes Gooch, the richly gifted Caron Ireland, opened the show by looking for his Auntie Mame’s address. Both were somewhat perplexed by the goings on around them. Freddie later played his own son Peter Dennis at the end of the production! In theatre anything is possible.

Patrick was duly taken into his Aunt’s care and was quickly introduced to her unconventional life style. Talk about the University of life! Agnes was employed by the lavish spending Mame as she began her battle to educate Patrick in her way, and not in the conventional way that his trustee Dwight Babcock – beautifully played by Andy Robson -tried to instill. The chemistry throughout between young Patrick and Mame was highly realistic and real warmth was evident between them both.

As the story unfolded we met more fascinating characters; Mame’s friend, confidante, and egotistical lead actress Vera Charles, played with superb presence and class by Charlie Hoddell; Dilip Patel was Mame’s faithful servant Ito, a warm hearted character, skilfully played and integral to the plot; Lindsay Woolsey, a publisher, was given much veracity and style by Stephen Chalkley; Beauregard Jackson Pickett Burnside, was Mame’s financial saviour and subsequent husband – doomed to an untimely death in the Alps – the paragon Chris Evans as Beauregard emanated charm, likeability and professional class. Beau’s southern relatives were all wonderfully played with “awful people” hideousness by the following – Monica Turnbull as Mother Burnside (also a delightful Madame Branislowski) and her equally appalling family, beautifully played in snooty, arrogant style by Paul Hyde and Sandra Zeffman as Mr and Mrs Upson, his parents, and the horsey, spiteful ex-fiancee Sally Cato, trying but failing to humiliate Mame. Rebecca Cenamor as Sally was deliciously nasty, getting every ounce from this unpleasant character.

Rick Qureshi as the strong willed and charismatic adult Patrick, was introduced by the top magician director James Fortune in a stunning stage deception trick which completely fooled the audience (and this reviewer). Patrick, now at university and free from Mame’s guiding hand was introduced by a now mature Junior Babcock, nicely portrayed by Russell Thompson to the ghastly Gloria Upson – a peach of a performance by Jenevieve Phillipson . Her own snobby relatives played in egotistical and overbearing style, caused the rift between Mame and Patrick. This was only healed when Mame got her own back by returning the invitation for them all to come to New York City , where her deliberate marriage saboteur tactics succeeded in opening Patrick’s eyes to their ghastliness. His affections then turned thankfully to the lovely Pegeen Ryan, Mame’s decorator, played with warmth and sympathy by Emily Evans. The horrible Upson clan included the redoubtable Alex Land as the awful Uncle Jeff and an equally skilfully played Cousin Fan, given snobby life by Rachel Yelland.

The dancers and chorus were too numerous to mention personally, but every person on stage played their roles with credit and this was a very special performance by the whole company. There was much top quality singing, well controlled by the very experienced director Francis Griffin. His eight piece band was of superb quality and was a major plus point. I must credit the magnificent and often intricate choreography under the sure eye of Charlotte Thompson. This richly talented young lady is a regular on stage with ELOC, who would be crazy not to engage her again – and soon – as company choreographer. Her magnificent dancers with their splendid feather costumes brought deserved “Aahs” from a rightfully impressed audience.

I loved the crescent moon show scene where Mame upstaged and fell out with Vera. The fox hunt scene was also noteworthy, with yet more superb costumes, as was the richly comedic Agnes as a swinger and the hilarious bloody fingers manicure scenes. (Beau was the “victim”). In fact, costumes generally were the best I have seen in the amateur theatre since …… well I can’t remember when! Elizabeth Callow, Sally Dallosso, Monica Mickels, Costume Workshop, Triple C and finally WAOS supplied and co-ordinated by Elizabeth. Awe inspiring!

The Finales to both acts also impressed fully. Lighting and sound were very surely handled too, but the overall palm must go to marvellous show director James Fortune. He achieved a successfully balanced show with a host of believable characters, all well cast who provided a rich mix of all human emotions, carefully chosen to tug at and fully engage the heartstrings.

The production was by any standards a huge success leaving a privileged audience in wonder at the talent bestriding the stage. ELOC, please take a richly earned final bow!

A final praise for the comprehensive programme, with clear cast pictures and with a full page given over to NODA.

Jon Fox
NODA District 19

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WAOS’s production of SWEENEY TODD which I directed has just been given TWO – yes, count them – two NODA Awards!

The first one was, as my other two for THE WITCHES OF EASTWICK and TITANIC THE MUSICAL, the Award for Excellence in the region.

The other was the Technical Award for the whole South East of England!

Goodness me!

I congratulate EVERYONE involved in the show in any capacity.

These were group awards for us all. 🙂

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