OLD TYME MUSIC HALL

OLD TYME MUSIC HALL

Trinity Methodist Music and Drama

22.09.17

Chelmsford's answer to the City Varieties, an enjoyable compendium of songs I'd last encountered as shellac on my aunt's ancient Victrola, or sheet music in the dusty depths of our old piano stool.

Here's Roses of Picardie and I Wouldn't Leave My Little Wooden Hut. And the Tin Gee-Gee, beautifully delivered by David Rayner, who also introduced us to the more familiar Polly Perkins. Two military numbers from Tom Whelan, backed by the girls for his Galloping Major, and by the Ain't Half Hot men on the Road to Mandalay.

But for the most part it was a succession of glamorous ladies, in gorgeous frocks, delivering their numbers – sometimes one verse too long - and graciously acknowledging their applause. Outstanding among them, Pat Hollingsworth bravely showing her Popsy Wopsy, and giving a stupendous I Want to Sing in Opera. And “Dame” Janet Moore with The Bells of St Mary's and, less authentically, I'll Walk Beside You.

Patsy Page, who directed the show, gave a spirited revival of a patriotic recruiting song from 1914, and our orotund chairman, Michael Wilson, who introduced each act with a winning blend of eloquence and double entendre, favoured us with a melodic rendering of Stanley Holloway's Brahn Boots.

Since this was Trinity, there were some welcome helpings of operetta – the Gendarmes' Duet, Maxim's and the Chocolate Soldier. Plus a couple of all-too-brief extracts from The Arcadians and Floradora, both hugely popular with Operatic Societies in their day. Time for a revival, perhaps ?

STARSHIP PINAFORE

STARSHIP PINAFORE

Trinity Methodist Music and Drama at the Civic Theatre

10.05.17

The curtain-raiser – always the fate of this early G&S collaboration – is Trial by Jury, a welcome revival of Tony Brett's charmingly fantastical production first seen at Trinity in 2015. Good to see Wayne Carpenter moonlighting as the errant Prince, playing opposite Emily Delves' sweetly sung Cinders.

Pinafore is equally inventive and off the wall. The British warship, moored at Portsmouth Point, becomes a spacecraft in a galaxy far, far away, not unlike the Enterprise, or Captain Tempest's D'Illyria probe. But Sullivan's music survives intact, and, some cheeky tweaks apart, it's the look rather than the lyrics that is radically altered, with the crew clad in silver and scarlet space suits, and the Sisters, Cousins and Aunts elegant in fantasy frocks and wigs.

Tony Brett has assembled an impressive cast, led by soprano Jenny Haxell, who languishes with style and lilac locks as Josephine, and sings the part beautifully – her Act Two soliloquy particularly enjoyable. Her Ralph is Ashley Thompson, who despite his futuristic tinfoil space-suit is an old-fashioned light tenor. Patrick O'Brien, who plays the learned judge before the interval, excels again as a leering Dick Deadeye. Janet Moore makes a lovely Buttercup, here relinquishing her bumboat for a tea-trolley stocked with Pringles. Her palm-reading duet with Howard Brooks' Captain Corcoran is splendidly done.

In the most stunning costume, Brett himself plays Sir Joseph Porter, Ruler of the Galaxy, preening and pompous but not above a bit of fancy footwork in the amusing Why and Wherefore trio. Strangely reluctant to be paired off with his cousin Hebe, Emma Byatt imposing in tight black leather.

Not much ambitious choreography elsewhere, and a deal of standing around singing. But a fresh sideways look at a Savoy favourite, accompanied by a sizeable pit orchestra, comparable to Sullivan's own, conducted by Trinity's Musical Director Gerald Hindes. 

In an old Savoyard jest, I recall, some wag would enquire “Who's playing Celerity tonight?” The answer for this week at least, is Pat Hollingworth.

production photograph: Val Scott

ALADDIN

ALADDIN

Trinity Methodist Music and Drama

05.01.17

A new recruit to the ranks of community panto.
Tony Brett's production turns out to be a traditional, vintage romp through the familiar story. Though the music includes Buble and Beyonce as well as Flanagan and Allen. There's a nod to the Disney show, as well. And of course a generous helping of songs from the shows: Flower Drum Song, Grease, Annie Get Your Gun, Mary Poppins and more ...
There's a great ghost, UV skeletons, a shrinking Wishee and a custard pie. Not to mention a splendid Sand Dance [Wilson Keppell and Betty style] and an impressive production number to Siegfried Line. Cultural references range from policemen on point duty to Pokemon Go.
The settings are simple, with a backcloth which looks as if it's been too often to Twanky's laundry. But the pyrotechnics look good, as do the costumes, with a magnificent walkdown outfit for the Dame.
She's nicely played by Howard Brooks, with George Robey eyebrows and a pleasant baritone. Emma Byatt makes a fine principal boy; her Princess – more fabulous frocks – beautifully sung by Charlotte Reid. Best make-up goes to Paul Osborne's evil Abanazer; Neil Tuttlebury's Emperor is a sadist to rival the Mikado, Alison O'Malley brings an attractive innocence to the mute mime So-Shi. And Alex Wilson works hard as Wishee Washee, forever afraid someone will try to pinch his Pikachu.
Sue Edwards is the MD at the keyboard, with Mark Edwards on the hi-tech drum kit.
It's back to G&S for Trinity's Civic show in May; following their inventive Pirates of 2015, we're promised a fresh look at Trial by Jury and HMS Pinafore, though Music Director Gerald Hindes assures us that Sullivan's music will be heard as the composer intended.



production photograph by Val Scott

CHASE ME UP FARNDALE AVENUE, S'IL VOUS PLAIT

CHASE ME UP FARNDALE AVENUE, S'IL VOUS PLAIT

Trinity Methodist Music and Drama
21.09.16


Those intrepid Townswomen get their teeth into saucy French farce in their latest dramatic offering.
The hotel set boasts a Dansette and five doors, none of them working quite as it should. No French window, but a French maid called Fifi, and a cast of characters with ominously similar names.
The Farndale Ladies – and their one male member – have countless costume changes and false entrances, as they double and treble as wives, mistresses, friends, secretaries and the plumber's wife.
The confusion is complete, the plot as tangled as Minnie's knitting. So no surprise that it all got too much by the end, life imitating art; even the attentive prompt – Terrie Latimer – struggled to rescue the floundering actors.
Some priceless performances, notably Sue Bartle as Minnie [“Are we acting again?”] Robinson, physically superb as Roger, gamely struggling with the script, a last-minute substitution from wardrobe. Jenny Edler was scatty Felicity, Alison O'Malley the formidable Phoebe Reece, and Helen Wilson her sister Sylvia, cast as both Frank and Mary Carrott. Emma Byatt, an assured farceuse, also played a married couple, as well as a mistress. They all seemed adept at handling male parts, but their SM, Gordon [David Ehren], was pressed into service as a wonderfully wooden Barrett.
Much to enjoy in Tony Brett's production, from the invisible partition to the Cancan kickline finale. The surreal door sequence went very well, but the “this is my husband” routine could have been a little slicker. Many of the classic amdram pitfalls were featured: the garbled prompt, the nightmare drinks table, the wig and the moustache. And there was a memorable rendition of the Marseillaise, with spoons and washboard obbligato.
I hope that Brexit will not mean an end to their cross-channel ventures; I was sorry to have missed previous attempts, including the intriguing “Cave, girls, it's Fraulein Humperdinck”.

production photograph by Val Scott, who was also responsible for the amusingly authentic programme

AMAHL AND THE NIGHT VISITORS

AMAHL AND THE NIGHT VISITORS

Trinity Methodist Music and Drama

06.12.15

A festive treat from Trinity this year: Menotti's children's opera staged as a curtain-raiser to the traditional carol concert.

A suitably simple production, directed by Tony Brett with Felicity Wright the Musical Director. Chorister Elliott Harding-Smith sang, danced and acted pleasingly in the key role of the crippled child who accompanies the Kings as they follow the star; Isabella Gage and Benjamin Lewis both excel as Amahl's Mother and Melchior. The Child We Seek quartet was especially moving, as was the Mother's aria Do They Know. Mick Wilson was the hard of hearing Kaspar, Jeff Green the bass Balthazar. Ed Carter made the most of the unnamed Page to the Magi. Fine support from the Shepherdesses – movement and music combining perfectly in the offerings sequence – augmented by the offstage choir. And, right at the end, a very civilized camel for the journey to the stable.

All accompanied by Christopher Wood's piano, with Gillian and David Miles on oboe and bassoon for Amahl's all-important pipe.

After the mince pies, a varied programme of Christmas choral works, with Danielle Harding-Smith at the piano and Keith Byatt at the organ. Rise Up, Shepherds, with its infectious rhythm and catchy tune, a Russian Ave Maria and, new to me, Frederick Silver's take on the Twelve Days, in case you wondered what became of all those unsolicited gifts: “with a single cartridge, I shot that blasted partridge ...”. Two helpings of Rutter, and a chance to join in with Sullivan and Goss, with glorious descants by David Willcocks.

production photograph: Val Scott

STRICTLY LEGAL

STRICTLY LEGAL

Trinity Methodist Music and Drama

19.09.15

Trinity follow their “night-in-the-museum” Pirates with a surreal Trial by Jury. Part Wind in the Willows [remember the rabbit jury ?] part Alice in Wonderland, part panto, Tony Brett's production had Cinders suing her Prince for breach of promise. Buttons, who traditionally might have the better case, is the judge here, and of course gets his girl before the final chorus.

A riot of colourful costume – sugar-pink piglets for the bridesmaids, a presumably perjurious Pinocchio, Fox, Hedgehog and Toad, a Mole with cap and pink gloves, a Badger in a natty black-and-white suit. And the whole jury glued to their animal husbandry centre-folds. Many enjoyable performances, too: Gavin Jarvis the Prince, Kayleigh McEvoy his accuser, and the inimitable Patrick O'Brien playing the Learned Judge to the manner born. Directing the music from the upright piano: Gerald Hindes.

In the curtain-raiser concert – Savoy Opera snippets with a legal theme – O'Brien was the insomniac Lord Chancellor, Jan Moore a splendid headmistressy Fairy Queen, and Howard Brooks and Tony Brett the Mikado and Koko, an oriental fan the only clue, thank heavens, to their Japanese ethnicity...

production photograph by Val Scott

THE PIRATES OF PENZANCE

THE PIRATES OF PENZANCE

Trinity Methodist at the Civic Theatre

12.05.2015

Forget the Cornish coast and the ruined chapel – curtain up here is on a dusty storeroom in a museum. 21st  century cleaners depart, and a mummy creeps from her sarcophagus as the pirates storm on from a storage crate stage right.

It's a colourful conceit, serving the look of the show rather than the logic of an already improbable plot. But the Policemen are exhibits too, sporting uniforms through the ages,  a Bow Street Runner amongst their ranks. And best of all, the ladies all get to impersonate heroines from history: Earheart the aviatrix rubbing shoulders with Nell Gwynn and Lady Godiva.

Sullivan's music survives intact, with Anton Archer's impressive pit band playing Richard Balcombe's charming reduction, and a lovely Poetry chorale, but Gilbert is slyly updated, with our Home Secretary making the policemen's lot even unhappier, and Climbing Over Rocky Mountain, already a rewrite from the Gods in Thespis,  adapted to suit the Famous Women.

Several seasoned Savoyards in the cast, including David Raynor as an imposing Pirate King, Janet Moore as poor rejected Ruth and Mick Wilson as a drily droll Major General. But what joy to have Frederick and Mabel [a suffragette] played by actors of the right age, two excellent young performers [Theo Perry and Jessica Edom-Carey] who sing beautifully and act with style and wit.

Tony Brett's production has many delightful moments – the chorus in cupboard and crate, a Busby Berkeley Foeman, and a much-used table downstage right. An inspired choice to celebrate 50 years of Trinity, during which time they've brought dozens of Savoy operettas to appreciative Chelmsford audiences.

production photograph by Val Scott

THE FARNDALE CHRISTMAS CAROL

THE FARNDALE CHRISTMAS CAROL

Trinity Methodist Music and Drama

05.12.2014

How we laughed …

Felicity's snowman would keep falling over, Mrs Reece had so much to do she forgot Tiny Tim's crutch, and poor accident-prone Mercedes, plastered and cast as Cratchit, tried gamely to brew tea for Scrooge.

Yes, the ladies had chosen Chekhov's Christmas Carol for our entertainment this year, played out against a rather splendid back cloth of The Pool of London. A major panic, caused by tailbacks in Basildon, led to an urgent appeal for a miserly old skinflint to read in for Ebenezer. I rather fancied the confident approach of the minister in the front row, but Thelma swept in in the nick of time to save the day. No such reprieve for Alfred, coaxed into a frock for the closing scene, his lines handily pasted onto wine-glass and handbag. He even got to favour us briefly with his little ukulele.

Once again Gordon was pressed into service, not only as handyman and dogsbody, but playing a handful of demanding roles, including Mrs Cratchit and the spectre of Jacob Marley, dressed only in ghostly combinations, as we called a onesie back in the days of Dickens.

I shall long cherish the duo of Gordon and Felicity as Christmas Present, and the toe-tapping duet to end Act One. Scrooge as a musical comedy – the very idea ! Mrs Dawson did wonders with the cottage upright, and apart from some sticky moments with a girlie mag, it was all good clean fun. And why don't more groups offer their audience blankets to keep out the chill … 

The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society appeared by arrangement with Trinity Methodist Music and Drama – Natalie Hawkes, Alison O'Malley, Emma Byatt, David Ehren, Helen Wilson, Terrie Latimer and Val Scott, directed by Tony Brett.

production photo by Val Scott

SUMMER FOLLIES

SUMMER FOLLIES

Trinity Methodist Music and Drama

26.07.14

Cabaret tables on stage, a glitter curtain, and a slick evening of songs from the shows, bringing us a generous helping of musical theatre gold – Chorus Line, Les Mis, Bernstein and several Sondheims.

Some selections merely glister; it's funny how the less inspired offerings fare less well with all the stage trappings trimmed away. Laudably, it's all done unplugged, with Susannah Edom-Baker's piano the only accompaniment – something of a treat these days, when for amateurs as well as professionals the sound desk rules supreme.

And there's even a number new to my innocent ear: I'll Be Here from Adam Gwon's Ordinary Days, beautifully delivered here by Kayleigh McEvoy. Two more narrative pieces shine: Gus the Theatre Cat [McEvoy again with Ken Rolf] and Nothing [Helen Quigley]. Lots of duets, a brilliant trio [You Could Drive A Person Crazy] and a catchy quartet [Seasons of Love]. Big solos [Stars from Nigel Ward, Losing My Mind from Janet Moore, Johanna from Mick Wilson] and big choruses, Felicity Wright the conductor – “One” from A Chorus Line, the appropriate Bless Our Show from Sister Act, and, as a finale, One Wonderful Day from an early Sondheim work, Saturday Night.

CALAMITY JANE

CALAMITY JANE

Trinity Methodist Drama at the Civic Theatre

17.05.2014

A good old-fashioned musical given a good old-fashioned production by the Trinity team.

Eric Smart's polished production took us effortlessly from the Golden Garter to the Bijou dressing room to the cabin to the Colonel's ball. A big, bright chorus made the most of their numbers: the Black Hills of Dakota particularly effective, with capes and ringlets, wagons and lanterns making their way through the Civic stalls.

Some good principals, too. Especially successful at “carrying beyond the footlights” were David Slater [straight from the Steam Packet to Deadwood] in the Howard Keel role of Wild Bill Hickok, Charlotte Reid as Katie Brown, the mousy dresser who steps into the star's shoes [her first, hesitant, Keep It Under Your Hat was wonderfully awful], Patrick Willis's lively lieutenant and of course Corrina Wilson as Calam, a trigger-happy gamine with a gruff voice who finds her feminine side just in time to join Bill in belting out the show's Big Number.

It's show of two stages: the first coach, conjured up from an upright piano, a whip and a pair of parasols. And the second, real stagecoach wheeled on for the triple wedding – the third couple being the hapless Francis Fryer [Mark Clements] and Kate Harrison's Susan, whose uncle is Deadwood's hassled impresario [David Ehren].

The choreographer for this production was Julie Slater [impressive CanCan girls] and Gerald Hindes and his pit orchestra gave an excellent account of Sammy Fain's score.

production photography by Val Scott

TRINITY CHRISTMAS CONCERT

CHRISTMAS CONCERT

Trinity Methodist Church, Chelmsford

08.12.13

This year's Advent offering from Trinity Methodist's choir included another accessible cantata by Roger Jones, this time based on the story of Simeon, from Luke's Gospel. Linked by narration, the music features a lovely duet in O Little Town of Bethlehem, and solos for Mary and the Prophetess Anna, strongly backed by a repeated “Wait” from the choir.

A generous selection of seasonal sacred music of many genres began with the medieval-influenced Now Is The Time Of Christemas, and ended in the 16^th century with “Bethlehem” from Martin Guerre. In between, a couple of Rutters, the exquisite Christ Child's Lullaby, sung by alto Emma Byatt, and Margaret Rolf's setting of Rossetti's Before The Paling Of The Stars.

Time too for the audience to join in favourite carols, and to try to master a traditional round, Natus Est Immanuel, encouraged by the choir's ever-optimistic director Felicity Wright. Two readings from Ken Rolf: a jobsworth standing up for downtrodden Little Donkey, and Charles Causley's haunting Ballad of the Bread Man.

Back by popular demand this year, the choir of the Cathedral Primary School, with songs from Niki Davies's Whoops A Daisy Angel, and a very impressive quartet rendition of the much-loved Born In The Night, by Essex-born composer [and Methodist minister] Geoffrey Ainger.

Before the paling of the stars,
Before the winter morn,
Before the earliest cock crow,
Jesus Christ was born:
Born in a stable,
Cradled in a manger,
In the world his hands had made
Born a stranger.

Priest and king lay fast asleep
In Jerusalem;
Young and old lay fast asleep
In crowded Bethlehem;
Saint and angel, ox and ass,
Kept a watch together
Before the Christmas daybreak
In the winter weather.

Jesus on his mother's breast
In the stable cold,
Spotless lamb of God was he,
Shepherd of the fold:
Let us kneel with Mary maid,
With Joseph bent and hoary,
With saint and angel, ox and ass,
To hail the King of Glory.

THE BOY FRIEND

THE BOY FRIEND

Trinity Methodist Music and Drama

27.09.13

Laura Bennett was at Trinity for The Chelmsford Weekly News ...

Sandy Wilson's 1953 musical comedy, The Boy Friend, is a frivolous, feel-good show - the essence of which even the predictable plot line and weak book can do nothing to dispel - and this youthful Trinity cast brings a vitality and spirit to the stage. Polly Browne, set to inherit her father's fortune but wanting to find love regardless of money, is played with earnest sobriety and a sparklingly beautiful voice by Jessica Edom. Ben Huish gives delivery boy Tony a bumbling posh-boy interpretation, with a smooth, confident singing voice.

Hands held at constant right angles and fixed smiles with shiny white teeth, the English roses of the finishing school are played with stylised elegance by Charlotte Watling, Helen Quigley, Amy Coster and Nina Harrington. Their enthusiastic Charleston-style choreography is well matched by the strong male support from Joe Gray, Dom Short, Dom Light and Ed Tunningley. All relevant parties spiritedly maintain their French accents, especially Emma Byatt who floats around the stage as a graceful Madame Dubonnet. An enjoyable cameo too from Director Tony Brett who exudes personality while playing lecherous Lord Brockhurst.

The busy three piece band are reliably led by Musical Director Gerald Hindes who pitches the volume levels ideally to ensure that the performers voices are always heard.

It is lovely to see a talented group of young faces joining the established performers at Trinity, and the result is a fun-filled production with the enthusiasm of the cast reflected by the appreciative audience. An entertaining evening.

production photo by Val Scott

THE MERRY WIDOW

THE MERRY WIDOW

Trinity Methodist Music and Drama in the Civic Theatre

14.05.13

A wealth of operetta experience on and off stage for Trinity's latest Merry Widow.

An inauspicious first act, with leaden pace and an unexciting embassy setting, but things perk up after the interval, with the colourful Pontevedrian Night chez Glawari: superb national costumes and atmospheric lighting. And there are some successful ensemble pieces, too, like the Women Women number, twelve gentlemen lined up across the stage, or the game Grisettes in the Maxim's tribute, augmented by six lithe can-can girls [choreography by Julie Slater].

The orchestra, with real live harp [Lynne Creasey] is conducted by Trinity regular Gerald Hindes. Martyn Harrison, who directs, is new to this company, but is no stranger to the show. He's chosen to concentrate on the plot and the people, and there are certainly laughs to be had in Jeremy Sams' risqué and irreverent translation.

As Camille, Stuart Boother is a dashing young tenor in the Boe mould, well matched by Dee Mardi's enjoyably coquettish Valencienne. The Widow herself is given a lively, earthy performance by Alyson Denza – the crucial

Vilja song beautifully delivered. Her Danilo [Stephen Cooper] is not the most charismatic, more heavy artillery than light cavalry, but he does the right thing for the Fatherland in the end, to general relief and rejoicing.

Entertaining work from Patrick O'Connell as the old Baron, David Ehren as covert surveillance specialist Njegus, and, as two noble diplomats, Joe Gray and Patrick Willis.

production photograph by Val Scott

TRINITY METHODIST MUSIC AND DRAMA

TRINITY METHODIST MUSIC AND DRAMA

Christmas Concert at Trinity

09.12.2012

One of the most heart-warming signs of Christmas's approach, the Trinity concert, a traditional blend of carols, songs and readings.

Guest artists this year were a keen and disciplined choir from the Cathedral School, directed by Head Teacher Anthea Kenna, who sang four contrasting pieces, starting with that gingerbread feeling from John Williams' score for Home Alone. Ken Rolf's reading took us from wildest Wales, with Dylan Thomas, to the snow-covered Dales with Gervase Phinn.

We all learned, and performed, a multi-tasking "Hi Dom", harmonies, rhythms and all, cajoled and encouraged by Felicity Wright, who directed the concert.

We enjoyed Roger Jones's accessible oratorio While Shepherds Watched, putting said shepherds and their sheep centre stage, and including a lovely setting of In The Bleak Midwinter. The choir also sang a dynamic, upbeat Falantidada, two Rutter favourites and Sargent's setting of Little David Play On Your Harp. And to end, Robin Nelson's Out Of Your Sleep, before they wished us a fugal, figgy-pudding Merry Christmas.

Bolton Abbey by Keith Melling