PRIMAVERA

PRIMAVERA

Kayleigh McEvoy and friends at Trinity Methodist Church Chelmsford

06.04.17

Aptly titled Primavera, Kayleigh McEvoy's springtime recital programme was an enjoyable collection of all kinds of song.

Kayleigh, in the final year of her BMus at Guildhall, is no stranger to Trinity and the Chelmsford stage. She has a rich, remarkably mature voice, heard to great effect in Dvorak [in the original Czech] and Quilter, amongst many others. She is an engaging performer, with flirting opportunities here in Satie's Diva, and dramatic petulance in Dove's Enchanted Pig – tiara-related wedding-day tantrums – and Schubert's Die Manner sind mechant.

She was joined by two excellent fellow-students. She duetted delightfully with baritone Adam Maxey in Don Giovanni – his seductive “Andiam” her downfall – and with Matthew Hamilton Healy as her Bocelli in that crossover favourite La Preghiera.

The young men shone in solos, too – Adam in Britten's tale tall of The Crocodile, and Matthew in Cole Porter's camp fable of The Oyster.

At the piano throughout – coping splendidly with the tricky Britten and the lovely Schubert – was Joseph Cummings.

The introductions were done with the lightest of touches, brief and to the point. And the three singers joined, as we hoped they would, in an encore, I Bought Me A Cat, from Copland's Old American Songs.

picture courtesy of Val Scott

FIDDLER ON THE ROOF

FIDDLER ON THE ROOF

Trinity Methodist Music and Drama at the Civic Theatre

10.05.2016

A real treat to have an actor/musician in the title role. Carrie Penn is a frequent presence in Eric Smart's heart-warming production: a silent witness on the side of the stage, perched on the milk cart, or reaching out a comforting hand to Tevye,

Another delight was the chorus: a real sense of the peasant community here, in the Sabbath Prayer, in Sunrise, Sunset, and, after a shaky start, in Lo Chaim.

Though the scene changes were bridged by music cues, they were all done under cover of darkness, and things generally seemed a little slow on opening night.

Plenty of good performances from the principals. David Slater, fighting “a stinking cold”, gave a larger-than-life Tevye, a good father, a good neighbour, talking with his God, chary of his wife Golde [Catherine Gregory]. His three elder daughters were all splendidly sung – and acted – by Beth Elam as Tzeitel, Emily Delves as Hodel – Far from the Home I Love wonderfully performed – and Nicola Myers as the bookish Chava.

Aaron Crowe was an engaging, eager Motel the Tailor, William Micklewright was Perchik, the stranger in a strange land, and Adam Pomozow brought a touch of authenticity to Fyedka, the gentile whom Chava loves.

And a lovely comedy cameo from Pat Hollingsworth as Yente the Matchmaker. Not to mention the sterling work from Shandel, Fruma-Sarah, the Butcher, the Bookseller, the Innkeeper and the Beggar.

But it's the ensembles that will stay in the mind, from Tradition to Anatevka and the emotional company encore at the end.

Julie Slater was the choreographer, Gerald Hindes the Musical Director, with an impressive band in the Civic pit, including two trumpets, an accordion and a mandolin.

photographs by Val Scott

HALF A SIXPENCE

HALF A SIXPENCE

Trinity Methodist Music and Drama at the Civic Theatre

15.05.12

A punchy, polished revival of a rather tired show, with too many so-so songs. And this new version has not improved it much – I used rather to like the old Military Canal.

But it was clear from Kipps' first entrance – stepping shyly into the spotlight to tell us his story and paint us the pictures – that this was a production that would draw us in and keep us entertained.

Toby Holland was the draper in question – rather fresh-faced to convince as the oldest apprentice in the business, but a very engaging all-rounder. His childhood sweetheart, who comes to find him in the wilds of Folkestone, was superbly played by Charlotte Reed. They headed a large cast, notable for including many new faces, and for being impressive in depth, from the Walsingham family right down to the deckchair man cum photographer.

I liked Joe Gray's left-wing apprentice, and Tony Brett's bibulous Chitterlow. The skinflint Shalford was given the full Dickensian treatment by Trinity stalwart Tony Court.

Beautifully dressed – in the Floral Hall especially – the chorus sang and moved with style and energy. The musical director was Gerald Hindes, the production was by Cathy Court, and the set design – a simple sixpence sliced in two – was by Paul Lazell.

RUDDIGORE

Trinity Methodist Music and Drama

14.05.11

A proudly traditional Ruddigore from Trinity; it boasted some polished performances from experienced Savoyards, directed with a sure touch by Tony Brett.

And it was beautifully dressed by The Costume Store, with an old-fashioned off-the-peg set [Paul Lazell], featuring “The Witches Curse” inn stage right.

Howard Brooks looked eminently Victorian as Robin/Ruthven, as did his stage brother Nicholas Clough, who nicely caught the contrast between the double-dyed villain with the melodramatic eyebrows and his meek and mild reincarnation in Act Two. Their duet near the end of the first act was very stylishly delivered. Equally impressive was Sir Despard's other half – Sarah Thompson's Mad Margaret.

Simon Thompson turned in an impeccably hammy Old Adam, while Janet Moore gave us a beautifully studied Dame Hannah.

Rose Maybud, the nubile maiden of Rederring in thrall to etiquette, was charmingly played, and sung, by Sarah Fletcher; Adam Sullivan made an outstanding Dick Dauntless – an energetic bluejacket with a lively, lusty hornpipe.

The chorus – villagers, gentry, bridesmaids - looked impressive; they moved and sang with practised style, though the ancestors were disappointingly bloodless. A hard-working pit band gave splendid support under the direction of Anton Archer, no mean Savoyard himself.


production photograph by Val Scott

CHRISTMAS CONCERT

Trinity Methodist Drama and Music Fellowship

04.12.10

The Advent Candle, the Advent Calendar, the Trafalgar Square tree – these Yuletide harbingers are joined by musical events all over the county.

None more enjoyable than Trinity's annual Carol Concert. This is an enthusiastic, disciplined choir who make a full, positive sound. No readings this year, but even more unusual offerings, plus of course some timeless favourites.

So we were treated to a reflective Shepherds' Farewell, a lively Jingle Bells, and, to greet us, Walton's “merry and glad” anthem What Cheer.

There was a seasonal swing to the gospel Rise Up Shepherd, and an attractive arrangement of Sleigh Ride. The novelties included a fiendish scena centred on Mrs Beeton's Pudding, a Catalan carol, a version of Deck the Hall which nodded to several other Christmas pieces, and a violent antidote to the familiar Twelve Days.

Among the solos, a wonderful Warlock from Adam Sullivan and Janet Moore's beautifully delivered Have Yourself a Merry Little Christmas, appropriately accompanied by Edward Montgomery's lounge piano.

The concert was conducted and compered by Felicity Wright, with Keith Byatt's “merry organ” adding weight to our audience efforts.

THE GONDOLIERS

“Come and sing” with Trinity Methodist Drama

17.10.10

In the wake of last year's Pirates: The Gondoliers – staged from scratch last Saturday in a most enjoyable community singing event.

The 'Wesleyan Methodists' get a very sniffy mention in the libretto, but at Trinity, the church was transformed to welcome the Venetian Savoyards, with flags, bunting and gondola mooring posts.

Key to the success of the day were the “friendly chorus” - the ranks of contadine [almost four-and-twenty] and gondoliers began rehearsal after lunch, and after tea were joined by a hand-picked cast of principal singers. “Dance a Cachucha” used the forces well, summoning up a world of warm Italian sunshine.

Vocally, the regal quartet – Marco, Giuseppe, Tessa, Giannetta – were outstanding, as were the upstairs/downstairs couple of Luis and Casilda. Dramatically, I liked the ill-matched Duke and Duchess, and the practised urbanity of Don Alhambra.

The post-haste production was directed, with infectious enthusiasm and a firm hand, by Felicity Wright. And a genial Tim Carey presided over the “full band” - pianoforte, with tambourines and military drum for colour.

The Mikado

Trinity Music & Drama

Civic Theatre

12^th May 2010

Jim Hutchon was at the Civic ...

Director Eric Smart’s lavish production of the Mikado relied mostly on the strengths of the original Savoy production for its effects. And what superb effects they were. Trinity, well known for its G&S productions, pulled out all the stops to create the stunningly-dressed operetta which tells the story of a star-crossed love affair between a ‘wandering minstrel’ and the young ward of a tailor.

Adam Sullivan – Nanki-Poo - was the minstrel, a trained singer with a beautifully edged, bright tenor which rattled off the back of the auditorium. His love – Felicity Wright - used her rich, rounded tones as the perfect complement to her ‘lover’. Nicholas Clough was Lord High Everything Else, Pooh-Bah, who brought the paradoxes so beloved of Sullivan into focus with a beautifully modulated baritone and a droll delivery. Acting plaudits must go to Tony Brett, as Ko-Ko, who, with a natural comic sense and pin-sharp timing, clowned his way and really got the near-capacity audience on his side throughout the action.

As far as I could see, microphones were not used, and the orchestra under musical director Gerald Hines kept up a highly-professional accompaniment, staying in perfect balance with the voices. All in all, a real pleasure.

CHRISTMAS CONCERT

Trinity Methodist Drama and Music Fellowship

06.12.09

There's always a festive discovery or two at Trinity.

So this year, as well as singing the familiar Once in Royal, and Sullivan's glorious Midnight Clear, we were coaxed into joining the choir in the catchiest carol in the concert: Cantemos a Maria, from the Dominican Republic, complete with maracas and a chorus in Spanish !

The readings, by favourites Ken Rolf and Linda Percival, included the much-loved “Yes, Virginia”, Frank Muir and the Kissing Bough, and a lovely Holloway-style monologue about a foolish fairy and an irascible Yorkshire Santa.

From the choir, we heard two rousing openers – Gaudete and Torches – a Christmas Calypso, Cornelius's Three Kings, with Adam Sullivan as soloist, and an extract from Menotti's Amahl and the Night Visitors. The Magi also appeared in Herbert Howell's magical setting of Chesterton's Here Is The Little Door.

And before the Herald Angels, Trinity's contribution to Sing Hallelujah weekend, the Messiah in three minutes, by Peter Gritton out of G F Handel. Another discovery for me, superbly sung, and acted, by the choir.

Trinity were directed by Felicity Wright, with Richard Read at the piano and Keith Byatt at the organ.

COME AND SING

– THE PIRATES OF PENZANCE

Trinity Methodist Church

17.10.09

Distinctly unamused, flanked by the Union Flag and the Skull and Crossbones, Queen

Victoria averted her eyes from the Cornish capers going on beneath her.

Trinity, long renowned for their G&S, had invited all comers to sing the Pirates from scratch. A chorus of over fifty, responding to the firm encouragement of MD Felicity Wright, sounded wonderful, every syllable clearly enunciated. The hymn to Poetry was one of the most potent I've heard.

A talented team of soloists made this semi-staged performance – back projection, costumes by Tony Brett - hugely enjoyable.

Doyen of the patter roles Ken Rolf was the model of a modern Major General, Janet Moore was Ruth, Michael Wilson the unhappy Police Sergeant. Adam Sullivan, steeped, despite his tender years, in the Savoyard tradition, played the Pirate King, with Emma Byatt as his fresh-faced Lieutenant. The young Frederick was Richard Rossetti, with Beverley Lockyer his excellent Mabel.

The Paignton première in 1879 was a slapdash affair, with a few random costumes and everyone clutching scores. 130 years on, Trinity were much better organised, making the most of limited rehearsal time, and transforming the church into rocky shore and ruined chapel. Simon Harvey's piano was covered in lanterns for the burglars and tankards for the pirate sherry.