9 TO 5

9 TO 5

WAOS
at the Public Hall, Witham

24.10.2017

A nostalgic journey back to 1979, nicely suggested in Witham by shades of brown and beige, with splendid hair and moustaches for the men, the villains in this vaguely feminist fairy tale.

This is “the Dolly Parton musical”; not a juke box selection of her greatest hits, but the play what she wrote, nearly ten years ago now, based on the 1980 film in which she starred with Jane Fonda.

She stars in this too – as a virtual presence, a one-woman Greek chorus projected behind the action – and vicariously as the Backwoods Barbie “too much make-up, too much hair”, played for WAOS by Sarah Miles. A very enjoyable performance, matched by the three other principal ladies – Matilda Bourne’s Judy, the new kid on the office block, Diana Easton’s Violet, a fine comedy presence and a polished vocalist, and Rhianna Howard’s excellent Roz, who’s besotted with the MCP boss of Consolidated, Franklin Hart Jr [Niels Bradley]. Emma Loring is the “old lush” Missy, and Dannii Carr the noble accountant who finally finds happiness with Violet.

“Glitchy” was the word in the interval bar: cues missed, lines fumbled, a recalcitrant harness. The big production numbers – One of the Boys, Heart to Hart, with the chorus in the aisles – worked well, but too often the songs were left to work their magic on an empty stage.

Nikki Mundell-Poole’s production has some fine dancing, and the fantasy sequences work well. James Tovey, the Musical Director, brings some so-so numbers to life – he has a convincing show-band in the Witham pit.

Had the show been done in the 70s – when the much missed Brigadoon was still thought a good night out – we could have expected similar tired cloths and wobbly flats. But no sound system pumping out the decibels, which might have resulted in a better band/vocal balance, allowing us to hear more of Ms Parton’s lyrics.

RETURN TO THE FORBIDDEN PLANET

RETURN TO THE FORBIDDEN PLANET

WAOS at the Public Hall, Witham

24.04.2017

Shakespeare's forgotten rock and roll masterpiece takes to the Witham stage in a production packed with energy and attack.
On an impressively high-tech set – flashing lights and giant plasma screen - the company throw themselves whole-heartedly into this irreverent mash-up of the Complete Works and high-camp hits of the 50s and 60s.
Claire Carr's production is assured in every department. Technically, the lighting is superb, with striking Close Encounters silhouettes; the monster and the air-lock [smoke and fan] are both highly effective. Video and animation are beautifully done. Musically the familiar songs are given barnstorming performances, with spectacular choreography: Who's Sorry Now – with the Swinging Space Cats – and Mr Spaceman – with silver lamé cowboy hats – among the many memorable production numbers. The pit band, conducted from the keyboard by James Tovey, provide very authentic instrumental support; special mention for the powerhouse drumming of Paul Codling. And the acting matches the camp, OTT style of the music.
Captain Tempest – the heart-throb hero – is David Everest-Ring, striking poses and selling the songs. His Navigation Officer, on this equal opportunities spaceship, is an excellent Rhianna Howard. Diana Easton makes a wonderful Gloria, with commanding stage presence and a great way with her numbers – Go Now, especially. Cookie – the simple, homespun lovesick lad - is the seriously talented Harry Tunningley: dancing, singing and verse-speaking all very accomplished. His duets with the Bosun [Emma Loring] are tremendous fun. He does however have a body double from the band to accompany his air guitar, since this is a company of dancers rather than actor-musicians. The inhabitants of the isle of D'Illyria are Stewart Adkins' mad scientist Prospero, making the most of Lear's storm, Claire Rowe's delightful Miranda, and, as the rolling Coke can Ariel, Tim Clarke, resplendent in his costume and skilled on his roller skates. A nice cameo in the Patrick Moore video role of Newsreader from Richard Cowen, who's also a member of the polished ensemble.
Hugely enjoyable from the opening Wipeout to the Great Balls of Fire finale, this is a laudably virtuosic production of a demanding musical theatre classic.

SPAMALOT

SPAMALOT
WAOS at the Public Hall Witham

24.10.2016

A sprightly Spamalot from WAOS, with a great chorus and some very amusing animations.

So alongside the colourful live action, there's a crashing chandelier for the pastiche number, useful glosses for the Chosen People song, a Wikipedia entry for The Holy Hand Grenade of Antioch, a wheel of fortune for Camelot, and much more. The back-drops, too, are digital.

No shortage of proper Pythonesque performances either. Amongst the knights in woolly tights, Kris Tyler's bold Sir Lancelot and Michael Mundell-Poole's spineless Sir Robin – both sounding more Essex Yeomanry than upper crust - and Phillip Spurgeon's Melchett-moustached Sir Bedevere. Craig Tyler – a convincingly radical Dennis – is the dashing Sir Galahad.

His old mum is played, a la Mother Riley, by Edward Groombridge, who's also a French taunter and a priceless Prince Herbert [another hundred people just contracted the plague...]. This kind of imaginative doubling is crucial to this show: Nik Graham is the other taunter, Tim, and the Knight of Ni, Harry Tunningley an irrepressible Not Dead Fred and Lancelot's trusty Concorde. Even Richard Cowen, an amusingly Starkey-ish Historian, is the tedious Brother Maynard in Act Two.

Camelot's first couple are Constance Lawton's diva Lady of the Lake, and David Slater's impressively sung Arthur – a genial, formidable presence. His hang-dog Patsy, a brolly in his knapsack, is Trevor Marks.

Similar umbrellas for the big production number, with tap-dancing playing cards. The chorus is brilliantly used, from the campest copacabana for the out-of-the-closet Lancelot to the athletic cheerleaders. Good to see Marcel Marceau with the onion seller amongst the French People.

The audience on opening night were enthusiastically appreciative – whistling, singing along and laughing immoderately at the excellent guard panto routine, the snippet of vintage Python, the Brexit joke.

An impressive production of a cult classic, directed by Nikki Mundell-Poole, assisted by Gemma Gray, with Geoff Osborne in charge of the music. A good omen for another off-the-wall show next spring – Bob Carlton's Return to the Forbidden Planet, Shakespeare's forgotten rock'n'roll masterpiece.

production photograph: Matilda Bourne

THE PIRATES OF PENZANCE [AUSTRALIAN VERSION]

THE PIRATES OF PENZANCE

Witham Amateur Operatic Society at the Public Hall

25.04.16


There've been some pretty rum Pirates since copyright expired back in the 60s. All-male, Papp on Broadway, The Parson's Pirates [my favourite, from Opera della Luna]. And earlier this month a splendid Steampunk version at Brentwood.
WAOS went for the Australian version, with some modern tweaks, especially in the chorus numbers, some added business and topical asides, plus a lively megamix finale.
All the messing about did little for me. It seemed designed for a different company, a different audience. The “orphan” joke was made even less funny by being interrupted, General Stanley's character was not improved by what the Pirate King called his “flowers out the jacksie” moment. And the Fabulettes [Stanley's daughters] were allowed to upstage Mabel's aria, and encouraged to flirt outrageously with Frederick, in direct contradiction of the libretto.
But a cracking pace and many enjoyable performances produced an entertaining evening of alternative G&S.
Mabel was excellently sung by Jessica Edom-Carey, well matched by the equally youthful Frederick of Thomas Pleasant. Their wonderful Act Two duet is still echoing in my memory. Tom Whelan's staunchly traditional Major-General took his patter song at a brisk pace, well sustained until the lame encore. David Slater made a flamboyant Pirate King in his burgundy trousers; Anne Wilson was a superb Scots Ruth, the piratical maid-of-all work. And Stewart Adkins excelled as the Sergeant of Police – an interpretation which was hilarious both vocally and physically – at the head of his cleverly choreographed coppers. The Foeman number was the best thing in the show.
Fine ensemble work from the pirates too, and from the whole company in the Ode to Poetry, mercifully unimproved. The Fabulettes – a sexy sextet of smokers in beehive hairdos, led by Emma Loring's Chardonnay – enjoyed some nice harmony work.
The design could have been Pixar, with the towering cliffs of books, and the costumes were bright and stylish – lots of butch kilts for the Pirates.
Thomas Duchan directed – he was in the pit, too, playing an unsubtle keyboard reduction. The excellent soloists not always best served by generous decibels from the sound system.
WAODS gave the show their all; a big, bold, irreverent take on a favourite Savoy Opera. But my advice to other societies would be save your money, stick to the original, or be like Brentwood, or Trinity, and steer your own course.

publicity shot: Nick Griffin

THE PRODUCERS

THE PRODUCERS

WAOS at the Public Hall, Witham

31.10.2015

A “new Mel Brooks musical”. Well, not so new, now. It's nearly 15 years since Bloom and Bialystock hit Broadway running. But it certainly has the hilarious hand of Brooks all over it, adapted of course from his cult film of 1968, though a little lighter in tone, more upbeat, and of course crammed with loads of extra songs.

In this fine production for WAOS, Amy Trigg sets the relentless slapstick action against a black set, cleverly focussing our attention on the actors and the colourful costumes.

The unlikely pairing of mild-mannered accountant and hard-bitten impresario is the core of the comedy. And Witham field a superb double act, in the glorious tradition of musical theatre. Michael Watling is the callow Leo, hysterically clutching his blue blanket and dreaming his fantasy world of showbiz. Max, the cynical hack who's lost the Midas touch and now turns to little old ladies for kicks and cash to bankroll his shows, is in the capable hands of David Slater, selling some pretty so-so numbers and enthusiastically painting this larger-than-life portrait of a desperate producer.

They're surrounded by an OTT collection of eccentrics and oddballs, including Corrina Wilson's buxom Ulla, David Everest-Ring's delicious De Bris with his Chrysler Building gown and his “common-law assistant” Carmen [Lewis Behan], who gets to join the brown-shirt kickline in Act Two. Stuart Scott Brown makes the most of the Nazi nutter Liebkind; a very strong comedy performance, excellent vocally, too. Amongst the grannies and the camp followers, honourable mentions for Rhianna Howard's “Hold Me Touch Me”, Tim Clarke's Stormtrooper, Dexter Montgomery's promising Sabu [without his elephant] and Constance Lawton and Emma Loring as the Usherettes who kick off the whole show at the première of Funny Boy, Bialystock's take on Hamlet.

Some great ensemble work, with choreography by Louise La Chance: the Zimmer routine amongst many others. “That Face”, for Leo and Ulla, is a perfect pastiche of the glory days of the romantic musical.

Like Max's dire musicals, the show is, if not “guaranteed to offend”, then at least coarse, tasteless and unsubtle. Jews, Irish, gays and geriatrics all on the sharp end of the satire. Some of the numbers seem like padding, even the brilliantly done recap soliloquy for Max.

But the central concept is still strong, and the energetic company at Witham extract every ounce of outrageous comedy from it. Lots of delicious detail [De Bris' doorbell] and slick staging – the scene changes laudably smooth and swift.

In the pit, the nostalgic sound of a big, brassy band – Thomas Duchan is the MD.

Next up from WAOS, not, alas, the Bialystock/Bloom Rabbis of Penzance, but the almost as improbable Australian version of the G&S Pirates – not one for Savoy purists, I would guess.

THE ADDAMS FAMILY

THE ADDAMS FAMILY

Witham Amateur Operatic Society

27.04.2015

Cartoon strip, black and white tv show, a popular, if not critical, success on Broadway, and the West End planned for next year.

This wonderfully weird family is busy in Essex just now, with WAOS this week, and LODS [at the Palace Westcliff] next.

The Witham show looks great, with projected backdrops and some stunning stage pictures. The living dead, the assorted ancestral Addamses from history, are pallid and wraith-like, with creative costumes in shades of beige and grey.

Against them, the harsher black and white of the present-day family, and the tasteful leisure-wear of their inlaws-to-be, the Beinekes from Ohio.

Some excellent performances in both camps. Corrina Wilson is priceless as Mrs Beineke: whining voice, powerful soprano and a spectacular “Waiting” after her chalice has been spiked. Stewart Adkins, as Gomez Addams, bears the brunt of the show, ably keeping the comedy coming and delivering some brilliant numbers; Constance Lawton his classy Morticia. The rest of the clan have varying success with the very special style this show demands – Edward Groombridge gives a splendid Grandma, and Fraser McLaughlan shows presence and polish as Pugsley. Trevor Marks has his moments as the moonstruck Fester, though the role demands a little more, perhaps.

The star-crossed lovers are engagingly portrayed by Ashton Reed and Ed Tunningley.

Nikki Mundell-Poole's energetic production is imaginatively staged – the supper-table “Full Disclosure”, jazz hands and enthusiasm from the ensemble, “Death Is Just Around The Corner”, the trees in Central Park, the “Secrets” dance routine, the chorus in “One Normal Night”.

All in the worst possible taste. The lyrics frequently sound feeble, the book is patchy, though there are some winning lines: “... makes Mary Poppins sound like Medea./I'm not getting your references./ Well quit the texting and pick up a book for once!”.

The music, though rarely memorable, is serviceable in many genres, and is well served by the company under Musical Director Geoff Osborne.

Always good to see a new musical, even if the characters are familiar. And Witham certainly pull out all the stops to sell the show. But I'm not sure I shall be queuing outside the St James's next year …

production photo courtesy of Matilda Bourne

video: Nick Griffin Film

WAOS The Addams Family Teaser #2 from Nick Griffin Film on Vimeo.

THE SOUND OF MUSIC

THE SOUND OF MUSIC

WAODS at the Public Hall, Witham

27.10.2014

The Sound of Music is one of the last great book musicals, and one of the best known, largely due to those post-turkey screenings of Christmases past.

Good to see the show live on stage again in the Public Hall in Witham.

Among the strengths of Eric Smart's production for WAOS are impressive choral singing [the MD is Susannah Edom] both from the nuns of Nonnberg, and from the Von Trapp family, and an excellent group of children, from Faith Rogers' lovely Liesl to Ella Bradley's tiny Gretl.

The demanding role of Maria is taken by Corrina Wilson, in a spirited, extrovert performance, with huge stage presence. Perhaps a little too knowing, a little too pert at times, but every familiar number is wonderfully sung.

A perfect performance, too, from Julie Codling as Elsa – stylish and shallow, making the most of the catchy How Can Love Survive trio with the upright Naval Captain Georg [Niels Bradley] and the amoral Max [Tom Whelan] And Janet Moore makes a marvellous Abbess, singing Climb Every Mountain with superb phrasing and real emotion.

Do-Re-Mi is imaginatively staged and energetically realised, and there's inventive choreography for Liesl and her beau Rolf [a personable Edward Tunningley] in Sixteen Going On Seventeen. We are treated to a big Viennese wedding, and an elegant soirée for Elsa.

Elsewhere, it's a swings and roundabouts show. A great stage picture for the moving final number, but a very cramped corner for the Abbess's Office. Stunning swastikas and storm-troopers for the Festival Concert scene, but the key moment where Georg's hard heart is melted by music goes for almost nothing. There's a sadly un-Alpine lakeside not only for Georg's villa, but also for Maria's beloved hillside. And those unmistakably English church bells …

JACK THE RIPPER

JACK THE RIPPER

WAOS at the Public Hall, Witham

03.05.2014

Jack the Ripper a musical ? Why not, when grand opera, and Sweeney Todd happily spin tunes around the most horrific atrocities. And Oliver, that most family-friendly of shows, has its share of true crime and 'orrible murder. In fact Denis de Marne and Ron Pember's piece from the 1970s has many points of similarity with Bart's greatest hit, not least, in Witham's production, the backdrop of St Paul's, not normally visible from Whitechapel.

But the ingenious concept, which works really well here, alternates those mean streets with the escapist warmth of the Steam Packet. A Music Hall, complete with singalongs, melodramas and Master of Ceremonies, though, alas, without his gavel.

The swift transition between the two is one of the strong points of Kerry King's production – dustbins become tables, a violent confrontation morphs into melodrama.

A large cast fills the stage, singing the choruses very impressively. And there are plenty of talented principals to carry the drama and the catchy numbers of Pember's score. David Slater is our Chairman, a strong personality commanding the stage with a fine singing voice. Marie Kelly – a real character, like most of those portrayed here – is beautifully interpreted by Keiley Hall [another fine vocalist], bringing bravado and pathos to the role of the streetwalker and soubrette. Emma Loring confidently takes on the unlikely combination of Queen Victoria and Lizzie. Montague Druitt, a fascinating if enigmatic figure, is strongly done by Stuart Adkins, and amongst the many colourful characters on display I was especially taken with Tom Whelan's Bluenose, doubled with the Duke of Clarence, one of the many names associated with the Ripper over the years.

Various suspects appear briefly in a kind of Gang Show number [I was disappointed that they didn't reprise their ditties in ensemble], one of many delightful touches, the rainy funeral and the graveside monologue another. The coppers in drag – though loved by the audience – could have done with some more ambitious choreography, true of many of the numbers. We longed for a few Consider Yourself moments from the chorus, for example. And not all of the dialogue was as lively and colourful as the music.

But the pastiche score is well served by this enthusiastic company, and by MD James Tovey and his evocative little pit band. This unusual treatment of a popular penny dreadful is very entertainingly revived forty years after its première.

OLIVER!

OLIVER!

Witham Amateur Operatic Society at the Public Hall

02.11.13

Against a splendid period London panorama, the big ensembles were a highlight of Vikki Mundell-Poole's lively Oliver! for WAOS.

The well-drilled orphans [part-singing and fancy footwork] in their subdued uniforms, dreaming of Food, Glorious Food as the Beadle's feast was carried past under their noses; most of London's lowlife crowding the stage for Consider Yourself, with a Punch and Judy show squeezing in stage right; the different levels cleverly used for the cheeky knees-up in the Cripples; the maids with brooms for Who Will Buy; the tattered brollies for I'd Do Anything. All with pin-sharp choreography and tight ensemble singing.

Charlie Smith made an engaging Oliver [though perhaps not “in proportion”], excellent in Who Will Buy, and a plucky match for nasty Noah Claypole [Edward Tunningley]. If I were a starving urchin, though, I think I might have tucked in to that apple, and to hell with diction …

Fagin – convincing hair, beard and East London accent – was George Lambeth, at his best in the reflective Reviewing the Situation, his musings nicely matched by Sandy Tate's clarinet.

Robyn Harrington sang beautifully as Nancy, and stayed firmly in character throughout her big number.

Underworld characters Dodger and Sykes were confidently done by Max Lenoir and Patrick Willis – Lenoir with cocky charm, Willis with gravel-voiced menace and a casually violent manner. Qualities not shared by Maisie, his affectionate attack dog – though, like the chorus, she was well trained and gave a very professional performance.

A large supporting cast included Liz Watson and Tim Clarke as the disgraced workhouse management, Richard Herring and Deborah Anderson as the funeral directors, Alice Tunningley as young Bet, Ron Howe and Emma Loring as the charitable Brownlow and Bedwin, and Stewart Adkins giving a consummate character cameo as Grimwig.

A very effective, versatile staging, with the double death of Nancy and her Bill one of many striking stage pictures.

The band, under MD Geoff Osborne, were on top form throughout, and while we might have welcomed more extrovert energy all round, this was a most enjoyable reminder of Lionel Bart's one and only hit show.

OKLAHOMA!

OKLAHOMA!

Witham Amateur Operatic Society at the Public Hall

27.04.13

A delicious slice of sweet potato pie from WAOS, in their fourth visit to Indian Territory.

From the first rumbustious bars of the overture [MD is "Pluck that banjo to pieces, Geoff!" Osborne] it's clear we're in for an enjoyable ride, with polished, stylish performances from a large cast, and an enthusiastic chorus of ranchers, farmers and their gals.

Gareth Gwyn-Jones is a likeable Curly, powerfully sung and a strong presence on stage; his Laurey, sassy in her bare feet and dungarees, is Corinna Wilson, her beautiful voice and easy charm deployed to wonderful effect on her menfolk: the tortured Jud Fry [compellingly characterized by Stewart Adkins, in his porn-bedecked smokehouse] as well as her cowboy of choice. Their People Will Say duet one of many musical highlights.

The other couple, Abigail Lowman's larger-than-life Ado Annie and Michael Watlings' agile Will, are a delight too, in their duet, as well as the Kansas City and Cain't Say No solos. More young blood for the Persian pedlar; if James Simpson's accent is less than convincing, he scores highly on comic timing and dress sense.

The older generation is capably represented by Anne Wilson's excellent Aunt Eller, feisty, wise, and very funny, as well as Ron Howe, appearing in his fourth Oklahoma, this time as Judge Carnes.

Robyn Gowers directs with an experienced eye for detail and the bigger stage picture – the wedding group, happy couple aloft in the spot just one example. Nice to see the Dream Ballet, too.

One or two characters do have a tendency towards "standing like statues" and a dark stage lit by spill from the house is never a good look, but the packed audience on the last night enjoyed a splendid show, a shining example of the best of amateur musical theatre.

GUYS AND DOLLS

GUYS AND DOLLS

WAOS at the Public Hall Witham

24.04.12

We begin with a Runyonesque street scene, the stage crammed with all human life, low life especially. Dolls, cops, gamblers, gawpers and the token drunk, Jeff Babbs a constant inebriated presence throughout the show.

The scene changes were difficult on this small stage, but we had a nice Hot Box [with audience profiles] as well as both sides of the Save-a-Soul Mission.

Many lovely performances: Corrina Wilson's coy, vulnerable but steel-willed Sarah, very impressive vocally. An old-fashioned "light opera" voice – a tradition under threat now that actors have taken over in musicals – an approach appropriately shared by her Arvide, Nicholas Clough, with a touchingly beautiful rendition of More I Cannot Wish You, and by her Masterson, Gareth Gwyn-Jones, their tones blending splendidly in duet. The MD for the show was Geoff Osborne.

Delicious comedy leavening from Deborah Anderson as Miss Adelaide, with her nasal tones and her huge box of Kleenex, and from Stewart Adkins as Nicely-Nicely – a little lithe, despite his addiction to Mindy's nosh, but lighting up the stage with his confident, larger-than-life presence.

Jacqui Tear's production was confident too, from that busy opening through to the spectacular title song finale. I loved the retro burlesque routines from the excellent Hot Box Girls [Lindsay Bonsor the choreographer], and the famous Rocking The Boat managed to be static and dynamic at the same time – very clever.

It's 90 years since WAOS first ventured onto the hallowed boards of the Public Hall, and this is their third production of this Broadway Classic. On this showing they can move towards their century safe in the knowledge that good old-fashioned entertainment, done with this kind of skill and style, will always find an appreciative audience.