FOOTLOOSE

FOOTLOOSE

Springers at the Civic Theatre

15.06.17

The musical of the 80s movie is as popular as ever, with another national tour this year. But Gareth Gates' fans could surely not be more warmly enthusiastic than the audience in the Civic.

Springers give them a colourful, lively show, nicely sung, beautifully dressed, with dance delights a-plenty.

The dialogue is snappy, though the lyrics sometimes get lost in the sounds from Ian Myers' rock-combo pit band.

A quality cast make the most of the opportunities offered, from Mat Smith's sleazeball Chuck to Colin Shoard's sincere but blinkered preacher. Deborah Anderson is outstanding as his long-suffering wife, vocally assured, with a strong stage presence. The Learning to be Silent kitchen trio was one of the best things in the show.

The audience warm to Daniel Schultz's slow-witted Willard, while Alexandra Phillips shines as a superbly sung Rusty.

Jon Newman brings an easy Chicago charm to the role of Ren, the incomer who gets Bomont back on its feet, with Mae Pettigrew as a lovely rebellious Ariel in her scarlet boots. 

The staging is ambitious, with pews, burger bar and kitchen trucked on, and the lockers flown down. The railway bridge is impressive, too, beautifully lit for Almost Paradise.

And there's plenty of space for those big production numbers – the barbecue, the gym, the junkyard, and of course Holding Out for a Hero, with a trio atop the counter, a chorus of unliberated ladies and superheroes, plus a random hot-dog …

Footloose is directed for Springers by Gary Jarvis and Susan Corina, with choreography by Helen Arber.

photograph: Aaron Crowe

TELL THE WORLD
The 53rd Chelmsford Gang Show, at the Civic Theatre
27.04.10


It used to be all khaki. But this, the most colourful Gang Show yet, opened in a riot of orange and green, with a lively number ending in a very effective mass handjive.
There was red, white and blue for the Travel Sequence. And not one but two sets of street moves to a booming backing track.
I liked the way the weather improved from Raindrops [an impressively brave solo descending a staircase] to Sun Shine [from the newly revived Hair].
As ever, the Mini Gang showed promise, their moral tale of the Dark Siders [with their talented silver-clad leader] enlivened by some classic standards. I enjoyed the sophistication of Man in the Mirror, and the last production number – Love – was very nicely done. 
Sometimes I was surprised that the large chorus made so little noise – maybe this was a first night balance problem. 
There were some moments that even the enthusiastic uniformed audience found less exciting. The usual rules apply: if everyone stands in line, or takes turns with a verse, or is stuck against a front cloth, or is having to read the words …


Has the Gang Show lost touch with its roots ?  Well, there was little recognizable Ralph Reader this year, and almost no significant cross-dressing, unless you count the monster in a tutu.
And once you've embraced Return to Sender, Robbie Williams and Radio Gaga, there'll be no more In My Dreams I'm Going Back to Gilwell …

Vienna by Candlelight

The Locrian Ensemble

Civic Theatre 19th September

Jim Hutchon was in the stalls ...

The Locrian Ensemble transported us from a damp Chelmsford Saturday into the lush Imperial world of Vienna, complete with powdered wigs and tights set in a classical statuary backdrop. But the light-heartedness of the setting, or the jokey anecdotes, fooled no-one, this is a group that is serious about its music and its expression.

The Ensemble comes together for these ‘Vienna by Candlelight’ concerts, although all the members are sought after soloists in their own right. They are led by Rita Manning, formerly leader of the Academy of St. Martin-in-the-Fields Orchestra, who was able to breathe unexpected vibrancy into such pot-boilers as Lehar’s Gypsy Fiddles. Founder and principal raconteur of the Ensemble is cellist Justin Pearson who is also artistic director of the Nationl Symphony Orchestra.

The music was a varied selection of quite easy listening, mainly by Mozart, Strauss, Vivaldi and Lehar, although all were performed with a freshness and vivacity which belied their clichéd status. Guest soprano ‘the pocket diva’ Annette Wardell took on three solos with clarity and a warmth of expression, including the fiendish Queen of the Night’s aria from the Magic Flute. Other guest soloists included the very talented Irish harpist Jean Kelly and short sequences from a pair of dance champions, Shaun Christie and Emma Munbodhowa, who performed, of course, immaculate waltzes, as well as rhumba and cha cha.

Audience participation was a short lollipop which included burst paper bags to emulate the cannons in a truncated '1812' and an encouragement from the soprano to join in ‘Vilia Oh Vilia’.

VARIETY LIVES!

Civic Theatre

12.09.09

When was the golden age of Variety ? Harry Champion, Florrie Forde, Max Miller, the wartime Windmill, Sunday Night at the London Palladium ? Certainly not the age of X-factor and I'm a Celebrity, when it survives only at the end of the pier, and once a year for the Royals.

We prefer our singers and our stand-ups straight, milk chocolate or plain, hard centres or soft, rarely an assortment.

So it was a tonic to see a variety bill in front of the silver retro curtains on the Civic stage.

A shaky start, though, with a hesitant warm-up from comedian Otiz Cannelloni, tooled up with his spoon, his magic pencil, his balloon and his flatulence cards.

The three acts he introduced were all talented women who've been around a bit, and each in her way was a treat.

Barbara Nice [“Barbara as in Streisand, Nice as in the biscuits”] hails from Stockport, and is a fan of coach travel and charity shops. Imagine a Liz Smith tribute done by Paul O'Grady if you haven't had the pleasure. A well-sustained character comic of the old school, with a winning blend of folk wisdom and philosophy. And I admired the way she got the audience by the scruff of its neck and got us all on her side.

Chanteuse Barb Jungr [another scion of Stockport, spookily enough] has been compared to Nina Simone and Peggy Lee, but her devoted fan base would be quick to point out that she is a unique talent. With the excellent Simon Wallace at the piano, she gave us Bob Dylan and Marc Cohn, and ended all too soon with a potent version of Neil Diamond's Red Red Wine. She'll be back at the Civic in the new year, with her own show based on her New York residency.

Top of the bill was Hattie Hayridge [Holly off of Red Dwarf]. I loved her darkly surreal stream of consciousness – Canvey Island, Top Shop, seedless grapes, footless tights and bags for life – but the audience wasn't sure. Maybe they wanted more Jungr, or Barbara Nice's Robbie Williams cover. But I guess that's Variety …

LONG LIVE THE RINGMASTER

Kinetix Theatre at the Civic

11.09.09

“Bringing theatre back to the masses”, Kinetix Theatre combined circus, combat and crime thriller in forty-five minutes of tricks, tumbles, twists and surprises.

The Ringmaster lies lifeless in the sawdust. But who dunnit ?

Was it Boris the clown, with a water pistol and Fluffy the lion ? Or singing, dancing strongman Samson, who finally inherits her mantle and brings a touch of camp to the Big Top ?

The talented troupe vault, fight, sing and dance towards the truth of the matter, as Samson draws on his Meerschaum and solves the mystery.

Six energetic young performers [alumni of East 15 Acting School] worked hard at the tumbling, the swordplay and the comedy, though the show wasn't always sure where it was going, or why. This kind of crossover is notoriously difficult to bring off - gymnasts and theatre buffs share few criteria in common. The Entry of the Gladiators, played at the top of the show, the archetypal circus tune, reminded me of the inimitable Theatre du Soleil, bringing circus to the French Revolution at the Roundhouse ["1789" 1971].

After the interval, team tee shirts replaced the circus costumes for a demonstration of their skills, a chance for the audience to try the trampette, after coach Brad Wendes vaulted effortlessly over a dozen stooges, and Lewis Peploe shared some of the secrets of stage combat.