MISS SAIGON – SCHOOL EDITION

MISS SAIGON – SCHOOL EDITION

King Edward VI Grammar School

24.02.17

Expectations were high after last year's Les Mis. And this is a much more challenging piece: a less familiar sung-through score, and dark, adult themes.

But this outstanding production is every bit as impressive, musically and dramatically - James French the director, Tim Worrall the MD.

The orchestra, wrapped around by the action, produces a full, symphonic sound, the keyboards rightly taking second place to the real instruments. Good to see Declan Hickey's “solo saxophone” given some well-deserved limelight. And vocally the standard is stunningly high, both from the ensemble and the soloists.

Hiya Dhar makes a superb Kim. Her mature voice never falters, her numbers are emotionally charged but never overdone. She's well matched by Joseph Folley's compelling Engineer – a mesmeric presence, and perfectly delivered numbers. A creepy, slippery survivor, he gets what few laughs there are in this hard-hitting story. His American Dream will be hard to forget, I feel – a great production number choreographed by Gavin Wilkinson.

Strong contributions from many others, including Rafee Ahmed's commissar Thuy, Samuel Harper's GI Chris, and Olivia Moul as his wife Ellen.

The staging is simple, with many of the numbers presented on the walk-way surrounding the pit. The helicopter is sketched with sound and animation, the wire fences paint a stark image of despair.

The ensembles are tellingly used – the military, the dancers, the whores. And the junior chorus makes its mark, too, as urchins, refugees, mini-me Uncle Sams, and as the brilliant Bui-Doi choir, making a powerful opening to Act Two with Benjamin Kinder's strongly sung John.

This is musical theatre work of a very high standard, artistically and technically. A cliché, but no less true for that, to say that we forgot that we were in a school hall, and all these actors would be back in the classroom next week – Dreamland, Ho Chi Minh City and the rice fields no more than an imperishable memory.

production photos: Peter Langman Photography

To buy Peter Langman's rehearsal photos, try this direct link with the first password as Saigon1234, which then needs submitting again after you have put your e-mail address in...

http://www.peterlangmanphotography.com/clients.html

LES MISERABLES

LES MISERABLES

King Edward VI School Chelmsford

29.01.16

Not a show for the faint-hearted, Les Mis. The “School Edition” not noticeably less challenging than the full-fat grown-up version.
Director James French, in his first big musical for KEGS, gets 110% from his huge company of urchins, students, convicts, topers, dancers and ladies of the night. The battle of the barricade is stunningly effective, as is the stirring climax to Act One. The choral set-pieces – Turning, At the End of the Day, Look Down – are superbly sung, and the idealistic “schoolboys” are strongly characterized individuals.
The solo voices are excellent, taking the operatic scoring in their stride, led by Joseph Clark's haunted Valjean, Isabelle George's tender Eponine and Joseph Folley's cold, clipped Javert.
Musical Director Tim Worrall keeps everything tightly together, conjuring a satisfying symphonic sound from his prominent pit orchestra.

photographs: Essex Chronicle

Richard Broadway writes for the KEGS Newsletter:

Richard Broadway became the sixth Head Master of KEGS in the year Shakespeare co-founded his Lord Chamberlain's Men. More recently, he has ghost-written appreciations of performances at his old school. This is his last.

Masques in the reign of the Virgin Queen. A Victorian pantomime with songs. Niche shows on the new stage: Smike, Jennings Goes to School, the made-in-house Midas. And more recently the big blockbusters: Oliver!, Joseph, Anything Goes.

This marvellous Les Mis must surely top them all – a huge challenge bravely undertaken and triumphantly met.

House Full notices out, and we make our way into the already crowded hall as, on the extended stage, the convicts are already wearily breaking rocks.

The catwalk encloses the impressive pit band, and is inventively used for many of the scenes, allowing smooth transitions between the big set pieces and the more intimate moments. The powerful end to Act One an outstanding example, with the soloists ranged around in front as the chorus swells on the main stage.

The principal players give confident, engaging performances. And convincing vocal accounts of the challenging Schönberg score.

Not least the youngest actors: Elliot Harding-Smith as a cocky little “top-of-the-class” Gavroche, superbly sung. And what a treat to have such a good voice [Matthew Wadey] for Castle in the Cloud instead of the cute breathiness which has become the norm.

The cast is hugely strong in depth, too, with all the young revolutionaries in the ABC café neatly differentiated, and small roles like the Bishop [Benjamin Russell], or the tipsy Grantaire [Benjamin Kinder], given full weight.

Molly Sun-Wai brings an artless innocence to the tragic Fantine, Charlotte Abbotts as the older Cosette is girlishly charming, an ideal foil for Thomas Mitty's finely nuanced law student revolutionary Marius. Eponine, the first to fall in the uprising, is beautifully sung by Isabella George – her duet with Marius – A Little Fall of Rain – exquisitely done, the trio A Heart Full of Love another musical highlight.

The terrible Thénardiers are given broad-brush characterizations by Benjamin Southern-Thomas, blatantly watering the wine under the nose of his clientèle, and fishwife Hazel Ellender as his frightful missus. Nice to see them resplendently dressed as beggars at the feast.

Harry Clark carries most of the revolutionary fervour as Enjolras, waving the red flag, rallying his doomed troops with style and a strong will.

The legendary role of Jean Valjean is superbly taken by Joseph Clark. Fighting for justice, bearing his guilt, ageing and dying, this is a compelling performance by any standards. His face-off with Javert is an electric moment on front stage. Joseph Folley plays the obsessive Inspector with exemplary precision and panache. A tall, menacing figure, his black-gloved hands firmly behind his back, he draws the eye whenever he appears. Every word is clearly enunciated; his big number – Stars – is given a kneeling climax, a bold move which seems only to accentuate the emotional heft.

Given the inevitable budgetary limitations, the staging is thrillingly effective. On countless occasions, Joseph Thorogood's set design, George Twinn's lighting and James French's groupings form a thrilling fresco – notably at the barricade. The runaway cart – often risibly lightweight – is here, with its load of luggage, a believably weighty burden for Valjean. The scene changes happen seamlessly – the drunkards clear Thénardier's tavern, for instance; the inn – well frequented by underage drinkers – is another great crowd picture, giving opportunities to the colossal chorus; their distant singing behind the final deathbed scene makes another subtle transition.

The twenty-strong pit orchestra – surrounded by the cat-walk fore-stage – produces a stunning sound, generally well balanced with the voices. [Claire Greenwood's oboe heard to touching effect.]

Les Misérables is directed by James French, with the assistance of Elizabeth Hutchinson and Henry Sainsbury; the Musical Director is Tim Worrall, with sound design by Rafee Ahmed.

This huge company, on stage, in the band and behind the scenes, have earned the indelible memories they'll have of this milestone show. And they thoroughly deserve their moment of triumph at the end of Act One, to say nothing of the rapturous roar, the double encore and the standing ovation that greets their last bow. One of the many reasons that the performing arts are so vital in education. As Victor Hugo has it: '“Le beau est aussi utile que l'utile.” Il ajouta après un silence, “Plus, peut-être.”' 'Rien n'est tel que le rêve pour engendrer l'avenir.'

KEGS DRAMA

KEGS DRAMA

A Night at the Musicals and The Machine Gunners

08/09.07.15

James French ended his first year as Director of Drama at King Edward VI School with not one but two summer shows.

The Machine Gunners, a new adaptation of the Robert Westall classic book, was performed with tremendous energy and enthusiasm by students from Year Nine, on an impressively designed cruciform staging which set the audience in amongst the Boys' Own action and gave an intimate insight into the motivations and moral dilemmas of the lads [and one lass] who set up their own machine gun post to defend the North East from the Hun. Smoke, sound effects and some excellent physical acting made for a gripping couple of hours. 

The Music Theatre Society ended their year in style with a rich mix of numbers – some masterpieces, some meretricious – from the musicals, directed and choreographed by Elizabeth Hutchinson. Some superb work: Roxy from Chicago, chorus boys from The Producers, a hilarious trio from Cabaret. Plus the Bad Guys from Bugsy, KEGS' last musical, and generous tasters from next year's offering, Les Misérables. Musically, some of the best things were the simplest – unplugged with just the accomplished piano of Will Foster. But the loudest cheers greeted a contribution by a chorus of unruly teachers in Revolting Children from Matilda, finally called to order by Headmaster Tom “Trunchbull” Carter.

"Richard Broadway" joined the enthusiastic audience on each night ...

A NIGHT AT THE MUSICALS

That old stand-by, songs from the shows, made a pleasant end-of-year treat for KEGS Drama Department. It has a venerable history of musical theatre, and for some performers this was a “last hurrah” before the world of gap year/drama school/university beckons.

No pit orchestra, no auto-tune, no fancy costumes. But this unplugged approach was just what the evening needed, in the lofty but intimate performing space of the Music School. Some of the most successful offerings were the simplest, with Will Foster's piano the only accompaniment. Roxy's Funny Honey – from Chicago – nicely characterized, just one example.

The range was wide, from Oliver to Matilda, from Parade to High School Musical. Mr Broadway reckons to have a pretty good knowledge of the genre [though his name is much older than the Great White Way], but the Tony-awarded, Pulitzer-prized bipolar rock musical Next to Normal was new to me – Gabe's powerfully felt I'm Alive a striking contrast with the campery of the Keep It Gay chorus boys from The Producers or the knees-up production number Consider Yourself from Oliver!.

The amazingly talented young people were joined, briefly but to huge acclaim, by an ad hoc company of KEGS staff members, in a lively, if rough-and-ready Revolting Children.

There was a nod to last year's splurgy, slippery Bugsy Malone with a reprise of Bad Guys, and a look forward to January's production of Les Misérables, with a heart-rending Bring Him Home, a measured I Dreamed A Dream [with lovely piano and chorus accompaniment], and to end, a stirring Red and Black, with Marius flying the flag of freedom,

A Night at the Musicals was directed and choreographed by Elizabeth Hutchinson, who was joined on stage by Matthew Wadey, Joseph Folley, Nikhil Shah, Amy Wang, Benjamin Russell, Dionne O'Brien, Freya Von-Claire, Harry Clark, Hazel Ellender, Isabella George, Molly Sun-Wai, Rebecca Olson, Thomas Mitty, Mark Ellis, Dominic Short and Benjamin Southern-Thomas.

THE MACHINE GUNNERS

Sitting between the arms of a cross, the audience can see children cowering under the stage, slowly crawling out of the shelters to find the world above reduced to a rubble-strewn bomb-site.

Inspired staging for Robert Westall's classic story of bravery and bonding, in which war games become real for the Caporetto gang.

This is the new adaptation done by Ali Taylor for the Imperial War Museum.

Smoke and sound adds atmosphere to the story, and the physical approach gives some stunning stage pictures – the Heinkel gunned down and its pilot thrown clear, his capture with the weapon projected on screen. James French's vision enables the aircraft, the playground, the secret base at the bottom of the garden to be created in the boys' imagination and ours, in a powerful piece of theatre. The staging of the fights, and the panic and chaos of the climactic bombing raid, are especially effective.

Music and projected images help establish the period; rubble and a china tea-cup among the few actual props. Costumes evoke the period well, but perhaps the next fund-raiser might provide some stage chairs – seeing auditorium seats in the spotlight is one of Mr Broadway's pet hates.

Stirling performances from an excellent ensemble, though the nature of the staging means that not all the dialogue is easily audible.

Max Clifford holds the stage brilliantly as Chas McGill, leader of the pack and proud possessor of the second-best collection of war souvenirs in Garmouth. No mere token girl in the lads' gang, Harry Walton's Audrey is a subtly drawn character, wanting a fair fight, showing common sense and moving sympathy for the German pilot. Nicky is something of an outsider, with his posh house and musical mother – an outstanding performance from Kristoff Ahlner, whose moment in the pets' cemetery, and scenes with Joseph Penny's convincing Rudi are amongst the most moving of the evening.

Director James French was assisted by Saqib Ahmad, Nikhil Shah and Henry Sainsbury, and the performers were Max Clifford, Max Bawtree, Harry Walton. Eliott Bunch, Kristoff Ahlner, Dharma-Dev Morzaria, Ben Metzger, Jasper Tatum, Edward Robb, Jonathan Marshak, Joseph Penny, Adam Heath, Robert Perone, Conor Hemingway, Ryan Seal and Rohan Odedra.

images by Aaron Crowe

OUR COUNTRY'S GOOD

OUR COUNTRY'S GOOD

KEGS Drama at King Edward VI School, Chelmsford

29.01.15

This powerful play about the redemptive power of theatre is a brilliant choice for a school drama department.

And you couldn't hope to see it better done than by this talented company of sixth form students under the firm direction of James French.

There are many outstanding performances: Ross Moncrieff's Ralph, the officer who sees the potential for dramatic performance in the convict colony. Matthew Cassettari's Robbie Ross, the bullying Scotsman who opposes the idea. Joe Richards is excellent as Wisehammer, the literate jew; Dominic Short makes a lively Sideway, who's in love with the theatre and seizes the chance to shine. Mary Brenham, subtly drawn by Elizabeth Hutchinson, is the shy girl dragged along to audition by her extrovert friend Dabby [Freya Von-Claire]. Perhaps most poignant of all, the tormented Harry Brewer – a wonderfully compelling performance from Max Purkiss – painfully possessive of his young Duckling, Jennifer Lamb, so moving as she cradles Harry's dying body and confesses her love. And Hazel Ellender is totally convincing as the troublesome Morden, whose death sentence casts a shadow over rehearsals.

But this is an ensemble piece, the carefully devised staging – all of the characters remain in the performance area throughout – providing a frame for the emotional adventures of convicts and Royal Marines in Sydney Cove.

BUGSY MALONE

BUGSY MALONE

CCHS and KEGS at King Edward VI School

10.07.14

A ground-breaking collaboration between the two great schools on Broomfield Road fills the wide stage with an impressive team of Lower School performers. Peopling the child-friendly Chicago gangland of Alan Parker's timeless musical with colourful characters.

An elegant, arrogant Tallulah, contrasted with the sincerity of Blousey Brown, the excellent auburn torch singer who holds the stage with those big numbers, and dreams of Hollywood. Good work too from Malone's laid-back, wide-tied narrator and speak-easy boss Fat Sam – nice accent and promising stage presence. Not to mention the monosyllabic Leroy, and the enjoyable comedy duo of Smolsky and O'Dreary, incompetent cops.

In Act Two especially, some lovely moments: the death of Knuckles, the strong soup-kitchen ensemble, the slomo rumble, Babyface seizing her moment. And to finish, a spectacular splurge-gun showdown – real suspense during the countdown, and then cascades of deadly foam transforming the gangsters into white statues before the clever curtain calls, the large cast slipping and sliding through the routine.

Bugsy Malone was directed by James Russell, with Becky Chant the musical director in charge of the toe-tapping little pit band.

CHATROOM/A NUMBER

CHATROOM/A NUMBER

KEGS Drama Senior production 2014

31.01.14

For this year's senior school showcase, Director of Drama James Russell chose two contemporary pieces – both presenting a challenge to his sixth form actors, both thought-provoking explorations of contemporary culture and society.

Enda Walsh's stylish Chatroom explores the often murky world of online interaction between teenagers. Six assorted chairs, six pencil spots, six very recognizable adolescents. The confident performers work without making any eye contact, but build a convincing, often chilling, sometimes amusing series of encounters between young people.

In Caryl Churchill's A Number, Salter, the father, is confronted by three of his sons. Only one is his natural offspring, the others appear to be clones - “a scraping of cells”. A sombre exploration of identity and the lies we live with.

The standard of acting is impressively high. Two performances, though, are outstanding; I don't expect to see better on the non-professional stage this year. Max Purkiss, as the shy, suicidal Jim in Chatroom, and in A Number, Dom Short as all three of Salter's sons – a superbly realistic reading of a very unnatural scenario.

THE MERCHANT OF VENICE

THE MERCHANT OF VENICE

King Edward VI School Chelmsford

20.03.12

Shakespeare in schools has come a long way since I was Shylock – KEGS' bright, zippy Merchant of Venice turned its back on Italy and the 16^th century, taking us instead to the heady days of City Slickers in the 1980s, the period brought to ghastly life with Wham!, brick-sized mobiles and carefully chosen costumes.

I admired the energy of the young cast, and their way with the text: no liberties taken here, save for some welcome cuts.

Lewis Wood made a thoughtful Shylock right from the start, in a domestic moment with his daughter [a vivacious Martha Jenkinson], and, after some stormy exchanges, dignified at the end as he loses everything. The laddish traders were excellently done – Luke Higgins' Bassanio especially brought out the emotional depth of his character, with some exceptional verse speaking. Portia, a strong young woman and an astute lawyer, was Pippa Searle, and the Merchant himself, sad at the outset and lucky to survive the Jew's machinations, was confidently played by Bart Lambert.

James Russell's production was enlivened by music, both live and recorded, and by clever use of telephones. The opening moments were echoed in a touching coda, with Jessica now rich, but fatherless, alone on stage.

Richard Broadway wrote this for the KEGS newsletter:

James Russell and his talented young players bring us a Merchant of youthful exuberance, the wooing and the banter every bit as important as the famous Pound of Flesh.

Though the production does have a historical setting – the 1980s, with its carefree financiers, its chunky cell phones and its distinctive taste in clothes. And in the goody bag with the programme – parma violets and a mask of The Gipper ...

Two devices cement the action – the phones [mostly immobile], bringing news, announcing arrivals and enabling Antonio to plead with the Jew from his prison cell in Act III. And "the sweet power of music": not just the ghetto-blaster soundtrack to the decade [Wham!] but the polyphony of the office phones, the Dixie car horn heralding Bassanio's return, a lovely naïve setting of Fancy Bred, and, for Antonio and countless others, not a lute, but a grand piano centre stage, punctuating the verse with snatches of melody.

Shakespeare's words were in general well served, with intelligent readings and clear enunciation. Particularly impressive work from Luke Higgins as Bassanio [the letter bearing bad news a highlight of a superbly sustained characterization] and Martha Jenkinson as Jessica, Shylock's daughter, given a refreshingly upbeat interpretation here, as she elopes with her lucky Lorenzo [Max Brown]. I liked the way that she was left to end the play, with a sad recollection of her defeated father.

She begins the piece, too, in this version – God and Mammon neatly contrasted on either side of the stage.

Lots of energy from the traders, in confident performances from Ed Alston as Gratiano and Bart Lambert as Antonio, the Merchant of the title whose flesh is almost sacrificed for his special friend Bassanio. Their emotional farewell was moving without being mawkish.

The suitors who queue up in Belmont for a chance to open Portia's casket were strongly established by Hassam Ahmed as Morocco, and Tom Crowe as Aragon with his badly broken English.

Portia herself was done with nice C20 ennui by Pippa Searle; she shone en travesti in the trial scene, clearly enjoying her Mercy speech and the chance to turn the tables on the moneylender. And she was well supported by Nerissa [Ruth Tyson], amusingly gruff as her clerk.

Tom Adam was a sober presiding Duke, and Ciaran Saward did what he could with the remnants of the clown's part – Old Gobbo totally chopped in the interests of tautening the action.

Lewis Wood rose to the challenge of Shylock, berating his daughter perusing the Business Pages [useful for stage asides] and thoughtfully shaping his long speeches. I admired his modesty and dignity at the end, when he is subjected to overt Jew-baiting, and finally casts off his kippah as he leaves the stage.

Against a fairy-lit backdrop of the City [set design by HyungBinLim], KEGS gave us a slick, fast-paced "comedy", a suspenseful look, from a fresh perspective, at love, life and the risk of their loss.

production photograph - William Starr

OH WHAT A LOVELY WAR

KEGS Drama

at King Edward VI School Chelmsford

Walking-wounded, conchies, Women of Britain, Tommy and Fritz all converged on the Big Top at the End of the Pier for the songs, dances and jokes that make up Oh What A Lovely War.

James Russell's production kept most of the music, much of the dialogue from the 1963 Stratford East original, which in its turn drew on the songs of the period, and the words spoken and written by the man and woman in the street, the poor bloody infantry and the officers behind the lines.

The over-arching concept was one of the great strengths of this ambitious show. The ticket booth, the side shows [Try Your Strength, Wheel of Fortune], the band in their patriotic gazebo, and the stage itself, with its suggestion of the circus tent and its Flags of All Nations. Not to mention the biggest ticker screen, bringing ironic news of lives lost and ground gained.

The company were in Pierrot garb throughout, making the military moments strangely moving – putting on the tin helmets, for instance, at the end of the recruiting song, here featuring a septet of Sirens.

There were many strong scenes: the gas attack, the car, the bilingual rumours, the lively chorus at the top of Act Two, the French and German officers each reflecting on the hostilities, the “interpreter” farce, the Christmas truce, the platoon annihilated as the oblivious C.O. spouts his empty pep talk.

Some great individual performances, too: the slightly sinister Master of Ceremonies, the US Arms Dealer, the tap dancers in Itchy Koo, Ivor Novello's Keep The Home Fires Burning.

But it was very much an ensemble piece; all the performers on the stage all the time, which has many advantages, though it does mean there can be no effective entrances.

So no names, no pack drill for these twenty-two Pierrots. It was good to see a number of survivors from the various regime changes in KEGS Drama, too, loyal veterans of productions past.

In 1911, KEGS' Edwardian actors did Sheridan's farce “St Patrick's Day, or The Scheming Lieutenant”. Did any of those stage Irish suspect that they were to be The Lost Generation, Doomed Youth ? It was good that their successors a century on paid tribute to the Fallen, both in the programme and in a roll call behind the poignant finale.

The Oh What A Lovely War Company, directed by James Russell with Captain Worrall as Music Director, was:

Ayokunle Adekeye
Hassam Ahmed
Ed Alston
Rob Armstrong
Kieran Ballinger
Charles Bell
Tim Blore
Ricky Childs
Tom Crowe
Jamie Dent
Hannah Fry
Anna Gregory
Mary Heartshorn
Robbie Hooper
Lina Jovaisaite
Eleanor Kiff
Bart Lambert
Oluwatofunmi Onaeko
Emily Phillips
Pippa Searle
Elizabeth Staiano
David Woolford