Two excellent exhibitions

Chelmsford Then and Now 
and 
The World of Fred Spalding



The face of Chelmsford is changing faster than most.
Salutary, then, to take stock of two excellent exhibitions that chart some of the developments of the last hundred years.
At the Museum, until May 11, “Chelmsford Then and Now”, paintings by members of the Chelmsford Art Society, inspired by Bennett Bamford’s watercolours of a century ago.
Some locations are still recognizable – the Stone Bridge, caught nicely by Phil Kyffin, Springfield Wharf, atmospherically captured by Bob Vasey, whose Mildmay Almshouses [just down the road from the Museum in Oaklands Park] featured a prominent yellow van instead of Bamford’s distant pony trap.
New Street has altered more than most – who now remembers Eli Bacon’s store where the police station now stands ? - and Charlie Tait’s recent study is already out of date, the Snip’s weather-boards replaced by the new Crown Court. There was a lively collage of the Wheatsheaf, which happily still survives.
Although there was some beautiful work inspired by the obviously picturesque, I suspect that a hundred years hence the transient town centre will be of more interest, like Ann Snow’s view of soul-less Tindal Street, with ghostly motorbikes in the foreground.

In the Cathedral until April 30, an equally intriguing glimpse into the world of Fred Spalding, alderman and photographer extraordinaire, whose studio can be seen in his 1860 study of Tindal Square. Hylands House stands “smart and self-confident” in the Edwardian sunshine, a charabanc leaves the Griffin in 1906, Marconi meets the Mayor in 1912, and the Cathedral interior looks very Victorian in 1905.
Both these exhibitions are free. Do try to see them; you cannot fail to be fascinated.

Agreeable evening down at the Mill

The Vanbrugh Quartet – The Mill at Roxwell

A uniquely agreeable evening at the Mill in Roxwell last week: the Vanbrugh Quartet playing to raise funds for the new Essex Chamber Orchestra.

Jim and Pat Smith have a lovely house, with the new “barn” attached – in fact a tiny concert hall, with a good acoustic and a view of the garden. It is a rare pleasure to hear chamber music in such an ideal setting.

Violinist Gregory Ellis – who played the Brahms concerto with the ESO last month – met Elizabeth Charleson [violin] and Simon Aspell [viola] when they were all studying at the Royal Academy. Cellist Christopher Marwood joined them last November.

They have just secured a two-year contract with RTE [the equivalent of the BBC in Eire], before they go off to Canada for an international competition. The tape they submitted to qualify included the three works that made up the substantial but well-balanced programme we heard at the Mill.

Mozart’s Quartet in C [K465], with its beautiful Andante Cantabile and exhilrating Allegro Molto finale, is often dubbed the Dissonance Quartet, since its opening sounded harsh to eighteenth-century ears. What would they have made of the Prokofiev which followed ? Rhythmically exciting, including references to many Russian Jewish themes.

To conclude, the Vanbrughs gave us a fresh, enthusiastic account of one of the peaks of the repertoire – Beethoven’s B flat Quartet opus 130.

Stylish Coward

Present Laughter
Chelmsford Theatre Workshop

Martin Walsh gave one of his best performances last week, as the ageing matinée idol in Coward’s Present Laughter.
Gary Essendine, always acting, posturing in a succession of dressing gowns, is a gift of a part [Sir Noel wrote it for himself], and Martin grasped the opportunities with both hands. Wisely avoiding the Master’s mannerisms, he created a polished but believable character, who sparkled brilliantly without eclipsing the rest of the cast.
Margaret Simmonds was excellent as the great man’s ex-wife, and Judith Robinson and Helen Wilson gushed nicely as two young admirers. Joanna’s Act II duet with Gary was one of many classic moments in Jane Valentine’s stylish production for Chelmsford Theatre Workshop.
The long-suffering household was Sheila Lauder as Miss Erikson, Dot Linney as the capable all-seeing Monica and Neil Arbon as a perky Fred.
David Madams and Wally Greaves looked suitably glum and uncomfortable as a pair of business associates, while Patricia Lee contributed a telling cameo as a pushy upper-class Mrs Worthington.
And Nick Wickenden gave a hilarious performance as the raving high-brow Roland Maule.
John Bush had designed an elegant art deco set, faultlessly furnished, though a carpet would have been nice, especially on the curving staircase for Mr Essendine’s grand entrance.

Snow White

Little Waltham’s pantomime is always worth waiting for – this year’s is Snow White and the Seven Dwarfs, written and produced by David Madams.

David confesses that he’s not really a panto fan, but he tells me that he’s tried to write something he wouldn’t mind seeing himself.

It did have the awful jokes, the Oh No He Isn’t routines, and Heigh-Ho, but this Snow White was no ordinary pantomime.

Writer/director David Madams cleverly blended the traditional story with an approach equally palatable to the grown-ups in the audience.

The literary references ranged from the Goons and ITMA to Dylan Thomas. Among the less orthodox characters were Marcel the axe-man [Wally Greaves] and the Queen’s daily mirror [Glyn Jones]. Samantha Brannon made a dashing prince in a white tuxedo, Christine Moor was a deliciously evil Isolda, and Rachel Whitely managed to look just right as the heroine whilst coping very professionally as the tongue-in-cheek Seven Go Mad In Waltham dialogue.

The famed Little Waltham chorus line were most amusing as terminally bored Ladies in Waiting.

The ticklish problem of the dwarfs was ingeniously solved by having the little fellows eat Marmite sarnies – the growing-up spread – and turning into a very polished comedy team. The children were led by Matthew Newman as Bossy, who turned into Alastair Irving, an entirely incredible hulk.

“They don’t call this amateur for nothing,” muttered Ringo when the Heath Robinson lights went out. Most unfair – the cast and audience rallied in impromptu community singing, so enjoyable that Eliot and Snow White’s babe in arms were quite sorry when power was restored, thanks to the valiant efforts of Edwin Leach and Ron Hancock, the unflappable stage manager.

One of the best in twenty years

Troupe – Mercury Studio

Troupe is an amateur theatre company formed to present small-scale plays of merit. It draws its members from a wide area; all of them work for other local groups.

Eddie Mackay, the group’s inspiration, has directed many successful productions for Chelmsford Theatre Workshop and Braintree Opera.

Troupe’s second production, David Storey’s Home, was presented recently in the Mercury Studio.

It was one of the best amateur productions I have seen in twenty years.

Under Eddie Mackay’s direction, the excellent cast achieved a level of ensemble playing that many regional repertory companies might envy.

Set in the grounds of a mental hospital, the play is a formidable undertaking, The meaning and the mood are buried beneath superficially banal exchanges between a quartet of patients.

Robin Warnes, well known for his work with Latchingdon and Little Baddow amongst others, played Jack. It was a moving performance, the tragedy thinly disguised beneath the suave exterior. His friend Narry was Tony Saitta, who made a totally convincing old gentleman.

The loud ladies who interrupt their elegy for the old England were imaginatively interprested by Sara Green as Kathleen and Barbara Pears as Marjoie, who gave a performance that was a masterpiece of observation – every gesture, every expression contributing to this sympathetic study of mental disorder. The cast was completed by Rupert Jones as a monosyllabic youth.

Troupe are fortunate to have such a showcase for their talents, especially in this piece, where the mood could easily be broken by insensitive lighting or a tacky set.