SNOW WHITE AND THE SEVEN DWARFS

SNOW WHITE AND THE SEVEN DWARFS

One from the Heart at the Civic Theatre Chelmsford

02.12.2017

A portentous start, with Richard Strauss, a star cloth and a flying mirror, but One from the Heart soon get into their panto stride in a show, directed by Kerris Peeling, that’s packed with comedy routines and high octane musical numbers.

The USP this year is The Man in the Mirror – not Michael Jackson, but Louie Westwood’s silver-suited camp dynamo, combining the role of narrator and Good Fairy – with the pyrotechnics to prove it. A very engaging performance, his That’s The Way I Like It catch phrase (courtesy of KC and the Sunshine Band) quickly getting the young audience on side. He proves a decent song and dance man, too, in his opening number, Live in Living Color from Catch Me If You Can.

He’s backed by four lithe chorus boys, students from Laine Theatre Arts and Bird College. An ensemble of eight in all, including three local dance students, who pop up to contribute some excellent steps – choreography by Chris Whittaker – behind practically every number: Someone in the Crowd from La La Land, Wake Me Up, Cut to the Feeling from Ballerina, Nothing Holding Me Back, and another triumph for the Man in the Mirror, now sporting a rainbow hat, Sweet Charity’s If My Friends Could See Me Now. Though musical theatre buffs will point out that although “food” might make more sense than “chow”, it doesn’t actually rhyme …

Some choices seem more relevant to the plot than others: Holding Out for a Hero works well in context, with a cheeky nod to Les Miz at the end.

Useful to have these extra bodies to fill the wide Civic stage, not to mention the “seven fun-sized helpers”, the synonymous dwarfs excellently done by the Green Team of local boys and girls on Press Night. “Ho Hi, we cry,” they sing, in an impudent gesture to Disney. Because there are only six actors to cover the characters; no king, no attendant for the hunky Prince Henry (Dominic Sibanda, another fine dancer).

Abigail Carter Simpson is a lively Snow White in her “classic black bob” and puff sleeves, Dickie Wood an energetic comedian as a streetwise Muddles, silly son to Andrew Fettes’ Nurse Nellie. A rather shouty dame, perhaps – the decibel level high on both sides of the footlights, but brilliant in the demanding comedy routines. The wicked Queen Grizelda is done with a touch of the Valkyries by Jenny-Ann Topham.

Simon Aylin’s script is patchy – a few desultory topical gags, and a puzzling reference to Dukes, which as Chelmsford clubbers will know, has been closed for five years. But he does include some lovely panto favourites. The man-scoffing skeletons from the ghost routine let loose in the auditorium, a super tongue-twister based on the Prince’s homeland of Asfaria, the echoing wishing well, the classic quick-fire Three Houses nonsense, and two novelty numbers, The Music Man, with gestures, before the wedding, and an energetic Twelve Days, giving the crew time to set the cottage, and finishing with another favourite, the wicked super-soaker water cannon to drench the punters.

James Doughty’s pit band gives superb support to all those punchy numbers – even Agadoo, once voted the worst song of all time …

The big finish has fresh frocks for all, five treads for the walk-down, and a smashing megamix finale for the whole company. Leaving the audience happily exhausted by another enjoyable Civic panto.

THINGS TO COME – CHELMSFORD BALLET COMPANY’S SNOW QUEEN

THINGS TO COME – CHELMSFORD BALLET COMPANY’S SNOW QUEEN

Chelmsford City of Culture ?
One of the strongest recommendations, surely, would be that rare thing, an amateur ballet company performing regularly to the highest of standards.
Chelmsford Ballet Company has been established in the City for almost seventy years, and for 2018, they’ll be following up their successful Alice with a classical piece, Snow Queen, from 21^st to 24^th of March.
We’re promised glitter, sparkle, gorgeous costumes and music by Alexander Glazunov, who arranged Chopin’s piano works for Les Sylphides.
The story is based on Hans Anderson’s fairytale, a battle between good and evil as Gerda seeks to break the cruel spell cast by the evil Snow Queen; her adventures take her on a thrilling journey north through enchanted forests, encountering fantastical beasts and a colourful band of gypsies. She must find the Snow Queen’s Palace of Ice, rescue Kay, and break the curse of Eternal Winter. This production is choreographed by CBC’s Artistic Director Annette Potter.
Tickets for Snow Queen are now on sale – book at the Civic Theatre, by phone [ 01245 606505] or online - www.chelmsford.gov.uk/theatres/  

photograph by Andrew Potter: Samantha Ellis as the Snow Queen

OUR HOUSE

OUR HOUSE

Chelmsford Young Generation at the Civic Theatre

08.11.17

A typically exuberant performance by Young Gen of this iconic Madness morality musical.

Director Sallie Warrington opts for a simple staging – twin triangular trucking towers, an upper level for the juniors,  black and white curtained doorways for the “simple equation” - and fills the stage with boisterous, streetwise, cheeky kids. Excellent ensemble work, not only with the famous dancing desks, but Camden Market, the faceless prison inmates, the Wings of a Dove production number, and much more. Though the opening of the second act feels very static by comparison.

A splendid crop of principals, headed by Charlie Toland as “Golden Boy” Joe Casey, whose Sliding Doors moment triggers the seven-year alternative lives of Good and Bad. His loyal girl Sarah the lawyer is wonderfully sung by Jessie Hadley, with exemplary diction – not the case for everyone on stage, meaning that Our House newbies might struggle with the finer points of the plot.

Great comedy support from Millie Parsons and Livi Khattar as the two girls turning up like bad pennies, and from Matt Wickham and red-shoed, magnetic Reuben Beard as the “gormless prats”.

Dan Hall is determined to shine in a quartet of cameo roles, and Oliver Gardner manages three other characters in addition to the property developer Pressman. The evil Reecey is played with a palpably malign presence by Jack Toland.

The grown-ups are Jill Gordon, a movingly subtle performance as Mrs Casey, and Assistant Director Jimmy Hooper outstanding as the ghost of Joe’s father, desperately trying to help his boy avoid the mistakes he made in his own life.

Those catchy Madness tunes are given great support by Bryan Cass’s punchy pit band, featuring Rob Downing’s soaring saxophone.

production photograph: Barrie White-Miller

PRIVATE LIVES

PRIVATE LIVES

London Classic Theatre 

at the Civic Theatre, Chelmsford

26.10.2017

for The Reviews Hub

Coward’s frothy comedy of manners was concocted – as a vehicle for the Master and Miss Gertie Lawrence – at break-neck speed. And that’s how it’s delivered by London Classic Theatre, in Chelmsford for the 12^th date of its national tour.

All over in and hour and three-quarters, including the interval. Realistic characters performing in classic Coward style – speeches to the front, consonants sharp and precise. The pace is often a plus. The four actors have achieved a chemistry that enables subtle interchanges while rattling through the speeches like well-oiled machine guns. But there is a price to pay. Difficult decisions have to be made about which lines will be allowed a laugh, and some of the worldly wit, a few of the bons mots, must fall by the wayside.

The piece is nothing without style, and Michael Cabot’s production has plenty of that. The set – by Frankie Bradshaw, who also designed the costumes – is masterly. The Deauville balconies have twin french windows, with louvred shutters, and twin bistro tables, separated by a row of standard roses. During the interval, the stage is transformed into the flat in Paris, elegantly furnished and dressed with nods to Erté and Tiffany. There are some lovely frocks, too, though even the most sheltered upbringing will have encountered a more ”ravishing” dressing gown than that sported by Elyot here.

Four splendid performers capture the mannered style very convincingly. The first honeymooning couple we meet is Jack Harwick’s Elyot, relaxed in spats, and Olivia Beardsley’s Sibyl – kittenish and breathlessly gushing as she takes in the harbour view. The most tremendous coincidence has the next suite occupied by his ex, Helen Keeley’s langorous, vampish Amanda with her new partner, Victor [Kieran Buckeridge, whose physicality, and physiognomy, seem perfect for the period]. His “rugged grandeur” is somewhat ruffled by first-night nerves, but complications come thick and fast when Amanda spots Elyot over the rose-bushes – her reaction perfectly judged.

Coward’s own “cheap music” doesn’t get a look-in here – the hotel orchestra is both larger and more remote than usual. But the “travelling the world” speech is beautifully delivered, with its unspoken undertones of love rekindled. And when the other halves emerge in their turn, and spot the Duke of Westminster’s yacht, the difference in their reaction neatly encapsulated the difference between the two couples.

In the Paris apartment, Elyot and Amanda squeeze onto the chaise longue; their tempestuous relationship is punctuated by music from the mahogany Victrola and a tiny music box – no baby grand here – and by the time-out imposed by the Sollocks truce. These moments of respite are cleverly devised as cadenzas, allowing the actors and the director to bring in subtleties not explicit in the text.

The two doors recall the symmetry of the Deauville balconies; the violent row at the end of the piece – like Elyot and Amanda, Sybil and Victor find their fights a heartbeat away from passion – echoes the confrontation at the end of Act Two.

The breakfast scene – the quartet crowding behind a small table, Elyot and Amanda happily munching brioche as their partners argue – is exquisitely done, a perfect end to this bracing sprint through Private Lives, in a stylised, and stylish, interpretation. Another fine production of a great play from this enterprising touring company.

production photograph: Sheila Burnett

ALL SHOOK UP

ALL SHOOK UP

CAODS at the Civic Theatre

26.09.17
for Sardines

A juke box musical par excellence, featuring an actual juke box, and music from that golden era when those Seebergs and Wurlitzers were the beating heart of youth culture.

The title number – which makes a great opener for Act Two – is just one of dozens of hits from the King's discography, generously applied to a frothy story set in the summer of '55.

Shakespeare contributes a few plot devices, a sonnet and a quote, but there's not much here to trouble the academics.

It is enormous fun, though, put across with style and infectious enthusiasm in Sallie Warrington's bold, energetic production.

A lively ensemble show, the big numbers filling the stripped-back set with jiving blue suede shoes: the love tangles nicely suggested by the Act One finale – Can't Help Falling In Love.

The wedding walk-down brings all of the couples together, even the problematic pairing of roustabout Chad – Simon Bristoe, with quiff, swivelling hips and curling lip, bringing a knowing narcissism to the role – and tomboy grease monkey Natalie, who assumes boyish attire to win her man. She's played with engaging naivety – and a great singing voice – by Tamara Anderson.

Amongst the other star-crossed couples are youngsters Dean and Lorraine, Dannii Carr and Charlotte Broad, geeky Dennis [Oli Budino] finding happiness at last with Cassie Estall's starchy Miss Sandra, who shares his love for the Bard. Excellent character work from David Slater as Natalie's widowed father and Robyn Gowers as the wisecracking, worldly Sylvia, who runs the local Honky-Tonk. And from Debra Sparshott as the killjoy Mayor, who finally finds a spectacular sense of fun, with Philip Spurgeon as her side-kick “not now” Earl.

Clare Penfold is the Musical Director, bringing those familiar numbers to vibrant life in their dramatic context. The sound favours decibels over depth, but there are some lovely melodic moments, such as the sobbing sax for Sylvia's big sing, There's Always Me.

The first night audience were on their feet for the rousing C'mon Everybody finale; by Saturday night it'll be hard to stop them invading the stage and bopping along with Chad and this cracking All Shook Up company.

production photograph: Brad Wendes

THINGS TO COME – CHELMSFORD CITY THEATRES

THINGS TO COME – CHELMSFORD CITY THEATRES

The autumn season at Chelmsford City Theatres launches this week, with a visit from the acclaimed BBC Big Band, celebrating the centenary of Ella Fitzgerald, and a new show from The Jimmy Hendrix Experience, the first in a long line of tribute bands coming to the Civic over the next few months: Burt Bacharach, Billy Fury, David Bowie, Karen Carpenter and The Police among those honoured.

Music lovers can also enjoy a couple of Tales of Offenbach on October 17, and the first of this year's M&G Classical Concert series, with the City of London Sinfonia on October 29.

Dramatic offerings include A Princess Undone, a new play by Richard Stirling on its way to a London run; opening at the Civic on October 5. It deals with an episode in the later life of Princess Margaret, the Queen's younger sister. And on October 26 London Classic Theatre bring their new production of Noel Coward's Private Lives.

In the Cramphorn Studio, White Feather Boxer [21 September], the story of a boxer who was also a Quaker, a one-man Christmas Carol on December 15, in the style of Charles Dickens' own acclaimed performances, and, on November 10, Mr Darcy Loses the Plot, in which Jane Austen's hunkiest hero rewrites his own story …

Our own non-professional companies bring us three very different musicals: All Shook Up from CAODS opening on 26 September, CYGAMS' Our House – the Madness musical – from November 7, and Soho Cinders, Stiles and Drew's edgy twist on the Cinderella story, presented by Springers in the Cramphorn Studio from November 14.

For the younger audience, the Gruffalo is back in the Civic from September 19, as well as Milkshake! Live on October 24.

Not forgetting the panto, already selling very well – this year it's Snow White, opening on November 29 and running till January 7 2018, with a relaxed performance on January 4.

To book tickets for any of these shows, go to www.chelmsford.gov.uk/theatres, or telephone 01245 606505.

WHAT WE DO BEST

WHAT WE DO BEST

Essex Dance Theatre

at the Civic Theatre

23.07.17

What EDT do best is to bring accessible, affordable dance training of the highest standard to the county, as they have done consistently since they took their first steps in 1975.

This year's Civic showcase was as impressive as ever, with an even more significant contribution from the young men of the company. Much of the choreography – we saw thirty numbers – is “home-grown”, like the finale to part one, by Zinzile Tshuma: exemplary discipline and amazing physicality in a piece danced to Sia's Move Your Body - “your body's poetry ...”.

Nikki O'Hara's Revolt, at the top of the show, gave us sinuous, serpentine ensemble, as did Jacob Holme's classically-inspired Stabat Martyr, danced to Pergolesi.

The same choreographer's crowd-pleaser to Bruno Mars' 24K Magic was followed by a lovely unaccompanied Change in Me vocal from Georgia Clements while the huge cast put on their knee-protectors for the traditional Knowledge [Adrian Allsop].

Amongst many other pleasures, a deliciously retro Mack the Knife [Paul Cowcher], David Nurse's eloquent Cello Suite to JS Bach, Ryan Heseltine's school-yard piece to Tom Misch's Watch Me Dance, and that lovely Astaire number Dancin' Man, choreographed by Kim Bradshaw, an old-fashioned show routine that the dancers looked to be enjoying as much as we did, as they left their soft-shoe footprints on the sands of time …

FAME The Musical

FAME 

The Musical

Tomorrow's Talent

at the Civic Theatre

18.07.17

This is the 1988 musical of the 1980 movie. Those early Performing Arts alumni will be proud, or pushy, parents now. And this class of 2017 don't always seem quite at home in this Eighties world, where diversity and dyslexia are novel ideas. As these youngsters will be well aware, this institution resembles real arts education in the same way Lerner's Camelot does Britain in the sixth century.

But it's an enjoyable bit of summer escapism, and it gives Tomorrow's Talent a chance to show off what it does best – gifted youngsters, professional standards, and loads of crisp, energetic choreography.

The capacity crowd on opening night saw the spartan staging – the iconic logo centre stage – gradually populated by the kids, and the staff too – with director Gavin Wilkinson donning a natty cardigan to play drama teacher Myers. The show's MD is Mark Sellar, his fictional equivalent Sheinkopf played by Joshua Butcher, who's also the Assistant Choreographer.

Ruthless auditions, fervent prayers, and then the new intake must knuckle down to Hard Work. These fictional young hopefuls certainly score straight As for “attitude”, though their mentality might sometimes seem more at home in junior high.

There are many standout performances: Samuel Wolstenholme's Nick – Peanut Butter kid and Stanislavski disciple – setting the bar high with I Want to Make Magic, imaginatively backed, like several other numbers, by dancers. His shy Serena was touchingly done by Hannah Gurling on the first night. Christopher Tierney made the most of extrovert, X-rated Joe Vegas, and Daisy Greenwood gave a strong performance as outgoing, ultimately tragic Carmen Diaz. The enigmatic dancer Iris was engagingly portrayed by Katherine Maahs, and Becky Hunt gave a fine, funny character study as Mabel, the dancer who's too fond of food.

Street dancer and mouthy rebel Tyrone was given a compelling performance by Paul French, his dance moves and his stage presence both outstanding.

The role of spinster English teacher Esther Sherman is a tough call for a young actor, but Lauren Bullock came into her own with the moving These Are My Children, a hymn to the teaching profession.

But this is as much about the ensemble as the principals, and the big numbers were all stylishly done, from the opening auditions, through the title number, featuring the next generation on the upper level, to the beautifully conceived curtain calls, with Carmen resurrected atop the yellow cab.

production photograph by Louise Freeland

STARS ARE BORN

STARS ARE BORN

The Chelmsford Junior Music Festival 2017

at the Civic Theatre

22.06.2017

When I was their age … we would gather behind the old air raid shelter and sing. Not the hymns and folk songs which were the Primary School staple, but hits from the shows – My Fair Lady had just opened at Drury Lane.

It was lovely to be reminded of those innocent days by this impressive performance – the last day of this year's festival.

Over the week, 26 schools and over 1000 children have sung their hearts out on the Civic stage – the show opened enchantingly, with seven soloists to start, then the 200+ chorus revealed as the curtain rose.

Disney was well represented – A Star is Born from Hercules, but there was also Matilda, Bugsy Malone, Wicked and Rent – Seasons of Love that opening number.

As tradition demands, there was also a cantata. Debbie Campbell's Emerald Crown reminds us of the threat to the rain forest – lots of opportunity for movement as well as singing – Wild Cat Queen of the Jungle a stand-out number.

Natalie Thurlow was the inspirational Musical Director, her charisma winning over children and parents alike. Guest artistes were a promising young trombonist and Kayleigh McEvoy, singing Puccini and I Love A Piano, a charming early Irving Berlin.

STRICTLY MURDER

STRICTLY MURDER

Talking Scarlet at the Civic Theatre Chelmsford

23.05.17

Jean Sablon on the soundtrack speaks the period and the setting in a way that the décor – a generic rustic cottage – fails to do, despite some evocative detail.
The lighting too, while often effective, could enhance the mood better – the kitchen seems overlit from the front.
But the company do a fine job with Brian Clemens' period thriller, from the first appearance of the huge hunting rifle through the door to the final declaration of war, with a surreal swastika and a deluge of poppies.
Lara Lemon is Suzy, the only character who is just what she seems – living the Provençal idyll with the moody “Peter” [Gary Turner], agricultural labourer and Sunday painter. The other woman – much less convincingly written, is Chief Inspector Miller, played in elegant trousers by Corrinne Wicks. Andrew Fettes is the amnesiac Josef, from the hovel next door. And Brian Capron is outstanding as Ross – subtly altering the character between the acts. The Chateau Latour scene with Turner is brilliantly done – a tour de force of twists and turns. Not all the scenes grip us as much, and there's a good deal of sign-posting, with clues and hints thickly scattered. Peter, for instance, is rarely without a scary kitchen knife in his hand.
The piece is directed by the playwright's son, Samuel Clemens, best known perhaps as a film maker, and he has the action underscored like a movie, with impressive music composed by Edward Patrick White.

Not a packed house, alas, perhaps punters were deterred by the title, which suggests a much less interesting drama. But those who missed this intriguing piece in Chelmsford can catch it at the Mercury in Colchester, or the Palace in Westcliff.

BALLET CENTRAL

BALLET CENTRAL

at the Civic Theatre

16.05.17

an updated version here, for The Reviews Hub, at Colchester Mercury

For this, his inaugural tour as Artistic Director, Christopher Marney has put together a stunning varied programme: a two-hour showcase for the emerging talent of the Central School of Ballet.

Thirty young dancers, seven presentations, book-ended by two fresh looks at familiar repertoire. The last, and the longest, was Matthew Bourne's Highland Fling, first seen in 1994. It's a typically tongue-in-cheek take on La Sylphide, keeping the gist of the original story, and the Scottish setting, but giving it a make-over for the Trainspotting generation. So as well as the silver birch backcloth, the setting includes an old armchair and some dustbins down stage left. The Sylphs sport little angel wings, James a kilt. Plenty of fun in the glade, with young James eager to join the corps, until suddenly the mood changes as his beloved's wings are clipped. Beautifully danced, and imaginatively staged, with athletic work from Adam Davies, and a moving performance from Brittanie Dillon as the Lead Sylph.

Jenna Lee's Romeo and Juliet – the Ballroom scene – uses Prokofiev's score in an original, eloquent narrative. Amy McEntee's Juliet is shy and apprehensive with Paris and has some lovely moments with her two friends. The Montague boys do some spectacular showing-off. There is romance of course, but frustration too, with the dancers forming barriers between Juliet and her Romeo [Craig McFarlane] And then a brief expression of innocent joy before the tragedy we know is to come.

A stylish glimpse of La Bayadere, with scarves, an impressive pas de deux, and a traditional tableau to finish.

In more contemporary work, we see fluent avian grace in Liam Scarlett's Indigo Children, edgy urban graffiti in Sleepless, choreographed by Malgorzata Dzierzon with music by Philip Feeney, played live, and Christopher Bruce's enigmatic Mya, danced to Arvo Part – three cocooned figures moving in witty, wistful shapes and patterns.

And a memorable look at the Castle Dracula scene from the ballet created in 1996 by Michael Pink and Christopher Gable, with an original pastiche score by Philip Feeney. Haunted by succubi, Alvaro Olmedo has a strong, erotically charged duet with Matthew Morrell's magnetic, hypnotic Count.

As ever, a wonderful display of burgeoning dance talent, and an excellent sampler of what ballet can do. If you missed it at the Civic, it's at the Mercury in Colchester in June, and at the Kenneth More in Ilford in July.

production photograph: Bill Cooper

STARSHIP PINAFORE

STARSHIP PINAFORE

Trinity Methodist Music and Drama at the Civic Theatre

10.05.17

The curtain-raiser – always the fate of this early G&S collaboration – is Trial by Jury, a welcome revival of Tony Brett's charmingly fantastical production first seen at Trinity in 2015. Good to see Wayne Carpenter moonlighting as the errant Prince, playing opposite Emily Delves' sweetly sung Cinders.

Pinafore is equally inventive and off the wall. The British warship, moored at Portsmouth Point, becomes a spacecraft in a galaxy far, far away, not unlike the Enterprise, or Captain Tempest's D'Illyria probe. But Sullivan's music survives intact, and, some cheeky tweaks apart, it's the look rather than the lyrics that is radically altered, with the crew clad in silver and scarlet space suits, and the Sisters, Cousins and Aunts elegant in fantasy frocks and wigs.

Tony Brett has assembled an impressive cast, led by soprano Jenny Haxell, who languishes with style and lilac locks as Josephine, and sings the part beautifully – her Act Two soliloquy particularly enjoyable. Her Ralph is Ashley Thompson, who despite his futuristic tinfoil space-suit is an old-fashioned light tenor. Patrick O'Brien, who plays the learned judge before the interval, excels again as a leering Dick Deadeye. Janet Moore makes a lovely Buttercup, here relinquishing her bumboat for a tea-trolley stocked with Pringles. Her palm-reading duet with Howard Brooks' Captain Corcoran is splendidly done.

In the most stunning costume, Brett himself plays Sir Joseph Porter, Ruler of the Galaxy, preening and pompous but not above a bit of fancy footwork in the amusing Why and Wherefore trio. Strangely reluctant to be paired off with his cousin Hebe, Emma Byatt imposing in tight black leather.

Not much ambitious choreography elsewhere, and a deal of standing around singing. But a fresh sideways look at a Savoy favourite, accompanied by a sizeable pit orchestra, comparable to Sullivan's own, conducted by Trinity's Musical Director Gerald Hindes. 

In an old Savoyard jest, I recall, some wag would enquire “Who's playing Celerity tonight?” The answer for this week at least, is Pat Hollingworth.

production photograph: Val Scott