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

ANYTHING GOES

ANYTHING GOES

CAODS at the Civic Theatre

02.03.17

Forget the feeble plot and the cardboard characters. It's those classic Cole Porter evergreens that keep us coming back to the decks of the SS American.

Ray Jeffery's colourful production fills the Civic stage with a credible cruise-ship demographic – a lovely sequence of tableau vignettes for the Overture – while up on the bridge the band [MD Bryan Cass] plays on, oblivious to the shipboard shenanigans going on below.

Some excellent casting for the comedy character roles: Kieran Bacon a charming, cheerful hoodlum, with Jill Gordon as his moll, Kevin Abrey a terrific upper-class twit – monocle and plus-fours – Helen Hart a formidable Mrs Evangeline “call me mother” Harcourt, with David Slater a larger-than-life Wall Street banker.

The principals are led by Robyn Gowers' cynical chanteuse Reno, making the most of all those memorable numbers, well supported by her glamorous Angels. Tom Harper brings an easy charm, and impressive song and dance skills, to Billy Crocker and his many OTT disguises, while Katie Doran makes a notable CAODS début as heiress Hope Harcourt.

Plenty of show-stopping production numbers [Claire Carr the choreographer] – a great group photo for the anthem that opens Act Two, the sure-fire tap routine for the title number, a stunning Gabriel, and, since this is the 1962 version, some rarer delights, including Let's Step Out [from Fifty Million Frenchman] – which might have been improved by a few more chorus boys – and Heaven Hop, nicely dressed in summer frocks. The company sports splendid costumes throughout; with the carefully styled wigs, they lend polish and pizazz to this very enjoyable escapist musical.

BARNUM

BARNUM

CAODS at the Civic Theatre, Chelmsford

29.09.16

What a trooper !

Phineas T Barnum, showman extraordinaire, master of flim-flam and humbug, is, he might boast, a role in a million.

And here's charismatic, cheeky Simon Bristoe thwarted at the final hurdle by an unfortunate accident. In the West End, of course, that'd be another big-name no-show. But not for CAODS. Brave Mr Bristoe limps gamely through the show – no high-wire for him, of course, and limited dance, but a performance of admirable pizazz and pathos as the legendary impresario. He has an excellent voice for the role, too, though microphone problems robbed us of the opening Sucker number.

Not quite a three-ring circus, but by no means a one-man show. Stand-out performances from Rachel Summers as the Swedish Nightingale, Oli Budino as a lively Tom Thumb [an excellent number with a giant chair and stilt-walkers] and Claire Carr as PTB's long-suffering proto-feminist wife. Great work too from Barry Hester's Ringmaster and Bailey, and Tamara Anderson supplying smoky vocals in the impressive Black & White number. Brad Wendes contributed his circus expertise and some thrilling stunts.

Ray Jeffery's energetic production was a treat for the ear [Bryan Cass the MD] and the eye: the gilded chorus girls, the bright, breezy Follow the Band, and, amongst the quieter moments, the reprise of Colours of My Life, with the passing of Charity poignantly suggested by a muted chorus of jugglers.

The show-stopping Circus number was a carefully crafted crescendo of tricks and tumbling, stopping just short of the circle of fire …

Excellent work from a huge company, colourful and constantly enjoyable. Much more impact than the recent Chichester production; as Colonel Tom Thumb reminds us, Bigger is not always Better.

production photographs Christopher Yorke-Edwards

LEGALLY BLONDE

LEGALLY BLONDE

CAODS at the Civic Theatre

05.03.16

Unaccountably more popular on this side of the Pond than in its Stateside home, Legally Blonde is a fluffy, feel-good fun show, winner of several Oliviers.
Far-fetched, even by fairy-tale standards, it follows the feisty sorority girl Elle as she charms her way into Harvard to win back her law student boyfriend. And, true to herself to the end, she forges a high-profile career in the courts using little more than feminine intuition.
It's given an energetic, infectiously enjoyable production by Sallie Warrington, with high-octane performances from a huge cast.
Keeley Denman is the dynamo Elle, owning the stage as she owns the interview room and the high court. Her snobby boyfriend is done with smooth assurance by Jacob Burtenshaw, the exact opposite of teaching assistant “Chip on my Shoulder” Emmett [David Gillett], who's on Elle's side from the start, and, to no-one's surprise, ends up proposing to her in the final scene. Great character support from Robyn Gowers as Paulette the beautician, Claire Carr as the evil preppy Vivienne and Patrick Tucker as “Blood in the Water” Callahan.. And there's a fitness queen [Becki Wendes], a hunky UPS boy [Brad Wendes], two cute dogs and an eye-catching triple whammy from Ian Gilbert... But it's the ensemble who carry the show, adding value to the vacuous numbers – the Riverdance pastiche and the jumping rope sequence [Jenny Gayner] just two of the memorable production numbers. An upbeat pit band pumps the score along nicely, under the direction of Robert Wicks.

Great to see so many youngsters – on both sides of the footlights – in the sold-out Civic for this hit Noughties musical. Just what's needed to keep this august society in the pink ...                                  

SISTER ACT

SISTER ACT

CAODS at the Civic Theatre

23.09.15

A spin-off from the movie, this rather shallow show is a real crowd-pleaser. One great anthem, a silly plot, and oodles of Catholic kitsch.

CAODS give it everything they've got, and the packed houses are going home very happy. Sallie Warrington's production has pace, pizazz and some very nifty choreography. And it uses a huge cast to excellent effect, with nuns filling the wide Civic stage, decked out with some splendid scenery – the monumental Queen of Angels, the stained glass, the last supper, not to mention the police station and the night club, trucked and flown by a hard-working crew.

Plenty of scope for broad-brush characterization amongst a talented company. Stephanie Yorke-Edwards is the enthusiastic chorister Sister Mary Patrick, Jessica Broad the perplexed young postulant Sister Mary Robert. John Cox plays the priest who enthusiastically embraces the sinful world of show-biz [“The reviews are in !!”]. Curtis, the gangster boyfriend, is done with heavy menace by Jonathan Davis; on the side of the angels, Sweaty Eddy, childhood sweetheart now neighbourhood cop, is Oli Budino, slickly switching between policeman and fantasy star in his big number. And the three stooges [Ian Gilbert, David Gillett and Ben Wilton] have a ball, especially in their priceless Lady In The Long Black Dress.

Deloris, the wannabe musician around whom the plot revolves, is given a great larger-than-life characterization by Tessa Kennedy, suggesting a singer with more self-belief than talent, but making the most of the show-stoppers she's given, and showing touching loyalty to her new-found sisters.

Not much subtlety in this show, but Helen Hedin manages to make the Mother Superior a wonderfully believable character, long-suffering, with flashes of caustic wit, she represents the forces of tradition who're not convinced that soul and disco – putting the Sis in Genesis – are the way forward for the church.

The 70s musical idiom – lovingly guyed in Alan Menken's score – is excellently re-created by MD Robert Wicks and an outstanding twelve-piece band.

production photograph by Christopher Yorke-Edwards

GUYS AND DOLLS

GUYS AND DOLLS

CAODS at the Civic Theatre

24.02.15

The low-lifes steal the show in Ray Jeffery's hugely enjoyable, perfectly paced Guys and Dolls.

The set is a faded Picture Post New York, with the Hot Box Tardis shoe-horned between the fire-hydrants and the news-stands. But the Damon Runyon denizens of the devil's own city are wonderfully colourful: Harry the Horse [Tony Catchpole] in a splendid check suit, hyperactive Benny Southstreet [David Gillett] spivvy Nathan Detroit [Kevin Richards in a terrible toupée] and a florid Nicely Nicely from the excellent David Slater, who also gets to gatecrash the Havana party as a stylish roué.

The male chorus from Blossom Time have the lion's share of the hoofing, with some challenging choreography impressively executed – those two-tone crap-game shoes.

The love interest is provided by Cassie Estall's Sarah with the 100% eyes and Ian Gilbert, cast against type as Sky, but bringing an engaging innocence and a quizzical, compelling stage presence to the role.

Nathan has dame trouble of his own, in the exemplary Adelaide of Robyn Gowers – a flawless performance from the nasal tones to the strategically placed kitchen shower.

A stylish show, with Bette Davis centre stage, cigarette holders, and silver lamé for the wedding. Musically polished, too, with Patrick Tucker's band on fine period form in, for instance, the backing for If I Were A Bell.

And the death throes of vaudeville are neatly captured, in the gorgeous Hot Box Girls, and in the delicious double act of Benny and Nicely for the title number.

production photograph by Christopher Yorke-Edwards

JESUS CHRIST SUPERSTAR

JESUS CHRIST SUPERSTAR

CAODS at the Civic Theatre

27.09.2014

Lloyd Webber's rock oratorio, a passion play for the heavy metal generation, gets a powerful, largely traditional staging at the Civic.

The opening prologue sets the tone – Jesus's early life is played out like a fast-forward Biblical epic, with costumes and tableaux worthy of De Mille.

The show itself, originally a concept album, focuses on the last days of Christ, and on the role of Judas, the troubled outsider, given a compelling performance here by Simon Bristoe. The chorus is inventively used, spilling out over the vast steps which, with a perspex pyramid, make up the set. The energy is palpable – in the Temple, in the Garden of Gethsemane, in What's the Buzz. Subtlety is not notably part of director Ray Jeffery's toolbox, and heartstrings are shamelessly tugged, while the title number, with its assorted Angels, is high camp kitsch, as is the decadence of Herod's entourage. The red capes and plumes make a strong visual statement before the uncompromising Crucifixion. Only in the reflective John 19:41 is the movement something of a distraction.

Excellent performances, vocally and dramatically, from Stuart Woolner as a handsome, charismatic Messiah, and Karen Kelleher as a dignified Magdalene.

This is a demanding show musically, literally an opera, with big arias and complex ensembles. Under CAODS new MD Rob Wicks it is given a great performance; only occasionally are the words lost under instrumental enthusiasm or tortured screeching.

A virtually sell-out run, with standing ovations for the principals, adds up to a huge success for Chelmsford's premier company.

production photograph by Christopher Yorke-Edwards

THE WITCHES OF EASTWICK

THE WITCHES OF EASTWICK

CAODS at the Civic Theatre

28.02.14

A warm Friday-night crowd for The Witches of Eastwick – a rare amateur outing for Cameron Macintosh's adult musical for the millennium.

It's a long way from the Updike book that spawned the Nicholson film. A glitzy score [Dana P Rowe] and patchy lyrics [John Dempsey] were boosted in the West End by lavish settings and special effects.

Sallie Warrington's inevitably sparer staging has to rely on the talents of the cast, and, fortunately, she has three outstanding musical comedy stars to play the wisecracking witches at the heart of the show.

One by one, with the aid of a symbolic prop supplied by the Shirley Templish chorus [Abby Murphy], they are seduced by the demoniacal Darryl van Horne, in a superbly staged series of scenes. Jane, the cellist [Sarah Burton], Sukie the writer [Alison Hartley] and Alex the potter [Claire Carr] all fall for his devilish charms.

Gareth Barton has plenty of presence, and a great singing voice, as the Devil incarnate, with his medallion and his quiff. A difficult character to get into – I think I might have liked a little more charisma and a little less crude creepiness. Fortunately, and inevitably since this is a musical, he gets his come-uppance at the altar, thanks to one last prop – a voodoo doll. But not before – drum roll, glitter curtain, clapperboard – one last fling in the gospel-inspired Glory of Me.

A very strong supporting cast – David Gillet and Alice Masters as the young lovers [shame they have such a clunky duet] and Debra Sparshott outstanding as the busybody Mrs “I am Eastwick” Gabriel, a lovely character part, splendidly sung, too. And not forgetting Wylie Queenan as the “cute little guy” Fidel, the Fiend's factotum; exemplary stillness, lots of costume changes and a well-earned apotheosis at the very end.

The chorus is imaginatively used – sweeping across the stage, frozen at the opening, and impressively choreographed in the big production numbers like Dance with the Devil and, especially, Dirty Laundry.

A very polished pit orchestra, too, under the Musical Direction of Patrick Tucker.

The staging is simple – a Wizard of Oz feel to the backdrop, with the New England town where the Emerald City should be – but often clever, with screens and trucks keeping the show on the move. One interior piece fits all – variously dressed for the three seductions with music, books and fertility figures.

And, yes, there is flying – Kirby's of course.

That capacity crowd are enthusiastically appreciative at the curtain call – not so much, I guess, for the piece as for the stylish success that CAODS have made of it: an enjoyable revival of a rarity of the repertoire.

production photograph by Christopher Yorke-Edwards

CRAZY FOR YOU

CRAZY FOR YOU

CAODS at the Civic Theatre

28.09.13

Cowboys, chorus girls and all those Gershwin tunes ! Who could ask for anything more … ?

Sallie Warrington's tremendous production for CAODS didn't miss a trick: the comedy, the glamour, the backstage clichés, all immaculately brought to life on our Civic stage, with Patrick Tucker's pitful of musicians adding extra gloss.

Two excellent players in the leading roles. Christie Hooper as Polly, born with vaudeville in her blood, and entrusted with many of the best numbers, including a superbly sung Someone To Watch Over Me. She's rescued from Nevada obscurity by Bobby Child, sent to repossess the Gaiety for his New York bank. He was played with a bouncy, puppyish enthusiasm by Young Gen veteran Henri de Lausun, who clearly has musical theatre in his genes, too, hoofing and delivering his duets with confidence and charisma. Their on-stage affair was a delight from the first coup-de-foudre, through the dewy-eyed dance-off to the lump-in-the-throat moment when he finally gets his girl before the Art Deco finale.

His mirror number with his impresario alter ego Bela Zangler [Kevin Richards] was neatly done, too. Another obscure song to emerge sparkling was Stiff Upper Lip, initiated by the Fodors [Angela Broad and Justin Oakley] and developed with imagination and style.

Among the many polished performances: Karen Kelleher as a svelte Irene, Jonathan Lloyd-Gane as the saloon owner, and John Cox as Moose.

But it's the ensembles that make the show, from the brain-dead drifters of Deadrock to the infectious tap-dancing energy of I Got Rhythm, with its tin trays and its pick-axe swings.

production photograph: Christopher Yorke-Edwards

FROM STAGE AND SCREEN

FROM STAGE AND SCREEN

CAODS in concert at the Civic Theatre

02.06.13

Love him or loathe him, Lloyd Webber has written some great tunes, and it was a back-lit, star-spangled medley of some of his classic hits that rounded off this enjoyable programme.

These concert performances give CAODS' members a turn in the spotlight, and their audience a chance to hear numbers from shows which won't be staged on these boards for years yet, if ever.

Book of Mormon, for one. You And Me entertainingly performed by Tom Tull and Oli Budiño, as the Cameron and Clegg of the missionary movement. Or The Bodyguard – One Moment in Time sung by Christie Hooper.

The juke-box genre was represented by a Jersey Boys medley from the men, and three Beatles numbers, including a super Hey Jude from Karen Kelleher. And welcome light relief from Stephanie Yorke-Edwards and Oli Budiño in Sing, which opened a classy Chorus Line sequence.

Object lessons in how to sell a so-so song from Richard Harrison [Jekyll and Hyde] and Kate Smith [Skyfall].

Claire Carr's production, with dance choreography from Joe Toland and an excellent on-stage band conducted by MD Patrick Tucker, who devised the show, boasted some imaginative staging, executed with polish and style – in the opening Miss Saigon selection, for instance, or the Cabaret-lite Bring On The Men. Elegant black costumes, with neck-ties, braces and buttonholes in varying hues, and an impressive lighting plot, enhanced the professional feel.

No tap routines, though, and no Gershwin. For that we'll have to wait for their Crazy for You, coming to the Civic in September.

production photograph by Christopher Yorke-Edwards

BE OUR GUEST

CAODS at the Civic Theatre

07.11.10

CAODS' first “Songs from the Shows” presentation was in '96, and this special 90^th Anniversary Concert compilation included many of their own favourites from the past, plus some novelties currently wowing them in the West End.

Becky Martin, partnered by Joe Toland, gave us one of the most dramatic performances in “Legally Blonde”, and Sarah Barton sang a virtuosic “Love Never Dies”, as well as Deloris in “Take Me to Heaven” – “Bless Our Show”, also from Sister Act, was very engagingly done, too.

Sometimes, it has to be said, the performances were a triumph of salesmanship: “Only the Good Die Young”, part of a lengthy sequence from juke box musicals, was given 110% by Rachael Brown.

Among the golden oldies, Gareth Barton did a brilliant job on the anthem from Chess, there was a nicely staged “Ragtime” and Joe Toland led the men in “Bui Doi” from Miss Saigon.

The barricades were kept till last – Kim Anderson as Fantine, Richard Harrison as Javert, both outstanding in an impressive octet of principals.

And a nice surprise to start: doyen of the musicals Peter Smith as Lumière, with Diana Baker reprising her Mrs Potts, in what else but “Be Our Guest”, from this year's sell-out success Beauty and the Beast.

The show was directed by Cheryl Jennings, with Patrick Tucker the hard-working MD.

photograph by Christopher Yorke-Edwards

BEAUTY AND THE BEAST
CAODS at the Civic Theatre
21.09.10


It's a while since Barrowman was the Beast, and now this lavish Disney spin-off is available for the more ambitious amateur groups.
In a fitting finale to CAODS' 90th anniversary year, Ray Jeffery's done a class job on this marathon musical, with its tricky transformations, its smoke and mirrors and its spectacular production numbers. Be Our Guest, of course, a culinary cabaret with Lumiere as Emcee [the excellent Ben Martins with a fruity French accent], but also Human Again, again started off by the candlestick. Sarah Barton gave a pleasingly old-fashioned musical comedy performance as the bookworm Belle, battling with the primeval Gaston [Richard Harrison] as well as the Beast – a touching performance from Gareth Barton, finding emotional depths from within the latex – a better Beast than a beau for Belle, perhaps. Another nuanced character from Trevor Lowman as Belle's father, mad inventor and victim of fate; Jimmy Hooper was a larger-than-life New Yorker LeFou. The Silly Girls were effective too, somewhere between Three Little Maids and the Ugly Sisters. The dancing was superb, from the camp cutlery to the athletic Wolves.
Among the castle staff trapped in household objects I enjoyed the Salt and Pepper, the Rug, Kevin Abrey's conceited Cogsworth, Rachael Brown's bubbly Babette, and especially Diana Baker's Teapot, spout steaming, with her boy Chip in the cup, played with huge confidence on opening night by Noah Miller, with Charlie Hughes confined to the cupboard for some other performances.
Ray Jeffery was assisted by Claire Carr, and the Dance Captain was Sue Buxton.
Patrick Tucker's pit musicians were on splendid form, especially noticeable in Belle's big number, with its Andrew Lloyd Webber aspirations, Is This Home?. The sets looked impressive, especially the moving castle, though they were clearly a challenge to change. Maybe costume, or at least proper blacks [with gloves!], for the hard-pressed crew. The costumes were colourful, clever and just cartoony enough …

Photographs by Christopher Yorke-Edwards