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

13 THE MUSICAL

13 THE MUSICAL

Young Gen at the Cramphorn Theatre

28.04.17

Jason Robert Brown's ground-breaking musical – now almost ten years old – was notable for casting players, and musicians, entirely from talented teenagers.

Now, in the cosy Cramphorn, our own talented youngsters give this rather uninspired show a lively, polished outing, directed by Jimmy Hooper. There's plenty of teenage humour, and all the accents are consistently convincing, too.

It's the story of young Evan who leaves New York for Indiana after his parents split up, and as he prepares for his bar mitzvah, discovers, to no-one's surprise, how awful kids can be to each other, and how hard it is to be thirteen.

He's played by Charlie Toland, very good in his final speech, and convincingly awkward and insecure, though he might have earned more sympathy by using eye contact to connect with the whole audience. Two other “losers” are excellently played by Oliver Gardner as Archie, using his life-limiting illness to manipulate his peers, and Heather Nye as the bookish Patrice – the freak – a very engaging performance, impressively sung.

Villains of the piece are bone-headed jock Brett [Matt Barnes], well supported by a terrific trio of cronies – their numbers some of the best moments of the evening. And the horrendously jealous, controlling Lucy, very effectively characterised by Hope Davis. Victim of her wiles, the wholesome cheerleader Kendra, appealingly played by Phoebe Walsh.

The huge ensemble is inventively used, from the energetic opening number, through the movie theater to the stunning “Brand New You” finale. I liked the gossip number, and the mad moment of Heidi wigs and Busby Berkeley. And I was pleased to see the Rabbis replaced by five geekish cameos for Being A Geek.

The set wisely doesn't try to bring us the gymnasium, the Dairy Queen or the girls' bathroom. Instead there are ingenious revolving panels and two staircases, all plastered with stickers and collages. And, high above the action, Bryan Cass and his musicians, driving the rock and reggae rhythms.

production photograph: Barrie White-Miller

OLIVER!

CYGAMS at the Civic Theatre

09.11.16

Lost count of the number of Oliver!s I've seen. From the old New Theatre to countless amateur companies and schools. But Bart's songs and Dickens' story keep us coming back for more.

This is the fourth staging of the piece by Young Gen. Sallie Warrington's production is bold and colourful, set against a nice perspective London décor, misty and evocatively lit, with only a hint of panto.

And of course she has a large cast of talented youngsters to work with – from the tiniest orphan to the chubby hubby Bumble [Edward Bonney]. In the title role [shared on other nights with Gene Gardner] Tommy Edwards is a melancholy Oliver, begging for more from the Beadle on high, and making a fine coffin follower. He handles his songs well, both solo and ensemble. Jack Toland's Fagin has an unusually impressive singing voice too, while Matthew Barnes brings a strong stillness to the evil Sykes.

Hope Davies gives a moving performance as Nancy, building her Act Two solo dramatically, floored by Sykes and rising defiantly as the music swells. Bryan Cass the Musical Director.

A likeable Dodger from Charlie Toland, a lovely Widow Corney from Amy Hollingsworth with a “beguiling smile”, and amongst the supporting roles, a 24-carat cameo from Paul French as the oleaginous Sowerberry.

Some words are lost, some chances missed, and occasionally the vital spark seems lacking. But there were plenty of great moments – the chimney sweeps, Oliver's lesson in light-fingered thieving, with the gang surrounding him, his little bed amidst the Cries of London, the chorus work in Be Back Soon, It's A Fine life, led by Nancy and Izzy Churches' Bet, and the show-girls in Oom Pah Pah, the mood suddenly changing as Sykes is heard off stage.

INTO THE WOODS

INTO THE WOODS

Chelmsford Young Generation at the Cramphorn Theatre

12.04.2016

Not an easy ride, Into the Woods. Dark themes [blindness, child sacrifice, sterility] and a tricky, intricate score. The cleverly interwoven fairy stories are cosily familiar, but Sondheim's twist is often harsh and cruel.

But Chelmsford's Young Gen are always up for a challenge, and their intimate Cramphorn production, directed by Jimmy Hooper, brings freshness and vitality to the show.

A triple challenge, in fact. The actors have to bring audibility, clarity and humanity to their roles, and that's before they tackle the intricate rhythms and tangled tunes. Not all the boxes are ticked all the time. The random proverbs have only mixed success. But the overall effect is polished and exuberant, with some cleverly choreographed production numbers, filling the very limited stage space with dancing princes, aides, ugly sisters, goodies, baddies and in-betweens. The music is very well served; Bryan Cass the MD joined in his tiny sylvan nook by Richard and Phil Langstone.

A big cast, with strength in depth, and many memorable performances. The cut-glass narrator is the excellent Sam Wolstenholme, smoking jacket and quizzical eyebrow. The baker and his wife, around whom the fairy-tale quest revolves, are done with experienced aplomb by Jack Martyn and Eve French. Outstanding work from Jessica Higgins as Red Riding Hood, bringing a cheeky characterization to the role, and enjoying a pas de deux with Jack Toland's lairy Wolf. And from Katie Salter as the Witch; her Last Midnight superbly crafted. Paul French makes a nerdy, nice-but-dim Jack, of beanstalk fame. The Agony brothers, Princes to Phoebe Walsh's tuneful Rapunzel and Lois Chapman's assured Cinderella, are engagingly guyed by Matt Barnes and Jack Harlock. 

Good to have a human Lyre [Virginia Hampson] and a properly characterized Milky White [bovine resignation from Millie Parsons], actors for the birds and the trees, and even the Baker's table [uncredited, as far as I can see, but surely a shoo-in for best supporting role].

The set is impressive, with a useful upper level and a prominent spiral staircase, converted by brollies into a beanstalk for the giant-killer. Well used too: the exemplary Your Fault ensemble followed by the quartet looking aloft at the Witch for her big solo. Another striking ensemble for No One Is Alone, Sondheim's philosophical summing-up: Witches can be right,/ Giants can be good./ You decide what's right,/ You decide what's good.

photograph: Barrie White-Miller

HAIRSPRAY

HAIRSPRAY

Chelmsford Young Gen at the Civic Theatre

12.11.15

A stunning Sixties look – candy colours and big hair – and seriously inspired performances make this welcome revival a most entertaining evening out.

Jeremy Tustin's lively production does not overplay the social comment card - “negroes and chubby girls buy hairspray too” just about sums it up – but makes the most of the all-singing all-dancing numbers like the iconic You Can't Stop The Beat.

Not quite colour-blind casting, though we did enjoy an effervescent Paul French as Seaweed, son of the larger-than-life Afrotastic Miss Maybelle [Carmel Adekunle, outstanding in her big numbers].

A traditional Edna from Samuel Wolstenholme, stepping into Michael Ball's court shoes as the plus-size laundress. A memorable turn – his duet with Jack Toland's Wilbur, which they seem to enjoy as much as we do, that's to say hugely, is worth the ticket price alone.

Tracy Turnbull, the “pleasantly plump” teenager who takes on the prejudices of prime-time station WZZT, is given a wonderfully warm characterization by Amy Hollingsworth. There's not a weak performer anywhere on this crowded stage; the company ensemble is excellent, as are the Dynamites and the male backing group for It Takes Two, Tracy's duet with the tv heartthrob Link Larkin [Jack Martyn]. The choreography is inventively nifty – there's even a touch of tap.

“Turn that racket down, I'm trying to iron in here !” yells Edna from the side of the stage. Hard not to sympathise, since the vocalists often fight a losing battle with Bryan Cass's excellent pit band. A real shame, since the lyrics carry the message behind the infectious pastiche of the music.

production photographs by Barrie White-Miller

CATS

CATS

Chelmsford Young Generation at the Cramphorn Theatre

20.04.15

No vast arena, no revolve, but, my ears and whiskers, don't Young Gen make up for it with striking designs, perfectly judged performances and a stunning sense of style.

Sallie Warrington's sure-footed production opens with cats' eyes piercing the gloom; the set is a back alley, stars and moon above, soon peopled by a magnificent clowder of cats, every movement, every gesture the embodiment of androgynous felinity.

So much complex choreography, and each moment a visual as well as a musical treat – the company watching Demeter, the first entrance of Grizabella, an ageing Marilyn moppet, the kittens tumbling on through the outlet, the garbage bagpipes and the cardboard box helmets for the Awful Battle.

The naming of cats. Every one has a deep and inscrutable name. For this blog review, I'm giving every actor a credit at the end. It's very much a company show, the ensemble full of characters and charm, with all thirty felines making a uniquely valuable contribution to the magic.

Every member of the audience will take away different memories, their own highlights.

Bustopher Jones, maybe, stoutest of cats with his spats and his fish-bone cravat. The magical Mr Mistoffeles, sequins and spangles, disappearing in a puff of smoke. Rum Tum Tugger, cavorting rock star in a leather flying jacket, the sprightly, high-spirited Skimbleshanks, star of possibly the finest production number of the night, Mungojerrie and Rumpleteazer in their lovely song-and-dance duet, the frail Asparagus in his cardie, nicely contrasted with his caring companion Jellylorum. Jennyanydots in her patchwork coat. The enigmatic Quaxo, inviting everyone to the ball. Storyteller Munkustrap, with just the right voice for Eliot, Jemima, superb songstress, Demeter and Bombalurina on the trail of the missing Macavity.

And two points of stillness amidst the cavorting: Old Deuteronomy, gravitas in a long shaggy coat, and the glorious Grizabella, poignant stage presence and a magical way with Memory, the first notes sung before she turns towards her audience.

The cat costumes, and the wonderful wigs, a huge part of the show's success, were all made in-house for CYGAMS.

Musically there is excellent choral singing, as well as the many superb solos; Musical Director, doing wonders in the tiny pit with a couple of keyboards, bass and a drum kit, is the legendary Bryan Cass.

Asparagus   Alex Bloom

Bombalurina   Eve French

Bustopher Jones   Edward Bonney

Demeter   Katie Salter  / Natasha Newton

Grizabella   Alice Masters

Jellylorum   Abby Murphy

Jemima   Charlotte Broad

Jennyanydots   Maria Caulfield

Mr Mistoffelees   Charlie Toland

Mungojerrie   Harry Gardner

Munkustrap   Samuel Wolstenholme

Old Deuteronomy   Ben Wilton

Quaxo    Wylie Queenan

Rumpleteazer   Jessica Higgins

Rum Tum Tugger   Jack Toland

Skimbleshanks   Paul French

Victoria   Claire Mason

Admetus   Millie Parsons

Cassandra   Monique Crisell

Electra   Libby Escott

Etcetera   Ellie Steel

Exotica   Olivia Herbert

Sillabub   Molly Gardner

Tantomile   Holly Escott

Alexa   Olivia Khattar

Anastasia   Isabel Sidebottom

Athena   Isabel Murphy

Perdita   Virginia Hampson

Plato   Matt Hedges

Tumblebrutus    Noah Miller

production photograph by Barrie White-Miller

GREASE

GREASE

Chelmsford Young Generation at the Civic Theatre

08.04.2014

A retro feel to the styling and the staging: the austere brickwork of the school hall at Rydell High forms the backdrop to the whole story – the sleek Greased Lighting glides in through the double doors.

Costume and hair are also pleasingly redolent of those distant 50s.

Jeremy Tustin's production has some lovely touches: the grease monkey chorus, the baby-doll beauticians. The Prom Night duet is tellingly staged, and Doody [Charlie Toland] is given a backing trio and a gold jacket for his big number. And the huge cast – including some Junior High School kids – fills the wide stage in splendid Todd-AO. Lively dancing, with plenty of those tasteless and vulgar movements, and perhaps not enough of the inventiveness that brings a witty hint of Busby Berkeley to Beauty School Dropout.

Natasha Newton makes a convincingly “wholesome and pure” Sandy, with Henri de Lausun as her devoted Danny. A whole string of excellent performances in support, including audience favourite Jack Toland as goofball Eugene, Alice Catchpole as the omnivorous Jan, Monique Crisell as Frenchy and especially Tamara Anderson as the mature and cynical Rizzo. Her handling of Worse Things I Could Do is exemplary – insightful and crystal clear. Because in this show the words are always important, carrying the satire and the social comment behind the nostalgia and the dancing.

production photograph: Barrie White-Miller

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

CYGAMS at the Civic Theatre

13.11.13

Young Gen have been dying to do Joseph for years, and now their dream has come true, with a fresh young cast selling out their five-show run at the Civic Theatre.

It's an indestructible show, and over the years [I'm the same age as Lord Lloyd-Webber] I've enjoyed seeing the show grow from a simple cantata to the big bold spectacular it is today, happily discovering each new number as it was added to the score: the cowboys, the café, the calypso.

They're all there in this version of course, together with some impressive extended dance routines.

The cast includes dozens of youngsters, and some of the youngest are the chorus whom we meet first as schoolkids exploring Egypt with their pretty young teacher [Kathryn Peacock], who has a rainbow rucksack, and a dream of her own …

They're there, in nightwear, clutching candles, with Joseph in his cell, they get to reprise Any Dream, and they're back again, in coloured teeshirts, for the happy ending.

Jeremy Tustin's production is full of inventive touches: the coloured banners, Potiphar [James Bantock] and his toffs, plus the predatory Mrs P [Eve French], the Benjamin limbo for the Calypso, the flower-power psychedelic Act One finale, the vast coat of many colours as a final flourish. The French scene, and the cod Calypso, both excellently done; only One More Angel seems lacking in pastiche style, making the energetic hoe-down less effective than it might be.

Very much an ensemble show, with the brothers [and their womenfolk] working well together in the big numbers. But I was particularly impressed with Jack Toland's Simeon in Canaan Days, and with Jayden Booroff's Joseph – a warm stage presence and superbly realised renditions of the two keynote numbers. [MD Bryan Cass.]

A real treat to see Young Gen bring their trademark enthusiasm and discipline to this iconic show at last. Their unflagging Duracell energy is sustained right through the megamix finale, when, on opening night, the packed auditorium rose in tribute to the brothers, wives, dancers, choir, King, camel and ensemble packed onto the monumental ancient Egyptian set.

THE LION THE WITCH AND THE WARDROBE

THE LION THE WITCH AND THE WARDROBE

Chelmsford Young Gen at the Cramphorn Theatre Chelmsford

15.04.13

photograph by Barrie White-Miller
Spearman Photography

Capacity crowds in the Cramphorn the whole week, the audience and the actors filling the space in a production of great scale and ambition.

The show itself [popular with youth groups over the years - playing here in 2001 and 2010] remains an unsatisfactory collision between C S Lewis and Julian Slade. "But what does it all mean ?" asks Susan. More than just twee fantasy, perhaps. At least Ray Jeffery's production minimises the cuteness, with some excellent period performances from the Pevensies [on opening night I saw the Summer Cast]: Elliot Elder as a capable Peter, Charlotte Broad excellent as the older, wiser Susan, Emily Ford as the innocent, life-affirming Lucy, and an outstanding performance from Matthew Hedges as Edmund – a touching blend of vulnerability and bravado, with a confident stage presence, and a superb way with his big number in Act Two.

Many other notable characters – the Beavers of Jayden Booroff and Rebecca Clarke, Edward Bonner's Father Christmas, Jessica Higgins' perky Robin and Tom Tull's booming Aslan, though he is not helped by his comedy costume. Another young performer to catch the 50s feel of the original particularly well is Samuel Wolstenholme as the fey faun Mr Tumnus, dispensing tea and sugar-topped cake in his cosy cave.

The stage levels, and the auditorium, are imaginatively used – Winter into Spring, the Waiting and Wondering confrontation, spooky whispering, choruses from the back, the imposing White Witch [Eve French] and her retinue ranged down the aisle. Within the limitations, some good movement, too, like the battle scene, from a huge, hardworking chorus – I liked the wartime line-up behind the Teasing Song – which includes all those principals who are performing on alternate dates.

WEST SIDE STORY

Young Gen at the Civic Theatre

20.11.2010

Jim Hutchon was at the Saturday matinée:

This was another near faultless production from CYGAMS, one of the most ‘professional’ amateur groups in the town, the fourth time they have revisited West Side since 1978.

Lead male, Tony, was played with an effortless voice and great presence by Sam Toland, with terrific support from his Maria, Emma Bennett –especially in their duets, such as ‘One Hand, one heart’. Bart Lambert and Henri de Lausun, as gang leaders, exuded testosterone all over each other and really gave the action muscle. It would be invidious to pick out other parts; the strength of the production is in the depth of talent they can call on, and all performed with distinction.

I felt the costumes made the actors more clean-cut grammar school than hopeless drop-outs, which jarred with the superbly run-down sets. And the choreography, by ex-Young Gen Gavin Wilkinson, though commendably high energy and with immaculate discipline, was a little stereotyped. Musical Direction was by Bryan Cass.

In a throwaway line in the programme the President Peter Smith called this group “the class of 2010”, and it is a sort of Fame Academy. These blockbuster productions are the graduation ceremony, presided over by the benevolent presence of Ray Jeffery pulling the strings. Afterwards, graduates will disperse, some to other groups, but many will never go on stage again. But they will never lose the sense of confidence and self-assurance they have gained.

Photograph by Christopher Yorke-Edwards

BUGSY MALONE

Young Gen in the Civic Theatre

13.11.09

The messiest show in town …

The kids in the audience loved the custard pies, and their high-tech successor the splurge gun, not to mention the soda syphon.

The kids on stage had a good time, too, with some very under-age tipplers in the Book Emporium. Fat Sam himself was played with considerable presence by Callum Crisell, and the title role by Sam Toland, slightly understated, maybe, but with loads of charm. Blousey Brown, the diamond amongst all the paste, was beautifully done by Sophie Walker – her Ordinary Fool number was the vocal highlight of the show for me.

Bart Lambert brought his special brand of sophistication to Dandy Dan, with Alice Masters as the vamp Tallulah. Like the acts auditioning for Oscar de Velt [Luke Higgins], some of the minor roles came and went so quickly that I'd no time to annotate the programme: some of the gang members were excellent in both versions of The Bad Guys Song. A name check for the cops – Henri de Lausun and Oliver Fox – for Martin Williams' Leroy, and for Elliot Elder's touching Fizzy, the dancer whose Tomorrow never comes.

After an evocative overture from Bryan Cass's band, the production began with six silk-clad chanteuses, neatly contrasted with the black frocks for the Speakeasy hoofers. More silk and feathers in Act II, leading up to the super-messy finale. No bullets, no hooch, no blood, of course, in this innocent underworld, just a Sarsaparilla racket and splurge after splurge.

It's twenty years since CYGAMS last gave us this children's Chicago. Fascinating to read in the programme just who was in that earlier show – including Jeremy Tustin, director this time around.

picture by Barrie White-Miller, Spearman Photography

PETER PAN

CYGAMS Summer School

at their Meteor Way HQ

01.08.09

This was Young Gen's 23rd

Summer School, an almost instant show which gives a large company a taste of the limelight, and two casts a chance to shine.

A week ago none of them knew which part they'd be playing. The lively, entertaining production we saw was achieved, unbelievably, in just five and a half days.

As director Ray Jeffery said, it's not just about learning theatre, it's about camaraderie and supporting each other.

The afternoon show went much more smoothly than anyone had the right to expect. Some of the lost boys [and girls] were only eight years old, for some this was their first proper show – a real baptism of fire.

Guy Sullivan characterised all his roles well, especially perhaps his Indian Chief, and Holly Escott made the most of Tinkerbell's wordless mime. Bart Lambert was a plummy Etonian Hook, swapping roles in the evening with his equally confident sidekick Starkey [Sam Toland]. Charlotte Broad brought poise and understanding to Wendy, and Catherine and Patrick Gray were the most convincing middle-class Edwardians. Henri de Lausun never missed a laugh as the non-conformist Smee.

Callum Crisell made Peter a somewhat troubled teen, but held the stage well and gave 110% to all his numbers.

Bryan Cass was the Musical Director, and this special adaptation of the 1954 classic was conceived and directed by Ray Jeffery.

THE LION THE WITCH AND THE WARDROBE

THE LION THE WITCH AND THE WARDROBE

Chelmsford Young Generation at the Cramphorn Theatre

27.12.01

Irita Kutchmy's musical version of The Lion, The Witch and The Wardrobe was a good choice for CYGAMSChristmas show. It involves loads of youngsters, and is a popular, perennial story. It's been sold out for weeks.

Purists will not like the Disneyfied travesty of much of the plot and many of the characters, but these young actors, directed as ever by Ray Jeffery, went to enormous lengths to capture the period feel and the poetry. Generally, though, performers of all ages could usefully have projected a little more strongly.

On the opening night we saw the left-hand cast - of these, I greatly enjoyed Amelia Burns as Susan, and Keeley Allen as a warm, outgoing Lucy, looking and sounding just right as a feisty evacuee. Mr Tumnus the faun was neatly personified by Mitchell Raymond, who delivered his lines with feeling and moved with poise and grace. The White Witch was not well served by the script, but Helen Morris gave a strong panto performance, a worthy match for Paul Synott's majestic Aslan.

The production crowded the Cramphorn stage, but the wartime prologue was effective, and I liked the lamp-post and the snow like fondant icing over the rocks and trees. And despite the clunky lyrics and the forgettable tunes, the audience, like the visitors to Narnia, happily forgot all about the real world for a magical couple of hours.