HANDEL'S MESSIAH

Waltham Singers at Chelmsford Cathedral

19.03.11

Our Cathedral was crammed to overflowing to hear Andrew Fardell conduct his Waltham Singers, accompanied by “leading Baroque instrumentalists”, in a complete performance of Messiah. This much-loved work includes some of Handel's best writing, from the first tenor aria [expressively sung here by Christopher Watson] to the final Amen, beautifully contemplative at first, then splendidly celebratory, with the angels trumpeting the glory of God.

The authentic practices band made an inestimable contribution to this performance; it was clear from the opening Symphony that their tone would be pure without being austere.

Four fine soloists: Ruth Massey's alto, perhaps occasionally under-powered against chorus and orchestra, was warm-toned and eloquent, especially in a movingly compassionate He Was Despised. A nicely ornamented I Know My Redeemer Liveth from the elegant soprano of Kirsty Hopkins. Bass William Gaunt brought a richness of tone and an arresting delivery to Why Do The Nations, and to the last trumpet …

The Singers gave an impressively dramatic account of Handel's [often literally] descriptive writing - “every valley shall be exalted” - and his powerful effects in the Hallelujah Chorus and the superbly sustained Behold The Lamb and Since By Man Came Death. It's true that in a packed cathedral a little of their trademark attack was lost, but the architecture of We Like Sheep, for instance, was meticulously explored under Fardell's demanding direction.

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

ST JOHN PASSION

Chelmsford Singers in the Cathedral

26.03.11

Stephen Decker was in the audience, and kindly submitted this review

From the outset of this Chelmsford Singers performance of Bach’s St John Passion in Chelmsford Cathedral it was clear that our attention was going to be captured. The choir sang the opening chorus with an urgency and energy that set the stage perfectly for the drama to come.

Under the skilful direction of Peter Nardone, the passion unfolded with attention to detail which conveyed the emotion of the story with young soloists who also fully entered into the spirit of the work. The choir and soloists were supported by the excellent Chelmer Baroque Orchestra who added colour to the whole performance; in particular mention should be made of the cellist who beautifully accompanied some of the most anguished moments in music.

The whole narration was held together admirably by an outstanding singer, Benedict Hymas, as the Evangelist. His superb diction, feeling for the words and engagement with the audience kept everyone fully involved with the story.

Chelmsford Singers had clearly prepared this score well. They fully conveyed the drama and the moments of reflection with fine attention to the dynamics necessary. Overall it was a highly appropriate contribution to Lent, and made one realise how fortunate we are to have Chelmsford Cathedral as the ideal space for such a moving performance.

Stephen J. Decker

Tales of Beatrix Potter

TALES OF BEATRIX POTTER

Chelmsford Ballet Company at the Civic Theatre

18.03.11

The mice, pigs, squirrels and the rest are very much a festive fixture at Covent Garden nowadays, but it was the Chelmsford Ballet Company who first made the transition from celluloid to stage back in 1984.

Their latest production is lively and fresh, with expressive new animal masks specially made by Craig Denston.

All the wonderful characters are there – Peter Rabbit [Jemma Wilson] waving his looted lettuces, the strutting Fox [Leah McElrea], the school of tiny hedgehogs, the stylish Squirrel quintet, an agile Jeremy Fisher [Michaela Caldecott], the gawky pigs, with the touching courtship of Pigling Bland and the Black Berkshire [Andrew Potter and Emily Starling] interrupted by sizzling pork sausages. And Nicole Gadbury's silly Jemima Puddleduck, soaring above it all to escape a foxy fate.

There was a lovely original prelude piece, too, danced to Nigel Westlake's music for the film Miss Potter, with Demi Aldred's Beatrix finding her inspiration, and, child-like, leaving her desk to work lying on the floor. These linked pieces both choreographed by Annette Potter.

Guest choreographer Carl Parris gave us a constantly enjoyable Nightclub Express, with nippy waitresses and leggy showgirls – first in a Chorus Line-style warm-up in muted browns, then in scarlet and black for the Slaughter ballet, with Luke Bradshaw's cop torn between two high-kicking molls.

And, icing on the cake, a cracking tap routine.

Mary Redman saw the show on  the Saturday ...

After 23 years of watching them Chelmsford Ballet Company never fails to amuse or delight or entertain and impress me with the standard of dancing and the gorgeous costuming confections. Thus it was a disappointment to hear that this year's ticket sales had not been as numerous as the committee needed and the company deserved.

Carl Parris's exuberant, sexy and beguiling Nightclub Express opened the evening. For anyone who loves musical theatre there was just about every sassy step and jaw-droppingly precise sequence we could have wished for, with feathers, snazzy black and red outfits and loads of what Follies calls “those beautiful girls”. In particular, the smart black leotards and jazzy little skirts of the cocktail waitresses suited them beautifully, adding to their joyful dancing. The audience enjoyed every moment and so did the dancers. Plus it was good to see confident adult guest dancer Luke Bradshaw around whom the dancers swirled and vamped, plus a special nod to equally confident Michael Preston as the only boy in the team.

This was followed by Beatrix a short interlude or taster of the animal delights to follow. I didn't envy Demi Aldred having to dance in such a long, clingy and swirling skirt but she took this coolly in her stride.

Then came the sheer fun of Tales of Beatrix Potter under the expert and sympathetic direction of Annette Potter. All the main characters of the children's tales were there and characterised with such wit. Mrs Tittlemouse entertaining Johnny Town-Mouse accompanied by a plethora of charming little mice; a naughty Peter Rabbit; Mrs Tiggy-Winkle and her irresistibly cute Baby Hedgehogs; Jemima Puddle-Duck soaring over the head of the nasty Fox; Pigs galore especially Alexander, Aunt Pettitoes, Pigling Bland and the adorable Black Berkshire Pig; the funny Jeremy Fisher; Hunca Munca and Tom Thumb; the bossy Squirrel Nutkin and his mutinous gang; and last but not least the elegantly dainty Tabitha Twitchet.

Craig Denston was responsible for the lively and witty masks that contributed so much to the success of this part of the evening.

For me one especial delight was to see coloured pointe shoes. They do make such a difference to the look of the whole thing but it seems to have been a fashion (probably an economic one) in the whole ballet world for many years to wear pink, white or flesh. These have their place but just think of the sheer drama of Moira Shearer in her red shoes as merely one example.

So now we have Napoli to look forward to in 2012 but don't forget that Ballet Central is at the Civic on May 5 with a new ballet created by Brentwood's own Christopher Marney who dances leading characters with Matthew Bourne's company.

JIBBER-JABBER

a day of tales around Chelmsford town

19.03.11

Essex Story-telling laureate Mike Dodsworth launched his series of happenings in the Central Library. Among the stories he referenced then was the Norfolk classic The Pedlar of Swaffham. It was told again in the amazing space of the Town Sign Tepee by that celebrated teller of tales Hugh Lupton.

Between these two story spots, the Iliad outside Waterstones, and Footprints Theatre Company dressing the tree in Half Moon Square. Other events were more peripatetic: Movable Feast, John Row's Story Walks ... I loved Phil Drew's Historical Tour, which brilliantly combined stand-up, stories and anecdotal history. I admired the way he introduced other characters into his very personal story – the frog umbrellas, the Lynx effect – and then subverted the effect by arguing over the cash in hand, and tearing a strip off the hapless actress who'd been hired to do the Spontaneous Combustion.

The weather was certainly kind to the scores of al fresco performers. And, as the sun began to set, three ghostly ladies emerged from the churchyard trees round the Cathedral to tell their stories. Caroline of Brunswick, forever grateful to Judge Tindall, Elizabeth Wolton, remembering her philanthropic husband Hyem, both now at rest in one tomb, and Mrs Gepp, gossiping about Income Tax, her husband the Captain [and solicitor] and the Loyal Chelmsford Volunteers.