One of the oldest amateur dramatics societies in the world having been formed circa 1830.
Wednesday, 24 April 2019
REVIEW FROM ACTS
ALADDIN AND HIS WONDERFUL LAMP
St Joseph’s Players
Directed by Doreen Johnson & Pauline Nevell
Choreographer Callen Tennant assisted by Jennel Unsworth
Children’s Choreographers Christy Coleman and Louise Bailey
Principals Choreographer Angela Grime
Musical Director Jeremy Sleith
Over the years professional theatre, because of budgetary requirements, has had to pare presentation down to the basic story-line and characters of pantomime. Productions used to be very large and very lavish. It wasn’t just the name of the personalities in the cast that sold tickets, it was the pantomimes themselves. Also, it wasn’t just five or so pantomimes that, nowadays, get rotated each year, there were umpteen different titles. Nonetheless, today’s offerings are very entertaining, and Christmas would not be the same without them.
Society member Doreen Johnson has written a script that captures that era of pantomime splendour. There was a large cast of principals, a sub plot, skin part, and it did not forget the Sunbeams, along with all the favourite characters.
Presentation is so important, and with this production the society pulled out every stop with fabulous costumes, hair and make-up. All of this came alive against a well-designed and painted set which was given pantomime magic with creative lighting. In fact, there was an army of people who brought the production to the stage, and invited an audience to enjoy everybody’s hard work. With such a team it was a shame there wasn’t a magic carpet to take Aladdin to rescue his princess.
A smattering of sprightly delivered musical numbers , all played by a first rate band, added to the storytelling. The choreography brought a sparkle to the proceedings and an exceptional set of dancers raised the entertainment levels.
The author and co-director created a richly coloured production that just fizzed along. All the cast came across as genuinely having a good time. There were good set pieces, especially the elimination routine, with Paul Atkinson, as the Mummy. Once again, the well-schooled Sunbeams that included some very young children, entertained as they sang and danced to the audience’s delight.
A smattering of sprightly delivered musical numbers , all played by a first rate band, added to the storytelling. The choreography brought a sparkle to the proceedings and an exceptional set of dancers raised the entertainment levels.
The author and co-director created a richly coloured production that just fizzed along. All the cast came across as genuinely having a good time. There were good set pieces, especially the elimination routine, with Paul Atkinson, as the Mummy. Once again, the well-schooled Sunbeams that included some very young children, entertained as they sang and danced to the audience’s delight.
Ensemble playing supported and contributed to the unfolding plot of Aladdin and His Wonderful Lamp, with many of its members taking cameo roles.
The Royal family played a greater role in this version by introducing the whiffy, Strong Pong (Ken Ogg) the executioner. Strong Pong was a favourite with the younger members of the audience. As Empress Typhoo Tee, Donna Wood, had good stage presence and Grand Vizier, David Hodgkinson, was an enthusiastic sub villain.
The Royal family played a greater role in this version by introducing the whiffy, Strong Pong (Ken Ogg) the executioner. Strong Pong was a favourite with the younger members of the audience. As Empress Typhoo Tee, Donna Wood, had good stage presence and Grand Vizier, David Hodgkinson, was an enthusiastic sub villain.
All the magic is established by Abanazar, the magician, played by Paul Jameson aided by his assistant, Zara (Vikky Dixon). On the good side are the Genie of the lamp, Chris Lovelady, and the Slave of the Ring, Scarlett Moss-Turner. They scored a hit with the family filled auditorium.
Comedy duo, Pauline Dowsett and Maggie Hall, played Sing Hi and Sing Lo, the policeman. It was high energy all the way; if any of their one liners didn’t work they went straight on to the next. They played the audience into submission. Great fun! Hi and Lo are chasing Wishee Washee (Danny McCarrick) with comic results. Danny captivated the audience and was cheered along.
A new member of the Twankey household is Sum Ting Wong, Aladdin’s dog. Terry MacCabe was appealing and amusing in the skin part. Keith Hindley arrived on stage as Widow Twankey. As dame, he was a “bloke in frock” in the tradition of Terry Scott and Les Dawson. Pantomime is all about the audience, working them and above all holding their attention and in this Keith achieved the perfect result.
In the title role, Clare Nash was, unashamedly, a traditional principal boy, getting everything out of the role. For this story Aladdin has friends to help him on his adventure: Chop Suey (Melissa Kendrick), Chow Main (Paige Collier), Kung Po (Caitlin Davies) and Foo Yung (Zoe Unsworth). Zoe was in fine vocal form belting out her songs diva-style. Aladdin falls for Princess Moon-Under-Water, charmingly portrayed by Karen Jones. The chemistry between Aladdin and the Princess added to their scenes and moved the story along. After all the twists and turns of the storyline, all is resolved and they live happilyy ever after.
The audience’s response ensures the future of pantomime is safe
Comedy duo, Pauline Dowsett and Maggie Hall, played Sing Hi and Sing Lo, the policeman. It was high energy all the way; if any of their one liners didn’t work they went straight on to the next. They played the audience into submission. Great fun! Hi and Lo are chasing Wishee Washee (Danny McCarrick) with comic results. Danny captivated the audience and was cheered along.
A new member of the Twankey household is Sum Ting Wong, Aladdin’s dog. Terry MacCabe was appealing and amusing in the skin part. Keith Hindley arrived on stage as Widow Twankey. As dame, he was a “bloke in frock” in the tradition of Terry Scott and Les Dawson. Pantomime is all about the audience, working them and above all holding their attention and in this Keith achieved the perfect result.
In the title role, Clare Nash was, unashamedly, a traditional principal boy, getting everything out of the role. For this story Aladdin has friends to help him on his adventure: Chop Suey (Melissa Kendrick), Chow Main (Paige Collier), Kung Po (Caitlin Davies) and Foo Yung (Zoe Unsworth). Zoe was in fine vocal form belting out her songs diva-style. Aladdin falls for Princess Moon-Under-Water, charmingly portrayed by Karen Jones. The chemistry between Aladdin and the Princess added to their scenes and moved the story along. After all the twists and turns of the storyline, all is resolved and they live happilyy ever after.
The audience’s response ensures the future of pantomime is safe
ACTS review: 'SEE HOW THEY RUN'
Philip King’s farce opened in 1945 and not even an exploding doodle bug could stop the show. This outrageously contrived, flawed, very funny with more than a tinge of nostalgia, and full of bulldog–spirit play is always worth a revival. The setting for the play is the mythical village of Merton-cum-Middlewick, a village where the inhabitants are living under the imminent threat of a Nazi Invasion.
The action takes place in the sitting room of the vicarage. A detailed box set complete with period props set the ambience of the piece. Although the lighting I felt was at times a little basic, there were opportunities for some nice effects. This did not detract from the madcap goings on. Seemingly a new trend for plays, the mixes for the reinforced sound were good. I am sure the cast was more than capable of projecting their lines. (Let us not forget that amplification is an aid, it is not a substitute for vocal delivery). All the characters were well costumed by this group’s impressive wardrobe department.
The direction kept a firm hand on the proceedings. As always in farce, the pace is everything. This resulted in the audience being carried through the unfolding story and the cast getting their just responses. A very strong cast was assembled to tell the tale of the goings on in the Toop household.
Looking after the Reverend Lionel Troop, and his wife, Penelope, is their maid, Ida. Karen Jones gave such a well-crafted characterisation as the Welsh domestic. Karen’s performance was spot on.
We first meet the gossiping villager and resident nosy-parker spinster-of-the-parish, Miss Skillon. Barbara Mayers as the churchgoer of the parish and a scold, found all the character’s foibles which delivered with spot on timing. The inebriation scenes were well managed. Besides being one of the vicar’s fans there is no love lost between Miss Skillon and Mrs Toop.
A chance meeting with her former co-actor, avant-garde and non-conforming ex-actress Penelope Troop creates all the play’s confusion. Clare Nash, as the off key singing, nonchalant, saucy trousered Mrs Toop captured the moment. Lance-Corporal Clive Wilton, back in civvies, is an actor who was once on tour with Penelope. Darren Nash nimbly fell into the chaos of jealousy and mistaken identity as the battle-dressed Clive.
With the command, “Sergeant – arrest most of these vicars at once”, as they take a lap around the house and garden are, The Reverend Lionel Toop, Clive Winton as another Reverend Toop, the intruder yet another Reverend Toop, The Reverend Arthur Humphrey and the Bishop of Lax.
As the real Lionel Toop, who is always on charitable business, Paul Jameson found the comedy and brought out all the farcical character elements. The Bishop of Lax is Uncle to Toop’s wife. Colin Magenty, as the bewildered Uncle, knows the value of expression and this, coupled with timing of a line, results in laughter. In his debut role Wayne Lythgoe delivered a creditable portrayal of the Reverend Arthur Humphrey’s.
The intruder is Karl Gerrard, a German prisoner of war, and he and a military sergeant (Pauline Nevell) added to the comedy mayhem. Order is finally restored, trousers and uniforms recovered, and decency once more prevails. This laudably performed classic British comedy had the audience shrieking with laughter.
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