NORTH ESSEX THEATRE GUILD
SHOWCASE FESTIVAL: 2015-2016
Group: Lt Waltham Drama Group
Production: A Musical Evening In Two Halves
Venue: Lt Waltham Memorial Hall
Adjudicator: Liz Mullen, with Sara Green
INTRODUCTION:
Having been involved in quite a few Rodgers & Hart/Rodgers & Hammerstein evenings myself, I was
looking forward to seeing this group’s treatment of a whole cornucopia of wonderful songs from
Richard Rodgers and his two lyricist partners.
The narration – always useful in a concert presentation – filled us in on Rodgers’ early days as a
musical protege, the increasing difficulties of working with tragic alcoholic Larry Hart, and on into
Rodgers’ fruitful years with Oscar Hammerstein, starting with the ground-breaking Oklahoma!
FRONT OF HOUSE:
The entertainment aspect of LWDG’s choice of production was reflected in the informal table
setting, with theatre-goers bringing their own refreshments. Luckily, extra supplies were available at
this very hospitable venue (thanks for the complimentary catering!). But it would have been useful
to know that we would be at tables and could have brought liquids and nibbles with us.
A nicely-designed eight-page programme included all the names we needed, and a little quiz.
We were provided with coffee/Diet Coke in a very friendly fashion (as always at this venue) and the
biscuit theme this time was musical notes – a very nice idea!
SETTING & PROPS:
Glittery background strips and a glitterball, both enhanced by lighting, were the only setting used, or
indeed required. At either side of the stage was panel with songs titles from both parts of the show –
a nice, simple but effective touch to set the scene.
An occasional prop, such as something to sit on, would have helped to add even more variety to the
moves and spacing of the performers.
Having to negotiate climbing up on to the stage and down again lacked finesse but within the
confines of the hall, with a relatively large cast, it was inevitable.
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LIGHTING & SOUND:
A production without sets relies even more on lighting to create mood. So our eyes were treated to
follow spots (generally keeping up with the intended recipient!) and good use of colour. A warm red
glow, for example, enhanced My Funny Valentine.
One problem for me was that the vibrant Kim Travell, at the front of the chorus, ended up in Blue
Moon with strange green shadows on her face , creating an unfortunate moustache effect.
As mentioned, the glittering strip “curtain” at the back of the stage was a perfect foil for the lighting,
and the glitterball was never over-used.
Stage left was perhaps, sometimes less well served by the lighting plot, and there was a sudden
puzzling outburst of whirling gobos during If I Loved You, at a time when less would have been more.
But the pre-show use of daisy-shaped gobos was a lovely way to lead us into the entertainment.
COSTUME:
Just as the stages of Richard Rodgers’ musical career were presented in two halves, so the costume
theme changed at the interval.
For Act 1 it was lovely black and white lacy dresses for the ladies/girls (sensibly avoiding an overbling situation by not adding heaps of costume jewellery). The men looked wonderfully smart in
their black tie evening wear too. We admired the use of white scarves on black.
For Act 2, the men appeared in cowboy hats and check shirts, with the ladies/girls in very pretty
modern-day flowery summer dresses. This worked well for the Oklahoma! set - and reasonably well
for Carousel - but we couldn’t help feeling that the theme was less appropriate for the romantic and
poignant moods of The King & I, The Sound Of Music and South Pacific, all of which have very uncowboy settings.
One or two ladies needed a touch more make-up and hairstyling to fit in with the rest.
MUSIC & CHOREOGRAPHY:
Well done as always to the indefatigable Dave Perry on piano and Trevor Lee on drums. The group is
lucky to have such able musicians who were perfect for the cabaret setting of the evening, and if
occasionally they were a little loud for the quieter vocalists, they were still an invaluable part of the
show. Their pre-show set was smooth and easy on the ear.
The movement, staged by Kim Travell, held our interest, with varied groupings on the stage and
different levels, especially in Where Or When.
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Nonetheless, even Kim had a limited number of shapes and groupings which she could achieve, so
we would have loved to see at least some of the numbers slightly more “staged” - performed with
an understanding of what they actually mean, in the shows they come from.
This is no criticism of the performers themselves. But knowing that Younger Than Springtime – just
as an example – is sung by a young American Lieutenant to his innocent young island girlfriend
shortly before his plane goes down, gives an extra layer of poignancy to the number, and could have
twisted our heart strings.
Likewise, Honeybun is a really a female solo – a cheeky girl-plays-sailor number sung by Nellie to an
ogling bunch of American Navy guys. Some Enchanted Evening is about seizing the moment before
it’s too late, and so on. My companion Sara mused that even having I’m In Love With A Wonderful
Guy performed here by several ladies rather than just one, would work brilliantly if they each took
turns in telling the others how they felt.
Having said that, these are refinements which could have increased the impact of these marvellous
songs, but we enjoyed the whole programme very much – as did the audience.
PERFORMANCES:
General notes:
Everyone worked well as a team, with confident performers supporting the less confident, though
we did feel that if someone is really not “into” performing, they should be spared solos and duets
and be encouraged to smile and react more in the chorus. Then, in time….who knows?
The eyes of the audience always swivel onto the person or people who look self-conscious or are
simply not smiling, even though we totally understand that it’s part of being a friendly group that
everyone can be included.
The eyes also swivel to the face that most expresses the joy of the music, and here top marks for
professional showbiz sparkle go to the radiant Kim Travell.
Narrator: Despite a few stumbles, June Franzen delivered the story with good, clear diction and
pace.
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The Numbers: ACT ONE
Mountain Greenery: A good company number to kick the show off with the effort having been put
into showcasing the song, rather than introducing complex moves too soon.
Manhattan: Not quite such good groupings for this one – some men were bunched together while
another was on his own across the stage. But nice, easy movement in this classic song of praise to
New York. The song which put Rodgers & Hart on the road to success.
Lady Is A Tramp: Jackie Crane might not be the world’s greatest singer, but she knew how to put
over a song with style, a smile, and sex appeal.
I Could Write A Book: Confident performances from Brian Corrie and the wonderfully smiling Jenny
Broadway. Good diction from both!
Bewitched, Bothered And Bewildered: Val Hoines sung this very nicely. I would have liked her to
wander to the other side of the stage at one point, but she was probably governed by needing to
keep in the spot.
Everything I’ve Got Belongs To You: Lots of energy and feeling from the girls and some good,
amusing choreography.
The Most Beautiful Girl In The World: The men needed a stronger finish for this one, though the
humour was nice.
And Then My Heart Stood Still: Marea Irving’s smile and voice told the story well and she was
generous in supporting her ill-at-ease partner.
My Funny Valentine: A bit of a strain on Bill Murphy’s voice, but he maintained his stage presence
and grew in confidence as the number progressed.
I Wish I Were In Love Again: We enjoyed the division into two groups, and the good pace.
Have You Met Miss Jones?: A chance for Ashley Cobden to channel his inner Sinatra tinged with
Robbie Williams. Which he did. Nice finger-clicking and good phrasing.
Where or When: The harmonious ending was gorgeous – in fact, harmony throughout would have
been lovely. We liked the stillness of this number, with the use of levels.
To Keep My Love Alive: Comedy and a great sense of mischief from a wonderfully ironic Viv Abrey.
Blue Moon: This sounded lovely and the cast were involved and sincere.
Johnny One Note: Actually, more than one note of course, but a clever song, well presented and
with a lovely piece of harmony at the end, making a good finale to Act 1.
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The Numbers: ACT TWO
Oklahoma!: A very good way to open the second act, with the company in Wild West mood and
Ashley Cobden giving confident leadership.
Surrey With A Fringe On The Top: Ashley was joined by the charming Louise Louth. They sang well,
but missed a chance to explain the number more, with flirtatious courtship. Miming sitting side by
side and jolting along in the Surrey would also have enriched this song.
I’m Just A Girl Who Can’t Say No: The famous Ado Annie number was performed with an
entertaining, comic touch by Nicola Ayris.
People Will Say We’re In Love: The ladies and the men got together on this one. The women had the
better voices, but everyone performed with sincerity and gentle humour.
I’m In Love With A Wonderful Guy: In South Pacific, Nellie is telling her fellow nurses about her
feelings for the handsome, older man, Emile. Some hinted reference to the context would have been
good. But it’s a lovely song and the ladies sung it well.
Some Enchanted Evening: Martin was way out of his comfort zone. If only he knew that a relaxed
smile would help him a lot. In fact, Martin, your voice isn’t at all bad…
Honey Bun: The girls were sexy and had fun with this.
Younger Than Springtime: The final note eluded Ryan Chapman, but otherwise he sang this well. As
mentioned earlier in this adjudication, we’d have enjoyed more awareness of the song’s heartbreaking context.
The Hills Are Alive: The well-loved song from the Sound of Music. Sensibly performed with stillness.
Nice harmony at the end.
Something Good: Maria’s “how-have-I-deserved-this-love” number, performed sweetly by Jenni
Money, with Brian Corrie.
My Favourite Things: We loved the movement of each grouping, in turn. When they all sang
together the volume was amazing.
We Kiss In The Shadows: Rebekah Walker has a good voice and this was a lovely, restrained
performance, and all the more effective because of that….with gestures reserved for the final
“Behold how my lover loves me.”
Shall We Dance?: A neat and pretty presentation by all. The archway arms worked well.
Getting To Know You: One of The King & I’s most appealing songs, this was led by Alex Lee and
Natasha Wootten. Having it sung by two grown women made it more a song about friendship, with
the “teacherly” angle taken away.
I Whistle A Happy Tune: Good fun – and good whistling!
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If I Loved You: Despite the distracting gobo effects, we managed to concentrate on Jenny Broadway
and to enjoy the number.
When I Marry Mr Snow: One of the hits of the evening for us. Hannah Walker (why only one solo
from this talented girl?) knows how to tell a comedy story in song. The number is usually performed
fairly demurely, due to the period in which it’s set. But we adored her excited and brazen: “Well, Mr
Snow…here I am!”
When You Walk Through A Storm: Taken out of context, it’s not really quite as much of a tear-jerker,
but the company gave it all they had and it made a splendid finale to a very entertaining night out.
DIRECTION & SUMMARY;
Although contextural awareness of some of the songs would have made them more emotionally
powerful, we very much enjoyed the results of the group’s teamwork.
A lot of effort had been put in by June Newman and her assistant director Chrissy Gould to ensure
a relaxing and entertaining night out which showcased the versatility of the company. The little
live band is an asset and Kim Travell’s movement added style, as well as giving the performers a
clear idea for something to “do” while singing.
The group does not pretend to be an operatic company, (although there are some very nice voices,
here), so the emphasis was on respect for these great songs and the pleasure of singing them.
The pleasure was infectious and the audience left happy after a very entertaining evening.
Thank you for inviting us to share the experience of your musical evening…
Liz Mullen
With Sara Green