Aladdin @ Darlington Civic

A 5 star night of songs, sketches and all out silliness

It's funny how some traditions live long and strong, year after year.  Take Panto season, which is here again (oh yes it is); the usually demure and sedate theatre going audiences are suddenly turned into and accompanied by screaming kids sporting all manner of flashing appendages; the knowing whispers when an actor misses a line are swapped for roars of laughter both on & off the stage and the 4th wall is torn down and ceremoniously trampled on as young and old are encouraged to great the cast with cheers, boos, chants and giggles.

This years offering at Darlington Civic is yet again a riotous mix of song & dance which will have everyone in tears of laughter (tho not always for the same reason).  Starring Barry & Paul Elliott, better known as the Chuckle Brothers, they bring their hilarious and very clever blend of daftness to the stage with some quite brilliant visual routines - for some, the Chuckles are marmite, you either love 'em or you hate 'em but I defy anyone not to marvel at their timeless comedy - their opening song set the pace for a rollercoaster of audience fun while their homage to Wilson, Keppel and Betty (Google them, you'll know who I mean) had me literally gasping for breath.  Masters at their trade, they should be rightfully mentioned in the same sentence as the very best of panto headliners, just remember to strap your ribs tightly, otherwise they are likely to burst.

Of course, Aladdin is not simply a Chuckle Brothers vehicle and the casting manager has assembled a superb group who clearly relish the freedom and relaxed nature panto allows.  Philip Meeks, as everyone's favourite Aunty, widow Twanky, must rival the record for the most costume changes in one night and brings a touch of modern pop culture with some very fetching Miley-esque twerking which left many on the floor in tears of laughter.  A genius of comedic timing and with a Geordie accent that immediately puts everyone in mind of 'someone' they know, the dictionary definition for pantomime dame should just have a picture of Mr Meeks.  Phil Corbitt, bearing an uncanny resemblance to Harold Meeker from Rentaghost, plays Abanazar, the baddy we all love to boo, with plenty of menace and just a touch of camp cruelty.  Entering to a flash, bang and puff of smoke, he grabs the attention immediately and never lets it go.  If there is one small criticism it's that perhaps more could be made of Danny Potts as the Emperor; Danny is no small guy and is obviously very fit (I mean physically although there were quite a few around me who meant more in an eye-candy kinda way) and his role could be much more than as a foil to Jasmine & the Widow.

The starring role of Aladdin is played admirably by Gary Amers, with plenty of energy and a decent voice, although at times he looked a little star struck by the calibre of those around him,  unsurprising as many of his scenes were played opposite Darlington's own supernova- Beth Stobbart.  Beth, of Darlington Operatic Society fame, is well known to regular patrons of the Civic and once again her qualities stand out, this time as the magnetically beautiful Princess Jasmine.  Melting guys' hearts with her smile and knowing little winks and wowing all with her wonderful voice, Beth adds local pride to the festive smorgasbord of emotions being served up and in the process must surely be adding to her huge number of fans.

Panto is a very English form of theatre - many of my foreign friends just don't know how to approach one and consequently they struggle to accept the 'anarchy' that ensues, but that's what this tradition is all about - forget the quintessential British reservedness and grant yourself one evening of self indulgent silliness - if laughter is the best medicine then Darlington Civic audiences will be the healthiest in all the land.

51 Shades of Maggie @ Darlington Civic

Okay, for most people, 50 Shades of Grey was a wonderfully liberating, if somewhat naughty book which allowed women across the country to spend their lunchtimes at work escaping into the realms of erotic BDSM without having to hide the book inside a copy of Womens Realm.  I have not read it, nor any of the many spin offs and knock offs that sprung up in a 'summer of sin' but I know those who have so I took a couple of them with me to see this one woman show which takes the 50 Shades themes and rams them deep into the back alleys of the East End.

Firstly, Adele Silva, who for many is the brattish teen from Emmerdale, shows that she is a truly gifted actress - she can sing, she can dance, can cover many different accents and characters and has impeccable comic timing.  Whilst the story she was retelling didn't ring many bells for me, the way she brought each character to life was undeniably brilliant.  It is easy to see why this show has sold out so many venues - I found myself thinking of the Godbar play Bouncers and the way that brings real life front & centre.

Now, the story - well it's almost your typical girl meets boy, girl falls in love, girl realises that this an isn't for her and returns to the fold of her friends and kind - I said 'almost' a typical story as the focus very rapidly shifts to whips, chains, blindfolds and submissiveness.  There is a very funny gypsy party and a hilarious if somewhat cringe worthy encounter in the dole office.  What Silva does is ensure that her main character, Maggie, never loses her grounding, helped throughout by a smattering of non-expletive words amongst the swearing, cursing and 'chav-talk'.  This is certainly NOT a show for anyone who is easily offended by 'industrial' language, especially when spoken by a beautiful and demure lead, but it's possibly more shocking because deep down everyone knows that Maggie is stereotypical of so many young women (think TOWIE when the cameras stop rolling).

Ms Silva only breaks character once, prompted by the audiences reactions to a rather graphic statement featuring John McCririck, showing that underneath the coarse and brash persona of Maggie lies a brilliant actress who, for almost 2 hours, has solely and totally owned the stage.

Would I recommend this show, yes if you are a group of girls looking for a laugh filled evening, yes if you are a fan of character acting and want to see a young lady performing some of the very best, yes if you enjoy lifting up the dirty sheets of modern culture to see what is still there from the night before - just go prepared !

Last Night of Strictly Musicals by Darlington Operatic Society

"One Day More......"

So, here we are, heading into the last show of the run, a show which has given so many people a fabulous night out, revisited old favourites and introduced new shows.  For those who have been following these blogs, you will know by now that Strictly Musicals is a smorgasbord of musical theatre barely letting the audience settle from one great number before hitting them again with another.  Chatting to some of last nights visitors, they were particularly impressed by the youthfulness of the cast, one wag stating that there's no way anyone over 30 could perform in this as it's too energetic.... well, I'll let you make your own minds up, but I think there may be a few on stage tonight who will be quite delighted to be grouped into that age demographic.

It's true that Strictly does showcase the younger members more than usual, but, with so many opportunities to share the spotlight, Joanne Hand and Michael Trotter were able to explore everyone's talents and give them a chance to shine.  There is actually a wonderful blend across the cast which, even in the short numbers is essential to give depth to the production, as an example Fran Hague gives a hard-worn belief to "Living on the Never Never" which wouldn't be there if sung by a teenager.

What is very encouraging is the way that the younger members have tackled the traditional songs with just as much vigour as the more modern numbers; Naomi Potts, as Nettie Folwer sings "June is busting out all over" and gives the audience a real sense that indeed, warm weather is just outside; Andrew Hamilton and Laura Rowlands duet on "Shall we Dance" is a magical blend of voices and a great example of their ranges - Andrew also takes a lead in both Barnum and Les Mis, Laura is a delightful Mary Poppins in Spoonful of Sugar, while Natasha Magee continues the King & I theme with a brilliantly acted cameo of a nervous Anna in "Whenever I Feel Afraid".

Continuing with the conversation about the age of the cast at full time, one number, above all others, stood out and really summed up the current DarlingtonOS - 'Our Time' from Merrily We Roll Along.  Female leads Megan Robson and Georgina Cornelius, together with a host of other younger members, left us in no uncertainty "We're the movers, we're the shapers, we're the names in tomorrow's papers".  A true insight into the future of DOS, and what a very healthy future it is,  Megan and Georgina are perfect examples of the depth of talent throughout the society.  With future leading men Hamish Sams and Ethan Hurworth both keeping the current top boys on their toes,the competition for future shows will be intense and that can only be good for everyone.

So, that brings me to the last number of the last show - for those of you who have been and seen you will know what a breathtaking spectacular it is, audiences have been on the edge of their seats desperate to get up and join in.  As the cast demand of Joanne Harker and Joanne Mason "Come on you Vantussles go and shake your fanny muscles" (and, after 10 shows, the two Jo's have the best fanny muscles on stage) so if you're going tonight then take your cue from the cast and give it everything you've got - after all "You Can't Stop the Beat!"

http://www.darlingtonoperaticsociety.org.uk/ 

Darlington Operatic Society Strictly Musicals Finale @ Darlington Civic

“You’re the names in tomorrow’s papers”

And so, after months of preparation, weeks of rehearsals and hours of dancing feet, Darlington Operatic Society signed off their 10 night run of Strictly Musicals to a huge standing ovation.  The rapturous applause and heart-felt cheering will ring long into the night and beyond, well deserved by everyone involved in what surely must be their best loved show ever.  Not only has there been something to suit all tastes in the audience, the whole cast have had a rare chance to star in a show in which each & everyone has had a major part to play.

Right at the start of this journey, I was invited by Joanne Hand & Julian Cound to come along and watch some of the rehearsals.  At that time, back when the days were long and the school hall hot & sweaty, it was difficult to imagine just how spectacular the end result was going to be – well difficult for me, but Joanne’s experience and expertise meant that once the individual numbers were set, learned and perfected the show would most certainly become greater than just a sum of its parts.  Considering that at times there were 47 people on stage, Jo’s planning and directions needed military precision to ensure everyone ended up where they needed to be, when they needed to be there and were still singing and dancing along the way.  Those who have been to see Strictly will surely agree that they have witnessed direction and choreography at its very, very best.

It has been my absolute pleasure to write this blog;  as opening night neared I interviewed Samantha (who made my mum cry) and Leighton (undoubtedly the cheekiest cockney funster I’ve met), and then followed the show through its amazing 10 night run.  Along the way I have met many of the society, both on stage and off, and I cannot pay them a bigger compliment than to say they have welcomed me as one of their own into this amazing DOS family.   Likewise, my thanks go to Gillian Shevels as Chairman of the Society for her continued support and permission in allowing me to watch the show to help write up the reviews.

I would like to take this chance to thank Michael Trotter, Musical Director, and Sarah Carruthers, pianist, for not only their musical prowess and amazing skill through rehearsals and the live shows, but also for not forcing me into playing 3rd keyboard – I did watch Sarah a lot but my finger skills are rather rusty these days (tho I can play a mean triangle).  (And to Zoe and Michael, thank you for helping me discover my feminine side)

Having watched & reviewed over a hundred shows in the past few years I can, without a shadow of doubt, say that Strictly Musicals has been the best; not just for the content, the style, the variety of emotions but because it has been performed and produced by people who honestly and truly love what they do.

Thank you DOS, you’ve made the town and the whole region very, very proud !!

Strictly Musicals by Darlington Operatic Society - Super Heroes

noun; alter ego - a person's secondary or alternative personality

Look back through history and very best super heroes all had alter egos - Clark Kent was Superman, Peter Parker was Spiderman, Diana Prince was Wonder Woman and Eric Wimp was Bananaman. In Strictly Musicals we are treated to performances from some of the society's young superheroes and get to glimpse both sides of their performing personae.

Mark Lamb, in his first DarlingtonOS performance provides the gritty and menacing opening to "Tonight" from West Side Story - explaining that "the Jets are gonna have their day, tonight" he is totally believable as a gang leader ready to tear up the town.  Coping admirably with the difficulty of this piece (this song is notable for its prominent perfect fourth intervals and pentatonic scale) Mark gives a stirring demonstration of the concentration needed to maintain his piece in a 5 way ensemble.  Flip that to his duet with the delightful and perfectly cast Hannah Lambell in Disney's "Can you feel the love tonight" and we see Mark's alter ego - soft & smooth harmonies and a vulnerability which draws on the audience heartstrings.

Another couple who too have "split personalities" are Chloe Dargue and Jason Slater.  Chloe might be a little bundle of energy and fun, but she fills the stage with presence and draws eyes towards her regardless of the part she is playing.  In Matilda she is the epitome of a 5 year old girl; pouting, sassy, stroppy and desperate to be older than she is (and with two daughters of my own boy do I remember what 5 year old girls are like).   Likewise in the Disney medley Chloe bounces round the stage with youthful exuberance which has only gotten more with each show.  Exit stage left innocent Chloe and enter stage right sexy, sultry and slightly dangerous Chloe.  As a dancer she has moves that are hypnotic and hips that could give you whiplash.

Jason has the unique position in the show of becoming just what he is looking for - in the Rogers & Hammerstein medley he bemoans the lack of 'dames' in his deep rich baritone voice (which is like molten chocolate) as the guys collectively extol their virtues 'South Pacific' style.   In the Disney montage he takes a step further and is encouraged by the gang to "Kiss the Girl".  By the time the Hairspray finale comes alive he has obviously decided the best way to get a girl is to become one - as Edna Turnblad he gives a hilarious glimpse into his Christmas ham loving, "I don't give a damn" mama.

Continuing with the 'second selfs', Zoe Kent proves that strong acting is required just as much as singing for musical theatre.  In the Cell Block Tango she has all the sinister woman-scorned anger you'd expect from a murderess but keeps it bubbling just under the surface, making it all the more threatening.  Then, mid way through the second act she joins with Debbie Barrigan and Samantha Morrison as Alex, Jane & Sukie in the soul-searching, childhood reminiscing "I Wish I May" with some of the most moving harmonies in musical theatre.

Our final pair of dichotomic duals are Ben Connor and Zoe Birkbeck.  Ben has a wonderful comedic quality which he delivers perfectly as Will Parker, explaining that 'Everything's up to date in Kansas City' in a real Mid-American twang (especially when praising the new fangled ray-dee-ay-tors).  Zoe is a true Gemini, twins in one person - in Matilda she sings with a childlike voice (reminiscent of Bonnie Langford as Violet Elizabeth Bott-sorry, that's showing my age) full of attitude and stubbornness , but when she and Ben join together for 'Solo Saxophone' from Miss Saigon the hairs stand up, the goose pimples rise and the heart beats faster - the chemistry is almost palpable and you can hear the audience holding their collective breath.  She is a brilliant example of everything that is great about DarlingtonOS - an obvious enjoyment of performing, a genuine love for the audience and a smile that lights up the stage wherever she stands.

So, whilst there are almost 50 stars on stage through each performance of Strictly Musicals, there are really over 100 star performances.  How lucky we are !

Strictly Musicals comes to a close tomorrow night - Saturday 2nd November - but there are still a few tickets left - call the ticket hotline on 01325 486555.

ALSO - For One Night Only - Darlington Operatic Society will perform Strictly Musicals for the Mayor's Gala - Saturday January 18th 2014 at the wonderful Darlington Civic Theatre.  Tickets available from the Box Office or via 01325 486555.

Strictly Musicals by Darlington Operatic Society - Tears in the Ice Cream

"My eyes were still full of tears at the interval, I couldn't see my ice cream!"

Continuing with the in-run reviewing of Darlington Operatic Society's Strictly Musicals, I spent time on Monday evening talking with members of the audience to get their thoughts on this spectacular selection of musical theatre.  With such a variety of styles on offer it was very interesting to see what appealed to whom & whether there were any synergies between specific acts and sections of the audience.

Firstly, everyone agreed that this show is a fabulous showcase for the talent throughout the society;  a multitude of performing riches which any production company in the country would be blessed to posses.   What was noted too was how refreshing it is to see a group of people on stage who did not all fit the media portrayed stereotypical 'performer / dancer' model - these are real people with real lives outside of the theatre and this made them instantly relatable while at the same time even more in awe.

The emotional power that this cast have is quite scary at times; whether it is a solo/duet or a rousing ensemble.  Tears were once again shed throughout the show, firstly as Samantha Morrison delivered a breathtaking "Don't Cry for me Argentina" (which I have to admit is every bit as good as Julie Covington / Elaine Paige).  Just as the cheeks were starting to dry, Tina Davis led the cast into the Blood Brothers medley which, with its heart wrenching signature tune Tell Me It's not True, was guaranteed to prick at the tear ducts again.  Not wanting to let up,  the audience were whisked away to revolutionary France for One Day More which ends in a full company chorus stirring even the hardest of hearts.  Never has the Civic Theatre echoed with the rousing voices of almost 50 performers singing as one, a real call to arms.   One member of the audience was still in tears when she went for her interval ice cream, so much so that she needed a little help in seeing the right change through watery eyes.

The 2nd act is a little easier on the tissues until Claire Willmer takes to the stage with Someone Like You.   In the first act Claire gives a stunning rendition of You'll Never Walk Alone but it is this song, from the lesser known Jekyll & Hyde, that really showcases her unique voice.  It's hard to describe, think if Amy Winehouse had ever sang musical theatre - sexy, smoky, sultry and yet still innocent and a little naïve.

The brilliance of Joanne Hand's directing is that whilst there are undoubtedly some amazing musical numbers with powerful and moving voices, the dance routines give and take equal place - they are not schedule fillers allowing time for costume changes but demonstrations of collective cohesion, timing and style which have complete stage filling impact.  The choice of routines is very impressive; the opening overture is a throw-back to the Busby Berkeley directed blockbusters of the 40's with grace, glamour & feathers galore; the Fosse inspired numbers Hot Honey Rag and Sing, Sing, Sing are perfect examples of the style renowned the world over for demanding absolute precision and coordination (a style which tests even the most professional of dance troupes) but the payoff for hours of  dedication in rehearsals is there for all to see.  Selena Blain, Claire Monaghan, Lisa Forster, Annika Tang, Susy Kelly, Becky Nelson, Colette Serrechia, Karen Stone and Claire Williams are the core of this amazing dance group and again demonstrate the breadth and depth of talent (especially when you realise that these girls are on stage for many of the other numbers too in one guise or another).

The real success of this show lies with the fact that there truly is something here for everyone; traditionalists will love the Rodgers & Hammerstein Medley, modern fans will instantly recognise Wicked & Matilda, kids will sing & clap to the Disney mix and everyone can get up & shimmy to the Hairspray conclusion.

There are still a few tickets left for the remaining shows so don't spend November wishing you had been, spend it recounting the great things you've seen.

www.darlingtonoperaticsociety.org.uk for ticket details.

Strictly Musicals by Darlington Operatic Society - Battling GTA

There's no better show in town !

Darlington Operatic Society is battling against Grand Theft Auto, FIFA 14, Sky Movies and Netflix to grab the attention of local people and prove that a trip to the theatre is more fun than simply staring at a TV screen, and you know what - they are winning, hands down !!

In an ambitious attempt to demonstrate theatre is available for all ages and backgrounds, Darlington OS started their Autumn show last Wednesday to rapturous applause.  Strictly Musicals is a 2 hour spectacular of 25 of the best known & loved show tunes, performed by over 40 of the North Easts most talented amateurs.  Evita, Les Mis, Blood Brothers, Wicked, Hairspray, Phantom, Miss Saigon and many more of the biggest shows in the history of musical theatre provide the numbers with Director and Choreographer Joanne Hand providing a completely unique show.

Normally, for a show review it's easy to focus on the lead characters and give a passing 'well done' to the support; well for this show every single performer is a lead, they are all given their chance to take centre stage and none of them disappoint - there's not another show in the UK that can boast of having almost 50 leading actors and what a wonderful acknowledgement for the huge talent Darlington is blessed with.

Over the course of the run I am catching time with the audience to get their thoughts & feedback; speaking to those at last nights performance, their highlights were The Disney Medley and One Day More.

Disney (see if you can guess which shows are covered........) opens with Hayley Walker sending shivers down everyone's spines as she calls for the Arsenal Manager (well it sounds like "Arsen Wenger" to me & her mum, who apparently used to be a Spurs fan).  You could well imagine Hayley's voice carrying right across the Serengeti and is a perfect call to anyone late back from the interval that" you're missing it".  From there we have homage paid to some of Walt's most endearing musical movies including; Leighton Taylor's chirpy cheeky cockney Burt (with a far more believable accent than Dick van Dyke); Michael Hirst's totally mischievous Jamaican calypso as Sebastian the crab and Selena Blain playing the epitome of a mermaid,  a gorgeous & angelic Ariel;  and some quite brilliant casting - Eddie Jones with a wonderful faux French accent as Luminaire, Neil Gooding and Stefan Curtis as Timon and Pumbaa, who seemed to have a fascination with potatoes!  Ending with a real demonstration of verbal dexterity and physical coordination led by the delightful, pocket dynamo Angela Chapman,  Walt himself would have been chuffed to bits.

The casts' rendition of One Day More is as rousing as any of the full Les Miserables productions - there were many who commented that it had all the West End impact and was quite amazing to think that it was performed by an amateur team.  There were more than a few in last nights audience who commented on Suzie Harvey's Eponine as being quite hauntingly beautiful and that Kat Newman, playing Madame Thernadier stood out, not just for her voice but also that as an inn keeper's wife, she was far foxier than any of her predecessors in previous versions of Les Mis. (Granted they were all men that I asked but I'm sure the women were just as appreciative).

What is most impressive is that all these actors are involved in almost all of the other numbers too; this is not a talent show where people are wheeled out to perform their number, not to be seen again - if they are not leading in one number then they are chorus line, dancing, supporting or performing one of a multitude of costume changes ready to launch into another high octane tune which in most musicals would be a headline in it's own right.

This is a fabulous story of local pride, a tremendous amount of hard work & dedication and some very seriously talented  people (bearing in mind that these are all amateurs with day jobs & studies too) all aiming to give the Darlington audiences a wonderful evening and further promote the Civic Theatre as one of the best venues in the North East.

There are still tickets available for this weeks performances so put down that game controller, hide the Sky Remote and call Graeme on 01325 244 659 to not only have a magical evening, but also give your support to one the UKs best loved amateur theatre societies - and it's all ours !

Strictly Musicals by Darlington Operatic Society @ Darlington Civic

A credit to Darlington and the North East - 5 stars to everyone.

What promised to be an evening full of show tunes, great music and stunning choreography most certainly didn't disappoint.  Strictly Musicals is a real mood lifter, guaranteed to banish any Autumn blues, make you forget about the weather and fill you up with a feel good factor which will last way past the final curtain.

On the build up to tonight's show I stated that this would be THE water-cooler moment of the year - well, I apologise to any employers right now because anyone who goes to see this 2 hour spectacular will probably spend the whole of the next day at said cold beverage dispenser.   From the opening overture to the finale there isn't a moment to draw breath with hit following hit following hit.

Huge ensemble numbers like the Les Mis, Rogers & Hammerstein and Blood Brothers medleys are interspersed with intimate melodies from Mack & Mable,  Phantom and Evita; new tunes from Matilda and Wicked balance perfectly with timeless classics from Chicago and Sunset Boulevard; and the dance numbers from Fosse and Dancin' are just mesmerising - in fact I think I spent the whole show in a state of goosepimples.  Heart warming and heart breaking in equal measure, there's not a single number that fails to move you.

Solo stand out moments from tonight were; Hannah Mundy as a hilarious good fairy singing "Popular" from Wicked, Neil Harland explaining where the money went in "Rollin' In" from Evita, Glyn Bigham's super powerful performance of the title song from "Sunset Boulevard" , a beautiful "I could have danced all night" by Rebecca Feary, and Beth Stobbart & Nicholas Holmes with an emotionally charged "All I Ask of You" from Phantom.   As for the best group number, the Cell Block Tango, from Chicago was stunningly choreographed and lit in such a deep vibrant red that it made you feel quite guilty watching and a tad scared of the 6 murderesses.  Joanne Mason, Angela Chapman, Selena Blain, Claire Williams, Tina Davis and Zoe Kent give powerful, confident and brilliantly acted performances worthy of any full production of the Fosse penned blockbuster.

Joanne Hand (Director and Choreographer) has brought together the very best that musical theatre has to offer, but rather than simply present a selection box of songs she has produced a show with an energy that flows throughout and a continuity which means it never feels disjointed  - truly a whole that is far greater than the sum of its parts.

Special mention to Michael Trotter as the Musical Director who has assembled a wonderful orchestra, and to Gillian Shevels, the DOS chairman, for whom Strictly Musicals is a show to be very proud of.

Keep watching for more Strictly Musical blogs in the next few days.

Strictly Musicals runs until the 2nd November with tickets available from www.darlingtonoperaticsociety.org.uk

Opening Night of Strictly Musicals by Darlington Operatic Society

After months of prep, weeks of intensive rehearsals, a few bruises and a couple of dropped flags, Darlington Operatic Society's Autumn spectacular, Strictly Musicals, opens tonight and I've not been this excited for a show to start.

Bringing the hits of Broadway & The West End from over 50 years of musical theatre, the North East's premier amateur theatre company are guaranteed to receive a huge reception - lets face it, with almost 100 people involved in one way or another, there's a lot of family & friends to come and support the 1st night but what is testament to the pedigree of this group is the number of tickets sold to those from outside the area.  

Sister amateur companies, Darlo ex-pats, stars from professional touring companies and repeat visitors who happened on previous shows almost by chance are all coming to see one of the 10 shows.  With local & national radio, BBC & Sky TV and of course the social media networks all buzzing about this 2 hour extravaganza there is no shortage of focus and rightly so.  With songs & dance from Chicago, Blood Brothers, Evita, Les Mis, Phantom, Miss Saigon, Wicked, Carousel, Disney's Lion King, Hairspray, Matilda plus many more, it's like the best ever pick 'n' mix musical.

Director and choreographer Joanne Hand has created a celebration to musical theatre paying homage to the great and the good whilst retaining an individuality which will leave the audience in awe at how you can pack so much action into a small, intimate stage.  Add to this some simply stunning vocal performances and the 10 piece live orchestra and everything is in place for the water cooler moment of the year - just make sure you're the one talking about it at work the next day.

There are still some tickets left - see the website www.darlingtonoperaticsociety.org.uk for full details and come have the best evening of your year so far.

Strictly Musicals by Darlington Operatic Society - interview with Samantha Morrison

It won't be long now .........................

Time is ticking and the excitement is certainly building.  Continuing on with my preview of the build up to Darlington Operatic Society's Autumn spectacular, Strictly Musicals, this week there have been plenty of tears shed as rehearsals for one of the shows most emotional numbers took place.  This piece comes from one of the more modern shows and whilst I might be slightly biased as Becca played the lead in her GCSE production, I have to admit that it's hard not to cry when you hear this one, especially when it follows the high tempo, upbeat numbers.

Whilst at this weeks rehearsals, I was really lucky to bump into Samantha Morrison, a well established member of the Operatic Society and a real favourite leading lady of mine.  Sam was just waiting to start her rehearsal of ...... (come on, should know by now I won't give too much away) but I managed to grab a few minutes to find out what it's like to be a part of the North East's {premier Amateur Theatre Companies.

AB – When did you join Darlington Operatic Society and what prompted you to ?

SM – I studied performing arts at Stockton and Billingham College.  After that I took a year out to decide if I wanted to pursue an acting career full time and move down to London.  During this time I got a job and started to enjoy the freedom of life.   It was around this time I joined Darlington Operatic Society and took my first part as a chorus girl in Sweet Charity.  This gave me the avenue to continue performing without having to take the plunge and make it my career.  It also meant I could act without the pressure of it being my job and I think that has helped keep it more enjoyable.

AB – You have been a member of the society for quite a while now (obviously starting very young means you are still young!), what was it like when you joined?

SM – When I started, the Operatic Society was like many other societies in Darlington; the WI, the Round Table, the Lions etc – they were all made up of Darlington people and were social and cultural hubs.  Members of the operatic society were very active in the community and our audiences were heavily made up of members from these other groups.  We were supported because we were Darlington Operatic Society, the town’s amateur theatre group, and felt quite a connection to and with the town.  As such the shows we staged were quite traditional to appeal to the audience we had.

AB – How has the society changed over the years ?

SM – Culture in general has changed an awful lot over the past 10 or so years.  Theatre has had to compete with so many other leisure pursuits all vying for time and money; cinema, home movies, the change in drinking habits, even video gaming have all drawn on people so theatre in general has had to up its game and come up with more innovative shows to grab the audiences’ attention.  Being an amateur production company means we really have to be on the ball in show choice to try and appeal to as many people as we can.  When the society’s long standing director left we had a series of guest directors, each of whom had to try and appeal to new audiences whilst not alienating our traditional fans.  It’s not been easy as there is a real fine balance between staging the long established shows (Sound of Music, Guys & Dolls, Sweet Charity) which will appeal to a more mature audience with the more modern ones (Full Monty, Footloose, Blood Brothers) needed to capture the younger theatre goers, but with Jo (Hand) and the team we have a great understanding of how to deliver the best and most exciting shows.

AB – Picking up on your point of being an amateur company, how difficult is it to compete with other, professional theatre productions?

SM - we don’t have the time and resources to compete directly with the professional touring companies, yet when someone comes to see our show they need to feel that they have had a great evening, value for money and want to come and see our next production.  We are very lucky to have a wonderful theatre to perform in which always give us such a buzz come opening nights but with it comes the pressure to make sure we don’t disappoint (ED Which you never do!).  Like any production company we are reliant on our cast being committed to putting in the hours in rehearsals, the back stage crew building and running the sets and of course our Director and Choreographer giving us a great show to present.  It is perhaps because, rather than in spite, of us being an amateur company that we can tackle the shows we do as everyone is here because they want to be not because it is their job.  We have a great team and whilst many of the society have been with us for years, we still attract a good number of people auditioning to join.

AB – For someone thinking of applying to join Darlington Operatic Society, what is it like to be a member?

SM – I guess we are the epitome of one big family; we are such a diverse group of people that there will always be someone around to talk to, laugh with, help with steps, practise, rehearse or just listen.  There are times when you’ve had a really bad day at work but when you walk into rehearsals you can forget all about it and just throw yourself into performing.  Often when we start preparing for a new show we will spend time at someone’s house, watching DVDs and just practising steps or singing.  Think of the fun you had at school with your group of friends extended into adult life – in fact after the thrill of performing on stage it really is the best part of being a member.

AB – Personally, I loved your portrayal of Vi in Footloose but which has been your favourite role to play ?

SM Having been a Chorus girl first time around, it was great to be able to play Charity in Sweet Charity when we next performed it.  I really enjoyed playing Nellie Forbush in South Pacific and also as Mrs Barnum opposite Julian (Cound) – me & Julian have played opposite quite a few times now so we have a good understanding of each other’s’ style.  I do find that I am getting offered the ‘more mature’ roles now ….. (ED – yeah but these young girls need someone to show them just how it’s done!)

AB – Finally, rehearsals for Strictly Musicals are well underway – without giving away too many secrets, what’s it going to be like?

SM – 'Strictly' is an amazing show, packed with some of the biggest stage numbers which normally we wouldn’t get chance to perform.  Jo (Joanne Hand, Director & Choreographer) has worked so hard on designing some really fantastic numbers, challenging to perform but really exciting and powerful – the audience will be amazed and moved throughout the show. The best thing is that in a normal show there will be perhaps 5 or 6 lead characters with the rest of the cast taking chorus line roles etc, in this show there are over 24 numbers which are shared around so lots of us get to take centre stage for a bit – it gives the younger members a chance to lead without the pressure of carrying a whole show.

So there we have it from the lovely Sam;  the Operatic Society is much more than just a production company putting on two shows a year, it's a club, a school, a family, an institution and one which Darlington should be very proud of.

Strictly Musicals, a show packed with the biggest hits from the biggest musicals of the past 70 years is on from October 23rd until November 2nd at the wonderful Darlington Civic theatre.  Check out the website for tickets and make it a night to remember.  http://www.darlingtonoperaticsociety.org.uk/

September in The Rain @ Darlington Civic

Thompson and Sweeney are utterly believable and totally charming

The latest in a long line of John Godber plays to be staged at Darlington Civic, September in the Rain is a delightful memory trip back to days of pre-M62, pit weeks, the tower ballroom and, ultimately, what is there to do in Blackpool, in September, in the rain?.

Told in flashback, Liz (Claire Sweeney) and Jack (John Thomson) relive instances over the years from their annual summer trips to Blackpool; the wide eyed innocence of their first holiday together, the playful arguments as they settle into a knowing routine, the challenges of trying to keep their relationship together once the kids have grown and left and then the resigned acceptance that they really are perfect for each other.

Don't think for one moment that this is simply a love fest charting an unrealistic ideal of prefect harmony; the arguments will ring true with everyone who has ever been in a relationship and gone on holiday and provide a delicious yet sobering recognition that we've all been there, done that, said those things.  Acutely accurate in even the tiniest of details, September in the Rain is never preachy about how relationships should work, it simply provides a mirror upon which the audience can see themselves.

Claire Sweeney once again proves that she is a wonderful actress, her performance never seeks for pity or sympathy and remains, with an inner strength enough for the both of them, still obviously in love with Jack despite his seemingly lack of romance or feelings.  John Thomson has in Jack a perfect role through which he can deliver his northern 'charm', often slipping towards one of his early stand up characters of Bernard Righton but never played simply for comedic effect and always remaining truthful and believable as a hard working, hard playing guy (especially his offering of a 'oncer').

If you have ever taken a break to a British seaside resort or have family members who have a routine of doing so year after year (I have!) then you will instantly recognise Liz & Jack - depending on your age they maybe the couple who used to come on the works coach trip, they might be the couple who you see every year at the same boarding house or they just could be you, yourselves.

September in the Rain is on at Darlington Civic until Saturday 28th September.

Strictly Musicals by Darlington Operatic Society - interview with Leighton Taylor

"It's like the motion of the ocean and the sun in the sky"

There are some things in life that you just can't stop; Sun rise in the east, newspaper headlines denoting “Phew, Wot a Scorcher!” when we’ve had a reasonably warm Saturday, Sunderland’s inevitable slide down the premier league,  Christmas TV adverts in September (yes, I’ve already seen one this week).  Well now add another to the list - the momentum and excitement surrounding Darlington Operatic Society’s autumn show, Strictly Musicals.

Following on from my previous blogs, I popped down on Sunday to watch the latest rehearsals, and once again I left with a childlike impatience for opening night – one which is probably not shared yet by the cast & crew as there are still 4 full weeks of rehearsals, dress, set & tech to run through.

The first number was a duet from Phantom which halted everyone coming into the hall mid step.  Whilst many of the pieces in the show are big, stage filling show tunes, this one is as intimate as you can get in any theatrical production and yet, instead of it providing a respite from the intensity of the high octane dancing, will serve to only heighten the audiences’ involvement and embrace with the stage.  It wasn’t until after the last note had ended that I realised I had been holding my breath and that will undoubtedly be the same effect come opening night.

The second number we watched was the stage filling finale; a riotous conclusion to the
2 hours of singing and dancing worthy of closing any production.  Once again, Jo Hand has produced a number which is so very much more than the sum of its parts (and there's 47 on stage by the end) – I was lucky to be able to see it built and then ran through a few times and I needed a few watches just to catch sight of all the layers of movement, interaction and timing – this one will give the audience every opportunity and reason to get up out of their seats and will be, without doubt, a water cooler moment for the day after.

While at rehearsals I caught a quick chat with one of the Society’s newer members, Leighton Taylor who kindly answered a few questions:

AB - Firstly, when did you start with DOS and what prompted you to get involved ?

LT - I joined DOS in 2011 though due to work commitments in Cleethorpes I did not take part in a show until Titanic in 2012.  The reason I joined was due to the fact that my partner had moved back to the north east and was looking for something to fill the void left by not performing during his studies. As a performer myself I came along to tap class and chorus rehearsal and found the people very welcoming. This might be because I somehow managed to tap dance into a wall backwards.

AB - Which of the shows that you have been involved with has been your favourite (and why) ?

LT - It's hard to say which show has been my favourite as they each have very special memories.  Titanic was my first show which makes it very significant. It was also a show where not only did you want to entertain the audience but honour the memory of those who you are portraying. As it was also 100 years after the actual event it made it even more special.  Footloose was an amazing experience. The atmosphere throughout the whole of rehearsals was electric. Every member of the cast was excited to be in the show and the reaction from the crowd every night was nothing I had ever experienced before. The Sound of Music was a show which I had to be a part of due to the sheer popularity of the musical. Even though it there was not much to do, I enjoyed the backstage banter with other cast members and had a chance to shine by hosting the warm up for the sing-a-long, drawing on my experience as a presenter for Haven Holidays.

AB - What do you find the biggest challenge when starting prep for a new show?

LT - The biggest challenge for any actor is perfecting the character you have been given to play. You can learn the words, harmonies, dance routines and direction, but without a convincing character, the performance can fall apart.  The support we receive over the months and weeks of rehearsal makes the learning less stressful.

AB - ‘Strictly’ is a different type of show with so many musical numbers – how are you coping with remembering the setting for such a variety of different styles ?

LT - Luckily for DOS, we have a very talented cast for Strictly Musicals. We also have a director who understands that people have different capabilities and strengths that are stronger in different areas of performance.  The only things I am having trouble with at the moment is the dance moves (ED really ? cos your freestyle in the finale looks spot on good). But hopefully they will be smoothed out in the next five weeks.

AB - Which number are you most looking forward to  (don’t worry, I won’t give any secrets away  ) ?

LT - If I tell you I would have to kill you. (ED - gulp!)

AB - What would your dream role be, and just as importantly, which leading lady would you most like to star alongside?

LT - My dream role would be the Emcee in cabaret. I wouldn't like to choose just one
leading lady as I feel it would make the others jealous.

AB - What advice can you give to someone who is interested in theatre but doesn’t feel that they can sing or dance well enough to be in a show ?

LT - If you have the passion and the willing to learn then I would always say that a society like DOS is always a good place to start. You will find people that have the same interests as you and are passionate about the same things as you are.

I have met some of my best friends through joining DOS.

Thanks to Leighton for spending time out of a hectic schedule to give an insight into life as a 'DOSser'.

This next week the cast will be performing the first full non-stop run through and also finalising their costumes.  Things are certainly moving at a pace so if you haven't got your tickets yet , don't delay - miss it, miss out !

Strictly Musicals is on at Darlington Civic theatre from October 23^rd until November 2^nd.  Tickets are available through the website www.darlingtonoperaticsociety.org.uk

Strictly Musicals by Darlington Operatic Society - interview with Joanne Hand, Director

5 weeks to go ...............

Following on from last weeks initial preview of Darlington Operatic Society's forthcoming production, Strictly Musicals, I was allowed back to watch another number being set.  This time is was an evocative and rousing piece from Evita.  Director Joanne opened the session by exclaiming that this was one of the easier numbers (!?!) but nonetheless needed absolute concentration to ensure it continued to look easy.  All I know is that after a 2 hour workout of both the mental & physical the component parts came together into another stunning and exciting number adding to the already bulging set list.

Again, I marvelled at the ability of the cast to focus on their stage positions, remember their dance moves (which for this piece have a tango/flamenco feel) and still manage to sing, in harmony and in breath.  Of course, this is only one of over 24 numbers that will be performed, proving that staging and performing a show like this is as much a test of memory & mental ability as it is of song & dance.  I couldn't help but feel a swell of excitement akin to the build up to Christmas - you know it's coming, you know it's going to be great but you still aren't sure exactly what you're going to get (well, I have a better idea than most but I'm not telling !)

As promised last week, I was able to grab a little time out of Director & Choreographer Jo's very busy diary to ask a few questions:

AB - Strictly is a full-on musical review / concert – how different is it to design & set this type of show compared to a traditional show with dialogue and a few musical numbers ?

JH - the main difference is that from the outset you have no set parameters to work from.  For normal 'book' shows eg 'The Sound of Music' you are provided with the libretto and associated songs and for this kind of show you are literally starting with a blank page.  For a book musical you know the songs come in a particular order, there are certain key companies who provide the set, the orchestrations demand a set number of instruments and musicians, the parts are fairly defined for the performers and the costumes need to fit a set period or look demanded by the piece.  In this kind of show none of those are in place.  You determine the songs, the order, the theme, the look, the staging and set and cast required.  In many ways its a lot more work than a book musical but provides great opportunities for large numbers of performers to be featured.  In most musicals there are a limited number of lead players whereas this kind of show allows us to showcase the breadth of talent that exists within the company.

AB - What was the process for deciding which numbers made it into the show, were there any you knew immediately to avoid, and any which you wished you could have included ?

JH -I think this was probably the hardest choice.  There are so many great songs in musical theatre and I could have easily had a show that lasted 6 hours if I wasn't careful!  I worked the concept around a loose theme of songs from shows that were nominated or had won Tony and / or Olivier awards.  If nothing else it helped me to start cutting things down.  In a show like this its important to consider the balance of content so - ballads vs upbeat numbers, dramatic pieces vs lighthearted pieces, full company numbers vs solos, duets and trios.  You also have to consider what will work for the band you have.  We wanted there to be a comfortable balance of the classics and also provide some pieces from lesser known musicals to give the audience something new as well.  You also have to consider what songs work 'out of context' of a show.  There are many shows that I adore but the songs are quite specific to the storyline and therefore don't necessarily work in a concert style setting.  There are still songs now that I wish I had been able to include but they would have had to be at the expense of another number - maybe we will have to consider 'Strictly Musicals 2' (ed - you heard it here first, folks)

AB - You’ve worked with DOS since Oliver! in 1993, what changes have you seen in the past 20 (gulp) years ?

JH - The society has changed a lot since my initial association but the constant has been the quality of productions which has always been incredibly high and something the society has prided itself on.  Like any good organisation, DarlingtonOS had had to modernise to keep up with things like technological changes.  20 years ago I am not sure we even knew what a website was - now I don't think we could do without it.  We communicate with the cast in a number of different ways as well regarding social events, changes to rehearsals etc eg SMS messages, Facebook, online surveys etc which solely relied on someone making loads of phonecalls when I first started.  I think we try to celebrate our heritage and are very proud of where the society has come from but at the same time know that we all have a duty to make sure the society is here in another 50-100 years.

AB -The ratio of girls to boys looks around 2:1 – does this have any influence when deciding on which shows to put on ?

JH - The cast for Strictly Musicals is only a selection of our full membership.  As we stage 2 musicals per year we hold auditions for each show and then select the cast to meet the specific demands of that show.  We are quite fortunate in Darlington that we have a relatively high number of young men involved in the society.  Women still outnumber men but we always get new men wanting to join us every 6 months when we hold our new members auditions.

AB - I’ve watched as you set a couple of numbers and the preparation is phenomenal - What is the biggest challenge you’ve faced in getting Strictly ready for rehearsals ?

JH - I think as with most musicals 50% of the work is done before you even get to the first rehearsal.  By the time it comes to setting you have to have been able to visualise how the number will look in its finished state with the lighting, staging, performers and any other effects.  In Strictly Musicals we have a cast of 47 so the full company numbers take a lot of planning of how to move the cast from A to B ensuring the soloist is where they need to be by a specific bar of music.  I think the biggest challenge for Strictly has probably just been ensuring that the running order allows for costume changes, mic changes and balancing out the voice parts in the various numbers.  As I love a good spreadsheet once that was cracked it really is just business as usual

AB - Do you have any superstitions or lucky routines for opening night ?

JH - No - I don't believe in superstitions.  I think I am too practical.  I believe more in hard work and organisation and those things will see you right on the night.

AB - If you could stage & direct one show (regardless of cost, venue needed, production etc) which would it be ?

JH - Probably a few different ones for different reasons so its difficult to tie it down to one.  Les Mis as a 'biggie'  - its the show that really turned me onto musical theatre and I love the various interweaving storylines and the music and of course to stage this with a fantastic full working set and large company would be fantastic.  On the other extreme I would love to direct 'Parade' in a black box with a small cast or 'Drowsy Chaperone' which is a fantastic show within a show.

AB - Have you any advice for someone who is interested in theatre but feels that they could never sing, dance, act well enough to take a part ?

JH - There are so many ways to be involved other than being on stage which are just as rewarding if not more so.  As well as the people taking part on stage, DarlingtonOS has a range of backstage helpers ranging from props and costume departments to crew, lighting and sound.  All of these departments are vital to the final production that the audience sees and we are always on the look out for willing volunteers.

AB - Which number are you most excited about

JH - Gosh - not really sure.  I think I am looking forward to just in general seeing all the bits coming together so when you get the choreography on stage with the lighting, costume and LED screen and it looks somewhat like it did in your head then thats always exciting.  I liked xxxxxxxxx when I was setting it and am pleased with how that is turning out as I have a solid group of really good girls.  I also like how the xxxxx number is coming along from a dance perspective.  Of course the sheer power of 47 people singing 'xxxxxxxx' always brings a tingle to my spine. (ED - you really didn't think I was going to let you know which ones Jo chose - you'll just have to come and see for yourself !!)

Well folks, that wraps it up for this blog, the excitement is definitely building and we have yet to see costumes, set and the use of some very clever tech - look out for the next preview blog where I will have caught up with some of the society's members & cast to get their thoughts on preparing for autumn spectacular.

Strictly Musicals is on at Darlington Civic from 23rd October to the 2nd November - check out the website for more details and to purchase tickets (better hurry, they are selling like the proverbial cakes of heat)  http://www.darlingtonoperaticsociety.org.uk/