Strictly Musicals 3 - The Greatest Show

Let the Good Times Return

"A wonderful opportunity to see hits from the biggest shows in musical theatre all on one night"

The past 18 months have for most of us seen a unique change to life; lockdowns, working from home, unsettling news and in worst cases, illness and loss. At times like this it is human nature to look back, before the pandemic and seek out times when things seemed happier, more settled and enjoyable. It is difficult to look ahead and see such times returning anytime soon and yet, on the near horizon is something which, for thousands of people, will give them an escape, a feeling of normality and something to look forward to and enjoy. 

 Darlington Operatic Society’s Strictly Musicals 3 – The Greatest Show.

Darlington Operatic Society has been the premier amateur musical theatre company in the North East for many years, providing twice yearly shows and giving members and theatre-goers fantastic opportunities to enjoy the very best of musical theatre. Back in 2013 they ran an Autumn spectacular, ‘Strictly Musicals’ which showcased some of the most popular musical numbers from shows such as Evita, Les Mis, Sunset Boulevard, Phantom and Wicked. Met with both critical and public acclaim, it was a gatehouse for many to shows they would not normally have chosen and widened appreciation for musicals (resulting in a marked upturn in ticket sales for future musical productions).

A second ‘Strictly’ followed in 2017 and again this proved to be a smash hit, allowing cast and crew to explore Mamma Mia, We Will Rock You, Miss Saigon, Top Hat to name but a few. Led by the company Director and choreographer Joanne Hand and Musical Director Steven Hood, the numbers featured stunning dancing, wonderful choreography and impressive sets, all performed by 40+ cast members whose talents rival any professional production company.

Now, in 2021, (having had to postpone the initial run), Strictly Musicals 3 is about to land and it looks like the pedigree of the previous 2 shows is even stronger. Taking numbers from West End and Broadway mega-hits Hamilton, The Greatest Showman, The Book of Mormon, The Bodyguard, Cabaret, Les Miserables, Sister Act and many more, this guarantees to be 2 hours of high octane, fun-filled song and dance.

With powerful leads channelling Whitney Houston & George Hearn, 40 strong ensemble dance routines and a 12 piece orchestra, this really will be The Greatest Show seen at Darlington Hippodrome. 

 Opening on Wednesday 20th October and running until Saturday 30th tickets are still available, but selling very fast – visit here for more details and to book shorturl.at/tOP25

Coming in April - Strictly Musicals 3

Rehearsals are hotting up for theatre show

Cast members of Strictly Musicals 3 - the latest offering from Darlington Operatic Society (DarlingtonOS) - are being put thorough their paces as musical numbers within the show start to take shape.

Strictly Musicals 3 is the third offering of a series of 'songs from the shows' style productions by DarlingtonOS, the first being back in 2013.

In this third edition audiences will be entertained with songs from classic shows such as The King and I, Mack & Mabel and Chicago alongside extracts from modern-day favourites such as Dear Evan Hansen, Hamilton and The Bodyguard. There will also be examples from some lesser-known shows such as Something Rotten, Bonnie & Clyde and Songs for a New World.

Julian Cound from DarlingtonOS said "This is one of the most exciting stages of the rehearsal period when we see the imagination of our director / choreographer Joanne Hand come to life as she pieces together her amazing, original choreography to go with the stunning vocals the company have been learning under the musical direction of Steven Hood."

"Putting a concert style production together is so much more difficult than working on a book show. From a blank piece of paper the production team have to create 2 hours of musical magic that offers something for everyone and with Strictly Musicals 3 I can guarantee audiences will not be disappointed."

Strictly Musicals 3 has a cast of 52 local, talented amateur performers who will be working flat out over the next 9 weeks to ensure the show is ready for opening night on Wednesday 22 April at Darlington Hippodrome.

Julian concluded "there is a massive appetite for musical theatre here in the North East and Strictly Musicals brings the best of the best together for two hours of magic. If you are a fan of musicals then you will simply love Strictly Musicals 3."

Strictly Musicals 3 runs at Darlington Hippodrome from Wednesday 22 April to Saturday 2 May. Thursday 30 April is a BSL Interpreted performance and both Friday performances will be audio described.

Tickets are available from the ticket hotline 01325 244659 or book online at www.darlingtonos.org.uk

Jekyll and Hyde at Darlington Hippodrome

Jekyll and Hyde by Darlington Operatic Society

It’s not often that you get chance to see something new, for which you have no preconceived ideas and have been able to avoid any previous reviews.  Whilst many have read the story of Dr Jekyll and Mr Hyde, there are few who have seen it as a musical and even fewer who will have enjoyed such a powerful and professional production as Darlington Operatic Society are performing.

With the story closely following Robert Louis Stevensons’s classic gothic tale, this deep view of the human psyche exposes the fundamental challenges everybody has; there is good and evil in us all, it is how we control them that determines who we are.

For this performance, the eponymous lead is played by Luke Oldfield who, from the very first scene, is the quintessential Victorian scientist, long hair tied back, resplendent in waistcoat and presenting with the clipped accent of the London elite.  His appeal to the governing body for their approval to continue his experiments is almost Darwinian yet, even at this apparent sane stage, he is able to convey a deeper desire, a drive to succeed and a passion to do so at all costs, especially when they all vote to refuse him his request and so sew the seeds of hatred which grow into the actions of murder.

The gentleman doctor is engaged to be married to socialite Emma Carew (played by the one and only Beth Hopper whose voice is instantly recognisable and as warm and welcome as summer rain) so he finds his passions for science somewhat constrained by the expected façade of society.  Torn between playing the expected love struck fiancée and his true passion for scientific discovery, it is when the good Doctor assumes his alter ego that Luke goes though a metamorphosis which would rival many CGI driven movies. 

His long hair becomes an unkept mass, his body seems to grow to almost twice his size and the menace he exudes is simply terrifying.  At first you will find yourself checking that there are not two actors but no, it is simply a masterclass to any actor on how to drive a character into the heart of the performance.  Driven by his being shunned by his peers, Hyde sets out to wreak his own sense of justice, with murderous intent.

As the Doctor begins to wrestle with his inner demon he seeks solace with Lucy, a hard candy coated, soft centred working girl who sees in Dr Jekyll a turmoil and anguish she can relate to.  Sadly for both her and the doc, Mr Hyde also sees Lucy as someone he can engage with, and despite, or perhaps because, of Jekyll's affections, he sets out to destroy her.  Jessica Harrison, as Lucy, is outstanding.  Often such platitudes are used lightly but here it is so very much deserved and as the 3^rd person in a triangle of turmoil, she plays the innocent loser with such passion and compassion that it is hard not to be moved to tears.

The sets and costumes for this production are steeped in Victoriana – elegant gowns and capes of high society are played off against the rags and squalor of the London slums while the soundtrack is very much akin to the depth and magnitude of Les Miserables – anthemic themes are balanced against soulful solos.

Darlington Operatic Society are widely heralded as the region’s best amateur theatre company but this production surely elevates them into a new and exciting division – I doubt that there are many, if any, companies across the whole UK who can deliver such a polished and professional performance.  As someone who now works in London, this is a performance that would not be out of place amongst the West End – for the people of Darlington, you must go and see this.

 

Running from October 23^rd until 2^nd November at Darlington Hippodrome, Tickets are on sale now by calling the Ticket Hotline on 01325 244659 or online at www.darlingtonos.org.uk.  

DISCLAIMER Neither DOS nor your author can be held liable for any nightmares following this show.

Advisory 12 years+

Top Hat by DOS

The latest production from Darlington Operatic Society is a step back in time to the simpler shows which relied on brilliant choreography, stunning costumes and wonderful dancing.  Sure, the current hi-tech shows are fantastic entertainment; Shrek, Wicked, Harry Potter, Aladdin are great examples of blending cutting edge technology with stagecraft but sometimes the art of performing can be lost in the special effects.

For the ever-impressive DOS’s Spring performance they have stepped right back to the 1930’s for the show that many argue is THE best example of musical comedy.  Backed by Irving Berlin’s instantly recognisable soundtrack, this production of Top Hat is guaranteed to send everyone away humming one of the classics having marvelled in some mesmerising dancing and breath taking costumes.

The story is a classic tale of mistaken identity descending into a screwball farce – Jerry Travers (the irrepressible Luke Oldfield in the Fred Astair role) is an American star who, whilst promoting a new show in London falls in love with Dale Tremont (DOS’s own Ginger Rodgers, Claire Monaghan).  Through a series of unfortunate mistakes, Dale believes Jerry is actually his manager Horace Hardwick (Julian Cound in probably one of his best roles to date), recently married husband of Dale’s friend Madge (the ever youthful Samantha Morrison) . 

Whilst it might sound confusing, the constant interplay between these 4 draw you right in, setting up punchline and pratfall with perfect timing.  Julian Cound’s comedy delivery, especially when trading verbal punches with stage wife Samantha in “Outside of that I love you” is perfection and illustrates that, despite the much held belief that Top Hat is first and foremost a musical, it is also a brilliant comedy in its own right.

For anyone who has seen a DOS show over the past few years you will instantly recognise the craft and brilliance of Director and Choreographer Joanne Hand.  Whether it is the intimate duet in Cheek to Cheek or the stage stomping tap ensemble in Top Hat, White Tie and Tails, Joanne gives the audience the chance to step back to the hayday of Fred Astair and marvel at the power of perfect timing. The depth of talent at DOS has never been in question, but seeing the ensemble rival Busby Berkeley for coordinated tapping is very impressive.  Ably complimented by Linda Sams as Wardrobe Manager, the glitz and glamour costumers add even more wow the to the show.

Some would say that following modern productions of Sister Act, Legally Blonde, Spamalot, Priscilla and Chitty Chitty Bang Bang, taking a step back to a classic is a bold, if potentially risky, move which may lose some of the recently acquired, and perhaps younger DOS followers – to that I say poppycock – there is as much comedy, great songs, wonderful dancing and brilliant acting in Top Hat as will ever be seen in a newer more contemporary show and I urge anyone to go and be entertained.

Chitty Chitty Bang Bang by Darlington Operatic Society

Once again, Darlington Operatic Society prove that they are capable of producing a 10/10, supremely professional, highly energetic and original show which will appeal to the whole family. 

Chitty Chitty Bang Bang, the much loved children’s tale penned by Bond creator Ian Flemming, lives long and fond in the memories of almost every child.  The quintessential Disney-styled family unit of one missing parent and the trials of the other bringing up two delightful, if somewhat spirited, kids alone is instantly recognisable.  Coupled with the magic of a flying car, the subterfuge of spies, the peril of being captured in a far away land and the villainous Kiddie Catcher there’s not much missing for children to lose themselves to. 

Of course, the movie brought to life the characters of Caractacus Potts, Truly Scrumptious et al and through the 1968 Roald Dahl production, most peoples’ personalisations of the characters were set.  To many, Dick van Dyke will always be the hapless inventor, Sally Ann Howes the eponymous Truly and Robert Helpman the stuff of kindergarten nightmares.   It is therefore because of the fondness for the film that any company attempting to put on a stage production will have an additional hurdle to vault – that of persuading the audience that their versions are just as worthy of belief.

DOS have never been one to shy away from a challenge and their opening night performance of Chitty once again demonstrates they have a massive pool of talent to draw on.  Taking the lead as Potts the inventor is Julian Cound who warms into the role and is at his most charming when interacting with his on stage children, the wonderful Matthew Scott & Alix Lennie (who were mesmerisingly good).  Despite now being one of the senior statesmen of the society, Julian’s energy and enjoyment is there for all to see, his careful nurturing of the young cast making them at ease to relax and perform as rehearsed.  Julian has always had a great stage voice and once again he demonstrates his range throughout, though there may be some who would doubt his ability to sing the kids to sleep with a rather powerful rendition of Hushabye Mountain.  Playing opposite Julian as the delicious Truly Scrumptious is DOS’s own theatre superstar Beth Hopper – Beth has the purity of voice and stage grace worth the admission fee on her own and shows genuine maternal care towards Matthew and Alix.  Whether playing a fairy godmother or a potential glamourous step-mother, she lights up the whole auditorium.  Completing the Potts gang is the last stalwart of the Empire, Grandpa, played by David Murray who manages to blend Lionel Jeffries with Blakey from On the Buses to brilliant effect.

Of course, the titular star needs her own mention – Chitty is a wonderful creation and through very clever stage management and lighting, the sailing and flying scenes are brilliantly believable.

The challenge for choreography and direction is in ensuring scenes without Chitty are not simply seen as fillers until the magical mechanical star returns; of course, the anthemic title song makes this rather difficult but by allowing both the Vulgarian spies (Nick Myers and Eddie Taylor-Jones) and the Baron and Baroness to impart some humour, Director Joanne Hand has overlaid genuine comedy to compliment the traditional musical storytelling.  I doubt there has been a funnier double act seen on this stage (in either guise) who could beat Hannah Teasdale and Leighton Taylor-Jones – their chemistry as the toy mad Baron and his child-phobic wife is pure comedy gold worthy of a spin off show all of their own.  With more than a few hidden naughty winks for the adults they border on pantomime without ever threatening to descend into a festive farce and I would urge any producer to check them out.

As always with a DOS production, the ensemble provide high energy dance routines and plenty of rousing choruses, giving the audience exactly what they hope for and expect – a wonderful family night which is guaranteed to leave you with an ear-worm for your journey home.

Due to the nature of casting and the younger members of the team, there are two separate casts for a number of the roles.  As such some of the roles mentioned in this review may be played by others in subsequent performances but there's one guarantee, they will all come with the DOS seal of quality

Strictly Musicals 2 at the New Darlington Hippodrome

Welcome Home

The perfect blend of old and new is an ideal way to celebrate the opening of Darlington’s New  Hippodrome.

Throughout history there have always been great double acts; partnerships which seem forged in perfect harmony and inseparable regardless of time, culture or changing tastes .  For many years, Darlington Operatic Society and The Civic (as was) have been one such double act so it was fitting that the New Hippodrome would host, as its inaugural show the latest offering from the most professional amateur production group in the country.  Not only was it a chance to reunite two of Darlington’s most loved offerings, but also to celebrate old and new, tradition and modernity whilst clearly spotlighting the future.

Strictly Musicals 2 (the sequel to the record breaking show of 2013) is another masterpiece of selection, choreography and musical direction, celebrating show tunes from old and new, classic and breakthrough and giving an opportunity to not only showcase the immense talent within DOS, but to also test and challenge the new theatre’s readiness for the hectic seasons to come.

Anyone who has been to a DOS production will be familiar with the quality on show; tremendous group vocal performances supported by elaborate and energetic dance routines and complimented by breath taking duets and solos.  The choice of numbers this year incorporated some lesser known tunes which, whilst not always instantly recognisable, were performed so well that I am sure they will have piqued an interest to seek out the full shows from which they were taken.  In making this selection, Director Joanne Hand and Dos debutant MD Steven Hood have certainly brought an exposure to shows which may have otherwise been missed; Children of Eden, Copacabana, Big River, Newsies and Ghost were ably supported by more traditional stalwarts from Wicked, Chess, Mamma Mia, Joseph and the quite brilliant Rent.  Youthful enthusiasm, a trademark of previous DOS ensembles, remains super strong amongst the new ‘Dossers’ as they attacked each number with unreserved energy and passion although the number which seemed to illict the warmest response was reserved for evergreen Sam Morrison and stately Julian Cound who, through Small Umbrella in the Rain (Little Women) gave a masterclass in how to use 3 minutes to tell a lifetime’s story.

As for the Hippodrome itself, it is a masterpiece of sympathetic restoration of the old theatre coupled with the new, airy and stylish additions of foyer bar, heritage walkways and enhanced viewing.  The seating is very comfortable (important when attending shows with rather long first acts) with noticeably more leg room.  The new décor creates a sense of light and space, with the stage feeling not only bigger but more open, giving the audience a cinematic experience.  One habitual problem for older theatres has been how to engage with the new digital sound systems required for modern touring shows (especially musicals) – thankfully, this is no longer a challenge for the Hippodrome; the new acoustics are brilliant, perfectly demonstrated by the stand out performer of the night, Naomi Potts, whose rendition from Phantom of the Opera was crystal clear and pure without ever sounding loud or forced.

Never has the future of musical theatre in Darlington been so exciting; a 1^st class venue and a 1^st class Society.

Darlington OS present West Side Story

There's Going to be a Rumble, Tonight

I think we all know the story of Romeo and Juliet and it's more modern cousin, West Side Story - gritty, violent and full of passion, it is often heralded as one of the hardest and most complex musicals to attempt.  Not only are the melodies thick with jazz rhythms and syncopated beats, the tongue twisting word plays are a tough challenge for even the most erudite of singers.  However, with the pedigree of the past and the passion of the present, Darlington Operatic Society grab hold with both hands and thrust this tale of racial prejudice right into the present day.  

There is so much in this performance that speaks to the current differentiates of race, colour, creed, religion and sex - the two rival gangs battling it out for control of their New York Upper West Side neighbourhood might be based back in the 1950's but they could so easily be in a current day London hamlet.   The Polish-American Jets and the Puerto Rican Sharks could be any number of racially stereotypical groups - whites, blacks, Asians, Muslims, Christians, visitors, tourists etc.  Make no mistake, DOS have not changed the original West Side Story into a modern tale but what they have done, through very clever casting and brilliant acting, is to ensure that this performance is totally relateable to the here and now.

Lead roles once again demonstrate the depth of amazing talent DOS have to call on; The ever young Neil Harland is great as the love struck Tony, dragged back into the gang life by his bond with lifelong best friend Riff.  Neil has arguably some of the hardest melodies in musical theatre to master - augmented fourths, a standalone lead within the 'Tonight Quintet' and the heart-wrenching One Heart duet yet is never phased.  Following Tony's abdication from Jet leadership, Riff takes over, played by Ben Connor - Ben totally owns the first act, his power and edge are juxtaposed against an underlying vulnerability that all things are changing - his hatred of the PRs (Puerto Ricans) comes more from the fact that they represent change to his 'hood, rather than him having a specific reason to dislike them.  Counterpoint to Riff is Bernardo, leader of the Sharks, and brilliantly played by Jason Slater - the epitome of cool, suave, slick-backed poise. Special mention in the gangs also goes to Andrew Hamilton - this guy can always be relied on to provide great character acting, a really strong voice and, for the opening number, some very nimble jazz ballet moves.

Of course, the guys wouldn't get into any trouble at all if it wasn't for the girls looking so damn hot - Rhiannon Walker as Maria is the perfect innocent with whom Tony loses his heart.  It should never be a surprise to hear Rhiannon sing but I always am, her voice is so pure and clear and when she needs to up the volume, it never, ever waivers. Playing alongside Maria as the foxy, sexy, sassy Shark Anita is Karen Stone and to be honest, the highest compliment I can pay is that she sounds just like Rita Moreno - her accent is pitch perfect through both speaking and signing.  Another stand out in the girls gang is Rachel Slattery playing tomboy Anybodys - always just on the edge of the action, Rachel never plays her as a spoof - she doesn't want to be a boy, she just wants to be treated as an equal in the gang.  In one fleeting scene she brilliantly strips away the laddish facade to show her tender side and give some much needed support to an on- the- run Tony.

Special mention goes to Aoiffe Ne Chaoilte who solos Somewhere.   With brilliant staging in total darkness and Aoiffe lit by a single spot you could hear the proverbial pin drop throughout the whole auditorium.

Of course, DOS are a society and the completeness of the shown would never be possible without the rest of the cast, the crew, stage hands and the wonderful Front of House gang, (yes, that's you Lisa Forster, a cheeky smile, a friendly face and making programme selling a new art form).

It's been 16 years since Darlington OS last produced West Side Story, the world has changed a helluva lot in that time, yet, watching this brilliant performance of racial intolerance, love and heartbreak, maybe it hasn't changed at all.

South Pacific by Darlington Operatic Society @ Darlington Civic

The South Pacific - A vast expanse of emptiness dotted with little island gems

The world was a very different place when Rodgers and Hammerstein created South Pacific.  It was larger, less travelled and as such, more mysterious.  Peoples' opinions and beliefs were more rooted in the culture of their home towns and prejudice sat silently behind every decision.  On one hand, the story is a fun loving musical about an American base on the farthest reaches of Uncle Sam's West Coast frontier - on the other hand it is a veiled attempt at painting a twee fairy tale of good overcoming evil and love conquering even the staunchest of bigotries.

The set-up is typical R and H - introduce a strong, powerful, confident bachelor with a long established routine and an honourable, if somewhat distant, reputation.  Add to that a young woman, pretty, simple yet determined who creates a maelstrom that rips through his ordered life.  Slip into the background some lovable 'rouges' and a presumably innocent side story and, hey presto! you've got a musical.

Darlington Operatic Society again shows why it is the region's greatest amateur production company – the strength in depth that they have throughout their cast & crew must make many professional companies green with envy.  The sets make clever use of the depth of the stage without ever feeling that they are cluttered yet manage to give a great sense of both the expanse of the Pacific coupled with the claustrophobia of a tiny area far from the mainland.

For most who know this show, there are the key standout parts against which any performer will be judged – Nellie Forbush, Emile De Becque, Lt Cable, Liat, Bloody Mary and SeaBee Billis are arguably the main protagonists on whom the audience will be focussed.  Kat Flynn takes on Nellie with a brilliant mid-south accent and a delightful mix of girly charm and womanly knowhow.  Kat is a much accomplished dancer, actor and singer and this role gives her a wonderful canvass on which to display all her talents.  Even when faced with a tumbling coffee pot she never missed a beat and is able to sing beautifully in character with her American vowels ringing loud and true.  It is rare to find Nellie being played by such a genuinely lovely leading lady, often they have a great voice but struggle to portray the vulnerability of a home and love sick woman thousands of miles away from her comfort zone and for this I think that Kat is the best Nellie I have seen.

Playing opposite Kat is Julian Cound, now one of DOS’s elder statesmen (tho only in comparison to the majority of the cast) and, as they say, with age comes experience, wisdom and calm authority.  He glides through the role with complete assuredness and delivers the now much expected virtuoso solos in Some Enchanted Evening and This Nearly was Mine.  There is much made in the story of the age difference between Nellie and Emile so it was expert casting to ensure this element remained very believable in the two leads.

As mentioned earlier, when R & H wrote this tale the world was a different place where the act of racial stereotypes was not viewed with the same indignation as it is today.  The image of a domineering local woman who will do anything to please the temporary islanders whilst trying to make as much money as possible is not necessarily alien to the current world, but their characterisation of Bloody Mary leaves a less than pleasant taste in the mouth –she does, after all, try to sell/marry off her (very) young daughter and thinks nothing of allowing some ‘pre-marital relations’.  To make this role fit with the feeling of the time without becoming a parody of itself is not an easy task – Mary has to deliver both admiration and repulsion and as such Zoe Kent deserves great credit – we’ve seen from previous productions that Zoe can sing & dance with the best of them but it took only a few minutes on stage for the audience to be drawn towards this character like rubberneckers passing a motorway accident.  Mary is not a nice person, even her delivery of Happy Talk, for many an innocent song of childish rhymes, is laced with the undercurrent of ‘selling off’ her daughter and trying to persuade Lt Cable to agree to the marriage; Zoe brings out this dark side of Mary perfectly.

Michael Hirst, as Lt Joe Cable, is, once again, the chisel chinned hunk of the show, and, for this one, the ladies get to see a lot more of Michael than they have ever before – he keeps Joe distant and quite aloof throughout, never relaxed with either the Seabees or the Officers and always giving the impression that he’s lost without a real purpose until his final mission is approved.  Often, Lt Cable is played as an older guy but it works so much better having a young 20-something to give him the confused, frustrated edge borne from being plunged into the war at such a young and tender age.  Michael manages to maintain this reservedness even when playing directly opposite Zoe Birkbeck (as Liat, Mary’s daughter) – he resists the loutish, over-the-top behaviours the other Seabees display when the girls run by and seems almost embarrassed that Mary pushes them together.  I have to say that this is by far the best acting I’ve seen for years – how someone can feign indifference when being ‘offered’ the beautiful Zoe B must surely rival the acting greats.

The Seabees, led by antics if not by rank by Luther Billis, constantly provide the backdrop onto which the two love stories are projected.  Billis, played by Ben Connor, is the clown, the ring leader, the gang master and yet still has the sensibility to recognise when Nellie is obviously feeling fragile & vulnerable.  Ben has grown over the years from an accomplished singer & dancer to a genuinely funny guy with great comic timing, perfect delivery and an amazing style in bikini tops and grass skirts – it is a like a guarantee of laughs when you see his name on the cast list.  The rest of the Seabees is made from the DOS Boys who are becoming renowned as a comic group in their own right; their mix of characters, styles and vocal abilities (including the amazing bass tones of Ethan Hurworth) has given them a collective identity which could easily transfer into their own comedy sketch show.

Of course, the musical score for South Pacific is one of the best known of all of R & H’s and the sweeping orchestral overtures are expertly conducted and directed by Michael Trotter, for whom this is his final DOS production.  Michael has been instrumental (every pun intended) in bringing the successes that DOS have enjoyed over the past 19 years – it has been Michael’s passion and dedication that has enabled DOS to reach ever upwards, to stretch themselves and to dare to dream of putting on bigger and more ambitious shows, for without the music there can be no musical.  Not only has Michael been responsible for assembling and conducting the live orchestras, but he has also scored the vocal parts and taught complex harmonies for leads and choir alike.

It was very evident when looking around the theatre that a South Pacific audience has a clearly defined demographic – its story and setting doesn’t immediately appeal to the younger theatre goer brought up on Sister Act, Hairspray, Footloose or the Full Monty and yet, due in the main to the excellent DOS production, it is easily worth the ticket price regardless of your age.

South Pacific is on show at Darlington Civic Theatre until Saturday 31^st October.

Sister Act by Darlington Operatic Society @ Darlington Civic

Hallelujah, rejoice and praise be to DOS

For some, the signal for the end of summer, the start of Autumn and, dare I say, the run up to Christmas, comes with changing the clocks, golden leaves and the first strains of  Slade; but for me it is always the opening night of Darlington Operatic Society's Autumn show.  This year, the uber-talented gang bring their take on the ecclesiastical smash hit, Sister Act, and oh how the choir sings loud.

The story remains true to the hit film which starred Whoopie Goldberg as aspiring Vegas club singer Deloris Van Cartier (as in the diamonds) who is unwillingly forced to take refuge in a convent church after witnessing a gangland murder by her part time boyfriend and manager Curtis.  The underlying plot could be straight from a Disney movie, outsider refuses to bend to the ways of the establishment, finds she has some redeeming qualities to share and ultimately both sides learn more about tolerance and acceptance while the bad guys get their just desserts.

Having been to see the original show on tour, fresh from the West End, I was a little concerned - the production we had sat through at Sunderland Empire felt rushed and contrived to simply give the leads every chance to " belt out a few" to the detriment of the story or supporting cast.  I wasn't sure if I had seen a poor show or just a poorly directed one but I had no reason at all to be fearful. Under the expert directorship of Joanne Hand, this version is wonderfully paced, gives the audience ample time to recognise the multiple strands of story and yet still finds every opportunity to showcase what must be the best amateur cast in the country.  No stranger to tackling challenging shows (Jo brought the award winning Strictly Musicals to the stage this time last year) Ms Hand once again proves that she has the vision, the skills and the confidence in her performers to aim for the very top and then go one better.

Playing Deloris, which is a truly demanding role both physically and emotionally, is to be shared by Claire Wilmer (who took the opening night) and Rhiannon Walker; the girls will alternate so I hope to go to another show later in the run and report back on Rhiannon's performance.  On speaking to Joanne Hand after last nights opener, she confirmed that it is difficult to tell the two apart; both have an amazing vocal range, both bring their own style of sexy and sassy, and both made the decision to cast only one impossible, hence the shared role.

Of course, the show is not just about Deloris and where would DOS be without a stellar supporting cast, each of whom would undoubtedly enhance any production company in the UK.  Perennial favourite Sam Morrison as Mother Superior brings a degree of calm contemplation in her struggles with God's choice to allow Deloris sanctuary.  As always, every note, every phrase and every emotion is right on the nail.  Beth Stobbart, Darlington's very own Good Witch, plays Sister Mary Robert, the innocent and wide eyed novice who sees in Deloris excitement, danger and opportunity - it is amazing to think that Beth is still very young (won't give away her actual age) and yet has played a huge part in the DOS family for many years.

The rest of the Sister-hood are all given their parts to play too, cameo characters without whom the show would simply become a soapbox for the lead and who ensure that there is an underlying comedic quality which brought many belly laughs from the audience.  I particularly liked Sisters Mary Patrick (played by little Miss Dynamite Lisa Forster), Mary Lazarus (new girl Lynne Kerr) and Mary Martin of Tours (the irrepressible Megan Robson) but as with all choirs, it's the sum of its parts which provides the true force.

It's not just the girls who shine and have fun in this show, DOS boys do us proud yet again with some stand out performances from the North East's leading men.  Julian Cound, as gang boss Curtis, calls on all his acting ability to be menacing and threatening (not easy when you're such a genuinely nice guy in real life), Michael Hirst, star of previous shows as Danny Zucco in Grease and a lobster in Strictly, plays love-struck cop 'Sweaty' Eddie while Curtis's 3 stooges, Joey, TJ and Pablo, ensure that there is always some slapstick comedy sitting just under the surface.  To be fair, Ben Connor, Andrew Hamilton and Leighton Taylor are much more than just 3 patsies for Julian to play against, they are all brilliant singers, great actors and have such confidence on stage that they could easily form a breakaway show of their own.

The soundtrack for the stage show doesn't have the well known songs of the original movie, these songs have been specifically written but what that means is there is more of a consistent feel and theme throughout all the numbers; the band, led as always by impresario Michael Trotter, get right into the 70's groove with great funk, soul and disco acting as a juxtaposition to the nuns choral harmonies. The stage, set & costumes too belie any suggestion that this is an amateur production and just goes to show that DOS is, from top to bottom, front to back, professional in all but name.  That's why, when some major tours are struggling to put bums on seats, DOS can pack 'em in and then get 'em on their feet dancing and singing.

I could go on naming more and more of the cast and bestowing due praise on them all but rather than take my word for it, why not get some tickets and go and see what is undoubtedly the 'Must See' show of 2014.

Grease by Darlington Operatic Society

They're the ones that YOU want !!

Following on from last Autumns spectacular, Strictly Musicals, Darlington Operatic Society launched their Spring show, Grease, last night to huge applause, standing ovations and no shortage of critical acclaim.

Every year, DOS leave their audiences wondering how they can possibly top their most recent show, and every year they go one better - well with this show they've totally upped the bar when it comes to professional production values, great voices and bags of family fun.  Packed with all the classic songs known and loved from the biggest musical film of the 70's, this is much more than a simple sing-a-long stage version of the Travolta & Newton-John legend.  The choreography keeps it fresh and lively while the slight change in the musical running orders stops any complacent viewer from shuffling "I know what's coming next".  As for the cast, everyone on the stage looked like they had accomplished a childhood dream to 'sing Grease' on stage in front of a full house.

The leads, Michael Hirst and Selena Blain managed what so many since John & Olivia have tried and failed - they really gave you the impression they were into each other and the chemistry was there for all to see, bubbling under.  Michael had the swagger of Travolta, helped in no small part by his proud jaw line, cheeky smile and smooth moves while Selena (who many will remember for being Aerial in Strictly) had all of Newton-John's candy kitsch and faux innocence until the bg switcheroo at the end.  I don't want to spoil just how amazing Selina looks as sexy Sandy, but I will steal a quote from a previous show, The Producers, when I say "you can't see it but we're giving you a standing ovation."

Of course, there are more than just the two love birds in this show - Nick Holmes as Kinickie is perfect for belting out "Grease Lightning" and it is very clear that he has studied all the words to ensure his 'actions match up to their meanings'.  Katie Carter, making her DOS debut as Rizzo had a great first act in which she stays very much the matriarch of the gang, slightly aloof, cocksure and more mature than the other girls, but it was halfway through the second act, with her solo of "There are Worse Things..." that Katie stopped the whole auditorium dead in its tracks.  She managed to bring out Rizzo's vunerablilty perfectly, pealing away her protective shell to show a glimpse of the little girl underneath, before putting the barriers back up and returning to the hard Rizzo of before.

One of the great things of a stage show over a film is that there is more licence to allow some characters to relax and have bit a more fun - nonemoreso than Andrew Hamilton and Hayley Walker who, as Roger and Jan, brought the house down with their mickey taking and comedic ribbing, especially as they extol the virtues and love of lunar pastimes.  Even when she is not front and centre, Hayley adds so much to her character - at times I found myself watching her instead of centre stage and laughing at her extra little antics.

Another who made me hope she would be in all the scenes was Claire Williams, playing Patty - she is just so adorably high octane that you want to box her up, put her on a shelf and keep her for those days when you're feeling a little low - she is a pocket rocket of energy, the perfect Little Miss Goody Goody and a great mover to boot.

The set design and choreography are all fantastic and show true ingenuity in how to make the most of stage space while the costumes remain true to the feel of the film without being mere copies - that said,  Glyn Bigham in his all white suit was a heavenly vision straight out of the (Beauty) school of Frankie Avalon.

Of course, Grease is habitually a younger persons show, it is, after all, set in High School, but that's not to say that there weren't parts for all ages of the society. It is a great testament to the all the cast of DOS that so many familiar faces from Strictly Musicals were present in the company, and even though they weren't taking leads this time they looked like they were still having a fantastic time.

Looking round the theatre before curtain up and talking to many at the interval, it was obvious that the majority of the audience were there to see Grease based on a love of the film, however at final curtain everyone agreed that this performance was every bit as good as the movie and then some - there is a far better connection to the characters when you can see them live in front of you but more than that, you can feel their total enjoyment in what they are doing; the audience feed off the actors enthusiasm who in turn respond to the crowd - perpetual energy has at last been found.

The final curtain call was met with standing ovations throughout, well deserved by all on stage and even more so by Directors Martyn Knight, Joanne Hand and Michael Trotter.  I hope that this great theatre has strong foundations because on this showing there will be many more throughout the 10 night run.

Grease, by Darlington Operatic Society, is on at Darlington Civic Theatre until Saturday 12th April - there are still a few tickets left but hurry - see the DOS website for more details.

PS - I couldn't write a review on a DOS show without mentioning my two favourite girls - Zoe Birkbeck and Chloe Dargue - Great Hand Jiving Chloe and Zoe, that mauve sweater - Oh My !!  x

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.