Priscilla, Queen of the Desert

 

The Spring DOS show is packed with camp glamour, a rocking soundtrack, stunning costumes and some of the best performances you’re likely to see anywhere on stage.

The story is of 3 drag artists, Tick (Ben Connor), Bernadette (Julian Cound) and Felicia (George Hurley) who trek across Australia to perform a show for Tick’s wife Marion (Kirsty Furness) at the Alice Springs Casino.  Tick, who also has a son to Marion whom he has not seen in years, is desperate to give fatherhood a try.  Bernadette, a slightly neurotic former Les Girl has just had her heart broken by the death of her love, Trumpet and sees the trip as an opportunity to escape the sadness. Felicia is a hedonistic party fiend, for whom the trip will give her the chance to fulfill a lifelong dream of climbing Ayres rock in full drag. 

Ben’s Tick is as close to watching Hugo Weaving as you’re ever likely to see; brilliant campy when needed, soft and vulnerable and with impeccable comedic timing.  His MacArthur Park routine will have you gasping for breath.  Julian, as the older, more mature Bernie makes for a very glamorous MILF; stone cold in his sarcastic put downs he anchors the two younger fly-by-nights.  George takes on the renegade role, the “can’t be stopped and to hell with the consequences” I’m going to poke this with a stick and see what happens.

Of course, the Australian outback isn’t the most of tolerant of differences and so their journey is met with a mixture of acceptance and appreciation coupled with bigoted scepticism and prejudice.  The story is as much about asking the audience to consider their own tolerance as it is about celebrating the glam and glitz which, without ever preaching, is rather apt in the current world.

Bringing the 1993 movie to the stage is a wonderful opportunity for cast and crew to big up the bling, the hair, the heels and the eye shadow and this version leaves nothing in the dressing room.  Scene changes are seamlessly accompanied by Miss Understanding (Eddie Taylor-Jones at his most flamboyant EmCee-esque best) and the Divas. Led by Jess Harrison with Jenny Poole and Claire Wilmer, they treat us to some of the biggest, campest pop songs including Go West, It’s Raining Men, Girls Just Wanna Have Fun and Venus. Brilliant costumes (fans of the film will be delighted to see some favourites) and a wonderful Priscilla make it impossible to turn your eyes away for even a moment.

Notable other mentions must also go to David Murray as Bob, the dusty outback gentleman who wins Bernadette’s broken heart and his mail order wife Cynthia, played by the irrepressible Natalie Robinson, following which I will never be able to watch table tennis or listen to M’s ‘Pop Music’ ever again.  Tick’s son Benji is played by either Noah Abbas or Alfie Webster – we saw Noah who was amazing, a great actor and no slouch in the singing.

The ensemble, as is customary with every DOS production, can turn their hands, feet and voices to a whole range of numbers; Cowboy hoedown, Kylie inspired 90’s pop, Outback seedy bar and of course 70’s disco are all given the DOS treatment with Director and Choreographer Joanne Hand once again creating phenomenal multi-layered routines which show off the cast’s talents perfectly.

All in, this is a perfect show for fun, laughs, sing-a-long, feel good and boy do we need some of this at the moment – I’d go so far as to say this is the best DOS show I’ve seen in over 10 years of reviewing.

Priscilla runs until Saturday 7th May - tickets available from

https://www.ticketsource.co.uk/darlingtonos/e-jvekxd

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

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.

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.

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 @ 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 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/

Rehearsals & Behind the scenes of Strictly Musicals by Darlington Operatic Society

Let the countdown begin .....

With only 6 weeks to go before curtain up, this is the first of a series of blogs giving a peek behind the scenes as Darlington Operatic Society prepare for their Autumn show - Strictly Musicals, all your favourite musicals in one spectacular show - and to meet some of the stars of what is undoubtedly going to be yet another mega smash hit in their long line of fab productions.

For some, Sunday mornings are all about having a lie in, lazily reading the papers, perhaps a leisurely walk to the pub or catching up on the weeks Sky+, but not for the dedicated cast & crew of 'DOS';  they are working mighty hard to ensure that their latest musical extravaganza is practically perfect in every way, and on today's showing it's going to be breathtaking from curtain up to their last encore.  Many had been up well before Dawn*, stretching, flexing and readying themselves for the physical and mental tests ahead.

The task of taking some of the biggest West End and Broadway show tunes from the past 80 years and moulding them into a unique song and dance review full of energy, passion and excitement lies on the slender, but no less strong shoulders of Director and Choreographer Joanne Hand .  Make no bones about it, such a review is far more demanding than any usual production - each number needs to capture its essence, emotion and purpose but has to do so without the preamble of the original production from which it is taken.  Song choice is therefore uber important to ensure that there remains a flow throughout and Joanne has styled a show which will not only bring hit after hit to the Civic stage, but will serve to showcase the depth of talent which the Society has in its ranks.

I was unaware just how hard it is for adult 'amateur' production companies to get permission to stage some of our most famous musicals; schools and youth theatres have relatively easy access to them, but as Julian Cound, marketing manager and one of the leading men at DOS explained, once you move into adult production the performing rights owners are very guarded about who & what they allow; so much so that even recognisable dance steps and costumes are often prohibited from being 'copied'.  All this adds to the challenge faced by Joanne, but on today's showing, it's a challenge which she not only relishes, but overcomes with aplomb.

Today's rehearsals focused on running through 4 key numbers (I could tell you which ones, but then I risk being shot) plus the 'setting' for two more (I'm already learning the terms).  The cast already know their singing parts so this was very much focused on the dance & stage routines; at over 4 hours rehearsal today covering approximately a 5th of the overall show, and being only one of 3 rehearsal sessions this week,  it was a clear demonstration of the amount of time and effort everyone puts into ensuring the show will be ready for first night.  Lest we forget, this is an amateur production company but with dedication and passion that would put many professional groups to shame.

What was very evident is the genuine enthusiasm with which everyone approaches their parts; forget any preconceived ideas of rehearsals being a quick watch from the front and then everybody is step perfect;  these numbers need the utmost concentration coupled with precision timing (and knowing your left from right - and whose left & whose right) while singing, acting and being aware of the audience.  With up to 40 people on stage, many of the numbers are multi-layered with multiple cues,  harmonies and counter points so it is testament to the dedication of the cast that they very quickly grasped their directions for each number and did so while still smiling - after all , it is meant to be fun.

I left today's rehearsals with a head full of tunes (which no doubt I will be humming in my  sleep), a greater insight into the complexities of choreographing (it's all done with numbers and letters, like A level maths, only much harder)  plus I now know the difference between my Dozy Doe, my Grapevine and a Shadows Step, just don't ask me to show you.

"Strictly Musicals" will be a night filled with music & dance from the nations favourite shows including Miss Saigon, Les Miserables, West Side Story, Chicago, Beauty & The Beast, Matilda, Blood Brothers and many, many more.  

The show runs from 23rd October to the 2nd November at Darlington Civic and tickets are available from the website http://www.darlingtonoperaticsociety.org.uk/tickets/