Strictly Musicals 3 - THE Greatest Show

"Everything you've missed over the past 18 months, all condensed into one amazing night performed by truly amazing people"

The Darlington Operatic Society (DOS) Autumn Spectacular Strictly Musicals 3 - The Greatest Show opened last night and once again they delivered a show full of passion, humour and talent.  From the opening refrain of the Greatest Showman (from the smoldering Michael Hirst), right through to the confetti explosion at the end of the very apt for the times Spread the Love Around (led by the ever youthful Sam Morrison and Rhiannon Walker), the cast, crew and orchestra never missed a beat, a harmony or a step.

It's well known that DOS has a rich pedigree for bringing together great talent with ambitious choreography and stunning costumes; recent shows include Jekyll and Hyde, Priscilla Queen of the Desert and Chitty Chitty Bang Bang.  This production not only showcases even more brilliant voices, they open up some new shows which many may have not yet seen in the UK.  It is testament to the whole company that they are confident to mix classic with contemporary and do so whilst raising their already high bar even higher.

Hits from current smash shows like award winning Six , Dear Evan Hansen (the movie version premiers this week), Something Rotten (which has yet to open in the UK), The Wiz (just about to commence touring again), The Book of Mormon and current West End darling Cinderella gave the Darlington Hippodrome audience a taste of West End and Broadway well before most people have had the chance to see the full productions.  

The DOS 'treatment' (40+ voices in perfect harmony) is given to Les Mis, The Greatest Showman and Cinderella medleys, while solo stars have the audience holding their breath in Bodyguard (Jessica Harrison, Katie Blythe, Claire Willmer, Rhiannon Walker, Kate Williams), The Witches of Eastwick (Zoe Kent, Sam Morrison, Sarah Harland) and La Cage Aux Follies (Julian Cound).  

This year, more than ever, sees many powerful, beautiful female voices, each one would deservedly be a leading lady in their own right, but through the brilliant musical direction of Steven Hood they become a collective force majeure.  

Just as impressive as the singing is the dancing; the company are able to switch seamlessly from ballroom to hip hop, from ragtime to ballet, with the grace and precision one would normally only expect from professional troupes. Most shows will have 2 or 3 main dance numbers, here there are 13 (complete with costume changes in between) and yet the synchronisation and coordination is flawless.

Director and Choreographer Joanne Hand has ensured that the running order brings variety to the pace and tone; company ensembles are followed by intimate solos, powerful ballads play against comedic romps (It's a Musical from Something Rotten is a riot, playing on the brilliant natural comedy talents of Leighton and Eddie Taylor-Jones).  With so many numbers to choose from and a cast who can literally perform ANYTHING, Joanne probably has the hardest job right at the beginning of production in deciding what NOT to include.  As mentioned before, the choices for SM3 will undoubtedly open peoples' eyes and ears to new shows as much as help them fall back in love with old ones.

Looking back at previous Strictly Musicals which were great jukeboxes of musical hits, this production feels more mature, more complex and, if at all possible, even more professional - if you love musical theatre, if you want to sit in awe for an evening and marvel at the local talent or if you just want a great night out then I cannot recommend anything better than DOS Strictly Musicals 3 - it is THE Greatest Show.

Details, tickets and times are available at 

https://www.darlingtonoperaticsociety.org.uk/productions/current-show/

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

Strictly Musicals by Darlington Operatic Society - Battling GTA

There's no better show in town !

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

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

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

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

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

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

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

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

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