Twenties by Charlotte Anne-Tilley on YouTube

Twenties - a familiar story?

In the absence of indoor live theatre we are looking for other creatives to review and share

Today's offering is a YouTube video part of the Command Fringe Festival

The play, performed as a series of talking heads direct to camera (and filmed creatively in lockdown) follows the story of Hope, a young girl who takes her first steps into adulthood by moving from her hometown in Cheshire down to the bright lights and glamorous attractions of London.  Initially written by Charlotte Anne-Tilley as a one person show for the Edinburgh Fringe, this has creatively been adapted to a full cast production.

Initially full of optimism and excitement of finally becoming independent, she soon realises that the neurotic ramblings of her overprotective mum were actually warnings she perhaps should have heeded.

Securing her first job, living in the cosmopolitan world and being free to make her own choices begin to lose their lustre when she has to face up to the fact that not all people are good, honest and compassionate.    Things take a marked turn for the worst when she has to deal with sexual harassment in the workplace and the fallout of unwanted advances from her boss.

A great play which at this time of year, when many young adults are getting ready to leave home for university, rings some all to familiar bells.

Cast:

Hope - Charlotte Anne-Tilley
Mum - Jessica Jane Parsons
Daz/Dad - Harry McMullen
Beth/Jenna - Zoe Birkbeck
Jess - Fiona Townsley

Written by Charlotte Anne-Tilley

Directed by Kaye Somerton

Watch it now - https://youtu.be/xcusTnn58BM 

 

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.

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 - 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.