Ladies In Lavender
GTC in ‘Ladies in Lavender’, a most pleasurable evening.
The settings very clever and appropriate and good period, dressings excellent: the split main stage worked well for bedroom and living room, and the side stages for beach and garden meant no disturbance in action for scene changes so that the play flowed. Costumes and props worked (except for the very modern violin case which grated, surely an older version could have been borrowed?)
We have all seen the film and how difficult to follow that but the casting worked well with the two leads really making their characters speak: Lyn Waterfield as Janet definitely the more domineering sister and more experienced but the newcomer to GTC Deb Harris as Ursula sympathetic and empathetic to the boy and letting her feelings overcome her. Their relationship as two sisters sharing house and lives bonded well in a balance cast and provided a gentle style of period living to set off their conversations. These two really did manage those huge roles to great ability.
As Dorcas, Sue Newstead had a dream of a role to develop, almost running the house and influencing situations, her timing excellent throughout, interesting that ‘the maid’ often has such a dominant part in these domestic situations.
Experience as a character role, John Woods as Dr Mead was ideal in his dealing with both the ladies and the boy, a lovely warm person, also was he really falling for the lovely Olga? And as Olga, Laraine Gooch came over as bohemian and artistic and yet determined in her quest to put the boy on the right road through her brother’s influence.
What a joy to get the right age and style and experience through Dusmagrik onwards for Bradley Mercer to play the part of Marowski, rescued and cared for, responding to the ladies particularly Ursula, and showing his talents in acting the undiscovered musician, a very sympathetic interpretation
A lot of skilled technical input from Ed Blankley on sound with all those mood enhancing musical interludes, I did ask you about whether in script as to what scores used. Also lighting those different acting areas on time kept Dan Coates busy.
Altogether a relaxing and interesting evening at the play and pleased that the support was good.
Sue du Pont
Reviews
Sweeney Todd 2022
Review from our NODA rep Sarah Meers
Director Jeannie Kinkaid
Musical Director John Stephens Choreographer Natasha Bird
Performed at Gorleston Pavilion Thursday 27th October 2022
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Sweeney Todd The Demon Barber of Fleet Street. This title conjures up a tasty, theatrical treat, an infamous tale of blood and slaughter and is described as a musical thriller. I could not wait to see the Gorleston Theatre Company's interpretation of such an adventure into this morbid storyline. I was welcomed into the theatre with the usual warmth from a front-of-house team and a punchy opening, which set the mood with a dark and eerie ethos of a shop site in London. This tale of human meat pies, murders galore and emotional reactions to their living conditions in the back streets of London and fatal relationships with one another. A gory story!
Sweeney Todd (James Spink) Played his debut casting to a twisted nature, a hot-tempered but vulnerable man with his own style. Mrs Lovett (Mel Bedford) had clear diction with a good singing voice and accent. Johanna (Frankie Browne) created a beautiful character with a great singing voice and Anthony (Jamie Coleman) aptly adopted a good characterisation of the role. Both had a good stage rapport with each other. Tobias (Blake Carter) excellently portrayed this part with a good clear voice and The Beggar Woman (Taryn Taylor) used the stage with impact of such a Psychotic role. The judge (Ian Sykes), Beadle (Jason Delaney), Adolfo (Jamie Bernthal-Hooker) and Jonas (Brian Tawell) all fitted their roles into the setup and the chorus supported well. A brilliant cast. I especially liked the psychiatric scene, such brilliant story telling, in fact, everyone concerned did exceptionally well in a really complicated plot.
The direction team worked well together to create this framework of a difficult show. The Director (Jeannie Kinkaid) used different effective levels and areas to make this eerie ethos. The Musical Director (John Stephens) made the music an integral part and showed the company's skills in singing and the Choreographer (Natasha Bird) showed apt moves and dance for the appropriate styles.
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The scenery was well thought out and the trap door with the chair, where the victims slid down the shoot made the whole look effortless. This was breathtaking and I would imagine for some quite daunting. You all dealt with this incredibly well. The furniture and props were suitable and the costumes created the right atmosphere, dark and gritty.
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Personally, props should always be as realistic as possible, with reference to the baby at the beginning of the show and the eating of the pies. The portrayal of characters may need just a little more depth. light and shade are essential and sometimes it is acceptable just to have stillness and silence to enhance the atmosphere. Consider the use of stairs with lib and when/how to deliver to the audience.
This was an entertaining evening of musical theatre at its 'bloodiest' and it was a 'bloody' great show!!
Congratulations to all involved. Well done.
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Kind regards,
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Sarah
Sarah Meers
District 6 Representative
NODA East
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Sweeney Todd a cut above the rest
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Former BBC Radio Norfolk presenter and theatre reviewer Tony Mallion was so impressed by the recent production from Gorleston Theatre Company that he offered his thoughts to Gorleston Community Magazine:
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Staging Stephen Sondheim’s masterly musical Sweeney Todd complete with the largest pit orchestra ever assembled at the Pavilion was a brave move by Gorleston Theatre Company. It paid off magnificently. The show was a triumph.
Regarded by many as Sondheim at his best the composer helped to blaze the trail for this type of sung-through musical opera ahead of Les Miserables or Phantom. The story of Sweeney Todd, the demon barber of Fleet Street who slit the throats of his customers before sending the remains to Mrs Lovett to add to her meat pies is a grizzly one. Not so much song and dance as blood and guts, a gritty and tragic tale of a man seeking revenge for the loss of his wife and daughter.
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This was a compelling evening and a challenge for director Jeannie Kinkaid whose ambition it had been stage it. All credit to her for succeeding, not least in bringing together such a fine cast. She had the courage to give the role of Sweeney to total newcomer James Spink who was making his debut on the amateur stage. He may have lacked experience and training yet he brought this dark and brooding character to life in a remarkable way.
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He was surrounded by an exceptional line up of other principals. As Mrs Lovett Mel Bedford lit up the stage with her voice and comic timing; Frankie Browne was spot on as Johanna; youngster Blake Carter played his part with great confidence while Jamie Coleman was a real star with such an impressive voice. The rest of the cast provided good support and while this isn’t a show with big chorus numbers choreographer Natasha Bird helped to ensure the performers and evening flowed well.
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So much rests on the musical director and GTC were in good hands. For the first time in the Pavilion’s history there was an 18 piece orchestra ably conducted by John Stephens. He brought together so effectively the cream of local musicians and the cast in this lengthy score which includes the beautiful and heart rending songs ‘Johanna’ and ‘Not While I’m Around’ along with Mrs Lovett’s witty comic number ‘ A little bit of Priest’.
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The whole stage area was used to full and great effect. The set, designed by Stephen Wilson of Scenic Projects originally for the Lowestoft Players, perfectly captured the atmosphere of Victorian London incorporating Sweeney’s shop and his sinister barber’s chair which neatly despatched his unfortunate victims down a chute to Mrs.Lovett’s bakery on the floor below. Tom Darnell’s lighting did so much to enhance it all.
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Gorleston Pavilion has happily become a home to local musicals and this was an outstanding example. As the orchestra finished the play out music I sat fixed in my seat, not wanting to move, such was the impact of this show. An evening to remember. Had I been a Strictly judge I would have been waving ten points and hailing it as FAB-U-LOUS !
Tony Mallion
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Gorleston Theatre Company, ‘Ladies In Lavender’. Pavilion Theatre, 20thth Oct 2018.
Director, Jeanie Kinkaid. Producer, Terry Wing (for GTC)
Good to see another play presented at the iconic Gorleston Pavilion Theatre. GTC excelled last year with ‘Cash On Delivery’ and there can be no more contrasting content than that offered by the gentle almost soporific scripted content than that presented by ‘Ladies in Lavender’. The whole scene on stage is portrayed by a cleverly devised ‘split’ set to capture the need to transfer the action from Cornish cottage sitting room to bedroom. The set was well constructed to allow a seamless movement from room to room, each carefully ‘dressed’ to suit the location…add to this the particularly well depicted use of the raised front of tabs podiums to convey the outdoor scenes for beach and garden…The setting was important to the film of the same name and here we had an excellent recreation of the environment in which this gentle but intriguing story unfolds.
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The characters were well cast and showed the appropriate sense of, shall we say excitement, at the unexpected arrival of a stranger on the shoreline…was he alive or dead? Soon answered, as the sisters Janet Widdington (Lyn Waterfield) and Ursula (Deb Harris) ‘rescued’ and took care of him in their spare bedroom. They portrayed and lived a humble and secluded life in a remote part of Cornwall and it seemed at first that they showed no more than a caring humanitarian desire to restore him to full health. They shared their home with a housemaid Dorcas (Sue Newstead) who added a nice touch of humour to the proceedings. They were assisted by Dr Mead (John Woods) who visited and gave the basic medical attention and advice without any particular drama ! Now the sisters were torn it seems by their feminine instincts and, although it took some time, Ursula began to show her interest as just a tad more than Janet would expect, or indeed understand! This gentle change was well conveyed over time… Perhaps there could have been a tad more conflict here? But no matter, they grew very fond of their charge Andrea Marowski (Bradley Mercer), who immaculately portrayed the ‘lost’ and bewildered foreign (Polish it seems) ‘alien’ to their home. His was a role which in Act 2, brought the play to life with a nicely underplayed moment as he reveals his talents for violin playing and aspirations of making a living in America. A coincidental meeting with Olga Danilof (Laraine Gooch) was to change the outcome of this story as by chance she turned out to be the sister of a famous concert violinist Boris Danilof. She matched the mood of the piece and showed just the right level of concern and interest in Andrea. Now the sisters were faced with the truth, and their attempts, especially by Ursula, to continue his stay with them were clearly exposed.
Andreas’ dramatic unexpected departure and consequent radio concert performance brought a very satisfactory ending to this, and I say again, gentle piece, of a simple tale, and the effect that something out of the ordinary mundane lifestyle can bring! A well considered performance by all concerned, and good to see something with a personal deep emotional exploration of the human psyche. Well done!
Review by: Terry Rymer (NODA Rep East Dist 6)
9 to 5
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DIRECTOR- Julia Rymer
MUSICAL DIRECTOR- Richard Ward
CHOREOGRAPHER- Natasha Bird
Report
Author: Susan DuPont
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What a toe-tapping enjoyable evening we participated in with the packed auditorium and a real feel-good atmosphere.
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An excellent set from Little Shop of Hires, the side stages of cloakroom and car really assisted the space leaving the main stage for the office scenes. Must congratulate the speedy stage crew for their changes of the desks etc so that the sequences not held up. And the video Dolly inserts worked well on side screens to complete the scene.
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A very tight, fast-paced, well cast, and fun production under the auspices of Julia Rymer, very professional; good suitable choreography for the period from Natasha Bird, and MD Richard Ward kept up the frenetic pace with his ‘jamming’ orchestra, certainly this ‘Dolly Parton’ musical gave in every direction.
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The ensemble (obviously having a great time) were in very full volume and energy plus for all the routines. This show opened with the strong ensemble rousing from slumber, with clever individual traits portrayed, as they are mutually lifted from what can only be described as a somnolent sleeping ‘pile’, while they deliver the rousing opening iconic song ‘9 to 5’. This was cleverly interspersed with projected images of Dolly herself, on screen introducing the lead characters and their domestic situations. They were then transposed before our very eyes into the office environment of Consolidated Industries where they were to spend the working day as per the title, and without taking a breath, launched into ‘Around Here’, with intricate movement around the office environment. This number, and the preceding intro ‘9 to 5’, provided a vibrant and well received opening to this highly entertaining production where casting of the principal roles was crucial to the success. The featured dancers added to the professional look to the big ensembles numbers especially in those ‘dream sequences’.
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The casting of the three lead ladies was amazing and exemplary, see that two came into the group for first time, but all three had had professional experience and how it showed with those vocals and personalities, (‘I just might’ great trio from these girls). Rianne Haynes as Doralee looked great in her blonde wig and brightly coloured dresses, personality oozing out of every pore, the vocals almost overpowering and so right for the role, and how well she worked with Ian Cook as the sexist Franklin Hart, certainly good foils for the humour in all interactions throughout. Lorna Emery as Violet had glamour, attack, and huge vocals again, personality to compliment the role and to work in that team of three, developed and became stronger throughout the evening as required. Jessica Whyte as Judy was the third star in this trio of girls with the ideas and the voices (good number ‘Get out and stay out’), certainly this was all powerful stuff over the footlights, a knockout for the audience. As Roz, Nichola Mills put in her oars and fought for attention against this strong trio, as she did her support theme for Hart. Nice cameo from Helen Roscoe as the drink problem Margaret. Violet, Judy and Doralee, Roz and Franklin Hart Jnr were outstanding !!!! (understand standing ovations each night!)
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To the men and Ian Cook as Hart is always so professional in everything, fabulous timing to point the humour, flexibility of movement, great smooth singing and dialogue, excellent interaction with all the cast and particularly the four girls. First timer from the youth productions, James Small is one to watch as his Joe hit the right space with good vocals, nice personality, and worked well with Violet in the office. Liked David Cooper and Tim Hogbin in their minor complimentary roles, and of course Terry Rymer in his finale cameo as Tinsworthy to wind up the show.
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This musically complex show underpins the ‘other talents’, that should be attributed to Dolly Parton as composer. It is a show that exudes vitality with much fun, humour and even social commentary equally pertinent today! A great evening of strong song and dance enjoyed by all in the Pavilion.
Dick Whittington and His Magic Cat
2013
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DIRECTOR- Julia Rymer and Terry Rymer
MUSICAL DIRECTOR- Bob McNeil Watson
CHOREOGRAPHER- Laura-Jane Timewell
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Report
Author: Susan DuPont
With Terry writing and producing (and also performing), and Julia directing, this was a Rymer Family extravaganza. What a great traditional pantomime we all enjoyed, story line recognised and familiar, with a few tweaks, a very good line-up of talented principals with a lively chorus and dancers and ‘tinies’ to deliver it all, funny lines and good comedy, well chosen and well delivered music, and above all a fantastic pace keeping the whole production moving smoothly. In the title role, Kristie Read was a real find with personality, looks, style and voice, she carried the story along well and worked in good partnership with the charming Alice Fitzwarren from Katy Waterfield. The traditional ‘good and evil’ were well realised with a delightful Spirit of Bells (Hannah Hoffman) and her troupe of dancing fairies more than balanced by that big and dominating ‘baddy’ King Rat (Mike Coleman) in a superb display visually and vocally of something we do not want to meet (luckily good prevails in pantomime), and not to forget his Ratlings in support. This pantomime was very strong on the comedy front, not missing a trick with the many characters in that line-up. I could not believe Jason Ames as Sarah the Cook when I met him after the performance, timing and comedy plus and still very young to play the dame with such showy competence, loved all his costume changes and interactions with the rest of the cast and the audience, a proper Dame. The couple of Idles Jack (Sam Street) and Jill (Angie Smith, clever to give another female role) were swift and on cue with timing and fun and great pace in feeding the lines, the repartee sparkled; a confusion in my mind as Jack not so traditional in style because, although he had great contact with the audience, he was not always ‘nice’ to Dick in some scenes: however there was so much talent displayed there, excellent. Somehow we managed to get Sherlock Holmes and Whatson on board in the comedy team to search out the plot and sail along with Captain Quirk to the treasure island of the Sultan and Sultana, good performances by all (Terry Rymer, Clinton Wright, David Cooper, Jonny Rust, Charlotte Croft) adding to the overall enjoyment of the show. And a very busy Cat (Laura-Jane Timewell) also doing choreography. Liked the under water UV sequence. Altogether a very high standard of pantomime, fulfilling all the many requirements of proper traditional and fun for all, congratulations to all.
Heroes
2015
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DIRECTOR- Terry Wing
MUSICAL DIRECTOR-Richard Ward
CHOREOGRAPHER- Natasha Bird, et al
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Report
Author: Terry Rymer
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Well I watched ‘Dracula’ at Halloween, Oh What a Lovely War at last year’s anniversary, Christmas Spectaculars and Pantomimes at Christmas...so why not ‘Heroes’ on Armistice Weekend ? I was inclined to think “not another compilation show!”. BUT I was pleasantly surprised...This show was slick, well put together and sparkled with variety to suit all tastes. I will not attempt to list each performer in turn but would commend the decision to have some lighter moments to compliment the poignant poems songs and readings nicely presented by Dusty Miller and Jill Emmerson. There were highlights of course, and even the ‘spoof’ notices read by the Rev Cuthbert Clenchwarton. His flock clearly revelled in the opportunity to ‘do a turn’ and there were plenty of takers!
The song ‘Honour of Your Name’ by Frankie, I am sure, had the audience shedding a tear ! The first half ended with a moving tribute of readings (Jill) and The Company rendition of that favourite ‘Keep The Home Fires Burning’ and Frankie again with ‘The Sunshine of Your Smile’. This seemed like a fitting finale and would have left us happy that we had seen an excellent and memorable tribute. But that would have deprived us from the really bold tribute to that, of its time, iconic Theatre ‘The Soho Windmill’, with its ‘We never close promise’ and of course the Windmill Girls! This was a brave and spectacular set to introduce us to Mrs Henderson (Jill) with her story of young men cut down in their prime and well before they had experienced the ‘Joys of life !’. It seemed a shame not to make more use of such a fine setting! The comedy sketches in Act 2 offered a bit of light relief with ‘Over the Fence’ ( ‘Fanny and Freda!’) vying for the role of Dame in the next panto, and more ad-libs than an unrehearsed melodrama...we forgave them though as audiences love a comedy ‘fluff’! The company with Lyn in charge also made us laugh with ‘Who’s This Geezer Hitler..’. Other items were well delivered by members who may not normally get to sing solo on stage. The choreography was simple but effective and the links between each of the presentations were smooth and seemless, and we did not miss the conventional MC role.
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There were of course the usual and well aired sing-along songs to round off the evening with favourite songs and hymns (‘I Vow To Thee My Country’ must be a contender for an English National Anthem!). If not then ‘White Cliffs Of Dover’ or ‘There’ll Always Be An England’ will do !
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This was a moving and, I repeat, a slick well organised tribute show, which perhaps erred slightly with a tad too much to savour, but none the less it was the best of the Wartime memorial shows I have seen ! These shows can be as much of a challenge as full scale musicals with costumes songs music and sound effects and this all came together on the night so well done GTC.
Honk
2017
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DIRECTOR- Jeannie Kinkaid
MUSICAL DIRECTOR- Sorrel Adams
CHOREOGRAPHER- Louise Archer & Charlotte Durrant
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Author: Terry Rymer
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If only this piece had a title the public could understand…it would receive far more credit and accolades than perhaps it does under its’ licensed title (HONK!)… Of course it is the tale of one of Hans Anderson’s favourite tales ‘The Ugly Duckling’. All was to become totally clear as this well conceived production told this emotional tale with some lovely portrayed roles with more human overtures! From the clever egg hatching moment as four cute little ducklings (Dylan Taylor, Yazmin Feek, Leah-Mallett, Willow Abbotts-Freeman.) popped into the world leaving the big brown egg of dubious origin to follow as Drake (David Clarke) defends his paternity with a certain amount of pride and just enough doubt to keep us guessing? Mother Duck Ida (Andrea Whiting) was of course indignant that all was above board and that the egg was no ‘cuckoo in the nest’. This pair were well matched and with the necessary display of warmth and parental angst providing constant reassurance throughout.
The big egg did eventually hatch to reveal the gangly proportions of ‘Ugly’ (Neville Rowell) the, shall we say, unusual duck with considerable ‘different’ appearance and demeanour. From the outset we were aware that his was to be a performance to remember; enhanced by his high quality singing voice we were entranced as he managed to navigate his way through the traumatic paddlings and flutters as he progressed to that picture of the confident and handsome ‘Swan’ as per the story we all remember ! He was HONK to a tee ! (perhaps a few more of his throat curdling “Honks” were needed to justify the title!). There were traumas along the way of course, and Cat (Chris Whiting) showed the necessary cunning to lure our ‘would be’ hero to his lair under all sorts of pretexts with wily aplomb and fine vocal renditions. He was thwarted by some noteable interventions from other Characters along the way many playing more than one part (to confuse your reviewer!)… We had Greylag the Goose (Nick Funnell) also featured as the maligned Teacher Turkey supported by Dot Goose (Terry Wing) in a super ‘flight scene’ and song. Various helpful Ducks or Fowl of unknown origin all adding some gravitas to the search for our ‘lost Ugly’; Maureen (Lyn Waterfield), posh cat Queenie (Maureen Rogers), Lowbutt (Angie Smith), Grace (Pauline Dyball), Henrietta ( Clare Johnson), Mother Swan (Laraine Gooch) as she preens herself with pride and just a few reservations as her daughter Penny is wooed and falls in love with our ‘handsome Ugly’ as he completes his transformation into a majestic Swan! Add to this the balletic grace of Spirit of The Lake (Sidony Gooch) and the ever watchable Junior ensemble plus more fine vocal support from the Adult Ensemble all performing with enthusiasm and well balanced vocals to the accompaniment of an effective backing track score (Not the orchestra listed!) a brave but successful decision! This was a well considered entertaining production and provided yet more evidence of the new emerging team behind a rejuvenated GTC who were nominated for NODA Best Musical for their 2016 production of ‘Oklahoma’. We look forward to their Autumn show, the ever popular ‘Me and My Girl’. Keep up the good work!
Me and My Girl
2017
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DIRECTOR- Julia Rymer
MUSICAL DIRECTOR- Cheryll Hope
CHOREOGRAPHER- Natasha Bird
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Author: Sue DuPont
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Julia Rymer worked wonders in assembling such a perfectly-suited cast (and interesting that they seemed to come from ‘not the usual sources’), and how well they gelled and worked together in a highly professional team. And we knew that we were in for a good evening the moment that the overture began: good sound and an excellent pace throughout under the baton of Cheryll Hope.
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I know that space (and money) made difficulties in the staging but the Scenic cloths plus home-made doors etc and fairly minimal furniture (moved impeccably by footmen) provided a very good backing for the large cast; and loved the side-screen enhancements to really set the period and style. Presumably from programme credits Somerleyton Hall was used for Hareford and very superior it looked. Must also comment on the quality of the sound which often lets down a good show, but no gremlins here.
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How fortunate with the two leads moving back into area in time to work together, really a stellar duo in Ian Cook as Bill and Charlotte Durrant as Sally: they had it all with talent, looks, voices, dance ability, personality and style, a joy to watch this couple as they lit up the stage in this happy show. Doubling as choreographer so a busy lady, Natasha Bird was the perfect vamping Lady Jacqueline with looks and voice and movement just right as she worked her magic on stage and lost her man; and opposite her as Hon Gerald, Neville Rowell a perfect aristocratic ass with voice and style to match. Duchess Maria, Maureen Rogers, definitely in the right role as she ruled the roost with strict vigilance but softened with time, and opposite her John Woods as Sir John had the personality and twinkle in eye so necessary to balance the roles. And applause for the diction and dexterity of Chris Whiting as Parchester adding to the action, and good rapport with his conspirators in that library. In the slightly smaller principals roles the characters again developed and maintained and adding to the general professionalism of the line-up: Nicola Mills and David Cooper as Lord and Lady Battersby, Terry Rymer as Sir Jasper, and David Clark as Charles. Two well timed cameos with the lamp-post: Sandra Skipper as Mrs Brown and Craig Lovatt as Constable just adding to the humour of this scene. Reading the biographies in the programme and the backgrounds of this group of principals, it is hardly surprising that this production should be so strong with all this talent.
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But this is a happy show with so many familiar melodies coming together, and one forgets how many memories, and the large group of chorus and dancers worked so hard to a high standard of sound and movement that it was a memorable evening much enjoyed by all in the Pavilion. And I am delighted that public also felt the choice of happy show and high standard of production that the tickets sales reflected the achievements.
Oklahoma
2016
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DIRECTOR- Julia Rymer
MUSICAL DIRECTOR- Brian Parker
CHOREOGRAPHER- Natasha Bird/Annabel Morton
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Report
Author: Terry Rymer
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It just goes to show that you do not need to spend a fortune to achieve quality...Here we had GTC overcoming many difficulties to produce a really outstanding piece of traditional musical theatre. From the outset we were entertained by the well balanced and not overpowering eight piece orchestra who complimented the singing throughout without being obtrusive which can happen with live music.
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The simple but effective well considered set, with the revolving house converting to the smoke house, was an excellent home produced and well utilised piece of kit made real by real 'live' cornfield/maize adornments thoughtfully enhanced by the atmospheric lighting plot...the dream sequence was truly mesmerising and indeed moving with its interpretation of laureys' dream assisted by the subtle use of smoke haze.
The part of Aunt Eller (Lyn Waterfield) as the mainstay of the piece was really believable and had just the right level of emotional and stoic reassurance throughout. She clearly had a soft spot for Curly (Craig Lovatt) who commanded the stage with a strong confident presence and excellent renditions of some of musical theatre's favourite songs. He was matched by the 'innocent' style of Laurey (Louise Brown) who gave a thoughtful slightly demure interpretation as she grappled with her true feelings for Curly. This pair were well matched and expressed just the right level of duplicity to keep us guessing!
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The Smoke House scene was outstanding and spell binding with Jud Fry (Chris Whiting) giving one of the best interpretations of Jud Fry's complex character that you will see. With Curly he gave spine tingling renditions of 'Poor Jud Is Daid' and ' Lonely Room' leading in turn to the aforementioned dream ballet sequence and some masks grotesque, combined with exceptional choreography to almost emotionally stun the audience as the interval arrives...sensational stuff!
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Strong supporting roles from Joe Learner as expert rope spinning Cowboy Will Parker, who with a nicely ever so slightly 'dim' but endearing demeanour, courts the effervescent Ado Annie (Angie Smith) as she flirts with each and every man who crosses her path, both showing humour and comedic moments to savour. This was complemented by Ado's other 'suitor' the Pedlar Ali Hakim (David Cooper) who with some well timed comedic moments added some lighter touches to the proceedings also with a well considered accent throughout. He, Will and Ado Annie had great fun with their Persian Hello's and Goodbyes...phew!! Ali Hakim also had some excellent rapport with Andrew Carnes (Mike Catling) Ado's Father, and a dab hand with a shotgun!! Equally persuasive was Gertie Cummings with her devastatingly irritating laugh...a real shrill, piercing quality, enhancing a strong supporting cameo role.
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Act 2 opens with the energetic show stealing, 'The Farmer and The Cowman', showing the true quality and style of the constantly strong ensemble of mainly females but with a very hard working and always watchable quartet of men with enough energy to convey a much larger bunch of Cowboys and Farmers with immaculate footwork in their dance numbers...take a bow Marshal Cord Elam (Stephen Taylor), Ike Skidmore (Brad Mercer), Andrew Carnes (Mike Catling). Slim ( David Clark), the whole range of Chorus numbers were given the full spectacular treatment with outstanding costumes and great singing from the ensemble especially with the rousing 'Oklahoma' harmonic rendition.
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There were so many moments and songs to savour, leaving large audiences to wax lyrical about the entertainment provided by GTC at this iconic Victorian theatre. I hope this success will provide a springboard for the 'new' GTC Committee to move forward with confidence and hopefully more memorable shows next year! Well done to the whole team!