Show Reports for District 4  

Bill Board Ensemble

Aladdin

Directors - Jonathan Mason Coombs/ Charlotte Brown Musical Director - Emma Arscott
Choreographer - Nicola Boyd-Anderson/ Lois Banks

In December the Memorial Hall Theatre, Barry, was host to a lavishly colourful staging of Aladdin. A cast and company numbering around 50, plus a junior chorus of 35 and a line up of 10 dancers, it was a challenge to the organisational and production skills of directors Jonathan Mason Coombs and Charlotte Brown, and the result a spectacular, highly disciplined and well moved panto full of good clean fun for all the family and a joy to watch.
Getting plenty of 'boos' the wicked and imposing Abanazar (Liam Daly) accompanied by his squawking parrot (Llewcus Oaten) is confronted in his search for the magic lamp by the good and lovely Sun Goddess, serenely played by Laurie Currie.
And then its off to China and dames don't come much better than Jon Mason Coombs, as a brash, butch flamboyant Widow Twankey, who, together with cheeky-chappie Wishee Washee (Tony Burnell), soon get the place rocking with laughter. Adding to the mirth, Lisa Perry and Maria Barnfield, as the inept constables Ping and Pong, made a great duo, and not forgetting Sgt. Wong (Leonna Hobbs) to make things right!
Aladdin's good looks and charm (Michael Bennett) soon won the heart of the lovely Princess Yasmin, delightfully played by Katherine Davies-Young, daughter of the bumbling Emperor (Anthony Thomas) and the imperious Empress, Karen Phillips. A show-stopping character by Nick Preen, as a hip and green Genie, completed an impressively strong and talented cast.
The company were in fine voice singing with good clear diction and performing with energy and sparkle and the junior chorus captivated in all they did, never seeming to put a foot wrong and beautifully costumed. The dancers brought glitz, glamour and expertise to the demanding choreography devised by Nicola Boyd-Anderson, to make their routines outstanding highlights.
The band, arranged by John Murray, gave a rich backing to the show with an interesting and appropriate choice of numbers. Costumes, by Nicola Clifford (Bill Board) and Just Fancy of Barry, were pristine and gorgeously spectacular and together with the excellent panto set, by Scenic Property Hire, Newport, the show was a rich feast for the eye and Aladdin a wonderful, pre-Christmas treat.

Colstars

Fiddler on the Roof

Director - Davron Hicks Musical Director - Michael Jones

An impressive staging at the Coliseum theatre, Aberdare, of the heart-touching Fiddler on the Roof, the musical that tells of harsh realities of a small community struggling to exist in dire times and poverty in Tsarist Russia. With a superb and familiar score we experience their joy and sadness, love and humour in their acceptance of life.
In a commanding performance of many shades and nuances Ralph Thomas, as the gentle milkman and father of five daughters Tevye, is torn between family love and religious traditions in a changing world. Sung with rich tone and colour and played with warmth and sensitivity (and a personal line to God) he is ever fearful of his wife Golda, the true matriarch of the home, played with a fond and patient tolerance by Julie Griffiths.
The main cause of Tevye's angst, his three eldest daughters Tzeitel, Hodel and Chava, were beautifully played and talented performances by Bethan John, Sarah Knight and Emily Stonelake; delightful as sisters and each with distinct personality and character. To complete his 'five blessings', Lowri Morgan and Alex Moore shone with charm and appeal as Shprintz and Bielke. Kelvin Griffiths was suitably cantankerous and belligerent as the rejected suitor, the rich butcher Lazar Wolf. A 'perfect match' for Tzeitel was a fine performance by David Beech, as the timid tailor Motel, with Liam Daly nicely intense as the revolutionary student Perchik, and Lewis James as the gentle Russian Fyedka. Good authority by Tom Cadwallader, as the Constable, a bizzy-body gossip and matchmaker Yente, by Carol Bennett and a fearsome apparition Fruma Sarah, by Jennifer Cole were amongst the many rich and colourful cameo characters that populated the doomed village of Anatevka.
Big production numbers filled the stage with movement and excitement in polished choreography and played by an impressive, good-sounding cast and company. Backed by the excellent Colstars Orchestra and the baton of musical director Michael Jones, this was an interesting and moving debut production for Colstars by Davron Hicks. A good wardrobe by ACE Theatrical Costumes and staging by Scenic and Property Hire, contributed to a satisfying and atmospheric revival - and another success for Colstars.

Colstars

Snow White and The Seven Dwarfs

Director: Derek Williams. Musical Director: Michael Jones : Choreographer: Laura Williams: Costumes by ACE Set : Scenic and Property Hire
Reviewed by: Ralph Thomas on behalf of Frank Wooles

Spectacular, spectacular, spectacular. And that is where I could end this review of Colstars annual "Half Term" pantomime Snow White……………
However in fear of being taken into the woods and having my heart returned back to the Wicked Witch in a box, I will continue.
With lips as red as a rose, hair as black as ebony and skin as white as snow Sarah Knight was a delightfully talented and believable Snow White, she acted her way through this convoluted evolving plot beautifully, and with a voice that could have charmed Disney's bluebirds from the trees.
And so to the entrance of the Wicked Queen Rigamort, Julie Griffiths, adorning the stage with a villainous aura that instantly got the audience hissing and booing with glee. Julie's characterisation was excellent, and certainly appealed to the
" Bad Boys " in the audience with her stunning costume, husky voice and air of dominatrix. Her interaction with the audience was hysterical, witnessed by the unbelievably loud audience and "real tears" of laughter from the adults and terror from the kids, well done, and thank goodness for the Fairy Of Kindness, Jessica Evans.
Literally bursting onto the stage was everybody's friend Juggles the Jester, the half witted, exuberant and tireless comedy hero who managed to quell the disruption and havoc caused when ever the Wicked Queen graced the stage. In this role Bethan John was relentless and worked the audience really well, what a talented and energetic performer.
And what about this talented "Colstars Youth Academy " who peppered the stage with dwarfs, villagers and courtiers! A delightful blend of youth and experience made this production a scintillating extravaganza. A credit to its committed production and management team; Derek Williams, Bethan John, Laura Williams and Michael Jones, who's musical selection, control and execution was first class, a talented and priceless resource.
As Dame Dolly Daffodil (Derek Williams), and Chambers The Chamberlain (Kelvin Griffiths) continued to wind up and titillate the audience I was left with splitting sides and genuine desire that this production would never end. Chambers' command of the northern accent was first class and demonstrated time and time again a worthy foil to what had to be the best pantomime dame I have witnessed ever! Derek is a truly committed and talented performer who tends to hide this talent behind his modesty. Derek's love of theatre is evident, and his efforts off stage nurturing and developing this young and talented company will ensure Colstars go from strength to strength. As Wardrobe Mistress Janette Williams has to be mentioned for her tireless efforts backstage in keeping this wonderfully colourful and striking wardrobe in check, and how many dame costumes!
Many other commendable performances of which there were too many to name here, provided the Aberdare audience with a true West End experience. The Coliseum stage crew under the guidance of Kelly Williams, (Stage Manger) ensured this lavish production moved slickly along. While the technical team of James Thomas and Paul Williams providing the smoke, magic and mirrors that put this show above the rest.
Well done Colstars, bet you can't do it again……..oh yes you can!

Colstars Youth

Peter Pan

Directed by Derek Williams, Bethan John Musical Director – Michael Jones

In September Peter Pan alighted on the stage of the Coliseum theatre, Aberdare, and with the words ‘past the second star on the right and on until morning’ and the joy, exuberance and talent of Colstars Youth took us on a magical adventure to Neverland. With a surprising maturity, Jordan Stuart played the blustering father and Jessica Evans, the calm, loving mother as Mr and Mrs Darling. Daughter Wendy, an assured and delightfully sung performance by talented Emily Stonelake, was well supported by Brandon Sherwood, and Megan Jones, as her brothers John and Michael. With the petulance and intensity of the boy who wouldn’t grow up, Lowri-Haf Lewis also had all the charm needed as peter Pan to whisk Wendy and the boys on an adventure to Neverland, there to meet up with the dastardly neurotic Captain Hook, colourfully played by Emyr Jones. Hook’s inept pirate assistants Smee, Starky and Cecco were good amusing characters played by Sophie Davies, Shauna Dummett and Naomi Price, supported by a great bunch of not-so-fearsome pirates. No match for Peter’s gang of Lost Boys and the tribe of Indians, led by their Chief – impressively played by David Beech, with Lowri Bugg, a lovely Tiger Lily. What a great bunch of characters and cameos to catch the eye and melt the heart. In a fast-moving, well-choreographed production by Derek Williams and Bethan John, the youngsters played with confidence, energy and bags of talent and the organisation and meticulous discipline of this large cast was first class. The bright and cheery score was well handled by a good sounding band under the baton of Michael Jones and the production looked well dressed and colourful with costumes by Ace Theatrical Costumes, and Jan Williams and substantial sets by Scenic Property Hire. Like Peter, I, too was reluctant to leave Neverland and rejoin the grown-ups.

Concept Players

Anything Goes

Director - Paul Buckle Musical Director - Nicola Rose

Concept returned to the Paget Rooms, Penarth, in March with the happiest of revivals of Cole Porter's classic musical.
A light frothy story line, romance and gentle humour and a score packed with familiar hits makes Anything Goes - which first hit the Broadway stage in 1934 - a toe-tapping delight.
All the glitz and glamour was there in this fast moving and polished production by Paul Buckle played by a good looking enthusiastic company performing with assurance and bags of energy and sounding great. With an easy style and lightness of foot, Daniel Parker carried his numbers well as romantic Billy Crocker, stowaway aboard the liner SS America, to be near his love Hope Harcourt, attractively played and sung by Ingrid Bastable. Hope is chaperoned by her mother Evangeline, played with good presence by Helen Windsor, and her fiancé, the Woosterish Sir Evelyn Oakleigh, in an amusing blue-blood performance by Tim Brown. Also aboard is Billy's boss, wealthy Elisha Whitney, nicely played as a myopic inebriate by Nick Pratt. An impressive and energetic comedy performance by rubber-faced Richard Thomas, as Moonface Martin, public enemy No 13 (but with ambition), and a great 'gangster's moll' performance by Claire Couldridge as cookie-blonde Erma.
Evangelist nightclub singer Reno Sweeney made converts of us all in a rousing Blow Gabriel Blow, which shook the stage and rocked the theatre in a powerful performance by Alex Powderhill, accompanied by a temptation of (fallen) Angels 'broadly' played by Fay Crispin, Ellie Hoare, Heledd Lloyd and Lorna Welch.
Cameos were well handled by Laurence Clarke (the ship's Captain), Ruairidh MacLeod-Lyon (the Purser) and Paul Buckle and Steve Davies as the Chinese Luke and John. Oh, and the Golden Bone award goes to the most docile of dogs, Mollie the Schnauzer. A great sounding four-piece band, under the direction of Nicola Rose, had the style and sound of the age and ensured the show kept toe tapping along. A wealth of elegant and pristine costumes, with fine attention to detail and hairstyles, perfectly evoked the period and the staging - 'slim-lined' down to one simple, but effective, set with good lighting, worked brilliantly. A well presented and played show, and a 'de-lovely' voyage.

Cowbridge AOS

Autumn Concert

CAOS presented a good old-fashioned concert at the Town Hall, Cowbridge, in October, with an evening of Gilbert and Sullivan and Jerome Kern and Oscar Hammerstein II, in an informal, relaxed ‘at home’ atmosphere. With a wide range of soloists and an ensemble in good voice under the baton of Ryan Wood and accompanist Carol Lloyd, we enjoyed excerpts from the Savoy Operas Pirates of Penzance, HMS Pinafore and The Gondoliers, all linked and introduced in a warm and genial style by Chris Pinchbeck. The second part of the programme took us to the rare pleasures of the classic Showboat. Rarely staged, it was a joy to hear again melodies from the operetta which reshaped musical theatre. In complete contrast to the music of Sullivan, the complexity of the scoring was well handled and sung by the company with enjoyable individual performances. A well presented evening of music – varied and satisfying.

Cowbridge AOS

Annie

Producer/Choreographer - Davron Hicks Musical Director - John Murray

More half-term fun at the Llantwit Major Comprehensive School and an impressive heart touching, heart-warming staging of the lovely family musical, Annie. The dismal New York orphanage for girls was soon illuminated by the enthusiasm of a great team of girls playing the orphans. They radiated their enjoyment, confident and well rehearsed with so many characters and cute faces to catch the eye and set the show off to a fine start.
Nia Brown was the Annie of the night and with her lovely, clear voice captivated the audience in a performance that was assured, sweetly innocent and natural - a lovely talent.
Tyrant of the orphanage, the permanently inebriated Miss Hannigan (with her loathing for little girls), was a terrifying, at times hilarious, performance by Sarah Morris, and together with a polished performance by Bob Reynolds, as her sleazy brother Rooster, and well partnered by Joanne Lee Mallett, as cookie-blonde girlfriend Lilly St Regis, the three gave us a lot of fun in a raucous ride down Easy Street.
A fine performance by Tony Kingsbury, as the billionaire industrialist who beautifully sang the 'Something Was Missing' number and played the role with great skill and charismatic warmth and sensitivity to command the stage as Oliver Warbucks. His elegant and efficient secretary Grace Farrell, was played with a tantalising hint of possible romance by Beryl Vaughan.
As radio host Bert Healy, smiling John McGivern, together with the singing Boylan Sisters (Sally Kingsbury, Jenny Bowen, Helen Banks), were colourful players. Chris Pinchbeck kept firm control of the Warbucks staff as British butler Drake, and there was good strength and character in the many support roles. I had lovely reports about young Lauren Coates, who played Annie on alternate performances. Sorry not to see her.
The general company impressed and sang well in their limited opportunities as Hooverites and household staff.
Directed by Davron Hicks, Annie was an excellent all-round production that found all the right moments of comedy and pathos, good movement and pace.
An outstanding band under the direction of John Murray, perfectly backed the show and sympathetically balanced the young performers on stage.
With attractive costumes by Footlights of Tonyrefail, and well staged with sets by Scenic and Property Hire, Annie was a good-looking show and a happy, relaxed evening.

Hilltop Theatre Co.

Are You Being Served
Director - Liam Daly

Double entendres and innuendoes galore in November, when Hilltop presented the stage version of the classic British television series Are You Being Served, at Pentyrch Village Hall.
Set in a fictional London department store, Grace Brothers, it has all the ingredients of farce especially when the benevolent employer sends the staff of the Men and Women's Departments on a subsidised holiday to a one-star hotel on the Costa Plonka, whilst store refurbishment is carried out. Then the mayhem begins with naughty liaisons going awry; toilets without locks, hot-bedding tents, a randy revolutionary and a sexy senorita.
With all this going on it is a credit that Liam Daly, in his maiden production for the company, managed to sort it all out and achieve a clever, fast moving, laughter filled production.
The cast acquitted themselves well, with colourful characters that bore close resemblance to their television originals, and overcame the limitations of the stage to deliver quick-fire comedy and laugh after laugh. The play's many scenes necessitated a fairly basic staging which proved sufficient and effective to enable the play to move through the various locations smoothly.
A fun evening that was well worth the journey through the wind and rain to Hilltop and the staff of Grace Brothers.

Hilltop Theatre Co.

Fiddler on the Roof
Director/Producer Bob Petersen Musical Director Linda Coombes Choreographer Laura Hallas

This show needs a strong line up of primcipals and chorus and on the whole Bob Petersen had assembled just that, with several appearing with Hilltop for the first time.
So much depends on the right choice of Tevye and Mike Beavan who has played many roles with other Societies was just that. Mike has a fine singing voice and the show stopping number If I Were a Rich Man was given the full treatment. I was also pleased that his conversations with God were not played to the front row of the audience as so often happens.He was well supported by Amanda Campbell as Golde The three elder daughters played by Fleur Greening, Victoria Walters and Abigail Dawson were convincing in their individual roles. Karen Thomas playing the character of Yente the matchmaker was a little disappointing as some of her wonderful lines were inaudible. The night I was present there did seem to be a few problems with the sound system which I am sure was sorted.
Tim Driscoll - another newcomer with considerable experience with other Societies - made a good tailor - Motel. Tim has a pleasant stage presence which puts others around him, and the audience at ease.
Liam Daly as Perchik was sound in song and dialogue. Incidentally this was the first time I had seen Perchik wearing a prayer shawl. Steve Williams made the most of his part of the Rabbi I thought Martyn Lench was an excellent Lazor Wolf. I have known Martyn for many years but this was by far his best part I have seen him play. Right in character in spite of having to wear a flat cap!
All the minor principals played their parts and were well supported by a large chorus. A special mention for choreographer Laura Halls for coping with a large Company on such a small stage.
When I heard that Linda Coombes was the M/D I knew the music was in safe hands. The small group of very talented youngsters made a very pleasant sound for the whole of the performance and never dominated the cast.
So well done Hilltop. Another triumph!
I look forward to your next production

This review was by Derek Grattidge on behalf of Frank Wooles

Llandaff Musical Society

The Likes of Us
Director - Derek Grattidge Choreography - Julia Kennedy Musical Director - Norman Harris

The earliest collaboration of the then 17-year-old Andrew Lloyd Webber, and 20-year-old Tim Tice, was destined to remain unseen for 40 years. Telling the story of Dr Barnado - the founder of the famous orphanage and child protection society - it was considered too similar in tone, and preceded by, Lionel Bart's 'Oliver', for the West End stage.
To mark the Association's 60th Anniversary, Andrew Lloyd Webber gave consent for the Likes of Us to be performed by members of NODA and Llandaff Musical Society were privileged to present the South Wales premiere at the Cathedral School, Llandaff, in November. It has the feel of a 'work in progress' with attractive and catchy ballads and good production numbers entrusted to a narrator - brilliantly handled by Brian Sullivan.
The role of Dr Barnado was well sung and played with a charismatic warmth by Tim Driscoll, beautifully partnered in a strong performance by Julia Kennedy, as his love-to-be Syrie. Craig James and Claire Black played well as Johnny and Jenny, two interesting characters which are not developed and seemed unrelated to the story line, but are blessed with one of the best numbers in the show. The Auctioneer (Chris Randall) also has a worthy and amusing number, as does the lady of easy virtue Rose (Angela Sadler), and the Prime Minister played by Alan Wardrop. A delightful team of youngsters played the homeless children, led by Joshua Hick and Megan Davey - and they, of course, have the title number, The Likes of Us and the catchy You Can Never Make it Alone. The venue dictated the most basic of staging but with good lighting it worked well enough and with the inventive production of Derek Grattidge and the simple, but effective, choreography by Julia Kennedy, the show moved along well and was always interesting to watch. With a small and unseen band, musical director Norman Harris gave a sprightly backing to the show and its tuneful score. The company were in good voice and seemed to enjoy their opportunities in performing a new show which has considerable charm and potential - but is in dire need of a script.

Llandaff Musical Society

Springtime Concert
Musical Director - Derek Grattidge

The society's springtime concert at the Llandaff Cathedral School Theatre in April, had a programme full of delights with a broad selection of music mainly from the fondly remembered nostalgic past, but with an affectionate nod to more recent hits. Franz Lehar and Ivor Novello had their place with a delicious selection of lilting melodies by Johann Strauss, performed with a lovely delicacy and balance by the ensemble and interspersed with numbers by a wealth of fine soloists. The second part of the programme featured an arrangement of numbers from the musical that stirs the emotions like no other, Les Miserables - a change of style for the singers and an opportunity to display their depth and versatility. Fronted by musical director Derek Grattidge (who also acted as a genial compere), with stalwart accompanist Ann Owen, at the piano, this was Llandaff 'at home' and a relaxed and enjoyable selection of music for a spring evening

Orbit Theatre

The Producers

Director – Richard Tunley Musical Director – Rob Thorne Jnr Choreographer – Nicola Boyd-Anderson

In October Orbit Theatre celebrated their 40th Anniversary at the New Theatre, Cardiff, with the Welsh Premier staging of the limited release hot-property, the Mel Brooks musical The Producers. Faded Broadway producer discovers it is more profitable to stage a flop musical than a runaway hit. Complication arises when his certain flop musical Springtime for Hitler becomes a huge hit. With a little sub-plot and dressing that is basically the story line. But as a vehicle for two major roles, the producer Max Bialystock, and his accountant wannabe producer Leo Bloom, big production numbers and a script that crackles with quick-fire one-liners, it has proved a success as a film and on stage. The demanding role of producer Max Bialystock, was a tour de force for all-singing, all-dancing comedian Paul Hayden Williams, and Simon West, brilliant as the timid accountant Leo Bloom. These guys were seldom off stage and were outstanding in their characterisations, with perfect timing and boundless energy. Andre Paul Spring turned high camp into high art in a ‘darling’ performance a Carmen Ghia assistant to the drag producer Roger Debris, played with butch style and humour by Davron Hicks. Teutonic Franz Liebkind, author of the prospective musical disaster, was a scene-stealing, storm trooper of a performance by Dan Collier Roberts and lovely Emma Jayne Parker, was a luscious long-legged delight as the Swedish office bombshell. The many support roles were played with enviable strength and colour and a young, good-looking energetic company performed with polish and precision and sounded just great in the big and demanding production numbers. Outstanding choreography by Nicola Boyd-Anderson, added gloss and finish to a terrific production by Richard Tunley. Producers was backed by a full orchestra with a rich Broadway sound, under the direction of Rob Thorne Jnr, which kept most of the audience in their seats until the last notes of the play-out. A fine celebratory production. Warmest congratulations and long may you flourish.

Orbit Theatre

The Wizard of Oz

Director/Musical Director - Rob Thorne Jnr Choreographer - Nicola Boyd-Anderson

IHalf term and the wonderful Wizard of Oz packs them in at the New Theatre, Cardiff, to join Dorothy and her friends in their adventures down the Yellow Brick Road in search of the Emerald City. In a fresh, colourful, fun-filled production by Rob Thorne Jnr, a great team of youngsters performed with amazing confidence and precision, polished in their routines (choreography, Nicola Boyd-Anderson) and radiating a smiling exuberance that made them a joy to watch.
With pure clear voice, Nicola Caldwell beautifully sang her many numbers as Dorothy, and played the role with charm and sensitivity. Her fellow adventurers ensured the laughter never stopped with excellent character performances by Matt Hatt (Scarecrow), Mark Johncock (Tinman) and Andre Paul Spring (Cowardly Lion), who also doubled as the farm hands Hunk, Hickory and Zeke.
Sarah Richards scored well as the acidic and dislikeable Almira Gulch, and the unpleasant and scary Wicked Witch of the West, while Natasha James was warm and mumsy as Aunt Em, and triumphed over evil as Glinda, the good Witch of the North.
Howard Turnbull found rich character as the showman Professor Marvel and the inept Wizard, as did Chris Powell as good old Uncle Henry and the Emerald City guard. And a show-stealing placid and tolerant performance by Daphne as Dorothy's dog Toto.
A full, well-balanced orchestra gave a terrific 'West End' backing under the expert direction of Rob Thorne Jnr.
Bright, cartoon-colourful staging by RTA The Stagecraft Company, together with an extensive, pristine and attractive wardrobe made the show a riot of colour to complete a thoroughly enjoyable production. A magical visit to the Merry Old Land of Oz.

Penarth Operatic and Dramatic Society

The Amorous Ambassador

Directed by Margaret Donaldson

In the best tradition of farce numerous doors opened and slammed, scantily clad females (and males) dashed across the stage and mayhem and misunderstandings prevailed. But it all made for an evening of fun and continuous laughter when the antics of the US Ambassador to Britain were ‘exposed’ at the Paget Rooms, Penarth, in October. The Ambassador is to weekend playing golf in Scotland, his wife to a health resort and his daughter to stay with a girl friend. But they all have intentions of returning to the residence for romantic assignations – with the collusion of the oh-so-discreet Butler. Nothing goes to plan, of course, and the results are hilarious with fast and furious jokes, gags and situations with enough laughs for two plays. The erring diplomat was a nicely gawping and bemused performance by Hywel Davies, as Ambassador Harry Douglas, letching after his delectable, sexy neighbour Marian (and fantasising ‘french-maid’ costume), alluringly played by Melissa Rabiotti. With a lovely touch for comedy and good vocal intonations, Ella John was delightful as naughty daughter, Debbie, who invites her current amour, Joe, for the weekend. Boyfriend has to be ‘girlfriend’ and Robert Gairey was a riot as a (convincing) pursued female, and in slick comedy as a normal man. Overseeing all the indiscretions John Richardson, as the soul of discretion, butler Perkins, had some of the best lines and knew how to play them in his ‘attachment’ with oh-so-dumb secretary Faye, a just right performance by Val Mallows. Charging through all the comings and goings, accident prone security officer, Captain South, in a good performance by James Hoare, spent most of the time concussed, but it was wifey Lois, played with convincing outrage by Jenny Corbett, who secures vacation of the residence for her own dalliance. It was trivial and a lot of fun in an excellent, fast moving, well devised production by Margaret Donaldson, with an impressive well-furnished set by Henry Messenger, and good sound and lighting by Stagecraft. Ain't laughter a great tonic.

Penarth Operatic and Dramatic Society

Oliver!

Director/Choreographer - Vic Atkins Musical Director - Brian Frieze

First staged at London's New Theatre in 1960, Lionel Bart's musical adaptation of the Charles Dickens classic novel Oliver Twist, continues to delight and entertain audiences and proved as popular as ever in an attractive revival at the Paget Rooms, Penarth in May.
The dismal gloom of the workhouse was soon dispelled by the cheeky faces and infectious enthusiasm of a lively bunch of youngsters. A well-drilled, hard working team with plenty of individual characters to watch playing the orphans and the thieving gang of the notorious Fagin.
With winning charm and a sweetly sung 'Where is Love', that tugged at many a heart, Andrew Salter, the unfortunate Oliver, performed with mature confidence. Lean and lanky, a real 'cockney sparrer', Joe Ingram scored well as the apprentice villain, the Artful Dodger.
The romantic intrigue between Bumble the Beadle (Nigel Lewis), and the workhouse matron, the Widow Corney (Fiona Porter-Smith), was well sung and played with a nice mix of sauciness and humour. The ghoulish undertakers, the subservient Mr Sowerberry (Keith Ingram), and his dominant acerbic wife (Julia Dyke), found macabre humour in the funeral parlour, together with Bethan Owen, as their nauseating daughter Charlotte, and Chris Selio, the unpleasant bully Noah Claypole.
Nick Pratt dominated the stage with a deft humour and a colourful characterisation of the likeable rogue Fagin, taking his numbers at a merry pace and with good clear diction. Tragic Nancy was beautifully acted and sung with warmth and quality by Lois Banks, with good support by Sian Owen, as her young friend Bet.
A performance of evil and menace by Neil Clevett, as the thug Bill Sykes, and good playing in cameo roles by Robert Gairey and Debbie Apollonio, as the kindly Mr Brownlow and his good housekeeper Mrs Bedwin, with Dean Matthews in attendance as Doctor Grimwig, and Judith Cunningham as Old Sally.
Directed and choreographed by Vic Atkins, attractive and atmospheric production numbers had good pace played by a good sounding, well rehearsed company and backed by a light, well-balanced band under the able baton of musical director Brian Frieze.
Colourfully costumed by Marigold, with sets designed by Darren and Laura Edwards, to fit the notoriously difficult Paget stage, the show was pleasing to the eye to complete an entertaining and rewarding revival of this much loved family musical.

Rhiwbina ATS

A Child’s Christmas in Wales

Director – Dave Dallimore

October, but at the Rhiwbina Memorial Hall it was Christmas, with Dylan Thomas’s fond nostalgic look back at Christmases of his childhood. To a child’s eye uncles, aunts, cousins, park-keepers and policemen were all big, colourful characters to be loved or feared and Dylan shares his recollections with humour and affection. As Dylan (the narrator), Tom Dyer had flow and poetry in narration, and a performance of winning charm and skill by Geraint Owen, as the young boy Dylan. Malcolm Lucas was a solid and kindly father, and Lynda George, warm and mumsy as the typical turkey-burning mother. To enjoy the day into their home came a formidable array of larger than life relatives (too many to mention) to eat, drink, sing and squabble as happens at family gatherings. Young Dylan escapes to meet his friends, is confronted by the Park Keeper and warned by the local Bobby. An inebriate Postman delivers a parcel with a drunken ditty, firemen arrive (as if by magic) to douse a charring turkey and the day is interspersed with carols, party piece songs and ghost stories. Characters were bold and rich, played by a sound cast to convey, with fun and happiness, the memories of the young boy’s day. The soundly constructed set by Lucy Chiplin and members, had a good atmosphere for the period and lighting, by Alan Blakoe, was accurate and effective. A big play for a small stage but Dave Dallimore’s direction ensured it moved well within the limited confines and had that cosy crowded look of most family get-togethers. I am sure we all left with our own thoughts and fond memories of family Christmases.

Rhiwbina Amateur Theatrical Society

Just So…

Directed by Vic Atkins Musical Director - Ben Davies

Winter blues were soon dispelled by a visit to the Rhiwbina Memorial Hall, Cardiff, and a journey to the African Veldt and down the great Limpopo River in the company of Rudyard Kipling and the wonderful characters and creatures he created in his Just So stories.
Probably better known for their ugly duckling musical Honk, Stiles and Drew's musical adaptation of the tales is full of humour, clever lyrics, strange animal characters (played in human form) and a score which is toe-tappingly rich and catchy.
Elephant Child, played with presence and charm by talented Andrew Machin, accompanied by Melissa Moore (delightfully comic and feisty as Kolokolo Bird), set off in search of the giant crab responsible for causing floods and destruction.
On their journey they meet Parsee (Dafydd Gape), a culinary rasta and his mobile and articulate Cooking Stove (Steve Lane), an all-singing Rhino afflicted with halitosis (Phil Bond) and the predatory spivs of the Veldt - the Leopard and Jaguar (Matt Atkins, Chris Powell) - who salivate for the deliciously funny Zebra and Giraffe, played by Tracey Coleman and Lindsay Allan. A great bouncing performance by Alex Griffin-Griffiths, as a 'good-on-yer' Kangaroo, together with Dingo Dog (Suzanne Dewstowe), a smooth-talking Crocodile (Vic Atkins) and a regal King and Queen Elephant (Nick and Mimi Ferrier), all add to the colour and the comedy. Oh, and the troublesome Crab (Josh Stanbury), turns out to be just a tiddler. Overseeing and, at times, narrating events, Matthew Hampson, in a calm and commanding performance as all-powerful Eldest Magician, beautifully played and sang the role. All characters were well defined, played by an able and vocally strong cast and with excellent work by the ensemble in lively production numbers.
In an imaginative production by Vic Atkins and Barbara Scale, and musically well-covered by a small bouncy band under director Ben Davies, this fun musical, despite the stage limitations, was smooth running, disciplined and polished. Staging was minimal with excellent subtle and atmospheric lighting (Alan Blakoe) and balanced clear sound by Lucy Chiplin. It was all 'just so' entertaining.

Selsig AOS

The Wedding Singer

Director - Kieran Carter Musical Director - Martin Childs Choreographer - Jaye Lawrence

A Rhondda premiere for the Wedding Singer, staged at the Parc and Dare Theatre, Treorchi in December. Not having seen the show before it was also a first for me. Fast, funny with great one-liner humour and a terrific score, it wowed the audience and rocked the theatre.
With a talent packed young and energetic company it was a stunning achievement for Kieran Carter in his debut venture as director, and also Jaye Lawrence in her first role as choreographer.
Both did an amazing job with a slick, innovative production and exciting, imaginative dance routines which were precise and polished. But the biggest accolade must go to Matthew Preece, in his exuberant, phenomenally energetic performance as Robbie, the Wedding Singer; a formidable talent with a fine voice and a nice style in comedy. Well supported by Adrian Evans, as the sensible Sammy, and Samuel Bees, as the delightfully gay George, who make up Robbie's backing group, with Dale Evans as the smooth, rich executive Glen Guglia.
Great performances by the ladies; Emily Jones as Linda, the 'broad who dumps Robbie, Nichola Fennell as Julia, the waitress who wants him to sing at her wedding and Emily Kate Jones as fellow waitress Holly. And I will long remember Jill Evans, hilarious as the rapping granny Rosie, and Pam Tewkesbury as Angie - all big players with big voices and the ability to hold the stage and sell a number.
Too many to mention but there were many cameo gems within the support cast and the young vibrant company, sounding great and performing lengthy routines with drive and dazzle, and apparent ease.
A 'studio based' band under the expert direction of Martin Childs gave a first-class and balanced backing to the production.
Lighting, effects and graphics were spot-on and the show colourfully costumed by ACE and Terry Lewis of the company wardrobe department and well staged with a crisp, clean and solid set.
It was a night to remember and the cast and company well warranted the cheers, applause and that wonderful thing - a standing ovation.

Selsig AOS

Footloose

Director - Kieran Carter Musical Director - Dale Evans Choreographer - Jaye Adrienne Lawrence

After the huge success of The Wedding Singer, I wondered if Selsig could do it again with their staging of Footloose at the Parc and Dare Theatre, Treorchi in April. And, emphatically, they did. Any trepidation I had were swept away with the sheer exuberance, energy and talent that hit the stage and it was good to see that the production team of Kieran Carter and Jaye Adrienne Lawrence, was not just a one-show-wonder. Production, by Kieran, was fast-moving, hard-hitting and imaginative with good moments of pathos, drama and humour and Jaye's choreography innovative, exciting and athletically performed by a red-hot, multi-talented company that seemed to embrace all ages. Stalwarts of the company added vocal richness and depth to big ensemble production numbers.
A mother and her son move from Chicago to a repressive small town, Bomont, where, resulting from a tragic accident, dancing is banned. The son, Ren, rebels and fires up his fellow High School students to get the ruling changed.
Top honours must go to Alex Pugsley, as the rebellious Ren. Played with sensitivity, a great voice for the part and danced with polished ability, it was quite a performance. Emily Kate Jones excelled in a performance of all-round talent as Ariel, the wayward daughter of the local minister. Christian Rees played with depth and pathos and finely sang the role of Reverend Moore, and was strongly supported by Delyth Coleman as his wife Vi, sharing in his anguish and grief.
Gaynor Thomas brought an air of calm determination to the role of Mrs McCormack, Ren's mother, and Daniel Stagg provided light relief in a first class colourful country-hick character, Willard, Ren's best friend. Matthew Preece took on the bullyboy role of Chuck, with great success and doubled to play Cowboy Bob, lead singer at the Bar-b-que.
Weighty talent in cameo and support parts included Ralph Thomas (sports coach), Gavin Lynch and Kathryn Morgan (the Warnickers), Emily Jones (Rusty), Dale Evans and Adrian Evans (Lyle and Travis - chuck's buddies) and the list goes on in this formidable cast.
Well staged with swift scene changes by The Hingepins crew and appropriately costumed by ACE of Brynmawr and Selsig's Terry Lewis, with a good feel for the era and small town location, the production looked good and well presented.
Under musical director Dale Evans, and band leader Martin Childs, the show was backed by a small band with a big sound that rocked the theatre. Footloose, played by a strong vibrant cast and company never put a foot wrong.

Splott and District AOS

Thoroughly Modern Millie

Producer – Wayne Vincent Choreographer – Katy Bond Musical Director – Val Pearse

The society overcame a big challenge in staging this frothy, funny musical at the St Teilo’s Church in Wales High School, Cardiff, in October. On a basic school stage with poor facilities, with a minimalist staging and a lot of imagination and ingenuity, it worked well in a fast moving, attractive production by Wayne Vincent. 1922 and New York is a mix of prohibition, bootleggers, white-slave traders, glamour and excitement. Wide-eyed innocent Millie, arrives from a Kansas small town determined to become a ‘modern’ and find a rich bachelor to marry. Hannah Dacey sparkled as our heroine Millie, with a big hitting voice and a nice style in comedy in her feisty relationship with good-looking, man-about-town New Yorker Jimmy Smith, played with an easy charm and a good voice by Andrew Minchin. But the rich bachelor Millie has her eye on is her boring boss, the stiff-necked Trevor Graydon, played well by Chris Powell, who sang with good diction the tricky patter number ‘The Speed Test’, blatantly nicked from Gilbert and Sullivan. Cath Roberts was colourfully comic as the pseudo Chinese hotelier and evil white-slave procurer Mrs Meers, with Phil Groves and Rob Barnes finding singing and playing in Chinese no barrier to comedy as her henchmen Ching Ho and Bun Foo. A delightful performance by Katy Bond, potential white-slave victim, the sweet Miss Dorothy. Katy was also choreographer and did a fine job with good looking tap routines and production numbers. Joanne Dacey swept all before her as the elegant Muzzy, and Ann McCarthy was suitably fearsome as office supervisor Miss Flannery. The many supporting roles were well covered by the company. The small band, directed by Val Pearse, played at a bright lively tempo and sounded just great. Attractively costumed by the society (Gill Owen, Margaret Ellis), with good sound and lighting the show was well presented and the society can be justly proud of their staging of this big demanding musical. Well done!

Splott and District AOS

Mother Goose

Producer - Wayne Vincent Musical Director - Val Pearse

TA half-term treat with Mother Goose staged at the St Teilo's High School, Cardiff in February, with plenty of silly fun and nonsense to keep young (and old) in a constant chuckle.
Good Fairy Truth, calmly played by Linda Davies, does verbal battle with the nasty, but not too frightening, Wizard Vicious (Rob Barnes) and it's off to the Market Place to meet the puffed up and tax hungry Duke Miseryguts, played with plenty of bluster by Chris Powell. Cheeky, cheerful Simple Simon (Joanne Dacey) gets the mirth rolling with an abundance of corny gags, with more fun from the droll humour of Mystic Marge (Lynne Webb), and the antics of her two incompetent assistants Catch-it and Bin-it (Denise Gallop, Gail Preece), to complete a hard working line-up of funsters. Well not quite. Loveable 'welsh mam' Mother Goose, played by Phil Groves, did a fine job with a liking for silly frocks, flamboyant and funny in a quest for youth and beauty at the expense of golden eggs. The romance of her son Jack, with the Duke's niece Princess Gill, was sweetly played in attractive performances by Hannah Dacey and Anna Richards. The show looked fresh and colourful with costumes by Just Fancy and the society, and with a simple and effective staging, the panto, under the direction of Wayne Vincent, ran smoothly and with good pace. A bright and lively band gave good backing to the enthusiastic and hard working company under the baton of musical director Val Pearse, to complete a smut-free evening of fun for all the family.

Spotlight Theatre Company

Beauty and the Beast

Director - Pat Evans Musical Director - Neil Topping

This year's hot property, the recently released Walt Disney musical Beauty and the Beast, was the perfect choice as a golden celebratory production staged at the Parc and Dare Theatre, Treorchi in March. A simple tale of the lovely village girl Belle, kept captive in his castle by the hideous Beast, who must win her love to break the magic spell and restore him as a handsome prince. Belle, beautifully played and sung by vivacious Emily Kate Jones, is also amorously pursued by opinionated and arrogant lecherous Gaston, played in perfect Disney cartoon style by Ralph Thomas. His manservant LeFou, was a wonderfully funny knockabout performance by Gavin Lynch. Peter Patsy Radmore as Cogsworth (the clock), and Brij Geerjanan (the candelabra), interplayed with good colourful characters and well-timed comedy and were joined in the fun by Alison Evans, as ever-hospitable Mrs Potts, the teapot. Enchanted and enchanting cameos within the beast's castle with Julie Griffiths formidable as Mme de la Grande Bouche, Simon Bradley (Maurice) and Lisa Williams, as Babette. Liam Daly made a nicely sinister D'Arque, and Hanna Wakeford, Naomi Walker and Emily Farr were a fluttering bunch of Silly Girls and alternating Chips (tea cup) Ethan Lynch, Morgan Westcott, Jack Davies filled with talent, these important support roles. As for the Beast, a fine, fearful, roaring, hard-to-love performance by Adam Lewis, who won the lovely Belle and many a heart in his transformation to handsome Prince.
The entire company revelled in the fun and frolic of the show and were in top form and precise in impressive slick, great sounding and polished production numbers. With a light touch and nicely 'over-the-top', Pat Evans's production whisked us away to a magical place of make-believe with never a pause and was well backed by a lushly fulsome sounding band under the direction of Neil Topping.
Costumes by Footlights were a riot of imagination and richness and together with impressive staging by Proscenium Theatrical Sets and good lighting (Matthew Jones) the show dazzled the eye with opulence. A delightful and highly entertaining evening celebrating Spotlight's 50th production. A 'golden night' of undemanding escapism. Congratulations.

St Peter's Players

Dick Whittington

Director - Peter Cooksley Choreographer - Lisa Davies Musical Director - Ged Cuncliffe

November and the first pantomime of the yuletide season at the St Peter's Hall, Cardiff and an evening of homespun fun and silliness by a society which is truly a part of, and working with, the local community. Wicked king Rat, snarlingly played by Kat(!) Lewis does a verbal battle with Fairy Tinkle of the Belles, played with kindly calm by Joanne O'Brien, over his plans to overrun London. But it will be our gallant Dick Whittington who will save the day, in a fine traditional 'principal boy' performance by Lisa Davies, with the aid of Tommy the Cat, played with feline lightness by Paul Woods.
Corny gags and nonsense in abundance from an established comedy duo. Peter Cooksley, as Idle Jack, soon rocked young and old in the audience with his warm and winning style of stand-up comedy, and Kevin O'Brien, in an impressive Dame performance kept the laughter going as the busty Sarah Suet. More comedy from Liz Woods, as the roaring Captain Cockle and Anna Morris, as thicko first mate Mr Mussel, added to the mirth.
More staid, but not without laughs Andrew Morris, as Alderman Fitzgerald with his daughter Alice, delightfully played by Lauren King. Colourful characters by Pat Lloyd, as Sam Seaweed and Sheik Dabottal, with good playing of support roles by the company.
Well backed by musical director Ged Cuncliffe, with a good selection of short snappy numbers, a fine team of youngsters sang and danced with gusto in well-rehearsed routines attractively choreographed by Lisa Davies. They were a joy to watch and their pleasure in performing quite infectious.
Lethargic as Idle Jack, Peter Cooksley was obviously tireless and thorough as director of the pantomime which had a great family feel and atmosphere. It was fun to be there.

Swansea AOS

The Pirates of Penzance

Director/Choreographer - Martyn Knight Musical Director - Chris Pike

Following their success with HMS Pinafore last year Swansea opted to keep the nautical theme going. So 'Pour, Pour the Pirate Sherry' - or should that be 'pour me another tinny of Fosters', in this hilarious Australian version of Pirates, staged at the Grand Theatre, Swansea in April. Part of the Essgee Entertainment trilogy (which also includes The Mikado) it is still much as Gilbert and Sullivan wrote and intended but with a respectful irreverence and freshness that makes it tremendous fun.
Dean Walker impressed as an elegantly dressed and affluent Pirate King with a fine voice and facial expressions accompanied by Joanna Pope, as a plain, sharp-faced Ruth, and played with a crisp delivery and a strong character. Keiron Rees caught the eye as the loyal Samuel.
Dean Parker, with a pleasing light easy voice and style, convincingly played 'out of his indentures' Frederic, bids farewell to the band of great sounding robust and colourful pirates, rejects the advances of Ruth, and sets out to find romance elsewhere. He soon finds Mabel, daughter of the Major General, on a crowded beach. A captivating performance, poised and polished and sung with a beautiful clear, soaring voice by Lynne Bird.
Ian Sommerfield-Wade, with good precise diction, handled well the patter songs and gave an amusing performance as a dithering Major General. And no wonder he dithered in his responsibility for his six delectable, but unruly, daughters, chaperoned by an extensive household of relatives, maids, nurses etc.
A policeman's lot may not be a happy one - but they certainly kept us smiling. White faced and timorous and led by their Sergeant played by Alex Paisey, with a nice style in comedy and timing. Vocally polished and well drilled, the cast and company were a joy to watch in this sparkling, non-stop production by director and choreographer Martyn Knight, which was well-backed by a great band, with just the right lightness and sound, under the able baton of Chris Pike.
The stunning and exhaustively choreographed curtain finale was outstanding and well worth the price of a ticket on its own.
Everything worked. Costumes by Ace Theatrical Costumiers, scenery by Scenic Projects Ltd and good lighting all came together to give us a Pirates of colour and polish and a night to remember.

Theatremask Productions

ART

Directors - Allan Mears, Kevin Davies

Welcome to Theatremask Productions, our most recently affiliated company, and congratulations on an impressive staging of the Yazmina Reza complex play of relationships ART, at the Llwynypia Community Theatre in April.
An expensive work of art - an abstract painting o f white lines on a white canvas - purchased by Serge, becomes the catalyst that insidiously creates conflict and animosity that nearly destroys the long-standing friendships with Marc and Yvan. At times the play is extremely funny which emphasised the darker side - the analysis of relationships - as each character comes under attack and criticism by his friends. A strong play that requires strong players capable of exploring a whole gamut of moods and emotions. Three well contrasted and crisply defined characters, James Randell (as Serge, the purchaser of the canvas), Christian James Byard and Daniel Lucas Evans (as his friends, Marc and Yvan) did just that. Polished, pacey performers, with good timing and stage presence that were riveting and a joy to watch.
The well-honed and presented production by Allan Mears and Kevin Davies, with a simple but effective staging worked well in the intimacy of the bijou venue to present an evening of fine drama. Congratulations and welcome.





Main News & Show Reports page

derek@noda-western.org.uk

We hope you enjoy the site.