ACT in Action Issue 17

about on this Saturday matinee, a fire alarm and click track skips but these did not matter as those on stage coped fabulously. Well done! The evil Abanazar, James Schilling, was great as the baddy that we could all boo and hiss and he actively encouraged us all to do this, sneering his way through his lines. His portrayal of the evil character was in no way what you could call small. He confidently exaggerated his moves and projected his voice, as did all those

NAUGHTY MARIETTA The Operetta Company Director: Allen Christey-Casson Musical Director: Dr Robert Aston

This year the Operetta Company band of troubadours settled its camp in New Orleans for a show of intrigue, buccaneers and a runaway bride. The company’s semi-staged production told the romantic story of Captain Warrington, the self-confessed bachelor, and Marietta, a Contessa in disguise. The storyline is true operatic style enhanced by Victor Herbert’s beautiful score, one which includes many well-known songs. Originally produced in New York, this operetta became Victor Herbert’s greatest success. Set in New Orleans in 1780, it tells how Captain Richard Warrington is commissioned to unmask and capture a notorious French pirate calling himself ‘Bras Pique’ - and how he is helped and hindered by a high-spirited runaway Contessa Marietta. The score includes many well-known songs, the most notable being “Ah, Sweet Mystery Of life” which was sung by Jeanette MacDonald and Nelson Eddy in the popular film version. Irene Hill, as narrator, charmingly conveyed the many twists and turns of this romanticised tale. The chorus was dressed in black and seated behind the principals. The chorus was well disciplined and added colour to their singing. All the cast wore excellent costumes made by society member, Elsa McGhee. A soupçon of lighting and sound lifted the proceedings. The MD gave a sensitive reading of the score and conducted a fine orchestra with a special mention to the violinist. There was just enough movement on stage to strengthen characterisations. A cast of eleven was well matched and included Steve Brennan, as Etienne, the pirate, Bras Pique, Paul Cohen, as Sir Harry Blake, and Enid Magenty who stepped in to cover the role of Florenze. The puppeteer Rudolpho, was played by Ken Rees. This role enabled Ken to show his character acting. A comic subplot between servant Silas, who has lofty ambitions, and a casket girl, Lizette, was played out with interesting results by Tony Meehan and Jean Forrester. Discarded Adah, a slave, takes revenge on her ex-lover Etienne by revealing his true identity. Susan Bradley, as the quadroon slave, gave a reliable performance and a lovely rendering of “’Neath the Southern Moon”. “Tramp! Tramp! Tramp! Along the highway” heralded the arrival of Captain Richard who had been commissioned to capture the notorious privateer, Bras Pique. On meeting Marietta his life changed and eventually he gave in to his love for her. Allen Christey-Casson scored a genuine success with the audience. All his rapturous songs

with dialogue, for all to hear and commanded the stage and captured the attention of the audience whenever he was on. What impressed me enormously was how he refocussed on the action and dialogue after the break of the fire alarm. Not everyone has the ability to take things back to a convenient point in the story and continue hold the audience’s attention. For every baddie there is a goody and the Genie of the Ring, Chrissie Hurd, was very engaging and although not on for large parts of the pantomime she gave a confident and engaging performance. There was also Danielle Higson-Dibb as the Genie who granted all the wishes. I suspect that there were pyrotechnics involved in other performances to mask the entry of this character, which would help to create the magic. Abby Walmsley, looked every bit of our hero and Principal Boy character - Aladdin. She was assertive and strong in the role and worked well with Izzy Ekgren, the demur Princess Jasmine. These two young actors also thought quickly on their feet and when a song track started to skip, they finished the verse looked and smiled at each other and carried on with the pantomime. To have self-confidence like this is commendable. To be a pantomime dame is one of the hardest things in this genre to accomplish and takes time and practice to develop your own caricature, from signature moves, voice and preferred makeup – every dame has a look. I believe that this was Sam Higgs first role as a pantomime dame and did a good job of filling the shoes of Widow Twanky. He interacted well with the audience and encouraged them to take part at every opportunity. He handled the young ones coming on stage with confidence and compassion. The son of Twanky is Wishee Washee, and has the job of making us laugh and engage with the silliness of panto. Li Chow knows how to command the stage and interacts superbly with the audience in this kind of role. To enhance this type of character portrayal, some “steps back in amazement” and bigger actions to audience responses would make a good performance even better. His side kick of Nobby the Panda was funny and added to the silliness and the pratt falls really had the young members of the audience giggling away. Well done, Ana Chow, on the characterisation and moving confidently around the stage while wearing a Panda head. Slap stick is a staple of pantomime and a good double act really contributes to the mirth. Naomi and Phoebe Clase as Sergeant Ping and Constable Pong caused us to smile and laugh at their bungling antics. A privilege for anyone who reviews youth productions on a regular basis, with the same society or group, is to see the development in any young actor. I have seen Liam Stuckley in a number of productions and have observed a self-confidence grow from within him: this is also true of all on stage. This is the beauty of the arts which gives an opportunity for expression and confidence building. Liam’s portrayal of the Emperor was strong, authoritative and commanding. I look forward to seeing you all in the future and especially for next year’s pantomime. “Oh, yes I do!”

were well received. In the title role was Clare Unsworth, a bright clear soprano whose energy fills the stage. Clare’s comic Italian accent, romantic episodes and duets with Allen, “We’ll Never Speak of Love and “Falling In Love With Someone”, were stylishly captured. This was traditional operetta in which the Company gave the audience a wonderful evening of pure nostalgia.

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