The Review – by ‘Polly’

Fun, fizz, sparkle and energy are all words which go some way towards describing the opening night of the Nomads presentation of Babes in the Wood. The director, back stage and cast had clearly worked their socks off in rehearsal because this was a slick and polished performance.

The opening night audience was very sparse, but we all gave our all to the participation bits and the cast made us work hard in the rendition of the action song.  We had hilarious problems with our coordination and I must say the screen was a little difficult to read, but who cares, it was great fun.

Klaire Atkinson as the fairy/narrator looked pretty and graceful despite the pink fluffy sock slippers.  She told the tale with great clarity. Her dippy, feather brained failure to remember which panto she was playing, was delightful.

Maid Marion (Helen Dixon) and Robin Hood (Melanie Kemp) fulfilled all our expectations of the roles.  Robin’s thigh slapping and Marion’s sweet and gentle nature came together in a really effective duet  “Why do I Love You?”

No panto would be complete without a “baddie” and a “Dame”.  In this case, the baddie, the Sheriff of Nottingham played by Paul Asher inspired booing and hissing at every entry and we were suitably revolted at the thought that he might get his hands on the lovely Marion.  The only fault, if fault there be, was that he a looked rather too good looking for the awful a character he played.  A little more make-up perhaps?

The Dame (Andrew Hamel-Cook) as Nurse Molly, was a delight.  Articulation was terrific and “her” Two Ronnies style jokes came across clearly and kept the laughter coming.  Pity she was up for marrying the Sheriff, but then she might have become a reforming influence in his life!

The two Babes, Pip and Penny, played by Alice Baron and Julia Mackay were as at home in their parts as though to the manner born.  Their performance of “Hushabye Mountain” was poignant and lovely.  It seems the Nomads’ future is safe.

Robin’s band of merry men was well represented by Colin Barnard (Will Scarlet), Richard Halsey-Watson (Little John), Alana Dale (Elaine Burns) and with David West as Friar Tuck.  I could understand why they cut a romantic reputation in the community……. a bit like a Parish Council really!

Causing all the confusion and creating a sense of comic interlude were Doc and Doris played by off-stage husband and wife, Jeffrey and Rae Ann Wightwick. Doc’s shambling, good-natured stupidity was kept in shape by the quick thinking and scheming Doris.  Both characters were delightfully drawn and Doris in particular showed great attention to detail and skilful comic timing.

Adding to the awfulness of the sheriff were his inept guards, Alan Wiseman and Oliver Forsyth.  Alan in particular, seemed to relish the role and created a palpable sense of evil.

Holding the sections together was the confident, robust and really endearing performance of “Dangerous Dave” by Iain Watson. It was such a relief when he finally became one of the Merry Men since he had gone through a whole series of permutations of his name, from Dimwit Dan to Dozey Dan.

The chorus is much to be praised for its chameleon like changes of character and costume. Their song  “Sherwood Taverna” with Dangerous Dave set the scene and tone of the panto.  We knew we were in for a good evening and that was confirmed by such moments as the schoolroom scene.  They really did seem like St. Trinian’s pupils.

The Dancers and Young Chorus gave of their all and the dance where they covered the babes with leaves was especially effective.

As always, a good show relies on its back stage personnel. The programme demonstrates the importance of such people since the Production Team Credits occupies a whole page.  The Director  (Jeffrey Wightwick) did a great job of coordinating such a large a team of cast and actors and producing work of this quality.

It seems unkind to pick out particular production elements for mention, but it would be an unforgivable oversight not to make comment on the costume (Jill Asher).  This was tremendous and the quick changes especially of the chorus were breathtaking.  The sets (David Martin et al) and backdrops especially were stunning and the fun in the lighting box (Charles Hope) didn’t go unnoticed nor did the sound effects! (Tim Williams)  The spot light was impressive too, no shakes…… spot on!  But whose was the hand that led it?  (Ed’s note: it was Clive Vinall that night)

The choreography by Christine Harris made a difficult job of finding space on a small stage for lots of people seem like a piece of cake and the dancing always seemed to “belong” which isn’t always the case in pantomime

It all came together, of course, in the finale which was sparkling both literally and figuratively.  The Musical Director, James Marr with Myer Rosen and David May on their multitude of instruments underpinned the whole performance with great gusto and enthusiasm.  This was opening night! It can only become even better before the end of the run. What a treat lies in store for those who have yet to see the show.

You can see photgraphs of the show here

The curtain did rise to reveal a wonderful set.  There had been huge attention to detail.  One really did feel as though we were having a peep into the lives of the people before us.  I never fail to be thrilled by a table lamp or standard lamp lit just as the actor “switches it on.”  This act appears to be so simple, so effective and yet not as easy to achieve as one might think.   Here were absolutely perfect!  So well done those of you who were involved in set props and lighting.  Excellent stuff.

No less good was the costume.  Several costume changes gave visual interest and helped create the sense of time passing.  It was a delight to watch.  My only slight reservation was Julia’s handbag.  It rarely seemed to “belong” to her and seemed almost inappropriate since she was “at home’” in Lettie’s house. There was also the mystery of the constantly re-adjusted cushions.  Sometimes, this particular cushion was laid flat, then quite as deliberately arranged to support the back.  Was I missing something? Were there some crib sheets hidden in the pattern or had somebody had a delicate bit of surgery??

Dare I say, and it is probably a very healthy sign of the times, that the cigarette smoking was wildly unconvincing and thus a little distracting.

Patrick (Francis Pindar) played a “crisp” young man whose “sister” Julia (Sophie Johnstone) was positively unpleasant.  They were convincingly scratchy with each other, making it a real shock when we discovered their true relationship.  There was a nice contrast when they became the softer, gentler lovers. However, Julia had more to reveal and she effectively created a sense of indecision in us as we tried to decide if we liked her or not.

Mrs Swettenham (Lisa Arnold) presented a delightful, genteel busybody (I just know she had smelling salts in her bag) whose son Edmund (Nathan Farrell) played the supportive son, but we discovered he had an agenda of his own.  However, before we really got to that, he proved not entirely unexpectedly, to take an impish pleasure in giving his mum “a terrible turn.”    Was he the one who dun it??? Phillipa Haymes (Becky Smith) was also part of Edmund’s agenda.  Becky’s playing was very assured and her character well developed. Her very defensive and slightly prickly response when questioned by the Inspector put doubt in our minds. This sweet, unmarried mother/widow, was perhaps not as straightforward as we thought. Our unease increased on learning that poor Letitia had changed her will in Phillipa’s favour. Her reaction to this was perhaps too sweet? Was she the one we should be pointing the finger at?

Mitzi (Collette Wighton) provided us with light relief by the cartload.  Her inexpert use of English, the heavy “Hungarian” accent at various times made her the most suspect of the characters, especially as she found it difficult to sort out fantasy and truth.  A delightfully drawn character!

The heart of the plot was handled mainly by Letitia Blacklock (Carol McGlone) who used the set so convincingly that I really began to believe it was her home, the ailing, confused but really “all there” Dora Bunner (Tracey Gillard ) and the iconic Miss Marple, beautifully played by Annabelle Farrell.

Left to unravel the mystery and find the murderer, was the ever assured Inspector Craddock (Richard Peachey) and his note taking assistant Sgt Mellors, the very dead Rudi Scherz (both parts played by Richie Halsey-Watson, the producer!)

With suitable eleventh hour precision, all was revealed and the person what did it, was not the person we all thought had did it!

Though the whole performance had a slightly sedate pace especially in the first half, it was very well put together and was a most enjoyable bit of theatre. There was a sense that everyone took an equal share of the responsibility for making it work regardless of the size of their role.  Real team work and much credit to the director, Stephen Whittock, for this.

The selection of the three particular one-acters from the original nine was particularly skilful.  Red Peppers gave an overview of the entertainers, Hands across the Sea a view of the more absurd elements in those that constituted the audience, while Family Album took us inside the homes of such people when they were not at play. Truly a snapshot, ever so slightly exaggerated (!) of Coward’s world.

The delightful song and dance routine and the wonderfully corny but “comfortable” jokes brought to life  in Red Peppers by Andrew Donovan and Katherine Attwood took us straight to the  Musical Hall.  The back stage stalwart Alf played by Nathan Farell, the drunken left handed conductor (Steve Nankervis), the cigar smoking and crusty Mr Edwards (Wally Cross Gower) and Mabel Grace, the ubiquitous ham actress past her best, beautifully portrayed by Carol McGlone gave us the very essence of the Music Hall!  One could practically smell the grease paint.  A splendid start to the evening.

The Coward/Lawrence partnership is, of course, legendary. The Nomads’s pastiche/entr’acte was delightful, it looked right, sounded right and by golly, it felt right.

When the curtain went up on the set of “Hands Across the Sea”, the audience broke in to spontaneous applause.  It was beautiful.  Its very simplicity and starkness was an eloquent statement of the elegance of the Art Deco period. Well done all those set builders!

Froth and wit are some of the more obvious features of Coward’s writing and he is a delight to play.  The cast of  “Hands Across the Sea” caught the mood wonderfully. Every home should have a Walters (Carol McGlone).  She became progressively more fed up with each ring of the doorbell and made no attempt to hide it.  The dapper Commander Gilpin (Steven Nankervis) and his gloriously breathless wife, Piggie (Gilly Fick), set the scene for the chaos of things to come.

Lieut.  Alistair Corbett (Andrew Donovan) “swanked” things up beautifully.  The arrival of the Wadhursts provided a wonderful foil for the excesses of the three.  Their quiet and confused restraint, coupled with the telephone wire which seemed to have life of its own and which was intent in ensnaring the hapless Mrs Wadhurst (Diane Nichols) created side splitting comic business.   As though that wasn’t enough, enter the Hon Clare Wedderburn breathless, fluttery and wonderfully OTT played by Mary Parsons and the delightfully graceful (even “in his cups”) Major Gosling.  Gary Griffiths’ reading of Gosling was a masterly mixture of swaying, dancing and constant cocktail mixing.  Hugely funny!  This was in stark contrast to the almost speechless Mr Wadhurst (Wally Ross Gower who showed us how to act with barely a word to say.) It was wonderful.  He did not drop his concentration for a moment.

Adding to all this hilarity was the unfortunate Mr Burnham (Nathan Farrell.)  He too had an almost non-speaking part but made a huge contribution to the humour especially when in receipt of an unexpected cocktail as Mrs Wadhurst left and thrust it into his hand, but even more so as he gave up the fight and crept up to the sofa to deposit the plans he had only come to deliver.

In Family Album, we really did get the photographic grouping of the family following the death of old Mr Featherways.  Here the ensemble playing was polished and measured.  The attempt at frivolity, or at the very least, even the lightening of the atmosphere was kept in check by the highly “correct” Lavinia Featherways.

While the whole group demonstrated really skilled and beautiful playing in this piece, I feel special mention must be made of the controlled and gradual development of Lavinia by Diane Nichols.  It made for a tremendously effective moment when she revealed that she and Burrows had burnt the most recent will.   She of high moral tone had burst forth in an act of deliberate revolt.

Her companion in this ‘wicked deed” was the hitherto deaf butler, Burrows.  Is deafness not part of the requirement of “butling”?   Wally Ross Gower gave a magnificent reading of this seemingly small but pivotal role.  He created a perfect English butler and timed his “revelatory” line to perfection.  The kind of butler our friend Coward would definitely employ.

The costume throughout was magnificent.  I particularly loved Carol McGlone’s gown in the Red Peppers but it is very difficult to fault any of the dresses. The set again in the Family Album was beautifully detailed and the lighting did what all good lighting should do, it showed us the scene!

All in all this was a very enjoyable evening and one of the best I have experienced at this lovely little theatre.

In the swinging sixties, the Gold Star Employment Agency is faced with serious financial problems, the auditors being on the doorstep. Regular job-seeker, Peter (Francis Pindar) returns from a holiday in India with a magic stone which he uses to seduce manager Jane (Bronwen Elliott), who embezzles the company funds and runs off with him, leaving the Agency facing bankruptcy until rescued and re­newed by the ever-reliable businessman, Arthur Welham (an excellent Stephen Whittock). The Agency is re­born!

The middle of the holiday season is perhaps not the ideal time to present such an ambitious venture. The pro­duction team has to work within the limitations of those available – once again it says much for the fortitude of the Company that such a venture be attempted at this time.  However, certain criticisms must be made at the outset. It is a pity that the production was presented in the Studio Theatre, rather than the Main Auditorium, limiting the size of the audience but, more importantly, restricting the fair-sized cast’s movements. As a result the dance routines became very cramped in such a small space, with the excellent orchestra (led and conducted by the composer) being situated on the main stage and out of sight of the performers. While this drawback was overcome with aplomb the main stage would have allowed space for both sets of players and simplified communication.

The libretto showed signs of inexperience and could have been tightened up with the over-complicated plot being simplified. Although the well-written programme notes gave a comprehensive run-down of the action – almost like a Shakespearian description – the plot of amusical should surely be pretty self-explanatory without  recourse to notes – I would, too, have liked to know what happened to the run-aways Jane and Peter in Brazil, whose fate was left hanging in the air.

Finally, the composer has such a wealth of ideas that the musical was packed with more than 20 songs – too much talent. While we rejoiced in some splendid ensemble numbers, such as Transcendental, The Stationery Song (brilliant but difficult lyrics), Betrayal and Welcome to the Future, a number of others could have been omitted, not only speeding up the action, but allowing devel­opment of the best songs which, too often, ended just when the audience was really enjoying themselves and wanted more. Some songs proved too much for inexperienced singers I gather that the interesting programme note for advertisements for job vacancies in 1967 is based on contem­porary facts but the salaries on offer seem to me to have been from an earlier and less affluent time. Did a temporary typist really earn only 20/6 p.w.?

Francis Pindar was particularly impressive in his eastern mood as he chanted mantras sitting cross-legged and I appreciated the grace and beauty of Bronwen Elliott and the job hunter, Jill (Catherine Scott) who, however, did speak her lines rather too quickly. I loved the slow dance routine of Peter and Jill.

The lighting and sound effects by the old team of Charles Hope and Tim Williams was, as always, excellent. while the Farrell family – Annabelle (as Serena, the agency supervisor), Nathan (director) and Jordan (choreography) didn’t let the Company down.

It was a wobbly start, giving credence to the final theatrical rush conveyed by the script.

A beautifully sung solo by the Wardrobe Lady (Tracey Gillard) and the choral piece filled the stage with promise of liveliness and energy that became a feature of the show as it progressed.

Opening night is always fraught and things do go wrong. And wrong they went. At some points the prompt (Sue Vesey) almost became an integral part of the cast(and did great job!)  Despite those hiccups there was much to be admired.

Lilli/Kate (Caroline Peacock), every inch the beautiful actress, sang and acted her way into our hearts.  It was a strong and consistent performance. As Kate we loved her spirit and self-assurance.

Her sister Bianca/Lois (Sophie Johnstone) gave an equally strong performance and her lovely rendition of “Always True to You in my Fashion” brought the second half to a different level.

Bill Calhoun/Lucentio played by Emile Maurice-Toussaint was charismatic and athletic.

Indeed, the second half was much more lively, had better pace, and saw everyone “settled” into his or her roles, the first night nerves having evaporated it seemed. Harry Trevor/Baptista Minola (Andrew Hamel-Cooke) playing Kate and Bianca’s father with polish and confidence.

The chorus song and dance sections were very well done throughout and the spectacular “Too Darn Hot” despite intonation problems had verve, colour and a real sense of enjoyment.  Nathan Farrell, as Paul, led the way with great style and panache.

It was a miraculous piece of choreography that allowed such athleticism by so many to survive and blossom in so small a space.

Fred Graham/Petruchio (Arnold Pindar) had difficulty in keeping his dialogue flowing but all was forgiven the moment he began to sing.  Here he was in his element; the voice effortlessly “produced the goods.”

In fact the singing was always a pleasure and much credit for this is due to the Music Director James Marr and the trio of musicians. Well done!

The comedic characters, the 1^st and 2^nd gangsters  (Jeff Wightwick and David West) were very, very amusing and the audience really loved them.  Their faces expressed the whole gamut of emotions from gangster confidence to complete bewilderment by the goings on around them on the stage.  Some fluffs in the singing of “Brush Up Your Shakespeare” perhaps made the audience enjoy their performances even more.

The costuming was very effective and colourful if sometimes less than secure than one might have hoped.  The only really annoying costumes were the slip-on codpieces that did little more than cause confusion. Perhaps the General (played convincingly by Peter Leith) deserved more military ribbons on his uniform being a General with Presidential aspirations.

Other roles were very supportive. Annabelle Farrell as Hattie, Maurice Buckley as the stage Doorkeeper keeping the actors ready to get on stage and Hortensio (Keith White) and Gremio (Francis Pindar) played key roles allowing the other characters to play their parts convincingly. There were several examples of excellent interplay.

The colour in the final chorus was really lovely. How fortunate to have a cast who were able to wear period costume with such ease!

One or two glitches early in the lighting were soon forgotten as the stage filled with light and colour and the following spot always followed.

Complex and impressive sets changed smoothly and quietly. The revolve was used to great effect. Large pieces of set moved forward and around with wonderful ease.

I cannot praise too highly the chorus and the dancers who held it all together helped to create a really enjoyable evening. I wish I had seen it on the closing night—it was spectacular, I’m sure.

Polly.

The Likes of Us (2011)

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The Likes of Us (2011)

A TASTE OF THINGS TO COME
The Likes of Us is the first musical written by the winning team of Andrew Lloyd-Webber and Tim Rice.  It is a strange cocktail of the traditional musical form with some chorus numbers reminiscent of Half a Sixpence, Charlie Girl and other successes from the ‘60’s and glimpses of the route they would finally take down the road of through written musicals many, at least in the beginning with solid rock themes.

THE MUSICAL
The piece has a certain naivety which is actually quite charming however the lack of a useable book does pose some sizeable problems.  For many a narration, no matter how witty, really cannot make up for good dialogue.  As some of the Narrators lines are literally a handful of words it also causes immense problems for scene changes if you are to be adventurous.as opposed to lacklustre with the staging.  However there are some truly wonderful songs and because of a lack of sung recitative the concentration on pure melody is far more noticeable.
The story charts the beginnings of the Barnardos’ children’s homes and follows very loosely, the life of Thomas Barnardo on his arrival in London from Ireland.  The show has a large cast including children and is scattered with poignant solos, some showstopping chorus numbers and a truly beautiful, childrens “anthem”.

CASTING
Never an easy task for most amateur companies these days.  We were however lucky to get a very strong principal line up.  Emile Maurice-Toussaint as the irascible but driven Barnardo gave the part a very personal touch as he spent much of his childhood in a Barnardo home.  Wendy Denny as Syrie Barnardo’s wife to be was warm and charming.  Annabelle Farrell as the tart with a heart, Rose was powerful and suitably alluring.  Nathan Farrell who as a first time song and dance man brought the part of, Johnny the juvenile lead to life with a wonderfully melodic and physical interpretation of, “Love is Here” was more than enough to soften any heart especially that of his charming and talented ingénue, Bronwyn Elliott as, Jenny.  Last but by no means least, Francis Pindar, as the auctioneer. Truly memorable in all respects and one of the undoubted highlights of the show.  A solid chorus who gave the showstoppers everything they needed to actually stop the show  The gentleman of the chorus deserve to be highlighted for their stirring interpretation of the rousing “Lion Hearted Land”.  Very much a number to be “commended to the house”!!!  2 teams of “kids” who were just mesmerising. and brought a tear to the eye every performance with their “anthem”.  At this point special note should be made of Jordan Farrell (14), Ellie Eves (15) and Ellie Silvey (15) as the unnamed “Lead Boy & Girls” who at their very tender age have the unenviable task of leading the entire company in one of the many showstoppers, “Man of the World”.  They did it with great panache.

REHEARSALS
In common with most companies early rehearsals were twice a week stepping up to 3 or 4 as the show got closer.  This was until December when we were brought to a grinding halt by the weather and in total lost 4 rehearsals no small number in the amateur world.  We also suffered 1 week before opening with 7 (that was a third) of the adult chorus off sick with the various bugs that infested the country in January and one of the kids breaking an ankle.  All in all now was the time for endless sleepless nights for the production team, Wendy Denny (choreographer), Steven Geraghty (musical director) and Stephen Whittock (director) and the inevitable thoughts of “why do we bother?”  At this point I would like to make note of the stunning choreography by, Wendy Denny as a Director/Choreographer it can be difficult to release the complete control of the production but her routines were perfectly conceived and executed and were wonderfully exhilarating to watch.

THE THEATRE, SET & CREW
The Nomads are blessed to have as their home the wonderful Nomad Theatre in East Horsley, Surrey.  Equipped with revolving stage and fully functional fly tower staging musicals especially this one is made a little easier (oh no it’s not) I hear the crew cry.  I had said from the first meeting with our building team and crew that I wanted a park bandstand that would magically “transform” into the rooftops of London with smoking chimneys and back and then be able to revolve.  As always with this exceptional team my wildest ramblings were fully realised and to such effect that every performance this “transformation” received spontaneous applause from the audience.  I must also thank here our scenic artist, Anne Thomas who masterminded and executed some of the very tricky paintwork involved with the set.  The biggest problem in staging a musical at, The Nomad is where to put the band as the theatre was never designed with musicals in mind.  The 9 strong band (some players quadrupling on instruments were banished to the studio behind the stage.  Special mention is made about one of the youngest and without doubt one of the best Musical Directors in the business, Steven Geraghty for his talent, imagination and technical expertise.  Another strong feature of the theatre is superb sound and lighting and as always the standard was kept very high.  I wish I had the space here to list the entire “crew” including builders etc but I don’t.  They all know who they are and over the years have earned my respect and thanks for just doing what they do and being so brilliant at it!!!!

MARKETING

Unlike most of the companies that perform this show, The Nomads decided not to take up the, NODA and RUG marketing package but to design our own.  With the co-operation of Jordan Farrell and his family a poster was designed based around an image of him as a shirtless starving orphan.  The poster was very successful and conveyed the distress and squalor of the era.  A successful radio campaign was undertaken including slots on local radio and the inevitable mention on the “Break a Leg” slot on BBC Radio 2’s Elaine Page on Sunday show.  Numerous press releases including a large piece in a magazine aimed at schools with ideas for their Christmas trips all the usual local advertising and the army of handbill distributors to put the bills through the letterboxes.  Obviously numerous mentions in the monthly newsletter help to get the message home.

COSTUMES/MAKE UP

Most costumes came from the theatres own wardrobe supply.  With a cast of 20 adults and 20 kids this is no mean feat but as always the wardrobe department under the guidance of Jill Asher came up trumps. I had said from early on that although the show is a very “rose tinted” view of the Barnardo story I wanted to make it a little harder and to that end decided to uniformly make up the cast so they looked more Victorean London and sickly and less Surrey, bouncy and healthy.  Generally this worked and the effect was almost “ghostlike”..

CONCLUSION

Every production throws up challenges musicals more than most and these challenges can often seem like mountains.  This one is no exception.  It is unknown, albeit written by a truly world renowned team.  It has no book instead a narration that is not all it might be and by virtue of no dialogue or recitative to build character the cast have an uphill task to win the audience and engender any kind of empathy.  They are fairly big mountains but they can be climbed as long as production team, cast and crew have imagination and are prepared to look “outside the box” and approach it with no preconceptions.  I suggest it is treated for what it is, an oddity!!  I tried to make it a series of postcards or snapshots of a time when lurking not far beneath the surface was a lot of unpleasantness.  Be imaginative with the staging don’t rely on an “Oliver” based set it won’t be enough.  If you decide to do the show I hope you would find as we did that Really Useful Group are fantastic to work with (some others could learn from them).  Having talked to other companies about the show they are always ready to listen if you want to do something new with it.  One group I know actually wrote a script instead of using the narration.  All in all I am very fond of the show and am particularly proud of our production of it and hope The Lord and Sir Tim would be too.  I would recommend it to any group but just say beware of some fairly large pitfalls get over them and enjoy it.  Certainly the audiences that came to our production were almost unanimously delighted with the show and had a great evening at the theatre.

The photographs were all taken by David Martin.

By Helen Mills  SE Area NODA Rep

Adapted from the Novel by H G Wells

I was very much looking forward to coming and seeing this new play written and directed by the author. Alan has, as he admits, fifty years experience in the theatre but this is a new venture for him which I hope he has found rewarding, though I am sure there have been many heart-aches in the process of bringing this baby from its birth to a full grown adult. He has explained some of these difficulties in his notes for the programme, such as casting, rehearsals, improvisations and the demands of scenery and lighting to mention but a few!
The part of Mr Polly was of course the glue which held the whole thing together and Richard Peachey rose to the challenge, playing the ‘put-down’ and the angry young man, the married man, the arsonist, the suicidal, the de­fender of rights and finally the older and more settled man. There were many emotions to portray in these roles and he achieved in making us believe in all of them. Well done Richard! Other members of the company played many parts and were all good in their sometimes miniscule but at other times more major roles. Bronwen Elliott as Miriam acted the part well. I liked Steve Rowland in his roles, my goodness that was the fastest wedding ever!
Paul Asher played Gervace and Voules but I particularly appreciated Uncle Jim, I was really scared. Elaine Burns as Mrs Larkins, Claire Stimpson as Annie, Nicole Woods as Minnie (and at the picnic) were all nicely por­trayed. Maurice Buckley playing four parts was particularly good as the irascible Uncle Penstemon and the half-drowned ferry passenger. Phil Wilcox and Annabelle Farrell played Mr & Mrs Johnson well. Carol McGlone as May, then as the plump lady-she had a plum (or plump as you wish!) role and I enjoyed her portrayal as the landlady of The Potwell Inn, a comfortable body just right for Alfred in the evening of his days. Elaine Burns, also as “the old lady” didn’t want to jump off the burning shop, and who could blame her? A nice little part also at the wedding. Graham Fisher was good as the magistrate and appeared along with Oliver Forsyth at the picnic, cameo parts again. Christabel nicely played by Isobel Ackerman on the wall and the picnic. I hoped she enjoyed the transition from the Nomes. Ellie Eves and Alannah Winn-Taylor the two youngsters playing the mischievous and cheeky children; they obviously enjoyed their roles. Well done one and all. The costumes and make up were of the period, some nice millinery, very effective. (Don’t pull the zip up on the frock be­ing sewn! A very minor crit!)
The set was well thought out. I liked the back projection which established the many scenes. The burning building was  very effective and so was the river shown by lighting. Effective use also was made by the thrust stage, first floor window, punt and the side entrances,
There were some excellent props, the tea things at various times, the food at the wake, the wedding and the picnic. Richard did well with his meal at the Inn, it’s not easy to eat on stage. Even if there cannot be anything in the cups or tankards, please be sure they don’t look as though they are empty, it does look odd when they are waved about. The stage dressing was good and what a ferry-boat! As a former punter I appreciated the difficulties, bring the pole up in three! This particular punt took some handling and Richard manoeuvred it well. And of course – the bicycle, of the period and very well ridden. The crash too was well staged.
I was somewhat disappointed in the scene changes. They were very smartly done but once the stage has gone dark the atmosphere and ambience has gone. I would have preferred a partially lit stage then the audience are involved with the action and ready to absorb the next scene, it doesn’t matter if we see the changes, it makes it more interesting and we are therefore involved to a greater extent and the flow of the play is not lost. As there were a lot of changes I think that then the action would have been more effective. It worked at the end of Act II at the Inn when this actually happened. The production does need some tweaking; the first act didn’t really get going till after the wedding and maybe more emphasis on the fact the beginning was a flashback. It does need some more humour if that were possible. (The author adds “An interesting point. We did, in fact, consider just such a presentation but decided that creative lighting would add to the drama. Notes for the revised play for publication will suggest the alternative approach.”)
I congratulate all the production team, lighting, sound, costumes, FOH, Stage Manager and everyone, all play their part. An informative programme with a nice cover. I particularly congratulate Elaine as producer, but of course the main plaudits must go to Alan for conceiv­ing it in the first place and seeing it through to fruition, I hope it can be made copyright and go on to be recognized as a production maybe for professional as well as amateur companies.
It was very pleasant to come to again to see The Nomads and thank you for my warm welcome.

This was the first time I had experienced sitting in the kind of audience the Nomads deserve.  It was a full house and I even met a lady today who had been unable to get a seat on the evening I attended.  This is more like it.

This show produced a palpable sense of energy, enjoyment and above all commitment.  There was some imaginative and very interesting use of freeze frame and the backdrops were really wonderful.  In particular the London skyline is one that will stay in my memory for a long time.  It was the background for the transformation of a London square into a roof top scene sporting delightfully realistic smoking Victorian chimneys.  This drew a spontaneous round of applause from the audience.  The lighting was particularly nice here and was generally very atmospheric.

As always the stage crew were meticulous, efficient and discreet. Scene changes were swift, silent and always interesting.

Given the collaborative nature of the piece, it would seem crass to comment on individuals.  Suffice it to say that soloists, the junior and the senior chorus produced some wonderfully memorable moments.  The story was told with clarity and wit and the songs fitted in naturally and with seemingly little effort.

Choreographing a show is always a little bit of a trial as there are so many people to fit in.  How much greater the problem on a very confined stage!  Yet it all flowed very easily and there seemed, and there always seemed to be, room to spare.  Even the tap dancing seemed to have “space” around it so we could enjoy it to the full.

The music and words were easily recognizable Lloyd Webber and Tim Rice. Indeed there were moments where we were given a foretaste, as it would have been in the 60s, of some of the great songs that the pair went on to produce. Songs that we can all hum even, if like me, you can’t remember the words!

The music then was of course, good but what made it so enjoyable was the real vigour and assuredness of the musicians.  I do wish, however that we had been able to see them. It would have seemed even more like a West End show.

Finally however, I must mention costume.  It provided us with bits of humour as in the “parliament” scene, where all the white wigs were particularly eccentric, to the lovely wedding scene and the grand and very patriotic finale.

All in all this was a most cheery and enjoyable evening.

Polly

The Nomads did well to choose Alan Ayckbourn’s Season’s Greetings for their autumn production.  The imaginative 1980′s set, one of the theatre’s best in recent times, was open for the almost full houses to appreciate on arrival.  Designed by the Director Jeff Wightwick and built by ‘the Tuesday crew’, it was complemented by excellent props, with costumes by Jill Asher ensuring authenticity of the period.   The lighting and sound were faultless, the seasonal curtain music setting the right atmosphere.  The programme was well designed, full of interesting information about the Cast and Crew, together with details of forthcoming productions.

Jeff Wightwick moved his large cast around the cleverly designed three way split set with commendable ease.  It never appeared crowded, although I would have preferred a table that seated nine rather than six, considering that was the number expected for the Christmas Eve dinner.    The fact that only six  needed to sit at the table was immaterial.    However there was little else to criticise.   Ayckbourn’s writing is complex, with much interaction of speech which can make a good pace difficult, but the cast were well drilled and generally quick on cue.   John Norris gave a particularly good performance as Harvey the grumpy uncle, equalled by Paul Asher as the ineffectual Bernard. Good performances were also given by Helen Teasdale as Belinda, Klaire Atkinson as the believably pregnant Pattie and Mary Parsons as Rachel.   Gilly Fick and Richard Williams, making his debut with the Nomads, excelled in the well directed drunken scene, with Richard Peachey as Neville and Andrew Hamel-Cooke as Eddie proving that good performances can also be given when being seen but not heard.

Alan Ayckbourn is thought by many to be the writer of comedies.   He does write comedies but Season’s Greetings cannot be considered one of them.  It is a play with humour, a totally different concept.   There are nine characters whose multi-layered relationships are explored at various times during the two Acts and it is full of home truths, with a good deal of pathos.  The scene towards the end of the play where Bernard finally stands up to bully Harvey was particularly impressive.  The writing rather than the cast handicapped the pace in the first act, but it built up well in the second with  the puppet show being one of the highlights of the play.

Season’s Greetings was an excellent evening’s entertainment, and the Nomads deserved their good audiences.  Congratulations to the Director and his Production Team.

Geraldine Guthrie

And from The Surrey Mirror

The Nomad Players, East Horsley Reviewed by Tony Flook

It would be easy to think that the characters in ‘Season’s Greetings’ belong to a dysfunctional family but is it also possible that all Alan Ayckbourn has done is to shine a light (if a somewhat bright one) on the sort of idiosyncrasies that could surface when any group of people is thrown together for several days over Christmas?

Every member of the nine-strong cast in Nomads’ production showed total understanding of their role and, as important, of their relationship with the rest of the team.

John Norris was a scarily recognisable Harvey, the militaristic right-wing extremist with many years in the security business. Paul Asher was equally convincing as Bernard, a bumbling, inept doctor with his penchant for putting on abysmal puppet shows.

Gilly Fick never went over-the-top in her portrayal of drink laden, lethal cook, Phyllis.

Andrew Hamel-Cooke gave a sympathetically understated interpretation of semi-detached loser, Eddie.

Only Clive, the outsider, played by Richard Williams, seemed totally well balanced but even he lost his cool when he and Belinda, the hostess (Helen Teasdale) became passionate, with hilarious results.

One female actor could be faulted for speaking too much on one level and another for under-projection but dialogue between all the players overlapped perfectly to sound spontaneous. Everyone stayed fully in character even when the action switched away from them.

Director, Jeff Wightwick’s set design made full use of the stage to create three separate rooms, each with its own style by way of decoration and furniture.

Charles Hope’s lighting impeccably followed every incident around the house.

Having seen a production as well staged as this, it seems a shame that ‘Season’s Greetings’ is so rarely seen and then only at Christmas.

Rope is an ambitious play to put on as it stretches even the most accomplished actor. Director Laurence Armitage and his dedicated cast rose to the challenge and gave it their all.
The original play was written in 1929 and set in that period but this production saw it in a present day setting. Nonetheless, changing reference to modern day people, tweaking the text and using mobile phones was not enough and still felt not of our time.
A very dark play exploring the themes of murder and excitement-at-any-price, there was a constant tension on-stage . The production was in the theatre’s studio with the action literally performed within feet of – the audience, the actors making good use of the limited stage. The set was realistic as were the costumes, . Stuart Tomkins who played Brandon the main protagonist, gave a strong and well-considered performance. The scene
where he finally breaks and admits his crime was well executed (excuse the pun). His weak-minded friend Charles portrayed by Nathan Farrell had good facial expressions and played the awkwardness of his part well. His
descent into alcohol-induced paranoia was most convincing. Fay Docherty‘s portrayal of Leila showed a well-modulated voice and stage presence beyond her years. As her ex-boyfriend Ken, Matt Kalorkoti played his part well, if slightly understated. I did feel though that he laboured some of his monologues but Steve Rowland as Rupert, the men’s old teacher, nonethless gave a convincing, intelligent and over-all fine performance. Colin Clyde was Sir Johnstone, his concern and upset for his missing son well acted,. He had a stage presence that supported his part. Liz Cross was most amusing as Mrs Debenham and portrayed the characters’ confusion well. Annabelle Farrell was convincing as the cleaner/maid, a staple character of plays of this period.
Congratulations should go to all involved in this production.

Oliver Cownden