Posts by Annabelle Lawrence

Theatre reviewer, Polly, provides this review of The Nomads 2017 pantomime, Dick Whittington & his cat

“Think Christmas and at some point you will think panto. It is about as much part of our British Christmas as Carols from King’s College and the Queen’s Speech. This kind of iconic position brings with it a certain expectation, of course. It is an uniquely British form of theatre and we have a formula which must be adhered to or it’s not a panto! The story is usually a fairy or traditional tale, there is always a baddie, there is always a goodie, there is always a lot of singing and dancing, there is some very obvious, groaningly obvious humour, a lot of double entendres to keep the parents awake, pyrotechnics if you can and huge spectacle especially in the last scene. I have not mentioned, of course, the audience participation. This is as formulaic as are the plots. The phrases such as “He’s/it’s
behind you!” or a particular phrase given us by one of the “helpful” characters; the panto dame always played by a man and the Principal Boy is always played by a woman. You have to be British to understand any of it. Perhaps something like cricket?

So the expectation is high, but in the Nomad’s production of Dick Whittinton and his cat, they didn’t miss a trick. The programme itself promised a very high standard of things to come. Starting from the bottom, at least in height, I have to say that the young ratlets (Patrick Anderson, Ori Carr-Stein, Eden Garland, Amelia Tang and Ethan Tang) were terrific and the very youngest dancers were a delight. The choreographer, Samantha Potten did sterling work preparing her chorus of dancers (Alice Burgess, Caitlin Byrne, Ciara Byrne, Abigail Darke, Emily Davey, Amelia Potten, Katherine Warr, Sienna Wayland, Charlotte Weller and Francesca Woof.) I especially loved the more taxing and very difficult point work shown us by the older dancers. To top off the dancing, we had a panto dame, Sarah the Cook, played by Michael Ayres, who joined in the tap routine. Wonderful.

Tap dancing wasn’t the only thing that the Dame was good at. ‘She’ spoke with great clarity, though some of the jokes might have benefitted from a little more exaggeration, but his/her make-up was wonderful. “Her” son Idle Jack played by Millie Jane Franks was a wonderfully drawn character, with hugely exaggerated facial expression and physical movement. It was “he” (another girl playing a chap!) who led the audience participation.

She put huge energy into getting us to respond standing up and repeating a little routine each time she came on. We were not a very good audience as we were a bit lazy about getting up and speaking the lines we had been
given. Speaking for myself, I was heavy with cold and recovering from ‘flu so getting up every two minutes did not get my vote, but that was just me. I’m sure with a slightly younger audience especially, there would have been no difficulty and Jack really did deserve more help than we gave her!

Dick Whittington (Sophie Johnstone) spoke with great confidence and commitment and was a suitably glamorous and character. Dick and Alice had some very enjoyable duet and solo moments and between them kept the central story theme on track. They were an engaging couple.

Alice Fitzwarren (Sasha Plaché) was a very lovely young leading lady and she obviously enjoyed her role which communicated itself well to the audience. She obviously had her father, Alderman Fitzwarren (Iain Watson) in the palm of her hand as he quickly agreed to allow Dick to join the crew of his last surviving ship. The Alderman came across as an affable chap, who took his bad luck in his stride. He was kindly too to his officer in charge, Captain Cuttle played by Jeffrey Wightwick. Cuttle made good use of the silliness
when trying to call the crew to some order and made a significant contribution over all.

Bit parts are the real fun of panto. You get to be there almost all the time but don’t have to worry too much about lines and Colin Barnard and Joshua Locke made full use of their
moments as the Arabs, the Sailors and in the general ensemble. King Neptune (Ricky Powell) in the beautiful underwater kingdom scene where we also met a delightful mermaid, played by Tilly Winford, was also a bit part well developed and delivered.

Another high spot was the scene in the harem. Fabulous colours and sinuous choreography. The Sultan of Morocco (Richard Peachey) was every inch the part and gave us a lovely bit of singing although we could have done with a facemike at some moments. Nevertheless the scene was visually splendid and we enjoyed the sultan’s contribution .

The “baddies” are what really make a panto and gives us the excuse to boo and hiss to our hearts content at their every entry. Gnashfang (Lisa Arnold) and Gnawbone (Johnny Diamond) were wonderfully evil and their immediate boss, King Rat (Daniel Shepherd) was truly superb. His performance was suitably horrible and very well sustained.

In contrast to his nastiness, another must of panto is the Good Fairy Bow Bells (Hayley Clines) whose fluency and well pointed and delivered lines had us all enthralled. A
lovely performance.

There is one supremely obvious omission in all this comment, and that is of Tommy, Dick’s faithful and hugely intelligent and clever cat which is pivotal to the progress of the story. Tommy was played by Karolina Sepiak and what a great job she made of it. There was total engagement throughout and her catlike movements were sustained at all times, but her real moment of glory came during Dick’s solo when she used the stage to its fullest extent and gave a terrific dance/gymnastic display, moments of which were absolutely jaw dropingly supple and a joy to watch.

The scenes and costumes, always spectacularly good at the Nomads, were glorious. This was, over all, excellent ensemble playing, each player supporting the others and matching each other’s commitment to the success of the evening.
I had one or two issues with the general pace of the piece, but in the following performances I’m sure the actors will have bedded in to their performances as general confidence grows. The other slight grouse I should mention is that one has grown to expect that when there is an obvious joke in panto, one expects a “boom tish!” from percussion. That wasn’t quite as obvious, to my mind, as it might have been. The band, directed by Gareth Alber, however, were otherwise a great asset to the performance and provided sympathetic
support to the singing. One further niggle is that perhaps the flys could have been just a shade faster.

I am not usually a huge fan of pantos, but I really did enjoy this performance. The director, Andrew Hamel-Cooke and his army of back stage “beavers” such as lighting, props, stage manager to name but a few, are to be congratulated in bringing together so many players to produce such a great evening. We must remind ourselves that these are all people who give freely of their time to present us with high quality, local entertainment throughout the year. Thank you all. Your efforts are much appreciated.”

Polly

NODA representative, Jon Fox, reviews the recent production of  The Lion, The Witch and The Wardrobe by The Nomads at The Nomad Theatre in Surrey (find us).

The NOMADS – “The Lion, the Witch and the Wardrobe”

Nomad Theatre – 14th December, 2016

“This fascinating novel from the mighty pen of C S Lewis is the best known of the Chronicles of Narnia and is a good choice for a company such as Nomads, who have several talented children as players.   Set in wartime 1940, when the four Pevensie siblings, Peter, Edmund, Susan and Lucy were evacuated to the Dorset countryside to live with the Professor – unnamed in this production, but  Digory Kirke in the novel – and a scary housekeeper,  Mrs Macready, the story revolved around the adventures of the four children in Narnia, reached via a prominently placed wardrobe.

An opening set of the children’s bedroom contained four single beds (with bedding) and a wooden chair and table with sewing machine (for Mrs Beaver to use later) set downstage left. A prominent and effective looking street lamp stood downstage right. The winter Narnia scene was beautifully set out with snowy landscapes and icicles up left.  Tinkling winter music enhanced the magical effect.

The four leading players were three children and a very young adult.  They were, in age order, Hazel Eve as Peter (late teens), Poppy Finnigan as Susan aged 12, Ethan Tang as Edmund aged 10 and Eleanor Cain as Lucy, also aged 10.   Hazel as Peter, the oldest sibling was a most accomplished actor, dressed in boy’s garb (shorts and pullover), and had the natural authority of an oldest child.   This was a performance that will long remain in Hazel’s memory in years to come though she is already an experienced performer for her age, it must be said.    Ethan  as wilful, naughty Edmund, had amazingly good body language, which I noticed straight away.    He had wonderful diction too, as did all the siblings – Eleanor as Lucy, the object of Edmund’s lies,  had real actor’s truth in her protestation of having previously been in Narnia. later proven as the truth.    The brother / sisterly teasing and protesting was so well done.    If we did not know that all drama playing children were practically perfect in every way, at home, etc. I could have sworn that they had sometimes actually been naughty in real life, so natural was their playing.   Forgive the teasing, it really is a compliment!   Poppy as Susan, the second eldest child, initially disbelieving Lucy, but believing that Lucy was merely game playing, rather than lying, was a key force for good in the plot.   Her tenderness towards Aslan and courage in defying the Witch, showing her steely character.    Another extremely mature performance for a mere 12 year old.

Helen Dixon as the White Witch was evil personified.    She has enormous stage presence, with superb timing and diction and clearly relished playing this evil character as much as I certainly did watching and admiring.    As the Witch’s “alter ego”, Mrs Macready, her bossiness and disdain for young children was made, rather marvellously, richly evident. Her demise (as the Witch) was wonderfully portrayed!

In stark contrast, Owain Williams, who was also the kindly yet mysterious Professor, endowed Aslan the Lion with a calm stoicism and timeless force for good.   To my mind there were definite similarities to the story of Christ sacrificing his mortal life to save others.    C S Lewis surely intended this thought.    Owain had the aura both as Professor and Aslan, so vital in these, giving a titanic performance. There were distinct Biblical parallels!

Michael Ayres as the scary Maugrim, in magnificent costume and facial make up (including coloured contact lenses and wolf’s teeth), was marvellously horrible.     Much heavy breathing (think Donald Trump with asthma), plus a horrifying howl …… lovely!    Voraciously evil and eventually slain by Peter.

Matt Weaver,  new to acting as his programme CV stated (though one would not have realised) was an athletic and kindly Mr Tumnus, the fawn greeting Lucy, whilst carrying an umbrella and two parcels and inviting her home for tea, but with a view to betraying her to the witch.   Stick with the acting Matt, it suits you!

Iain Watson and Elaine Burns as Mr and Mrs Beaver, protecting the children  in their home where Mrs Beaver sat sewing and welcoming.     Warm and skilled portrayals were given by both players, their vast acting experience being obvious.

Colin Barnard was an affable and well played Father Christmas.    No trainsets or playstations here, but rather a sword, dagger and magic potion.    But he was accompanied by an elf, three (girly) reindeer and, glory be, Jingle Bells with dancing,  A most effective scene.

Several keen and agile young folk played various creatures.   The dance of the tiny animals was carried out charmingly by Izzy Teasdale (Rabbit / Leopard 1), Jenny Bridges (Deer / Leopard 2) and Amelia Potten (Deer / Leopard 3).   All these young players did themselves proud in this production.    Another young performer who did well was Emily Ingold, just a little older and a fairly recent school leaver, playing Santa’s Elf and the Wolf, later slain by Peter and carried off by Maurgrim.   Amelia Tang was a sinister dwarf.

It is immensely healthy that NOMADS have these young folk coming up, hard on the heels of the older generation.

I was impressed by the scenery in this production;  the winter scenes were spectacular and made me shiver, merely watching.   The statues and  stone table were excellent too.     The Witch’s sledge was also realistic.    The in-house set construction team of Tony and Dee Bowdery, Justin Cobb, Ben Egan, Andrew Hamel-Cooke, Iain Macfarlane, David Martin, Anne Thomas, and Clive Vinall deserve a special mention for the superb creations they all made.

Props – I loved the Witch’s whip, by the way – were by Jennie Hamel-Cooke and Tilly Winford, which is good news for the company.

Costumes – again of top quality and effect – were in the capable hands of Sharren Bridges, Elizabeth Cross, Jenny Hasted, Jennie Hamel-Cooke and Caroline Tang.

I would also like to mention the outstanding make up by Anna, Naomi and Becky, all Guildford College students.   Absolutely superb work girls!

Spectacular lighting was provided by Tony and Dee and sound by the assured Tim Williams.

Without the expertise of dedicated,  capable and unassuming people of this calibre, shows of this top standard are not possible, as all who are true theatre people are fully aware.

Choreography was by Sophie Johnstone and the young people will have learned much from working under her tuition. Much  of the dancing was quite charming.

Anthony Kemp was the mighty Director working with Andrew Hamel- Cooke as Artistic director. The work and imagination that both these gentlemen provided in this vibrant production will stay long in the memory, not only of those fortunate enough to be cast on stage but also with the privileged audience.”

Jon Fox

NODA District 19

The Nomads are members of NODA, which has a membership of 2500 amateur theatre groups and 3000 individual enthusiasts throughout the UK, staging musicals, operas, plays, concerts and pantomimes in a wide variety of performing venues, ranging from the country’s leading professional theatres to tiny village halls.

NODA representative, Jon Fox, reviews the December 2015 production of Cinderella by The Nomads at The Nomad Theatre in Surrey (find us).

The NOMADS pantomime – “Cinderella” by Peter Denyer

Nomad Theatre – December, 2015

Millie Franks excelled as Dandini and, though only 18, has been with Nomads since age 7 and seems born to be on stage, cockney accent and all! Her performance was a comic delight and she dominated every scene she was in – a star player indeed.

Ella Kay as Mona and Lisa Arnold as Grizelda, the two uglies, were a wonderful team as the evil stepsisters. Despite being females of course they were truly awful to poor Cinderella and readily won boos. I much liked their comic touches and their costumes were way over the top and therefore most effective, though I felt Ella was a little too “pretty” for my taste – a wart or spots would have added ugliness!

Young Sheree Paton at only 16 was a good all rounder as Cinderella. She sang, moved and acted with talent and presence well beyond her tender years. She was goodness personified in real contrast to her evil stepsisters.

New to the Nomads, 18 year old Robb Green was a most likeable, even endearing Buttons. His stage “vulnerability” effectively deflected his leading man looks, not a quality Buttons ever needs. Definite talent here. His efforts to fill in time while Cinders changed costumes will prove to be a valuable experience.