Posts by Elaine Burns

The Memory of Water by Shelagh Stephenson

The realistic, well observed and detailed set prepared us for an equally forensic examination of the lives and attitudes of the three daughters. Teresa, the oldest (Moyra Brookes) quickly established the character of the dutiful daughter relied upon by the two others to take on the responsibilities of caring for the ageing and latterly, hospitalised mum.  Her obsession with all things natural and organic is quickly established as is her irritation with and scorn for her siblings.

Moyra Brookes played with great consistency, the very set of her head declared her supremacy among the sisters.  The head gradually lowered as she lost her composure completely when finally tempted by both a spliff and a quantity of whisky.  Her acid turn of phrase reached its most bitter as she revealed her “clever’ sister’s teenage pregnancy. The performance was sustained and developed throughout.  It was a well observed and entirely credible characterisation.  Although the butt of some of the comic moments she conveyed the frustration of many a sister who finds herself “in charge” of the older parents. Her portrayal of the woman unused to much liquor becoming slowly more and more drunk was excellent and totally convincing. This is very difficult to achieve on stage but she was entirely convincing and funny and tragic at the same time. The crumbling of the family cornerstone, as she saw herself, was very poignant.

In the opening moments of the play we also met Mary.  She is revealed as an overcommitted and exhausted doctor trying to sleep off the last shift. Played by Sarah Mullins, this character was perhaps the most sober, unsmiling of all. Her obsession with one patient’s welfare impinged even upon her personal life, but there was a darker side to Mary as we learnt later.  Her sharp reposts and unsmiling expression carried through most of the play, but the revelation of the real tragedy came much later. Its announcement by Teresa was cruel and unvarnished.  Later, however, Teresa revealed the caring and more tender side of her nature as she told Mary of the hidden tragedy.  An explanation perhaps, for her taking on the responsibility of her mother’s wellbeing.

The third sister was the whirlwind of a character, Catherine, played by Helen Dixon.  She was the peripheral figure of the family as far as she was concerned and slightly written off by the other two sisters.  The role was played with huge energy and variety which was well sustained throughout. Her mercurial change of mood, her inventions of half truths were both the tragedy and the comedy of her life.  Her plea to be understood and loved was a  real crie de coeur, but laughed at by us probably because there is a bit of Catherine in us all

The three sisters vie with varying degrees of vehemence for the “starring role” in all the half remembered family sagas of childhood.  The one thing they seem to agree on is that Mary was the favoured child, the one whose cleverness had to be protected and cosseted and who ultimately became a doctor.

The one thing that the daughters share is a disappointment in their relationships with men.  Theresa  has the most stable partnership with Frank.  He is the one she depends on for everything. He is her second husband and she chose him via a dating agency.  Frank (Murray Stephen) portrayed the tolerant and long suffering Frank with commitment and consistency.  He physically dominated the stage which was fortuitous given the character he played. His head was hung a little low so we rarely got a full face which was a shame.  He did however, play the comic moments with great success and prompted lots of laughter.  Even when finally standing up for himself he inspired laughter that rocked the studio.

Mike (Mike Ayres) made a hugely comic entry through the window.  A doctor having a long term affair with Mary, he came across as an affable and easy going even affectionate partner. He contributed well to the comedy, but ultimately he too made a considerable contribution to Mary’s sense of hopelessness. Essentially the most privileged of the sisters, she suffers the greatest sense of disappointment with life at the hands of the easygoing Mike.

Off stage as it were, there is Xavier, commonly referred to as Pepe much to the annoyance of Catherine.  Xavier is Catherine’s Spanish “boyfriend” but he too finally fails the ultimate test and abandons Catherine, in a brief telephone conversion.

I have left consideration of the character of the ghost of mother Vi (Elaine Burns) until last,  because in many ways she is the most important character in the play.  She visits Mary because as she says ‘I look at you and I see myself’ and gives the mother’s point of view. It was played with great clarity and sympathy and was the “glue” that held the story and indeed the production together.   The playing was very engaging and totally convincing.  The fact that we could “see the ghost” didn’t in any way upset one’s suspension of disbelief. Her interpretation gave stability and credence to the comedy.

The interplay and ensemble playing was of a very high standard indeed. there were no weak moments and the comedy flowed almost until the end. There was a momentary touch of farce as Mike’s bright cerise bath towel towel slipped almost revealing all.  It was well timed whether it was deliberate or not, we shall never know.  However it added to the momentary revelations of flesh that were an integral part of the “family” at ease.  There were many moments of high comedy.  Too many to identify in detail, but Catherine seeking comfort from Frank as he lay exhausted on the bed and the sisters trying on their mother’s old clothes will remain in the memory for some time. Both scenes were highly comic and served to enhance the poignancy off the situation.

The costuming and set were, as always with Nomad productions, absolutely perfect.  Sound and lighting, suitably discreet, gave a delicate touch of icing on the cake. There is nothing “Am Dram” about this team.

Polly  6 July 2017

Local theatre reviewer, Lola, reviews the studio production of “Happiness” by Paul Matthews

 As her fiance Christopher, Matthew Weaver convincingly showed us a brittle character who had concerns of his own which possibly prevented him from being able to provide the happiness which Philippa wanted. Kenny Menet-Hawkins was perhaps a little young for the portrayal of Simon but nonetheless played his part in showing us–and Philippa–that he was the better bet for a happier marriage than the self obsessed Christopher.

The play is a mixture of serious moments mixed with elements of farce (including the staple of a middle aged man losing his trousers !), and the cast, under the capable direction of Tracey Gillard, handled the switches from comedy back to seriousness with some alacrity. As Florence Merry, a woman with her own regrets, Moyra Brookes excelled and acted with the panache and style Nomads have come to expect from her. Hayley Clines as Martha played the part with enthusiasm and clearly thoroughly enjoyed playing the role of the faithful research assistant. Light relief came in the form of Iain MacFarlane‘s uncle Brian. Blustering and overly jovial the underlying warmth came through his (at times), Aussie larrikin tactlessness. Emily Ingold was a delight as Christopher’s sister Louise, playing the would-be maneater with great relish.The Nomads put the show on in the intimate space of The Studio. There is great scope for interesting theatre here that might not attract large audiences in the main house. It is to be hoped we see more shows here in the future.”

Lola

 

THE NOMADS “Twelfth Night”  28th September 2016 – Noda review

This oft staged Shakespeare comedy is described in the director’s notes as “a delightful and raucous frolic with improbable coincidences etc.”    The play usually opens with one of the Bard’s most famous lines “if music be the food of love, play on” spoken by Duke Orsino of Illyria, where the play is set.   Director Andrew Hamel-Cooke, however, transposed the opening scene in the Duke’s palace with the sea coast and shipwreck scene, which sets up the story to come, leading to greater ease of understanding.

There have been myriad takes on this “romcom” of Shakespeare – “romcom” thankfully being one word he did not invent.  Andrew saw distinct parallels  with the age of free and anything goes love of the nineteen sixties and chose music from that exciting decade throughout to amply illustrate his point.  Some examples were:  All you need is love (Sebastian and Olivia) – Are you lonesome tonight? (to Malvolio in his captive “room”) –  It’s not unusual (when Malvolio is accosted by Sir Toby, Sir Andrew and Fabian) – Going to the Chapel (Olivia and Sebastian) – and Everlasting Love (show exit music).  This  brought the play’s  theme of love  and comedy neatly into the present, since love is immortal, and so is Shakespeare.

The delightful Nomad Theatre was a perfect setting for this so well known play.

Fabian, Sir Andrew and Sir Toby

The basic sets of Orsino’s Palace, Olivia’s house and garden, the sea coast and a nearby street were set out well with the stage doubling as Olivia’s house (stage left) and the palace (stage right) with prominent pillars across stage.   Set construction was by the in-house team and sensibly was not too ornate, which focused attention on the actors.

The period costumes were most authentically sourced and  provided by Jenny Hasted and Jennie Hamel-Cooke.   If I am not mistaken, several had come from Kris Benjafield.    The costumes were extremely effective and well fitted, thankfully.

Lighting, as usual at the Nomad theatre, was provided by the painstaking team of Tony and Dee Bowdery and sound was by Tim Williams.    The lighting and sound effects were skilfully handled throughout to their great credit.

The cast was a very strong one, with no weak links.    Strong and charismatic performances were given by all the main characters on stage.

Viola (as Cesario) and Olivia

Helen Dixon in the pivotal duel roles of Viola and Cesario (in male attire) was truly outstanding as was the ultra elegant Sarah Wilson as Olivia.  Two talented ladies without doubt!

I hugely enjoyed the antics of the  distinctly merry and indefatigable Sir Toby Belch, inhabited rather than acted by Murray Stephen.   He was matched by the splendid and effete foppishness of  Daniel Shepherd as Sir Andrew Aguecheek;   his reluctant duel with Cesario, each mistakenly believing the other to be a ferocious fighter, was a comic highlight.

Feste taunts Malvolio

It is hard to warm to the ridiculous Malvolio with his pomposity and  conceit, but I certainly warmed to the talent of Graham Botterill, who breathed authenticity into this easily fooled character.   His hapless wail of self-pity from the confinement of his cramped “gaol” beneath the stage actually moved me – I had to remind myself that he was acting and not in real distress! What a boon is a stage trap door.

Michael Ayres imbued Feste with an impish charm and devious cunning, combined with fine unaccompanied and also self accompanied singing and nimble feet – a true clown.

Feste the fool

Richie Halsey Watson was a forceful Duke Orsino more in love with being in love itself than with either Olivia or Viola.   He beautifully captured the  wonderful “sickness” of being in love with love.

Stuart Finlayson really hit the mark as the determined Sebastian, Viola’s presumed drowned (by her) twin brother – he showed huge presence throughout his scenes.

Andrew Hamel-Cooke, very late in the rehearsal period we learned afterwards, played the pirate (or was he?) Antonio.    He won’t want me to say he stood out, so I won’t – but he did.   Oops!

Moyra Brookes added artful guile and feminine wiles to the scheming Maria, her zest truly bringing this role to life.

Giovanni Tagliarini and Oliver Forsyth did well as Valentine and Curio respectively.   Matthew Weaver was  a thoroughly suitable choice to play Fabian and he was  also a Sailor.   Jason Lambert was a realistic and weathered Sea Captain.   Sid Dolbear was a believable Priest.   Jason and Sid also played Officers 1 and 2.    Rita Derriman was a Lady in Waiting.

This complicated and multi layered love comedy with its mistaken identity at the heart of much of the confusion and comedy was a marvellous vehicle for a richly talented company of players like the Nomads.    The director had worked in great depth with the performers upon the interaction, absurdities and human qualities of the many flawed characters.    I would praise the diction of all on stage as I could clearly hear every word, which is not usual in amateur theatre.  The casting of the players as their various characters was well chosen.   The  captivating performance eventually came to it’s most enjoyable end with the energetic Feste  singing of the wind and the rain  and with  these final lines, ” But that’s all one, our play is done, And we”ll strive to please you every day.”

Your striving certainly succeeded , Nomads!

Jon Fox

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.

Local theatre reviewer, Polly, reviews the September production of Shakespeare’s Twelfth Night, directed by Andrew Hamel-Cooke.

The Nomads – “Twelfth Night” – 29th September, 2016

“I went to see this show on Thursday Sept 29th. What a treat! It was an excellent production.

The play opened with what appeared to be a a scene on the very front of stage, but the gradual bringing up of the lights revealed a very lovely tableau set behind a gauze, which gradually “came to life” with the lifting of the gauze, the bringing up of more lights and the opening lines by the Duke Orsino.

The single set was exquisitely simple with two centrally placed columns. There were two rostra representing Olivia’s house stage left and Orsino’s stage right. Downstage, again on each side, were rostra and benches. The only things added during the play were some moving trellises behind which Aguecheek and his friends, watched the humiliation of poor Malvolio, and later the bars of a prison. The bars were cleverly placed over a trap-door which gave a dramatic sense of Malvolio’s being cast into the darkness of a dungeon.

Feste taunts Malvolio

It was real joy to see a Shakespearean play dressed in period. The previous evening, I had watched a professional production of one of Shakespeare’s works dressed in rather bizarre sort of modern dress and it was a complete distraction.

The Nomads production was elegant and restrained. The only real pattern and colour was reserved for the twins, Viola and Sebastian. and Malvolio’s cross gartered yellow stockings. My one criticism would be that Orsino’s (Richie Halsey Watson) costume didn’t really hang well on him. It was just too big? It reduced the dignity of his otherwise confident and clearly delivered performance. His walk perhaps was a little too rustic for a Duke!! Perhaps again attributable to the costume??

Olivia’s delivery (Sarah Wilson) and movements were suitably stately. Most of the time her lines were well pointed and conveyed the meaning clearly. There were however moments of under projection.

There was a very impressive evenness in the quality of acting. Viola/Cesario (Helen Dixon) was an excellent reading of the role. There was a sense of ease in the way she/he delivered familiar lines. Sebastian, (Stuart Finlayson) when he finally arrives fairly late in the play, also gave an assured and well placed performance.

The comic interludes featuring Sir Toby Belch (Murray Stephen) had a fabulous speaking voice, Andrew Aguecheek (Daniel Shepherd) was gloriously inept but amusingly agile and the very wicked and very focussed Maria (Moyra Brookes) was very well played. Who could have watched the drunken scenes and those behind the trellises with Fabian (Matthew Weaver), and not fallen about with laughter?

Fabian, Sir Andrew and Sir Toby

The fool, Feste (Michael Ayres) was superbly equipped to play the role. The so familiar lines were clean and clear and the singing was absolutely right in mood and execution. Feste is one of the most famous of Shakespeare’s fools and in my opinion, one of the best. It was really lovely to have him presented in the way he deserves.

Feste the fool

Malvolio (Graham Botterill) is a cruel and hugely tragic role, in stark contrast to the tomfoolery of the real comics of Aguecheek and Belch and Maria. However, his pomposity makes him an obvious victim for some prank and deception. Malvolio was a little vocally restrained at first but was physically most convincing. He could perhaps have been a little more pompous initially so as to offer a real contrast to the savage cruelty served on him in the madness scene. However, it was a very dignified final scene and I did feel real sympathy for him.

The supporting roles helped to give the whole piece a sense of cohesion and structure. It was all in all, a very fine production particularly as it is a small amateur production.

The use of much more modern music was a witty and amusing idea. For someone like me who was not altogether familiar with the music used and who was much more interested in the beautiful language, it served only as an irritant. That is a personal opinion but the only weakness I would mention. It was particularly sad, I thought, as Feste had brought live music to the play which was a real and impressive bonus.

Thank you once again for a most enjoyable evening at your beautiful theatre. It deserves much greater support.”

Polly

Review author – Elaine Burns

The familiar opening music of Strictly Come Dancing has been resounding through the theatre this week as the participants in Play in a Week have been rehearsing their Shakespearean version.  It opened with a married couple settling in front of the TV to watch, (David Hatton and Patsy O’Brien) with the husband repeatedly asking to watch the football instead.  Then the whole cast appeared in Elizabethan costume doing the jive.

The four judges were gloriously over the top and very funny.  Jamie Bensted as Len Goodman danced a few steps and made sure he gave someone ‘seven!’..Oliver Forsyth as Craig Revel-Horwood, was spot on with his tone of voice ‘a-ma-zing’.  Naomi Brown as Darcy Bussell looked the part and was elegantly emotional at every opportunity.  Andrew Marber dressed as a jester and going way over the top was born to play Bruno, leaping out of his seat and loving everything especially the fairies.  Daniel Galliford as Brucie used all his catchphrases in a suitably creepy manner; everyone was his favourite.

The judges table

The script by Rachel Barnett was very clever at merging Shakespeare with ‘Strictly’, my favourite was when Henry V’s insults to Falstaff were taken personally by Craig.  The TV show is ripe for being sent up and it certainly was, with the audience joining in by chanting all the catchphrases.

Romeo and Juliet (Yves Roudaut and Zena Rose)

Memorable couples included Romeo and Juliet (Yves Roudaut and Zena Rose) slowly dancing to ‘Kissing You’ from Baz Luhrmnn’s film, beautifully sung by Luke Tye.  As the dance ended they died, of course along with all the other couples.

Richard Watson as Henry V danced solo to Mars from the Planet Suite while on video the cast spoke a line each from Henry’s Agincourt speech.

The Mechanicals from Midsummer Night’s Dream plus some very badly behaved fairies, partly on film for the special effects, were hilarious.  The dance routine had it all, a wall, the lovers, a distraught Thisbe, a roaring lion and an ass.  Mathew James sang a spirited version of ‘where the bee sucks’ as accompaniment.

Shakespeare himself (Giles Walker) and his Dark Lady danced while Luke Tye sang Rufus Wainwright’s ‘Sonnet 29’.  A very difficult song but handled well by Luke.  Meanwhile Annie Brennand Roper was a feisty and stroppy Dark Lady.

A final very moving moment came when Puck’s speech ‘if we shadows hath offended’ was presented with great intensity as single lines on a flip chart.  The audience were asked to hold up their tea lights while the glitter ball was lit to send light spinning around the auditorium.  Magical.

Congratulations to everyone from the director Brandon to the ladies making tea.  There was so much in this show that I haven’t been able to mention everything or even every person on the stage.  What came across so strongly was the sheer joy and energy of everyone involved in any way.

Elaine

Click to see a video of the rehearsal!

NODA representative, Jon Fox, reviews the recent production of the 1950’s musical “The Pajama Game” by The Nomads in association with Bookham Light Operatic Society, at The Nomad Theatre in Surrey (find us).

Bookham Light Operatic Society – “The Pajama Game” – 12th May 2016 by Jon Fox

This tuneful and popular musical premiered on Broadway in 1954 and is a regular on the amateur circuit.   Set in a Pajama factory in the American Mid-West, the central plot is of the new factory superintendent Sid Sorokin falling out with the grievance committee leader Babe Williams over a pay increase demand whilst simultaneously falling in love with each other.

A mid-west American accent (or any American accent) is not easy for most British people and, in this production we had good and average among the various players.     A very strong principal cast backed by a highly enthusiastic and energetic chorus made for a very high performance standard.

Vernon Hines inspects the workshop at the Sleep Tite pajama factory

The show opened with a most impressive factory scene with a row of real sewing machines being used, together with several ironing boards.   The company were all busily going about their business, be it sewing, ironing, portering, supervising etc.    A round of applause from the audience!    In a show where time and motion study was a recurring theme, not even Vernon Hines the T&M study man could have criticised the pace of events as the story unfolded.

The two leading players were Helen Dixon as Babe Williams  and  Michael Ayres as Sid Sorokin.    The love interest scenes were played with convincing chemistry and both played these forceful characters with passion, bringing stage presence and good singing – none better than the duet “There once was a Man”.

Simon Openshaw was a comical Vernon Hines.   Though the butt of humour especially when told to remove his “pants” (trousers) in order to dress in pajamas, he played this jealous character with great truth and retained a likeability.   Simon gave a most impressive performance, his two songs being put over really well.   His duet “I’ll never be jealous again” with Mabel – played with vivacity by Dreen Legg  was a show high spot’.

David Foord-Divers gave us a bombastic Old Man Hasler the pajama factory owner conspiring to cheat the workers out of their pay rise demand. He glowered and raged to good effect and was highly charismatic. Sophie Johnstone also shone with fine singing and strong acting as Gladys Hotchkiss (Mr Hasler’s Secretary)

Dreen Legg was Mabel – Sid’s secretary – and gave a very fine performance.    Chris Poplett as Prez was a handsome, womanising union man and gave a very watchable performance despite being landed with the show’s least melodic song in “Her is”.   To his great credit, he performed it skilfully, firstly with Gladys and then the reprise with  Mae, played by Tracey Gillard, a grievance committee activist who clearly enjoyed herself in the role – as did I watching.

Once A Year Day – The Pajama Game, May 2016

Laura Thomson was a flirty and larger than life Poopsie, one of the factory workers,  and really caught the eye, being clearly the best dancer on stage.

Nicole Perrier-Doe also did well as Brenda another grievance committee member.   The shamming, work shy factory hand Gus “hurt” by Sid, who pushed him to get moving, was given a chip on the shoulder persona by Mark Leddin, who made much of this smaller role.   Colin Barnard was a suitably angry salesman, Max,  annoyed at the deliberately badly stitched pajamas.

Peter Hart made the amiable, stamp collecting, Pop (Babe’s father), really come to life.   Clearly a highly experienced actor, he gave a polished performance of professional standard.

Among the ensemble were several names I have seen play lead and major roles in other productions and their well drilled acting, singing and dancing fully reflected this standard.

I’m Not At All In Love – The Pajama Game, May 2016

Musical Director James Marr achieved a good balance in the company singing and managed his three piece band with aplomb.

Choreographer Christina Harris, as top choreographers do had worked tirelessly with some innovative routines.    I especially liked “Steam Heat” with the three elegant black suited and white gloved dancers, “Seven and a Half Cents”, the stonking “Hernando’s Hideaway” and “The Pajama Game” reprise in the Finale.

Andrew Hamel-Cooke, the experienced director, had his stamp all over this energetic, yet emotionally vulnerable show.   The characters were all well cast and scenes ran seamlessly with clever use of lighting by Dee and Tony Bowdery and sound by Clive Vinall and Justin Cobb.   Jenny Hasted’s costumes were spot on for the fifties era, as too were the hairstyles.

The “Once a Year Day” company outing with the extremely well enacted knife throwing act was a very special scene.    In fact, a lady sitting next to Sue and myself would not believe the knives were not actually thrown!

This was a high energy show, but with well directed contrasts of emotion, pathos and all the characters, apart from the “Villain” Hasler retained a likeability.    In my opinion this is an underrated show;   catchy tunes abound, it has a strong story and much opportunity for dancing.    BLOS made a wise choice to stage this show and did full justice to the show’s writers, and more importantly, to themselves.

Finale – The Pajama Game, May 2016

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.