Reviews

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

 

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.

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.

Review author – Jon Fox, Noda

In true showbiz style Nomads brilliantly overcame, at least in performance, the dreadful blow of losing their inspirational and much loved director, Alan Wiseman, rather suddenly and barely a month before the performance. Jeff Wightwick, himself an experienced director stepped in under these awful circumstances and, as this review will reveal, both directors served up a special fare for the audience.

Aided by Elaine Burns, Alan’s partner, as production manager with a dedicated team backing them, Nomads did full justice to one of Coward’s most sparkling plays. Having, shamefully, seen this play only once before and that over 40 years ago, I was as excited as a child at Christmas upon arrival at this special and charming theatre.

The setting is the Bliss family’s country house at a summer weekend, where all four family members, separately, and unknown to the others, each invite a guest for the weekend. As the plot unravels each guest comes to regret accepting their own invitation and eventually conspire to escape, as discretely as they can, leaving the family on their own to comment “how very rude” some guests are.

Judith Bliss, a retired actress, is married to David, a novelist, and mother to two children Simon and Sorel. Judith is a peach of a role for an accomplished actress and Philippa Galloway gave this most theatrical of characters full reign to show her fine range of theatrical emotions. It was a classy performance, though somewhat marred by a number of prompts. However, to be fair, it was on the first night when I attended. I particularly liked her ludicrous over-reaction to her young admirer’s chaste kiss. Coward was a wonderful observer and chronicler of the foibles of others.

Nathan Farrell as that young admirer, besotted by Judith, endowed Sandy Tyrell with a deliciously stiff, oh so English, gaucheness. The bewilderment and passion behind the stiff facade though, came through beautifully.

As bickering sister and brother Sorel and Simon, Sarah Mullins and Daniel Shepherd were pure middle class delight. So right on and sophisticated! Each more so than the other, or so they think. This sibling relationship was as real as real could possibly be in the Bliss madhouse. Admirably acted!

Carol McGlone as Clara, a world weary housekeeper and former dresser to Judith gave a highly amusing cameo. Her half opening only of the front door and hurried disappearance to leave the befuddled guests, unwelcomed and left behind was a comic joy. This world weariness was an excellent foil to the theatricality of the family members.

Paul Asher, cast as David Bliss, the husband and father, seemed at first almost normal whilst deeply intent on finishing his latest novel. Bit by bit we became aware that he, too, was in his own way playing games and using his young guest, a most discomfitted young flapper, Jackie Coryton, played skilfully by Ellie Sayer with near hysteria upon being forced to play charades with the family and other guests. Both Paul and Ellie in their very different ways “suffered” wonderfully well and just when I thought Jackie was in distinct danger of being relatively normal, but happily, not so!

Moyra Brookes as the vampish older woman guest of Simon, Myra Arundel and caught kissing David by Judith, gave an assured performance of this marvellous character. She had some of the best lines and was well cast in this role, playing the vamp for all she was worth.

Richard Greatham, played by Graham Botterill was a diplomat invited by Sorel. Graham played the dumbfounded Richard who, upon kissing Judith, finds himself the victim of Judith’s acting game. I really felt sorry for poor old Richard, so cruelly used by the – shall we say unconventional – Judith.

There was a great deal to like in all the acting and though several cast members dried a time or two, the essential pace of the bizarre play and the truth of the characters shone through.

The set was a realistic portrayal of a comfortably furnished and well heeled family home belonging to theatrical folk. Coward’s marvellous words are of course a great advantage for any actor or actors worth their salt to speak. The cast took full advantage and made the play the great success it undoubtably was.

Jenny Hasted’s costumes were detailed, well fitted and most appropriate. Lighting by Tony and Dee Bowdery was handled with their usual skill.

Despite the unfortunate and difficult circumstances of Alan’s untimely passing, the company did him and Jeff proud. No wonder Nomads have such a good reputation in Mid-Surrey.

Jon Fox – Noda

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.

Review author – Ben

The writers of ‘Just So’, George Stiles and Anthony Drewe, have created a unique niche in British Theatre for a series of successful and entertaining musicals appealing to a mainly young cast and audiences with a string of successful award winning productions ’Honk’, ‘Mary Poppins’ , ‘Moll Flanders’ behind them. Lost For Words, an amateur Company established for only six years, have quickly established an excellent reputation (I was greatly impressed by their production of ‘Avenue Queue’ last year); once again, an enthusiastic audience was not disappointed. This adaption of Rudyard Kipling’s famous ‘Just So’ story of the Elephant Child and his ultimate triumph over the mischief creating Crab, Pau Amma, is a natural source for a kaleidoscopic presentation with a predominantly young cast of skilled and well trained performers. While few of the songs are ever likely to become classic ‘show tunes’, the piece provided many opportunities for the performers to display their acting, singing and dancing talents, the result providing a colourful, stimulating if not exactly enthralling panoply.

Hannah Simpson as the Kalokola Bird

The cast of over 20, nearly all on the stage for most of the show, were quite superb either singing or dancing, solo or ensemble, with particular commendations to the experienced Tim Morley as the Eldest Magician, a true “Prospero”, master of all he surveyed, with special mention for the excellent voices of Hannah Simpson as the Kalokola Bird (complete with well manipulated puppet) and a newcomer to the Group, Adam Claydon in the pivotal role of the Elephant Child, and co-founder of the Group, Sean Lytle, with a cameo presentation as Parsee. Really, Lost for Words are brimming with talent. A special mention must be made of the impeccable, faultless band led by Harriet Oughton, well integrated choreography by Carla Fox and an ingenious collection of papier-mache props.

Director (and Co- Founder of ‘Lost for Words’), Katharine Williams, must be well satisfied with her production. If I have a criticism it was an excessive reliance on radio microphones which should not be needed in the compact but acoustically sound Nomad Theatre and some indistinct diction during spoken passages, not unnaturally when the Elephant Boy received his trunk. Nomads themselves played their parts in organisation of Front of House, Bar, Sound (Tim Williams and Clive Vinall) which, this time, was not allowed to overload us with a wall of sound, with Tony and Dee Bowdery’s impeccable lighting and the splendid costumes.

The programme, which could usefully have supplied a synopsis of the plot, stated “we hope you enjoy the ride”. We did! Come back again to the Nomad Theatre, Lost For Words—you will be welcome.

LFWTC Just So

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.