SLEEPING BEAUTY

SLEEPING BEAUTY

Cut to the Chase at the Queen's Theatre, Hornchurch

01.12.2014

There's glitter galore from rafters to stage floor, to costumes and props in Matt Devitt's spectacular-to-look-at production, written by Nicholas Pegg, with music and lyrics by Carol Sloman who's also in the pit leading the band. These three are the highly experienced leaders of what the Cut to the Chase company boast is a totally in-house production.

Not having been to a Queen's panto for some years there have been changes. Gone are the trademark advertisements for local sponsors edging the scenery and gone too are the flashes whose bangs I've hated since childhood.

So life for the audience is more peaceful in one way but it wouldn't be a Queen's panto if it didn't have loud comedians working sugar-enhanced young people into a frenzy of excitement. And that's not counting the built-in danger of two- and three-year-old males, would-be heroes clumsily wielding flashy plastic swords from the souvenir stall in the foyer in carefree manner.

There's a smart opening number featuring the young cast of singers and dancers who are notable for their concentration, smart Medieval-style turnout and looking as if they are really enjoying themselves. Recruited from among the theatre's youth group and open auditions in a local supermarket. Clearly fertile territory for would-be X-Factorites.

With a small cast of seven adults it's simply told without too many diversions. Yes, there's the haunted bedroom but none of the messy routines from the past. Sam Pay's Silly Billy is a lively character with a droll face whose “mother” Nurse Nelly (Simon Jessop) wears not so much costumes as commentaries ranging from the relatively demure to the outrageous. And “she” has eyes only for the hapless audience member recruited by her son.

Also on this comedy team with a penchant for innuendo, is Fred Broom's clumsy King Ethelbert the Unsteady.

Two superb fairies rule the Kingdom of Hullabaloonia. Megan Leigh Mason's strong Fairy Primrose battles against Claire Storey's demanding Carabosse from the Joan Rivers School of Acting.

Then there are the lovers. Rachel Dawson is a perfect Princess Aurora as innocent and naive as the day is long. Her kitchen boy amour Tom Clutterbuck is played by Tom Sutcliffe with a determined jaw and a heroic way with swashing a buckle.

The young team come into their own in a fine performance as Woodland Sprites with spotty red mushroom hats, taunting their enemies as the enormous inflatable dragon does everything demanded of it.

Two hours and twelve minutes (including interval) of great fun and good value. All praise to the Queen's backstage team for costumes, sets, props, lighting etc. etc.  

production photograph by Mark Sepple

GUYS AND DOLLS

GUYS AND DOLLS

LADS at the Tractor Shed, Latchingdon

15.11.2014

Guys And Dolls is one of the 20^th Century's greatest musicals, up alongside Oklahoma, Carousel and West Side Story in the sense that they were game changers which altered how audiences perceived and enjoyed, not only the excellent music, but also the very different stories of American life in varied settings. And if you don't believe me, Bob Fosse the top banana of Broadway choreographers thought so too.

In taking journalist Damon Runyon's hilarious tales of Broadway gamblers and sharpsters plus their dolls and molls, musician and lyricist Frank Loesser created one of the most difficult sings in musical theatre yet they were melodies that are unforgettable and catchy.

LADS had a full house for their last night performance which fortunately also included Peter Jones the inspirational original director and designer of the group. With a track record stretching back to the Fifties, Peter has been unwell, but was looking so much better and lively in his rockabilly outfit of checked shirt and braces.

I've referred to the difficulty of singing this music but whenever the chorus was involved this was heartfelt and strong under the direction of MD James Tovey and his spirited band. For show stopper Sit Down You're Rocking The Boat by Nicely Nicely Johnson (Gavin Rouse) any vocal deficiency was covered by the chorus. He was joined by Alan Elkins as Benny Southstreet, Josh Oxley as Rusty Charlie, David Hudson's Harry the Horse and Daniel Tunbridge as Angie the Ox as the rest of the gang. David Bateman made a good Nathan Detroit, highlighting his naughty boy character. Unfortunately, I have to say that Ben Braden wasn't an ideal Sky Masterson since his singing was often off-key and his acting a bit diffident and lacking power.

The women's cast was much more assured with Aimee Hart as a delightful Sarah Brown the Mission Gal and Jamie-Leigh Royan as a highly glamorous Miss Adelaide. Both of them could sing and really did justice to numbers such as If I Were A Bell and Adelaide's Lament.

Simply staged - cutting out some of the Cuban scenes - by director Gavin Rouse with choreography by Vicky Bird and costumes by Kath Lang's team, this was an entertaining evening of musical theatre.