A Century through Song

Any company attempting to portray the 20th Century through song has an enormous wealth of music from which to choose, but paradoxically also has the problem of which sparkling music it must omit.

The music chosen in this seamless production was very familiar to most music lovers in the audience who were sometimes encouraged to sing along.    The simple format was a backscreen upon which were projected events and landmarks from the successive decades, whilst the scene was set by the narrator Gloria Smith who also devised, directed, performed and choreographed, the latter ably assisted by Claire Bender.   It is often said "always ask a busy person", how very true and how wise in Gloria's case.

A talented and enthusiastic  company of 16 singers (when I attended  on Friday) did full justice to Gloria's sterling work. Half of the 45 numbers featured the full company.    Highlights of these were Herrnando's Hideaway  (1920's), Tomorrow belongs to Me (1930s - featuring Carolyn Jacks), Rock around the Clock (1950s), Rhythm of Life (1960s), Money, Money, Money (1980s) and Thank you for the Music (1990s).

Many of the soloists and ensemble singers had outstanding voices and were superb performers   Prominent among these were Polly Ashton as a marvellous Burlington Bertie, Emily Bastin who joined her sister Polly in a beautifully acted Popular (Wicked);  Sally Collings in I don't know how to love Him (Jesus Christ Superstar), Lynda Barrett-Mercer in There'll Always be an England and Tell me it's not True (Blood Brothers).    Also praiseworthy were Annie Genower for a duet with Kevin King in True Love (High Society) and also for Downtown along with Diane Slater for Fly me to the Moon and her duet with Darryl Tullett, All I ask of you (Phantom of the Opera).     Another highlight was We're a Couple of Swells featuring Gloria Smith and Lynda Barrett-Mercer.

Kevin King, dressed as Elvis Presley in a comedy wig and white trousers, venturing into the audience was the comedy highlight of the evening.   Actually, he sang Are you lonesome tonight rather well.

Disappointingly, and this is no criticism of MMT, there were only three men  in the company on Friday when I attended.   The programme was therefore necessarily dominated by the ladies.   This is, after all, sometimes the reality of life in amateur theatre and the three men Alan Young, Kevin King and Darryl Tullett all acquitted themselves well, participating in their wartime ensemble Who do you think You are Kidding Mr Hitler.

The costumes provided within the company and by three other local societies were classy and elegant and styles appropriate to the relevant decades under the discerning eye of the wardrobe mistress Joan Cannell.  

Music under the sure command of Elizabeth Cooper as MD always ably supported the singers and never drowned them.   It is common to see really good shows spoiled by overloud bands and oblivious MDs.    Happily, this was never the case here.

Credit too goes to the image designers Norma Davis and Director Gloria Smith together with projectionists Andy Bloomfield and Rob Tapping.

Elliot Taylor and James Butchart on lighting also contributed to this well paced, smooth and flowing production.

The well designed programme gave full credit to MMT's membership of NODA and of its aims.   Again, this is not always the case with other societies.

Lastly, this hugely enjoyable evening was made even more so by the warm and attentive reception I was accorded, in particular by the splendid front of House Manager Michael Beckerman

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