Acorn Antiques - The Musical

A visit to this intimate theatre is always welcome and all the more for this production of Acorn Antiques, being of an age to remember ‘Crossroads’ and ‘Victoria Woods As Seen on T.V. The performance space is on the floor with raked seating, which means the performers are very close to the first row of the audience. Due to the restricted space for set changes, the first scene was played in front of the tabs. Which then opened to reveal the splendid interior of the shop with window upstage centre proclaiming Acorn Antiques. The set was simple but very effective relying on furniture and set dressing to bring the shop to life, showing that you do not need large elaborate sets to make a show work.

The show had been very well cast with strong performances and excellent characterisation. Everyone was obviously comfortable in their roles and enjoying themselves enormously. The cast members with more minor roles had all created solid characters; although there could have been a little more projection from some members. I particularly commend the ‘young shopkeeper’, Mimi and Hugh as they were sharing roles and so it was their first performance while everyone else ‘had settled in’. Mimi and Hugh were a little withdrawn at the beginning but blossomed as the show progressed. I do not know how Tony managed to keep a straight face, considering all he had to endure. All those playing the really well known characters gave a hint of the original but put their own stamp on the role. The amnesiac Mr Clifford pursued relentlessly by the adoring and besotted Miss Berta. The wonderfully camp Mr Watkins and Derek. The forceful Miss Babs with her nymphomaniac tendencies; and of course outrageous Mrs Overall, veins and all. The delivery of lines was well timed giving the audience time to respond and not miss anything, so important in any production, but particularly so with the writing of Victoria Wood.  Everyone kept in character throughout, but I was particularly impressed with Miss Babs in the tap dancing routine. 

This must have been a difficult show synchronizing musicians, singers and dancers with the musicians being offstage. The standard of singing was generally good, with some lovely harmonies from the whole company, especially in Mr Clifford’s Anthem. It was a treat to hear the words of the songs, with Miss Bertha’s diction being outstanding. In this acoustic venue the sound balance of music and voices was good.

The costumes were appropriate and very reminiscent of the television. I liked Bonnie abandoning her leather coat and donning a ‘boucle’ suit at the end. Choreographer Sarah Savage had certainly taken some of the cast out of their comfort zones with her well-devised, energetic routines; how she managed to get so many people dancing so energetically, in such a small space and without injury was a wonder. There was certainly plenty of action in ‘Shagarama’. I always find it remarkable with this show how well people perform the ‘glitzy’ tap routine after the earlier ‘rehearsal’. 

Artistic and Musical Director Graeme Savage had directed his cast well in all aspects of the show.  The humour was well pointed and a little more ‘adult’ than in previous productions I have seen, but the audience loved it. It was a well rounded show, giving less experienced cast members the opportunity to work with and learn from experienced and talented ones. Everyone had enjoyed themselves and worked together to give the audience an entertaining evening.

Well done everyone.

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