All Together Now

Sale & Altrincham Musical Theatre bounce back from the pandemic with their presentation of the worldwide concert drawn up by right’s holders MTI (Music Theatre International, formerly Josef Weinberger Ltd) to help community theatre groups / amateur societies get back on to the stage with this ‘no license fee to perform’ blueprint revue… ‘All Together Now!’

I really do enjoy taking in a varied and well-structured revue or concert, it’s a shame they’re notorious for being a strain when it comes to box office sales, many groups shy away from presenting them as they’re not often easy or straightforward endeavours to entice enough of an audience, that, coupled with the complications of a new venue which is unfamiliar to regular followers for the group (and one that’s not commercially recognised as a theatre venue too) could have made this production even more of a tough sell. Thankfully, publicity efforts had evidently paid off as the venue was bursting at the seams for this one night cabaret style production. The Bowdon Rooms is an ideal setting to host this style of show with a kit (sound and LX equipment) that comes with the hire of the venue showed to be a pretty decent offering within this tasteful events space. The stage is rather cosy but perfectly proportioned for this style of production and for this size of cast.

From scanning down the list of musical numbers that were about to be presented to us it was no surprise to learn that the Musical Director was Mr John Barry who had MD’d a revue show a couple of weeks prior which featured a lot of the same songs …well, why do twice as much work when you can do (almost) the same show twice!? The most obvious difference between the two being that this show was entirely performed to tracks which is a condition of the licence and I’m sure was also a sigh of relief for the treasurer and their pot too! 

It was a delight to see, and hear, certain individuals who rarely (if ever) take the limelight step up and showcase their vocal prowess, a trait that so often derives from presenting a concert, most notably in this case: Michelle Humphreys, who I hope to hear more of, she’s been keeping that voice under a bushel for far too long, I certainly want and hope to hear more from Michelle, just lovely! 

This endeavour welcomed some fresh faces to the SAMT company and saw some past members return which is so encouraging and healthy for the future of SAMT.

We got a wholesome balance of solos, reduced ensemble and full company numbers within the shows structure which included all adult renditions of ‘Consider Yourself’, ‘Tomorrow’ and ‘When I Grow Up’ from Oliver!, Annie and Matilda which were fun with the correct balance of inanity and heart to prevent a display that could quite easily have been an exhibition of ridiculous overindulgence, thankfully it wasn’t … it worked and was surprisingly charming. ‘Tomorrow’ was the ‘Forbidden Broadway’ edition which is always a guaranteed hoot with some genius lyric amendments. Some contemporary musical theatre was in the mix too with the obvious solo choice from ‘Waitress’, ‘Good Riddance’ from the Green Day musical (American Idiot) and probably my favourite opening number to any show, well…it’s certainly one of them, ‘A New World’ from Jason Robert Brown’s ‘Songs For A New World’.

The proceedings were pieced together with our Emcee, host and compere, Stuart Sephton who was at ease and took on the formidable task in his stride. Anyone who knows Stuart or who has seen him in the array of SAMT shows to date will know how much he loves a corny gag, and – commendably - he doesn’t get put off nor does he dry when he bombs (sorry Stuart!) he just keeps going… and going… and going! Which in one respect is praiseworthy. The knack to read the room would’ve been a benefit as so many in the crowd just didn’t seem to want it. In so many situations Stuart would have been hilarious, but it just wasn’t the right crowd or setting to appreciate his vibe. Stuart has a knack and passion for comedy and is terrific at it, I’m not sure I can put my finger on exactly why it didn’t marry. Some – if not all – of the world’s greatest comics will have had experiences that ring to this tune too so I really REALLY hope this hasn’t put him off as he is a very talented comedian, there’s just something that wasn’t connecting for him here – but not once did he allow this to show which itself is laudable, demonstrating composure and professionalism.           

Normally with concerts you can tailor them to suit the strengths of the cast you’ve got, however, this virtue was limited by the licence holders as there was a rationed pot of songs to choose from which I can entirely understand why from one angle but from the side of the society, why do a show that restricts you so narrowly? There were a couple of areas where I felt the strain of this stipulation but for the most part, the calibre was impressive. James Goodwin has unquestionably found his money maker with ‘This Is The Moment’, James is always a stout vocalist but this was the finest I’ve heard him, terrific.

 

Congratulations on a revue with a sophisticated ambiance and joining the nation in celebrating the return of live theatre.

© NODA CIO. All rights reserved.