Annie
Information
- Date
- 19th January 2017
- Society
- Cambridge Operatic Society
- Venue
- The Arts Theatre Cambridge
- Type of Production
- Musical
- Director
- Chris Cuming
- Musical Director
- Lucas Elkin
- Choreographer
- Chris Cuming
As a guest reviewer to the area, my knowledge of either the society or indeed the theatre is entirely virginal. I therefore ventured onto the Arts Theatre website a few days ago to ascertain some basic information and discovered that the top ticket price for this show was a cool £33, an unprecedented price for an amateur show of any company I had ever heard of! I also noted that the production was almost sold out. Only a few vacant seats dotted around the theatre remained. This, I thought, has got to be something special if you can sell out an amateur show at something approaching West End prices.
Annie is a show I know well, having seen it several times in amateur productions as well as the West End production back in the 1980’s where my sister-in-law played the part of Grace. Until last night I was yet to see a production of that quality; now I know why its high ticket price was so justified.
The set by Chris Cuming and Alan Morgan was mainly set to blacks with a staircase and balcony to rear. Furniture and props stylistically choreographed on to the stage by the cast set the scenes. No bumbling stage hands surreptitiously bringing things on or off here, every scene set was simply a clever extension of the action. And how professional did that look! From the three star spangled banners hanging down in the opening scene, though the iron bedsteads at the orphanage to Warbucks’ manor, this stylistic approach was a treat for the eyes. Add to that, colour coding of the Warbucks’ home in primary red table cloths and staff uniforms, together with perfect matching perpendicular LED lights on the tabs, this was just so well thought out. My only small criticism, in such a beautifully stylised stage the cheap and nasty desk at Warbucks’ mansion seemed a little odd for the home of a billionaire..??
Talking of lighting, this was critical to the whole set and Alan Morgan once again excelled himself, the atmospheric lighting of the street scenes with a thin veil of mist were particularly impressive. The cues were spot on and the intensity for each scene pretty much faultless. This was inadvertently highlighted by a technical failure of a bank of lights stage left just before the interval, which showed just how well the remaining stage was dependant on their accuracy, both in intensity and direction. This momentary blip was restored to normal for the second half - presumably somebody changed the bulb! This was a lighting team at the top of their game.
Sound was crystal clear and, as one would expect in a theatre of this quality, everybody was audible and set to comfortable levels for the enjoyment of the audience, which is not always my experience. Only one actor’s mic gave any trouble that I heard and that was quickly dealt with before his next scene.
The period costumes were another real treat for the eyes, stark period authenticity for the street scenes and particularly also the radio station, from the farming dungarees to the cloth caps to the 30’s dresses of the backing singers. It was almost comic book it was so real. From the orphan’s clothes to the red uniforms of Warbucks’ staff contrasted by the chef’s uniform, Janice and Phoebe Chambers and Pippa Taylor clearly had a ball putting that collection together. All equally well complimented with the superb period hairstyles and makeup by Emma and Zoe Sampford. Again this is a team who know what they are all about and have a terrific eye for detail. Splendid job ladies!
The band, hidden away in the pit, with only a TV projection of the conductor positioned at balcony height betraying their presence, were a top notch professional outfit led by Lucas Elkin who were on song throughout and certainly did justice to this wonderful score.
From the moment the show opened and the various chorus member strode across the stage, it was obvious their every move had been carefully and cleverly choreographed, something which continued throughout the show. Director Chris Cuming stamped his Choreographic credentials all over this production, giving it a wonderfully stylised, high energy feel. The dance numbers themselves, especially from the youngsters were so well drilled and of such energy they left you breathless at times. The direction was extremely tight, nothing moved on that stage without purpose. No actors vaguely wandering around at will, this was military precision stuff and how well it worked. It was direction of the highest order.
Maddy Cook in the title role of Annie started a little hesitantly, but by goodness she was soon into her stride and exuding confidence in spades. Her ability to carry this show? Never in doubt! Her acting, singing and dancing all showed maturity way beyond her years. I would even venture to say she has potential star quality, she dominated every scene she was in, your eyes being automatically drawn to her. One to watch I think.
Our orphans were no slouches to the stage either, Team Hooverville (who performed the night of this review) were a well rehearsed, well drilled outfit bursting with both talent and energy, from young Jemima Wells as little Molly, to Dasha Payne (Tessie), Lily Ong (July), Cira Ahern (Kate), Sophie Waring (Pepper), Maisie Mannion (Duffy), Alice O’Connell (Rosie) and Rebecca Goddard (Genevieve) they were spellbindingly good. The controlled power they showed in their collective numbers was particularly impressive.
Steven Waring brought all his obvious experience and a wonderful voice to the role of Oliver Warbucks, the empathy between him and Annie was particularly well done. An actor whose stage presence was both dominating and generous of spirit to his young co-star. A measured performance by an actor at the top of his game.
Suzanne Emerson as Miss Hannigan was a good balance between comic and scheming evil, showing us a character totally unsuited to the job of child care. I loved the dishevelled look and the not quite in control frustration she brought to the role. Emma Vieceli on the other hand was a touch of elegance and class in the role of Grace, always in control and the solid rock behind Warbucks’ empire. Agustin Dal Lago showed off his South American charm with an upbeat performance as Warbucks’ butler Drake, fussing over the servants and running the household with energy and efficiency.
Andrew Ruddick looked and acted every bit the untrustworthy con man, Rooster, whilst Charlotte Jones as his ‘moll,’ Lilly was his perfect sidekick. Dan Lane as Bert Healy the zany radio announcer was a revelation with his comic timing and provided us with one of the best scenes in the show.
Steve Doke certainly nailed the part of President Roosevelt, the mannerisms and the inflections were pretty much spot on. Of the cameos, Richard Sockett as Warbucks’ chef and as a cabinet minister deserves a mention as he gave a master class in comic facial expressions without uttering a word. Loved it!
So, would I pay £33 a ticket? You bet I would! This show could quite easily have graced any West End theatre, it certainly rates in my list of best amateur musical performances I have seen and in my opinion would have given the original professional production a run for its money. Congratulations to Chris Cuming and his team, it was a wonderful night’s entertainment.
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