Aspects Of Love

This was a challenging choice of production for this company. Firstly it has a rather confusing plot, which moves about in time and location; secondly this company performs musicals but does not consider itself primarily a musical society, and this has very little dialogue and very difficult music.  Not knowing the show, I found the opening extremely confusing and could not work out who all the people dressed in black were and why they were there. It was only after research when I got home, I discovered it was the funeral of one of the central characters. As there were no programme notes perhaps use could have been made of the stage right T.V. screen to clarify it, but I soon settled into the show and was able to follow it after this.

Good use was made of this extremely interesting staging. The main feature was a large central revolve with ramps stage right and stage left, a large ruched curtain, which fell across the centre of the revolve, and a truck at the back of the stage, which had practical French doors and could be brought forward or turned round either independently or set on the revolve to give an interior.  Clever use of the revolve allowed very rapid scene changes with the cast moving furniture as it went around, combined with the curtain which was lowered completely at times to mask furniture on the back half of the stage, or it could be raised out of the way, or swagged to the side so that continuity flowed. The stage right T.V. screen displayed place, year and the passage of time. The scene on the train was effective, with just a blast of smoke and then Alex and Rose sitting on the trunk with the stage revolving. The furniture and props had been well sourced and evoked a continental atmosphere. 

The lighting for this production was quite complicated as the revolve and centre of the stage were the main focal point, with some action taking place on the periphery. The centre of the stage was always well lit with excellent effects, particularly the garden in Pau, but there were dark areas around the edge, which was atmospheric at times to show that actors were not an integral part of the scene, but occasionally left people in the dark when they needed to be seen.

As there is so little dialogue in this show, the music is of paramount importance. Someone said to me before I saw the show 'There is only one song in it' and although I agree ‘Love Changes Everything’ recurs throughout there are other lovely songs, which would be difficult to make popular out of context and so are not well known. The three-piece band of two keyboards and percussion was an ideal accompaniment for this company, the sound balance was good; musicians never overpowered singers. Musical Director Lucas Bailey had obviously worked very hard with the cast teaching them the very difficult music, especially as there are so few solo numbers. The ensemble numbers were particularly difficult with many vocal parts. Rose and Alex are huge vocal roles both singing for approximately three quarters of the show. Lucas Bailey also displayed talents as a choreographer in this show, as in the extremely powerful ‘Give me the Wine and The Dice’.

Director Robert Mauler had assembled a very talented cast for this show with some fine singing and acting. Sarah Kilmister, as Rose Dillingham, gave an outstanding performance, starting as the young starving actress and becoming the confident, more mature leading lady, wife and mother of the second act. Daniel Holden, as Alex Dillingham, demonstrated how he is developing his stage skills, enabling him to take on this demanding role with confidence. Richard Murray’s wealth of stage experience showed in his portrayal of George Dillingham, Alexs’ uncle, displaying such sensitivity with his young daughter Jenny. His rendition of ‘The First Man You Remember’ was truly memorable. Giulietta, played by Lucy Harrison, was part of the many love triangles in this show, always giving the impression she was slightly remote from everything and not taking life too seriously. Lucy Cole, as young Jenny Dillingham, gave a confident performance, a star of the future. There were no weak links in this production with all other cast members supporting the major principals at every turn. The whole cast had to be committed to working together to make this show a success, as there is no room for mistakes. This was a well-crafted production at every level, with as Robert Mauler says, the companies’ ‘love of theatre’ shinning through.

© NODA CIO. All rights reserved.