Betty Blue Eyes

Set in post-war 1947, the Duke of Edinburgh and Princess Elizabeth are about to be married. However, food is still rationed and townsfolk are wondering where the next meal will come from.

Chiropodist Gilbert Chilvers (Alastair More) has recently moved to the town with his wife Joyce (Laura Spence), with plans to open his own surgery.  Both Alastair and Laura formed excellent characters – the wife, Laura, definitely wearing the trousers in this relationship – both exhibited first class singing voices.  However, the third person in this family trio, Joyce’s eccentric Mother Dear (Elinor Hay), gave an outstanding  performance, capturing the elderly lady’s mannerisms and misunderstandings perfectly.    The three men with their sights set on capturing Betty – the pig in the title – all maintained their individual characters throughout.  Dr Swaby (Gordon Taylor), Francis Lockwood (Craig Spence) and Henry Allardyce (Andrew Doig) all have a long list of theatrical credits – and their inherent experience was obvious, both in the consistency of character and singing.  Tony Livingston, as Meat Inspector Wormold, formed an absolutely intimidating role. Completing the principal line-up, we had the Betty Puppetteer (Isla Sutton), a far from easy task, being on stage in control of Betty for each of the blue-eyed pig’s numerous entrances.

From the host of minor principals the following ladies brought a distinct sense of realism to the acting line-up – Mrs Lester (Lorraine Tuft), Mrs Roach (Katy Holligan), Mrs Turnbull (Emma Gillespie), Mrs Tillbrook (Norma Walker), Mrs Allardyce (Lynsey Stuart) and Mrs Metcalf (Karen Richards).  Finally, for accuracy of character as the Newscaster, Laurence Crowe deserves a definite credit.

The LAMA chorus made the most of all opportunities in this show with fine singing and movement – congratulations to Director, Fiona Gallacher Stewart and MD Ronan Corkey, most obviously in control of an experienced group of musicians. Mention must also be made of the excellent choreography in the show in the very capable hands of Kirstin Stewart!

Technically, the show called for a multitude of scenes, tonight moving between each with apparent ease, thanks in no small way to designer Duncan Milne.  Lighting was generally fine (I could see everyone when they were supposed to be seen). Unfortunately midway through the Act One Finale, the houselights appeared at full, with the cast manfully singing on in blackout! This however, was rectified after not too long!   Sound was excellent, and costumes were all in period, putting the icing on an enjoyable evening!

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