Blitz

Lionel Bart’s tribute to the hardy spirit of Londoners during War World II offers a slightly different take on the old romance of Romeo & Juliet and their battling families. It promises some fascinating personal conflicts but rarely scratches more than the surface. Despite some situations which would fit nicely into a few episodes of “Eastenders” it barely goes beyond basic dialogue leading to the next number. The score is full of Bart’s Londonesque melodies and one or two unusual concerted sections. The Jewish element is obvious in the chromatic pastiches and there are a couple of good “knees-up” numbers. 'Blitz' is very much a period piece, not just in the fact that is about 1940s but is very much a product of the sixties British musical revival.

Members of the club and their friends from other local societies had worked hard to create an appropriate atmosphere with the New Hall suitably decked out in bunting and War-time memorabilia. Unfortunately, there was little to discover about Tiverton’s contribution to the war effort: not even a list of those who gave their lives as a result of the war-time activities. There was, appropriately, plenty about the London Blitz and the background to the events which shape the show’s story.

This was reflected in the all in one set. The New Hall offers the opportunity for a variety of staging and the director/designer made the most of all the possibilities.  The household articles strewn apparently haphazardly about the edges of the acting areas created and maintained the atmosphere of chaos after the air raids. This was most successfully completed by lines of items hung from the flies. The downstage areas above the auditorium doors were, once again, well used: not only giving a change of view, but offering separate areas along with the small thrust where action could be centred while changes, fantasies and other happenings could run concurrently on the main stage. For the main moments outside Mrs. Blitzstein’s house a compact truck with operational door was wheeled on. This, along with the truck of rubble, had been well constructed and operated smoothly. Of course, once again, the backdrop of photographs of real events melded well with the rest of the set. Put together by New Beginning Productions, using photographs selected by the director, this gave a welcome 21st century touch to the production.

All of these elements were lit by atmospheric lighting, conceived to amplify the areas of action, but designed to appear simple and uncomplicated. From the single spot on a singer to the blinding flash of the explosions, the thoughtful approach aided considerably the creation of the varying moods. Along with the atmospheric radio for the sing-along and the noisy crowd inside the pub the technicals were well planned and operated. Considering that these elements can only be added to the production at the last moment, once in the Hall, it was amazing how completely integrated into the whole these had become. One suspects some midnight oil was used.

Costumes were many and varied giving a tangible feel of the 1940s. Braces were well in view and some amazingly authentic looking undergarments were glimpsed.  It was good to have some young members who could fit into their uniforms and wear the trousers properly (no hipsters here). There were some nice contrasts made with jackets & cardigans. The children’s clothing brought back memories, although it was scary how unchanged schoolwear appears to be. It was also pleasing to see appropriate footwear so often a neglected area in productions.

The large collection of props proved interesting and effectively used. They were obviously organised well backstage for ease of use and for the most part had the appropriate look. Bringing them on and taking them off was well integrated into the action and everything was able to look quite realistic although obviously staged. It was good not to see too many squeaky clean people. Cleanliness may have been next to godliness but there is no way under the conditions everyone would look beautifully presented. The effect of the realistic make-up was enhanced by the atmospheric lighting.

All these efforts by the backstage crew provided safe surroundings for the actors to work within. The characters are clearly defined within the script and the situations easily recognisable, and yet some considerable effort had been engaged by the director and actors to provide some depth to the conflicts within the dialogue. There was a level of reality frequently missing in presentations of this show. The central conflict between Alfie Locke & Mrs. Blitzstein had the air of a feud which had become habitual. The particular success of this relationship was in the actors resisting the temptation to screech at each other. One genuinely feared for them should they cease their banter. Could they ever cope with their obvious respect for each other? The genuineness of their reaction to each other enabled the youngsters to create realistic relationships where the gawkiness of the lovers’ reunion didn’t need to be overplayed.

With everyone moulding individual characters and back stories, no one came on simply to dress the stage, but everyone had purpose to their contributions. This was particularly welcome as the company spend a good deal of time on stage, especially in the opening scenes, carrying on normally around the action of the main story. These two elements were very successfully amalgamated. The thin dialogue was presented with confidence and drive. In general this enabled a good pace to be maintained and smoothed over the cracks most effectively. There is very little room for subtly in this book, but it can very easily become maudlin and self indulgent, but the director and actors did not allow this to happen.

It mustn’t be forgotten that this is a musical and the elements of vocals and choreography contributed considerably to the success of the presentation. The small band was ideally suited to the venue and the score. There was an appropriate amount of colour provided to add interest to the accompaniment and the musicians supported well from their Anderson shelter. It must be remembered that at the beginning of a show getting the text heard is of paramount importance. The setting of the piece in period, place and time is so often included in the opening number, and so the cast must work overtime to get the articulation clear and soloists must remember that though they may have heard the words many times through rehearsals the audience gets one chance to hear them. Against the slightly overpowering orchestration the opening sequences were rather overwhelmed.

The choreography was effectively merged into the proceedings. In many instances little moments of charm were integrated into numbers without ever seeming contrived. Routines were choreographed to make the most of actors’ talents and the "knees-up" numbers were given a lot of energy. Amazingly the company, all singing and dancing, never seemed out of place! The youngsters provided two excellent numbers with the "Mums & Dads" scene being presented with attitude. "We’re going to the Country" was very well handled with some excellent contrasts between the excitement of adventure of the trip and the inevitable fears. Overall the musical numbers were well integrated into the action and the dialogue matched them with verve and determination. Oscar Hammerstein II would have been impressed.

The principals were all well prepared and portrayals maintained the realistic approach of the whole production. Obviously the show relies on competent central performances and this production was well served by the leading players. There is a lot of responsibility placed on Mrs. Blitzstein and Alfie Locke and Pauline Farr and Roderick Newson took up the torch and ran with it. Of course, the anguish of the love affairs provides the pleasurable interest and the youngsters came over in a very genuine and effective way. Renee Bond led a couple of exciting numbers and Jamie Clarke proved a lovable rogue. Tom Eaves and Lydia Fitton delivered the romance required with an appropriate simplicity refusing to sink into cliques despite the script. The audience’s reactions to Jane Thurlow-Routley’s contributions were suitable praise indeed.

What a pleasing development this production was. To see the society building on the technical strengths of last year’s production and introducing talented youngsters who so obviously enjoyed partaking was most encouraging. These youngsters should be given every possible encouragement so that when they have to move away others will feel the society is a safe place to come along as replacements. The show proved a good one for the company as it stands at present and under the high standard leadership of Jo & Hilary enjoyable for the audience. Next year will be an interesting challenge as this club moves into musical comedy with no places to hide.

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