BROADWAY THROUGH THE AGES

A definite celebration of Broadway, a well put together programme, with some different songs – which went down well with the audience, although there were some numbers they did not know. 

The staging was simple but effective, although there was a lot of background noise when sets (although very minimal) were changed, which was a distraction.

Lighting was good it enhanced the onstage action, and created some lovely effects, lighting for the opening of the final number was very subtle, but gave even more poignancy to the song.

Generally costumes were suitable, I particularly liked the opening effect, everyone looked smart and blended well.  Other costumes were occasionally a little diverse, but it is always difficult to pull together a cohesive look when doing a compilation show.  The compere, Michelle Stanton looked elegant, and stood out from the ensemble, but also combined well with them.

Connie Wiltshire, in her first production as Director, MD and Chorographer must have spent an inordinate amount of time in getting together the numbers used, and staging them effectively.  I was impressed with the detail, and enjoyed the music chosen.  I felt that sometimes the ensemble were a little fazed by the music on the less well-known songs.

I loved the ethos of closing on a number that pointed to the fact that so many people face mental health issues, and this was a very moving moment and message, echoed in the faces of the cast, but it was very clever to give the audience a few seconds to take it in, then blast out with a final uplifting closing number.

The opening was rousing, with good expression, and there were some very expressive solos over the course of the evening, I don’t usually like to mention individuals in an ensemble piece, but certain people made an impression - particularly the more experienced performers such as Bryony Reynolds, Janine Wall, Julie Walton, Freya Mullen and Mark Tuck, who made the most of every number they were in.  There were a few newer and less experienced performers, which was good to see.

From a personal point of view, I don’t feel many Sondheim numbers translate well to stand alone performance, but Bryony Reynolds gave the Into the Woods number real intent and aggression, whilst Michelle Scowen performed a very difficult number with care and quiet dignity.

The links were very good, plenty of information about the various shows, maybe a little overlong at times, but good information, which again must have taken a while to assemble and put into context.

There were some nice harmonies in the third number in Act 2, and Chloe White was particularly good in set 8.

There was a lot to like in this production, perhaps a little more attention to detail was required in placing of people, and facial expressions, but I was impressed that everyone seemed to know the words, and did not falter on that score.

All in all a creditable production, that would have benefitted from a little more attack overall, but well presented and well-rehearsed musically.

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