Crazy For You

Opening Remarks

This was my first visit to see a Grantham Operatic Society (GOS) production and I thank Jules Jones (NODA Regional Representative for District EM05) for asking me to attend in her absence.

GOS has a rich history of bringing together members of the community in Grantham to perform and has enjoyed established success over its 60 plus years. Like all Community Theatre groups, GOS has had to face the unprecedented challenges of the Covid-19 pandemic; however, I am delighted to report that GOS has returned to the stage in good shape, with an entirely new Committee and many new members. It is, thus, reassuring that the future of the Society seems well-footed.

The Society’s production of ‘Crazy for You’ saw the cast members, crew, and creatives take up residency in the Grantham Guildhall Arts Centre for the first time since the onset of the pandemic in 2020, which forced GOS to cancel its production of ‘Oklahoma!’ three weeks from opening night. It was clear that all concerned were ecstatic to be back in the historical theatre in the Guildhall and were keen to make up for lost time.

The Show

The music and lyrics for ‘Crazy for You’ are by George and Ira Gershwin, and the book is by Ken Ludwig. The most recognisable numbers in the score will be familiar to many due to the MGM film, ‘Girl Crazy’, starring Judy Garland, which was based on the musical stage production of the same title.

The ‘New Musical: Crazy for You’ – which is largely based on the ‘Girl Crazy’ film– plots the adventures of Bobby Child, a stage-struck banker. When Bobby’s mother sends him to Deadrock, Nevada to foreclose a defaulted mortgage on the town’s theatre an opportunity to pursue his passion for the arts arises. To save the theatre, Bobby calls in his showbiz pals – the Follies Girls – and pretends to be Bela Zangler (who in fact later arrives in Deadrock, causing some confusion). Entwined within the saviour’s mission is also a love interest for Bobby to chase, namely Polly Baker; alas, this endeavour of the heart results in Bobby becoming part of a love triangle between Polly and the real Zangler (the confusion I previously mentioned). However, a happy-ever-after does materialise – the theatre is saved, and Bobby and Polly become a union.

The score is fast-paced, the book is light-hearted and full of comedic charm, and the glamour of Broadway is brought to the show through challenging tap routines and dance numbers.

Given the depressive state of current affairs, this production of ‘Crazy for You’ was extremely welcomed, providing a joyful escape from reality and an opportunity to lose oneself in the toe-tapping music of Gershwin. I thank GOS deeply for providing that much needed escapism.

In all, GOS’s production of ‘Crazy for You’ was accomplished and provided an enjoyable evening of live theatre for Grantham.

Creatives

Direction by Adam Bishop was of a good standard. He showed skill in directing the entire company, particularly in large group scenes – this is a clear area of ability for Adam. The principals were well coached, producing clear characters and strong interactions. In all the direction created texture and added to the overall impression of the show. Adam also did extremely well in balancing the range of abilities in his cast – principal and chorus alike.

Musical direction by Samantha Kerby was of a very high standard: the wall of rich, textured sound – with accomplished and advanced harmonies – that one expects from an Operatic Society was on full display. It is clear to me that a real strength of GOS lies in its talented vocalists and Samantha’s direction highlighted this strength to the utter maximum. Samantha – during the interval – shared with me her rationale for using ‘backing tracks’ over a live orchestra: her conscious decision was made to protect the production from the vulnerabilities presented by Covid-19 – it paid off! In all, a very good job indeed.

Choreography by Heidi Clayton was strong. She did well to set movement that her cast – which ranged greatly in dance ability – could master to a reasonable and, fairly polished standard. Heidi was clearly, and appropriately, more ambitious with some of the numbers, particularly those involving the Follies Girls. This largely paid off; however, such numbers can leave members exposed and vulnerable, with every movement exposed for the audience to see. As such, I would encourage reflection on casting and arrangement to ensure all performers are able to shine in a comfortable way. Finally, as a former competitive ballroom dancer, I did cast a very critical eye over the use of this discipline in the American smooth numbers: the choreography was well considered, and the execution of the movement was well intended.  

Cast

The cast of principals was, in the round, strong. Each principal played their part to a good standard, but I would like to note the work of the following:

First, Lottie Morris’s portrayal of Polly Baker was one I greatly enjoyed. I congratulate Lottie on her accomplished vocals and excellent execution of her numbers. Lottie was able to offer both comedy and heart-felt vulnerability to the role and her vocals. I particularly enjoyed, ‘Someone to Watch Over Me’ and ‘Embraceable You’.

Second, Ben Atkinson (Bobby Child) and John Palmer (Bela Zangler) both did a brilliant job. The characters created by the pair were sustained and well considered. Their vocals were strong and, collectively, they produced one of my favourite numbers from the show, namely ‘What Causes That?’. In this number the duo also skilfully mastered a demanding block of choreography.  

Third, I offer my applause to Adam Bishop (Lank Hawkins) and Elaine Bishop (Irene Roth). Both had extremely well-defined characters, excellent stage presence, and advanced stage craft. Elaine’s delivery of ‘Naughty Baby’ was one of the most vocally strong performances of the production.

Finally, I must note the work of Charlotte Scorror (Patsy). Her portrayal of this Follies Girl was excellent – full of comedic charm and energy. Charlotte successfully lifted the production and brought the audience to a joyful chuckle. She also executed her dance duties – as a Follies Girl – extremely well.

There were many other strong performances offered by those I have not named and the chorus. So, I congratulate you all on a job well done and thank you for producing some extremely enjoyable numbers such as, ‘I Got Rhythm’.

Production

GOS should be congratulated on putting on a production that was entirely inhouse, something that is becoming increasingly rare. Well done!

The set and staging, designed and built by GOS members, was of a good standard. I am conscious – from my discussion with the Chairman, Elaine Bishop – that the set was limited by the restraint required after the financial impact of the Covid-19 pandemic on Community Theatre: it is important to note the challenging context in which this production was being staged.

The costumes and properties were of a good standard and suitable for the production.

The lighting design was well considered. Scene transitions were a little laboured at times, which is a shame. I would encourage GOS to explore how scenes can be transitioned in more dynamic ways and I challenge the creatives to move away from a reliance on blackouts. The sound was of a good standard and sustained throughout. 

The programme was of a high standard, as was the poster and materials that marketed the show.

Closing Remarks

My warmest congratulations for a strong and accomplished production of ‘Crazy for You’, which certainly ‘embraced’ the audience in a light-hearted warmth and humour.

As Community Theatre builds back from the unprecedented circumstances created by the pandemic, I consider it vital to acknowledge the huge amount of work undertaken by societies to keep theatre alive and accessible in our communities. On behalf of NODA East Midlands, I thank you. 

I was grateful for the extremely warm and welcoming hospitality shown to me and Nigel Hancocks upon our visit, and I thank our chaperone for looking after us so ably.

I wish GOS all the best for its upcoming projects and productions.

Luke Campbell

NODA Representative, East Midlands District 7

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