Half a Sixpence

When someone takes a well-loved treasure and alters it, one can never be sure what the results will be. To add to a successful score numbers which were cut from the original can be dodgy – one has to ask: “Why were they cut in the first place?”  To mess with a tightly written libretto – written by a master of the art – can lead to disaster and disjointedness in the flow of the work. I had seen this new version on a number of occasions and had failed to be impressed.

Andy Martin's charming set opened with the shop fronts and wonderful old photos of Folkestone placing the story clearly in place and time. The set moved easily by the cast, smoothly and quickly created the many and varied scenes and the Director ensured that this was kept in keeping with the rest of the show and that characters were maintained throughout. The well thought out design ensured that there was never anything surplus to requirements taking up the limited space and giving the actors maximum room to perform. The colour scheme was most suitable for the period and helped maintain the air of faded elegance so essential to the feel of this show. The alley outside the stage door worked beautifully reminding one of many such lanes in and around our old theatres, and made the inside/outside the pub sequences slick and natural. The sea-front was effectively created: just how we remember those Sussex esplanades. The three trucks were well positioned and provided small and large spaces as appropriate to the scene. As usual the set benefited from excellent lighting design by the same designer. This is always a bonus ensuring that shading, colours and atmosphere are heightened and the actors fit so naturally into the scenes.

The “pictures” were very ingenious continuing the theme of Kipps opening speech throughout the play until the flash bang wallop of the wedding scene and the final romantic conclusion. Early in the First Act these “pictures” could have benefited from being held a little longer.   The audience needs to clock what is going on and some of the early “pictures” were not held until the flash and it could cause confusion as to whether it was a technical fault. 

Properties were well chosen and, as in other areas, limited to what was required. Shalford's Emporium which so often in other productions looks cavernous and empty had just enough in it to give it atmosphere and looked busy within the lighted area. The shop-assistants busied themselves seeming to have a lot to do and avoiding Mr. Shalford's eye. Everyone was dressed appropriately. There was a clear distinction between the faded elegance of the Walsingham's world and the working necessities of Kipps and his friends. Some nicely judged colour co-ordination gave scenes atmosphere and the necessary characters were subtly highlighted. In the short time between the arrival of the hiring and presenting to the audience the wardrobe team had, once again, worked wonders. It is so important in a show about a draper that the clothes hang right. Much appreciated was the lack of shiny material although the prostitutes' uv glowing tops were slightly distracting during the scene change. Pleasing was the lack of fidgeting with skirts and hair which can often take away the desired naturalness; barely a skirt grabbed.

As expected at St. Austell make-up, hair and wigs were well conceived and worked. Everyone looked “normal” with no exaggeration and yet appropriately in period – even down to Ann Boleyn's wig. It was so good not to be aware of hair & looks but feel totally “at home” and in the moment.

The score to this new version can only be described as interesting.  While serving Heneker's melodies well it intends to be integral to the whole and therefore presents lots of challenges. Hannah Hawken was well on top of this although positioned in a very separate area. “Lift Off” is the American's new buzz-term and this show gives plenty of opportunities for demonstrating its usefulness. The orchestration is big for such a gentle show and yet the band never overpowered the singers. The Musical Director showed excellent control over proceedings and clearly enjoyed the trust of the performers.

There were some good harmonies presented with the parts clearly defined, the crunchy chords enjoyed and the 'big' numbers energized.  The balance between voices was generally very good. It was good to be able to hear most of the words especially as there are some good gags hidden in the lyrics. The concentration on good articulation ensured that the story continued through the songs ensuring they remained an integral part of the storytelling.

As expected choreography was seamlessly added to the direction and music. As usual Maureen saw to it that the dancing didn't start abruptly in the middle of the action but resulted from what was already happening. Direction was most assured and proved how good it is to have a Director who understands drama for shows which have characters with more than two dimensions. Kathy West had made firm choices before setting to work on this piece, one of which was to keep things moving and thus to never let the audience's attention drift. This was significant in making this episodic show work. The use of the actors to change the set emphasised this and spared us from disruptive blackouts. There were some excellent personal touches particularly in the employment of ideas from the Greek Theatre Course and other Summer School Courses. The “no hangers on” policy with everyone being a character with their own individual interpretation of the movement really brightened the company scenes of which there were plenty. Attention to detail and clarity of purpose aided the direct approach of the presentation keeping the audience attentive and sympathetic. The Director had obviously read the libretto and enabled the actors to put over lines with clarity and to all play a part in the storytelling. The integration of the children without any sign of contrivance was beautifully handled. Distinction between the classes was evident in movement, posture and placing. 

A few First Night technical hitches could not mar the overall impression of a fun and excellent performance. “Half a Sixpence”, especially in this New Version, is a minefield. Thanks to detailed direction, well conceived and firm leadership of the whole team this presentation avoided most of the potholes and provided excellent entertainment. It was a story well told, aided by well drawn charactisations, graced with an excellent visual feast and charming music & movement.  

This company's reputation was well maintained and the bar raised once again.

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