Jack the Ripper

This relatively unknown musical - other than to theatre folk of course - is a catchy tuned, raucous comic masterpiece of writing. Having twice performed it and seen it several times, I much looked forward to my visit to yet another John Harries-Rees / Colin Copestake production. The intimate setting of the church hall was entirely appropriate for what is a show about community in Whitechapel in the late summer and autumn of 1888.

A simple, but highly effective set featured a prominent red brick wall, a central platform with steps stage right and left, plus three extra tables and chairs down in the hall itself, facing the stage for chorus members to use whilst drinking and carousing. Costumes were, of character necessity, colourful, slightly dishevelled in effect, but superb in context.   Judith Kelly and  Kate Fryer used the costumes, supplied by Dorking DOS to their utmost effect. Long dresses, gaudy hats and, for the men, bowlers, flat caps and waistcoats really looked the part.

Swift interchange from the local Music Hall (Steam Packet, as listed in the libretto) to the mean and sinister streets of Whitechapel and back again many times, provided the seamless and all important continuity of the piece.

With the keyboard extremely well played by Roger Swift under the command of MD Colin, the music was terrific throughout the show.

The plot of kind hearted, but tough-tongued street ladies and a low in morals gang of pimps playing opposite, richly set the contrast for the "outsider" in the community, Montague Druitt, known as Toynbee (as in "hall"), dressed in Salvation Army regalia and come to save the poor souls from their fate. Though, in actuality, the Ripper's identity remains unknown to this day, in Pember's and  de Marne's wonderful re-enactment, Toynbee is heavily suggested as the murderer, though only to we in the audience. That is, until in the final act when he showed the central character Marie Kelly offstage with the words "It's quieter down by the river" - chilling indeed!

Claire Aston in the key female role of Marie was quite marvellous, giving this feisty but ill treated by life character great depth and humanity.                                                                         

Ben Horsburgh as Toynbee and Barrie Ward as the Chairman were effectively joint lead male roles were also wonderful. Barrie's comic timing and epic stagecraft were in ample evidence throughout with presence galore on tap! Ben's beautifully nuanced performance too was a thing of wonder.

Laura Barnes as the world weary Lizzie Stride was top class, as was Jacob Elsey as the lowlife Daniel Mendoza. Sterling performances were given by all the remaining principal players too with the earthiness and coarseness of the Whitechapel life skilfully evidenced. I should add that all the chorus members also played their full part in this success.

A wonderful cameo role was played by Laura as Queen Victoria. Her scene with Sir Charles Warren (Barrie) being a show highlight, leading up to the hilarious policemen's chorus lead by Paul Hyde as the sergeant with all in "dressed up in women's clothes". The mixture of gritty realism, constant hope of better times - "when the boat comes in" - and the immensely engaging, often catchy singing, was a heady feast!

It was thoroughly in keeping with the community spirit of this production that the cast, still costumed, served us lucky people who watched, the welcome interval fish supper.

Richard Pike's skilfully used lighting greatly added to the excellent atmosphere of those bleak, yet defiantly optimistic times.

All in all this was a production  to relish and remember! "Oh delight, Saturday Night" has never been more apt!

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