Jack The Ripper

We received a warm welcome from the Front of House team lead by Jan Nash, who had to hold back curtain up by a half an hour to allow for late arrivals due to a motor traffic accident. Jan and the team dealt with this admirably and kept the waiting audience informed. The open stage set was very well designed by Rosemary Bianchi and constructed and painted effectively by Philippa Tadman and the team. Alan Bailes lighting design and execution was excellent, I counted at least six washes’ on stage as well as a number of specials that all worked perfectly well to set the scenes. The transitional lighting from action to Music Hall was particularly well achieved. The Sound by Luke Jones was good throughout with perfect balance between vocalists and Band. The Band under Keith Crook’s direction were well rehearsed and precise. Alex Evans and Ann Crook’s Wardrobe was mostly in period, however there were one or two items of clothing, notably a circa 60’s / 70’s Carnaby hat that was completely out of place and very distracting, also Marie Kelly’s necklace was a bit ostentatious for a 19th century prostitute. The makeup was managed well by Donna Barret, resisting the temptation to go over the top with the Music Hall performers.

Having played Druitt myself in the past, I was very familiar with this work and it’s intricacies. If handled incorrectly, it can become a mishmash of confusing unconnected scenes, however Edith Pratt’s direction was well executed, and although some of the character relationships did not quite work for me, I thought the story was told well enough. Edith did use the stage well and managed the Music Hall transitions seamlessly. Sarah Bailes Choreography was exceptional, on the limited performing area, and I particularly enjoyed “ Ripper’s Going To Get You”. Nicola Niles played and sang Marie Kelly beautifully, however the relationship between her and Druitt, played by Cliff Francis lacked substance, in contrast to her relationship with Mendoza, played by Mike Roberts which was very earthy. Lynne Leggat gave two good performances as Lizzie Stride and Queen Victoria who was very funny indeed. Ian Hamilton made an excellent Chairman combating several changes of character with ease.

The cast as a whole worked well as an ensemble, sang and danced with gusto, and made this a most enjoyable production.

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