Kipps

I last had the pleasure of seeing “Half A Sixpence” back in the 80s in Shropshire. It left me reasonably entertained but it was not a particularly memorable experience as I recall.  How different from the production of “Kipps” I was fortunate to see in Clitheroe. The updated version is certainly sparkier, crisper and faster paced than the original. The fresh songs sit well in the story. This is a tale of rags (or the rage trade to be literal), to riches, then back to rags and then riches again and all done in the best possible taste.

The impression I came away with above all others was that this is a company that works together; it is like a family. The respect they have for each other is tangible. Not merely a disparate group of people thrown together for a few weeks this was a cast that was a whole being made up of many parts. How one obtains this I am not sure but it is a rare thing to observe. I must try not to appear to be unduly effusive yet it is difficult not to praise this production too highly. 

So where to start? The musical direction in the experienced hands of Chris Andrews was immaculate. The band were at no point vying with the actors for ascendancy. How much better than any number of backing tapes is a well directed live band. John Ormerod and Connected 4 Sound were equally as good. From the first second through to the last the clarity of diction and balance was superb. I am sure every member of the audience caught every word that was spoken. I was impressed by the immediate care and attention given to the stage right speaker in the second half when it decided to play up a bit. So all the essentials were in place and we waited with baited breath for the entertainment to begin. Entering, buoyed up by young love, from the left aisle came Kipps and Ann as naive sweethearts. “Half A Sixpence” was lovingly sung. It is a simple song so  has to be performed with absolute sincerity for it to work. Tommy Steele had the ability to conjure up charm yet you sometimes felt his cheesy grin was painted on. Not so with Benjamin Gray. His performance carried the musical, as of course it must. Ben asks in the programme if he did justice to the role. Yes you did, Benjamin; in spades. Yours was a magnificent performance of which you should be very proud. Rose Hurley was your perfect partner. Natural and engaging, her interpretation of Ann Pornick was satisfyingly alive. I enjoyed the differences between the draper's assistants. They were a most affable group of youngsters whose every appearance was greeted with a smile by those persons sitting next to me.  Their casting was excellent since they all possess very fluid facial expressions and foibles which were a treat to see used to good effect. Rachel Dootson, Ben Briggs, Alex Laing and Tim Martin fitted their roles like a bespoke suit from Trevor Lord’s drapers. Helen Walsingham is a difficult role to play convincingly as the audience is asked right up to the end to consider that she may be knowingly deceiving Kipps. Of course she is not. That is the work of her crooked brother, played deliciously oleaginously by Mark Blackman. Amy Stansfield showed us a character we hoped would be ok after her family’s fortune disappeared gaining our sympathy through her earnest interpretation of Helen. Yet oh how we laughed at her mother. The ambitious self seeking Mrs Walsingham. Tragic figure? Not a bit of it, she will rise again. Sue Chadwick, on stage with dad John by the way, was as outstanding as Sue always was and always will be. The wonderful role of Chitterlow, the deus ex machina, is a jewel of a role for any competent actor to relish. In the hands of David Hulme I would have his relish as my preferred accompaniment to my cold meat supper any day. What a performance. Yet judged accurately enough not to be over the top or to take the limelight away from the others on stage. This is the mark of a truly experienced actor. The male and lady groups were marvellous. The choreography under the direction of Lindsay Taylor was tremendously different. No hackneyed moves here. The dancing paid a complement to the acting and singing. It  was of a superlative standard. Sometimes we get in shows the impression that certain chorus members are not entirely comfortable with dance moves. Not so here, everyone demonstrated sheer enjoyment at being able to let go with abandon.

The costumes were fabulous, well worth every threepence of their hire.

Director, Damian Marsh created a charming good natured piece of musical theatre. There was certainly that elusive element we call magic in the air.  I do hope, Damian, that  after a suitable period of recovery you will again take up the director’s rehearsal copy. This was a splendid production fully deserving  the standing ovation it received.

Thank you for inviting me to present the NODA medals at the interval. It was a privilege.

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