Kiss Me, Kate

Cole Porter, whom I consider the greatest theatre creative giant of the 20th century wrote this sensational musical in 1948, when it premiered on Broadway and most theatre people consider it his very best musical.   With classic numbers such as "Wunderbar", "So in Love", "Another Op'nin, Another Show", "Too Darned Hot", "Brush up your Shakespeare" and "Always true to you Dear in my Fashion", together with a strong plot, vibrant dance routines, sumptuous costumes and much else besides, a richly talented company like LOS could not fail to thrill the audiences.

From start to finish this production gripped the senses. The opening scene where the key principal characters were established during company rehearsals in a Baltimore theatre where dancers practised their routines and bickered amongst themselves was a prime example of the life and vibrancy throughout the production. One young female dancer, clad in blue top and green pants, suddenly switched on a showbiz smile, as one would a light. Bliss! And so showbiz - "Another Op'nin, Another Show" was terrific.

As the plot unfolded we were strongly drawn into the love / hate relationship between the two leads, Fred Graham (Petruchio) and Lilli Vanessi (Kate Minola).    Both were so utterly showbiz; huge egos, an obvious vulnerability and a need for each other. The relationship between Fred and Lilli, both supremely well played by Barry Stevens and Michele Jordan respectively, is at the heart of this story and elevated an otherwise special show into a sublime and moving production. Both acted and sang "rather well" in exactly the same way that Porter wrote songs "rather well."

Charlotte Donald as Lois Lane (Bianca Minola) was the archetypal blonde bombshell, another superbly charismatic performer, she could also sing and dance "rather well".

Her paramour, Bill Calhoun  (Lucentio), played by Tom Paine was a perfect foil to Charlotte, also moving and singing with energy and style.   A highly enjoyable performance.

Two of Cole Porter's most memorable characters, namely gangsters one and two, are given probably his best ever comic song in "Brush up your Shakespeare". I have been in this show three times before - once as director - and seen it countless times. No two people have equalled the mighty performances given by Michael Lock (Gangster one) and Chris Evans (Gangster two) throughout the show. It was a sheer joy to watch, in awe, these two paragons perform perfect theatre.    Their timing, diction (even with real American accents), panache and charisma was something to behold. Magnetic!

Kevin Wood (Hortensio) and Laurentz Valdes-Lea (Gremio) were highly effective and tuneful in their roles alongside Lucentio as the suitors and both sang extremely well.

Jon Ford as Paul (Fred Graham's dresser) carried out the "flowers mix-up" with truth and his momentous song "Too Darned Hot" accompanied by a perspiring chorus built to a wonderful climax. He was extremely well cast, dancing and singing with aplomb. The five young dancing couples made a huge mark throughout the show, none better than in this memorable and insistent song.

Melissa Cox was a graceful and charming Hattie (Lilli Vanessi's dresser) adding much to the show's success.

Ian Lambert, played General Harrison Howell as a dominant, chauvinist military man, bereft of any real sense, but with distinct macho self-importance which imbued this usually rather wet character with the antithesis of show people. The scene where he falls asleep was cut out and I enjoyed seeing this character played differently. Ian is a consummate performer, whom I have often seen grace the stage, as he most certainly did once again here.

Michael May was Harry Trevor (wanting to go to the dentist) and the suffering Baptista Minola, father of the shrew Kate. Michael does suffer convincingly - another skilled performer.

Gerald Taylor was Ralph, the Stage Manager, busy and realistically fretting and giving veracity to this role.

This principal line up was among the strongest I have seen as a NODA Rep. At least five were of professional standard and every one can, and should feel proud of the performances they gave us. However, a blockbuster show such as Kiss Me Kate needs a strength in depth company and LOS clearly attract the cream of the crop.                    

The company dancing throughout, with the young featured dancers was vibrant and splendidly done. Huge praise must go to the show's choreographer Aimee-Marie Bow for the standard LOS achieved under her watch.

Costumes looked fresh and were well fitted, with the Shakespearean ones giving a real genuine feel to "Taming of the Shrew". LOS are far too wise not to realise the vital importance of appropriate hair, wigs and make up, which I have seen mar many an otherwise top show. A word of praise for Michele Jordan, Diane Pratt, Irene Thomas and Miss P. Percookie therefore!

The ever reliable Richard Pike and Stuart Vaughan with their teams were again in charge of lighting and sound which is the "Bank of England" choice.

Sets were swiftly changed and I especially liked the use of the fourth wall in Fred and Lilli's adjoining dressing rooms.

I thought the obviously rubber stool with bendy legs was a bit amateur though.    Surely on this roomy stage a real wooden one could have been safely used. I have seen wooden ones used on far smaller stages. Health and Safety clashing with artistic truth perhaps? Otherwise, props were fine.

One of the strengths of this story is how most of the central characters had feet of clay and this was brought out strongly. Their frailties and needs were skilfully nuanced and contrasted. This gave the characters extra depth and made them more interesting to watch. Embarrassment is highly addictive, provided it is somebody else!

As for the programme, I applaud the publicity given to other local societies  forthcoming productions. A well set out print with a comprehensive explanation of the show's origins, mention of Shakespeare's 400th anniversary, together with a generous mention of the "SeeAbility" and a tribute to the late Bruce Kent was impressive. Can I ask for a mention of NODA's aims in future programmes (not merely the crest)?

LOS regularly employ John Harries-Rees and Colin Copestake as Director and Musical Director. I should explain to these two gentlemen exactly why I have not specifically highlighted most of the music or acting. If I did so, this review would become a book. Everything from start to finish was a highlight and there are only so many superlatives I can use. Suffice to say I salute John and Colin as giants of amateur theatre and together with hundreds of others I exited the theatre with a tingle of sheer pleasure at what we had all witnessed.

LOS, I salute you all!

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