Old Time Musical

In a pocket of Chelmsford, tucked away from the base drone of a city in the throws of Saturday night chaos, time has been rewound to a patriotic era, celebrating the glory of Music Hall in style. With the hall and stage draped in Union Flags, and a simple yet fitting stylistic set for the opening half, the audience were taken by the hand of our guide and Chairman for the evening, the charismatic Michael Wilson, and led on a nostalgic journey full of wit, charm, talent and light-hearted smut here and there. With a dapper gent in a top hat and tailcoats making a performance of the safety announcements, you knew any opportunity to raise a smile would not be missed. Lighting was simple, fitting for the time, and a lit candelabra provided a reading light for our chairman. Full orchestraic music (on a single piano by a single lady) was very ably provided by the gifted Susannah Edom, who had a lot to put up with, what with the likes of diva-ish behaviour and demands put upon the ‘piarno player’ by a certain Fraulein Fudge-Knuckle, (the riotous and talented Pat Hollingsworth, belting out I Want to Sing in Opera) and the bickering of The Hallelujah Sisters (Sue Bartle and Janet Wintle), recruiting for their cause on behalf of lost causes. The evening began in red sequins and fishnet tights, with pitch perfect Tom Whelan at the helm of a group of glamourous ladies, with a jolly rendition of the army recruitment ditty The Galloping Major. This was followed shortly by Jan Moore in a heartfelt performance of The Bells of Saint Mary’s. Helene Jones serenaded us with a sound delivery of The Roses of Picardie. Mention must be made at this point of the sumptuous and lavish costumes, which filled the stage with colour and extravagance, and assisted in giving some singers more presence, when their confidence of use of the ample stage was occasionally lacking in some solos.

Jenny Edler gave a delightfully ditzy delivery of Oh Mr Porter, much to the audience's appreciation who joined in the chorus, as they also did for Mary Montgomery lamenting as Daddy didn’t buy her a ‘Bow Wow’.  Madeline Binning’s heartfelt ‘Love’s Old Sweet Song’ was warm and gentle, whilst Helen Wilson caused the gents to turn their heads with ‘Morning Promenade’.

Patricia Evan’s ‘Sunshine of your Smile’ was a solid performance, easily filling the auditorium with her powerful vocal ability, closely followed after some patter from our chairman with David Rayner’s amusing and confidently delivered tale of his Tin Gee Gee. Space was also used to maximum capacity by his story of ‘Polly Perkins’, delivered with comedic flair. The first half was closed with with the Locomotion Singalong, assisted by the audience with copies of the lyrics as the company filled the stage.  Movement was simple but well executed, considering the number of performers in full dresses and adornments on stage singing in harmony. It’s always nice to have the front of house staff also in-keeping of the era, with Edwardian dress, and were very helpful and friendly. The second half set change was a pleasant surprise, as we were transported to the jungles of Borneo, with the help of a painted backdrop and suspicious looking palm trees.  Tom Whelan led the unruly troops on the Road to Mandalay, with some wonderful laugh-out-loud moments provided by Robbie Robertson and his accompanying banana, as his comrades attempted to keep things in line. Heather France soon sashayed around the stage in a grass skirt and a twinkle in her eye when she refused to leave her ‘Little Wooden Hut’. The monologue of The Green Eye of the Little Yellow God was delightfully chaotic; one could not tell what was rehearsed, ad-libbed, or purposeful near-destruction of furniture, which only added to the value of the piece and left the audience in stitches. Robbie Robertson once again dabbled in stealing the audience, but was in competition with Madeline Binning’s disapproving gaze towards Jenny Edler’s ill managed yet enthusiastic prop supplying for the haphazard performance, also joined by Emma Byatt.

Dave Birks struck it lucky with The Ladies of Maxims, with immaculate femme fatales sweeping around the stage, and Pat Hollingsworth’s Popsy Wopsy took us all by surprise, as we all cringed back in our chairs with her devilish vocals and brattish demands that the audience should join in with her caterwauling.

I found the finale perhaps slightly muddling. The raffle was drawn before the end of the performance, which I felt cut the atmosphere a little that had been built throughout the evening. It gave the performers a harder time in finding the rhythm once again to complete the revue, nonetheless, the finale was well choreographed and left the audience with a smile on their faces.

The Director Patsy Page focused on ensuring songs were given to performers in accordance with their vocal ability and strengths - I never felt a singer was out of their comfort zone.  Huge attention was paid to costume, hair pieces and detail. I found it a thoroughly enjoyable and entertaining evening.

© NODA CIO. All rights reserved.