September Serenade

Blackburn Gilbert & Sullivan Society’s “September Serenade” at the Blackburn Empire Theatre was a joyful celebration of music, humour, and talent, delivered with elegance and charm. Alasdair Gordon wore multiple hats as Director, Musical Director, and compère, and his presence was felt throughout the evening. His rapport with both the society and the audience was warm and engaging, peppered with witty asides and gentle humour. His enthusiasm was especially evident when guiding the chorus and ensemble numbers, which were delivered with precision, control, and beautifully blended harmonies.

The stage was simply but effectively dressed, with neat rows of blue chairs for the ensemble and four microphones at the front for solo and group numbers. Stage right, accompanist Paul Clarkson anchored the musical flow from behind a keyboard, delivering a storm of melodies with flair. His standout moment came midway through Act One with a stunning piano medley from West Side Story, rich and expressive.

The Blackburn Empire Theatre’s technical team provided excellent sound and lighting throughout. The sound was crisp and clear, harmonies rang true, soloists were well balanced, and every lyric was audible. Lighting was used with precision, shifting colours to match the mood of each piece: reds, whites, and blues for patriotic flair; smoky blues with white spotlights for atmosphere; and vibrant reds and yellows for warmth and energy.

As the house lights dimmed, the performers took their seats, gentlemen in tuxedos and colourful bow ties, ladies in sparkling evening gowns, mostly black but with the occasional flash of colour or shimmer that caught the light beautifully. It was a stylish affair that set the tone for a night of great performances and heartfelt entertainment.

The concert opened with a bold rendition of “Seventy-Six Trombones” from The Music Man. The harmonies were tight and confident, and the ensemble’s energy was infectious. That was followed by a spirited “Hello, Dolly!” from the male chorus, full of rich vocal textures and unity. The female chorus then offered a beautifully haunting version of “Edelweiss” from The Sound of Music, gentle and atmospheric, with a lovely emotional pull that brought a tear to the eye.

The first soloist to step forward was Tony Lewis, launching into a fast-paced and animated rendition of “My Name is John Wellington Wells” from Patience. From the very first line, it was clear we were in the hands of a seasoned performer. Tony is a master of vocal dexterity, navigating the rapid-fire lyrics with precision and flair. His expressive delivery and theatrical energy brought the character to life, earning appreciative chuckles and applause from the audience. Tony returned to the stage more than once throughout the evening, each time bringing a fresh burst of charisma. In Act Two’s Pirates of Penzance montage, he delivered a fantastic rendition of “I Am the Very Model of a Modern Major-General,” a notoriously tricky patter song that demands impeccable timing and breath control. Tony handled the rhythm and rhyme with ease, rattling through the tongue-twisting lyrics while maintaining crystal-clear diction and a playful sense of character. His performance was both technically impressive and thoroughly entertaining.

Several soloists truly shone, bringing both vocal prowess and characterful flair to their numbers. Brenda Murray’s rendition of “Bali Ha’i” from South Pacific was a particular highlight, her beautifully pitched notes floated effortlessly through the theatre, with a delicate use of light and shade that gave the piece real emotional depth.

Paul Cross delivered one of the evening’s most stirring vocal performances with “Love Changes Everything” from Aspects of Love. His voice carried a depth of emotion and range that filled the theatre, strong, assured, and deeply resonant. Throughout the concert, Paul appeared in numerous ensemble and solo numbers, each time bringing a confident presence and musical precision. But his true standout moment came in the second act with a delightfully unexpected twist: ukulele in hand, Paul performed “Dedicated Swallower of Poisson,” a playful skit riffing on The Kinks’ “Dedicated Follower of Fashion.” Written by local poet Les Barker, the parody was witty and well-paced, poking gentle fun at culinary obsession with tongue-in-cheek lyrics and theatrical flair. Paul’s delivery was spot-on, his comic timing, musicality, and cheeky charm had the audience laughing throughout. It was a brilliant change of pace that showcased not just his musical talent, but his versatility and sense of humour.

Tony Alman gave a wonderfully comic and vocally agile rendition of “The Nightmare Song” from Iolanthe. A notoriously complex patter piece, Tony tackled it with impressive clarity and flair. What made it even more memorable was his inspired use of props, notably, a teddy bear dressed in a Beefeater costume, and playful dance moves that added a layer of theatrical humour.

Heather Nicholas offered a beautifully emotive version of “If You Love Me, Really Love Me” by Edith Piaf, soft, expressive, and haunting. She returned in Act Two with a completely different vibe, delivering a cheeky and animated “If You’re Good to Mama” from Chicago, showing her versatility and stage presence.

One of the evening’s most unexpected delights came in the form of the “Duetto buffo di due gatti”, the humorous Cat Duet (compiled from the Rossini opera Otello.)  Performed by Anne Rigby and Lynn Alman, the piece consists entirely of the word “miau” (meow), yet somehow conveyed a full-blown feline conversation that gradually descended into a spat. It was a masterclass in comic timing and vocal control, with both performers fully embracing their characters, claws out, narrowed eyes, and all. What made the moment even more impressive was Lynn Alman’s last-minute involvement. Stepping in for multiple numbers due to cast illness, she didn’t just fill the gaps, she owned them. Her adaptability and poise were evident throughout the evening, but especially here, where she matched Anne Rigby’s energy beat for beat. Their chemistry was undeniable, and the audience responded with delighted laughter and warm applause. Lynn was then joined by Paul Cross, David Seager and Tony Alman for a delightful performance of “The World is but a Broken Toy” from Princess Ida.  

The end of Act One featured a delightful medley from The Mikado. Jennifer Pollard, Ellie Keppie, and Lynn Alman charmed as the Three Little Maids, singing with mock coyness behind fluttering fans. Tony, Paul, Lynn, and Jennifer followed with a lovely Madrigal, and Phillip Walsh closed the set with “A More Humane Mikado,” his animated dance moves and expressive delivery bringing the act to a lively close.

Act Two opened with a nostalgic favourite “The Teddy Bears’ Picnic” performed with wonderful harmonies and playful charm. This was followed by a snippet from Patience, featuring Tony Lewis and the ladies’ chorus in a light and witty exchange.

Amy Bell gave a lovely performance of “What Baking Can Do” from The Waitress. She sang with real feeling, and you could tell she connected with the story behind the song. Her voice had a gentle rise and fall that suited the music perfectly, and the notes were clear and well placed. It was thoughtful and expressive, and she brought out the emotion without overdoing it. A lovely performance from Amy.

John Chadwick gave a solid performance of “The Sentry Song” from Iolanthe. It’s a quick, wordy number, and he handled it well, keeping the rhythm steady and the words clear. There was a nice bit of character in his delivery too, with just enough humour to bring the piece to life. It was well received by the audience and added a light touch to the second act.

Lynn Alman’s performance of “Waltz of My Heart” from The Dancing Years was a lovely moment in the evening, and her only solo spot. She sang with gentle phrasing and a graceful presence, capturing the romantic sweep of Ivor Novello’s melody with warmth. It was a quieter piece compared to some of the bigger ensemble numbers, but Lynn gave it a thoughtful, elegant touch that suited the song’s nostalgic charm. A nice change of pace, and a chance for her to shine on her own.

Philip Walsh and the male chorus delivered a wonderfully atmospheric “When the Night Wind Howls” from Ruddigore, with rich harmonies and vivid storytelling. The ensemble then turned up the energy with “Razzle Dazzle” from Chicago, executed with sharp diction, clipped rhythms, and theatrical punch, an excellent example of Alasdair Gordon’s musical direction.

Robin Reid and John McNabb brought comic swagger to “Brush Up Your Shakespeare” from Kiss Me Kate, complete with hoodlum accents and snazzy moves. Their chemistry and timing were spot-on, and the audience loved every cheeky rhyme and exaggerated gesture.

William Shaw’s Elvis tribute brought a touch of rock ’n’ roll charm to the second act, made complete with the iconic  white jumpsuit, wig and sunglasses. He began with a gentle and heartfelt rendition of “Wooden Heart,”  his  delivery was warm and sincere, capturing the sweetness of the song with ease. Then, in a complete change of pace, he launched into “Teddy Bear” with full Elvis flair, and a cheeky gyrating pelvis. The audience loved it. His comic timing and playful swagger made it one of the most entertaining moments of the evening, showing off both his musical versatility and sense of fun.

The evening rounded off with a rousing selection from The Pirates of Penzance. David Seager and the male chorus gave a swashbuckling rendition of “I Am the Pirate King,” delivered with theatrical aplomb. Michael Akers then led the full ensemble in “When the Foeman Bares His Steel,” with fabulous harmonies and infectious energy. The audience were encouraged to join in with the singing, it was a perfect finale, rousing, joyful, and full of heart.

September Serenade was a celebration of talent, humour, and musical storytelling. Blackburn Gilbert & Sullivan Society once again proved why they’re such a treasured part of the local arts scene. With elegant presentation, strong musical direction, and a cast full of character and charm, the evening left the audience humming and smiling. Thank you to everyone at Blackburn Gilbert and Sullivan Society for their warm hospitality, I look forward to many more productions from them in the future.

 

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