Seven Brides for Seven Brothers

You can go back over show reports for this region of NODA for 4 years without finding a mention of this show which illustrates not so much its lack of popularity but more the problems of performing it.  The clue is, of course, in the title in that, whilst there may be no shortage of potential brides within most Societies, finding a husband for each of them usually proves more difficult.  Add to this the need for a further seven suitors whom they reject and for all 21 to be good movers and you see the problem. The benefit is that you then have the opportunity to access the score of one of those great MGM post-war musicals, to which even more songs were added for this subsequent stage version.   

Having accepted the challenge, this Company responded with a production which matched its usual high standards.  We were treated to a number of energetic dance routines, particularly in the Barn Dance, for all of which great credit is due to Assistant Director Sue Hawksworth, Dance captain Rachael Wilkinson (who also appeared as Dorcas) and, for the more acrobatic moves, to Kath Walker.  Because of the refurbishment of the venue, performances are taking place in June/July rather than the Company’s usual dates in March and the availability of this extended rehearsal period may have influenced the choice of show.  In any event, the cast certainly used their time profitably in mastering all the moves asked of them.

In the leading roles of Adam and Milly, Matthew Ainsworth and Emma Dickinson made an excellent pairing, the latter making a memorable debut with this Company as the bride who refuses to be forced into a subservient role amongst the brothers, six of whom she had known nothing about on her wedding day.  On the contrary, she imposes her own terms and quickly smartens them up in order to find their own partners. All of the team made the most of their roles but I particularly enjoyed Scott Goncalves, a veteran of many of the Youth Section’s productions, as the youngest brother, Gideon, with a performance which gave credibility to the need to show the innocence of his youth at the start and yet the confidence to be assertive to his oldest brother later on.  His scenes with Milly were also impressive and news that he is about to take up a place at Guildford School of Acting came as no surprise.  I noticed that understudies would be taking principal parts in some performances, apparently to accommodate attendance by some of the cast at University interviews and the like during the show’s two-week run.  I suppose this is the drawback of a reliance on this age group but it is a small price to pay for the energy and exuberance they bring.

Accompaniment was provided by a 14 piece orchestra, making an excellent sound despite being a little short of space in the re-vamped pit, clearly designed without much thought about productions such as this where the alternative of removing some seats from the stalls has financial repercussions.   Costumes are always of a high standard here and this was no exception.  If I have any complaint it is that the set, very effective when in place, seemed extremely heavy and cumbersome to move so that scene changes, though handled well by the crew, occasionally caused the production to lose pace. I understand that this is the only set available for hire which is perhaps understandable when, as illustrated by my findings mentioned above, there is clearly, but sadly, so little demand for one.     A brave choice of show and a decision entirely vindicated.                          

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