She Loves Me

This is a most unusual musical in that it has two distinctively different acts. There is little or no chorus work at all in Act One but plenty of involvement for them in the second act. Congratulations on taking up the challenge of doing something outside your usual tried and tested G and S, although I see in the Directors Notes that you staged this same musical 24 years ago - which was two years before I became your NODA Representative. The whole cast gave first rate performances and it was a pity that they didn’t have the pleasure of playing to larger audiences. 

The musical content, apart from ‘She Loves Me’, is unfamiliar and I imagine not the easiest to learn. The only nod to ‘Fiddler on the Roof’, with music written and composed by the same team, was in the overture. It’s strange how ‘FOTR’ became such a massive hit and the songs are now so well-known and yet ‘She Loves Me’, just didn’t have that same impact or longevity.

The musical is the third adaptation of the 1937 play ‘Parfumerie’ by Hungarian Miklos Laszlo. In 1940 it was presented as a film named ‘The Shop Around the Corner’ on which the musical is based. As a musical It ran for 301 performances on Broadway in 1963 and 133 in the West End a year later.

John Pibworth produced an impressive set, how wonderful that you have a member who is so capable – hiring a set adds greatly to the cost of putting on such a production. The interior of Maraczek’s Perfumery was attractive and the colour scheme striking. The happenings on the street stage left, outside the shop created interest and contrast. The changing of the seasons was nicely done, particularly autumn leaves thrown onto the stage which caused great amusement. The backcloth reinforced the feel of the shop being on a street of a large city.

 ‘Good Morning, Good Day’ opened the show and I thought was the most memorable one in the first act - the tune became familiar as the chorus was repeated.

As Ilona, Samantha Johnson portrayed a confident and worldly member of the sales team and her fellow workers were played strongly by Duncan Hamilton (Ladislav) and Lewis Hopkins (Steven). Henry Bearman was excellent and portrayed a capable and personable Georg. Duncan brought out the humour and gentlemanly character of Ladislav. Lewis was most credible as the handsome, dapper lover of Mrs Maraczek. The men worked well together in their on-stage personas.

Once Amalia is introduced into the work force then the dynamics change. She and Georg have little time for one another as they both become more and more involved with their ‘pen-pal’.

Victoria Howard-Andrews was superb as the warm hearted and rather nervous Amelia. Both her vocal and acting abilities are impressive. A particularly entertaining performance was from Jake Mulcahy who was eager and charming as Arpad. He made a most likeable delivery boy. As the owner of Maraczek’s, Kevin Hanlon presented a mature and genial boss but was definitely in charge.

Act Two felt like a different show. At last we had the chorus on stage and some big musical numbers.

I thoroughly enjoyed this second act and the show came to life. The opening scene in the restaurant planned for Georg’s and Amalia’s first meeting was great fun to watch. The range of characters, both amongst the guests and the staff, was brilliant. From the guest with her feet on the table to the waitress who was finishing off any glasses/bottles of alcohol in sight, they were all wonderful!  It was a scene full of interest and business.

Matthew Bandy was very good as the Head Waiter of the Café Imperiale, doing his best to maintain an atmosphere of romance, and I enjoyed his rendition of ‘Romantic Atmosphere’.

The hospital scene was quickly set and achieved fairly simply before turning into Amelia’s bedroom with a few additions.

Scene three with Amalia and Georg was especially good.

Using the steps up to the stage as the entrance for the café worked well and also Georg singing in the auditorium whilst the scene was set behind the main tabs.

‘A Trip to the Library’ sung by Ilona and ‘Grand Knowing You’ by Kadaly, were both notable.

‘Twelve Days to Christmas’ was another opportunity for humour - it came across really well with the pace quickening as the days passed.

Costumes and properties were appropriate for the 1950s, as were hairstyles and make-up. Lighting and sound were good.

Bridget Biggar’s direction was imaginative and scenes were attractively choreographed, Simon Lindley led the orchestra strongly.

Your programme is substantial, interesting to read and easy to negotiate.

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