Stand by your Beds

In all my long years in amateur theatre I have never previously met a musical director who wrote the music, lyrics and libretto of his own show. This is quite an achievement and I applaud  Paul Tickner upon a magnificent success. The format was a fast moving, funny, affectionate but unashamedly politically based satire on the invasive bureaucracy abounding in the NHS and set in a hospital during the 1950s and 60s. There was much use of nostalgia and pathos.     

Prominently displayed across the stage were three occupied and realistic looking hospital beds. Sets and props by Paul and the company were well designed, effective and generally well changed, though there was one hold up due to a distinct lack of wing space in the theatre. Hair styles and make up were generally good.

Costumes, supplied by Paul Tickner, the company and also from Woking Operatic, made a strong impression. To my eye they looked authentic, well fitted and the nurses' uniforms starched appropriately. When the nurses uniforms changed for the second act I realised that the director had done her research, though in fact as her programme notes tell us, she had worked in the NHS herself. Some companies would not have changed these uniforms either through ignorance or because of cost. A plus point for MMT!

Many of the songs were very catchy and melodic and the dancing was beautifully choreographed and carried out under the attentive eye of the sparkling choreographer, Emma Hone, whom the society would be wise to keep.

The video screen was an important part of the story and sensibly used to help to impart further reality to the story of the NHS and of the original chaos which the surfeit of bureaucracy has led to throughout the period in question (and ever since!).

The humour was well brought out; the running gag of the porter carrying the wooden leg going on and offstage right and left was well worked. There was even a rather risque mention of the "clap" which, in panto style would go over the children's heads, but made me laugh.

The very diverse characters were given depth both by the author and by the upbeat interpretation given to their lives by the enthusiastic cast under the command of highly experienced Director Gloria Smith, who enjoyed the huge benefit of working alongside the author. A typical example of this was the story of Betty - Hannah - who, though bored stiff with her silent husband Len - Andy - was totally bereft at his death and the wealth of love they really shared was wonderfully displayed, upon her own death, by a "Heavenly" white light which enveloped her as she rejoined him in "a better place." This was powerful theatre and moved me to tears and, I would venture, many others in the audience.

Character                               Performer

Emma Tomkins              Claire Bender
Charlie Crawford              Lloyd Walsh
Victoria Peckham           Samantha Bottle
Eddie                             Graham Kirby-Smith
Miles                              Mark Mowbray
Bob (hospital porter)        Mike Read
Sir Nigel                         Paul Cox
Matron                           Alison Wheeler
Betty                             Hannah Kitchener
Len                               Andy Bloomfield
Men from Ministry           Darryl Tullett, Paul Cox, Richard Hudspith
Sister                            Norma Davis
Doris                             Diane Slater
Mr Pearl                        Paul Cox
Mr Dean                        Mike Read
Bed Rep                        Kevin King
Eddie's Heartwarmers     Kevin King, Mike Read, Art Thainuruk, Darryl Tullett

Claire (Emma) who possesses a highly emotional and lovely voice and a real stage presence. " I only wanted to Care" was so memorable. Lloyd (Charlie) played a full part in the trio "Perfect Together" and has a cheeky and attractive stage persona.
Samantha (Victoria)  played beautifully against type (I presume) and she surely enjoyed playing this strong minded character as much as I did watching. "Where did it all go Wrong" was passionately conveyed.

Graham (Eddie) - great voice - and all his heartwarmers, Kevin, Mike, Art and Darryll gave much of the oomph to the upbeat side of the show (I loved the broom as mic in Act One and the World Cup mention in the reprise of "Blue Angel".   They simply rocked!  Mark (Miles) carried a natural authority on stage and I much liked the song with the nurses "If only everyone". Mike (Bob the porter) had a "Norman Wisdom as Pitkin"  personality always getting it wrong, but crucially retaining pathos and likeability. Hopefully the wooden leg has found its final resting place!                  

Paul (Sir Nigel), another with great authority and superbly mellifluous speaking and singing voice.   His duet "Never go Sick" with matron was both artistically and politically powerful. Alison (Matron) - the best natural voice in the show - though nothing at all like Hattie Jacques -  was equally memorable in the vital pivotal role of Matron. Norma (Sister) - an elegant and tender hearted nurse - extremely well cast. She played a full part in the trio "Perfect Together".

Hannah (Betty) - for my money the star of the show - she conveyed a range of emotions in her acting (all from a hospital bed) and beautiful comedy singing in "We've been Together" and "Why wasn't I there" with Emma. I have seen few people who could match this standard. Betty was fully supported by her fellow patient Doris (Diane) and silent husband Len (Andy).   

Darryl, Paul and Richard (Men from the Ministry) - another highly political scene "Clinical Governance" skilfully carried out. Paul and Mike (Messrs. Pearl and Dean) made much of these cameo roles. Kevin (Bed Rep.) - his "Oh, what a Bed" and its insistent rhythm energetically backed up by the vibrant Company stayed in my head all the way home. Energy abounded.

The enthusiastic chorus played nurses, cleaners, typists, hospital managers, patients etc. as described in the programme notes.

A great strength of this show is that it not a vehicle for stars, in a Calamity Jane  style. I want to stress how much the depth of energy, enthusiasm and sheer joy the chorus added throughout. All the players deserve praise and should feel proud of the standard the inspirational director Gloria, author Paul, choreographer Emma  set and they all jointly achieved.

Lighting under the reliable Richard Pike was really effective, as was sound under Stuart Vaughan. The nine-piece band backed the company with oomph, though in one or two places the drums were a little overpowering. But a great sound all the same.

Lastly, I want to commend the programme, an early frontrunner for my district nomination towards the whole South East programme NODA award. It had, glory be, a full mention of NODA, our aims and was an easy and attractive read, well set out with quality cast pictures and biogs.

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