The 7:42 to Waterloo

This compilation show production was intended as a fund raiser for South Pacific at Epsom Playhouse next year as the chairman's programme notes revealed.   Its theme, as the title says was of a commuter journey from Hampton Court station to Waterloo and home again.

The stage setting was of a train carriage  simply represented by red-covered chairs upstage.    A bench stage-right with a station clock above and a backcloth of train windows looking out onto greenery.    Fairly simple but highly effective.

Linking dialogue was minimal;  I would have liked more in places where the linking of the songs was a touch artificial, though what there was worked well.

Essentially this was a revue with much energy, enthusiasm and commitment shown by all.   There were fourteen numbers in the first act with eight in the shorter second half.   The show finished rather too early for a full evening and would have benefited  from more and imaginative linking dialogue to aid the singing.   There could also have been more songs included.

As is rather common in amateur theatre, the ladies outnumbered the men on stage, to the tune of fourteen to three.   Consequently the three men had much to do.   Fortunately, the three men had a disproportionate amount of the talent on show.   The pick of the three was young Sam Quick tall, charismatic, with an all round ability to move, dance and sing well.   He was well matched by Jerome Kennedy in "The Company Way" from How to succeed in Business ...... a highly enjoyable routine.

Sandra Mortimer, Bernice Baker and Lynn Menzies in "You gotta have a gimmick" from Gypsy was also of a high standard.   In the dark whilst watching I wrote "sexy legs" in my programme!   Another two ladies who could both act and sing were Gill Varon and Lisa Gerriero in the definitive Irving Berlin classic "Anything you can do" from Annie get your Gun which they handled with perfect timing and some panache.    These two ladies are clearly highly experienced (no, this is not a euphemism for "old") and have obviously been on stage a great deal.    They presented beautifully in all the chorus numbers too, smiling throughout.    The younger members in the company could learn from them in this respect.

I also enjoyed Lynn Menzies rendition of "Don't rain on my parade" (Funny Girl) which was sung with relish.

Other notable songs in act 1 were:

1.  "Getting to know you" (The King and I) where the ensemble were squeezed together in the rush hour strap hanging.   There were some amusing facial expressions and business.

2.  "When I grow up" (Matilda the Musical)

3. "Therapy" (Tick, Tick ....Boom) by Penny Camburn and Jerome Kennedy who both handled the tricky words and timing well.

From Act 2, I would highlight five scenes and songs "Money to Burn" (Half a sixpence) led by Bernice Baker, plus ensemble was beautifully sung and very well choreographed.     "I got Rhythm" (Crazy for you) by  Jerome Kennedy and ensemble was another well set, danced and sung.    "Hey big Spender" (Sweet Charity) is of course a wonderful and sexy number.   This was led by Sandra Mortimer with Maeve Barnes, Kay Colston, Carolyn Green, Lisa Guerriero, Amanda du Toit, Gill Varol and Abi Wingfield assisting.   One or two notes were not pitched quite accurately to my musical ear, but this was a stand out number, well put over.

There was a good tap routine in the Sam Quick and Lukas Dziedzic rendition of "Expressing  yourself" (Billy Elliot) followed by the rousing finale of "Boogie Shoes / You Should be Dancing" (Saturday Night Fever).

Lorna Baillie, as musical director had clearly worked hard with the company and in the main singing was tuneful and sung with enthusiasm.  It is also a lot more difficult singing without a live band and therefore a conductor to follow and the company therefore acquitted themselves really well.  Five choreographers shared duties Maeve Barnes, Carolyn Green, Lisa Guerriero, Kelly Neilson and Sarah Platt.    All may feel well satisfied with the results of their endeavours.

Costume co-ordinator Maeve Barnes made sure all the costumes were suitable and well fitted.   I particularly liked the green and pink outfit she herself wore in "Morning Person" (Shrek, the musical).   Director Rebecca Dingvean in her first production is bound to be relieved that the show was so well received, and rightly so, by the audience and I congratulate her and HMOS in providing an entertaining evening for all.

I would like to thank this friendly company for the warm welcome Sue and I received and wish them wellwith their next show South Pacific at the Epsom Playhouse in May 2015.

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