Download the new logos for the programme and poster competition

‘The Bakewell Bake Off’

Author: Stephen Hayter

Information

Date
20th October 2017
Society
Downham Amateur Dramatic Society (DADS)
Venue
Downham Market Town Hall
Type of Production
Musical
Director
Robert Hornett
Musical Director
James De Silva
Choreographer
Della-Marie Reed and Chloe Philipot

It is my considered opinion that most of the 4 North NODA Societies understand that, with the yearly awards, only one production can win in each category. It must sometimes be difficult being forced to accept my opinion on who that should be but … there is no other (better?) way. What Societies do find difficult to take is not being one of those 3 nominees. Such was the case last year with those lovely people at the Downham Amateur Dramatic Society (DADS). ‘Little Shop of Horrors’ was the best thing this group has ever put on and it was excellent. I hope they forgave me and truly understood that nomination or not, the achievement in delivering such a high-quality production was considerable. Fast forward one year and it was ‘‘The Bakewell Bake Off’’, a title I was aware of but had not seen. In complete contrast to last year, as I took my seat in the transformed (more of that later) Downham Town Hall, I believed totally that whatever it was, they could pull it off.

And, cutting to the chase with a high-speed plot-spoiler - they did! Not just a little but a whole lot.  As mentioned above, I didn’t really know very much about ‘The Bakewell Bake Off’, other than it was a musical and a comedy! and, on reflection, I can report that was exactly what it was. The story is delightfully simple as eight hopeful contestants compete in the Bakewell Parish Council’s annual Bakewell Tart (Pudding) baking contest. The ante is raised this year as a representative from the EEC will declare the winning recipe to be define formally a “Bakewell Tart” and the classification will be ratified by Brussels. The irony of how history has rather overtaken this story had not escaped me but, with a good selection of comic and tragic songs, sexual innuendo, joke names and with no pun left unturned, it was a hoot from start to finish.

The set (design and construction by Phil Melia)  …. well it was more than a set, or was it less than a set? The whole Town Hall was the set and the amount of work in securing that transformation took my breath away. Director (and genius of this parish) Robert Hornett had looked at the lightweight script and decided to make it a fully immersive experience and that made all the difference. Another NODA rep had told me the script was “rubbish” and I know what she meant. From the outside looking in it was surreal and rather ludicrous but ….. by the time you had been in the hall for 15 minutes with all the performers (in character) going about their business and Steve Harper serving drinks from the stage area …. you weren’t on the outside at all … you were part of the fabric of Bakewell and felt like you were in the show! Everything made sense, and everything worked. Lighting (Charlie Green) and sound (Jamie Robinson) were excellent. The amount of lighting in the specially constructed rig had caused opening night to be postponed due to technical issues and I am not at all surprised. On the Friday night when I was there it all worked perfectly and added greatly to the spectacle. Costumes (Jan Roust) were first rate. Contemporary of course but with each character having their personalities transmitted through the clothing they wore. The wonderful Mrs Roust was also prompt but I did not detect a single intervention at any time during the proceedings! Incidental props (Becky Hornett) were abundant - in fact I don’t think I have ever seen so many props and the attention to detail was staggering. I had to examine the ovens after the show to see if they were real.

The songs and dialogue were evenly spread, making this a truly ensemble piece. Each of the performers got to tell their backstory, and most got a song as well. It was nice to see last year’s pantomime director Carrie-Ann Lister back on stage as the Christmas loving, Holly Berry and Pam Purple, who impressed my so much at this year’s Hunstanton Festival, was on top form again as the village GP and ethnic minority, Dr Pradeepta Smith. Amongst the “end-of-the pier style comedy” there were a few serious issues covered in this production and Mrs Purple’s handling of an Indian doctor in a white middle class country environment was done with a delicate touch that I really liked. Chloe Philipot is always a class act and, as the rather tragic gay scientist, Flora Drizzle, she delivered a sensitive performance. Miss Philipot has the voice of an angel - her song was amongst the many highlights in this show.

It is difficult to understand how Phil Melia had any energy left for his part after conceiving and constructing the incredible scenery. As Freddie Twist he dug deep and found enough in reserve to handle the central love story and make his duet, ‘We Might Fall in Love’, one of my three favourite songs. I first saw Marcus Mallett in last year’s Panto and I thought then how much potential he had. This time out he had the transgender storyline as Henrietta Apfelstrudle, the cross-dressing German. Mr Mallett may not have the most accurate singing voice but when he delivered his solo ‘Henrietta’s Lieder’ I was crying (literally) with laughter. A confident performance from a watchable performer. Speaking of watchable …. Della-Marie Reed!!! What can I say without embarrassing myself? As Tina Tartin, Miss Reed was at her very best. A great song well sung and a smouldering performance that was cleverly constructed. There was also a dress (and you have to trust me on this) that was worth the ticket price on its own! She is an intelligent performer and I was delighted to hear that she will be directing the next pantomime.

I used to think that Robert Hornett was talented as a performer and director in a Downham context. I am now starting to think that he may be talented on a universal level. His part in this production did not tax him greatly but it was (without doubt) a great performance. How did he get under the table with Della-Marie Reed without me seeing? The table was right in front of me. Clever! Everything about this guy says quality, in any context! He has a wife you know (Life of Brian) and she is called Becky and she can act a bit as well. As the other half of the main romance in this story (Susie Sunflower and Freddie Twist) she was just excellent. The same can most certainly be said of Janet Stafford as The officious Councillor, Griselda Pratt-Dewhurst. I think Mrs Stafford is an outstanding performer and just seems to pick the roles that are completely within her range. This was indeed one of those and, with a lot of dialogue to wade through, she was surefooted throughout.

I have heaped platitudes upon Kathy Philipot on many, many previous occasions and this will be another of those occasions. She took the part of duplicitous Nun, Sister Mary, and was simply sublime. The take-home song of the night was ‘Bake Your Way to Heaven’ and Mrs Philipot was just hilarious from her first auditorium entrance. The strength, accuracy and resonance of her remarkable singing voice was also instrumental in lifting all the chorus songs to a higher level, but it was the wonderful comedy character that she created that left me laughing all the way home. Mrs P, never stop doing what you do!

Penultimate paragraph honours were pretty much secured in the first twenty minutes as Lydia Kaye dominated this production as competition host, Victoria Sponge. I cannot begin to describe the complexity of this role as Miss Kaye had to hold the main story together, interact with the audience, deliver a mountain of dialogue and hold a totally credible accent throughout. I know nothing about Lydia Kaye - I haven’t seen her anywhere else, and I haven’t seen her here before. If DADS can keep hold of her she will be a major asset going forward and that is what DADS seem to keep doing … going forward. She can act to a very high standard, sing, and whilst I didn’t get to see it, I have a strong suspicion that she can dance as well. In this production Lydia Kaye was peerless and ….. in a fantastic night’s entertainment, the icing on the cake!

I have wasted no time in telling anyone who will listen that my face was aching two days after I saw this show. I laughed and laughed and then I cried with laughter … and then … then I laughed some more. I am completely in awe of Director, Robert Hornett. He has turned a piece of musical pantomime into a comedy genre in its own right. The complicated 270-degree technical direction was brilliant and every member of the audience on all three sides got almost exactly one third of the action. The cast were clearly having a blast and the enthusiasm and commitment I attribute directly (pun intended) to him. My hat is also completely off to Musical Director, James De Silva. I last saw him on the credits for the KLODS production of ‘Hairspray’. As MC and accompanist, he had a very difficult job in this production. The various patter songs were in the hands of a mixed ability group and I marvelled at his skill in speeding up and slowing down to accommodate the less experienced singers. Mr De Silva is clearly a musical genius (and a professional) and to pull off such a complicated score and deliver some cracking harmonies (‘I Won’t Give In’ and ‘I Will Rise’) takes real talent. The script was indeed “rubbish” and not at all the same quality as ‘Little Shop’... but the performance… that was every bit as good. The Downham Massive just keep getting better.

© NODA CIO. All rights reserved.

Other recent show reports in the East region

Funders & Partners