The Show Must Go On

It’s a wonderful feeling to stand amongst an audience that has risen to its collective feet at the end of a great show – it seems somehow more of an occasion if this is a fully staged showcase of musical numbers and medleys which have burst onto West End and Broadway stages from the 1950s to the present day.

Newton Abbot & District Musical Comedy Society made a decision to veer from their plans to stage Half a Sixpence and, arrived at a revue-style performance, celebrating the life of the Society as well as exhibiting the enormously important part the Alexandra Theatre plays in the both the life of NADMCS but also the heart of Newton Abbot community. 

And what a sweetshop assortment of deliciously executed delights they served up -   beautifully lit, gorgeously costumed, a rich band, imaginative choreography and very classy back projections. 

Director Iain Douglas opted to move away from a more traditional show compere to very unobtrusive and charming back projections which commentated on the items we were watching. 

And where to start? The curtains opened onto the haunting One Night Only, with the melodious voices of the trio and segwayed into a full stage, full company version of the Rhythm of Life from Sweet Charity – (love that song!) 

There was a wickedly funny sojourn into Forbidden Broadway as two soloists parodied Les Miserables with God, It’s High and Bad Cinderella.

There followed a glorious selection from A Chorus Line, with stunning choreography, reminiscent of Attenborough’s film, beginning with God I hope I get It into the plaintive At The Ballet and the delightfully cheeky ITits and Ass – all performed beautifully. 

We then travelled through the Follies, 42nd Street – what an array of really talented tap dancers – this group really does have a high bar (or should I say barre) in all aspects of its  stagecraft.  Moving through Pippin we once again alighted at Forbidden Broadway, with another Les Mis parody, On My Phone. 

Then it was onto Little shop of Horrors, Company (a really stunning duet of Being Alive ) and into a truly spectacular homage to Andrew Lloyd Weber. This was extravagant and glamourous, the whole ensemble in black tie and ballgowns. The show sequence left very few dry eyes in the house. 

More Pippin and then we headed to present day, celebrating 15th century monarchy with Six and onto Made in Dagenham for a really nicely performed Always A Problem. After a gorgeous rendition of She Used To Be Mine from the Waitress, Act One Closed with Sit Down You’re Rocking the Boat. 

What a first Act – and it simply left you wanting more. 

 

Act 2 opened with a dazzling trip to the troubled state penitentiary of Chicago – several numbers building up to the Cell Block Tango before heading back in time to the filthy streets of London to hear Fagin Reviewing The Situation. 

Each of these performances made it hard to believe that the company had not recently put on the show, such was the effort and work that had gone into the vocals and the routines. Yet I later learned that there were just a dozen floor rehearsals in total, with some of the soloists working on their songs as late as a fortnight before opening, due to rehearsal time constraints. 

The Alexandra Theatre is facing redevelopment into a multiscreen cinema as part of the redevelopment of the town centre. This move is met with fierce resistance as more than 6000 locals have signed a petition to halt the plans and preserve this space.  The back projected commentary illustrated beautifully the place this theatre has in the heart of the community and the shows that lived and breathed on its stage over the years.

The show continued to feature other gems from Spamalot, to Back to the Future to Cabaret and finally closed with the very significant number, The Show Must Go On. 

Bravo, NADMCS – we are all rooting for you!

 

Katie Jones

NODA 

 

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other

performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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