The Vackees

This charming production, which is a composite perhaps typical of the lives of many of the 800,000 evacuees during World War 2, benefited from a simple but effective set, authentic costumes and a good band. The use of front projections for the black and white London scenes including the railway station, and the contrasting colourful countryside scenes was also very effective, adding a real sense of depth and interest. The bridge and the two side ramps represented the focal point of the set and these were used to add height and variety to the tableaux. Despite the traditionally cosy conditions within the Cramphorn the stage rarely looked crowded and the use of the full width of the stage created several acting areas when necessary.

The ensemble, ranging in age from 7 to 16 but averaging 10 years of age, I am told, produced a lovely sound en masse with songs like Please someone choose me being particularly moving and Pictures/Glamour providing a contrast in glitz and colour. The final picture for the latter song was excellent. Some of the individual singers/actors were a little harder to hear and I know this represents a perpetual challenge for young people in the Cramphorn.

There were so many parts in The Vackees that many of the cast were able to have speaking or singing roles and this was a wonderful opportunity for young people to get a first taste of live theatre. No-one seemed to be particularly phased by the experience and there were several that seemed to relish it. Space precludes a comment on every principal role but I will pick out just a few names.  Dan Hall as Kip was confident and engaging, a rock on stage; Matt Scott and Loretta Bushell a delight to watch, especially their growing relationship; Bernice Bushell was a charming Ellen and Rose Gowen always raised a smile as the West-country maid, Grace. The supporting roles were all strong and the tension between the Vackees and the Darchett kids was good to see.

This was an ambitious production, vocally demanding and extremely wordy for some of the characters. Nevertheless, it was entertaining, particularly in the second act when the sub-plots started to weave in and out, and a challenge to which the young cast and their production team successfully rose.  The choreography was strong, the big production numbers very striking and the chorus management on stage very good. Congratulations to all, including the young MD and choreographer in whose hands the future of musical theatre lies.

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