Wasn't That The Time When...

I was interested when I received an invitation to review a show with the title ‘Wasn’t That the Time When…’ as to what it would contain. Therefore, it was good to be able to peruse the programme before the performance which told me what to expect and provided a list of all the previous shows you had completed with those included tonight highlighted.

I thought the way the ‘linking dialogue’ to ensure there was an interconnected story throughout the evening was successful, well done to the Director and Musical Director.

The lighting used was well controlled and the backing tracks set at an appropriate level. The old school boombox brought back many memories of when I used them and it made an unusual time travelling machine. The other props used and moved by the cast added to the performance.

It was great to see that the company had taken on board the performance licensing regulations and that the shows which required expected costumes had been adhered to. Time had obviously been spent amassing sets to enhance the different periods and I enjoyed those different outfits you chose.

Travellers

Directing us through the story tonight were Monica, Betty and Destiny, three very different characters, who found themselves inside a theatre. They speculated what had happened on the stage and discovered the boombox backstage. When they tried to turn it on their adventures began. The trio did a grand job of guiding us through the years of travel gradually becoming more involved as the evening progressed and demonstrating their singing and dancing skills, congratulations all.

Sound of Music

The players arrived on the stage dressed in 70’s clothing to perform songs from the 1973 show and the MD led the chosen group to perform ‘The Hills are Alive’. This had a beautifully presented acapella opening and was to begin our tour of the years and shows. The Director with clipboard instructed the chosen group into the next song. I liked the fact that some members who were not performing were positioned at the back of the stage having a break. I enjoyed the well know dialogue and the children came onto the stage and presented an engaging, tuneful version of ‘Raindrops on Roses’

My Fair Lady

The audience was then transported back a year to London and the home of Professor Higgins where Mrs Pearce and a maid are trying to get Eliza to bed. The song ‘I Could have Danced all Night’ was tunefully delivered and projected by your Eliza but I found other two members of stage were a little quiet it might have been an idea if they turned a little towards the audience.

Iolanthe

The next item was originally performed in 1936 and the gold and white outfits worn to depict the fairies ring ‘Tripping Hither, Tripping Thither’ from Iolanthe were ideal for the period. The movement and singing were on point and Celia’s solo was sung in the correct staccato manner. The principals enjoyed joining in and the pianist added to the overall character of the piece.

South Pacific

The action moved onto the 1982 and I enjoyed the travellers ‘Sam and Janet’ comment during the transition and your performer delivered ‘Some Enchanted Evening’ brilliantly with great feeling.

Calamity Jane

The shows moved on 13 years to 1995 and the cast donned the traditional cowboy outfits of jeans, checked shirts and cowboy hats. Your MD then performed an upbeat, energetic version of ‘The Deadwood Stage’ with the other members performing a simple dance routine.

Carousel

The 2000’s called especially 2009 and the second of Rodgers and Hammerstein’s productions and one of the iconic numbers from this show ‘You’ll Never Walk Alone’ was executed clearly with emotion by your actor.

Acorn Antiques

A lady director took charge and moved the cast on two years to Manchesterford where Miss Babs, Miss Berta, Mrs Overall, Mr Clifford and additional cast members were requested to run a scene. Other players not involved sat at the back of the stage. The members taking part performed brilliantly in character and reacted in the over-the-top manner of the show, the piece concluded with Mrs Overall’s rendition of ‘Macaroon’. This started really well with clear diction being accompanied by a backing track but she seemed to become quiet and lose her lyrics during certain parts of the performance, either that or she decided they were not appropriate for the audience. Just stand proud and don’t look embarrassed.

Showboat

The clock was then turned back to the 60’s where Julie’s song ‘Can’t Help Lovin Dat Man’ indicates her mixed-race heritage and needs to be sung with great feeling and emotion. Luckily your performer did an excellent job.

Wedding Singer

This is one of the newer musicals dated from 1998 and played by the group in 2018. The principals were now growing in confidence and after choosing the year started the rendition of ‘Someday’. The ensemble then joined them with a spirted re-enactment of the number. I did feel there were a few tuning issues during this number but the choreographers created a dance with lots of energy.

Anything Goes

Turning back the years by two, we were transported back to the 1934 to the mad cap adventures upon the S.S America where the directors on stage instructed the cast to rehearse scene 5. The depiction of the scene was excellent with great accents and interaction between them, the singing was melodically delivered with feeling and it was good to see expected tap number delivered with skill by chosen cast members and principals.

Cats

The dial was only moved on one year to a show I remember coming to watch with my grandchildren. This show contains many complex, wordy songs, many with harmonies which need confident delivery and this is what the cast produced. I liked your idea of portraying a singing rehearsal with sheet music because it meant you could include the ensemble to sing the harmonies in "Skimbleshanks: The Railway Cat" who had not performed the piece before. It was interesting to spot those who had performed in the original show.

Pirates of Penzance

The decades rolled back to a show originating from the 19th century. Gilbert and Sullivan’s comic opera based around Frederic’s attitude to the pirate lifestyle and his love for Mabel the Major General’s daughter. This show contains many well-known numbers that have been used for variety shows and pantomimes. The scene opened with two dapper pianists who positioned themselves at the rear of the stage to ‘accompany’ your singer with her brilliant rendition of ‘Poor Wandering One’. A director explained what she now wanted rehearsed and a small group performed the comic ‘Policeman Lot is Not a Happy One’. The use of costume, a step and children added to the amusing delivery of this piece. The rest of the ensemble then executed the pirate’s song ‘With Cat Like Tread’ which Destiny enthusiastically joined in.

Jesus Christ Superstar

The action moved back to 2004 and Kelly gave a wonderful rendition of Mary Magdalene’s ‘I Don’t Know How to Love Him’. She showed both power and emotion.

Mikado

The time machine was again activated and took us back to the 50’s. I did like Hannah eating her chocolate ‘Mikado’ sticks as a reference to the show. I did wonder if you would use some of your male cast to perform the ‘Three Little Maids’ song and I wasn’t disappointed in fact you upped the ante to four! They shuffled onto the stage in classic costumes and delivered a fantastic comedy routine. I did enjoy the addition maid attempting to push her way into the group.

Annie Get your Gun

After a dispute over who was going to choose the year, we were relocated to the past and future at the same time. In the year 1999 the cast had cowboy outfits on and those in 2034 were more well dressed and obviously had better memories. The groups sang the song ‘Anything You Can Do’ to each other across the stage with energy and commitment.

Oklahoma

Luckily the button on the machine was pressed with less exuberance and transported the principals back to the theatre in 2007 where a lone figure walked onto the stage. He performed a tuneful, measured rendition of the opening number of ‘Oklahoma’

Oliver

A new director appeared on the stage and informed the company they were to perform the Act 1 number ‘Pick a Pocket or Two’, taking the principals one last time on one year to 2006. It was great to see the younger members of your group taking a leading role which they did with aplomb. Your avuncular Fagin moved around the stage with confidence whilst demonstrating to Oliver how to obtain goods for him. He delivered the song in a Sprechgesang ‘spoken singing’ way which was ideal. Your actor playing Nancy gave us a great rendition of ‘Oom-Pah-Pah’ with the ensemble joining in. It was lovely to be able to hear both parts clearly and the principals obviously enjoyed it as they joined in.

As the singing finished Boris Johnson’s voice could be heard from the 23rd March 2020 explaining that ‘You must stay at home’. Two of the soloists began singing the wonderful Evan Hansen song ‘You Will be Found’ and the ensemble began to create a powerful image by placing their masks on. Whilst this was performed information about the pandemic was heard and the poignant voice of the late Queen saying ‘We will meet again’. All the time this item was being played out the three principals were viewing the information on a mobile phone. This certainly reminded us of the years, time and people we had lost during the pandemic.

The time travelling machine was packed away and the principals decided to leave the theatre arguing about what had happened.

The choosing of the 1954 ‘There’s No Business Like Show Business’ as a walk down number was inspired because all the different genres of shows we had watched during the evening were encompasses under one umbrella.

It was good to see all the individuals involved had their own acknowledgement and I would also like to thank all the unseen members of your team.  Many congratulations to all involved.

Disclaimer 

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

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  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.

© NODA CIO. All rights reserved.