Whistle down the Wind

With storms named and un-named around, this show had a rather appropriate title but it proved an excellent choice for this group of talented performers.  It is something of a challenge both musically and dramatically and even more so when the Director originally appointed had to withdraw early in rehearsals.  I must, therefore, pay tribute at the outset to the skill of Enid Doyle in stepping into the void and pulling off something of a triumph.

She was supported by some excellent performances in this re-telling of the Mary Hayley Bell story, probably best known in its 1961 film version. For some reason, Andrew Lloyd Webber and his co-writers transferred the action from East Lancashire to the Bible belt of America but this does enable him to use different musical styles, including a line dance and gospel.

James Pegg was impressive as “the man”, mistaken by a group of children as the Messiah they had regularly been taught to expect.  His role demands the ability to appear credible as such a character whilst being able to adapt to the need to be more forceful with the adults, who know him to be an escaped convict.  In this he was entirely convincing, whilst his fine singing voice was equal to the task of coping with sometimes difficult music.  He was supported by good performances by other principals, Adam Stewart (Andy), Andrea Dean (Candy) and Catherine Hopkins (the Snake Preacher).  Leon Waksberg as Boone, father of the main group of four children, also impressed with fine delivery of his songs. Gary Bullock as the Minister led the opening chorus and other parts were well played by Fred Lyn, Mike Earle and Simon Burdett.

The ensemble of townsfolk and children gave excellent support with Nia Hopkins (Brat), Kirsty Smith (Sparrow) and James Brook (Poor Baby) showing great confidence as members of the main family, the latter having perhaps the most memorable line, retained from the original film, “it isn’t Jesus, it’s just a fella”. 

The part of the older sister, Swallow, is central to the whole production; it is she who discovers the man in the barn and convinces the others of his identity. Above all, she has many of the songs, again not always easy and 17-year old Megan Mead gave an outstanding performance. Her grasp of the American accent was excellent without making it difficult for the audience to follow her dialogue, but it was an absolute delight to hear a teenager with a properly trained singing voice rather than that of a would-be contestant in some TV talent show, which seems to be the style adopted by most of her contemporaries.   

A new Musical Director, Archie Batty, led a 5 piece band, handling woodwind himself and, although guitar riffs were occasionally a little overpowering, they mainly provided good support for those on stage.        

This is a difficult show, contrasting the innocence of children with the intransigence of adults, whilst throwing in something of the problems of teenage love.  The whole thing was a total success.     

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