Whistle Down The Wind

It was a pleasure to watch Todmorden AODS in their latest production, ‘Whistle Down the Wind.’ This was the 1989 musical version, adapted by Richard Taylor and Russell Labey, full of evocative music and haunting vocals. It was a beautifully crafted production from start to finish with wonderfully hair-raising harmonies and clear soloists. Christmas, 1950’s, in a small Lancashire village, a family of three children hide a strange man in their barn. Unaware that he is in fact an escaped convict, the three Bostock siblings, choose to believe that he is Jesus returned and treat him with kindness and deference. The story is bittersweet as the adults finally trap the convict, only to find a cross in the charred remains of the burnt-out barn. This was a beautiful, show that pulled on the heartstrings and made many an audience member reach for their handkerchiefs.

Creative Director Rachel Rogers created a slick production, the cast and crew working as a well-oiled team. Time spent perfecting accents ensured that speaking parts had clear, strong Lancashire cadences, without straying too far across the boarder into a Yorkshire dialect. Dialogue throughout ran at a natural pace, conversationally rather than rehearsed, I was particularly impressed by the Todmorden Hippodrome youth society as they joined forces with the adults and stood equally as strong. Well done everyone. Musical Director Helen Clarkson brought out fantastic vocal performances from her cast, both ensemble numbers and soloists were great. The orchestra sounded wonderful, a smooth blend of instruments that never once overwhelmed the vocals. Sound and lighting (Sound and Light UK) played a significant role in this production, sound effects were prompt, with clear microphones, no dropouts or feedback. Lights created evocative scenes, mist swirled at the canal side, spotlights tight as the actors moved. I particularly enjoyed the passing hours represented by the change of sky; the lights changed gradually on the back cloth as the sun rose and fell. The fire in the barn looked excellent, reds and orange flickered on the burning building as smoke billowed out from the blaze. Excellent teamwork from all departments, requiring the redressing of the barn interior in a truly brief time. The stage setting was impressive, Stage manager and set designer, Steve Clarkson, and his team, created the illusion of a canal snaking across the left of the stage, passing under a bridge set to the rear, with steps leading up and over. The Bostock family kitchen interior truck came on from stage right, complete with dining table and chairs, an open range stove and various kitchen appliances. The barn exterior, interior and church exterior were all on the same round truck, turning as needed to fit the scene, all impressive. Sets were solid, interesting, and well built. The props department run by Nina Hatfield excelled themselves. This was a prop heavy show with lots of stage dressing, all period proper and exacting, with attention paid to minute details. Costumes added to the characterisations, the youths wearing the styles of the era, big coats with toggle buttons, woolly hats, and scarfs to keep out the cold, school uniforms with knee shorts and caps. The wardrobe team lead by Maddie Cullinane, outfitted each actor perfectly, the style, the era, the location setting all carefully considered when designing the costumes.

Playing Cathy Bostock was Abigayle Rogers. Cathy first discovered The Man hidden in the family barn, mistaking him for Jesus, she sets about trying to deter his death, by keeping him hidden. With an angelic voice that hit some perfectly pitched notes, I am not ashamed to say, the emotion in her vocals made me cry more than once. Her rendition of ‘Cathy’s Prayer’ was simply lovely. Abigayle had a memorable stage presence, her chemistry with her fellow actors was excellent. A powerful performance from Abigayle.

Nan Bostock, the younger sister of Cathy, played by Alice Cheesbrough-Heath, was confident, quick witted and intelligent, with a gentle, caring demeanour. Her dialogue was strong throughout, her vocals notable. I particularly liked the duet with Abigayle – ‘Funny, It Doesn’t Feel Strange,’ where Alice was vocally strong, the harmony simply lovely. Alice gave a full, rounded performance throughout.

With a cheeky attitude and an abundance of energy, Charlie Bostock, played by Alfred Dobson, was an audience favourite. When he shouted out ‘Rotten Cow’ to the Salvation Army Woman (a small but notable performance from Sam Garforth) the audience fell about laughing. Alfred was confident, timing his dialogue to precisely the right moment. He gave a natural, flowing performance, showing a range of emotions as the production progressed. His performance during the musical number ‘Spider’ was full of feeling, the audience seeing and feeling his pain and disappointment as ‘Jesus’ let him down. A spectacular performance from Alfred.

Steven Hooper played The Man. An escaped criminal confused and injured, who gave out a startled ‘Jesus Christ’ when Cathy stumbled upon him and asked who he was. Thus, setting the scene for the plot. I really liked Steven’s performance; he gave his character light and dark. His solo ‘I Don’t Know What They’re Waiting to Hear’ was passionate and raw with feeling. Strong and commanding, Steven was memorable throughout.

Mr Bostock, father of Cathy, Nan, and Charlie performed by Martin Cook, was a kindly man, looking out for the safety of his children. Martin stands out on stage; he is confident with great versatility. His performance of ‘Dad’s Party Piece (Lone on a Moor)’ was strong, when the Vicar (Joe Marsden) and the Policeman (Andrew Thomas) joined in, the harmonies were breathtaking. Aunt Dorothy, played by Emma Cook, looked after the Bostock household. Emma was impressive as the Bostock matriarch. Sister to Mr Bostock, she ran the household for the widower and his children. She was stern, but not cruel, taking no nonsense from her nieces and nephew. With great diction and fabulous facial expressions when overseeing the children, Emma was notable.

Zac McGuire was in fine form as Raymond the Bully. He made all the children cower as he threatened and taunted them. Zac was animated, loud, and bossy, menacingly good, the timing of the scene, where he slapped Nan, was excellent. Louka-May Payne was wonderful as young villager, Elizabeth. In this small but meaningful role, Louka-May was vocally strong; ‘Angels’ was amazing, with clear notes and great projection. Well done, Louka-May.

Joe Marsden was excellent as the local Vicar. Preoccupied with the stolen lead from the church roof, he pontificated and preached, whilst totally ignoring the fact that a convict was amongst his flock. A great character performance from Joe with strong vocals. Hannah Butler played Miss Lodge, Sunday School teacher tasked with minding the village children whilst the adults attended service. Hannah was kindly, patient, and attentive to the children, offering them guidance. Her facial expressions as the children put on the nativity were priceless.

In the role of Policeman, Andrew Thomas was impressive, ‘When You’re Looking for a Murderer’ was vocally strong, he cut a fine figure in the old-fashioned police uniform. Whilst Freddie Sayer, as Eddie, cruelly dumped a bag of kittens into the canal. Each actor on stage gave excellent performances, there was no weak links, the company worked hard to produce a fantastic show. The audience rose in ovation as the curtain fell, and deservedly so as Todmorden AODS put on an extraordinary performance. I would like to thank everyone at Todmorden Hippodrome for inviting me to view their show. Thank-you to David Winslow for his company throughout the evening, I look forward to many more shows from this society in the future.

 

 

 

 

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