Whistle Down The Wind

 I have not seen this re-write of the show before; I am familiar with the original Mary Hayley-Bell story set in Lancashire and Richard Taylor score with those difficult haunting vocals, and it was interesting to see the update with venue and story variations.
 When you have 20 youngsters in the cast, the society is assured of good audiences, and the ‘aah factor’, and certainly this group had great appeal and sang their hearts out especially in ‘No Matter What’ number.
 The leading three children were well cast and strong in performance, loved the cheeky approach of the typical boy with some resentment for sisters and his sadness at death of kitten from Poor Baby (William Coase), and the younger sister Brat (Kiera Mae Clarke) had all the family support and personality to stand out alone. As Swallow, Georgia Dawson had the feelings and yet the strong calm needed for her important role plus the vocal ability to cope with her many numbers, particularly with The Man, and at 14/15 years was indeed the age written in this script. [She looked physically very tiny when placed with The Man, and indeed did not look as though she would have been old enough to be at school with Amos, and in some scenes I felt slightly uncomfortable at the age and physical discrepancy. However this is the fault of the re-write bringing in the ‘love/relationship’ issues which were absent in the original script and maybe the role needs to be re-established as an older teenager.] But the trio ‘A kiss is a terrible thing to waste’ with those harmonies from The Man, Swallow and Amos was extra special. However she gave a very professional and poised performance and is obviously good for the future of the society with that talent. The Family unit with the father Boone (Anthony Maley) worked very well with his love, care and worries shown in the relationships, and singing of title number with Swallow. And not to forget a strong character Ed from Ian Ding. And the Aunt missing from this re-write!
 And in relationships and characterisations, Lee Chapman as Amos and Bryony Ding as Candy just sparked and fizzed as the ‘would-be couple’ looking for freedom, what a match, and certainly the vocals from Bryony showed the stage school training in their quality, dominance and style.
 What should one say about The Man as performed by Tom Clarke? These were the  tortured feelings shown, the vocals very strong and absolutely ideal, such a strong portrayal of this role and thoughtful in his relationships with both Swallow and the other children as they show their belief in who they think he is.
 The strength of the Company numbers excellent: what an opening (and closing) with ‘The Vaults of Heaven’ (and solo from Sara-Jane Brennock), this raised the roof and created the atmosphere for the production, as did the Preacher number, John O’Connell with the Company ‘Wrestle with the Devil’ in this Bible-Belt USA: both superb numbers, and in good contrast to the counterpoint of ‘No Matter What’ finale Act 1. Good movement on your small (but extended) stage from the company in a vibrant society show.

© NODA CIO. All rights reserved.