Zodiac Gold

The Zodiac are celebrating their 50-year anniversary this year and this week produced a celebration concert for their supportive audiences at Frodsham Community Centre.  This venue is unlike any other community centre that I’ve visited – it comes with a large stage, complete with lighting bars, wings and a large auditorium – perfect for The Zodiac who are producing their next two shows in 2020 at this venue.

The concert had two directors in Valarie Ball and Jeanie Brocklehurst, as well as four choreographers (Jennifer Deakin, Jessica Martin, Tracey Ellams & Vicky Jones) which must have been a little of a logistical nightmare in organisation, but it certainly paid off.  Scenes were slick and the pace was kept up the whole way through.  Each member(s) was given their chance in the spotlight, despite age, and it was clear to see that this was a fully inclusive concert for all members who all looked like they were having the time of their loves onstage.  There were a couple of songs that had dance numbers in them, particularly the 42nd Street tap number – it’s just a pity that there wasn’t more of this as the dancing is clearly strong with this society.  I felt that there were slightly missed opportunities to have more dance in the background of some numbers such as ‘Cabaret’ and ‘Shine Like The Sun’ but this is just an observation.  This actually happened during ‘Good Morning Baltimore’ with the young girl dancer doing a very impressive job displaying her amazing dance talent!

I think it’s fair to say that this concert was simplistic in its staging.  This should in no way be construed as a negative aspect.  Despite the simplicity in format, it didn’t need anything else.  It was a showcase to show the members (obvious) talent in singing and dancing.  The stage was used greatly throughout this concert and transitions were generally very good.  The back cloth of the sparkly curtain looked good and was transformed under certain lighting stages.  The lighting was a little basic but good.  I would’ve preferred a fade from one state to the other rather than a ‘switch over’ but I’m being very picky.  The small platform at the back provided the opportunity for levels and again, it was well used throughout.  The only real negative thing about this concert was the sound.  Mics were not switched on or cued in time, the levels were far too high for some of the head mics and there was popping and feedback throughout.  This will certainly need rectifying for their 2020 season. 

In act one, the audience were treated to an abundance of songs from across the ages that had no real through line or commentary – but it worked.  Songs flowed from one to another and it enabled the audience to be able to sit back and enjoy the show.  Highlights for me from Act 1 were the numbers in which members simply stood onstage and just belted out the outstanding harmonies.  Numbers such as ‘You’ll Never Walk Alone’ from Carousel and ‘Sunrise Sunset’ from Fiddler on the Roof.  These were an amazing showcase for the singing to come to the forefront.  I literally could hear the different voices of each section of the chorus.  Even though the sopranos sounded fab, it was a particular pleasure to hear such strong altos throughout this show!  A special mention must go to Jessie Evans for her wonderful rendition of ‘So Much Better’ (Legally Blonde) and Catrin Jones for ‘I Could’ve Danced All Night’ (My Fair Lady).  Master of the House was suitably funny – Carmel Middleton’s storytelling was particularly very good, 42nd Street was very strong and entertaining, and the South Pacific Medley was joyful to watch also.  I personally would’ve had ‘Purpose’ on before ‘Fantasies Come True’ because Princeton finds the coin then gives it to Kate Monster, but this happened the other way round.  No-one else but me would’ve noticed this, however.

Act 2 was equally strong, if not stronger than Act 1.  The Miss Saigon Medley was beautiful to listen to and a wonderful showcase for the amazing vocals from everyone.  ‘Three Little Maids’ from The Hot Mikado was another great showcase.  The harmonies here were brilliant! ‘You Can’t Stop The Beat’ was a great showcase for the emerging talent from the younger cast members, ‘Ireland’ was brilliantly performed by Jennifer Deakin as was ‘Close Every Door’ by Chris Doyle.  Highlights for me were the Ascot Gavotte (brilliantly done), I Know Where I’ve been’ (fabulous vocal from Ellie Stanfield and supported very well from the female chorus), ‘Revolting Children’ from the child cast (which hit me like a wall of sound) and the Les Miserable Medley which (again) showcased the brilliant vocals and outstanding harmonies from everyone. 

Diction and articulation were excellent in this concert.  I personally would’ve preferred to have seen a little more characterisation in character, rather than listening to someone sing a song from a musical, but this is a personal preference and shouldn’t be taken away from the staging.  This concert was simplistic in format, but it didn’t need anything else.  It gave the cast and the emerging youth cast a wonderful opportunity to showcase their skills in a variety of ways and it was a pleasure to listen to.  I thank The Zodiac for their hospitality and wish them all the very best for their 2020 productions of Dirty Rotten Scoundrels and Little Shop of Horrors.

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