Musicals & Opera
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| (S) 6 out of 19 |
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Rating Guide
None = Unmissable
= Unwatchable
Page number refers to the Fringe programme
The Secret Garden (page 124)
American High School Theatre Festival
Drams None
Company Portage Central High School, Michigan, USA
Cast Andrea Avanigian (Lily Craven); Shannon Hill (Mary Lennox); Jake Elzigna
(Mr Shelly); Ellie Reid (Mrs Shelly); Alexa Plew (Mrs Medlock); Andrew Franks
(Neville Craven); Tom Chodl (Archibald Craven); Lauren Meyer (Rose Lennox); Ryan
Ray (Albert Lennox); Catherine Allan (Martha); Joe Dely (Dickon); Alex Clothier
(Ben); Anthony Ambroselli (Colin Craven)
Music Lucy Simon
Book and Lyrics Marsha Norman
Producer/ Director Kathy Mulay
Scenic/Technical Director Lee Buckholz
Lighting Designer Jason Frink
Costume Designer Barbara Andreadis
Sound Alex Hopkins
Dates 9-13 August 2005
Venue Church Hill Theatre (Venue 137)
Address Morningside Road
Reviewer Nick Scott
As one of the participants in this year's American High School Theatre Festival,
Portage Central Performing Arts gave us a refreshingly innovative interpretation
of Frances Hodgson Burnett's classic novel, The secret garden.
Written by Marsha Norman with music by Lucy Simon, this adaptation lasting around
eighty minutes never falters for a moment; and with its seamless scene changes
(there are thirteen scenes plus a Prologue), the production was truly impressive.
The audience was simply carried along effortlessly by the sheer momentum and pace
of the performance.
It was 'magical'; and the enticing cover of the printed programme, giving us a
flavour of what was in store, added to the feeling of excited anticipation.
Artistically and technically, this show was slick. With an unobtrusive pre-recorded
orchestral accompaniment, the cast delivered their vocals with consummate timing.
The show was more or less 'through-scored', apart from a few short interludes
of spoken dialogue alone. The musical numbers were dramatic - the tension relenting
now and again, giving us some light relief along the way such as during the song,
Wick (featuring Shannon Hill and Joe Dely); and If I Had a Fine White
Horse (Catherine Allan).
Vocally, the cast was strong: the main principals handling Lucy Simon's emotive
score confidently, with consistently fine performances from Andrea Avanigian,;
Shannon Hill, Joe Dely, Tom Chodl and Andrew Franks in particular.
And there was some excellent character acting too - the sensitive warmth of Catherine
Allan's matronly chamber maid, Martha; the thoroughly nasty Neville Craven played
by Andrew Franks and above all, Alex Clothier in an extremely masterful portrayal
of the elderly gardener, Ben.
A moving production, sensitively and lovingly crafted, which left one with that
'lump-in-the-throat' feeling.
© Nick Scott 12th August 2005. Published on www.edinburghguide.com
Run dates 9 August (12.15); 11 August (20.15); 12 August (16.15); 13 August
(14.15)
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Snoopy!!! (page 125)
Drams None
Cast Abbey Addams (Snoopy); Stephen Anthony Mullan (Charlie Brown); Alice
Chilver (Woodstock); Anna Westford (Lucy); Hayley Otway (Peppermint Patty)
Company Hot Box Productions
Director Damian Sandys
Musical Director Tim Evans
Producers Judith McGowan and Damian Sandys
Choreographer Hayley Otway
Dates 10-13 August 2005
Venue C (Venue 34)
Address Chambers St
Reviewer Mairi Anderson
Snoopy!!! is this year’s Fringe offering from Hot Box Productions,
who brought us the hugely successful Honk! in 2003 and I Love You, You’re
Perfect, Now Change in 2004. This is another winner. It’s whimsical,
colourful and lightly philosophical, much like the writing of Charles M. Schulz,
who created the Peanuts cartoon strip.
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Snoopy!!! Cast
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The cast of seven are all strong performers. Shows based on cartoon characters
are extremely difficult to stage well. In essence, the actors have two conflicting
roles. They have to create believable personae, but those personae have to be
like the cartoon characters, which will be different in the imagination of each
person reading that cartoon strip.
To create successful cartoon characters on stage, the cast have to be more exaggerated
in movement, more wooden in delivery, more one-dimensional, in order to create
an almost puppet-like quality. At the same time they have to make this created
and much-loved world believable. It’s a very tall order, but this group succeed
admirably.
It takes time, but suddenly during the show you look up and there is Charlie Brown
in his world and you are right there with him. Superb work by this very talented
group.
If you love the simple philosophy of Charles M. Schulz you will find much to appreciate
in this show. Where did that little dog go? captures the feeling of letting
go and letting grow. I know now reminds us to reflect on all we have learned
in life, while the whole of Schulz’s philosophy is summed up in the wonderful
Don’t be anything less than everything you can be, which wowed the
audience.
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Snoopy!!! woman puppet
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Each of the cast gives a tremendous performance. Alice Chilver’s Woodstock
deserves a solo show. With no “voice”, she relies on facial expression,
posture, movement and sounds and displays a wonderful gift for physical theatre.
She steals the show with the audience and becomes a Woodstock even sweeter than
the one Schultz created. Stephen Anthony Mullan IS Charlie Brown and you can’t
ask more. Anna Westford becomes the Lucy we all love to hate. Hayley Otway, who
also choreographed the show, brings out all the foibles and emotional conflicts
of Peppermint Patty. “Poor Sweet Baby” showcases her exceptional voice
and touches the heart. Abbey Addams’ Snoopy rocks! Cool, witty, sassy, lazy
and philosophical – that’s our dog and Abbey captures all those qualities
so well. She excels in The big bow wow, which mercilessly satirizes corporate
competitiveness in best Schulz style. Costumes, light, set, sound and musical
accompaniment are excellent.
In Snoopy!!! Hot Box Productions succeed in drawing us into that magical
world of belief and trust which (ideally) we start from.
© Mairi Anderson. 10 August 2005. Published on www.edinburghguide.com
Run continues Aug11-13: 19.25 (1hr 50mins) £9.50 (£8.50) (conc.£6.50)
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Some Enchanted Evening (page 125)
Wales @ The Reid Series
Drams None
Company Cantabile Artists
Music, Composers and Lyricists See below the review
Musicians Ros Evans (soprano); Sian Meinir (mezzo soprano); Dewi Wyn
(tenor); Huw Llywelyn (baritone); Annette Bryn Parri (piano)
Date 18 August 2005
Venue The Reid Hall (Venue 201)
Address Reid Quad, Bristo Square
Reviewer Nick Scott
The 'Wales @ The Reid' series of concerts provides a refreshing and welcome
alternative for those of us who enjoy the 'lighter' repertoire, as opposed to
the more heavy 'classical' (and in some cases esoteric) type of programme on
offer at this year's Fringe.
In a series of seven different concerts over three days (this has to be a record
in itself), ranging from Welsh Classical Song and Celtic music, through some
of the masterpieces of the musical stage to Haydn, Beethoven and even Flanders
and Swan, Cantabile Artists have assembled an impressive 'line-up' of some of
Wales' finest young singers and instrumentalists. And having performed to consistently
large audiences here and at pre-Fringe venues throughout Scotland, proves beyond
a doubt that the lighter repertoire does have a definite following and perennial
appeal.
Last night's concert - aptly entitled, Some Enchanted Evening - contained
no fewer that twenty-one of the best known songs ever written for the musical
stage. It was an unashamedly popular programme - and why not? The large audience
(comprising mainly of an older generation) simply revelled in the selection
of evergreens performed by this extremely talented and versatile company.
The title might imply that the programme was restricted to the songs of Rodgers
and Hammerstein, but not so. With a popular mix of gem' that also included songs
by Ivor Novello, George Gershwin and Leonard Bernstein together with items from
modern day shows such as Les Misérables and Chess, the
company gave us a truly 'enchanting' evening! And whether it was by accident
or by design, those responsible for planning the programme wisely avoided items
from the somewhat ubiquitous The Sound of Music.
All the members of this remarkable quartet of Young Welsh Opera stars are fast
making a name for themselves - and after listening to the wealth of talent on
display last night, one can understand why. There was a feeling of informality
to the proceedings, which added to the programme's charm and appeal - there
was even an opportunity for audience participation with an invitation from Dewi
Wyn to join him in the chorus of Oh, What a beautiful morning.
There were some excellent ensemble numbers too - such as the haunting and thoroughly
enjoyable, We'll gather lilacs.
Occasionally, I felt that the tempi of some of the songs were not quite right
- in particular, the slowness of the opening ensemble (Some enchanted evening)
and Oh, What a beautiful morning, as opposed to the rather brisk pace
of Gershwin's Bess, you is my woman now, which lost much of its emotional
impact as a result. On the other hand, Bernstein's I feel pretty was
taken at the correct tempo (steady and not too fast) just as the composer intended
- and not at the breakneck speed which typifies some stage performances.
It is a difficult task (and unfair) to single out any particular artiste or
item from this excellent programme, as each was outstanding in his or her own
right. However, if I may be permitted to be a bit selfish here, I would unhesitatingly
elect mezzo-soprano Sian Meinir for her delightfully captivating performances
of Gershwin's My love is here to stay and the powerful I Dreamed a
Dream. In addition, Ros Evans' passionate Somewhere, Huw Llywelyn's
touching rendition of Younger than Springtime and Dewi Wyn's extremely
moving Empty chairs and empty table' from Les Misérables,
all merit praise.
And last, but by no means least - at the helm was accompanist Annette Bryn Parri;
and with nearly ninety minutes of almost continuous playing, this gifted lady
deserves special mention. Complete empathy between Ms Parri and the soloists
was apparent throughout.
The concert ended all too soon with the quartet joining forces for the rousing
Anthem from Chess; and for an encore, the company injected some
humour into Franz Lehár's Merry Widow waltz, in the form of some
good natured rivalry.
The show had a pleasant 'sit back and enjoy' feel to it; and to quote another
of Rodgers and Hammerstein's songs - last night's concert was indeed 'Something
Wonderful'
Composers and Lyricists Richard Rodgers and Oscar Hammerstein II; Ivor
Novello and Christopher Hassall; George and Ira Gershwin; Leonard Bernstein
and Stephen Sondheim; Alain Boublil/Claude-Michel Schönberg and Herbert
Kretzmer; Benny Andersson/Bjorn Ulvaeus and Tim Rice; Franz Lehár.
Music Some enchanted evening; Oh, what a beautiful morning; It might
as well be Spring; Younger than springtime; You'll never walk alone; We'll gather
lilacs; Shine through my dreams; Waltz of my heart; My dearest dear; Bess, You
is my woman now; Summertime; My love is here to stay; Someone to watch over
me; I feel pretty; Maria; Tonight; Somewhere; I dreamed a dream; Empty chairs
and empty tables; Anthem; Merry Widow waltz
© Nick Scott 19th August 2005. Published on www.edinburghguide.com
© Images: Gary Williams, Deiniolen; Brian Tarr (Ros Evans and Dewi Wyn);
John Burgess respectively.
NB No picture credit recceived for Sian Meinir
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Starting here, starting now
(page 125)
Drams and a half
Company Deep Blue Theatre
Music David Shire
Lyrics Richard Maltby
Date Date the gig took place
Venue C (venue 34)
Address Chambers Street
Reviewer Mairi Anderson
This internationally acclaimed musical from the Tony and Oscar award winning
team of David Shire and Richard Maltby is brought to Fringe 2005 by a talented
trio form Deep Blue Theatre. Unfortunately there were no programmes, so I can’t
give named credits, but all three are very gifted vocally and harmonise beautifully.
They each bring individuality and freshness to the music.
The pace is fast and furious, with barely time to applaud between songs. The
lyrics express the many conflicting emotions encountered in relationships. All
human behaviour is closely observed and wittily translated into song.
The wry and jaundiced numbers work particularly well. I don’t remember
and What about today express the angst of a broken heart and the uselessness
of platitudes when it is happening to you. I don’t believe it one bit
ruthlessly exposes every relationship myth with which we deceive ourselves and
each other. We can talk toeach other epitomises miscommunication. The
highlight for me was the manic beautician in Beautiful exposing the ugliness
and desperation beneath the gloss.
Costumes, lighting and set are simple but effective. Sound is excellent and
space is imaginatively used, particularly when one singer moves behind and around
the audience during one song.
If you enjoy snappy song & dance routines, well-crafted lyrics, wit and
humour, you will enjoy this sharp, amusing take on modern relationships.
© Mairi Anderson
Run 24-29 August: 21.25 (1hr 20mins) £9.50 (£8.50)
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Suessical the Musical (p125)
American High school Theatre Festival
Drams None
Company Lincoln High School Theatre Guild
Cast Principals Austin Deeter (JoJo); Neil Hopper (Horton); Robby Dalton
(The Cat in the Hat); Marisa Hankins (Mayzie La Bird); Guillaume DeZwirek (Mayor)
Written by Lynn Ahrens, Stephen Flaherty and Eric Idle
Director C. August Manthe
Musical Director Anne-Marie Katemopoulos
Choreographer Rebecca Novotny Bullard
Costume Design C. August Manthe
Date 11 August 2005
Venue Church Hill Theatre (venue 137)
Address Morningside Road
Reviewer Mairi Anderson
This show from the excellent Lincoln High School Theatre Guild is an explosion
of colour and sound which captures the attention from the opening scene.
If there is a Fringe award for costume design this show would win. The variety
of shape, colour, fabric and texture is exuberant, expressive, inspirational and
totally uplifting. Everything is co-ordinated, beautifully made and imaginatively
constructed. C. August Manthe uses colour to draw us into a magical world of his
creating. The incredible fish costumes for the “McElligot’s pool”
scene steal the show and win the audience over instantly, transporting them to
this colourful world of the imagination.
With a lively cast of 25+, the action on stage never slows down. This is a well-constructed
piece of theatre with many strong musical numbers. One highlight for me is It’s
possible which epitomises the philosophy of Dr Seuss – dare to dream
and think for yourself. Another high point is All for You which showcases
the outstanding talent of Amy Dabalos as Gertrude McFuzz.
All of the leads are strong. Austin Deeter as JoJo is exceptionally good in every
respect. He has warmth, charm and musical ability but most of all he makes you
care. Neil Hopper as Horton and Robby Dalton as the Cat in the Hat hold the story
together and move events along smoothly. Marisa Hankins as Mayzie La Bird displays
natural rhythm and flair with lashings of pizzazz. Guillaume DeZwirek brings a
real stage presence and personality to his role as mayor.
Sometimes the task for the American High School Theatre Festival of bridging the
Atlantic, is made more difficult by the cultural differences in children’s
literature. In the pas,t the work of Dr Seuss was less well known in the UK, which
made some of the shows less accessible to a British audience. The Mike Myers film
of The cat in the hat has raised awareness. If you like Charlie Brown,
Snoopy and the work of Charles M. Schulz you will like this show. It shares the
humorous wisdom, simple philosophy, innocence and inspiration of Schulz’s
writing.
It would be difficult not to enjoy this lively, fast-paced, entertaining kaleidoscope
of colour, movement and music.
© Mairi Anderson. 11 August. Published on www.edinburghguide.com
Run continues Aug 13: 16.15 (1 hr 30mins) £6 (conc. £4)
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A Swell Party - A Celebration of Cole Porter
(Page 125)
Drams None for show for Venue
Company Outlaw Theatre Company
Musicians and Cast Heather Weir (Musical Director, Keyboard and Vocalist);
Luke Paul Bateman (Keyboard and Vocalist); Philip Giorgi, Wendy Killian and
Chris MacDonnell (Vocalists).
Music and Lyrics Cole Porter
Writer John Kane (Conceived by David Kernan)
Director Susannah Fellows
Assistant Director Kate Angus
Musical Director Heather Weir
Dates 8-29 August 2005
Venue Augustine's (Venue 152)
Address 41 George IV Bridge
Reviewer Nick Scott
John Kane's cleverly crafted celebration of the life of one of the most 'colourful'
characters in the history of the musical stage - Cole Porter - is given an airing
in this abridged version by Director, Susannah Fellows, herself a veteran of
the West End theatre scene.
With a running time of around an hour, this whistle-stop journey through the
life of the man himself, touches on the aspects of Porter's life that made him
one of the giants of the American musical theatre. As well as the darker side
of his nature, there is the glamour, sophistication and vibrancy of an era the
like of which we will never see again.
A mixture of song, narrative and quotations from Porter and his contemporaries,
give the show an impetus that never wanes. It is fast, punchy and witty; but
not without elements of pathos and sensitivity - all of which serve to give
us a better understanding and insight into a character whose flamboyant lifestyle
was marred by a tragedy that plagued his final years (which ironically were,
artistically, Porter's most fertile).
The company of five kept the show moving, with Chris MacDonnell at the helm,
as Cole Porter. Musical Director Heather Weir at one of the keyboards also participated
in the vocal numbers, as did Luke Paul Bateman who played second keyboard.
Bateman, with a fine lyrical voice - particularly in such numbers as You
don't know Paree and Who said gay Paree? and Wendy Killian with an
endearing performance of (among others) I've got you under my skin were
vocally more secure than the rest of the cast who, nevertheless, gave pleasing
performances overall. Philip Giorgi's performance of the somewhat powerful yet
sensitive song, Love for sale was especially poignant.
 Personally,
I felt that Luke Paul Bateman's superb performance of Begin the Beguine
was spoiled by a distracting rather out of place 'bolero-type' accompaniment
- with the song losing much of its character and appeal in the process.
The ensemble items were well-presented such as the spirited Blow Gabriel
blow (with soloist, Wendy Killian) and the encore which comprised a medley
of three Porter standards Let's do it let's fall in love, 'You're tThe top
and Well did you evah!
There was a visual element too - in the form of 'slides' projected on to an
all-too-small screen situated above the players. The images were small (and
at times out of focus) for the size of the hall and audience - but I suspect
this was dictated by the layout of the venue more than anything else. I'm sure
the visuals were intended to compliment the narrative; but in some cases were
a distraction rather than a support.
Unfortunately, the venue was far from sympathetic to the artistes who, under
the circumstances, did well to cope with the difficulties presented by the layout
of the hall. Referred to as Augustine's Studio it was originally a church hall,
situated in cavernous depths below street level. This in itself is no matter;
but with what I suspect is a supporting structural wall situated centre stage,
in effect practically slicing the performing area in two and an obtrusive pillar
from floor to ceiling - again centre stage, directly in front of the players
- presented the players with additional problems. Include the noisy distractions
from outside - with one of the nearby bars emptying their used glassware into
a bottle-bank at half-hourly intervals - this venue has little to commend it.
Music From This Moment On; I'm Throwing a Ball Tonight; Experiment;
I Get a Kick Out of You; Anything Goes; You Don't Know Paree; I've Got You Under
My Skin; You've Got That Thing; I'm Unlucky At Gambling; Love For Sale; Blow,
Gabriel, Blow; Begin the Beguine; Riding High; Night and Day; In The Still Of
The Night; Rap Tap On Wood; Make It Another Old Fashioned Please; Another Op'nin,
Another Show; Always True To You In My Fashion; Who Said Gay Paree?; Ev'ry Time
We Say Goodbye; You're Sensational; I Gaze In Your Eyes; Just One Of Those Things;
Let's Do It Let's Fall In Love; You're The Top; Well Did You Evah!
© Nick Scott 14th August 2005 Published on www.edinburghguide.com See also
Outaw Theatre Company
Run dates: 8-10; 13-14; 18-19; 23-24; 27-29 August (20.50)
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| (A-Z) 6 out of 19 |
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