All interviews are now under the 'News' section with each show.
Viva Youth Half a Sixpence 30 July 2015
What audiences respond to is all-out musical entertainment and Half a Sixpence must be classed as one of the great family musicals loaded as it is with excellent songs. H.G. Wells wrote “Kipps – The Story of a Simple Soul” over a century ago. Originally staged in the West End in 1963 (book by Beverley Cross, music and lyrics by David Heneker), it later became a film, both very much a vehicle for Tommy Steele.
Now the script has been re-worked but the new version still has all the old favourites Flash, Bang, Wallop!, Half A Sixpence, All In The Cause of Economy etc. plus nine new songs added by Warren Brown which, I feel, fit in with the original songs splendidly.
On stage continually from the start of the show to the curtain call, Charlie O’Connor had the warmth and sense of humour necessary to make Kipps lovable. It must be a daunting prospect for any lead male cast in this role and Charlie should be congratulated on his performance. His singing, dancing and comic delivery were excellent throughout.
Good strong performances were had too from Kipps’ fellow employees at Shalford’s emporium Aaron Lord as Sid, Olly Manley as Buggins and Max Bovingdon as Pearce. This trio was augmented by a flamboyant and enjoyable performance from David Tickner as Mr Chitterlow who did a very fine line in socks. Not to be outshone by the boys, we enjoyed equally strong performances from Rhiannon McBean, Madison Eddy and Amy Jelleyman as their coworkers Victoria, Kate and Flo respectively.
Rebecca Storey, who has a very fine voice, made an excellent Anne giving us flashes of her character’s feistiness when needed. The argument with Kipps was extremely believable.
Zara Minns as Helen Walsingham imbued her character with much warmth and kindness – I really liked her and believed she cared for Kipps. This was a fine performance added to by Zara’s beautiful singing voice.
The addition of new songs gives the ensemble more to do and one song Finesse belongs to the Walsinghams. This little scene showed us that Mrs Walsingham (Anthea Kenna) was a force to be reckoned with – everyone’s nightmare mother-in-law. Dan Lane is a fine young actor but I would perhaps liked to have seen his Young Walsingham more sly and ingratiating showing Walsingham was not at all the sort of person to do business with. That said I thought this was a good performance.
The hardworking chorus ensemble was excellent. All fully involved with the action when they were on stage and all totally confident in their own ability. Also worthy of mention is David Moat who managed to leave his mark in the on-off role of Mr Shalford.
The scenery and props were minimal yet effective. The huge cast coped well with the small acting area and full marks to the stage crew and cast for handling the myriad of scene changes swiftly and efficiently. The costumes were beautiful and very colourful although the green and white gingham dresses and the red and white striped jackets were a bit eye watering.
The lighting and sound was first-rate, and the music supplied by Musical Director Stephen Kenna was tight and polished.
Dan Schumann’s direction kept things cheery and animated and Louise Plummer’s choreography was deceptively simple and executed well by the whole cast. Everyone who saw Viva Youth’s Half A Sixpence, was delightfully entertained so there is not really a lot left to say.
Talented leading artists displaying some fine singing and acting and an excellent supporting cast.
Viva, Viva Youth! Knock -em dead in Edinburgh.
Julie Petrucci Regional Representative, NODA E4S
What audiences respond to is all-out musical entertainment and Half a Sixpence must be classed as one of the great family musicals loaded as it is with excellent songs. H.G. Wells wrote “Kipps – The Story of a Simple Soul” over a century ago. Originally staged in the West End in 1963 (book by Beverley Cross, music and lyrics by David Heneker), it later became a film, both very much a vehicle for Tommy Steele.
Now the script has been re-worked but the new version still has all the old favourites Flash, Bang, Wallop!, Half A Sixpence, All In The Cause of Economy etc. plus nine new songs added by Warren Brown which, I feel, fit in with the original songs splendidly.
On stage continually from the start of the show to the curtain call, Charlie O’Connor had the warmth and sense of humour necessary to make Kipps lovable. It must be a daunting prospect for any lead male cast in this role and Charlie should be congratulated on his performance. His singing, dancing and comic delivery were excellent throughout.
Good strong performances were had too from Kipps’ fellow employees at Shalford’s emporium Aaron Lord as Sid, Olly Manley as Buggins and Max Bovingdon as Pearce. This trio was augmented by a flamboyant and enjoyable performance from David Tickner as Mr Chitterlow who did a very fine line in socks. Not to be outshone by the boys, we enjoyed equally strong performances from Rhiannon McBean, Madison Eddy and Amy Jelleyman as their coworkers Victoria, Kate and Flo respectively.
Rebecca Storey, who has a very fine voice, made an excellent Anne giving us flashes of her character’s feistiness when needed. The argument with Kipps was extremely believable.
Zara Minns as Helen Walsingham imbued her character with much warmth and kindness – I really liked her and believed she cared for Kipps. This was a fine performance added to by Zara’s beautiful singing voice.
The addition of new songs gives the ensemble more to do and one song Finesse belongs to the Walsinghams. This little scene showed us that Mrs Walsingham (Anthea Kenna) was a force to be reckoned with – everyone’s nightmare mother-in-law. Dan Lane is a fine young actor but I would perhaps liked to have seen his Young Walsingham more sly and ingratiating showing Walsingham was not at all the sort of person to do business with. That said I thought this was a good performance.
The hardworking chorus ensemble was excellent. All fully involved with the action when they were on stage and all totally confident in their own ability. Also worthy of mention is David Moat who managed to leave his mark in the on-off role of Mr Shalford.
The scenery and props were minimal yet effective. The huge cast coped well with the small acting area and full marks to the stage crew and cast for handling the myriad of scene changes swiftly and efficiently. The costumes were beautiful and very colourful although the green and white gingham dresses and the red and white striped jackets were a bit eye watering.
The lighting and sound was first-rate, and the music supplied by Musical Director Stephen Kenna was tight and polished.
Dan Schumann’s direction kept things cheery and animated and Louise Plummer’s choreography was deceptively simple and executed well by the whole cast. Everyone who saw Viva Youth’s Half A Sixpence, was delightfully entertained so there is not really a lot left to say.
Talented leading artists displaying some fine singing and acting and an excellent supporting cast.
Viva, Viva Youth! Knock -em dead in Edinburgh.
Julie Petrucci Regional Representative, NODA E4S
NODA REVIEW: AVENUE Q
Winner of the Tony “Triple Crown” for Best Musical, Best Score and Best Book, Avenue Q is a renowned piece of cult theatre and with a cast of very talented actors and skilled puppeteers, is a hybrid of South Park, Sesame Street and the Muppet Show.
Avenue Q is home to some lively and off the wall characters that are performed by an alliance of humans and puppets.
The story follows Princeton (Nick Huntingdon), a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account. He soon discovers that the only neighbourhood in his price range is Avenue Q; still, the neighbours seem nice. There’s Brian the out-of-work comedian (Lee Sherwood) and his Japanese therapist fiancee Christmas Eve (Kerry Hibbert); Nicky (Michael Kowalczyk) the good-hearted slacker and his roommate Rod (Ben Clark)—a Republican investment banker who seems to have some sort of secret; an Internet addict called Trekkie Monster (Charlie Gillett); and a very cute kindergarten teaching assistant named Kate Monster (Naomi Porter). Plus a building’s superintendent called Gary Coleman (Becky Bush), a night club singer Lucy the Slut (Emily Norman), and two very naught bears with bad ideas Ellie Bovingdon and Charlie Ellerton. Together, Princeton and his newfound friends struggle to find jobs, dates, and their ever-elusive purpose in life.
However much I eulogise about the furry members of cast and their manipulators I should not ignore the human members. We enjoyed great performances too from Kerry Hibbert, as Christmas Eve who has excellent comic timing, and Lee Sherwood as the energetic Brian both larger than life Avenue Q ‘human’ residents who more than held their own amongst all the fur.
It is a rare thing for me to do but I must name the members of the six-strong Band: Richard Hayward, Keith Hayward, John Cotton, Keven Wright, Alan Grayer and Becca Robinson, who under the baton MD of Graham Brown, were absolutely brilliant and only overpowered the dialogue the odd time (but that is nit-picking and it was the first night!).
It was absolutely fascinating to see the puppeteers making the puppets shadow their own physical movement (or should that be the other way round?) with lip-syncing perfection. Without exception the whole cast were confident and obviously extremely talented. The singing was superb and the puppeteers were all absolutely amazing.
There was little to criticise in Josh Schumann’s production for Viva!. This show was obviously a team effort with the backstage support team as much involved as the cast who must have done some swift work back stage changing puppet costumes. The cast also executed some swift and smooth scene changes and there were some great staging/props ideas. The singing packing cases were a hoot. I could go on! Suffice it to say the whole confident and talented cast worked as one to create an outstanding show. I loved it - Viva’s Avenue Q was definitely up my street!
This show is going to Edinburgh in August where I am sure they will definitely find their ‘purpose’. Edinburgh audiences are in for a real treat.
Reviewed by Julie Petrucci Regional Representative NODA East District 4S
Winner of the Tony “Triple Crown” for Best Musical, Best Score and Best Book, Avenue Q is a renowned piece of cult theatre and with a cast of very talented actors and skilled puppeteers, is a hybrid of South Park, Sesame Street and the Muppet Show.
Avenue Q is home to some lively and off the wall characters that are performed by an alliance of humans and puppets.
The story follows Princeton (Nick Huntingdon), a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account. He soon discovers that the only neighbourhood in his price range is Avenue Q; still, the neighbours seem nice. There’s Brian the out-of-work comedian (Lee Sherwood) and his Japanese therapist fiancee Christmas Eve (Kerry Hibbert); Nicky (Michael Kowalczyk) the good-hearted slacker and his roommate Rod (Ben Clark)—a Republican investment banker who seems to have some sort of secret; an Internet addict called Trekkie Monster (Charlie Gillett); and a very cute kindergarten teaching assistant named Kate Monster (Naomi Porter). Plus a building’s superintendent called Gary Coleman (Becky Bush), a night club singer Lucy the Slut (Emily Norman), and two very naught bears with bad ideas Ellie Bovingdon and Charlie Ellerton. Together, Princeton and his newfound friends struggle to find jobs, dates, and their ever-elusive purpose in life.
However much I eulogise about the furry members of cast and their manipulators I should not ignore the human members. We enjoyed great performances too from Kerry Hibbert, as Christmas Eve who has excellent comic timing, and Lee Sherwood as the energetic Brian both larger than life Avenue Q ‘human’ residents who more than held their own amongst all the fur.
It is a rare thing for me to do but I must name the members of the six-strong Band: Richard Hayward, Keith Hayward, John Cotton, Keven Wright, Alan Grayer and Becca Robinson, who under the baton MD of Graham Brown, were absolutely brilliant and only overpowered the dialogue the odd time (but that is nit-picking and it was the first night!).
It was absolutely fascinating to see the puppeteers making the puppets shadow their own physical movement (or should that be the other way round?) with lip-syncing perfection. Without exception the whole cast were confident and obviously extremely talented. The singing was superb and the puppeteers were all absolutely amazing.
There was little to criticise in Josh Schumann’s production for Viva!. This show was obviously a team effort with the backstage support team as much involved as the cast who must have done some swift work back stage changing puppet costumes. The cast also executed some swift and smooth scene changes and there were some great staging/props ideas. The singing packing cases were a hoot. I could go on! Suffice it to say the whole confident and talented cast worked as one to create an outstanding show. I loved it - Viva’s Avenue Q was definitely up my street!
This show is going to Edinburgh in August where I am sure they will definitely find their ‘purpose’. Edinburgh audiences are in for a real treat.
Reviewed by Julie Petrucci Regional Representative NODA East District 4S
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NODA REVIEW OLIVER!
by Lionel Bart Performed by Viva Youth Theatre. Director Daniel Schumann, Musical Director Stephen Kenna, Choreographer Louise Plummer. For over fifty years the musical Oliver! has held its place as one of the most performed by musical societies and most-loved by audiences. Based on the novel Oliver Twist by Charles Dickens, and set amongst the harsh and poverty stricken backdrop of Victorian London, the award winning score features many well-loved songs such as ‘Consider Yourself’, ’Who Will Buy’ ‘Oom Pah Pah’ and ‘As Long as He Needs Me’. The large Viva Youth cast were well rehearsed and enthusiastic working their way skilfully around the confined acting area. From the excellent opening number Food Glorious Food, they acquitted themselves with confidence and discipline. 10-year old Zak Potts took on the role of Oliver. A talented young actor, epitomising everyone’s vision of Oliver Twist, with good stage presence and a fine voice. Jack Stearne as the Artful Dodger was confident in his role and he too has a good voice. I did though think his outfits were a bit pristine for such a scamp. We enjoyed a highly amusing scene between Widow Corney (played superbly by the talented Emily Smith) and Mr Bumble (Charlie Gillett) again everyone’s idea of this character in all its aspects. The scene in the undertakers with a highly comedic performance from Aaron Lord as Mr Sowerberry together with Samantha Williams (Mrs Sowerberry), Charlie O’Connor (Noah Claypole [also doubling as Dr Grimwig]) and Macey Bennett (Charlotte) all working hard in an endeavour to control Oliver was very well done. Joseph Beach in the much coveted role of Fagin was excellent: he worked well with the younger children and has a good singing voice, a great performance. Another excellent performance came from Becky Bush as Nancy. Beautiful voice and considerable acting talent. Her emotional rendition of ‘As Long as He Needs Me’ was greeted with rapturous applause which it fully deserved. The role of Bill Sykes is surprisingly small: he does not appear until Act Two but Charlie Ellerton proved that being quietly menacing is just as scary as ranting and raving and certainly sent shivers down the spine. There was good support for the main principals too from Jack Wright (Mr Brownlow), Molly Gordon (Mrs Bedwin), Zara Minns (Bet), Fred Kirk (Charlie) and Laura Davies as Old Sally. There are only two or three really big chorus numbers in the show but needless to say they were all done exceedingly well. Choreographer Louise Plummer and her assistant Emily Smith rose to the challenge of manoeuvring the huge cast round the small space. The scene in the Three Cripples was lively and very well executed especially the Pearly King and Queen’s dance which was first-rate. Excellent musicians under the direction of Stephen Kenna added to the overall fine quality of the production. My only quibble would be that the music was once or twice too loud over dialogue. The scenery was excellent with well-used levels, the lighting atmospheric, hair and make-up (apart from some over-enthusiastic dirty-faced children) was pitched just right and compliment must be made to Kate Taylor for the excellent costuming of this show. Overall this was a well rehearsed, well performed show full of up and coming talent. I would say it wouldn’t look out of place on a London stage but as the final performance takes place at The Shaw Theatre in London that has stolen my exit line. Well done to all involved in this show, and congratulations to all those who worked hard behind to scenes (and front of house) to turn The Brook into a theatre auditorium. Julie Petrucci Regional Representative NODA East (4S) |
NODA review of Viva! ABIGAIL’S PARTY
Although written for the theatre, "Abigail's Party" became a 70's cult classic when produced as Play for Today on BBC TV and it would be easy to dismiss it as dated. Written and set in the 1970s, the outfits are, naturally, dated but the situation is not - five adults "enjoying" an evening together, discussing buying houses, music, work, their children. Bossy and obviously sexually frustrated Beverly is holding a small drinks party at their plush home. Joining her is Sue, who has escaped her home while her 15 year old daughter Abigail of the title holds her party down the road, new neighbours Tony and Angela, and Beverly's overworked estate agent husband Laurence. Within minutes we just know that Beverley is the hostess from hell as she holds court in her own house, bullying her guests while making cringe-inducing social blunders; but as the evening wears on we see the inadequacies of each character surface. Sarah Dowd-Crosby’s chain- smoking Beverley made you cringe virtually from her first entrance. She threw herself totally into the role and was unimaginably believable. It made you really feel for the downtrodden Lawrence played by David Moat, who also gave a very good account of himself. The build-up to his on-coming heart attack was gradual but well flagged and ultimately handled well ‘at the death’. Ange's feeble attempts at conversation are laughable and Kirsten Martin was impressive in this role, with her excellent delivery and her good timing this was the performance of the evening for me. John Bedford got an enormous amount from his role as the monosyllabic Tony. He created such a laid-back character it came as a shock when he turned on Ange and his attitude towards her became quite heartless. Maybe it was all the bottom groping from Beverley! Rania Kurdi was excellent as Sue. This was a wonderfully understated but a no less quality performance allowing us to see beneath the polite and socially superior exterior to the uncomfortable and lonely person Sue is beneath. The setting was excellent. All 70s retro furniture and props which were a credit to Maggie Breckenridge and the cast. Lighting and sound too were suitable and director Emma Moat made excellent use of the whole acting area. Director and cast completely understood both the play and the era which they brought over well. Top marks to the three actors who managed to extricate them-selves from the steel framed cushioned chair without loss of dignity. But bottom marks for drinking straight from the beer bottle - not something one habitually did in the 70s from memory! There was good pace too only flagging slightly at the end when the heart-attack scene was perhaps less frenetic than it should have been but that is nit-picking given how well everything else had gone. This production was well cast, the performances were first-class and the humour and characterisations well maintained throughout. I had forgotten how funny Mike Leigh's script is. The humour, although mocking, is touching but uneasy at the same time. A good example of tragic-comedy. Congratulations to Emma Moat and all who brought nostalgia back with this play choice which provided an extremely enjoyable evening. Julie Petrucci Regional Representative NODA East District Four South |
'Acorn Antiques the Musical' By Victoria Wood Performed by VIVA! Theatre Company I doubt there will be many people who have not seen or heard of “Acorn Antiques” by Victoria Wood. Director, David Tickner’s interpretation of Victoria Wood’s gem was first class. This show hit the ground running and the audience was laughing from the opening right through to the curtain call. This musical is loosely based on other TV shows such as the legendary Crossroads and has the inevitable unexpected and ill-timed entrances (or not) and depicted wobbly sets; this could not be said of this show which had a pretty convincing set. Manchesterford High Street is home to some eccentric and colourful shopkeepers, all of them brought to life by the ensemble who embraced each character. It was evident from curtain up that these performers were a team. A fter the excellent opening number we ‘entered’ the Acorn Antiques’ shop and the first two people in are stereotypical YTS types Hugh and Mimi played convincingly by Charlie Ellerton and Kerry Hibbert, they were perfect and never slipped from their characterisations. Leading from the front was Anthea Kenna as the flirty Miss Babs who delivered a superb performance, as Tracey Summers did similarly in the role of the more demur Miss Berta. Shellie Baigent was excellent as Bonnie, the third sister, delighting in her evil plans. David Tickner as the amnesia-ridden Mr. Clifford, the would be fiancé of Miss Berta, combined the use of comedy and pathos necessary to the success of his character admirably. Lee Sherwood was hilarious as the loan shark Tony, complete with an amazingly hairy chest and stylised macho stance. Of course the character in this show which everyone knows and loves is the coveted role of Mrs Overall originally created by the incomparable Julie Walters. I really can't praise Mary Barnes’ bravura performance enough. This a very demanding role, it requires unlimited stamina and exceptional comic timing, these qualities this actress has in abundance.This show calls for a huge cast of characters all of whom, such is the quality of Victoria Wood’s writing, have their moment in the spotlight. Full marks to “the shopkeepers” David Moat (Mr Furlong), Sarah Shorney (Christine), Angela Bocking (Miss Willoughby) and who could forget that ‘lovely couple’ Lloyd Popp (Mr Watkins) and Ben Clark (Derek). Further great support came from Kate Weekes (Lucy), Scott Robertson (Postman), Vicki Jelleyman (Miss Cuff), Lesley Wood (Miss Wellbelove), Hannah Theobald, Olivia Fahy and Sammy Williams as Tony’s backing singers Debs, Bev and Ev and bringing up the rear Laura Davies as Young Mrs O in the ‘dream sequence’. Given the limitations of the venue the technical team achieved a high standard. The set was good and the props, lighting and sound effective and well executed. The costumes were excellent and wigs were all very good and greatly enhanced the production. Musical director, Stephen Kenna did an excellent job too, overall both principal and chorus singing was of a very good standard. I always enjoy Louise Plummer’s choreography, and this show was no exception, there were some very good routines well executed by the cast. Anyone who attended this sell out production certainly had a treat. The whole show was brilliant and provided a hugely enjoyable evening’s entertainment. Julie Petrucci Regional Representative NODA East District Four South. 
'Les Miserables' Viva Youth Production Venue: Soham sports Centre Date of Review: 19 July 2014 Reviewer: Julie Petrucci I know it’s not a good idea to turn up to a show you are reviewing with too many expectations and preconceptions, but when the show is Les Misérables, and you have seen the London version twice, that’s pretty hard. Luckily the young cast of Viva Theatre’s production did not disappoint, presenting an impressive and extremely professional performance of this classic musical. The music is, of course, wonderful, lots of drama and pathos, emotive ballads, powerful choral themes and, of course, a smidgeon of comedy. Viva Youth comprises of youngsters between 11 and 19 who all threw themselves into the production with all the energy, commitment and enthusiasm you would expect from a young cast. The atmosphere in the Ross Peers Sports Centre was electric and remained that way. The main focus of the piece is Jean Valjean and we follow him from his time on the chain-gang (his only crime was stealing some bread) through to becoming a respected town mayor and subsequent escape from Chief of Police Javert who is obsessed with re-arresting him. Duncan Earlam was impressive in this very difficult and demanding role. He put everything into it creating a likeable character. A powerful performance. Valjean’s nemesis, Javert, is a complicated character to achieve; he believes steadfastly in law and order which leads him to tenaciously pursue Valjean across the years. Ultimately, when Valjean saves his life and Javert breaks the law to let him go free, he cannot live with his action and commits suicide. Charlie Ellerton with his imposing stage presence and excellent voice managed to convey the heartlessness of the character in an extremely strong and very self- assured performance. One of the most famous characters of Les Miserables is Fantine, the girl whose life goes horribly wrong when she is fired from her job at Valjean’s factory for having a secret illegitimate child. Few people will be unaware of Fantine’s famous torch song, ‘I dreamed a dream’. Laura Day who took this role on brought a lump to the throat as she sang Fantine’s lullaby to her daughter Cosette. As time passes we see Cosette grow into a young woman. Compared with other roles that of the adult Cosette is a rather one-dimensional character with none of the complexities the others thrive on. However, Lauriane Borde has a sweet voice and succeeded in creating a person we could believe in and all credit to her. Eponine must be a fantastic role to play and Ellie Bovingdon obviously enjoyed every minute of it. Eponine sings ‘On My Own,’ an anthem for all whose love is unrequited, which was absolutely beautiful. Ellie has a superb voice which suited the role perfectly and this was a performance of the highest quality It was obvious that Ben Clarke relished playing Marius. With a great voice, he was perfectly cast as the charismatic and idealistic young student. An excellent performance. Full honours must go to Ebony Chamberlain-King and Daniel Lane as the evil but wickedly funny Innkeepers, Thenardier and Madame Thenardier. This odd couple appear throughout the musical, stealing and swindling their way through life in order to survive. These two were never out of character and their comedic skills were impressive. The audience loved them and so did I. Two other strong performances deserve a mention. Lee Sherwood in good voice skilfully took on the fairly challenging role of Enjolras, and Lawrence Whitworth confident and enthusiastic as the streetwise Gavroche. Adding to this production and making it more impressive was the work of the Ensemble and minor characters. It was obvious much work had been put in to the big cast scenes and it really paid off. They were terrific. The rousing ensemble number ‘One Day More’ was reprised at the end to thunderous applause and deserved the standing ovation. Costumes, make-up, hair, stage crew, lighting and sound all added their expertise and under the baton of Musical Director Jenny Surridge the Band were absolutely faultless. We heard every word and compliments to all principal singers who dealt with the complicated and at times fast lyrics coming in on cue every time. My one criticism would be that it was difficult to hear the lines of those in the ensemble who were not miked up though they were undoubtedly all very competent and had good voices. I heard so many superlatives about this production as the audience left the venue; several times I overheard “I’ve seen the London production and this was nearly as good”. Indeed it was: congratulations to all involved. |
'Pride and Prejudice' Success! Play by Simon Reade based on the book by Jane Austen. Performed by VIVA! Theatre Company. My first visit to VIVA! looked promising as my grand-daughter and I approached St Andrew’s Church in Soham to encounter several young gentlemen smartly attired in military uniform – and yet more delights were to follow! Performing in a church has some disadvantages from an audience aspect particularly for those who had not had the foresight to bring a cushion, rug or both. Luckily we had. But heads in front can restrict visibility at times. The altar recess had been skilfully converted into a performing area but, unavoidably, was mostly at ground level creating some visual restrictions. However the use of both the pulpit, forestage and aisle worked very well. Anticipating something on the lines of the BBC costume drama version of this tale of 18thC passion, I was surprised and amused by Reade’s adaptation of this much loved classical work. VIVA! took the challenge to heart and created something special. The numerous settings were conveyed by the use of projected images of country houses showing detail of the occupier. Furniture and properties were set and removed as unobtrusively as possible helping to maintain a virtual seamless flow from one scene (and there were many) to the next. The abundance of colourful costumes aptly reflected the period and style and were carried by their wearers with appropriate aplomb and demeanour. Stage Lighting in a church presents a challenge. Assuming it to be the work of the Technical crew, (Blueshed Studios) this was most effective. The play opened with the afore-mentioned militia and their ladies arriving down the aisle to perform a lively dance. From here the story progressed with excellent pace (courtesy of the stage crew’s energy and efficiency) and we were introduced to the numerous characters. From a performing aspect, this is a true ensemble piece, every performer contributing hugely to the comic aspect while still excelling in the extensive dialogue (which is pretty close to the original novel) and sadly it’s therefore impossible to mention every one of the twenty plus cast. Mary Barnes was an absolute joy as the frivolous and rather silly Mrs Bennet constantly scheming to get her five daughters married, contrasting nicely with David Tickner as a consciously caustic yet delightful Mr Bennet with his own brand of understated dry humour. The younger Bennet daugters, Lydia, Kerry Hibbert, Kitty Zara Minns and Mary Laura Davies all adeptly proffered their different characteristics and personalities. Smiling and simpering as young ladies are wont to do. After several hiatuses, the troubled romantic pairing of Jane and Bingley Alison and James Palmer was satisfyingly resolved to everyone’s delight. Undoubtedly the most entertaining characterisation was that of Mr Collins Tim Alban Jones who delighted us with his over the top performance and raucous laughter – Tim was most ably supported by Kate Weekes as his Charlotte. So, to our main protagonists. Pride & Prejudice is essentially the problematic liaison between Elizabeth Jenny Surridge and Darcy Rowan Maulder. Reade’s version reminds us of a long dramatic line reaching back to Beatrice and Benedick in Much Ado showing two independently minded people discovering their need for each other. This pairing worked really convincingly and, to much applause, sealed it with a kiss. Many congratulations to everyone in VIVA! The unsung heroes – Stage Crew, Properties, Wardrobe Choreography, Costumes & Make-up, Musicians, FOH and all others who made contributions in making the show a success. I was particularly impressed with the Director’s Note in the programme. No one who auditioned for this production was turned away. Being an ensemble piece, Pride & Prejudice was an ideal vehicle to involve all those who were interested. Maybe from little acorns!!!! Obviously this maxim is not always possible but, with this sort of attitude, VIVA! will continue to grow from strength to strength. Many Congratulations Pat Hamilton. 
'The Phantom of the Opera'
Performed by Viva Youth Group - March 2014 I could probably do this review in one sentence. What a fantastic production! For a youth group to perform this musical is a huge undertaking but one that was achieved with great success by Viva Youth. When I walked into The Brook in Soham I thought I had entered the wrong place. It had been totally transformed. A traverse stage came halfway down the hall; plush seating was provided; the wall at the entrance was richly painted depicting a theatre complete with a box and the orchestra was ensconced on the stage. This set the atmosphere beautifully and the place was buzzing well before the performance began. Congratulations to all who had a hand in creating this. This musical really is one ‘big sing’ and therefore needs strong singers in principal roles and this production certainly had them. From Carolotta’s first note I thought if the rest is like this we are in for a great evening. In the lead role as The Phantom, Duncan Earlam was exceptional in both voice and acting. He understood this mixed up character perfectly. Lauriane Borde, in the role of Christine, was absolutely outstanding. She created great empathy both with The Phantom and Raoul which gave a solid foundation to this production. Congratulations also go to Ben Clerk in the role of Raoul who was their equal in both singing and acting: another excellent performance. I was mightly impressed with Laura Day as Carlotta whose singing voice has a maturity that belies her years. Her interaction with Charlie Gillet as Piangi was great. They worked well together throughout - both divas to the core. Providing great support was Lee Sharwood and Phil Evans as Monsieur Firmin and Monsieur Andre respectively who provided much of the humour. Their opening scene of Act Two was very funny. Mention should be made too of Ellie Bovingdon as Madame Giry, Daniel Lane as Monsieur Reyer, Jack Wright Monsieur Lefevre, Aaron Lord as Buquet/Don Attilo/Police Chief, Charlie O’Connor doubling up as the Auctioneer/Passarino and, in particular, Rebecca Storey as Meg, who all gave good accounts of themselves. I cannot possibly exclude the absolutely excellent Ballet Chorus and Ensemble, who, without exception played their part to perfection. The singing was of a high standard throughout and vocal coach Graham Brown must have been very proud of them. Louise Plummer, assisted by Annabelle Davis, created some excellent choreography where it was needed which was well executed. Masquerade opening Act Two was one of the highlights of the show. Under the baton of Musical Director Stephen Kenna the orchestra was superb from start to finish. The sound was perfect throughout with each word and note perfectly heard. The cast were very fortunate to have the privilege of performing with them. Costumes were impressive and the black and white ensemble for the aforementioned Masquerade was pure genius. Props, hair and make-up were equal to the whole and the special effects appeared to work without a hitch. Special mention for the hard working stage crew and the lighting which was well designed and executed. Dan Schumann and his directing team presented us with a production of great quality I feel privileged to have seen it. Many congratulations to all involved. Julie Petrucci Regional Representative NODA East District Four South. |
