Members Area
Members Area
Wellington Operatic Society
The Wellesley Theatre
Wellington
Saturday 12thMay
I grew up watching the American TV series Happy Days, a harmless, mildly comic offering of half-hour episodes of nineteen fifties teenage life in Milwaukee with a very catchy theme tune. It was a hugely popular series both in the UK and America during its ten-year run from 1974. The characters became well known: Arnold, Chachi, Ralph, Potsie and the Fonz were literally household names. It is understandable, then that some twenty years later, original creator Garry Marshall might feel that the public’s familiarity with the characters and situation could support a musical theatre version of the show. Working with successful songwriter Paul Williams, Marshall launched Happy Days The Musical on an unsuspecting world. The show toured the US, notably avoiding Broadway and came to the UK for a professional regional tour in 2014 with some success, though receiving mixed reviews.
It would be very interesting to see how Wellington’s Creative Team; Director Colin Marshall, Choreographer Cheryl Keith-Hill and Musical Director Richard Lennox would approach the piece. It is perhaps not the most substantial of theatrical specimens, being the expanded version of a half hour TV show, it never would be, but William’s music has some quality and there is plenty of opportunity for song and dance. I hoped that Wellington would recognise that Happy Days is a pleasant piece of froth and simply have some fun with it.
The initial impression on taking my seat in the auditorium of the Wellesley Theatre was ‘wow!’. The stage looked great: downstage right, playing some great nineteen fifties songs, sat a period jukebox, compete with chrome trim, swooping curves and flashing lights. Beautifully echoing the shape and colour of the jukebox, the splendid proscenium arch was encased in plastic tubing, lit from within to give the same, distinctive Wurlitzer neon look. The Happy Days logo hung above the otherwise dark stage. This was only a hint of the great stage design and build that would support the show.
The design of the show would continue to impress throughout. The original series has that clean and bright shine of television productions and that shine was always apparent in the staging. From the main setting of Arnold’s diner, resplendent with it’s red and white theme, chrome chairs and tables and PVC upholstered bar to the homely Cunningham residence with it’s impressive dresser or Bronko’s Garage with its tool chest and period petrol pump all had sparkle and shine. It was, however the transitions between scenes that impressed the most: Performed in full light by the cast transitions they were planned, organised and delivered with speed and precision. Very clever design elements like the red and white bar from Arnold’s opening to become the dresser in the Cunninghams’ kitchen or reversing to become the tool chest in the garage, combined with neatly moved truck-mounted elements like the booths at Arnolds swiveling to become plain backdrops, all added hugely to the slickness and entertainment of the piece. Construction was clearly robust and the handling of each element was very well managed indeed. Hats off to Director Colin Marshall, Nick Riley and Ian Spurway for the design and architecture; Chris Barrett, Kevin Luke and Pete Watts for the construction and the Scenic Artists Craig Askew and Geoff Redstone. Plus, of course the SM crew under Claire Knighton. A terrific job done.
Technical support was something of a game of two halves: Lighting was pleasing – emphasising the clarity and brightness of the main settings and maintaining that heightened Television feel, but more subtle when required. Cueing was sharp and well managed. However, and I think that this was true for the majority of the audience; sound was something of a disappointment. Head mic’s abounded and mic cuing was generally reasonable but the balance of sound level between the on-stage performers and the superb orchestra under talented MD Richard Lennox was very poor. Regrettably it was almost impossible to discern any of the lyrics when sung over the band. The system was good and clear for spoken dialogue but simply needed to be louder for songs. Yes, a few of the cast tended to over-characterise with their accents, which does suppress clarity and perhaps a few could have projected a little more but the couple sitting next to me did not return after the interval, complaining that ‘I can’t understand a word of it’, which tells a clear tale.
Sound issues (and this was a substantial problem) aside, the cast delivered well. The principals were recognisable from the TV series, interacted with confidence and singing was impressive. Dance was well-organised thanks to Choreographer Cheryl Keith-Hill, a slightly mixed bunch in terms of dance ability but routines were enthusiastically and energetically performed: plenty of hard hours in rehearsal were clear. I particularly liked the roller-skating waitresses – perhaps Starlight Express might be a future venture! There were stand out moments for me: The trio of Marion (Stephanie Colman), Joanie (Georgia Channon) and the terrific voice of Pinky (Keira Lissman) singing the reprise if What I Dreamed Last Night shone particularly.
This was a strong cast, combined with powerful, brassy, tight orchestra, some fantastic staging and attractive, well-made costume to give the full house audience some great entertainment. Yes, cue-bite could occasionally have been a little crisper, pace could have been a little sharper and audio is best left unmentioned here, but the cast had real energy and no little talent. I am excited to see Wellington’s next production. (A personal aside here: looking at the great team Wellington has available I would love to see them tackle a challenging show like Urinetown. Oli Redstone would be a shoo-in for Officer Lock-Stock, though far be it from me to let my personal preferences show [!]).
Thanks for inviting me.