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Weston-super-Mare Operatic Society
The Playhouse Theatre
Weston
Saturday 28th October 2017
‘Good, clean fun’. Not often in this cussed, grubby world of ours, filled with bad news horror stories, dark mornings and darker evenings, does this phrase trip off the tongue. Thank you, then to Weston’s remarkable Operatic Society for giving us just that. Director Sue Collings’ production of Half a Sixpence was a refreshing delight: full of brightness, colour, catchy music, impressive dance and delivering a gurt dollop of feel-good. Just the British ticket to ward off those ghoulies and ghosties that the absurdly Americanised, modern Halloween promises to deliver.
The simple story of Arthur Kipps’ journey through rags to riches and almost back again whilst having grandeur foisted upon him and almost loosing his childhood sweetheart Ann Arthur in the process, is pleasing and easily followed. The success of the production hinges not only upon the audience’s engagement with the Kipps character but on the whole picture surrounding him. The small story will only grab attention when heightened by spectacle and Sue Collings’ team delivered this in spades.
Sue’s direction produced a clear, clean feel to the show: pace was masterfully judged and the smooth flow of the story was superbly enhanced by the simplicity of design, the seemingly effortless slickness of scene transitions and very sharp performances by the entire cast. I am a little unsure of the precise role of Technical Director, filled by Carl Atkinson but assume that the set design, flown scenery, scene shifting and highly-polished transformations of the stage picture would be his domain – if I am right then ‘hats off’ to Carl. I particularly liked the location of the orchestra: on stage, above the cast. This added to the spectacle, allowed full use of the extended stage and avoided putting the band in a remote location, which for me significantly reduces the dynamics of the live music’s impact.
Musically the show worked very well indeed: Musical Director Richard Lennox is rapidly becoming a ‘must have’ for quality productions in our region. The orchestra were tightly organised, arrangements spot-on and singing was of the highest order. Technically speaking the show worked very well too – the inimitable Joe Rockett and his team from Bright* should take a bow.
Choreographer Samantha Aylott is clearly a lady in top form too: Dance was a very impressive element of this production. From the small and understated routine shared by Kipps and the eccentric but lovable impresario Chitterlow to the full-cast spectaculars like Flash, Bang Wallop there was a sense that Sam fully and precisely understood the genre and what was required to give the audience a real ‘West End’ experience. Even thinking about the level of work she must have extracted from the cast during rehearsal makes me want to lie down.
This was a large cast, packed with talent not only amongst the principal players (of whom there were many) but also amongst the vast Chorus. I was delighted to see so many younger performers, the majority of whom I recognised from Weston’s youth group, the Oppitts. Their performances were, as befits their years, full of energy, enthusiasm and clear joy. Always focused, engaged and in-character they are an example many adult performers might follow. Along with the juniors, the adult chorus showed real quality in song and dance and even managed to look terrific.
At audition Director Sue must have been staggered by the talent available to her. The Shop Boys and Girls: Rob Tilke, George Heath, Adam Hunter, Jodie Gibson, Clare Hunter and Flora-Kate Lacy are all potential leading players. Their singing, timing and movement shone. I especially loved the barbershop harmony moments. Mike Hardy’s Shalford, Cheryl Stafford’s Helen, Mairi Coyle’s Mrs Walsingham and of course Kevin Wheeler’s splendid Chitterlow were all remarkable in their performances. This may be one of the strongest casts Weston have had in a good while.
For me Leah Farmer would sound good singing the wanted ads from the local paper, let alone some of the lovely tunes she delighted us with in Sixpence. She can act too! Her Ann Arthur was believable and likeable and we, the audience had real empathy for her.
In a universally strong cast, on an attractive stage, beautifully costumed and warmly lit it is not easy to be a ‘stand-out’. But Cameron Isherwood as Kipps certainly did. This year seems to have marked a transformation for Cameron. Earlier in the year I saw him in I Love You, You’re Perfect Now Change in which, as part of a very small cast, he was very good indeed. And now this! He appears to have found his mojo. This was more than a triple-threat performance: sing/dance/act, Cameron also brought a considerable cheeky-chappie charm to the role and whilst never a Tommy Steele impersonation he managed to reprise much of the energy and audience-connection Tommy delivered in the Sixties. Excellent.
I’m sorry that I don’t have space to name everyone involved with this production: but you should all be very proud of yourselves. This production was slick, smooth, colourful and fun. I must confess that the older, more traditional musicals like Sixpence are not my particular favourites yet this one turned my head and I thoroughly enjoyed my evening. A small and unexpected piece of icing on an already very tasty cake was the brief interruption to the finale. Pierce proposed to Flo! Adam Hunter and Flora-Kate Lacy, I hope you will be very, very happy together.
Thanks for inviting me