STAGING AND SET

Walking into the theatre you got just the right feeling of time and place. The simplicity of the columns with their severed tops, and the varying stage levels were a great design which had the added benefit of needing no change of set, thus ensuring a swiftly moving production. The hovering mist was minimal but effective and was used many times to great effect.
The set created an atmosphere of Israel in 37 AD perfectly even before the show started RICHARD ROBERTS gave the actors exactly the right environment.

LIGHTING

TIM EDWARDS did a perfect job. Lighting needs to be unobtrusively effective, and Tim matched the moods and action perfectly, with no shadows or missed areas. During I Don’t Know How to Love Him I wrote “Single spot would have been better (on Mary)” and seconds later that’s exactly what Tim did. Must have been thought transference!

SOUND

Again Perfect. DARREN LORD had the balance between Music and Singing just right. Every word was crystal clear and the volume easy on the ear. The off stage crucifixion effects were excruciatingly heart rending.

COSTUME

JANICE SMITH took us back 2,000 years and completed the picture the set had started. Biblical dress is simple on the surface but Janice had the variations and contrasts between the ranks and status of Herod, Pilate the priests and the people excellently right. I felt Jesus’ wig was a little too aggressive but that might not have been Janice’s decision. It might, I suppose have been his own hair! In which case; Whoops and sorry.

THE PROGRAMME

This was very informative and thanks for the NODA mention.
Reading before the start, I noticed there was no mention of the location, and you were quite right. The locations of the scenes were perfectly clear.


Good cast biographies. Those for Lord Lloyd Webber and Tim Rice were a especially nice touch. The print, paper, and photography were of a high standard and JULIE MILLS had done a good Job. It’s little touches like the programme quality that add to the professionalism of the production. Well done.

FRONT OF HOUSE

I was made very welcome at the box office, but was a little disapointed that I met no one from the production team at any time during the evening. By the end however, it was obvious you would all have been very busy. The auditoreum was well managed and everyone was seated on time

THE CAST

THE ENSEMBLE

I am so pleased you called it The Ensemble rather than The Chorus. I’m with you on that.
My on stage reviews always start with them because they are so very important and I hate the phrase “I’m only in the Chorus”
The principle characters need to have confidence that the people behind them can be relied on. They had absolutely no worries in this production. There were no weak links and I never saw a false step or move. The stage wasn’t huge but you definitely got a quart into a pint pot. The interweaving moves were perfectly synchronized, and the motionless times were truly immobile. In the first scene I did notice a young lady’s eyes scanning the audience; (probably looking for her auntie Winnie), but it is important to remember that immobility means everything remains still “Hosanna” brought from you a wonderful burst of energy and your interweaving moves were perfectly executed. Gethsemane had so many strands of activity brought together and the climax was excellent. Herod’s harem danced superbly, brilliantly adding a gorgeous expression of allure, The Priests, Apostles, Soldiers, The Soul Girls and the whole company were constantly being active. No matter where you looked, there was always some “business” happening. The last time I saw such a great buzz of action was the production of Ben Hur at the O2 Dome last year. You were every bit as good as those professionals.
You were certainly not “ Only in the chorus” Congratulation to every last one of you.

THE CHARACTERS

JESUS

There is absolutely no doubt that DAVE ROBERTS was perfect in this very difficult role. To describe his voice as great would be an understatement. It was wonderfully right for the part. But it was also Dave’s interpretation of the character that made his performance so outstanding. The relationships and interactions with both his friends and his enemies were very well done, especially with Mary. Dave was able to change moods effortlessly. The anger in the temple, His frustration with his inability to help all the lepers his relationships with Judas, and Mary, His bewilderment (Gethsemane) His pain and his last moments and his forgiveness. Not only a good singer, Dave is a great actor.

JUDAS

JAMES TURNBULL was playing the strongest role and he triumphed His piercing eyes were true windows to Judas’s soul.
From the moment of his first entrance he dominated the stage with his confusion and anger. His scene with the priests and the acceptance of the money were a masterpiece of torment and indecision, and his ambivalence in the final confrontation with Jesus was beautifully done. His singing was excellent. I could see him as he waited to enter from audience-left and the character never left him. His preparation for just that one entrance was a fine example of concentration and commitment.

MARY MAGDALENE

SASI STRALLEN – WOW! And WOW! Again.
Sasi, you are a star. You obviously have a lot of stage experience but my first reaction when I first saw you was that you were too young for the part. I soon discovered I was wrong. You brought a more innocent approach to a part which is (let’s not forget) the role of a whore. You were brilliant. Your facial expressions and body language were so very expressive. The small gestures you made spoke volumes and you sing like an angel. I don’t know how to love Him went from strength to strength, and your expressions and movements at the Last Supper where you were very cleverly placed up stage of the main group were so wonderfully evocative. In Superstar you also proved your considerable dancing talent. Sasi, I congratulate you.

PILATE

PETER BEAVAN’S first entrance showed he had a [perfect grasp of the character. Pilate’s Dream was very well sung but it was the moves, gestures and body language that spoke volumes. His scenes with Jesus were a fine example of two very good actors producing exactly the right chemistry at a very emotional time. The trial showed your almost schizophrenic feelings for Jesus You wanted to save him but his passivity exasperated you to the point of no return. This was acting of a very high degree.

KING HEROD

“Herod’s Song” is his one contribution but it is a potential showstopper and SERGE KLUIT gave a superb rendition. His voice, moves, expression, gestures were just right. My notes say “wonderful every thing” which sums it up. Congratulations
STEPHEN MACVICAR was a great CAIAPHAS. His voice was strong, his menace maintained throughout. He very much looked the part and somehow created a rather louch priest. You could feel a sense of decadence about him.
HIS malevolence and hatred motivated by a fear of losing his power were very well portrayed and Stephen showed that domination by Rome was preferable to Jesus’ message of peace.


SIMON ZEALOTES is another great part and RICHARD ROBERTS made a perfect job of it. His call for revolution was wonderfully done. His singing at Jesus over the heads of the crowd took advantage of a great piece of direction and painted a significant picture in both sight and sound.


AIDAN GODWIN was a very good PETER. His denial of Christ built from pathos to fear and on to panic. He showed in a wonderfully symbolic way that, along with Judas, the Disciples had flaws. Backed by the always-impressive SOUL GIRLS whose every appearance was a study in perfection. ANNIE AMOS, CHARLOTTE COOPER, SONIA DEMONTE, RACHEL KING, JOSIE PIERCY and JAN SMITH worked very hard to great effect.


With over 40 in the cast, everyone could not be mentioned by name, but I hope I have made it clear that EVERYONE, mentioned or not, made a great contribution.

DIRECTION- DANCE CAPTAINS and MUSICAL DIRECTOR.

I am linking these three disciplines because the people involved created a seamless picture of great staging, singing and dancing. The director can’t position the actors if the choreography doesn’t fit the space available. The Musical Director can produce the finest music a melody in the world, but it’s wasted with the wrong positioning of actors and dancers. The Choreographers can create the most elegant and exiting dances but only if they have the space JEFF RAGGETT, HANNAH McKENNA-VICKERSTAFF and DANIELLE ROUSELL and NICK SHAIKH drew every strand of stage activity into a visual and aural delight.

If I appear slightly sycophantic, forget it! You were that good. You took an energetic and highly talented group of people and created a whole much greater than its parts; 1 + 1 + 1 really did equal 5. It was impossible to separate the contributions of the three fields of talent.
I am therefore going to itemize the highlights I remember (and there were lots more) and you can all share in the credit.

• First scene: the inter mingling of the ensemble, moving effortlessly on a very full stage which never looked crowded. An excellent quart in a pint pot.
• Jesus’ first appearance – supreme impact.
• When the ensemble needed stillness they were totally immobile.
• Jesus & Mary’s positioning during Everything’s Alright.
• Mary’s inclusion of Judas during Try Not to get Worried and the climax; – A musical and visual triumph.
• Hosanna A burst of energy filling the hall with enjoyment.
• Deft touches: Judas making a pass at Mary. The crowd parting for Jesus to walk through.
• The staging and moves for This Jesus Must Die.
• The final brilliant positioning of the priests as Judas accepted the money with such mixed emotions.
• A wonderful Da -Vinci tableau
• The “vestal virgins” each side a nice touch,
• Mary at the Last Supper and cleverly placed up stage.
• The clever way the “table” was cleared and removed
• The orchestral arrangements for the Apostle’s song
• The horizontal carrying of Jesus by the guards
• Staging and moves during the denial
• Great choreography for Herod’s song: in fact throughout the entire evening.
• The total stillness of the ensemble during Judas’s death
• “My Mind Is Clearer now” Brilliant moves
• The shuddering cruelty of the 39 lashes and the placing of the Crown of Thorns
• “Superstar” Magnificent. – Flawless choreography
• The Crucifixion: The off-stage nailing building apprehension and letting the audience paint their own pictures in their minds.

I know that giving a list like that may seem clinical and a cop out but my last notes at the time say, “I have no words”.

FINALLY…

There was only one problem and you could have done little about it. The brainless shrieking and whooping from a small minority of the audience at the most inappropriate moments of deep emotion and grief. These were selfish, stupid, moronic, mindless, idiotic, ignorant inconsiderate people who don’t understand just how significant an event was being portrayed, and if you are unfortunate enough to know any of them, you can tell them my opinion and you have my sympathy.


However. On to more important matters.


You could not have had a more critical reviewer than myself. I saw this show in the early seventies (Yes it is 40 years old) and I loved it then and it was and still is my favourite musical.


Your production was the finest amateur version of any musical I have ever seen and that includes some professional attempts. I am so delighted I had the opportunity to see and review it. Writing these words has enabled me to relive every gorgeous moment. I shall be nominating you for a NODA award and, having had many years doing these reviews, this is the first nomination I have ever made.
Thank you for the opportunity to be there for an evening of sheer delight. I left the theatre feeling very up-lifted by a most inspiring and magnificent experience.


John C. Draper.

http://www.sardinesmagazine.co.uk/reviews/review_content102.php

Below is a review of our production of ‘Sweeney Todd’ at the Arthur Cotterell Theatre. Please note this is not the NODA review.

http://www.riveronline.co.uk/08/index.php/entmenu/theatre/525-sweeney-todd-the-demon-barber-of-fleet-street.html