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The Flint Street Nativity
There were moments when you felt a bit guilty laughing as the comedy was bittersweet. For example, one of the wise men (Katy Gaskin) was bullied due to a lisp, and we find out during one of the musical numbers that Joseph (Alan Tandy) hasn’t practiced much as his dad is always on the phone to his work colleagues. Most of the musical numbers in this show were carols sang by the ‘children’, which had the words changed to tell the story of their experiences at home in the run up to the Nativity. I want to congratulate all the cast on their diction whilst singing these altered carols. It was an important part of the story and all too frequently lyrics can get lost in the music and points of the story are lost.
However, I did feel that the show lacked pace and the pauses were a little long which meant some of the lines and scenarios were not as funny as they could have been, and some of the jokes about Mrs Horrocks’ were not emphasised enough. I also thought that the final scene where we meet the parents lacked energy, and the cast spoke rather quietly which meant that the impact of the scene was dampened down somewhat (the exception being the one of the Wise Men’s mother played by Tracy Coope, who had come straight from Bingo and was also drunk!). Maybe this was affected by the production only being on for two nights. When you take a decision like that you are also effectively losing the luxury of an opening night- You must hit the ground running and then some because you only have two nights to prove what you can do. Nevertheless, the important thing is that the audience enjoyed it, and they did. They laughed right from the very beginning and all the way through to the end. |
Playhouse Musings Review
Friday night I was once again at the Derby Guildhall Theatre, this time to see Heanor Musical Theatre Company’s production of The Flint Street Nativity.
The stage production is an adaptation of the 1999 TV comedy film; both written by Tim Firth. It centres around the primary school nativity play and the ensuing mishaps and calamities. The twist of the show is that the children are played by adults, who later in the story play the respective parents at the after show gathering. The nativity is set in Mrs Horrocks’ classroom as the school hall renovation have been delayed due to the discovery of some Great Crested Newts. During the preparation for the nativity we learn that all is not calm and peaceful with the Flint Street class. For starters, the Angel Gabriel, played by Áine O’Neill-Mason is not happy that she isn’t playing Mary. Her righteousness that she should be playing Mary and her “let’s not talk to them”, ‘them’ being anyone who had the audacity to be ‘friends’ with Mary, was instantly recognisable to everyone- we all knew (or were!) someone like that at school. The Narrator for the play (Alana Moran) was desperately trying to learn her ‘words’ off-by-heart as her Mum was coming to watch. Her delivery of the narration as a child was so realistic it was almost cringeworthy! Alana is one of these actors blessed with natural comedy timing, to the point where the audience was laughing as soon as she came on stage in anticipation of the next line she was about to speak. Another of the actors with great comic delivery was Brett Waller who played the Innkeeper. He was having his own problems as he had a crush on Mary and was not happy about the amount of attention she was giving to the boy playing Joseph. The addition of the nerf gun to the innkeeper scene was a brilliant idea and made it even more sinister. Laura Jacobs played a very believable version of the Star, charging around the set in a Buzz Lightyear costume (another good idea) with a real star on a stick, because ‘Her Aunt Lou works for NASA and real stars don’t have points on them’. The set itself was of the classroom and remains the same throughout. At times, it could be confusing as I was not altogether sure if the action was taking place ‘on stage’ or in the wings. Perhaps using a projection on the back wall to skip between sets would have been beneficial.
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Rock of Ages
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Theatre Online Review
Review of Rock of Ages – Heanor Musical Theatre Company – The Palace Theatre, Mansfield – April 21st 2016 The Palace Theatre in Mansfield rocked for ages last night with the presence of the Heanor Musical Theatre Company and great rock songs such as Cum On Feel the Noise, We Built This City, Waiting for a girl like you, Here I Go Again and The Final Countdown. Rock of Ages is about Drew, an aspiring rock singer, who at the start of the show works as a bartender at the Bourbon Rooms club; he falls for Sherrie who wants to be an actress. However, as always, the course of true love, especially in rock musicals, never runs smooth! Throw into the mix a German developer who arrives to demolish the area in which the characters live, an over sexed fading rock star who also fancies Sherrie and you have the basis for a… rock musical. 
The shows Director, Kim Harris, along with his technical director, Paul Young, succeeded tonight in producing a show of considerable quality. It was full of excitement, energy, fun and powerful performances. The choreographer, Josephine Walker successfully combined rock informality with some carefully plotted dance and movement sequences. The Musical Director, Emily Marshall-Sims led a fine sounding band although there were a few times especially in Act 2, when they slightly overpowered the performers. This, I feel, was a problem more with the sound amplification and balance with the microphones rather than with the performers or musicians. This is, of course, a very loud show and I guess will always have this as a potential problem. However, the overall musical standard was very high throughout and Emily has obviously worked very hard with the cast to produce this. Scene changes were smooth and well handled by Stage Manager, John Thompson and his assistant Nathan Hird. The simple set and back projections complemented the production well, as did the lighting plot. The final ensemble song "Don't Stop believing" was sung with power and spirit. The cast were obviously enjoying themselves and this was infectiously transmitted to the audience, who responded with an enthusiastic and prolonged ovation. Many were standing. Well done to everyone involved in this production which was very well received by all at the Palace. The show continues until Saturday and is well worth buying tickets for. (David) |
There follows lots of great songs, dancing, movement, comedy and drama, which all combine to keep the story moving at a fast pace, although some of the songs did end rather suddenly but that is, of course, in the writing.
There were some very strong performances from the principals. Ben Jones, as Lonny, was very funny throughout, making the most of his role as narrator, dominating the stage every time he came on and usually making us laugh. Paul Mills, as Dennis Dupree excelled in the role of club owner with his great voice and spot on comedy timing. The Song, "I Can't fight this feeling," was brilliantly performed by Ben and Paul and was uproariously funny and almost brought the house down. We all loved it! Tom Lucking, as the rock singer Drew and suitor of Sherrie, was ideally cast and made the most of the opportunity to sing some great tunes using his lovely voice. Gemma Blake, in her first leading lady role as Sherrie, was absolutely wonderful. Her voice was fabulous and she acted with sincerity, passion, pathos and understanding. Paul Whitworth as Hertz Klineman, the German Developer and Brett Waller as as Franz Klineman as his son, who spoke these immortal words “I’m not gay, I’m just German,” were very well cast and worked well together. The audience loved Brett and in particular his physical comedy, which was great. Aine O'Neil-Mason as Regina, the leader of the anti development group was fantastic in her role and sang with incredible power and commitment. You really did get the feeling that no one was going to demolish anything while she was around! Al Tandy in the role of the Stacee Jaxx, the over sexed, yet lacking in real confidence, singer and Kathy Freeman as Justice the strip club madam were perfectly cast and really brought their respective roles to life. Everyone in the cast played important parts in the action, some in cameo roles. They were Katie Ward, Laura-Jane Jacobs, Alana Moran, Julia Harris, Ben Sherwin, Kerry Van de Broucke, Tracy Coope, Lucy Stokes, Alison woodruff, Lauren Victoria Wells, Molly Hewitt-Richards, Brianna Undy and Tom Clay. 
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I know, the storyline is a bit lame but it’s a good set of bones to hang a brilliant soundtrack of some of the best rock songs to. And these are delivered with great gusto with a live rocking band, complete with two brilliant guitarists, Richard Shaw and Ian Marshall who rock out at the end with the classic crowd pleaser “Don’t Stop Believing”. Ben Jones as Lonny, as well as the narrator of the show, brings a lovely comedy element to the show as well as having a very decent rock voice. Drew, the wannabe rocker, played by Tom Lucking, not only has the rock look but also has a really good rock voice, highlighted more in the second half of the show. Gemma Blake, is the love interest Sherrie, and like all the cast, she looks like she is having an absolute ball doing the show. Paul Mills plays club owner Dennis Dupree, and again adds a lot of the comedy to the show. There is a brilliant camp section (one of many) where Dennis and Lonny sing to each other Reo Speedwagon’s “Can’t fight This Feeling”, which has to be seen to be believed. Plus a very funny angelic appearance near the end. Heavenly! The German contingent of the play is represented by Paul Whitworth as Hertz Klineman and his son Franz Klineman, played by Brett Walker. Another brilliant comedy outing, or not as we learn later on in the musical, earning Brett a rapturous and well deserved round of applause. Al Tandy plays rock god Stacee Jaxx (also doubling as Sherrie’s father and a policeman), and another wonderful performance as the hard rocking, alcohol infused womaniser. A role he looked absolutely at home with. Aine O’Neill-Mason played Regina (so that’s how you pronounce it!!) and another cracking female voice, so powerful was her voice, she didn’t really need the amplification of a microphone. And what a cracking smile as well. Quite a big ensemble cast who I’d love to mention all by name but won’t due to space, but be known that you all really swelled the stage vocal wise and talent wise. 
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Kev Castle Review
Billed as “The Biggest Show In Town”; this could be true as Mansfield isn’t the biggest of towns, this is the first production that I’ve seen from The Heanor Musical theatre Company, and a pretty impressive introduction it was. “Rock Of Ages” is the story of a club, The Bourbon Rooms, one of the best clubs on Sunset strip. A venue for the rock chicks and rock guys. Run by Dennis Dupree with rock emcee, Lonny and wannabe rock star Drew. Drew bumps into Sherrie, the new girl in town after she was mugged seconds after she stepped foot in the city. Love walked in to Drew’s life. All does not go to plan though as a German business man is planning to bulldoze the strip which of course includes The Bourbon Rooms. How are they to save the club? Will Drew and Sherrie become more than just friends? Will the dreams created become a reality? All is revealed by the end of the show! 
Choreography, by Josephine Walker, was typical rock style which looked so good in the ensemble sections. Directed by Kim Harris and what a great feel good atmosphere he created through the actors and the whole show. A brilliant live band under the musical direction of Emily Marshall-Sims. At times it was almost like being at a rock concert such was the power emitting form the stage. Also creating that rock concert feeling was the lighting of the musical. I couldn’t see a credit for in the programme, but a brilliant atmosphere was given by whoever was the talent behind the lighting design.Really good timing on the cinematography backdrop as well. A brilliant soundtrack, often mashing songs a la “Glee”, including Slade’s ”C’Mon Feel The Noize”, Twsited Sister’s “I Wanna Rock” and “We’re Not gonna Take It”, Whitesnake’s “Here I Go Again”, Europe’s “The Final Countdown” as well as some brilliant rock ballads like REO Speedwagon’s “Keep on Loving You”, Poison’s “Every Rose Has It’s Thorn”, Survivor’s “The Search Is Over” and Foreigner’s “I Want To Know What love Is” among many other classics. If you want a good night out with some great rock songs and lovely comic touches, then the beautiful surroundings of Mansfield Palace Theatre is the place to head for, but it’s only there till Saturday 23 April 2016, so go on get your rocks off this weekend. Kev Castle |
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The Theatre Monkeys Review
Rock of Ages is centered around the Bourbon Rooms on the Sunset strip in Hollywood and is a rock show…obviously! It is all about Rock and rock songs. Well, that and love, strippers, sex, guitars, Mayors, Germans, development plots and of course the massive hits of the Rock anthems of old. All set in the latter part of the 80’s within the failing Bourbon Rooms Club, our rockers and their interests try not to ‘stop believing’ in what they want. Having seen this show performed a few months ago by another company, who incidentally raised the bar for amateur theatre, I thought “could it be beaten or even matched?” Well, Heanor Musical Theatre Company have done exactly that. Reaching that ‘bar’ with ease all the while making the production fun, entertaining and most of all look easy. As I entered the Mansfield Palace Theatre (having never been there before), I was pleasantly surprised that from this rather simple exterior, a grand entrance way into the auditorium stood proudly before me. However, before I entered I had to get into the spirit of the show so I had a bourbon to ease into the mood. Whilst sipping, I couldn’t help but notice the bar filled with a concoction of rockers both old and young all ready to get their socks rocked! Anyway, on with the show. Entering the auditorium the music was loud and in your face, perfect ‘tunes’ blaring out to get you ready and in the mood for the show. There was of course the dull hum of people singing along but too embarrassed to sing loudly. However by the end of this production the same could not be said; people were really rocking out as the band played the exit music. Taking my seat before the show started the curtains were drawn and you just had to wait for the ‘gig’ to start. The band, led by Musical Director Emily Marshall-Sims, erupted on to the stage in an orgy of rocky goodness as the curtains sprung open. BAM!! The stuff of legends, parading around the stage gyrating and thrusting, shredding the tunes as the stage filled with the cast. 
With the abundance of talent within this company, the story would not move along without the help of a narrator, and this role was left up to Ben Jones. Ben plays the part of Lonny, the ‘sound guy’ to the Bourbon Rooms and club owner Dennis Dupree’s…right hand man! He suited this role perfectly. I have seen him before in a number or other productions, but it was this role that I liked him the most. His comic timing, styling and look all created the force that was Lonny, even his voice both spoken and sung was great, with just the right amount of husky to say that he had lived the rockers lifestyle. He was a delight to watch, listen to and had the audience placed well within the palm of his hand. As I have mentioned before the song ‘I can’t fight this feeling’; well it was at this point the audience erupted into hysterics. Sheer brilliance and entertainment! Ben’s “Crawling on the floor” was unquestionably enough to warrant the applause he received, including a few whoops as well. Choreographer Josephine Walker has done a sterling job with this production, making the cast rock out and dance suitably to the classic rock tunes of the 80’s. Emily Marshall-Sims (MD) also has created a fantastic sounding cast and gathered some of the most talented rockers (the band). However, if I were to suggest one thing, it would be to move ever so slightly out of sight. For me, my eye was distracted every now and then by your conducting arms. I understand that you need to be seen by the band for cues, and that what I am suggesting probably can’t happen due to positioning. The set (Kim Harris and Paul Young) was simple and effective, and not once made it unbelievable; even the scene changes didn’t bring you out of the show. I especially liked the way the car was created, I have seen this many different ways, and this again was simple and very cleverly done. Costumes (Patricia Church) were fantastically 80’s, and I loved them. Lighting was incredible and at times felt as though I was watching a lighting display from an actual rock gig. Colours poured onto the stage lighting it brilliantly but never drowning it with too much tints/shades. Normally I am not a fan of projections as they are often not used well, or do not bring anything to a production. However sceneryprojections.com has created and delivered a great projection that was incredibly well timed and looked good too. One thing that needs to be addressed is the sound. Sure this is effectively a rock concert/production and that alone cause’s issues for any ‘sound guy’. It is the balance that was the real issue here, the vocals were incredible as were the band. However there were times throughout that the band drowned out the vocals, and vice versa. 
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Now, this cast looked fun, enthusiastic, energetic and entertaining. Not one of them looked like they didn’t want to be there. The vocal harmonies were spot on, and is a testament to the work that they have done. The ensemble throughout were vibrant and clearly loved banging out the tunes, especially with the opening numbers ‘ Cum on feel the noize’, ‘Paradise’ and ‘Goodtime’. By the end of the opening and a few scenes in, the audience and I were truly rocking with them…literally! Special mention to the three women who played the Bar-Girls/Strippers (Katie Ward, Laura-Jane Jacobs and Alana Moran) as their interactions with the cast, between themselves and the audience were brilliant. Little gestures thrown in and facial expressions just at the right times added to whatever was happening on stage. As this is a rock show, let me now talk about the rock God and leading man Tom Lucking. Tom’s portrayal of Drew, the bartender whose dream is to be a rock star, was exceptional. What a voice, and with such power, tonality and precision. Having spoken to him afterwards he mentioned that he was in two bands (not surprising), but also that this performance was his first ever on stage, in a musical! Well he fooled me, he eased into it effortlessly; oozing confidence when belting out the classics including ‘I wanna rock!’ and of course the final song ‘Don’t stop believing’, and yet the softer sweeter side of his voice during ‘Oh Sherrie’ was equally good adding to the character, and made me ever so slightly jealous. Speaking of Sherrie, the budding actress and love interest for Drew, Gemma Blake played this role so well that it was hard to believe that this was her first leading role. Her voice reminded me of Cyndi Lauper, and was equally as powerful. There was a sweet sincerity to her performance especially during ‘More than words’. Gemma’s and Tom’s voices complemented each other throughout, especially during ‘I wanna know what love is’. Paul Whitworth played Hertz Klineman the German developer well showing authority and confidence, although at times the accent went a little regional. That is the thing with accents, they are hard to do and to do naturally. Brett Waller as Hertz’s son Franz was brilliant. Delightfully camp and eccentric, that is until his ‘secret’ comes out…so to speak! His rendition of ‘Hit me with your best shot’ received one of the loudest and well deserved applauds I have heard in a long time. Paul Mills as Dennis Dupree the Bourbon Rooms owner was perfectly cast. His comic timing and his vocals really brought the character to life…and death! However what does need to be mentioned is, knowing Paul personally I don’t think I will ever be able to look at him in the same way again after watching his wonderfully loving and rather lewd movements in ‘I can’t fight this feeling’, I have not laughed so hard in a long time. A must see scene, and one I think everyone will remember for a long time to come. Al Tandy as Stacee Jaxx the sexually charged lead singer of the hit band Arsenal played his part well. He had the essence of a rock God, whilst battling with his inner demons of a lack of self-confidence down perfectly. Although I would have liked a little more ‘rock’ in his vocals, but that is just a personal thing and I am nit picking really. Aine O’Neill-Mason as Regina the ‘Power to the people’ protester had an incredibly stunning voice. Both powerful and tuneful, and she commanded that role, perfectly. Katy Freeman as Justice Charlier the Strip Club, sorry Gentleman’s Club owner had sass, dominance and a look that could probably kill if she let it. Although still having a voice that could touch your soul, she gave a superb rendition of ‘Any way you want it’. 
Overall, this show was ‘rocking bro’, a marvel to have seen; and the production team, the cast, the crew of Heanor Musical Theatre Company and especially the Director Kim Harris should feel proud, ecstatic and exhausted after what they have all achieved. This truly was “The BIGGEST show in town”. They threw down the gauntlet and they came out prosperous. Cannot wait to see what is next in store for this company…bring it on you rock brethren’s. Duncan Leech - The Theatre Monkeys |
The Addams Family Musical
There was a bit of a chill wind and a dark cloud above the Palace Theatre yesterday, despite the sun shining everywhere else in Mansfield. Later, when the blood red curtains opened it became obvious why. The Addams Family in all their glory was in town. That was, incidentally, after a single disembodied hand had been seen running up and down the theatre curtain! For the past 4 days The Heanor Musical Theatre Company have recreated possibly the strangest, weirdest, most macabre family in TV and comic book history. However, from the start it was obvious we were in for an enjoyable, hilarious and entertainingly good evening.
This show is a musical comedy based upon The Addams Family characters created by Charles Addams, which depict a ghoulish American family with an affinity for all things macabre. Numerous film and television adaptations of Addams' cartoons exist, but the musical, which is the first stage show based on the characters, is based upon the cartoons rather than the television and film characters.
The opening number introduced the main characters in the show with a catchy song called “When you’re an Addams.” The quality and power of the principals was very evident during this song. Leading the Addams clan was Kim Harris as Gomez and Yvonne Taylor as his wife, Morticia. Both were superb in their respective roles, being strong singers and great actors whose comic timing was perfect.
Their daughter Wednesday, who according to her Dad would soon grow up to be Thursday, was played by the outstandingly good Emily Marshall Sims. What a powerhouse of a singer and actor she is. Her rendition of “Pulled” was excellent and very much of a professional standard.
Brett Waller, who had actually shaved all his hair off, was hilarious as Uncle Fester, a very funny character in the show. He looked very much like the character in the cartoons and his vocal characterisation was spot on. He certainly wooed the audience with his talk of love and his infatuation with the moon.
A very important Addams Family character is Lurch, the Zombie butler, who, balancing on some very large shoes, entertained us with his strange noises (he doesn’t actually speak until right at the end of the show) and the very slow way he moved deliberately across the stage. Damon Hatton was marvellous in the role and as well as being ‘dead pan’ for most of the time he also occasionally sported a very cheeky smile!
Andrew Buxton was a charming and earnest Lucas Beinekes- Wednesday’s love interest- who, with the well cast Paul Whitworth and Trish Church who played his parents, made their ‘normal’ family a splendid contrast to the Addams. In particular, Trish’s fabulous solo in “Final Disclosure” was a real show stopper.
The youngest Addams member, the errant boy Pugsley, was played by the appropriately named, Billy Sweet. He has a lovely clear voice but also acted the part so well, staying in character as the not so sweet boy, who really enjoyed being tortured by his sister, Wednesday.
Sheila Warhurst who played Grandma, whose interaction with Pugsley was splendid. She was very funny in a number of cameo scenes.
The ensemble was very good and displayed the depth of talent in this company with some high quality singing and dancing. I really liked the dance and movement in two of the set piece numbers “Full Disclosure” and “The Moon and Me.” Well done to the choreographer, Helen Burton and the Musical Director, Charlotte Daniel. Incidentally I thought that the orchestra was very good and always at the right volume.
Adding to all this was the excellent use made of projections which were outstandingly good, in my view. I know that the jury is still out for many about using digital technology instead of traditional scenery but for me, in this case, it worked very well and contributed a lot to my enjoyment of the show. There were some traditional props used as well and the Stage crew under the direction of John Thompson moved these on and off the stage smoothly, quickly and almost invisibly.
The costumes were excellent and varied, making the Ancestors in particular look really good. A lot of make up was needed in this show as you can imagine and this looked excellent. Congratulations go to the make up designer Jessica Hill and also to Gemma Ryan who was responsible for the Ancestors.
Linked in with the excellent projections was a good lighting plot and excellent sound.
The show’s Director Damon Hatton and Technical Director, Paul Young have certainly produced a quality production which was appreciated by the audience, many of whom gave it a standing ovation. This is first time I have seen a show by this company and I certainly hope it will not be the last.
Having seen the show twice this week (in different venues) I have grown to like the music very much and the script is funny and generally well written. However, I felt that the second Act slows the action down somewhat as the plot is very much thinner. If it ever goes to the West End I suspect it will need some re writing to sustain a long run. However, that is no criticism of either production.
Supporting the Principal Actors very well in this show were:
Steve Radford, Michelle Vardy, Gemma Ryan, George Groom, Tracey Coope, Dorothy Platts, Lucy Stokes, Alison Woodruff, Kerry Van de Broucke, Josh Waldron, Stacey Hyndman, Emma Henshaw and Sara Ruston.
Well done to all concerned with this excellent production.
This show is a musical comedy based upon The Addams Family characters created by Charles Addams, which depict a ghoulish American family with an affinity for all things macabre. Numerous film and television adaptations of Addams' cartoons exist, but the musical, which is the first stage show based on the characters, is based upon the cartoons rather than the television and film characters.
The opening number introduced the main characters in the show with a catchy song called “When you’re an Addams.” The quality and power of the principals was very evident during this song. Leading the Addams clan was Kim Harris as Gomez and Yvonne Taylor as his wife, Morticia. Both were superb in their respective roles, being strong singers and great actors whose comic timing was perfect.
Their daughter Wednesday, who according to her Dad would soon grow up to be Thursday, was played by the outstandingly good Emily Marshall Sims. What a powerhouse of a singer and actor she is. Her rendition of “Pulled” was excellent and very much of a professional standard.
Brett Waller, who had actually shaved all his hair off, was hilarious as Uncle Fester, a very funny character in the show. He looked very much like the character in the cartoons and his vocal characterisation was spot on. He certainly wooed the audience with his talk of love and his infatuation with the moon.
A very important Addams Family character is Lurch, the Zombie butler, who, balancing on some very large shoes, entertained us with his strange noises (he doesn’t actually speak until right at the end of the show) and the very slow way he moved deliberately across the stage. Damon Hatton was marvellous in the role and as well as being ‘dead pan’ for most of the time he also occasionally sported a very cheeky smile!
Andrew Buxton was a charming and earnest Lucas Beinekes- Wednesday’s love interest- who, with the well cast Paul Whitworth and Trish Church who played his parents, made their ‘normal’ family a splendid contrast to the Addams. In particular, Trish’s fabulous solo in “Final Disclosure” was a real show stopper.
The youngest Addams member, the errant boy Pugsley, was played by the appropriately named, Billy Sweet. He has a lovely clear voice but also acted the part so well, staying in character as the not so sweet boy, who really enjoyed being tortured by his sister, Wednesday.
Sheila Warhurst who played Grandma, whose interaction with Pugsley was splendid. She was very funny in a number of cameo scenes.
The ensemble was very good and displayed the depth of talent in this company with some high quality singing and dancing. I really liked the dance and movement in two of the set piece numbers “Full Disclosure” and “The Moon and Me.” Well done to the choreographer, Helen Burton and the Musical Director, Charlotte Daniel. Incidentally I thought that the orchestra was very good and always at the right volume.
Adding to all this was the excellent use made of projections which were outstandingly good, in my view. I know that the jury is still out for many about using digital technology instead of traditional scenery but for me, in this case, it worked very well and contributed a lot to my enjoyment of the show. There were some traditional props used as well and the Stage crew under the direction of John Thompson moved these on and off the stage smoothly, quickly and almost invisibly.
The costumes were excellent and varied, making the Ancestors in particular look really good. A lot of make up was needed in this show as you can imagine and this looked excellent. Congratulations go to the make up designer Jessica Hill and also to Gemma Ryan who was responsible for the Ancestors.
Linked in with the excellent projections was a good lighting plot and excellent sound.
The show’s Director Damon Hatton and Technical Director, Paul Young have certainly produced a quality production which was appreciated by the audience, many of whom gave it a standing ovation. This is first time I have seen a show by this company and I certainly hope it will not be the last.
Having seen the show twice this week (in different venues) I have grown to like the music very much and the script is funny and generally well written. However, I felt that the second Act slows the action down somewhat as the plot is very much thinner. If it ever goes to the West End I suspect it will need some re writing to sustain a long run. However, that is no criticism of either production.
Supporting the Principal Actors very well in this show were:
Steve Radford, Michelle Vardy, Gemma Ryan, George Groom, Tracey Coope, Dorothy Platts, Lucy Stokes, Alison Woodruff, Kerry Van de Broucke, Josh Waldron, Stacey Hyndman, Emma Henshaw and Sara Ruston.
Well done to all concerned with this excellent production.
Murder on the Dancefloor!
HEANOR MTC HAVE WALTZED THEIR WAY INTO A NEW ERA WITH THEIR LATEST PRODUCTION OF MURDER ON THE DANCE FLOOR (ON TOUR!). This original piece of writing by two company members, Debbie Twells and Brett Hart is a real treat.
Known in the past for its musical productions, the newly reformed Heanor Musical Theatre Company & Rising Stars, (albeit a smaller venture), have branched out into producing and performing plays and this, their first, is testament to their perseverance and commitment to keeping the company in the public eye while delivering good, heart warming, local theatre.
Presented as a homage to ‘Strictly Come Dancing’ entitled ‘Let’s Dance’, the audience is introduced to our hosts for the evening by the Floor Manager (Dorothy Platts), who has a great interactive rapport with the audience. Her performance transports the audience into the studio, from where they watch the production unfold, reacting to the cue cards of ‘applause’ and ‘laugh’, all the while ably cajoled by the winking, charismatic Dorothy.
‘Brucie’ is transformed into Frank Forsooth (Tony Wignall), a wig-wearing, bad joke telling TV has-been, who craves one last chance at fame. With his glamourous side kick, Bess Weekly (Samantha Rainey), they engage the audience in some ‘Strictly’-style banter before paving the way for the entrance of the judges: Cameron Badman, Tony Brunioli and Lavinia Chandler-Brown.
POISE AND ELEGANCE
Kim Harris is excellent as Cameron Badman. Every inch the natural performer, Harris plays a womanising, cockney chauvinist whose mission is to get one up on the lovely Lavinia. In turn, Lavinia (Julia Harris) gracefully rises above the lewd comments and glides across the stage with poise and elegance. The secret chemistry between them both is evident and superbly played.
The final judge of ‘Let’s Dance’ is Tony Brunoli, played brilliantly by Brett Waller; a real homage to Bruno Tonioli. His flamboyant character parades around the stage and takes every opportunity he can to try to steal the show.
CONVINCINGLY CONFIDENT PERFORMANCES
The principal dancers, John Widdercome and Krystal Romanov (played by Mark Pike and co-writer of the play Debbie Twells) deliver convincingly confident performances as they present their routines to the judges while make up artist Jenny Jones (Alison Woodruff), quietly goes about her business making the stars of the show look dazzling onstage.
As the title of the play suggests, one of these characters is murdered and at the end of act one, but ‘who-done-it?’
A variety of amusingly-named characters appear to help solve the mystery: the on-call doctor, Angie O’Gramm (Shiela Warhurst), Inspector Calls (Janet Wignall) and Constable Sergent (Joshua Waldron).
A GREAT NIGHT OF ENTERTAINMENT IN HEANOR
Multi-media was cleverly used to provide the audience with further clues as to who committed the murder and with ‘Strictly’ references aplenty woven into the slick and well-delivered scenes, it made for a great night of entertainment.
The cast were very well choreographed by director Patricia Church and the simple, effective set lends itself well to a tourable production. Here’s hoping that the newly revived Heanor Musical Theatre Company dance their way to many more successful productions in the future.
Known in the past for its musical productions, the newly reformed Heanor Musical Theatre Company & Rising Stars, (albeit a smaller venture), have branched out into producing and performing plays and this, their first, is testament to their perseverance and commitment to keeping the company in the public eye while delivering good, heart warming, local theatre.
Presented as a homage to ‘Strictly Come Dancing’ entitled ‘Let’s Dance’, the audience is introduced to our hosts for the evening by the Floor Manager (Dorothy Platts), who has a great interactive rapport with the audience. Her performance transports the audience into the studio, from where they watch the production unfold, reacting to the cue cards of ‘applause’ and ‘laugh’, all the while ably cajoled by the winking, charismatic Dorothy.
‘Brucie’ is transformed into Frank Forsooth (Tony Wignall), a wig-wearing, bad joke telling TV has-been, who craves one last chance at fame. With his glamourous side kick, Bess Weekly (Samantha Rainey), they engage the audience in some ‘Strictly’-style banter before paving the way for the entrance of the judges: Cameron Badman, Tony Brunioli and Lavinia Chandler-Brown.
POISE AND ELEGANCE
Kim Harris is excellent as Cameron Badman. Every inch the natural performer, Harris plays a womanising, cockney chauvinist whose mission is to get one up on the lovely Lavinia. In turn, Lavinia (Julia Harris) gracefully rises above the lewd comments and glides across the stage with poise and elegance. The secret chemistry between them both is evident and superbly played.
The final judge of ‘Let’s Dance’ is Tony Brunoli, played brilliantly by Brett Waller; a real homage to Bruno Tonioli. His flamboyant character parades around the stage and takes every opportunity he can to try to steal the show.
CONVINCINGLY CONFIDENT PERFORMANCES
The principal dancers, John Widdercome and Krystal Romanov (played by Mark Pike and co-writer of the play Debbie Twells) deliver convincingly confident performances as they present their routines to the judges while make up artist Jenny Jones (Alison Woodruff), quietly goes about her business making the stars of the show look dazzling onstage.
As the title of the play suggests, one of these characters is murdered and at the end of act one, but ‘who-done-it?’
A variety of amusingly-named characters appear to help solve the mystery: the on-call doctor, Angie O’Gramm (Shiela Warhurst), Inspector Calls (Janet Wignall) and Constable Sergent (Joshua Waldron).
A GREAT NIGHT OF ENTERTAINMENT IN HEANOR
Multi-media was cleverly used to provide the audience with further clues as to who committed the murder and with ‘Strictly’ references aplenty woven into the slick and well-delivered scenes, it made for a great night of entertainment.
The cast were very well choreographed by director Patricia Church and the simple, effective set lends itself well to a tourable production. Here’s hoping that the newly revived Heanor Musical Theatre Company dance their way to many more successful productions in the future.