Half a Sixpence
Sat, 16 June 2001, 02:45 pmAmanda Chesterton2 posts in thread
Half a Sixpence
Sat, 16 June 2001, 02:45 pmSome of you may remember my tirade a few weeks back about how much I hate poorly performed, overambitious amateur musical theatre. Well, Wanneroo Repertory's Half a Sixpence has restored my faith that it is possible to mount a community theatre musical that makes for a genuinely enjoyable night at the theatre.
To start, I will get my two gripes out of the way. I suggest that you don't let my first gripe put you off going to a generally fun show - the musical and book itself have not endeared themselves to me. At best, the script is quaint, at worst, cheesy and predictable. If you're unfamiliar with the show, think 'Me and My Girl', with slightly less memorable music and a less pacy (and less humerous) script. My second gripe can be summed up in one word - PROJECTION. I am neither old nor hard of hearing, but a lot of important dialogue was lost to me due to the inability of most of the cast to make themselves heard. This was a real shame, as it was clear that in every other aspect, the performers were energised and interesting to watch. This criticism implies to both the spoken text and the singing, which, although radio miked, barely made it over the orchestra pit. It was a bit of a worry when the two or three people who were projecting well, drowned out the other 20-odd people on stage.
Now to the good bits...
You could be forgiven for thinking that the role of protaganist Arthur Kipps was written for the lead in this production, Chris Kabay. With a slight, Frank Spenser-ish build, impeccable comic timing, and the most beautiful music theatre tenor you are likely to hear on any professional or amateur stage, Chris stole the show lock, stock and barrel. The best thing about his performance, was that he always geared it to those around him - never outshining anyone, but still giving a masterful performance. His solo, 'She's too Far Above Me' was well and truly worth the price of admission, and made any inadequacies in the script disappear.
As his on-again, off-again working-class girlfriend, Ann, Joanne Wheatley was sweet and endearing with a lovely tanty at the end of the first half. As his other love-interest, Christina Burns made interesting work of Helen Walsingham. At first I was unconvinced by her slightly detached performance, however as we gradually realise that she is not the girl for our boy Kipps, her lack of passion makes it obvious why he chooses the fiestier Ann over her.
In other parts, the wonderful Ryan Taaffe was thoroughly repulsive as Helen's older brother William. With the slicked back hair, boyish looks, and snotty accent you almost wanted to boo him every time he walked on stage, and weren't at all surprised when he nicked off with Kipps's money. Chris Henderson as Harry Chitterlow was sensational. A veritable 'hamosaurus', his rendition of 'The bells, the bells' was a riot. In the smaller speaking parts, I was particularly impressed by Simon Nichols as the Bolshie Sid, and Althea Gordon as his girlfriend Flo - she, along with Chris K, Ryan, and Chris H, being one of the only performers with good projection.
The chorus was enthusiastic and energetic, with a wonderful range of ages presented, which helped a great deal with the believability of the crowd scenes. A standout chorus girl was Laura Tanner - she had a lovely stage presence and was a beautiful dancer. Dixie Lee Harris, in the very small part as Laura, has the best set of legs I've seen in a long time - I'm not going to cast my vote about her age, but she wasn't twenty, and she was spectacular.
I must say however that the bouquets for this production go to the choreographer, Tanya Skoglund. Her choreography was very simple, based upon elementary classical and soft-shoe steps, but at the same time was thoroughly enjoyable to watch. Her group numbers, especially 'Money to Burn' and 'Flash, Bang, Wallop' were stirring and genuinely funny. I have endless respect for choreographers who can choreograph for such a wide range of abilities as appeared in this show, without making people stand out for being really good, really bad, or just very uncoordinated.
The staging and costuming of the show was also lovely - each person must have had about three costume changes!
Well done to Wanneroo Rep. I look forward to seeing your next productions.
To start, I will get my two gripes out of the way. I suggest that you don't let my first gripe put you off going to a generally fun show - the musical and book itself have not endeared themselves to me. At best, the script is quaint, at worst, cheesy and predictable. If you're unfamiliar with the show, think 'Me and My Girl', with slightly less memorable music and a less pacy (and less humerous) script. My second gripe can be summed up in one word - PROJECTION. I am neither old nor hard of hearing, but a lot of important dialogue was lost to me due to the inability of most of the cast to make themselves heard. This was a real shame, as it was clear that in every other aspect, the performers were energised and interesting to watch. This criticism implies to both the spoken text and the singing, which, although radio miked, barely made it over the orchestra pit. It was a bit of a worry when the two or three people who were projecting well, drowned out the other 20-odd people on stage.
Now to the good bits...
You could be forgiven for thinking that the role of protaganist Arthur Kipps was written for the lead in this production, Chris Kabay. With a slight, Frank Spenser-ish build, impeccable comic timing, and the most beautiful music theatre tenor you are likely to hear on any professional or amateur stage, Chris stole the show lock, stock and barrel. The best thing about his performance, was that he always geared it to those around him - never outshining anyone, but still giving a masterful performance. His solo, 'She's too Far Above Me' was well and truly worth the price of admission, and made any inadequacies in the script disappear.
As his on-again, off-again working-class girlfriend, Ann, Joanne Wheatley was sweet and endearing with a lovely tanty at the end of the first half. As his other love-interest, Christina Burns made interesting work of Helen Walsingham. At first I was unconvinced by her slightly detached performance, however as we gradually realise that she is not the girl for our boy Kipps, her lack of passion makes it obvious why he chooses the fiestier Ann over her.
In other parts, the wonderful Ryan Taaffe was thoroughly repulsive as Helen's older brother William. With the slicked back hair, boyish looks, and snotty accent you almost wanted to boo him every time he walked on stage, and weren't at all surprised when he nicked off with Kipps's money. Chris Henderson as Harry Chitterlow was sensational. A veritable 'hamosaurus', his rendition of 'The bells, the bells' was a riot. In the smaller speaking parts, I was particularly impressed by Simon Nichols as the Bolshie Sid, and Althea Gordon as his girlfriend Flo - she, along with Chris K, Ryan, and Chris H, being one of the only performers with good projection.
The chorus was enthusiastic and energetic, with a wonderful range of ages presented, which helped a great deal with the believability of the crowd scenes. A standout chorus girl was Laura Tanner - she had a lovely stage presence and was a beautiful dancer. Dixie Lee Harris, in the very small part as Laura, has the best set of legs I've seen in a long time - I'm not going to cast my vote about her age, but she wasn't twenty, and she was spectacular.
I must say however that the bouquets for this production go to the choreographer, Tanya Skoglund. Her choreography was very simple, based upon elementary classical and soft-shoe steps, but at the same time was thoroughly enjoyable to watch. Her group numbers, especially 'Money to Burn' and 'Flash, Bang, Wallop' were stirring and genuinely funny. I have endless respect for choreographers who can choreograph for such a wide range of abilities as appeared in this show, without making people stand out for being really good, really bad, or just very uncoordinated.
The staging and costuming of the show was also lovely - each person must have had about three costume changes!
Well done to Wanneroo Rep. I look forward to seeing your next productions.
RE: Half a Sixpence
Tue, 19 June 2001, 02:32 pmWalter Plinge
Dear Amanda
I read your review with great interest, Amanda, and felt that I must respond!
I take your point regarding projection and aim to photocopy your review (with selected parts highlighted) to show some of my cast that I am not alone in requesting more volume/projection from them.
You suggested that the play might well have been written for the lovely Chris Kabay. Well, he has certainly made it his own and I delight in his performance. Every night he seems to find another line, another move or just a beautifully placed look to bring more to his appreciative audience.
(The role was, of course, written for its original lead, Tommy Steele, in the late 50's/early 60's.)
Yes, it is a quaint little script, much as the previous one I directed a couple of years ago - "Charlie Girl" - written by the same authors. But musicals of this era were actually meant to be or expected to be that way, therefore it certainly achieved its goal!!
You used a word in your appraisal of Joanne Wheatley that I am not familiar with - neither are any of my colleagues. "Tanty" ?? Do you mean tantrum, or some derivation of that word??
I join you in your praise of Tanya Skoglund. She was set a very difficult task with many non-dancers in the ensemble but she was certainly equal to the challenge. This was her first complete show at Wanneroo and I think the first of many.
By the way, on closing, each member of the play had a minimum of four costume changes and many, such as the principals, had 6 or 7! Bouquets for the wardrobe ladies!!
Regards
Shelley Tinsley (Director of "Half a Sixpence")
I read your review with great interest, Amanda, and felt that I must respond!
I take your point regarding projection and aim to photocopy your review (with selected parts highlighted) to show some of my cast that I am not alone in requesting more volume/projection from them.
You suggested that the play might well have been written for the lovely Chris Kabay. Well, he has certainly made it his own and I delight in his performance. Every night he seems to find another line, another move or just a beautifully placed look to bring more to his appreciative audience.
(The role was, of course, written for its original lead, Tommy Steele, in the late 50's/early 60's.)
Yes, it is a quaint little script, much as the previous one I directed a couple of years ago - "Charlie Girl" - written by the same authors. But musicals of this era were actually meant to be or expected to be that way, therefore it certainly achieved its goal!!
You used a word in your appraisal of Joanne Wheatley that I am not familiar with - neither are any of my colleagues. "Tanty" ?? Do you mean tantrum, or some derivation of that word??
I join you in your praise of Tanya Skoglund. She was set a very difficult task with many non-dancers in the ensemble but she was certainly equal to the challenge. This was her first complete show at Wanneroo and I think the first of many.
By the way, on closing, each member of the play had a minimum of four costume changes and many, such as the principals, had 6 or 7! Bouquets for the wardrobe ladies!!
Regards
Shelley Tinsley (Director of "Half a Sixpence")