THERE were, apparently, 85 episodes – or about forty two and a half hours’ worth - of this comedy shown on TV during the 1980s, but you’ll be relieved to hear that this stage version is condensed considerably and runs for just slightly over two hours, including an interval.
THE Regent Centre in Christchurch was built in 1931 so is currently celebrating its 80th Anniversary, and this concert was just one of the events in the ‘anniversary calendar’. The groups taking part were Christchurch Gilbert and Sullivan Society, Highcliffe Charity Players, Poole and Parkstone and Theatre 2000, not forgetting the host of ever-present volunteers who make the Regent Centre one of the cornerstones of the community.
Blue Remembered Hills is set in World War II, following the lives of the war-time children who must find ways to entertain themselves. This play sets out to build childhood memories and events and, in the director’s own words, show “an analysis of human interactions.”
CABARET is always a dark musical, showing human relationships being played out in an increasingly fraught manner as the spectre of Nazism begins to rear its ugly head in pre World War II Berlin - although it does, nonetheless, have its brighter moments.
THEATRE 2000 continue their excellent re-visiting of Rodgers & Hammerstein classics with Carousel, in a production directed by Albert Brown. The moment Lee Marchant's fantastic orchestra struck the opening notes, I knew we were in for a treat and the evening did not disappoint on any level.
MILTON Musical Society are celebrating Charles Dickens’ 200th anniversary with their joyous production of Oliver!. Dickens would have approved, but he may well have failed to recognize much of his sinister book from Lionel Bart’s lighter interpretation.
ON my way to the theatre, excited to see of one of the most well-crafted English plays of the 1900s, I promised myself that when I wrote the review for Arena Theatre's version of Pygmalion that I wouldn't mention 'My Fair Lady' at all in my review. Alas I'm going to fail to keep my promise. Let me explain...
TODAY’S children have so much entertainment thrown at them through so many different media that it is heartening to feel the excitement of a young audience at a traditional pantomime like Highcliffe Charity Players’ fortieth panto, ‘Red Riding Hood’. This is one of the more polished local societies, and details like the very professionally written and designed programme put one from the start in a mood to be impressed. That mood continues as the lights go up on the first of a series of really excellent and imaginatively-lit sets and well-executed dance numbers, right through to the cascade of glitter from the Regent Centre ceiling at the final curtain.
THIS is the second production by Theatre 2000 I have attended in the last six months, the first being 'Strictly at Christmas' at Burley Village Hall at the end of last year. After that production somebody commented: 'Theatre 2000, mad as a box of frogs'. I couldn't agree more, they certainly are that. If they ever had a tag line it should be 'Theatre 2000, expect the unexpected', because that's exactly what happens time and time again
THESE days it is, to use the modern vernacular, cool to be in a choir, not to mention the fact that singing has long been known as a beneficial activity. Certainly the 120-strong Funkies gave every indication in this excellent concert that they were having a ball, and that enjoyment came over to the audience in no uncertain terms.
THE works of Rodgers and Hammerstein are part of the staple diet for musical theatre societies: think ‘Oklahoma’, ‘Carousel’, ‘South Pacific’. ‘The King and I’ is not seen as often as these old favourites, perhaps because it is less of an ensemble show. Apart from the set-piece ballet in the second act, the ladies’ chorus has precious little to do except to look beautiful and submissive, and the show would be a good choice for a society which finds it difficult to raise a men’s chorus, because there isn’t one.
THE Yeomen of the Guard is the Marmite among G&S operettas. Its comparatively serious plot, its unusual lack of satire and its pathetic central character mean that it is liked and disliked in equal measure. It is therefore a challenge to stage, and nothing would give me more pleasure than to report that Christchurch G&S Society’s production rises to that challenge. Sadly, it does not.
