The Producers - Norfolk and Norwich Operatic Society
02/02/2010
It was one of the great Broadway hits of the past decade and last night Mel Brooks' musical The Producers made an impressive transition to the Theatre Royal stage courtesy of the Norfolk and Norwich Operatic Society.
New York, 1959, and Max Bialystock is a down-on-his-luck producer. Once all he touched turned to gold; now the papers are queuing up to slate him. As he admits, “the reviews come out a little faster when the critics leave at the intermission”. Shows such as 'When Cousins Marry' and 'Funny Boy', a musical version of Hamlet, have failed to resurrect the self-styled King of Old Broadway's career - so along with his nerdy accountant Leo Bloom, he hits on a plan: get a huge amount of financial backing for the worst show ever, watch it fold after one night and make off with the money.
When they find pigeon-keeping Nazi Franz Liebkind's musical Springtime for Hitler and team it with outrageously camp director Roger DeBris, who “couldn't direct you to the bathroom”, they're sure they'll have a flop on their hands.
But some things are so bad they're good…
The only signs that this was the first night of an amateur production were the tardy scene-changing and a rather muted opening minute or two, but the cast quickly found their voices. Nick Bird was assured as Bialystock and Laurence Guymer was winningly energetic as the neurotic Bloom. Holly Graham's vocals were superb as the Swedish blonde bombshell actress Ulla and Adrian Wright was hilarious - first as DeBris, then by taking the 'star' role in Springtime for Hitler as a mincing Fuhrer with “a song in his heart”. It is a show better known for its humour than for sing-along songs, but numbers such as Along Came Bialy and Keep it Gay are certainly memorable.
The ensemble cast totalled almost 50 and as ever with the N&N had a live orchestral backing. Together they more than did The Producers justice: it was well sung, danced and acted and, most of all, very funny.
Westside Story
Michael Drake 27th January 2009 – Eastern Daily Press
"Hard to believe that this is an amateur cast"
This is one of those shows which has become part of theatrical landscape - not surprising, as it is over 50 years since Bernstein's music and Sond-heim's libretto first hit the streets.
Their contemporary version of Romeo and Juliet involves Tony (an ex-Jet), a third-generation Polish-American, who falls in love with Puerto Rican immigrant Maria, the sister of the rival Sharks' leader. There's the recipe for trouble that has filled many a professional and amat-eur stage, as well as the film version.
Against this background of clashing street gangs are the songs, which have become standards, and the Society gave them a creditable hearing. They are so well known, but nevertheless Tonight, Maria, America and Some-where all had the real feel of the action.
Josh Lincoln as Tony has a pleasant voice, although sometimes lost in the higher register, while Liz Futter (Maria) looks and sounds pretty, and they work well together as believable characters. Riff (Shane King) and Anita (Holly Graham) have a real presence, vocally and physically, while the dance scenes are slick and colourful - America is one of the best sequences - lively and disciplined.
The orchestra too, under Geoff Davidson, was splendid. The rhythm is always there and it is not easy music. And throughout the tension instilled by director and choreo-grapher Jeremy Tustin is obvious, while scene changes are subtly made.
Overall it is often difficult to believe this is an amateur cast. If there are any tickets left, see it!
Their contemporary version of Romeo and Juliet involves Tony (an ex-Jet), a third-generation Polish-American, who falls in love with Puerto Rican immigrant Maria, the sister of the rival Sharks' leader. There's the recipe for trouble that has filled many a professional and amat-eur stage, as well as the film version.
Against this background of clashing street gangs are the songs, which have become standards, and the Society gave them a creditable hearing. They are so well known, but nevertheless Tonight, Maria, America and Some-where all had the real feel of the action.
Josh Lincoln as Tony has a pleasant voice, although sometimes lost in the higher register, while Liz Futter (Maria) looks and sounds pretty, and they work well together as believable characters. Riff (Shane King) and Anita (Holly Graham) have a real presence, vocally and physically, while the dance scenes are slick and colourful - America is one of the best sequences - lively and disciplined.
The orchestra too, under Geoff Davidson, was splendid. The rhythm is always there and it is not easy music. And throughout the tension instilled by director and choreo-grapher Jeremy Tustin is obvious, while scene changes are subtly made.
Overall it is often difficult to believe this is an amateur cast. If there are any tickets left, see it!
Titanic the Musical
David Porter
29th January – Eastern Daily Press
If you think the sinking of the Titanic is a strange subject for a musical then you’re in good company. However, with such quality performing and all the human interest you want, it’s a great show. It’s full of mini tales about real people, though the relentless inevitability of the ship being pushed ever faster while iceberg warnings keep coming in is the big story.
It is compelling. The music and songs convey the impending disaster right into your heart.
Jeremy Tustin, the director, captures the sense of tragic destiny against the folly of people believing that the largest moving object on earth couldn’t sink.
Geoffrey Davidson conducts a magnificent orchestra that swells into the revamped Theatre royal just beautifully.
The long first halp sets sail with cameo building climaxing in the terrible crunch as the iceberg hits. The second half accelerates as fate sends some into lifeboats and some to die.
Suddenly the contrast between first and second class passengers counts for nothing. It’s every man for himself.
The Captain (John McInnes) plays it world eary until suddenly the enormity of the calamity weighs him down.
It’s a minor masterpiece of musical theatre. It’s a major hit for the Norfolk and Norwich Operatic Society.
42nd Street
Robert Wright
30th January 2007 - EDP
Apart from the war years the Norfolk and Norwich Operatic Society has put on a production every year since 1925. It is therefore fitting that this year's show is set in the New York Theatre-land of 1933.
It is a stunning production with so much talent both on the stage and in the orchestra.
Playing Peggy is Hannah Wilson, and what a lovely personality she portrayed in this role. She captured the naivety of youth but showed strength and determination in wanting to succeed. Her combined talents of dancing, singing and acting were a joy to watch.
The 'wicked witch' character was Dorothy, played bby Linda Campbell. She did a wonderful job of being the self-opinionated 'star' but she had a great singing voice to throw in.
Maggie (Laura Marvell) was a character of her own. Not one to argue wth and certainly a stage prescence to match. The role of Julian marsh was performed by Greg Fitch. He certainly showed he was in charge. I was especially moved when he beautifully sang 'Lullaby of Broadway' which led up to an exciting crescendo when the rest of the cast came on stage.
The scene changes were slick and smooth and the set was highly imaginative with terrific use of lighting. Although the stage was often packed with the cast in colourful costumes it was never overcrowded. Quite a feat in choreography.
The show is packed with many toe-tapping favourites including 42nd Street, We'reIn The Money and You're Getting To Be A Habit With Me. You will also enjpoy plenty of humour in the many one-liners and at the other end of the scale you will see the raw emotion of life. Dorothy and Peggy's duet in About A Quarter To Nine summed this up when hatred turned to forgiveness and ultimately Dorothy wishing Peggy success.
What an exciting and spectacular show.
Oklahoma
JACQUELINE BRIGGS
24 January 2006 15:18
> Norwich Theatre RoyalDid you know that January 23 was supposed to be the most depressing day of the year? A perfect antidote was my visit to the Norfolk and Norwich Operatic Society's production of Oklahoma!
A packed audience at the Theatre Royal were treated to a marvellous show with a first rate cast who acted and sang their socks off.
Chris Dilley was an energetic and believable Curly and Sarah Pryde sang Laurey's role beautfully. Christine Mullord shone in the warm, human role of Aunt Eller, and Stephanie Moore (Ado Annie) and Paul Woodhouse (Will Parker) were very funny as the sparring cowboy and flighty Miss he wishes to marry.
I was very impressed by Tony Joslin's wonderful turn as Ali Hakim, he's a natural and very funny comedian.
Huw Jones' deep voice and air of menace as Jud Fry really chilled the audience, quite properly (he's an arsonist and a murderer - heavy stuff for a musical), and step forward Ray Jeffery, director and choreographer and Jenny Bugg, dance captain; the dance routines were superb and gorgeously costumed.
The saloon gals of Agnes de Mille's dream ballet deserve a special mention as well - their macabre dance to “I'm Just A Girl Who Can't Say No” was quite spine-tingling and it was a pleasure to listen to the orchestra who were pitched perfectly for the theatre. Some of the amplified singing was a shade too loud and some of the words gabbled, so it was occasionally difficult to hear Oscar Hammerstein's superb lyrics, but these are minor complaints, because the Society has triumphed with yet another great show.
Banish the blues and see Oklahoma!
Why not have a look at our Photo Gallery. We will be constantly adding photos from previous shows |
 |
 |
 |