Previous Productions -

BAOS Goes to Hollywood

PRESENTATION

The purpose of this type of BAOS production is to allow members of the company to take on bigger roles and develop their potential and skills thus providing an enviable opportunity which is seldom squandered. Here, as in previous shows I’ve seen, the company really embraces the moment. The hall was laid out in part cabaret and part rowed seating which created an informal but energised audience atmosphere long before curtain up. Tabs were in and upon opening the set was an art deco style with flats either side of the stage - glitter and sparkle a plenty. Attractive and basic but functional. The 8-piece band were actually on stage (a nice change!) on raised staging upstage. This allowed the full company to perform on the forestage and given the numbers, this shared space worked well. There were a few ‘hall’ chairs used for some numbers and although lacking style and not particularly ‘Hollywood’, it didn’t seem to matter. Stage Management by the 13 strong tech team was low key and efficient and they kept the show moving with little interruption. Effectively, this was a concert production with some 30 numbers of varying style and genre’s making the format a smooth transition from song to song and it worked well. Minimal interruption, maximum performance. The cast of 21 and the 11, yes 11 choreographers created a memorable and slick evening of music and dance of a high standard. Moving from number to number with a good range of lighting and sound effects headed by Paul Lewis, particularly impressive in the El Tango de Roxanne number. Interestingly though not surprising given the sheer number of songs, some were backing tracks and the band looked slightly awkward when these were playing - I wondered if there was an opportunity to have them more engaged with the onstage action instead of maybe prepping up their next cue, there could have been some fun here.

TECH AND EFFECTS

The tech plot was well executed throughout. The sound balance with the head mic’s was even and the music didn’t overpower. With so many, there were minimal issues. There were a few gaps when the company waited for a light to come up or a music cue was a tad slow in the early stages but these things happen on an opening night and it didn’t detract. WARDROBE The production covered a wide time span, from Ancient Greece to modern times and the costume department delivered with great aplomb. Huge and impressive array of glamorous outfits and a range of period costume. The team ensured that the company had the right look for each number – doubly important if you don’t have set of props to convey the context. Great work. DIRECTION by Amber Mears-Brown This is a production of many moving parts and lacks a complex narrative other that an era and theme, as result it could be disjointed and random. Here, I thought the choice and variance of the content worked really well. The range of numbers was well chosen and I liked the way you didn’t adhere to a limited timeline – the various decades were random and it kept the audience guessing – the juxtaposition of I’m Just Ken and the Lullaby Oldies Medley was a case in point – two vastly different genres but somehow working together. I like the dynamic changes too – switching the pace and energy from ballad to showstopper – always keeping the audience guessing, and the cast agile enough for lightning changes of costume. As a first time director, you did well a complex production that worked well.

CHOREOGRAPHY by Becky Hennessy, Heidi Hardacre, Catt Hurman, Charlie Cartwright, Charlie Rowlands, Ellie Hall, Gabbie Love, Jess Bell, Meg Gould, Sam Mitchell and Steph Watts.

This production showcased virtually every dance style going from tango to the big tap musical numbers. All of which need much work and detailing with a big cast. I cannot imaging how the rehearsal schedule looked at the start – so many numbers and so many cast. There were several standout numbers – Anything Goes, Choreography, At The Ballet, Tango, Masquerade, 42nd Street, From Now On – all very impressive. Then there was We Both Reached and I’m Just Ken – big audience favourites. All in all, a superb showcase for all eleven of you. Fine work.

MUSICAL DIRECTION by Naomi Lane

This was a busy show for you and the band – many numbers of varying styles and coming in quick succession. I can endorse that you and the band delivered a wonderful soundscape for the cast. There were many highlights and the vocals were consistently good and some even transcended that! As mentioned there was probably an opportunity to engage the band more with the action – perhaps nothing more than just a participatory glance. I thought the Bond medley was very well constructed and performed. Some brave song choices too – only undertaken if the cast could handle them. They could - a challenging score but you and the band rose to it. Well done.

THE CAST in order of appearance Rob Hardacre, Maegan Bryon, Ewan Poole-Gleed, Becky Hennessy, Rob Ridd, Meg Gould, Brett Chandra, Sarah Joseph, Dan O'Hare, Amber Mears-Brown, Steph Watts, Lorna Wheeler, Dominic Callaghan, Jadine Griffee, Josie Smith, Jake Wheeler, Heidi Hardacre, Catt Hurman, Sarah Bailey Jaryd Evans and Tom Carron.

Glancing in the ‘budget’ programme, there were 30 listed numbers but it didn’t actually highlight the individual performers so I’m going with the numbers.…

As always with a musical fiesta like this you have to hit the audience with gusto and straight between the eyes and from the first number ‘Let’s Go…’ it was 4 clear this was going to be the tactic. It was a rousing, full company number. Following this was ‘I have confidence’ a superb vocal and performance. Plenty of sass and feathers followed for ‘Sisters’, and a real highlight was ‘Anything Goes’ – tap and pazazz here from the 7 strong company. A surprising and great flute solo performance in ‘Bless Your Beautiful Hide’! No one in the audience expected that! ‘At The Ballet’ was terrific, two dancers and three strong vocals with razor sharp harmonies. There followed a good production number with ‘I could have danced all night’ – those maids added to the demanding vocal performance. ‘Let’s Face The Music’ switched to a backing track but was nonetheless a strong number. The Sister Act was a showstopper – the nuns and the costume switch was hugely enjoyable with some great harmonies. A big audience hit. I really enjoyed the Bond medley – three great vocal performances. Stand out! Mooning from Grease provided a quick change for the performers who delivered tight vocals. Much fun was had with ‘Choreography’ too. I though ‘The Frug’ was a hidden gem – with great choreography, a sixties vibe and a sharp and stylish performance. ‘Wall In My Head’ was performed with intensity. Another stand out was ‘El Tango’ – powerful, stylish and very dramatic. Great dancing too. Masquerade was a big finish to the act and a stunning visual treat.

Act Two kicked off with a strong vocal and imaginative staging of ‘We Both Reached…’ great fun with raincoats everywhere and a nicely detailed vent act! Then an absolute crowd fave and showstopper, ‘I’m Just Ken’ – the audience loved the straight faced sincerity of the performance and it was superbly performed by the 7 guys. Great routine and range of facial reactions. Nobody wanted it to end! Some lovely vocals for the ‘Lullaby’ medley and well performed. The Trolley Song was theatrically creative and a nice change from the standard song and dance format. Great tram. ‘Spoonful of sugar’ good performance of an old favourite from the 3 vocalists. ‘Tom Dick Or Harry’ was fun and well delivered, as was ‘Men’, a strongly comic and character driven performance. Another fine number with big vocals was ‘Zero To Hero’ – great costumes too – yes, yet another showstopper. Then a switch of style to ‘cool’ with the Disney Men Medley – the contrast worked really well. Strong vocals from the guys here. With 42nd Street’ out comes yet another showstopper – and possibly the biggest hit of the night – faultless choreography and vocals. Terrific. ‘A Boy Like That’ turned up the drama – the red lighting complimenting and creating real atmosphere. ‘Ladies Choice’ a high energy performance – perhaps too far upstage – get down the front! ‘Well Did You 5 Evah’ hampered by a sound issue but well performed by the guys – maybe not using clearly empty glasses would have added to the visuals….And finally ‘From Now On’ rounding off the show… energetic, superb vocals and fine choreography – a compete company finale.

This was a terrific evening – an impressive showcase for BAOS and if this was the spotlight for emerging talent, then the future is bright. The strength and quality of this group is clear to see – it’s highly impressive. Thank you for your welcome and hospitality and I look forward to seeing more from this company. RH

BAOS treated us to a night at the cinema, performing numbers from the big golden age musicals and the silver screen cinema blockbusters.

As we entered the venue, we walked the red carpet through a lovely art deco styled archway into the hall continuing the art deco theme, setting the stage for the evening. The set was a series of angled silver and gold glittered flats with geometric patterns characteristic of the Art Deco era. A star cloth back drop added to the glamourous feel of the set. The lighting shifted with the mood of each piece complementing the music perfectly.

The well-designed programme of company numbers, solo, duets, small groups and dance routines was well put together and had something in there to please everyone, from the opening “Lets Go To The Movies” to “Bless Your Beautiful Hide” “The Frug” and an entertaining Bond, Disney  and Golden Oldies medley. One of the things I truly enjoy about watching revues is the chance to see all company members have the opportunity to take centre stage—often those who don’t typically take on the lead roles in the group’s main productions. These settings give everyone a chance to showcase their skills. While I can’t highlight every individual performance, I really enjoyed “Lets Go To The Movies”. “Choreography”  and “I’m Just Ken” were also a real highlight. The entire company brought high energy from start to finish, delivering an entertaining and polished performance.

The 7-piece band was ably led by Naomi Lane and positioned at the back of the stage on a raised platform. there were moments when the starts of songs were slightly hesitant perhaps due to performers not being able to see the Conductor. At times I did feel that the music seemed to overpower the singers a little. There were also some issues with cueing the radio microphones on the night I attended.

The choreography was created by multiple members of the cast, and showed an impressive array of different dance genres, Ballet to Ballroom, to Latin and Tap It was all well-suited to the group's abilities and was well executed.

There were a lot of what seemed very quick costume changes, with costumes and props giving an essence of the show each number was from.

In conclusion, I had a lovely entertaining evening. Well done to everyone involved for delivering an entertaining performance that showcased the joy of the Hollywood Musicals.