This was an ambitious show to do at the Redgrave. It’s such a ‘contained’stage and your entire audience is looking down at the stage, rather than seeing the performance on a raised stage. I always think that this makes the dramatic effect quite tricky. And, of course, those ensemble numbers can looked cramped. That said, your four principals – all experienced performers were performing at the top of their game and the choreography was exceptional.

I imagine that most of the audience (of a certain age) will have come with memories of the iconic film in their heads, with Gene Kelly and Debbie Reynolds famously headlining. That’s a difficult act to follow, as both of them made those dance routines look so relaxed despite being viciously difficult. And, on a tight stage, the dancing is even more challenging. So I was delighted to see how you coped so well with all of this pressure.

I could tell from your programme that you had invested a lot of effort and expense in the provision of water for the title number before the interval and I was disappointed for you that this had technical issues that could not be resolved. I am sure you were all gutted that this didn’t come off. And it did leave this number rather lacking in impact. However, I do appreciate that these things happen and I won’t let that influence my review in any way.

Overall this was a really impressive show that contained some magical moments and I, together with entire house, were treated to a thoroughly enjoyable evening of entertainment.

Staging

I can imagine how frustrating it is working in this theatre with the lack of wings and back stage space. Considering this, you did really well to restrict your props to some versatile flats that worked very well for the projection and also for other scenes. Your permanent scenery was effective, although I remained unsure about the central Perspex piece at the back. Sometimes it worked and I understood why you used it for an entry/exit point, but we could also see people moving around behind it and that was distracting sometimes. I liked the use of red carpet and ropes in those opening scenes, which flowed smoothly despite the speed with which they flow from one to another. This is when you can appreciate how the media of film works so much more fluidly than a stage setting. The opening scenes took a while to settle down (but this is largely because of the theatre I think) and by the time we got into the first ensemble number the show took off. Overall, the pace of the show was good and we had some nice changes in the dynamic – from tender moments to the big blockbuster routines and comic interludes.

That opening lighting state seemed a bit flat but the lighting really got into its stride as the show developed and you made good use of the follow spot. I also liked the warmer lighting states and the use of gobos on the stage floor. I wasn’t convinced by the raining gobos though; was that a last minute replacement for the real rain? There are some great lighting effects for rain on the market and I thought those stair rods looked odd. And in ‘Beautiful Girl’ I wasn’t sure about the green lighting – they all looked a bit sick rather than beautiful!

Chorerography was exceptional. Well done Lizzy. If there was an award for choreography you’d be right up there. You handled those iconic numbers with real care and precision, taking into account your reference point of the film but then adding in some moves that were appropriate to your performers and the space you had to work within. Highlights for me were ‘Moses Supposes’ and Good Morning’ where I could see how much hard work you had put in to those routines. The original film was put together as a showcase for Gene Kelly to perform his epic dance routines and so you had a lot to live up to. Well done for really giving us some breathtaking dance numbers.

Another highlight for me was the scene in Act 2 - ‘What’s Wrong With Me?’ – when Lina stole the show with her amazing solo performance, commanding the stage for the entire number.

You had a big cast and there were moments when those ensemble numbers looked rather overcrowded. However I do appreciate that there is a requirement to get the whole society on stage for those ensemble scenes and it’s not the biggest stage to do that. Luckily, you had a great choreographer who did her best to keep the moves tight, even when there were so many transparent umbrellas on stage at the same time!

Your Sound Design was well prepared and operated. This of course means that most of the audience wouldn’t notice. I know that most people only notice when the sound goes wrong, but I wanted you to have a mention. I noticed the solid operation of sound.

The Dancing Cavalier pieces of VT were well put together and nicely presented on those three screens. This was your opportunity to step up the comedy element of the show and you managed this well. I didn’t think you got quite enough laughs in those moments, so maybe you could have made the silent movie and voice over pieces even more extreme.

Band

I so enjoyed this super band and I could see how much your MD was enjoying himself. I don’t think I would have put him in the light for the entire show, as his bobbing head was sometimes a distraction, but the enthusiasm of the band and their enjoyment of the great score and tight syncapations was a joy to listen to. The Brass and Reeds were particularly impressive and really added to the integrity of the sound. As an MD myself, I know how hard it is to get those music beds just right, both in terms of length and volume so well done for getting those spot on. I also appreciated the changing dynamics and pace of the musical numbers and this was musically managed by all of the band.

The musical numbers that really sang out for me were ‘Moses Supposes’, ‘Gotta Dance’ and ‘Broadway Rhythm’ where I could see that you were enjoying the rhythms and syncopation. These were really well choreographed and the Company obviously loved the ones they were involved in.

Don Lockwood

As the Gene Kelly character, I am sure you felt the pressure more than most. I liked the fact that you had obviously considered this comparison but nevertheless made the character your own. I liked your elegance across the stage and in your dance routines (in contrast to the goofiness of your friend Cosmo) and your understated emotions, both towards Lina and Kathy. You had clear diction and an effective voice projection that was gentle but resonant. You are a talented dancer and you had clearly worked very hard on those dance routines. Although ‘Singin’ In The Rain’ is the number that gives the show its name, the highlights for me were “Moses Supposes” which was exceptional and also ‘Good Morning’ where you all managed to accomplish synchronised movements as well as mastering some challenging props.

Kathy Seldon

You were perfectly cast into this role and I could see that you were thoroughly enjoying it. At the start I wondered whether Kathy should look a little more innocent and natural; maybe your makeup was a little heavy. However, once I had got over that I settled into your characterisation of Kathy and thoroughly enjoyed what you did with it. That epic scene with Don and Cosmo (Good Morning) was delightful and you managed that small staircase and small sofa with ease despite my misgivings when I saw it on stage!

Cosmo Brown

You looked so comfortable in this role; I imagine you have played it before? Anyway, I enjoyed your very physical interpretation of the role that combined slapstick style gestures with carefully placed moves across the stage. Watching your use of the stage gave us the impression of a much bigger performing space and that was partly the way your demeanour stretched large and wide in your choreography and partly your head position which was always looking up and out. That’s a great skill to have crafted and suited this role so well. I also admired your ability to sustain a really controlled singing voice whilst leaping about. That takes some good breath control and a strong core and these are vital to a musical theatre role.

Lina Lamont

What a super job you did with this role. I loved it. You have a really strong voice and you managed to make it harsh and just on the edge of tunefulness when this was required. Your unpleasant speaking voice is the key to this story and you kept this up throughout, to great dramatic and comedic effect. And your songs were a triumph, with just the right amount of harsh edge and poor vowel sounds. I know how hard this is and the inner desire to sing beautifully, but you didn’t let your lovely voice slip out for a moment, even though we knew it was there. You maintained a sharp (and sometimes deliberately flat!!) tone and I can only congratulate you wholeheartedly for this achievement. Your solo number in the second act (What’s Wrong With Me?) was one of the highlights of the show for me. I was spellbound.

RF Simpson

This role suited you very well. I liked your brash arrogance and your strong strutting around the stage. You maintained a good volume in your vocal projection and had a believable relationship with the other performers on stage. Your scenes are quite short so you don’t get much chance to settle into your character, but you still managed to develop it throughout the story.

Roscoe Dexter

I liked the varied pace of your delivery and the musical intonation of your voice. You had a natural ability not only to connect with other performers on stage, but also project out into the auditorium so that we felt involved in the action.

Other cast members

There are a lot of cameo roles in this show and too many to comment on individually, but all of you supported the main story very professionally. I liked the two young boys dancing as the young Don and Cosmo. You had great stage presence and worked together beautifully. And our reporter Dora Bailey in the first act gave a really strong performance with lovely voice projection and a great accent! Zelda had all the looks and the strong facial expressions we needed for this role to be believable. I really liked your posture and the power with which you delivered your lines. You really understood this character and did a great job eveytime you made and an entrance and an exit.

Ensemble

There some really slick costume changes and scene changes (I can only imagine the chaos back stage to make those happen so smoothly on stage) and you had good discipline in the ensemble numbers. I liked the Tango number with the policemen in the first half and that blocking in Scene 5 (All I Do) at Simpson’s party was scrupulously followed by everyone on stage, allowing for the big reveal out of the cake. And the entry to ‘Beautiful Girl’ was very effective through the auditorium; you made a really nice sound in this number and the costumes gave a good vintage vibe. The Finale, with all of those umbrellas, worked well despite the crowded stage. I am sure that you all enjoyed this show and your commitment to it showed in all of your faces. You deserved all the applause at the end of the show.

This was a well cast production and I enjoyed some really top quality individual performances. You managed to achieve moments of poignancy as well as comedy for maximum dramatic effect. It was a story well told and I thoroughly enjoyed it. Thank you for your hospitality in the interval and I wish you well for your future productions.

CJW

18.10.19

Director – Cameron Isherwood
Assistant Director – Leah Farmer
Musical Director – Joseph Church
Choreographer – Lizzy Westney

For their first production of the year BAOS had chosen a modern musical, Urinetown, but for the second production they reverted to a standard musical. Singin’ in the Rain started life as a film in 1952, and then later in 1983 as a musical and it was transferred to the stage, it ran in the West End for two years and on Broadway for a year, after this it has seen many productions in many countries and still is performed both professionally and amateur productions today.

SET

Because of the many scenes at least 25, in a film this can be done easily, onstage it requires some thought and this is done by using the minimum amount of scenery thus making sure that the storyline flows smoothly, this was obtained by use of the stage crew and the cast, who changed scenes smoothly and quietly, and the use of three screens.

LIGHTING

The lighting crew made sure that at all times the cast were always well lit, for the most part there was one small hitch in the start of Act Two when the lighting cue was a little late.

SOUNDS

James Hartland and Steve Clarke ensured the cast could be heard at all times.

MUSIC

Congratulations to Musical Director Joseph Church and his excellent orchestra who played at the right level and created the 1920’s/1930’s sound. At no times did they drown the soloists and it was obvious that he had rehearsed the cast well

CHOREOGRAPHY

Congratulations to Lizzy Westney for her hard work in devising the many routines which were carried out with ease by the talented cast, the tap dancing was excellent and at all times the cast were together with smiles on their faces, they looked as though they were enjoying themselves together at all times.

COSTUMES

Wardrobe Mistress Anna Sutton, had chosen her costumes well and made sure the cast looked in period, they were colourful and in the many routines they blended well with each other

HAIR AND MAKE UP

Katie Dowle, Ellie Ford and the City of Bristol College students had worked hard to create the period look in make up and hairstyles it all looked very natural. Well done

THE CAST

DON LOCKWOOD (Michael Griffiths)

This character has to have good dancing skills and work well as part of a team. Michael became Don Lockwood, you looked the typical 1920’s/1930’s film star, the silent movie hero. Excellent voice and dancing helped to create the character. You worked well with Kathy there was obvious chemistry between you and you interacted well with Cosmo. Congratulations on an outstanding performance.

KATHY SELDON (Grace MacDonald)

At no time did you copy the Debbie Reynolds role of the film, you made the character your own, excellent singing and dancing you worked well with Don and Cosmo, as a team. At all times in character, and you looked as though you were enjoying the role, Congratulations on a first class performance

COSMO BROWN (Conner Vickery)

Connor’s interpretation of the role was well thought out and you have perfect comedy timing, excellent dancing, you made the role your own at no time copying Donald O’ Connor in the film, you worked well with Don and Kathy as a team, impressive dancing and a good strong voice when singing, a memorable performance from a very talented actor, good command of the stage and at all times staying in character. Congratulations.

Congratulations to the three of you, worked well together, your timing was excellent yourdancing and singing perfect, you worked well as a team, there was obvious chemistry between you, your songs “Good Morning” “Moses Supposes” with the Diction Coach could have had an encore, Cosmo’s song “Make ‘em laugh” was well choreographed and Connor handled all the acrobatics with ease, I would have liked to have seen more interaction with the Dummy, and while you didn’t walk up the wall the same was achieved with the four men as you swung over.

LINA LAMONT (Emma Griffiths)

Emma gave an Oscar winning performance, you looked the part, how you kept the annoying voice up was a testament to your acting, you looked the role, and sounded right, you lit up the stage each time you appeared. Your song “What’s wrong with me” was worthy of an encore, to be able to sing badly and off key shows what a talented actor you are, good comedy timing, Congratulations this was a strong powerful performance

RF SIMPSON (Dave Evans)

Dave brought this character to life, as the frazzled director, you looked the typical studio ownerof the period, all about the money, good voice and you interacted well with Dexter, Don and the rest of the cast. This was a believable character, well done

ROSCOE DEXTER (Alex Milner)

Alex created the ideal 1920’s/1930’s film director, easily frustrated and you looked the part, whatever part you are given you always become that character and get into the heads of, well done.

ZELDA ZANDERS (Sally Dixon)

With friends like this who needs enemies, you looked the part and had just the right amount of attitude, a good portrayal of the character, well done.

PRODUCTION TENOR (Ryan McKenzie)

Your singing and appearance was that of a 1920’s/1930,s actor, perfect diction and you looked every bit the handsome tenor of the period and sounded just right, well done

DORA BAILEY (Jemma Legg)

A good strong voice you became the very character, you were the typical gossip columnist of the period, always there at the right time. Well done on a natural performance.

SID PHILLIPS (Jack Blackmore) - ROD (Jaryd Evans)

You both created different characters and interacted well with the rest of the cast, good clear speaking voices always staying in character, well done.

CHORUS/ENSEMBLE

The chorus were at all times kept busy in their many roles, at all times part of the action, excellent singing and dancing and at all times in character and in period, you obviously were enjoying yourselves and at all times in the many dance routines, you were together and all had smiles on your faces I thoroughly enjoyed the production, despite the fact there was no rain, the effect with the lighting gobos was effective. Congratulations must go the talented cast who obviously had been rehearsed hard and they all worked as a team, smiles on their faces they all looked as though they were enjoying themselves. First class singing and dancing, there were one or two characters I must mention. The Male Diction teacher (Robert Hardacre) was just right, Miss Dinsmore (Tina Ayers-Hunt) was in period and “I kaint” sorry, can’t think of anything worse than having to teach someone like Lina! Young Cosmo and Young Don (Finch Talbot-Ponsonby and Jack Spencer) looked the parts and danced and sang well and even though your appearance was brief you made an impression, and as the Broadway Dancer (Charlie Rowlands) you looked the role from the film played by the actress Cyd Charise and your dancing and appearance was impressive you stood out in your outfit, well done to all of you.

Congratulations to Director Cameron Isherwood who had chosen his cast well, assisted by Leah Farmer as Assistant Director, to Musical Director Joseph Church and Choreographer Lizzy Westney for all their hard work .But of course you mustn’t forget all the unsung people who work behind the scenes and backstage who all go to make the show a success.

Thank you for your invitation and warm welcome front of house and I look forward to being invited to your next production.

Tony Winstone

NODA Representative – District 13