Noda Rep Review
Co-Directors, Sheila Arden and Larissa Webb (also choreographer) produced a show which at times pulled the heart-strings concerning Charity's efforts to be loved and at others showed the cynicism of those around her as she struggled to make something better of her life. Good use was made of the stage floor and the action moved smoothly from one scene to another. Musical Director, Alan Thompson, as usual keeped a tight-rein on the rhythms of the well-known numbers, not allowing the cast to do a Shirley Bassey rendition of 'Big Spender' for example. The orchestra was well balanced with the singers.
Sarah Delany, Charity, was extremely good in the part and acted her socks off all the time that she was on the stage. As a performer, Sarah understands that the stage is not a small intimate box like a television but a huge canvas which has to be transmitted to the audience and she gave an enthusiastic and energised performance which got to the heart of the character of Charity Hope Valentine. James Millis, Oscar Lindquist, was a good foil to Charity and if perhaps his voice was not particularly strong in places he more than made up for this in the lift scene which was credibly and well acted. Chris Arden's Vittorio Vidal was a world-weary lothario and he played the part to the manner-born, whilst Sarah Cummings-Cove, was a sophisticated but easily besotted Ursula March and together they made an engaging pairing. Barry White played Herman as a bombastic dance-hall manager slightly in awe of his dancers whilst trying to cower them at the same time. His dance-hall hostesses, however, knew exactly how to play him at his games and lead by Nickie, Jeanette Wallis and Helene, Annalise Webb, they endlessly gave him a run for his money. The dance hall girls were - dare I say - delightfully 'second-hand roses' and this was further emphasised by the too short skirts and the OTT sparkley fabric of the costumes. The song 'Big Spender' was delivered in a way which underlined the girls love/hatred of their lot. Their long-time dance partners, seemed to have been born in the Fan-Dango Club so well did they fit in. Kenny Guthrie made a good 1970's Daddy Brubeck and his gyrations in the opeining of 'Rhythm of Life' over the rolling body of one of his followers certainly got the audience's attention. Perhaps of all the smaller characters the person who stole the show was Maggie McGhie as the Good Fairy, her short performance brought the house down.
The scenery was minimal and relied on the various pieces of stage furniture brought in to indicate changes of place and to be honest I would have liked more colour. A completely black box is difficult to light and although there was some interesting lighting in for instance, Act 1 scene 3 'Charity's Soliloquy' equally there were large shadows at head/face height in 'There's Gotta Be Something Better Than This'.
Overall, an enjoyable production of this musical. Well done to everybody who worked on the production and my particular thanks to Jean Smith, who sorted out my ticket problems so good humouredly and as ever to Jim Nugent as an unflappable Company House Manager.
Chris Williams
Representative
National Operatic and Dramatic Association