Our Testimonials and Reviews

CALAMITY JANE - REVIEW BY NIGEL GAMBLES, 24TH JUNE 2024

Monday 24th June 2024 – Dress Rehearsal
By Nigel Gambles
Photography – Studio 55 Photography

My memories of Calamity Jane will be pretty much the same as most peoples, Doris Day in the movie of the same name. So I sat there and waited in anticipation. Saloon singers entered the stage and began with some well know numbers “She’ll Be Coming Round The Mountain” and “Home on the Range” to set the scene.

Calamity Jane, is rich and tuneful and contains many hits: The Deadwood Stage (Whip Crack Away), The Black Hills of Dakota, Just Blew In From The Windy City, A Woman’s Touch, My Love Is Higher Than A Hawk, and, of course, the Oscar winner, Secret Love. Its a wonderful score and I challenge you not to be singing along and tapping your feet after the first 10 minutes.

Full appreciation must be given to Suzanne Harris whose costumes are clever and present the types to be expected in the concept of America’s Wild West.

Ben Foulds is wry, laconic and incredibly laid back as Wild Bill Hickok. It is a performance of pure joy. He sings superbly throughout but his “My Love Is Higher Than A Hawk” is a genuine highlight and sets Act Two off beautifully. His rapport with Jonathan Blake’s Danny and Paula O’Hare’s Calamity is finely judged and ensures that the humour and the romance gets across. Jonathan is pitch perfect as Danny: the good looking Army man who knows he is good looking and expects the ladies to agree. Smart and smarmy, Jonathan’s Danny is the perfect foil for Wild Bill and the perfect objet of affection for Calamity. Alex Nash is equally perfect as Frances Fryer, and he brings a real sense of mischief, fun and subversiveness to his performance. He is incredibly musical and this shines through everything he does in remarkable and very satisfactory ways. He has a strong, true voice and every moment he is on stage is joyful.

Vanessa Blake is a delight as Katie Brown, the girl who would be a star. Her transition from scared wannabe to accomplished Deadwood diva is skilfully achieved. Her vocals in A Woman’s Touch are absolutely delicious. She has a gorgeous voice and real star appeal.

There is excellent work throughout the show from Maurice Buxton (Rattlesnake), Elizabeth Kirk (Joe), Alex Tuckwell (Hank). All provide colour, texture and interesting character work.

In the title role, Paula is well cast (although surprisingly not a blonde), and gives her all. Calamity is a part for a pretty woman who can successfully convince as a possible man; a true tomboy who can turn Princess. Paula has an easy, broad comic style, and she can punctuate jokes with aplomb, either with a deft double-take or a hard look or a nicely delivered line. Vocally, she is in good form. Her voice is as clear as a bell, especially in the number where she introduces the townsfolk: The Deadwood Stage. Her vocals in her duets with Bill and Katie were great, and those two songs were real treats.

She sings “Just Blew In From The Windy City” with vivacious determination and leads the cast in a great romp of a number which is the true highpoint of the production. Secret Love is not the peak musical moment it could be, but that is not to say Paula does not do it justice. She does.

This is a theatrical treat: a good, old fashioned musical done in a new fangled way. It’s great to hear such good songs so well sung by a cast that are truly enjoying performing. Their shear enthusiasm shines through

The band were very competent under the direction of Andrew Timmins and delivered a rousing score. Full credit to Choreographer Jenny Ashhurst and dance captain Beth Davies who delivered some fabulous dance scenes. Last but not least Director Elliot Beech  whose directorial debut this was and he certainly delivered.

CHITTY CHITTY BANG BANG - REVIEW BY BRIAN HIRST, 12TH OCTOBER 2023

Society Name: Tudor Musical Comedy Society
District: Nine - North
Title of Production: Chitty Chitty Bang Bang
Production Reviewed by: Brian Hirst
Date of Review: 12 October 2023
Venue Name: Town Hall
Venue Town/City: Sutton Coldfield
Producer/Director: Richard Poynton
Musical Director: Andy Timmins
Choreographer: Jenny Morris

Show Report:
This iconic musical presents challenges even when the performing area is large with plenty of wing space. The challenges are even greater for a society having the constraints imposed by this venue. That being said Tudor met them, overcame them and presented a first-class evening's entertainment. There are so many things about this show that audiences expect to see, and they certainly wouldn't have been disappointed with this production.

Richard Poynton ensured that a good pace was maintained and used the stage and entrances imaginatively. I also liked the inclusion of 'The Spies' in the Old Bamboo routine, the use of the gearing on the proscenium flats and the re-uniting of the children with their families at the end. The choreography was slickly executed and inclusive considering the space available. The Samba was particularly colourful and energetic. The orchestra were well balanced and supportive with some good rousing numbers although on occasions I struggled to hear some of the under-scored dialogue. However, this didn't detract from the confident chorus singing, ensembles and solos.

Ben Foulds (Caractacus Potts) sang and acted with conviction and his love for his children was evident, particularly in the songs 'You Two' and the beautiful 'Hushabye Mountain'. He worked well with Natasha Cartwright as the feisty but vulnerable Truly Scrumptious and she also showed what an excellent singing voice she has. The growing relationship between them was evident. The children played by Peter Barker (Jeremy Potts) and Rachel Kirk (Jemima Potts) were delightful and I am sure that would also be true for the children in the other performances. I think that everyone playing the part of Grandpa Potts sees themselves as Lionel Jeffries and Dave Mansell certainly had the voice for it. His 'mannerisms' were excellent and 'Posh!' was accomplished piece of theatre. There are some good comedy partnerships in 'Chitty', and we were treated to some well delivered comedy timing from Alex Nash and James Fisher as the inept spies Boris and Goran. Mark Skett and Karrise Willetts as the Baron and Baroness Bomburst kept us amused by their verbal interchanges and delivery of 'Chu-Chi Face. Karrise also led the company in the energetic 'Bombie Samba'. I sensed the fear in the audience when we heard the cries 'Children, I smell children' from the wings to be followed by the menacing James Rowney (The Childcatcher). There was also a well-paced characterisation of The Toymaker by Hannah Weaver which demonstrated that her love of children was the reason that she made toys. I also enjoyed the routine of 'Roses of Success' and the addition of the tap dancer. The children who had been kidnapped also made a strong and valuable contribution to the story. I saw Team Dahl and they should be proud of what they achieved. There were lots of little cameo roles which were integral to the story, and these were also well portrayed.

There was good technical support, scenery and costumes. Congratulations to everyone involved and thank you for the evening's entertainment!

CHITTY CHITTY BANG BANG - REVIEW BY NIGEL GAMBLES, 9TH OCTOBER 2023

Monday 9th October 2023 – Dress Rehearsal
By Nigel Gambles
Photography – Nigel Gambles Photography

The most phantasmagorical stage musical has flown into Sutton Town Hall

We have never seen this show so were very excited to be able to see this production by Tudor Musical Comedy Society

A quick recap of the story, originally written by Ian Fleming (Of James Bond Fame) follows the adventures of Caractacus Potts, his wonderful children and their eccentric Grandpa Potts. They meet up with the beautiful Truly Scrumptious who joins them on their adventures, including a trip to Vulgaria a few lucky escapes and of course a very impressive automobile.

‘Team work makes the dream work’ is a recurring phrase within this musical and never has a truer word been spoken than with the company of Tudor Musical Comedy.  Choosing such a technically advanced production, filled with prestigious musical numbers, was always going to be an enormous challenge to undertake. However it was met and overcome with great gusto and enthusiasm.

The show has numerous fantastic characters, and I feel I must highlight the two comedic duos who stole the stage every time they appeared. Firstly the dimwitted Vulgarian Spies Boris (Alex Nash) and Goran (James Fisher) certainly in the running for double-act of the year their timing was perfect and their rendition of “Act English” is a highlight.

Vulgaria must be the centre for producing fantastic comedians as the Baron and Baroness performed by Mark Skett and Karrise Willetts were just that. They especially shone during “The Bombi Samba” playing the audience brilliantly.

Moving on to the stars of the show, Natasha Cartwright as the lovely Truly Scrumptious really does have the most delicious vocals and her chemistry with Caractacus (Ben Foulds) was wonderful to watch. Anyone who has seen the movie musical will remember the iconic music-box scene and Natasha was superb in this  – she is a natural leading lady.

Lets not forget the children Jemima (Myleigh Davis alternating with Rachel Kirk) and Jeremy (Jack Brayley-Boddington alternating with Peter Barker) who were wonderfully entertaining.

Credit must also go to Director Richard Poynton who has managed to make every character shine individually but also come together as a strong and united ensemble. He is supported by musical director Andrew Timmins who’s direction ensured the musical numbers were performed perfectly from the title song to “Me Ol’ Bamboo” and “Toot Sweets” all this accompanied by Jenny Morris’s excellent choreography makes for a not to miss spectacle.

One last mention must go to all the tech teams and back of house teams whom without them the show just would not be.

HONK! - REVIEW BY LOVE MIDLANDS THEATRE, 18TH MARCH 2016

Honk! It's the definitive fairy-tale; an age old story about acceptance, friendship and love in spite of differences. So it's no coincidence that even 170 years after it was first penned by Hans Christian Andersen, almost everyone over the age of about five would know the story of The Ugly Duckling. In their colourful, fun-filled and energetic production of the musical adaptation of the story, Honk!, Tudor Musical Comedy Society do their damnedest to bring the heart-warming tale to life. Max Thompson-Brooks is suitably bashful as Ugly and plays the protagonist with a charming vulnerability with a nice stage presence. His performance is all the more impressive given he is just 15 years old. This was his first show with the society and on this evidence it will certainly not be his last.

As his parents Drake and Ida, Paul Lumsden and Paula O’Hare are the production’s shining lights. Lumsden plays Drake with a booming charm and humour and a strong vocal that was delightful from start to finish. His cameo as the cockney Bullfrog later in the show was equally enjoyable and funny. It’s Lumsden’s 20th year performing in the area and you can tell; he so very comfortable on stage – a pleasure to watch. O’Hare too was excellent. She has a beautifully effortless voice and really lights up the stage as Ugly's adoring mother. There's a lovely chemistry between her and Thompson-Brooks.

A slightly long first act comes to a colourful close before Sarah Clarke and Carly Hyland kick off the second act in style. The pair make an excellent twosome, Hyland as Lowbutt, the frightfully middle class hen, and Clarke as her equally snooty cat companion Queniee. Hyland in particular has a lovely poise and really brought out the comedy in her lines.

Elsewhere Alan Waldron is perfect as the sonorous and majorly Grey-lag and Mia Turley as his young sidekick Dot has a confidence beyond her years, while Nathan Rock is entertaining as the sly Cat who is always finding new ways to try and eat Ugly.

As the familiar tale unfolds, Ugly’s young siblings add colour and humour, while scene changes were for the most part very smoothly done with nice interludes; including some glow in the dark puppetry when Ugly takes a dive.

There's certainly no shortage of talent in the society but if there is one slight problem with the show it is the story. The Ugly Duckling is of course a children's fairy-tale but at the risk of stating the obvious, like the story, the musical is just a little juvenile and uneventful for adult audiences. That's not the society's fault though. They've cast and delivered the production just about as well as it could be performed. In truth this is a show to take your kids to and enjoy through them more than it is a show for adults. But there's no harm at all in good family fun and director Faye O’Leary and her team have plenty to be proud of.

ANNIE - BFAME REVIEW BY JEAN CUNNINGTON, 26TH MARCH 2014

This is a show that needs very little introduction, if you have not seen or heard about it there is little chance that my comments will help. Nevertheless this was a production which deserved the large audience that attended when we were there. It is set in 1933, against the backdrop of the Great Depression. Under the direction of Faye O’Leary, musical direction of David Easto and choreography of Paula Waldron the show moved smoothly from beginning to end.

The set comprising two large revolves and an inset revolve totally filled Sutton Town Hall stage; this gave all of the various locations required. It also enabled the changes to be carried out continuously throughout the production with no lack of pace or momentum. To enable this to happen, and give space to the very large cast taking part, a large apron area was required in front of the tab line. This did look overpowering as the audience came in but when the tabs opened the magic revealed itself and the show got off to a flying start.

If one wanted to be particularly picky then a black and white border collie called Sandy (Beanz) did not quite ring true, however his characterisation was brilliant!

Miss Hannigan (Paula Waldron) gave an interesting performance but particularly came into her own during the rendition of “Easy Street” with her brother Rooster(Patrick Jervis) and Lily St Regis (Charlotte Middleton), this number certainly lifted the show and introduced us to three very interesting and entertaining characters. Grace Farrell (Paula O’Hare) gave a very believable portrayal of the hard working secretary to the billionaire Oliver Warbucks (Paul Lumsden). This was a very good performance which worked well and was particularly poignant during “I Don’t Need Anything but You” with Annie and the company at the end. President Roosevelt (Alan Waldron) was an interesting character who was a good foil to Oliver. As a somewhat more comic interlude, the scene at the NBC Radio Station, with Bert Healy (Nathan Rock) and the Boylan Sisters was memorable but the antics of the Sound Effects Man (James Pugh) stole the scene. Then we come to Annie the star of the show, on the night we attended it was Lucy Foley, this was a believable, warm and most engaging performance, from a talented young actress.

This large company gave the ensemble numbers with gusto, some of the very noteworthy moments were probably “Tomorrow” and “Hooverville” in act one and, “A New Deal for Christmas” in act two.

This was a production with some thirty four named parts, a chorus of thirty and two sets of ten orphans which flowed almost seamlessly from beginning to end. Congratulations is given to the production team who brought the whole together in such a well-rounded way, the technical team who worked wonders getting the show to a position where all could be seen and heard as well as actually being on stage at the right time, and not least, the company who gave such a wonderful performance.

RETURN TO THE FORBIDDEN PLANET - NODA REVIEW, 27TH SEPTEMBER 2012

A bold move for Tudor, but a very good one. Faye O'Leary's fast moving production had all the elements of a sure fire hit. A hopeless romantic (Cookie, the ships cook played by Dan Anketell). The love interest (Miranda, played by Charlotte Gaunt) and the mad scientist (Doctor Prospero, played by Paul Lumsden). Every time I see a Tudor production they get better and better. The set, though simple, was very effective. The costumes were very good, and I enjoyed being met at the door by the crew of the spaceship. The music was ideal. I just love 60's and 70's. Three members of the company stood out for me. Paula O'Hare as Gloria, fantastic performance. Richard Ham as Ariel, I don't know how he managed to stay upright on the skates all evening. And Charlotte Gaunt. I have seen this young lady progress through the ranks. What an outstanding voice and presence. A really entertaining evening.

CHITTY CHITTY BANG BANG - REVIEW BY PIP GORRINGE, 13TH OCTOBER 2023

"Chitty Chitty Bang Bang Takes Flight in Sutton Coldfield's Town Hall: A Spectacular Triumph!
Review by Pip Gorringe

Tudor Musical Comedy Society's latest production of "Chitty Chitty Bang Bang," performed at the Town Hall in Sutton Coldfield from the 10th to the 14th of October, was a breath taking, heart-warming journey into the magical world of imagination. Under the skilful direction of Richard Poynton, this musical extravaganza brought Ian Fleming's classic story to life in a way that will be etched in the hearts of its audience forever.

The cast, led by the immensely talented Ben Foulds as Caractacus Potts, delivered a performance that was nothing short of brilliant. Foulds brought his character to life with a charming blend of inventiveness and charisma, capturing the essence of a loving father and ingenious inventor. His chemistry with Natasha Cartwright, who portrayed the stunning Truly Scrumptious, was utterly enchanting. Their voices resonated with emotion and harmony, making their duets truly memorable. Foulds rendition of ‘Hushabye Mountain’ gave me goosebumps and I was singing it the whole way home.

The young stars of the show, Myleigh Davis (alternating with Rachel Kirk) and Jack Brayley-Boddington (alternating with Peter Barker) as Jemima and Jeremy, showcased a remarkable level of talent and poise. Their performances were not just adorable but displayed a level of professionalism beyond their years, leaving the audience in awe. Excellently executed, with beautiful singing voices. No foot was put wrong, and no words misspoken, we’ll be keeping an eye on these stars in the making and looking forward to seeing what they do next.

Mark Skett and Karrise Willetts embodied the Baron and Baroness with captivating humour and style. Their onstage presence and witty banter added a delightful layer of humour to the production, perfectly contrasting the heart-warming moments that were abundant throughout the play.

Vulgarian Spies Boris, portrayed by Alex Nash, and Goran, brought to life by James Fisher, were an absolute riot. Their slapstick antics and impeccable timing had the audience in stitches throughout the show. Their performances were a testament to the outstanding ensemble and character-driven comedy the Tudor Musical Comedy Society has delivered.

The magic of "Chitty Chitty Bang Bang" was brought to life by the phenomenal efforts of the production team. The musical direction by Andrew Timmins was sublime, bringing the unforgettable Sherman Brothers' score to life with precision and emotion. The choreography by Jenny Morris added an extra layer of delight to the performance, with the stunning dance sequences leaving the audience mesmerized. The energy, drive and smiles behind ‘Me Ol’ Bamboo’ in particular was an absolute delight!

But it was the star of the show, Chitty herself, that truly stole the spotlight. The masterful craftsmanship of the car, which actually flies, made Chitty an enchanting character in her own right. The way she took to the stage with a grace and elegance that was nothing short of magical, was a true testament to the creative brilliance of the team behind this production.

In conclusion, Tudor Musical Comedy Society's production of "Chitty Chitty Bang Bang" at the Town Hall in Sutton Coldfield was a spectacular triumph. The cast, led by Ben Foulds and Natasha Cartwright, brought their characters to life with charisma and talent, while the entire ensemble showcased their skills with exceptional finesse. The creative brilliance of the production team, under the direction of Richard Poynton, transformed the stage into a world of enchantment and wonder. This production of "Chitty Chitty Bang Bang" is an absolute must-see and a shining example of the extraordinary talent and dedication that the Tudor Musical Comedy Society brings to the stage. Don't miss this delightful, heart-warming, and magical experience! Tickets are almost sold out, but you can grab the last few on their ticketsource website.

MADE IN DAGENHAM - REVIEW BY PAUL DOUGLASS, 24TH SEPTEMBER 2022

Society Name: Tudor Musical Comedy Society
District: Nine
Title of Production: Made In Dagenham
Production Reviewed by: Paul Douglass
Date of Review: 24th September 2022
Venue Name: Town Hall
Venue Town/City: Sutton Coldfield
Producer/Director: Paula Lumsden
Musical Director: Andy Timmins
Choreographer: Jenny Morris

Show Report:
I really don’t know where to start on this review of an outstanding production.

Based on the real life events over fifty years ago in 1968 it tells the story of the strike by women for equal pay at Fords Dagenham plant and Tudor Musical Comedy Society brought it to life with a passion. You could tell, from an audience point of view, how much all of the cast enjoyed staging the production, which was slick and very energetic. The set was very well designed and made full use of the Sutton Coldfield Town Hall stage and the back projection really finished off the set. Great Idea.

Natasha Cartwright as Rita led the company well. She put so much passion into the role as the leader of the women strikers. She was well supported by Nathan Rock as husband Eddie, who is also affected by the strike. Both acted and sounded good. Louise Grifferty as shop steward Connie gave an outstanding performance, as did Hannah Wyss as Beryl. There were so many outstanding performances in this production there is just not enough space to mention everyone. But I do have to mention Paul Lumsden and Charlie Ward as Harold Wilson and Barbara Castle. Some great characterisations from both. Also John Johnson as American boss Mr. Tooley, the true villain of the piece. I also liked the idea at the end of the production to bring the stage crew onto the set as they also did a sterling job on this show.

Musical Director Andy Timmins ensured that the orchestra did not over power the wonderful singing from the company. Jenny Morris as choreographer ensured that the dancing was first class.

The director, Paula Lumsden did a sterling job in this her debut production.

Well done to you all, a first class performance.

JESUS CHRIST SUPERSTAR - NODA REVIEW BY PAUL DOUGLASS, 24TH MARCH 2015

From the opening music to the closing chorus, this production had the audience on the edge of their seats for its sheer spectacle. This was Tudor's 54th year of presenting musical theatre and Faye O'Leary's production was full of life and enthusiasm.

Chris Ranger (Jesus) led this talented company and gave a powerful performance. I have known Chris for many years and he shone in this role. His commitment to the role is beyond reproach. Eoin Edwards played a very energetic Judas, running around the stage but still having the breath to give us some of Tim Rice’s and Andrew Lloyd-Webber’s wonderful words and music. Charlotte Middleton played Mary. Her version of ‘I Don’t Know How To Love Him’ left the audience with goosebumps. A wonderful voice.

This powerful and sobering show did have it’s lighter moments especially James Ross as King Herod singing his song. There are so many in this cast that I would like to mention but feel I cannot single them out. Everyone was superb and played their part.

The set looked stunning, dark and moody with scaffolding at the rear of the stage. The costumes suited the mood of the production.

The choreography by Paula Waldron was so precise. David Easto kept the orchestra together well and even though the music was powerful every word could be heard from the stage due to the wonderful sound quality.

Faye O’Leary has produced some marvellous shows in the past but this must be one of her best. TMCS, you should be proud.

JESUS CHRIST SUPERSTAR - REVIEW BY BFAME, 24TH MARCH 2015

We had the same successful team as last year for this production, director Faye O’Leary, musical director David Easto and choreography Paula Lumsden. The large thrust stage was used this time without tabs. The single set stage enabled the show to move smoothly from beginning to end. The cast, by clever use of twelve two-foot cubes, producing the various locations and settings with admirable dexterity. The decision to costume the production out of period with the exception of the Romans, made a change, however the programme notes stated that the time and place was “Jerusalem, at the time of Jesus” thus this decision seemed a little incongruous.

The intention was to tell ‘the greatest story ever told’ from Judas Iscariot’s point of view. Eoin Edwards' portrayal of Judas was indeed strong and personal, right through to his suicide by hanging. A great deal of the story and atmosphere was developed and maintained by the apostles, priests, guards, lepers and many other assorted mob members. The ‘chorus’ to give them a more encompassing title, provided a very believable and interactive insight as to how the support for Jesus first built, then started to turn against him finally destroying him; before they started to reflect on the role they had played, thus starting the process that eventually led to his worldwide fame.

Memorable moments from the massed ensemble have to be “The Temple” with the people of Jerusalem and the lepers; “Herod’s Song” with Herod (James Ross) and the dancers and “The Trial by Pilate/39 Lashes” with Pilate (Phil Bourn) and the company - the flogging of Jesus was a particularly well conceived scene where his physical suffering really began to be witnessed.

Caiaphas (Paul Lumsden) and Annas (Dan Anketell) as the chief priests provided characters that most of us would not wish to be holders of such office, whereas Simon (Robert Bateman) and Peter (Patrick Jervis) as the two principal apostles were far more likable. Even if in the end they did openly reject Jesus.

Jesus played by Chris Ranger gave a fine portrayal throughout, totally within the concept of this production, his involvement with all levels of the community was well handled and controlled and summed up in “Poor Jerusalem”. The “39 Lashes” has already been mentioned but we certainly started to feel the pain, and the final “Crucifixion” scene brought it all to a head.

Mary played by Charlotte Middleton was a tour-de-force within the great scheme of things. Her portrayal moved through all levels of emotion where she certainly became a catalyst. Her sincerity during “I Don’t Know How To Love Him” will be one of the major highlights of the show.

When considering this production overall, the company gave their all, the ensemble numbers were full of energy, the show flowed seamlessly from beginning to end, and that is not just in the hands of the cast but also the technical team who enabled us to see and hear what was going on at all times. The Audience, certainly on the night we were there agreed to the shows success.

WHISTLE DOWN THE WIND - NODA REVIEW BY PAUL DOUGLASS, 14TH MARCH 2013

Over the last few years, Tudor has been staging some first class shows and this one was no exception. The story tells the tale of ‘The Man’, an escaped convict who is found by a group of Children in a barn and they believe him to be Jesus Christ. The story tells us of his involvement with Swallow and the rest of the children and of the favour he asks of her. We also have the sub-plot of Candy, who cannot wait to leave the town with boyfriend Amos, but when Earl tells Candy about the meeting between Amos and Swallow, Candy tells everyone about the man in the barn. This was a production not to be missed. With minimum scenery Faye O’Leary used back projection to bring the production to life. All of the company worked well together and the society should be proud of this production. To mention separately all of the principals would be unfair as they all worked well but I must mention James Pugh as The Man and Chelsea Greathead as Swallow who were outstanding, as was Charlotte Gaunt as Candy. The chorus worked well as a team. I feel I must mention all of the children in the show, how they brought it to life. Their number ‘When Children Rule the World’ was just brilliant. I did feel sometimes that the orchestra was a little overbearing and the sound was a little distorted by that did not spoil the enjoyment of my evening. Costumes were good. The company danced well and that was all down to Paula Waldron. Tudor, you have another hit on your hands and I look forward to your future productions.

THE KING & I - NODA REVIEW BY BRIAN HIRST, SEPTEMBER 2011

This was the society's 50th anniversary production & they decided to celebrate it with an experiment. This was the first time that an open stage production of a musical had been put on at the town hall and a resounding success it was. The orchestra were behind the performers and this ensured there was a good balance between their sympathetic playing and the singers. Rachel Clarke and Paul Lumsden were well cast as Anna and the King. They worked well together both in dialogue and song to produce a believable relationship. Eliza Harris impressed as Lady Thiang and her interpretation of Something Wonderful was indeed that. Charlotte Gaunt was delightful as Tuptim and she combined well with Nathan Rock (Lun Tha). Shivinder Ahluwalia-Timmins (The Prince) and Daniel Veal (Louis) both showed they have a bright future on the stage. All the other principals played their parts well and the children as always captured the hearts of the audience in The March of the Siamese Children. The story of The Small House of Uncle Thomas included some nice touches of staging and choreography. The different scenes were created using a variety of stage dressings and the stage crew should be commended for the manner in which these were placed and removed in front of the effective trellis work around the rear exit from the stage. Congratulations on your 50th birthday Tudor!