Tag Archives: Cathy Taylor

REVIEW: Me and My Girl – Motherwell Concert Hall

It is the girls who shine brightest in Hamilton Operatic and Dramatic Club’s latest production of the much-loved Me and My Girl at Motherwell Concert Hall this week.

The multiple Tony and Olivier Award-winning musical Me and My Girl is the tale of humble Cockney costermonger Bill Snibson, his unexpected inheritance of the title of Earl of Hareford and the trials and tribulations he has to endure to keep the girl of his dreams by his side.

As the Duchess of Dene, Cathy Taylor and Marianne Millard, Lady Jaqueline are the stand-out talents of the night, the pair are fine actresses, with glorious voices and enviable stage presence, and the stage completely enlivens when they are there. The ensemble too are deserving of praise, and sound utterly gorgeous when singing as one. Less succesful is Gillian Black as Bill’s paramour Sally, whilst in possession of a beautiful singing voice her accent travels through virtually county and shire in England and at no point visits the borough of Lambeth. Accents seem to be an issue throughout, with one character beginning an act in RP English and ending it in Scots.

Quibbles aside, Hamilton ODC deliver high production values, with a rich-looking set and a fine chorus and orchestra under the baton of Mike Smith, and there are some professional quality performances throughout. An enjoyable evening of a little seen musical theatre classic.

REVIEW: Sister Act – Motherwell Concert Hall

With a fresh outlook and some new faces, the 111 year old Hamilton Operatic and Dramatic Club are a society with a renewed spring in its step.

This year tackling Sister Act, the strong central casting raises this above the usual amateur theatre fodder.

Based on the much-loved 1992 movie, Cheers writers Cheri and Bill Steinkellner have revamped the story for its musical incarnation and while the movie features a raft of Motown hits, copyright issues mean that Broadway and Disney veteran Alan Menken and lyricist Glenn Slater are charged with creating an all-new score.

When lounge singer Deloris Van Cartier witnesses her mobster boyfriend murder one of his low-life associates, she is put in protective custody in a convent. While transforming the tone-deaf choir into the hottest ticket in town, Deloris puts herself back in the firing line of the very gangsters she is hiding from.

Following on from her role as Dorothy in last year’s Wizard of Oz, Marianne Millard stars as Deloris. Millard has found her perfect role here, the larger than life singer with the powerhouse voice is the perfect fit. There are some knock-out nuns too (if there could be such a thing): Anne Morrison is a delight as the doubting Mother Superior as is Emma Rodger as the eternally optimistic Sister Mary Patrick and Cathy Taylor delivers a hysterical turn as the deadpan Sister Mary Lazarus.

There is extremely strong vocal support too from a fantastic (almost all-female) ensemble who are an absolute delight when singing as one.

While it really all is about the women in Sister Act, the boys manage to hold their own. Gordon Watson wins the audience’s sympathy and support as put-upon cop with a heart of gold, Eddie, it’s just a shame that there’s little opportunity here to exercise his impressive vocal skills in this part. In fine voice too is Peter Scally as mobster Curtis, who gets to deliver the hysterical When I Find My Baby, his acting however lacks conviction. As the trio of intellectually challenged, would-be hoodlums: Joey, Pablo and  T.J., Cameron King, Marc Costello and Allan Cochrane provide laughs as does Roland Russell as Monsignor O’Hara.

Former performer, now director, John Carr delivers a sure-footed production which cracks on apace and the finished result is a polished, tight and ultimately entertaining evening’s theatre.

If they continue to bring new talent, new ideas and a clear focus on the future, then this can only mean a sure future for Hamilton Operatic and Dramatic Club.

*as a footnote to the production, (and nothing to do with HODC) mention must be made of the appalling behaviour of the audience throughout the production. With constant latecomers (some half an hour after curtain, clutching a drink from the bar in each hand); incessant talking and sweetie eating and rustling; endless trips in and out to the bar accompanied by the theatre staff helping them in and out with full beam torches; there was little respect for the performers onstage and no respect for the people sitting around them. The only concern for the staff seemed to be the use of mobile phones.

If the venue wishes to operate as a professional one then the management and the staff need to act accordingly.

 

REVIEW: The Wizard of Oz – Motherwell Concert Hall, Motherwell

With the musical theatre behemoth that is Wicked (the untold story of the witches of Oz) currently treading the boards and packing the auditorium at the Edinburgh Playhouse on its record-breaking UK tour, Hamilton Operatic and Dramatic Club present the perfect opportunity to return to the source material that made it all possible; Frank L. Baum’s The Wizard of Oz.

Baum’s century old tale of little Dorothy Gale and her adventures in the magical land of Oz is presented here in John Kane’s 1986 overhauled stage version, featuring the classic and much-loved movie score from Harold Arlen and E. Y. Harburg, it also includes extended dialogue and the re-instated “The Jitterbug” sequence which was cut from the 1939 film.

With a new production team on board and a fresh influx of talent, the society have decided to kick of the theatrical festive season with a bang. The Wizard of Oz is no small undertaking: most of the audience being more than familiar with this beloved story and its classic soundtrack, and the team are to be applauded for the sheer scale of their ambition in staging this technically demanding and lengthy show. The actors must also be applauded for agreeing to share the stage with the inevitably scene-stealing Toto (played here by Alfie, who is a professional from the tips of his toes to his shiny nose and whose expression throughout was an entertainment in itself).

Key to the success of the piece is the casting of the central quartet: Marianne Millard is a competent Dorothy, vocally capable of carrying the role, she moves well too, however in the more emotive moments her dialogue defaults to an ear-piercing shrillness and at times her line delivery is a tad slow, especially when working off the other, more experienced actors. Stand-out however are the magical trio of the Scarecrow (John Carr), Tin Man (Gordon Watson) and the Cowardly Lion (Colin Vincent) the three men more than live up to expectations both vocally and in their acting. Vincent in particular could not have been better cast, his Cowardly Lion perfectly encapsulating the much-loved character and providing the biggest laughs of the night. Notable too are the impeccable American accents from the principal players which remain on point throughout,

There are many moments where the ensemble get their chance to shine too, but they are a little protracted in a show that comes in at just under three hours and add little to the storytelling, however this is no fault of the hard-working performers rather it is a criticism of the show itself.

There are an impressive number of scene/setting changes in the production, providing much to keep the interest levels high and a lot of nice small detail such as a crackling fire and pyrotechnic effects throughout, the costumes too are suitably colourful and liberal use is made of projected backgrounds to enhance each location. For the most part the transitions are handled very well by this amateur company, the only wish being that they were a little more brisk.

Mention must be made of the outstanding orchestra, ably directed by the youthful Christopher Duffy their playing remains tight and sharp and a delight to the ear for the duration of the show.

If this ambitious show is a glimpse of what the new creative team have to offer then I am keen to see what comes next. An impressive debut to build upon.