Check out these eagerly-awaited reviews!
Sweet Charity - QMTS18/6/2019
Toe tapping glitz as Sweet Charity takes us on her search for love........
It was all toe tapping numbers and nightclub glitz at The Core Theatre tonight as the audience of Queensbridge Musical Theatre Society took us into the world of the Fandango House Dance Hall in New York with their production of Sweet Charity, by Cy Coleman and Dorothy Fields.
It was interesting to read in the programme that there were a number of debuts among the cast and the production team. The Director Leonie Jai Hamilton and Choreographer Natalie Baines were making their respective debuts on the production side, whilst Sarah Odom (playing the lead role of Charity) and Michelle Farrugia (playing the role of Ursula) were treading the boards for the first time as Principals with QMTS. However there was no evidence of this, as all the debutantes acquitted themselves with aplomb.
The role of Charity Hope Valentine, the dance hall hostess looking for love, was played with assured conviction by Sarah Odom. It is an extremely demanding role, as the character is hardly ever off the stage, and Sarah was more than up to the task, dancing, singing and acting her way with energy through Charity's attempts at finding love and very nearly achieving it. The bright and optimistic facets of Charity's character were really put across throughout the show.
Her co-dancers at the Fandango House Dance Hall, Nickie and Helene, were played well by Karina Harris and Emily Fouracre, and Paul Stait particularly charmed the audience with his performance as Vittorio Vidal, the famous actor who Charity spends an evening with.
The troubled Oscar, who Charity falls in love with, was played with assurance by Sam Troke, and they both acquitted themselves well in the elevator scene.
There are some big toe tapping numbers in this show, most notably 'Big Spender' and 'The Rhythm of Life', and these were delivered with gusto and confidence by the cast. There was some excellent singing throughout, with tight harmonies and good diction. All the musical numbers were sung with enthusiasm and accuracy by the well drilled cast.
The set was very minimalistic but it worked very well and it meant that the production ran seamlessly throughout.
The storyline is sometimes hard to inject with energy, as it is rather lacking in substance at times, but the entire cast, ably assisted by the excellent band led by Stephen Greenway, did very well with what is sometimes a challenging plot line. Credit really must go to everyone involved in this production for an entertaining and lively show.
Toe tapping glitz as Sweet Charity takes us on her search for love........
It was all toe tapping numbers and nightclub glitz at The Core Theatre tonight as the audience of Queensbridge Musical Theatre Society took us into the world of the Fandango House Dance Hall in New York with their production of Sweet Charity, by Cy Coleman and Dorothy Fields.
It was interesting to read in the programme that there were a number of debuts among the cast and the production team. The Director Leonie Jai Hamilton and Choreographer Natalie Baines were making their respective debuts on the production side, whilst Sarah Odom (playing the lead role of Charity) and Michelle Farrugia (playing the role of Ursula) were treading the boards for the first time as Principals with QMTS. However there was no evidence of this, as all the debutantes acquitted themselves with aplomb.
The role of Charity Hope Valentine, the dance hall hostess looking for love, was played with assured conviction by Sarah Odom. It is an extremely demanding role, as the character is hardly ever off the stage, and Sarah was more than up to the task, dancing, singing and acting her way with energy through Charity's attempts at finding love and very nearly achieving it. The bright and optimistic facets of Charity's character were really put across throughout the show.
Her co-dancers at the Fandango House Dance Hall, Nickie and Helene, were played well by Karina Harris and Emily Fouracre, and Paul Stait particularly charmed the audience with his performance as Vittorio Vidal, the famous actor who Charity spends an evening with.
The troubled Oscar, who Charity falls in love with, was played with assurance by Sam Troke, and they both acquitted themselves well in the elevator scene.
There are some big toe tapping numbers in this show, most notably 'Big Spender' and 'The Rhythm of Life', and these were delivered with gusto and confidence by the cast. There was some excellent singing throughout, with tight harmonies and good diction. All the musical numbers were sung with enthusiasm and accuracy by the well drilled cast.
The set was very minimalistic but it worked very well and it meant that the production ran seamlessly throughout.
The storyline is sometimes hard to inject with energy, as it is rather lacking in substance at times, but the entire cast, ably assisted by the excellent band led by Stephen Greenway, did very well with what is sometimes a challenging plot line. Credit really must go to everyone involved in this production for an entertaining and lively show.
NODA:
Qmts
Sweet Charity
Director; Leonie Jai Hamilton
Musical Director; Stephen Greenway
Choreography; Natalie Baines
The Core, 13 th June 2019
This was another well cast production by the society , again utilising some of the more experienced members of the society whilst developing newer members who had been given two of the lead roles .Sarah Odom was excellent throughout , I loved her portrayal of the naive Charity Hope Valentine she was perfectly paired with Sam Troke as the neurotic Oscar ,one of my favourite scenes being the one where they were stuck in the lift on their way to some random evening class ,could it be true love for Charity at last?
Sarah was well supported by many dance hall friends especially Karina Harris and Emily Fouracre playing Nikki & Helene respectively , they were both constantly giving out well-meaning advice whilst knowing Charity always had a tendency to be living in somewhat of a dream world most of the time.So much so that when Charity actually meets superstar Vittorio Vidal played by Paul Stait they don’t believe her even though he had given her his Top hat and cane !Pauls Italian accent was sustained throughout.
The large ensemble had been expertly put through their paces with some simple but effective choreography by Natalie Baines who again made the most of the dancers, movers and shakers in the musical numbers to great effect.
The orchestra were under the control of Stephen Greenway and I must add at no point did I feel they were overpowering the singers as is often the case these days.
With very simple staging using just a rostrum at the rear of the stage plus just a few moving items e.g. a bed, dressing room lights, lift doors etc the audience had to use their imagination, using the lighting to help set the different mood for each scene. Very well thought through modern approach by the Director Leonie Jai Hamilton , I personally embrace this use of minimal set as it showcases the performers.
Some of my favourite numbers from the evening, the girls ‘Big Spender’ Charity’s ‘If they could see me now ‘‘There’s got to be something better than this ‘and not forgetting ‘the Rhythm of life ‘
The audience were very appreciative of an enjoyable evening’s entertainment, with family and friend whooping during the bows, I love it when you leave the theatre on a high and Sweet Charity certainly left that impression with people humming Rhythm of life whilst paying for the car park.
Thank you once again for your kind invitation, congratulations to all concerned.
Many thanks, Joyce
Qmts
Sweet Charity
Director; Leonie Jai Hamilton
Musical Director; Stephen Greenway
Choreography; Natalie Baines
The Core, 13 th June 2019
This was another well cast production by the society , again utilising some of the more experienced members of the society whilst developing newer members who had been given two of the lead roles .Sarah Odom was excellent throughout , I loved her portrayal of the naive Charity Hope Valentine she was perfectly paired with Sam Troke as the neurotic Oscar ,one of my favourite scenes being the one where they were stuck in the lift on their way to some random evening class ,could it be true love for Charity at last?
Sarah was well supported by many dance hall friends especially Karina Harris and Emily Fouracre playing Nikki & Helene respectively , they were both constantly giving out well-meaning advice whilst knowing Charity always had a tendency to be living in somewhat of a dream world most of the time.So much so that when Charity actually meets superstar Vittorio Vidal played by Paul Stait they don’t believe her even though he had given her his Top hat and cane !Pauls Italian accent was sustained throughout.
The large ensemble had been expertly put through their paces with some simple but effective choreography by Natalie Baines who again made the most of the dancers, movers and shakers in the musical numbers to great effect.
The orchestra were under the control of Stephen Greenway and I must add at no point did I feel they were overpowering the singers as is often the case these days.
With very simple staging using just a rostrum at the rear of the stage plus just a few moving items e.g. a bed, dressing room lights, lift doors etc the audience had to use their imagination, using the lighting to help set the different mood for each scene. Very well thought through modern approach by the Director Leonie Jai Hamilton , I personally embrace this use of minimal set as it showcases the performers.
Some of my favourite numbers from the evening, the girls ‘Big Spender’ Charity’s ‘If they could see me now ‘‘There’s got to be something better than this ‘and not forgetting ‘the Rhythm of life ‘
The audience were very appreciative of an enjoyable evening’s entertainment, with family and friend whooping during the bows, I love it when you leave the theatre on a high and Sweet Charity certainly left that impression with people humming Rhythm of life whilst paying for the car park.
Thank you once again for your kind invitation, congratulations to all concerned.
Many thanks, Joyce
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Queensbridge Musical Theatre Society are celebrating their 70th year this year, what better way to celebrate than with this uplifting musical.
Based on the film of the same name, Sister Act tells the story of Deloris, a wannabe star hoping her married boyfriend will help her to hit the big time. When she witnesses a murder all of this changes as she is sent to hide in a Convent by the police. How will this materialistic party girl fit into life with the straight-laced nuns?
Leonie Hamilton storms the stage as Deloris, taking her from brash and materialistic to sister and friend to the nuns. While Mother Superior (Gilly Harris) is straight laced and reluctant to the charms of Deloris, Sister Mary Patrick (Anna Beesley), Sister Mary Robert and Sister Mary Lazarus (Sharone Williams) come around to her unusual ways of being a nun. Anna Beesley is full of energy, springing around the stage with huge enthusiasm, you can’t help but smile. A rapping nun is a sight to behold and one that raises a deserved cheer for Sharone Williams. It’s a joy to watch Hattie Starks Sister Mary Robert transform from nervous nun to confident and defiant.
The many nuns on stage created beautiful harmonies and rocking numbers complete with some energetic choreography. Quite an achievement in nuns habits.
Although the show is known for the nuns, the men of the company are not to be forgotten. The characters are defined and perfected, not only in the dialogue but also in the songs. When I find my baby and Lady in the long black dress are both mobsters songs and will stay in the memory for all the right reasons.
The leading men all had solos songs that showcased their talents, from the sweet and innocent Eddie (Liam Ryder) to the menacing Curtis (Paul Stait).
The audience were on their feet at the end of the show clapping along with the Sisters. Sister Act may not be packed full of well known songs but you are certain to have a great night out and your spirits lifted.
Written by Love Midlands Theatre 2018.
Based on the film of the same name, Sister Act tells the story of Deloris, a wannabe star hoping her married boyfriend will help her to hit the big time. When she witnesses a murder all of this changes as she is sent to hide in a Convent by the police. How will this materialistic party girl fit into life with the straight-laced nuns?
Leonie Hamilton storms the stage as Deloris, taking her from brash and materialistic to sister and friend to the nuns. While Mother Superior (Gilly Harris) is straight laced and reluctant to the charms of Deloris, Sister Mary Patrick (Anna Beesley), Sister Mary Robert and Sister Mary Lazarus (Sharone Williams) come around to her unusual ways of being a nun. Anna Beesley is full of energy, springing around the stage with huge enthusiasm, you can’t help but smile. A rapping nun is a sight to behold and one that raises a deserved cheer for Sharone Williams. It’s a joy to watch Hattie Starks Sister Mary Robert transform from nervous nun to confident and defiant.
The many nuns on stage created beautiful harmonies and rocking numbers complete with some energetic choreography. Quite an achievement in nuns habits.
Although the show is known for the nuns, the men of the company are not to be forgotten. The characters are defined and perfected, not only in the dialogue but also in the songs. When I find my baby and Lady in the long black dress are both mobsters songs and will stay in the memory for all the right reasons.
The leading men all had solos songs that showcased their talents, from the sweet and innocent Eddie (Liam Ryder) to the menacing Curtis (Paul Stait).
The audience were on their feet at the end of the show clapping along with the Sisters. Sister Act may not be packed full of well known songs but you are certain to have a great night out and your spirits lifted.
Written by Love Midlands Theatre 2018.
For this seventieth Anniversary production from QMTS, the production team was Michelle Farrugia Director together with Alice Brown Musical Director and Choreographer Sophie Kowalewsky, two new members who, together with a mainly female behind the scenes team including lighting director, stage manager, props, wardrobe, prompt, FOH, programme and photographs brought this lively production to Solihull. A difference for QMTS this year was that no call was made on the youth section of the society, thus we had a female dominated show performed by a female dominated company and with everyone working together and we ended up with a production that was dominated with some wonderful female characters. Overall this was a production which worked for the audience, it was spontaneous, happy and entertaining. Being the third production of Sister Act we have seen this year and the second one within a week it is difficult not to compare, this team however, have put their own interpretation into this much loved story. The one thing that comes to the fore, is the different emphasis that the production teams put into the show, and that is what makes live theatre so exciting. In this production Deloris Van Cartier played by Leonie Hamilton really did become one of the Nuns and led the various nuns production numbers with gusto. Whereas Mother Superior played by Gilly Harris was indeed superior and harassed throughout, her facial expressions and asides being particularly well handled, with her solo of “I Haven’t Got a Prayer” being delivered with depth and real feeling. Sisters Mary Robert (Hattie Stark), Mary Patrick (Anna Beesley) and Mary Lazarus (Sharone Williams) all provided good characterisations of these very differing Nuns, this was done with enthusiasm each one adding their own individual style. Curtis the gangster of the show played by Paul Stait, together with his team of henchmen, equally had a style of their own and received the appropriate plaudits from an appreciative audience. Monsignor O’Hara (Roy Vears) gave a strong performance as did Liam Ryder playing Eddie, the one who got the girl in the end. That brings us to the Nuns Chorus which excelled bringing the stage to light on their many entrances and providing such memorable moments as “The Perfect Place” and “Sunday Morning Fever”. It was a shame that the company were let down by The Core who - in charge of sound, the orchestra were allowed to dominate, from where we were sat in the middle of the auditorium, there were many occasions when the cast and principals could not be properly heard. That being said, this was another good production from QMTS performed with enthusiasm in their seventieth year. The simple set enabled the show to flow, and this together with the ability of the cast to respond to the audience, meant that a great camaraderie was felt throughout the whole production. This was a great performance from a strong cast; it was full of the emotional exuberance required, and that rubbed off on all of the audience, congratulations to all.
Written by Cheri & Bill Steinkellner. Birmingham theatre district guild 2018.
Written by Cheri & Bill Steinkellner. Birmingham theatre district guild 2018.
Considering the quite 'off the wall' storyline containing nuns, bar singers, cops and a slightly inept portion of the criminal fraternity, this Philadelphia based musical is probably one of the most entertaining for an audience. Taking its storyline from the Whoopi Goldberg movie of the same name but, with a completely revised set of songs, the stage musical version of Sister Act is now becoming a favourite of both professional and amateur companies alike.
Queensbridge Musical Theatre Society have milked that entertainment value for all they can get under the formidable direction of Michelle Farugia, the dynamic choreography of Sophie Kowalewsky and some expressionful musical direction by Alice Brown. Turning the stage at Solihull Core Theatre into a melee of movement, drama and song that must hold appeal at some point for every member of a reactive and appreciative crowd.
Leading the cast is Leonie Hamilton as Deloris Van Cartier with a controlled yet powerful vocal and some energetic acting, particularly in the choir scenes. Surrounded by a glittering array of nuns, in particular a very bouncy and enthusiastic Sister Mary Patrick from Anna Beesley, a delightfully characterised and exceptionally sang Sister Mary Robert from Hattie Stark and a skillfully comic Sister Mary Lazarus from Sharone Williams, all depicting the antics in a convent as nobody would really expect them to be but, seriously hope they are.
Trying desperately to keep a grip on her own faith and the religious ideals of a rapidly disintegrating institution is Gilly Harris as the Mother Superior another distinguished vocal and character performance. Ex school friend to Deloris and now nervous police officer, Eddie Souther (inclined to perspire a little and earning the rather unwanted nickname of ‘Sweaty Eddie’) is played with great assurity and charm by Liam Ryder (really enjoyed as I’m sure he did the ‘I Could be that Guy” scene).
On the less law abiding side off the street, we find Paul Stait providing a mean performance as gang leader Curtis, somewhat frustrated by his rather ineffective team of less than mean gang members. Some great comedy performances from Sam Logan as embarrassing nephew TJ, Erik Olsen as incomprehensible Latino Pablo and a super portrayal of Joey from Craig Cattell (the ‘Lady in the Long Black Dress scene is not to be forgotten).
You can never have too many nuns or enough ‘Sunday Morning Fever’ in your life so grab the tickets for this one while there is still an opportunity to ‘Spread the Love Around’ as it finishes on Saturday 16th June 2018.
Written By Tim Hodge. Musical Geek - Musical Theatre Blog
Queensbridge Musical Theatre Society have milked that entertainment value for all they can get under the formidable direction of Michelle Farugia, the dynamic choreography of Sophie Kowalewsky and some expressionful musical direction by Alice Brown. Turning the stage at Solihull Core Theatre into a melee of movement, drama and song that must hold appeal at some point for every member of a reactive and appreciative crowd.
Leading the cast is Leonie Hamilton as Deloris Van Cartier with a controlled yet powerful vocal and some energetic acting, particularly in the choir scenes. Surrounded by a glittering array of nuns, in particular a very bouncy and enthusiastic Sister Mary Patrick from Anna Beesley, a delightfully characterised and exceptionally sang Sister Mary Robert from Hattie Stark and a skillfully comic Sister Mary Lazarus from Sharone Williams, all depicting the antics in a convent as nobody would really expect them to be but, seriously hope they are.
Trying desperately to keep a grip on her own faith and the religious ideals of a rapidly disintegrating institution is Gilly Harris as the Mother Superior another distinguished vocal and character performance. Ex school friend to Deloris and now nervous police officer, Eddie Souther (inclined to perspire a little and earning the rather unwanted nickname of ‘Sweaty Eddie’) is played with great assurity and charm by Liam Ryder (really enjoyed as I’m sure he did the ‘I Could be that Guy” scene).
On the less law abiding side off the street, we find Paul Stait providing a mean performance as gang leader Curtis, somewhat frustrated by his rather ineffective team of less than mean gang members. Some great comedy performances from Sam Logan as embarrassing nephew TJ, Erik Olsen as incomprehensible Latino Pablo and a super portrayal of Joey from Craig Cattell (the ‘Lady in the Long Black Dress scene is not to be forgotten).
You can never have too many nuns or enough ‘Sunday Morning Fever’ in your life so grab the tickets for this one while there is still an opportunity to ‘Spread the Love Around’ as it finishes on Saturday 16th June 2018.
Written By Tim Hodge. Musical Geek - Musical Theatre Blog
Oliver 2017
If the audience’s reaction this evening is anything to go by then QMTS have brought this classic show back to life with energy and enthusiasm this week at The Core. An impressive (if a little bulky) set, colourful costumes and some imaginative choreography from Stacey Cornes, in the limited space the company had, all added to a great evening’s entertainment. The young people in the cast opened the show with a rousing rendition of Food Glorious Food and they were clearly enjoying themselves from the start. A well-drilled chorus brought life to the wonderful musical numbers in the show such as Who Will Buy? and Oom-Pah-Pah. Their singing was polished with some impressive harmonies and the pictures that Director Michelle Farrugia (Director) created on the stage were lovely to see. The company had a great line-up of principals and it is always good to see that there is a wealth of talent within the chorus to allow several of the cast to have solos and cameo roles and to perform these with confidence and professionalism. Oliver (Billy Stait) grew in confidence throughout the evening and showed real emotion throughout. He won the audience over with his rendition of Where is Love. He worked well with Leah Haddock as Dodger. Gareth Knipe portrayed a thoughtful and rather melancholy Fagin and one of the highlights of the show was his performance of Reviewing the Situation. Whilst, Mr Bumble (Roy Vears) and WidowCorney (Sharone Williams) brought the humour of their scenes out well with clear and confident singing voices. Paul Stait owned the stage as Bill Sykes from the moment he entered and had the audience gasping in shock at his treatment of Nancy. The role of Nancy was portrayed wonderfully by Emily Fouracre. Her rendition of As Long As He Needs Me brought the house down, and rightly so. She was also ably supported by Mary Johns as Bet. Other strong supporting performances came from Erik Olsen and Karina Harris as Mr and Mrs Sowerberry, being creepy enough to represent the undertakers of old London Town and yet bringing out the humour of their song That’s Your Funeral well. If I had any slight criticisms, it would be that the lighting relied too heavily on follow-spots and was often distracting from the performances of the principals’ songs – a general lighting state would be more effective and allow us to concentrate on the performers themselves. I would also like to see a little more pace in the more dialogue-heavy scenes to move the story on and keep the momentum of what otherwise was a lively and colourful show. Special mention should go to Steve Greenway (Musical Director) and his wonderful orchestra who made a great sound and maintained a good balance with the singers throughout. All in all, a show for the company and the dedicated production team to be proud of!
Love Midlands Theatre Guild, June 2017
If the audience’s reaction this evening is anything to go by then QMTS have brought this classic show back to life with energy and enthusiasm this week at The Core. An impressive (if a little bulky) set, colourful costumes and some imaginative choreography from Stacey Cornes, in the limited space the company had, all added to a great evening’s entertainment. The young people in the cast opened the show with a rousing rendition of Food Glorious Food and they were clearly enjoying themselves from the start. A well-drilled chorus brought life to the wonderful musical numbers in the show such as Who Will Buy? and Oom-Pah-Pah. Their singing was polished with some impressive harmonies and the pictures that Director Michelle Farrugia (Director) created on the stage were lovely to see. The company had a great line-up of principals and it is always good to see that there is a wealth of talent within the chorus to allow several of the cast to have solos and cameo roles and to perform these with confidence and professionalism. Oliver (Billy Stait) grew in confidence throughout the evening and showed real emotion throughout. He won the audience over with his rendition of Where is Love. He worked well with Leah Haddock as Dodger. Gareth Knipe portrayed a thoughtful and rather melancholy Fagin and one of the highlights of the show was his performance of Reviewing the Situation. Whilst, Mr Bumble (Roy Vears) and WidowCorney (Sharone Williams) brought the humour of their scenes out well with clear and confident singing voices. Paul Stait owned the stage as Bill Sykes from the moment he entered and had the audience gasping in shock at his treatment of Nancy. The role of Nancy was portrayed wonderfully by Emily Fouracre. Her rendition of As Long As He Needs Me brought the house down, and rightly so. She was also ably supported by Mary Johns as Bet. Other strong supporting performances came from Erik Olsen and Karina Harris as Mr and Mrs Sowerberry, being creepy enough to represent the undertakers of old London Town and yet bringing out the humour of their song That’s Your Funeral well. If I had any slight criticisms, it would be that the lighting relied too heavily on follow-spots and was often distracting from the performances of the principals’ songs – a general lighting state would be more effective and allow us to concentrate on the performers themselves. I would also like to see a little more pace in the more dialogue-heavy scenes to move the story on and keep the momentum of what otherwise was a lively and colourful show. Special mention should go to Steve Greenway (Musical Director) and his wonderful orchestra who made a great sound and maintained a good balance with the singers throughout. All in all, a show for the company and the dedicated production team to be proud of!
Love Midlands Theatre Guild, June 2017
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Congratulations Steve!
'Best Musical Director'.
Congratulations Gareth!
Nominated for 'Best Actor'. 
The King and I. QMTS. The Core, Solihull. June 2016
From the moment the overture started the audience knew we were in for a treat and this well cast production of the Rogers and Hammerstein classic musical did not disappoint . Jill Beaumont played a delightful Miss Anna, her voice was very suited to the musical numbers and never faltered ,I loved the costumes as these easily enabled Jill to appear a little more mature. One of my favourite songs is “Hello young lovers “and this remains a highlight of the production for me. The king was played by Steve Harris, His manner strong, commanding and authoritative throughout. Number one wife, Lady Thiang was in fact played by Steve’s actual wife Gilly Harris. I must also mention Huiyi Lu and Cyril Ma (Tuptim and Lun Tha her forbidden love ) both had perfect characterisations of the roles. “I have Dreamed “ was memorable for me. Last for a mention but most important are the children, on the performance I attended I had the pleasure of team ……………. they were all without exception well drilled and didn’t put a foot wrong. I would like to also mention the parts of Louis and Price Chulalongkorn both of whom were played very confidently by girls ………………………..delivered her dialogue with such character. All of the above were very well supported by the numerous Wives, dancers and priests. Everyone appeared well rehearsed under the watchful eye of director Michelle Farrugia the whole company received lots of very positive audience feedback, many were heard humming and singing the well-known melody’s during the interval and whilst paying for car park. The Orchestra were well under control and at no point did they overpower the cast (as can often be the case) I was impressed by Daniel’s enthusiastic conducting. Colourful lavish costumes added to the spectacle along with some simple choreography where required. Congratulations to all concerned on this production, thank you for your hospitality and inviting me to the production. I had a very enjoyable few hours viewing one of my favourite musicals, well done. Review by Joyce Eyre (Noda) |
2016 Review
At The Core, Soliuhll QMTS “The King and I” by Rodgers and Hammerstein II.. We had a different production team this year comprising director, Michelle Farrugia, musical director, Daniel Ephgrave but retaining the choreographer, Hattie Stark. This is a show based on a novel depicting, Anna a widowed British schoolteacher brought to Siam to tutor the King’s many children. When she arrives, though she enjoys an instant connection to the students, she struggles with cultural differences and with the headstrong King. Through her kindness and persistence, Anna eventually connects with the King, helping to fuel mutual feelings of social understanding and cultural acceptance and openness. QMTS and the production team took on this great Rogers & Hammerstein musical and did it proud. The show opened, with the full Overture before moving onto the deck of the Chow Phya where we were introduced to Anna, played by Jill Beaumont, and her son Louis, played by Millie Summlar. Jill gave a strong believable performance throughout dealing with the cultural differences and emotions with great effect. Millie performed the role as her son well, singing “Whistle a Happy Tune” with his mother with a lot of feeling. Captain Orton (Craig Cattell) did his best to offer advice to Anna and Louis but he had met his match and eventually left them to the tender mercies of the Orient. The presentation by Steve Harris as The King came over very well, this was a strong performance given with sincerity, his rendition of “A Puzzlement” being the conundrum that he carried throughout the show. The King’s, current senior wife Lady Thiang, played with deep feeling, by Gilly Harris was masterful, particularly the song “Something Wonderful”. Prince Chulalongkorn played by Molly-Rose Berrow really came to his fore when he put on record how he was going to fulfill the King’s vision for the future of Siam. The Kralahome (Gareth Knipe) and Sir Edward Ramsay (Roy Vears), as representatives of Siam and Great Britain respectively, presented fine figures for their positions, and gave the audience believable performances. The two lovers Tuptim played by Huiyi (Zoe) Lu and Lun Tha played by Cyril Ma, were ideally cast and performed in a very believable way, their song “We Kiss in a Shadow” being most poignantly presented. The show, of course, has ample opportunity to utilise a large chorus ensemble needing ‘The Royal Wives’, ‘The Priests of Siam’ not forgetting ‘The Royal Children’, these groups all served not only to fill the stage but to add great character and depth to the production. “Getting to Know You” with Anna and the chorus was well handled as was the incorporation of the ballet, “The Small House of Uncle Thomas” which was well sung and danced by the Chorus. Whilst thinking of dancing, the scene with Anna teaching the King to dance in the Library to, “Shall We Dance” will remain with us for some time. There were many other memorable moments such as “The March of the Siamese Children” when we were introduced to Anna’s charges and the Kings many wives, but “Hello, Young Lovers” sung by Anna has to be at the top. In summary this was a show that QMTS should be proud of. It flowed well, it was performed with enthusiasm and the audience appreciated it. Technically the set worked well, the audience could both see and hear all that went on and the stage pictures were all very pretty to look at. Many congratulations on a good production. Review by The Birmingham Theatre District Guild June 2016 |
