‘Wow!’ is the first word that comes to mind when thinking back to this production. Why ‘wow’ - because it took off like a sky rocket and, until those final few scenes when in an attempt to wrap up all the loose ends of the story the writers gave the show a slight anti-climax, the production never showed up for a moment. The great thing about this presentation was that although it was played at such a speed it never became muddled either visually or in the telling of the story.

Let’s look at the visual side of the production to start with. Good set designs, which with the great aid of that part revolve gave us scene changes of a quality rarely seen at this theatre, provided attractive as well as practical backgrounds to every scene. Perhaps not quite up to that high standard was the set depicting the outside of a Broadway Theatre which did not fully convey the glamour one associates with such a building. That being said, having checked photographs of some of New York’s theatres they cannot all be described as handsome pieces of architecture.

Stage dressing from the minutiae to that handsome settee, desk and whatnot, or hat stand, call it what you will, in the Producers’ office were invariably suited to enhance the setting in which they were used. Choice of costume was equally high, ranging from the flamboyant outfits worn by some of the more outrageous characters in the story to the staid office clothes of those trapped in Leo’s local government office. I may come back to some of the individual costumes when discussing individual performances.

An interesting problem faced the lighting designer; how to mark the change from the actual storytelling to production numbers in a garish Broadway show. Especially difficult must have been where to set the lights for a production number within the story like the opening two numbers, in comparison with the wildly exaggerated ‘Springtime for Hitler’ extravaganza. Whilst on that subject, a big round of applause for those responsible for the visual side of its presentation, costumes, lights, and choreography. Their combined work made this number a real show stopper.

From that last paragraph you will have gathered that I believed the lighting team had overcome any problems thrown up by having to light production numbers within and outside of a Broadway theatre.

I mentioned choreography within ‘Springtime for Hitler’ which, good as it was, probably posed fewer problems than trying to use the full company on a stage that has a restricted area to offer the Choreographer for planning the movement. There were very few moments when the stage looked over crowded, and even then most of the lines were still clearly visible not cluttered in appearance. What was particularly good to see was the way in which the Choreographer introduced and used the different groups within the chorus, Showgirls, Usherettes, Little Old Ladies, Accountants all had their own distinct dancing signatures. It was the ensemble work that provided the strength in this choreography, tailored expertly to each number this was movement for the spectator to enjoy, and from the exuberant way in which they carried out their tasks I suggest that the dancers enjoyed the work to the same degree.

Here I have to make a confession. I was for some time convinced that we were listening to ‘canned’ music. I actually made a few notes congratulating the singers on staying so close to the beat when then were following music which could not be varied to accommodate any mistakes by them in any way. Sitting towards the front of the auditorium I did not notice the screen behind me showing the conductor hard at work, sealed with his fine bunch of musicians in a room out of sight of the public. In such circumstances a heavy responsibility is born by the Sound Team, interesting to find some of them listed a ‘Live Sound Mix’ indicating that like the MD they were constantly listening and making adjustments to their output throughout the show.

Let the praise (as any criticism would have) for creating a well balanced mix of singers and musicians, fall in due proportion where it deserves to be. All concerned deserve praise for the preshow planning and set up work at the theatre. Thinking of preshow preparation, a great deal of this must have been undertaken by the MD. I dare say quite a bit of ‘tweaking’ had to be undertaken on the score in order for it to fit so ideally into the instrumentation of your Orchestra. The comfortable way in which soloists and ensemble tackled the music suggests that they had received the sort of grounding that had taken any fear of the score away from them long before opening night. They all seemed to be enjoying their vocal tasks and conveyed that enjoyment to their audience.

Someone else who I firmly believe enjoyed the experience of working on this show, despite all the problems that invariably go with being the one in charge, was the Director.
Here was someone who knew the show intimately and had great faith in the quality of the product. You had the feeling that he knew each character inside out and had firm ideas on how to bring the best of them out in order to drive the story forward. Some of them of course came over better than others, and once again this is an area where the responsibility between Actor and Director, as will the interpretation of characters, may come more into focus as we discuss individual performances.

As you may have already gathered I think the show rather runs out of steam after ‘Springtime for Hitler’, or perhaps to be more accurate after ‘Where Did We Go Right’, and even in this production, where the remaining scenes were expertly staged and well played, that feeling was still there. Despite that, I left the theatre on a high, knowing that I had been thoroughly entertained by a top class production.

Individual Performances

Max Bialystock: What a part to inherit, one which you can take almost to the limit without being accused of overacting. Great fun to be had by both the actor taking the role and the audience, providing of course that the said actor does not overstep the mark and drift into the realms of caricature. From the word go you were relaxed into the character, even that hat-stand’s attempts to disrupt the scene was turned into a plus. We could all but see the predatory part of your brain turning over as you warmed to the task of convincing Leo in ‘We Can Do It’, persistence is hardly the word to cover your determination to drive the project through to it obvious conclusion. This same focused attitude towards getting what you wanted in response from others stayed firmly in place as you gathered those around you whom you were certain would ensure a ‘flop’ of a show. The way in which you worked on their ego’s to lead them down the paths you had chosen for them was excellent.
The use you made of the dialogue at the start of Act 2 all of which was expertly timed helped to set up the ‘pre-show’ scene beautifully. All that fine work sowing the seeds of doubt in the entire company prior to’ the shows’ opening could not possibly fail to disrupt the production, and when it failed in its object it made the ‘Where Did We Go Right’ number, which you and Leo did in fine style, all the funnier.

You carry a great deal of responsibility for the latter end of the show, with the ‘Betrayed’ number leading the way. This a scene and number which I have to confess rarely hits the mark for me, and it is indeed meant as compliment when I say you carried both off as well as I have ever seen them presented. Good inputs to the ‘Tell Him’’ and the final duet with Leo ensured that whilst the ending may not have been as strong as the start of the show, your contributions were still on the same high water mark.

Leo Bloom: This was a delightful characterisation, full of wonderful inhibitions and self-doubt that made him a perfect target for the predatory Max. The reactions to Max and his outrageous life style and later to Ulla, Roger, Carmen Ghia, and Franz were a joy to watch. That being said, could I throw in one word of caution; be careful not to overlay your hand in a chase to garner even more laughs. There were moments, particularly early on in the piece when you were in danger of going for that extra laugh with yet another facial response and, in doing so, turning a genuinely funny reaction into ‘mugging’. I say in danger of doing so, because fortunately you had within you a ‘clock’ which pulled you back just as you were in danger of slipping over this fine line. The move from Max’s flamboyant office to your drab local government office was achieved with minimum fuss, praise to the backstage teams.
Gilding the lily a little, it would have been nice for you and your colleagues to have had some sort of desk with a computer or adding machine on it. I fully appreciate this would have caused quite a bit of work for a limited return. You handled this tricky scene where you returned to your inhibited self and the burst forth into your new self with still a hint of self-doubt in the background.

The response to the outrageously sexy Ulla appearing on the scene was a delight. I have to declare a draw between you and Max as to who lusted after her most. If you had been two dogs we would have described, you as salivating as you watched her disrobe down to pants and bra. The ‘That Face’ number and scene with Ulla was a nice change of mood after the ‘We Can Do It’, ‘I Want to Be a Producer’ and ‘Keep It Gay’ numbers which you had handled so well in Act 1. It also served to underline your feelings towards this Scandinavian beauty.
The disbelief at the success of ‘the show’ you showed when returning after opening night was just right emphasised in song in ‘Where Did We Go Right’. This number cemented this comedy partnership showing us just how far the naïve accountant had come from his first encounter with the fast talking Broadway Producer’.

Ulla: It was said that the legendary Broadway producer Florence Ziegfeld used to ask potential chorus girl auditioning for his ‘Follies’ shows to place three dollar pieces between their thighs, knees and calves. If all three stayed in place they had legs he declared that were good enough for them to become a ‘Follies’ girl. While you, with charming lack of inhibition disrobed down to your pants and bra, it struck me that Mr Ziegfeld would have engaged you on the spot. In view of the reaction required from Max and Leo this was just as well because this part of the story was built around the fact that this young lady was a head-turning beauty.

The danger when playing such a role is that you come over as a ‘Dumb Blonde’ which of course is far from the truth in Ulla’s case. Whilst flouting your sexuality to quote Noel Coward ‘Like a shrimping net,’ you quickly pushed any thoughts that you were not very bright into the far distance. Having produced an image that, as it should, left Max and Leo with their tongues hanging out, you then showed absolutely no inhibitions when you went flat into ‘When You’ve Got It, Flaunt it’. It is all good and well having a full-on number like this one at your disposal, but unless you play it all out for all it is worth it can die a death. The audience’s response told you that your rendition certainly had not died a death.
Wearing that outrageous costume, yet another plus for the Wardrobe Team, with sure aplomb you made a strong contribution to the ‘Springtime for Hitler’ number. Having given ‘the boys’ an ideal target to aim at, you then tempted and teased them to good effect, showing that your ability to play drama and comedy were in the same class as your ability to present a musical number. Maintaining that suitable if somewhat dubious accent right to the end, this was a delightful performance.

Roger de Bris: Everything about this man is phoney, his appearance, his speech, his attitude towards others are all an act. If you therefore dare to send him up even one iota, all is lost for you will have gone way over the top making him just a silly figure of fun. And the further you go over the top so the scale of comedy generated by this wonderfully outrageous figure diminishes.
A remark made about the great actor, David Garrick, comes to mind when thinking about this man, “When he was on stage he was real, it was when he was offstage that he was acting”. Your controlled, manic way of life was for the benefit of those around you, on stage you could and did let your own feelings come to the fore whist hiding behind a character.
Showing an excellent sense of comedy timing, you used the dialogue to great effect, adding some nice facial asides to gain further response from the audience.

Taking the character right into the heart of the ‘You Never Say Good Luck on Opening Night’ and ‘Springtime for Hitler’ numbers you showed that you were equally adept at using lyrics and movement to keep the fun flowing. All of which was so much better because, like a good actor playing a drunk, you held on to that last bit of reality making Roger an outrageous but real person.

Franz Liebkind: There is a certain sadness about Franz. From the moment we meet him we know that here is a man completely sincere in his views in a world that looks upon these views with complete scorn. He is one of those unfortunate people whose blinkered outlook leaves him vulnerable to virtually every crackpot scheme put before him. Such a blunderer would normally elucidate quite a deal of sympathy but in this case the sympathy tends to be more muted because of his Nazi beliefs.

The tendency therefore is to play Franz as a simpleton, a physically strong man with an inadequate brain. You supplied the size and strength to fit this image, and had enough of the slow witted approach to life to fill out the rest of this, as he is written, one dimensional character. There were however some nice little touches in your response to the action and talk going on around you to give us a hint that your Franz was more than just a dumb ox of a man. Because of this I am sure quite a few of the audience developed a soft spot for him and on his behalf resented the way in which virtually all around him took advantage of his easily confused nature.

There was more than one occasion when this solidly built character provided an ideal target for others to score with their dialogue, and showing a good sense of timing when one of your barbs hit the mark right in the bull’s eye. When given the one opportunity to score heavily within a musical background you were certainly not found wanting, using your fractured German to good effect in ‘Haben Sie Gehort das Deutsch Band?’

Carmen Ghia: Not a role which requires much subtlety in playing, but one that must be expertly judged so that he does not upstage others when they are the focal point of a scene. At the same time, he is such an extrovert character it would be wrong for him to ever fade completely out of the picture. You struck a very good balance, presenting a flamboyant figure in dress and personality. Your relationship with Roger was often shown with lovely little looks and reactions to him or those making remarks about him. It would have been so easy to over emphasise these responses, drawing our attention to you at a time when they should have been focused elsewhere. To your credit and the benefit of those on stage with you, this did not happen. When called upon to join in an ensemble number you did so in the grand manner adding considerably to the routine. Cars that were designed and built by Karmann Ghia had class and style about them, and that is what this character as depicted by you had.

The Old Ladies / Usherettes /Accountants / Showgirls / & Company: What a splendid group of ‘elderly’ ladies were assembled to make amorous advances to the scheming Mr Bialystock. As individuals and as an ensemble they created a colourful group of eccentrics fit to match Thelwell’s Pony crazed young horse riders. Their main task was to wind up the comedy output and this they did in admirable style. They also served to underline the chicanery at which Max was a master when it came to raising money for his Broadway Productions.

The Usherettes were turned out in ideal costumes, they struck just the right image for the tailor-made routines they so skilfully presented.

Whist being nowhere near as colourful as the Usherettes the Accountants showed a similar level of terpsichorean skills in their office routine. They also used the lyrics on hand to good effect.

The word Showgirl conjures up a very definite image, glamourous if slightly garishly dressed and made up strutting their dance routines with few inhibitions. This group looked the part and duly delivered the goods they had been asked to display.

I have added The Company because this was a show where the whole company pulled their weight whenever called on to do so. In the first scene I made a note that among the chorus some excellent little cameos were being drawn, adding considerably to the overall picture. For that not only the players but the Director and Choreographer must receive some extra praise.


Thank you for the warm reception and all the useful information received pre-show, on the night and a few days later. With my thanks and best wishes, Gerry Parker

Steve Blackmore always chooses shows that stretch the cast and are not the usual run of the mill. Excellent casting is essential in this show and Steve chose his cast with care. The main characters were spot on and the company were all first class. I was a little disappointed in the ending as it seemed to fizzle out and appear a little rushed. Otherwise this was another triumph for Steve and his talented cast
SET
Effective use of the stage for the many scenes, good use of a revolve. All scene changes were completed quietly and smoothly, I did feel that the colours chosen were a little pale. Well done to Scenic Artist Ingrid Mengdehl and Stage Manager Alex Simpson and assistants Andy Millward and Ingrid Mengdehl for all their hard work.

MUSIC
It is always better when you have a live orchestra it creates the right impression and as with CD’s, with live music things can’t go wrong. As always Brendan had worked the cast hard and the many solos and chorus work was perfect, the only criticism was that at times the orchestra was a little loud and we lost some of the words.

SOUNDS
For the most part the sounds with live sound mix Joe D’Souza and sound effects operator Tim Clark were spot on although there were one or two occasions when the orchestra drowned the singers and we lost some of the words.

LIGHTING
The lighting in the capable hands of Paul Lewis and programmer George Martin ensured the cast were always well lit. I was a little worried about the follow spots there were times when it seemed unnecessary as they didn’t show up and once or twice they seemed to chase the actor for whom it was intended.

CHOREOGRAPHY
Lizzy Westney worked her magic with the many routines, from the excellent tap dance to the old ladies with the Zimmer frames. The routines were inventive and allowed for the limited space at all times to be used to its full potential, and everyone was together at all times The only problem that I saw was with the old ladies they seemed a little cramped on the stage but it did not detract from their brilliant routine. Congratulations on all your hard work.

COSTUMES
Without looking in the programme to see who was in charge of costumes, with all the sparkle and shine it was obviously John Cousins, congratulations on the many costumes you created.

THE CAST
MAX BIALYSTOCK (Pete Cottell)
This was I feel Pete’s finest hour, your interpretation of Max was excellent, your comedy timing was superb and your interaction with Leo was perfect. From the interaction with the old ladies, your singing and dancing and your use of the stage was professional in style, the final song must have been a headache to remember the songs on order, but this didn’t faze you, you did it with ease. Congratulations, this was a rollercoaster of a performance, one which any professional should envy

LEO BLOOM (Lynden O’Neill)
I am amazed at just how talented Lynden is; you really surpassed yourself in your creation of this role of the mild mannered Leo. It was a pleasure to watch you, in your scenes with Max, from your hysteria to the sudden realisation that you too could be a “Broadway Producer” in your scenes and song with Ulla we could feel the electricity. This was a natural performance, at all times you looked at home on the stage and kept in character. Congratulations on a memorable and convincing performance.

ULLA (Louise Cottell)
This was perfection, you looked the part and you kept the accent up all the way through, you oozed sex appeal as Ulla, this came over in your dancing, singing and movement on stage, your song “When you’ve got it flaunt it “ was superb. There was good interaction with Max and Leo, and we could see the chemistry between you and Leo. Congratulations on a professional performance.

ROGER DE BRIS (Steve Williams)
This is a gem of a part along with your “common law assistant” You put your whole self into the role and created a perfect camp producer. You looked right in your costumes and your interaction with Carmen was a joy to watch. Each time you appeared you gave a confident performance and your song “Keep it gay” was just right. This was a well rounded character, congratulations on a first class performance.

FRANZ LIEBKIND (Will Pope)
This is a part that can be over played, Will made sure that all the comedy came out in your interpretation. Your interaction with Max and Leo was well handled. And I loved your pigeons especially the one that came back to you. Well done.

CARMEN GHIA (Alex Milner)
Alex made the most of the part and created a perfect “assistant” completely OTT, as you leapt and minced your way around the stage you made sure that you made an impression each time you appeared. You brought out all the comedy perfectly and your interaction with Roger and the other members of the cast was spot on. Congratulations.

THE COMPANY
The Company were excellent, with many costume changes always together in your dance routines and having so many parts to play from Roger De Bris’s team, Usherettes and Little “Old Ladies” Excellent chorus singing and dancing. Good interaction with the cast and always staying in character and remaining part of the action. You had all worked hard to create the many characters.
Congratulations to Director Steve Blackmore, Musical Director Brendan Casey and Choreographer Lizzy Westney for their hard work to give us a professional style show. But obviously the excellent cast were the ones who really shone, there was so much enthusiasm from everyone, and you all looked as though you were enjoying yourselves, as did the capacity audience. This was an enjoyable evening and I thoroughly enjoyed the show.
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Thank you for your kind invitation it always a pleasure to come to a BAOS show whether it’s the adults or the juniors. I look forward to your next production

Tony Winstone
NODA Representative – District 13