Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
In the very words of Steven Sondheim himself, composer and lyricist of Company, 'If you're dealing with a musical in which you're trying to tell a story, it's got to sound like speech. At the sametime it's got to be a story.' And what a well presented story it was. Sondheim's musical, complete with four piece band, was without a doubt one of the highlights of Dramasoc's termly calender. Even though Company's classification as a musical provokes some debate concerning the propriety of it being a Drama Society production, after the performance all doubts will be dispelled.
With what could almost be called a campus all-star cast, those in the audience of Company had high expectations waiting to be fulfilled. Admittedly there were some slight problems, technical glitches and a case or two of first-night metaphorical hiccups. Yet overall, the anticipated high standards were reached. Any doubts regarding the dramatic nature of the piece could be immediately quelled. Under the competent direction of Polly Ingham and Veronica Hare the cast of Company worked as a seamless team. Not only was the cast masterful in portraying a closely knit friendship group, centring around the protangonist Bobby; the couples were also extraordinarily well matched. It would be unjust to single out a particular couple for their performane since all were remarkably believable. Although each relationship could not be more different from those around it (kudos to Sondheim for his originality and variety), all the couples conveyed the dilemmas and solutions of their relationships through their exquisite compatibility.
It may seem pedantic but it must be mentioned; the setting of New York requires one aspect in performance which came naturally to none of the performers, the american accent. Singing while in accent proved easier for the performers, who achieved this task admirably. There were however, moments where accents slipped in speech. Acclaim must be given here especially to Mia de Graaf, whose accent was impeccable.
Speaking of characterisation, the directors must again be congratulated. It is indisputable that copious amounts of rehearsal time was spent on characterisation and it was certainly rewarded. As Joanne, Laura Horton never faltered. 'Little Things You Do Together' was a fantastic piece of storytelling through song, likewise was Tom Jones's redition of the moving 'Sorry Grateful'. Meg Henry must be noticed for her outstanding comic timing.
The band, under the musical direction of James Ball, held the production together flawlessly. Although the opening performance was not faultless, the talent and energy of the cast was apparent; smooth harmonies and well rehearsed interraction made the production a must-see show. Even if it is only for the most tuneful rendition of Happy Birthday I have ever heard.
You must log in to submit a comment.
