WMOS

REVIEWS

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HAMPSHIRE CHRONICLE

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The nation’s affection for that intrepid group of ladies who, in 2000, elected to produce a calendar with a difference – with results more spectacular than any of them could possibly have imagined – has, over the years, become palpable to the extent that they seem to have been with us for far longer than just a couple of decades.

 

Their story inspired a hugely successful film in 2003 (who could ever forget that elegant image of Helen Mirren and Julie Walters, and the mischievous tag-line “Some ladies will do anything for a good cause”?), and in 2008 a wildly popular stage play. When Tim Firth, author of the play, teamed up with Gary Barlow to fashion the piece into a stage musical, there were those who wondered whether this new medium would capture the public imagination to similar extent.

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Last Wednesday’s opening performance played to a virtually full house, and I suspect that once word gets round, tickets will have been in short supply. Having seen the film, the play and the original production of the musical, I’m as captivated by this true story as ever I was, and so looked forward eagerly to seeing how the newly-revised version would compare.

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WMOS have been a major part of the city’s cultural life-blood since 1913, and this week’s production is an ongoing indication as to why they remain so. Seldom have I witnessed an audience respond so immediately, and with such affection, as did Wednesday night’s; and I’d also like to go on record as saying that I truly can’t remember the last time I spent such a joyous, life-enhancing evening at the Theatre Royal.

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The singing – solo and company – is heart-lifting throughout, the superbly delivered laughs (too many to count) land with full force and the poignancy of the piece is brought out through the exquisite direction of Olivia Conroy, and the uniformly first-class acting from the company. Again, it was very clear – and I’d like to think that the company felt this, too – that the audience were completely engrossed throughout, and the frequent concentrated silences were palpable.

Above all, this is a deeply heartfelt and loving musical, and becomes, extraordinarily, an additional love-match between stage and auditorium. We live through the characters’ joys and heartbreaks with them, and our affection only increases as the time approaches for the ladies to undergo the photographic session that will change their lives, and the lives of everyone around them.

And this, amazingly, is where Theatre and Reality become one as we, the audience, experience at first-hand their initial apprehension, and share their utter elation as they find the courage to …..well, you know! And if you don’t know, and have somehow not experienced this story before, you’re in for a surprise – or rather a series of surprises – that you’re unlikely ever to forget.

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There’s a lovely speech in the first act that speaks of the Sunflowers and the Women of Yorkshire, and it becomes triumphantly evident before our eyes. These ladies are gallant and brave, empowering and beautiful, and we love them for it. And I’m speaking as much of the cast as of the real-life characters they portray. When, at the end of the show, the entire audience stood and cheered the company to the rafters, I think we all realised that this had been one very special Shared Experience. It doesn’t always happen, but when it does, it reminds us of the Power of Theatre at its most joyful. Do go and see this wonderful company in full flight. It’s a rich, enriching evening, filled with laughter and humanity.

Oh, and if you’re anywhere near as susceptible as me, you might be advised to take the Kleenex. 

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Mark Ponsford

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NODA

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For the second time in a week I found myself in the grounds of Winchester College, this time to see Winchester Musicals and Opera Society perform Gilbert and Sullivan’s HMS Pinafore. As always with any summer show that is directed by Suzanne Hall it will be colourful, fun and inventive. This production, set in a train station, was no exception.

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Set during World War Two, the band of travelling players are stuck on a platform waiting for their lead (Ralph Rackstraw) to arrive, however he has been called up and so the cast encourage a Mr Elsmere, the Society's Chairman to grant Gracie the lead, and they decide to perform the piece on the station platform, cue costume/character change!

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The six-piece band, dressed in GI costumes, led by Martin Paterson and squirreled in a mess tent to stage right started up at a real lick and the enthusiasm that immediately came across was a joy to witness from both principles and chorus alike. Slick, simple, and effective choreography was delivered with no hint of any mistake, each cast member knew where to be and when (and most importantly why!). They had all been well rehearsed, this much was evident, and were here to enjoy themselves. The diction was clear and precise, both spoken and sung. As alluded to earlier, the inventiveness came by intertwining any number of 1940’s songs seamlessly into Sullivans music and Gilberts libretto. Everything from Tea for Two and Sunny Side of the Street to When I'm Cleaning Windows and Teddy Bears' Picnic (yes!) I also liked the arrival of the sisters, cousins and aunts, in bright red swimming costumes and hats in a synchronised, Esther Williams style. Very funny, highly effective.

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There were great performances from the principal line up with Kate Higson as Buttercup, Amarantha Fennell-Wells as Ralph Rackstraw, Lisa Atkins as Josephine and Dave Tatnall as Sir Joseph all performed very well with great attention to clarity of diction and comic timing. They were very ably backed up by a very comedic, comedy duo of Alan Morgan as Dick Deadeye and Connor Handstock as Captain Corcoran. However, each and every member of the cast should be commended. They all played their parts, added their own nuances to enhance the overall performance.

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The set changes were slick, no black out or silent down time and were mostly undertaken by the cast and crew and any “major” set changes led well by Stage Manager Angie Barkes. Fantastic colourful costumes throughout, matching the brilliant sound from the band and efficient lighting all added to a wonderful evening’s entertainment.

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Huge congratulations Winchester, once again you have delivered a first class, first rate show. Thank you.

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Mark Allen

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WINCHESTER TODAY

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Gilbert and Sullivan’s much-performed operetta, HMS Pinafore, has been a firm favourite with audiences over the years since it was first performed in 1878  – not least by the Winchester Musical and Operatic Society (WMOS) who have variously staged the production in the Winchester Guildhall (1925), in the 1950s, on site at Winchester College – the location of this year’s open air production  – and, “bravely” (in their words), even on a spaceship… in 2002. There was much discussion amongst the opening night audience, therefore, of how the 2023 open-air production would work, being set on a railway station…

For any well-known show, the challenge of injecting originality without taking away from the original spirit can make or break a production. For this particular ‘G&S’ operetta, with its “class, confusion and concealed love” themes and heightened comic realities, WMOS have excelled in re-imagining Pinafore as a show-within-a-show, performed on a platform of a 1940s railway station by a troupe of stranded players.

Cue snippets of songs from the era peeking through the G&S tunes with excellent comic timing; Director, Suzanne Hall and Production Manager (also appearing as ‘dear little Buttercup’), Katie Hickson, have managed to weave tunes and themes seamlessly together, assisted by some beautiful and striking choreography which maintains a sense of the period throughout. Hidden away in the ‘station toilets’, A.K.A. the band tent, conductor Martin Patterson’s musicians deserve equal recognition for their spirited interpretation of the forties-meets-eighteen-eighties score.

Much as it feels a cliché to say that there is no weak link amongst the twenty-two-strong cast, there really isn’t: this is amateur musical performance of an extremely high level. Lisa Atkins’ Josephine particularly stands out vocally, but as Kiean Jones’ final song demonstrates, the members of the ensemble as well as the principals are all accomplished singers and actors.

There are many moments of cleverly-wrought comedy from the show-in-a-show trope, alongside some excellent props (wearable boats, springy seagulls, blustery moons and bouncing babies!) and a whimsical and supremely well-executed railway set (conceived by Liz Petley-Jones, David Freemantle and Peter Liddiard) – all the more impressive for having been shared with Chesil Theatre’s preceding production, but transformed into something very different. 

Suzanne Hall’s high-energy direction of such a large cast on a relatively small stage deserves recognition, accomplishing a smart, funny and very tight production which feels fresh and new, despite its familiarity. Some of the old G&S quirks (Sir Joseph Porter’s ‘sisters and his cousins and his aunts’, for example) have been reimagined brilliantly; in Sir Joseph’s case, as a team of 1940s synchronised swimmers who even manage to perform a full swimming display on stage (book your tickets to find out how!).

As with any Great British tradition, the outdoor ‘Great British Silliness’ advertised on the Pinafore flyers may yet be impacted by the Great British Weather – there was a sudden downpour during the first performance – but it looks hopeful to be set fair for the rest of the run. Whatever the forecast, pack your sou’wester along with your sarnies and join the cast and crew aboard HMS Pinafore for a wonderful evening’s entertainment.

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Eleanor Marsden