Below are reviews of our shows by NODA the premier organisation for amateur theatre and other local reviews:
Cinderella January 2020 - Petersfield Post
Cinderella 2020 - NODA
Despite taking part in a pantomime every year, I’m not normally a huge fan of watching them, but when you are presented with a production of this quality, you can’t help but enjoy every fun-filled moment. It was excellent in all respects: acting, singing, dancing, music, scenery, costumes, sound, lighting and script - it was the full package!
The Artful Bodgers always make excellent sets for Winton Players, and this one was no exception – well painted and put together, and flexible, allowing swift scene changes by the hard-working stage crew. The props and effects were excellent too – I particularly liked the tree with the naughty arms! The Wardrobe Wizards stunned us with the sparkling, well made and colourful costumes and wigs, and the lighting and sound were spot-on too.
Iris Holt was charming as the Fairy Godmother, helping the plot along with her (almost) risqué rhymes. Ben Bedford bounced on stage as Buttons, quickly getting the audience warmed up. He was eminently likeable and had just the right amount of “cheeky chappie”, easily gaining our sympathy when he loses Cinderella to the Prince.
Tara Taylor and Roamy Hunt were well paired as Dandini and Prince Charming, making the role change easy to believe. Both had excellent singing voices and stage presence. Roamy’s voice was particularly well demonstrated in her touching duet with Cinderella – you could feel the tension in the air. The put-upon and down-trodden Cinderella was perfectly portrayed by Grace Moritz, another great singer, and when she arrived at the ball you really felt she couldn’t quite believe her luck.
Panto would be nothing without a dame and, of course, Cinderella gives us two: The Ugly Sisters, played in true panto style by Phill Humphries (Cheryl) and Joff Lacey (Beryl). Supposed to be identical twins, you really couldn’t tell them apart in looks or behaviour! Both stayed just the right side of “over the top”, despite the fun they had with the slapstick and comedy routines – a great pairing.
Cindy Graves and Martin Johnson had fun too as the broker’s men, Snitch and Snatch – great characterisation; Faye Thompson made Lady Devilia Hardup a real dragon and you had to feel sorry for her poor husband Baron Hardup (Simon Horrocks); while Eve Horrocks and Georgia Pinhorn managed to give the pantomime horse, Devon Dumpling, great character and nimbleness of foot.
The small but excellent band, directed by Tony Blackford, was perfect for the show, never overwhelming the singers. The huge chorus of singers and dancers were well drilled, and all looked like they were really enjoying themselves. This makes such a difference to how much an audience enjoys the show.
A good script containing all the right ingredients for a traditional panto, strong direction by Roger Wettone, assisted by John Edwards, and a talented and enthusiastic cast, all added up to a truly memorable production of this favourite show. Looking at the list of the Creative and Production teams in the programme makes you realise just how many people it takes behind the scenes to put on a show like this. Well done to everyone for your hard work – it was appreciated with great enthusiasm by the big audience.
The Artful Bodgers always make excellent sets for Winton Players, and this one was no exception – well painted and put together, and flexible, allowing swift scene changes by the hard-working stage crew. The props and effects were excellent too – I particularly liked the tree with the naughty arms! The Wardrobe Wizards stunned us with the sparkling, well made and colourful costumes and wigs, and the lighting and sound were spot-on too.
Iris Holt was charming as the Fairy Godmother, helping the plot along with her (almost) risqué rhymes. Ben Bedford bounced on stage as Buttons, quickly getting the audience warmed up. He was eminently likeable and had just the right amount of “cheeky chappie”, easily gaining our sympathy when he loses Cinderella to the Prince.
Tara Taylor and Roamy Hunt were well paired as Dandini and Prince Charming, making the role change easy to believe. Both had excellent singing voices and stage presence. Roamy’s voice was particularly well demonstrated in her touching duet with Cinderella – you could feel the tension in the air. The put-upon and down-trodden Cinderella was perfectly portrayed by Grace Moritz, another great singer, and when she arrived at the ball you really felt she couldn’t quite believe her luck.
Panto would be nothing without a dame and, of course, Cinderella gives us two: The Ugly Sisters, played in true panto style by Phill Humphries (Cheryl) and Joff Lacey (Beryl). Supposed to be identical twins, you really couldn’t tell them apart in looks or behaviour! Both stayed just the right side of “over the top”, despite the fun they had with the slapstick and comedy routines – a great pairing.
Cindy Graves and Martin Johnson had fun too as the broker’s men, Snitch and Snatch – great characterisation; Faye Thompson made Lady Devilia Hardup a real dragon and you had to feel sorry for her poor husband Baron Hardup (Simon Horrocks); while Eve Horrocks and Georgia Pinhorn managed to give the pantomime horse, Devon Dumpling, great character and nimbleness of foot.
The small but excellent band, directed by Tony Blackford, was perfect for the show, never overwhelming the singers. The huge chorus of singers and dancers were well drilled, and all looked like they were really enjoying themselves. This makes such a difference to how much an audience enjoys the show.
A good script containing all the right ingredients for a traditional panto, strong direction by Roger Wettone, assisted by John Edwards, and a talented and enthusiastic cast, all added up to a truly memorable production of this favourite show. Looking at the list of the Creative and Production teams in the programme makes you realise just how many people it takes behind the scenes to put on a show like this. Well done to everyone for your hard work – it was appreciated with great enthusiasm by the big audience.
Brassed Off October 2019
NODA Report
Brassed Off is a play taken from the movie of the same name which tells the story about an ordinary mining town in the North of England and its community of ordinary people coming to terms with the possibility of their local colliery being closed, having potentially dire consequences for the people of the town of Grimley. The doors of the theatre served as a portal from one place and time to another and I was transported to the Grimley Town Working Mens Club with its meat raffle, brass band playing in the corner, signs and posters of protestations about mine closures and friendly staff pouring the pints for the ‘locals’. This clever concept immersed the theatre goer into the harsh years of the 1990s’ mining towns of the North of England, right from the start, priming me to expect something very interesting ahead. It did not disappoint.
As a first foray into directing, this play is not an easy choice, but through his personal love for the film Ryan Watts executed this first challenge extremely professionally, conscientiously and with great attention to detail. Collaborating with the cast and crew the show produced was of superb quality and effect. Mr. Watts liaised with Liss Band, a brass ensemble which was integral to the story, a band which provided solace and refuge from the harsh reality of life, the hardships of mining, the economic downturn and political upheaval of the time.
The show opens meeting members of the Ormondroyd family. Shane Ormondroyd, played exceptionally by Theo Lacey, opens with a narrative, introducing the members of his family and sharing his memories of the times. His father, Phil and mother Sandra, played by Joff Lacey and Jo Simmons, made short work of plunging us into the stressed and world weary lives of a large family struggling to make ends meet and the constant worry of what it will mean for them if the mine does close.
We meet Jim and Harry, (Steve Cliff and Phill Humphries) lifelong friends and workmates in the mines, their wives Vera and Rita (Joanne Stevenson and Sarah Whitaker) who fight with other women of the community to stop the pit closures by protesting at the colliery gates, supporting their men as only they know how. The dynamics of their relationships, the humour and fun, juxtaposed with anger and sadness was brilliantly executed by these accomplished actors as the audience were reeled into their ironic wit and affectionate banter and thrown back out again into their despair for the future. We also meet Andy (Matthew Bell) a bit of a lad around town, known for his affections towards women and his cynicism for the world around him. He meets Gloria (Katherine Dodds) possibly an old flame from school who left to prosper in the south but returns as an employee of the Mining Company. She is not received well by the town and mining community and has to deal with their blaming and rejections. Eventually Andy rejects her too. This again was a very dynamic and poignant performance by these very capable actors.
Danny Ormondroyd (John Whitaker), conductor of the brass band, fantastically played a dour and disciplined man. There can be no mistake his life was his Brass Band and his sights were set on winning a competition to play in the Albert Hall. His life was music, his world his band and he expected everyone to be just as dedicated without exception. This was brilliantly portrayed by Mr. Whitaker and he gave an exceptional performance.
The music interjected the performance throughout, the band dovetailing seamlessly into the story, integrating cleverly with the actors who had studied hard with the musicians to ensure their miming of playing instruments was as convincing as could be. It was hard to tell if they were not musicians themselves!
The supporting cast gave high quality performances throughout. The show ran in a very slick and professional manner; scene changes were smooth and even with minimal scenery of a typical terrace of houses with the colliery in the background and, with the use of subtle lighting changes by the Green A team, the stage had an impact. Pieces were brought in to signify a different location for scenes, which is all that was needed.
Although Winton Players are an amateur group this show was very professionally staged and acted throughout. I sincerely felt that I was part of the community and lived the highs and lows of life in a depressed northern town, with its economy floundering and the prospect of a very grim future, with the characters therein. This can only be achieved by a very convincing performance of some very talented people. As they say up north, it was a chuffin’ great show!
Brassed Off is a play taken from the movie of the same name which tells the story about an ordinary mining town in the North of England and its community of ordinary people coming to terms with the possibility of their local colliery being closed, having potentially dire consequences for the people of the town of Grimley. The doors of the theatre served as a portal from one place and time to another and I was transported to the Grimley Town Working Mens Club with its meat raffle, brass band playing in the corner, signs and posters of protestations about mine closures and friendly staff pouring the pints for the ‘locals’. This clever concept immersed the theatre goer into the harsh years of the 1990s’ mining towns of the North of England, right from the start, priming me to expect something very interesting ahead. It did not disappoint.
As a first foray into directing, this play is not an easy choice, but through his personal love for the film Ryan Watts executed this first challenge extremely professionally, conscientiously and with great attention to detail. Collaborating with the cast and crew the show produced was of superb quality and effect. Mr. Watts liaised with Liss Band, a brass ensemble which was integral to the story, a band which provided solace and refuge from the harsh reality of life, the hardships of mining, the economic downturn and political upheaval of the time.
The show opens meeting members of the Ormondroyd family. Shane Ormondroyd, played exceptionally by Theo Lacey, opens with a narrative, introducing the members of his family and sharing his memories of the times. His father, Phil and mother Sandra, played by Joff Lacey and Jo Simmons, made short work of plunging us into the stressed and world weary lives of a large family struggling to make ends meet and the constant worry of what it will mean for them if the mine does close.
We meet Jim and Harry, (Steve Cliff and Phill Humphries) lifelong friends and workmates in the mines, their wives Vera and Rita (Joanne Stevenson and Sarah Whitaker) who fight with other women of the community to stop the pit closures by protesting at the colliery gates, supporting their men as only they know how. The dynamics of their relationships, the humour and fun, juxtaposed with anger and sadness was brilliantly executed by these accomplished actors as the audience were reeled into their ironic wit and affectionate banter and thrown back out again into their despair for the future. We also meet Andy (Matthew Bell) a bit of a lad around town, known for his affections towards women and his cynicism for the world around him. He meets Gloria (Katherine Dodds) possibly an old flame from school who left to prosper in the south but returns as an employee of the Mining Company. She is not received well by the town and mining community and has to deal with their blaming and rejections. Eventually Andy rejects her too. This again was a very dynamic and poignant performance by these very capable actors.
Danny Ormondroyd (John Whitaker), conductor of the brass band, fantastically played a dour and disciplined man. There can be no mistake his life was his Brass Band and his sights were set on winning a competition to play in the Albert Hall. His life was music, his world his band and he expected everyone to be just as dedicated without exception. This was brilliantly portrayed by Mr. Whitaker and he gave an exceptional performance.
The music interjected the performance throughout, the band dovetailing seamlessly into the story, integrating cleverly with the actors who had studied hard with the musicians to ensure their miming of playing instruments was as convincing as could be. It was hard to tell if they were not musicians themselves!
The supporting cast gave high quality performances throughout. The show ran in a very slick and professional manner; scene changes were smooth and even with minimal scenery of a typical terrace of houses with the colliery in the background and, with the use of subtle lighting changes by the Green A team, the stage had an impact. Pieces were brought in to signify a different location for scenes, which is all that was needed.
Although Winton Players are an amateur group this show was very professionally staged and acted throughout. I sincerely felt that I was part of the community and lived the highs and lows of life in a depressed northern town, with its economy floundering and the prospect of a very grim future, with the characters therein. This can only be achieved by a very convincing performance of some very talented people. As they say up north, it was a chuffin’ great show!
Brassed Off
Paul Allen, adapted from the screenplay by Mark Herman.
Reviewer: Bob Heather (Sardines review)
Once again I ventured forward to Petersfield to see Winton Players version of Brassed Off at the Festival Hall. As I arrived at the venue, I discovered that the bar area had magically transformed into the Grimley Arms social club. After a swift half and purchasing tickets for the Grimley Social meat draw, I headed into the auditorium. The band room was set out right in front of the stage, whilst the stage itself was beautifully set as part of Grimley Town, among the drab old terraced houses, with Danny and Sandra Ormanroyd’s living room right over to stage left. The whole thing taking us right into the heart of Grimley town.
Dead on seven-thirty, the band struck up with The Floral Dance. Then it was straight into the show with young Shane Ormanroyd stepping forward with the opening speech that introduced the whole show to one and all. Paul Allen’s wonderful script managed to closely resemble the film to a very high degree. The whole cast are admirable and believable.
John Whitaker as Danny Ormanroyd, the band leader and founder member, (along with the late Arthur Mullins) plays the part right on the button. Showing nothing but passion for music and the band, and later in the play when he is sick (coughing up coal dust) he is very believable, lying in his hospital bed with his rasping cough, getting angry that his hospitalisation was interfering with his band life.
Phil Ormanroyd, (Joff Lacey) son of Danny the band leader and lead trombone in the Grimley band, is very plausible as he shows the deep depression for being in debt up to his neck, as well as being constantly tongue-lashed by his wife Sandra, who just wanted the simple family life she had always dreamed of. When he starts performing as a clown entertaining at children’s parties to earn a little more money, he has a mental breakdown and shows his anger as he introduces himself as Coco the Scab, before running of and attempting suicide.
Young Shane Ormanroyd is played very well, if a little on the quiet side. Somehow it was a little difficult to realise he was only supposed to be eight years old when in reality; he was probably in his mid teens. But that little set-back doesn’t stop him acting his heart out. I can see him as one of the leading lights of Winton Players in years to come.
Finishing up the Ormanroyd family, is Sandra, Phil’s wife who is desperately trying to handle everything and keep her family together, despite being thrown out onto the streets by the repo men. Sandra is played very believably by Jo Simmons and could be heard beautifully throughout the theatre.
The band is very enjoyable and played to a good professional standard by Liss Band, led by Mike Prentice-Henrie. The band contains several members of Winton Players for the leading parts, namely Jim, Harry, and Andy, who all play their respective parts to a very high standard by Steve Cliff (Jim), Phill Humphries (Harry), and Mathew Bell as Andy.
Gloria Mullins has been sent to her home town of Grimley to determine the profitability of the pit for the management of British Coal. She also plays the flugelhorn, and is allowed to play with the local brass band after playing ‘Concierto de Aranjuez’ with them. Gloria, granddaughter to the aforementioned co-founder Arthur Mullins, is portrayed by Katherine Dodds. She makes the part her own and is very convincing in the role.
Jim and Harry’s wives, Vera and Rita are excellently cast with Joanne Stephenson and Sarah Whitaker playing the parts respectively. All in all, every member of the cast manage to get the accent spot-on (or as near as we Southerners could tell).
The costumes, wigs and make-up (Anne Humphries, Jayne Elsey and Mandy Goodridge) are all very much in keeping with the location and era of the show. It’s always been known in showbiz circles that if these three elements of a production don’t stand out, then you have got it spot-on.
The lighting, designed by Simon Auty, is near perfect, with the right amount of light in the right places with no trace of any unprofessional over-spill, as so often meets the eye of the Audience in many productions.
The sound is designed by Dominic Turner, assisted by James Turner, sometimes seems a little too soft to hear properly from halfway back. Although the cast weren’t miked, and quite rightly so for a hall the size of Festival Hall, they could do with a few directional microphones above the stage just to enhance and re-enforce the sound just a little.
The props (Adam Exley, Lyn Lease, Roamy Terry and Emily Watts) are all good, but in order to make them excellent, they need to just keep their eyes on checking the correct era. Having said that, I doubt if any other member of the audience would notice.
All is directed very smoothly by Ryan Watts, who for his first time in the director’s chair, gets everything that matters right and believable. I wouldn’t be surprised to see many more productions directed by this up-and-coming talented director, for future productions by Winton. Watts, is ably aided by assistant director Jonathan Edwards.
I am certainly looking forward to attending ‘A Bunch Of Amateurs’ performed by Winton next April.
Paul Allen, adapted from the screenplay by Mark Herman.
Reviewer: Bob Heather (Sardines review)
Once again I ventured forward to Petersfield to see Winton Players version of Brassed Off at the Festival Hall. As I arrived at the venue, I discovered that the bar area had magically transformed into the Grimley Arms social club. After a swift half and purchasing tickets for the Grimley Social meat draw, I headed into the auditorium. The band room was set out right in front of the stage, whilst the stage itself was beautifully set as part of Grimley Town, among the drab old terraced houses, with Danny and Sandra Ormanroyd’s living room right over to stage left. The whole thing taking us right into the heart of Grimley town.
Dead on seven-thirty, the band struck up with The Floral Dance. Then it was straight into the show with young Shane Ormanroyd stepping forward with the opening speech that introduced the whole show to one and all. Paul Allen’s wonderful script managed to closely resemble the film to a very high degree. The whole cast are admirable and believable.
John Whitaker as Danny Ormanroyd, the band leader and founder member, (along with the late Arthur Mullins) plays the part right on the button. Showing nothing but passion for music and the band, and later in the play when he is sick (coughing up coal dust) he is very believable, lying in his hospital bed with his rasping cough, getting angry that his hospitalisation was interfering with his band life.
Phil Ormanroyd, (Joff Lacey) son of Danny the band leader and lead trombone in the Grimley band, is very plausible as he shows the deep depression for being in debt up to his neck, as well as being constantly tongue-lashed by his wife Sandra, who just wanted the simple family life she had always dreamed of. When he starts performing as a clown entertaining at children’s parties to earn a little more money, he has a mental breakdown and shows his anger as he introduces himself as Coco the Scab, before running of and attempting suicide.
Young Shane Ormanroyd is played very well, if a little on the quiet side. Somehow it was a little difficult to realise he was only supposed to be eight years old when in reality; he was probably in his mid teens. But that little set-back doesn’t stop him acting his heart out. I can see him as one of the leading lights of Winton Players in years to come.
Finishing up the Ormanroyd family, is Sandra, Phil’s wife who is desperately trying to handle everything and keep her family together, despite being thrown out onto the streets by the repo men. Sandra is played very believably by Jo Simmons and could be heard beautifully throughout the theatre.
The band is very enjoyable and played to a good professional standard by Liss Band, led by Mike Prentice-Henrie. The band contains several members of Winton Players for the leading parts, namely Jim, Harry, and Andy, who all play their respective parts to a very high standard by Steve Cliff (Jim), Phill Humphries (Harry), and Mathew Bell as Andy.
Gloria Mullins has been sent to her home town of Grimley to determine the profitability of the pit for the management of British Coal. She also plays the flugelhorn, and is allowed to play with the local brass band after playing ‘Concierto de Aranjuez’ with them. Gloria, granddaughter to the aforementioned co-founder Arthur Mullins, is portrayed by Katherine Dodds. She makes the part her own and is very convincing in the role.
Jim and Harry’s wives, Vera and Rita are excellently cast with Joanne Stephenson and Sarah Whitaker playing the parts respectively. All in all, every member of the cast manage to get the accent spot-on (or as near as we Southerners could tell).
The costumes, wigs and make-up (Anne Humphries, Jayne Elsey and Mandy Goodridge) are all very much in keeping with the location and era of the show. It’s always been known in showbiz circles that if these three elements of a production don’t stand out, then you have got it spot-on.
The lighting, designed by Simon Auty, is near perfect, with the right amount of light in the right places with no trace of any unprofessional over-spill, as so often meets the eye of the Audience in many productions.
The sound is designed by Dominic Turner, assisted by James Turner, sometimes seems a little too soft to hear properly from halfway back. Although the cast weren’t miked, and quite rightly so for a hall the size of Festival Hall, they could do with a few directional microphones above the stage just to enhance and re-enforce the sound just a little.
The props (Adam Exley, Lyn Lease, Roamy Terry and Emily Watts) are all good, but in order to make them excellent, they need to just keep their eyes on checking the correct era. Having said that, I doubt if any other member of the audience would notice.
All is directed very smoothly by Ryan Watts, who for his first time in the director’s chair, gets everything that matters right and believable. I wouldn’t be surprised to see many more productions directed by this up-and-coming talented director, for future productions by Winton. Watts, is ably aided by assistant director Jonathan Edwards.
I am certainly looking forward to attending ‘A Bunch Of Amateurs’ performed by Winton next April.
The 39 Steps - April 2019
Author: Chris Horton
The 39 Steps (book by John Buchan, film by Alfred Hitchcock and now this reworking of the spy novel) is rich pickings for comedy with every theme possible from romance, to politics, to murder and intrigue. It opens with a bored Richard Hannay, an upper-class twit who is bored and he ponders how to fill his time. He goes to see a West end show, meets a mysterious gun wielding female and the evening is set for a series of memorable moments, lots of verbal and visual brilliance and an enormous amount of laughs. Director Laura Sheppard assembled an excellent cast with Simon Stanley leading the action as Hannay. Simon maintained the energy and comedy of Hannay’s character and was very enjoyable to watch.
The set was ever changing with picture frames used as windows, blocks became beds or train seats, two stools and an easy chair formed a car. Furniture whizzed around by the cast and crew. Other scene changes (with more traditional furniture) were efficient and seamless and were done while the action continued.
The music and sound effects were an integral part of the show and were hugely instrumental in its success. In an inspired stroke of genius the Foley Team (Sound Effects) were in full view of the audience and many of that team doubled up with a variety of minor roles.
Costumes and hair-styles were appropriate for the period and added to the nostalgic feel of the production. There were many quick changes, hats especially being used to show change of character, milkman, policeman, train guard and so on.
Director Laura Sheppard assembled an excellent cast with Simon Stanley leading the action as Hannay. Simon maintained the energy and comedy of Hannay’s character and was very enjoyable to watch. There were so many funny moments and it was all staged beautifully. My personal favourite being the appearance of a flock of sheep and my favourite sound effect; bubble wrap for the crackling fire. Much of the success of this fast-moving spoof depended on the production team, many of whom were also in the cast. The production was a delight from start to finish and enjoyed by the large and appreciative audience.
The 39 Steps (book by John Buchan, film by Alfred Hitchcock and now this reworking of the spy novel) is rich pickings for comedy with every theme possible from romance, to politics, to murder and intrigue. It opens with a bored Richard Hannay, an upper-class twit who is bored and he ponders how to fill his time. He goes to see a West end show, meets a mysterious gun wielding female and the evening is set for a series of memorable moments, lots of verbal and visual brilliance and an enormous amount of laughs. Director Laura Sheppard assembled an excellent cast with Simon Stanley leading the action as Hannay. Simon maintained the energy and comedy of Hannay’s character and was very enjoyable to watch.
The set was ever changing with picture frames used as windows, blocks became beds or train seats, two stools and an easy chair formed a car. Furniture whizzed around by the cast and crew. Other scene changes (with more traditional furniture) were efficient and seamless and were done while the action continued.
The music and sound effects were an integral part of the show and were hugely instrumental in its success. In an inspired stroke of genius the Foley Team (Sound Effects) were in full view of the audience and many of that team doubled up with a variety of minor roles.
Costumes and hair-styles were appropriate for the period and added to the nostalgic feel of the production. There were many quick changes, hats especially being used to show change of character, milkman, policeman, train guard and so on.
Director Laura Sheppard assembled an excellent cast with Simon Stanley leading the action as Hannay. Simon maintained the energy and comedy of Hannay’s character and was very enjoyable to watch. There were so many funny moments and it was all staged beautifully. My personal favourite being the appearance of a flock of sheep and my favourite sound effect; bubble wrap for the crackling fire. Much of the success of this fast-moving spoof depended on the production team, many of whom were also in the cast. The production was a delight from start to finish and enjoyed by the large and appreciative audience.
Aladdin - January 2019
Good old traditional panto! Just what we need to brighten up the dull days of January after the sparkle of Christmas has been packed away. And with this spectacular production of Aladdin, Winton Players has really brightened up life in Petersfield!
Director Jane Blower, assisted by Ryan Watts, has assembled a cast of thousands, or so it seemed as they filled the stage with energy, life and colour. Right from the outset, we knew we were in for a treat and everyone on stage, right down to the tiniest, performed with confidence and looked like they were totally involved and having a great time.
Joff Lacey as Wishee Washee was full of breezy, upbeat energy and soon got the audience shouting for him if anyone approached the duck that he left on the edge of the stage - obviously a past master at working a live audience. John Whitaker as Abanazar was a great villain, plotting, glowering and raging to great effect. In total contrast, Phill Humphries was a very affable Widow Twankey, constantly frustrated by the two idiots Minnie Wong and Winnie Wong – played with great chemistry and perfect timing by Cindy Graves and Sarah Whitaker.
Emily Watts (Princess Lotus Blossom) and Rachel Spiller (Aladdin) were well paired. Both have good stage presence and singing voices to match, and neither was as naïve and innocent as they are usually portrayed which, I felt, worked well. The genies – Grace Moritz as the Spirit of the Ring and Joss Massie as the Genie of the Lamp – both acted with great grace and style. And I mustn’t forget Camilla the Camel – a wonderful costume, endowed with great character by Abi Jenkins and Layla Hollies.
Inventive choreography (by Lucy Davis, Teresa Butcher and Joss Massie) was obviously well rehearsed and well executed throughout. I particularly liked the dance of the Cave Moths – very well performed and the costumes in the ultra violet light looked most effective. Solo and chorus singing was excellent and the five-piece band, under MD Tony Blackwell, produced a great (and varied) sound – and never too loud.
Sumptuous costumes and headgear were matched with colourful and atmospheric lighting, splendid special effects and a totally professional set that was changed with great efficiency. Take a big bow the Wardrobe Wizards, members of the Green ‘A’ Team, the Artful Bodgers and the stage manager and his crew – you really did the company proud.
One little gripe: the sound system. I was most surprised to be told during the interval that microphones were being used, because this was not evident even half-way back in the auditorium. The Festival Hall is a large space to fill and it was quite difficult to hear some of the singing and some dialogue, when there was a background sound (as in the market place and the laundry). It’s a problem I’ve encountered before at the Festival Hall and I hope it will be addressed during their forthcoming refurbishment.**
It most certainly did not spoil my enjoyment of this tremendous show, nor that of the rest of the audience, judging by their enthusiastic applause at the end! We all went home feeling uplifted, having enjoyed an evening of traditional panto fun.
Director Jane Blower, assisted by Ryan Watts, has assembled a cast of thousands, or so it seemed as they filled the stage with energy, life and colour. Right from the outset, we knew we were in for a treat and everyone on stage, right down to the tiniest, performed with confidence and looked like they were totally involved and having a great time.
Joff Lacey as Wishee Washee was full of breezy, upbeat energy and soon got the audience shouting for him if anyone approached the duck that he left on the edge of the stage - obviously a past master at working a live audience. John Whitaker as Abanazar was a great villain, plotting, glowering and raging to great effect. In total contrast, Phill Humphries was a very affable Widow Twankey, constantly frustrated by the two idiots Minnie Wong and Winnie Wong – played with great chemistry and perfect timing by Cindy Graves and Sarah Whitaker.
Emily Watts (Princess Lotus Blossom) and Rachel Spiller (Aladdin) were well paired. Both have good stage presence and singing voices to match, and neither was as naïve and innocent as they are usually portrayed which, I felt, worked well. The genies – Grace Moritz as the Spirit of the Ring and Joss Massie as the Genie of the Lamp – both acted with great grace and style. And I mustn’t forget Camilla the Camel – a wonderful costume, endowed with great character by Abi Jenkins and Layla Hollies.
Inventive choreography (by Lucy Davis, Teresa Butcher and Joss Massie) was obviously well rehearsed and well executed throughout. I particularly liked the dance of the Cave Moths – very well performed and the costumes in the ultra violet light looked most effective. Solo and chorus singing was excellent and the five-piece band, under MD Tony Blackwell, produced a great (and varied) sound – and never too loud.
Sumptuous costumes and headgear were matched with colourful and atmospheric lighting, splendid special effects and a totally professional set that was changed with great efficiency. Take a big bow the Wardrobe Wizards, members of the Green ‘A’ Team, the Artful Bodgers and the stage manager and his crew – you really did the company proud.
One little gripe: the sound system. I was most surprised to be told during the interval that microphones were being used, because this was not evident even half-way back in the auditorium. The Festival Hall is a large space to fill and it was quite difficult to hear some of the singing and some dialogue, when there was a background sound (as in the market place and the laundry). It’s a problem I’ve encountered before at the Festival Hall and I hope it will be addressed during their forthcoming refurbishment.**
It most certainly did not spoil my enjoyment of this tremendous show, nor that of the rest of the audience, judging by their enthusiastic applause at the end! We all went home feeling uplifted, having enjoyed an evening of traditional panto fun.
** Green A strive to balance the sound such that everyone is heard but the audience are indeed unaware of the use of microphones
Birdsong - October 2018
This production of Birdsong, adapted for the stage by Rachel Wagstaff from Sebastian Faulks’ best-selling novel of the same name, is a most appropriate way to mark the centenary of the end of the First World War. It takes place on the Somme between 1916 and 1918 and focuses on Lieutenant Stephen Wraysford and an experienced tunneller, Sapper Jack Firebrace. As they endure the battles, Wraysford recalls happier times in Amiens before the war with his lover Isabelle, while Firebrace mourns the death of his son John from diphtheria.
The dramatic and flexible set (great credit to The Bodgers) provided the background to every scene, allowing swift changes between the gritty realism of the trenches and the suburban affluence of the Azaire’s house. The underground tunnels were simply, but most effectively brought to life with clever lighting, which somehow gave an almost tangible feeling of claustrophobia. The lighting throughout was subtle and appropriate, creating a good atmosphere, along with well-chosen costumes of the right period, and some spectacular pyrotechnics.
Mark Spiller, as Wraysford, gave a good portrayal of the officer’s coldness towards his men and his determination to stay at the front because he had nowhere else to go. Although his characterisation was strong, he didn’t quite convince me of the intensity of his love for Isabelle. Simon Stanley, as the ever-willing Firebrace, really made us feel his grief for the loss of his son. His strong friendship with fellow soldier Arthur Shaw, confidently played by Joff Lacey, was well developed and most touching.
John Edwards, as the chirpy Welshman Evans, had an assured touch and his desperation at the loss of his younger brother was one of the most emotional moments in the play, equalled only by Tipper’s suicide. Ben Bedford, as the under-age Tipper, was spot-on as the keen youngster who cannot cope with the reality of war.
Joanne Stephenson played Wraysford’s lover Isabelle Azaire with great veracity and one felt that although she might have loved him, he was really being used to enable her escape from a cruel and loveless marriage.
Having recently visited the Thiepval memorial, which lists seventy-two thousand men who died on the Somme, I can honestly say that this play was just as effective at bringing home to us, one hundred years later, the immensity of the loss that occurred. All the more tragic because it was not the “war to end all wars” that they hoped it would be. It takes an experienced director to handle a challenging play like this and Roger Wettone was the right person for the job. He steered a steady course through the emotional highpoints, while allowing the trench humour to come out and lighten the darker moments.
Well done Winton Players for such a salutary reminder of the futility of war.
Mark Donalds
NODA SE District 10 Representative
The dramatic and flexible set (great credit to The Bodgers) provided the background to every scene, allowing swift changes between the gritty realism of the trenches and the suburban affluence of the Azaire’s house. The underground tunnels were simply, but most effectively brought to life with clever lighting, which somehow gave an almost tangible feeling of claustrophobia. The lighting throughout was subtle and appropriate, creating a good atmosphere, along with well-chosen costumes of the right period, and some spectacular pyrotechnics.
Mark Spiller, as Wraysford, gave a good portrayal of the officer’s coldness towards his men and his determination to stay at the front because he had nowhere else to go. Although his characterisation was strong, he didn’t quite convince me of the intensity of his love for Isabelle. Simon Stanley, as the ever-willing Firebrace, really made us feel his grief for the loss of his son. His strong friendship with fellow soldier Arthur Shaw, confidently played by Joff Lacey, was well developed and most touching.
John Edwards, as the chirpy Welshman Evans, had an assured touch and his desperation at the loss of his younger brother was one of the most emotional moments in the play, equalled only by Tipper’s suicide. Ben Bedford, as the under-age Tipper, was spot-on as the keen youngster who cannot cope with the reality of war.
Joanne Stephenson played Wraysford’s lover Isabelle Azaire with great veracity and one felt that although she might have loved him, he was really being used to enable her escape from a cruel and loveless marriage.
Having recently visited the Thiepval memorial, which lists seventy-two thousand men who died on the Somme, I can honestly say that this play was just as effective at bringing home to us, one hundred years later, the immensity of the loss that occurred. All the more tragic because it was not the “war to end all wars” that they hoped it would be. It takes an experienced director to handle a challenging play like this and Roger Wettone was the right person for the job. He steered a steady course through the emotional highpoints, while allowing the trench humour to come out and lighten the darker moments.
Well done Winton Players for such a salutary reminder of the futility of war.
Mark Donalds
NODA SE District 10 Representative
The Darling Buds of May - April 2018
Petersfield Post
THE WINTON Players' The Darling Buds of May was, using the play's catchword, "Perfick".
Ma and Pop Larkin and their six children live on a farm in Kent, raising their own meat, fruit and vegetables, and paying for things through work or barter then a tax inspector, Charley, arrives, telling Pop that he must pay tax, or at least fill in a tax form.
Beguiled by the fresh air and good food, he slowly changes from a mouse to a man. He becomes engaged to the oldest daughter and ends up staying on the farm.
Penny Young's direction was sharp, retaining the humour of the piece, and the characters, including five children ranging in size from miniature to mid-height – one with a cast on her leg – were well portrayed and funny. Simon Stanley was a great Pop Larkin, and Mariette (Sarah Melville) was well-played.
Charley (Lawrence Cook) established a good rapport with the audience, allowing him to milk his lines for maximum effect. Ma Larkin (Sarah Dove) was outstanding – she oozed good-natured wholesome mumliness, even competently rolling and plating a pie crust on stage.
Among the excellent minor characters, The Brigadier (Phil Humphries) blustered convincingly, and Miss Pilchester (Sue Port) was exceptional, particularly in the scene where Pop Larkin persuaded her to ride on a donkey. The costumes successfully evoked the 1950s when the play takes place.
The play has a deeper message. The Larkins live in an eternal summer in a Kentish Garden of Eden, beautifully portrayed by the set. Rationing, margarine and health scares do not exist. As the Brigadier and Miss Pilchester say, governments are bureaucratic, rapacious and dishonest, at best, impediments to life. The Larkins are not rogues; they are free spirits, unspoilt and untouched by the strictures of modern society.
People who drift into the Larkins' world are seduced by their wholesomeness, and their lives enriched. Andrew Ryder*
THE WINTON Players' The Darling Buds of May was, using the play's catchword, "Perfick".
Ma and Pop Larkin and their six children live on a farm in Kent, raising their own meat, fruit and vegetables, and paying for things through work or barter then a tax inspector, Charley, arrives, telling Pop that he must pay tax, or at least fill in a tax form.
Beguiled by the fresh air and good food, he slowly changes from a mouse to a man. He becomes engaged to the oldest daughter and ends up staying on the farm.
Penny Young's direction was sharp, retaining the humour of the piece, and the characters, including five children ranging in size from miniature to mid-height – one with a cast on her leg – were well portrayed and funny. Simon Stanley was a great Pop Larkin, and Mariette (Sarah Melville) was well-played.
Charley (Lawrence Cook) established a good rapport with the audience, allowing him to milk his lines for maximum effect. Ma Larkin (Sarah Dove) was outstanding – she oozed good-natured wholesome mumliness, even competently rolling and plating a pie crust on stage.
Among the excellent minor characters, The Brigadier (Phil Humphries) blustered convincingly, and Miss Pilchester (Sue Port) was exceptional, particularly in the scene where Pop Larkin persuaded her to ride on a donkey. The costumes successfully evoked the 1950s when the play takes place.
The play has a deeper message. The Larkins live in an eternal summer in a Kentish Garden of Eden, beautifully portrayed by the set. Rationing, margarine and health scares do not exist. As the Brigadier and Miss Pilchester say, governments are bureaucratic, rapacious and dishonest, at best, impediments to life. The Larkins are not rogues; they are free spirits, unspoilt and untouched by the strictures of modern society.
People who drift into the Larkins' world are seduced by their wholesomeness, and their lives enriched. Andrew Ryder*
NODA Report
How delightful to spend a warm spring evening being taken on a gentle stroll through the idyllic 1950s’ Kent countryside of H.E. Bates’ imagination, where the sun always shines and there are no problems that cannot be overcome.
It is always a dilemma when bringing to life characters that are already well known – do you imitate the much-loved actors or go your own way? This cast got the balance just right – making the characters their own but giving a strong enough flavour of their TV counterparts that we felt comfortable, and strong direction, good acting and great attention to detail characterised this enjoyable production.
Key to the play are Ma and Pop Larkin, beautifully portrayed by Sarah Dove and Simon Stanley, who obviously adore their family and each other, always eager to include others and phased by nothing. They both kept the pace of this fairly long play going well and brought out the gentle humour of the piece with ease.
Sarah Dove was every inch the Ma Larkin of my imagination – open, warm, welcoming and jolly, without an iota of jealousy, and the way she busied herself in the kitchen, preparing meals and organising the children, added greatly to the realism of the whole play.
Simon Stanley as Pop owned the stage from his first entrance and gave a warm and touching depiction of the cockney wide-boy who can make money out of almost anything and is loved by one and all. He was completely believable as the avuncular host, doling out cocktails from his musical drinks cabinet (a nice touch) and charming everyone, whatever their background.
Sarah Melville and Lawrence Cook were well paired as Mariette and Charley. She gave Mariette just the right amount of experience, while still retaining a degree of innocence, and he gave Charley just the perfect degree of awkwardness and naivety - always believable, although I felt his drunkenness – a difficult thing to get right - during their first evening was switched on a little suddenly. Sue Port was spot on as the prim and proper Miss Pilchester, being loosened up nicely after kissing Pop.
Great praise must go to the younger members of the cast. Not only were they all very natural, but they maintained the action (eating their supper, watching TV etc.) extremely well even when the focus was elsewhere on stage.
As I have come to expect from this group, the set was stunning – dividing the stage into two areas, the Larkins’ kitchen and their garden, with an invisible wall in between. Both sides showed great attention to detail, with well-painted flats and perfectly chosen
period furniture and props. Costumes too were spot on, accurately evoking that post-war period of austerity but with little touches of luxury that the Larkins liked. Well-designed lighting and excellent sound effects completed the picture.
Stage Manager Alan Bristow and his crew must be complimented for their very efficient changes of scene. I know from experience what a monumental challenge it is organising and moving such a large number of props, especially real food.
Many thanks to The Winton Players for taking us back to a slower and more tranquil time. It was a most welcome respite from our hectic 21st century lifestyle and there’s only one word I can use to sum up this great evening’s entertainment: Perfick!
Mark Donalds
NODA SE District 10 Representative
How delightful to spend a warm spring evening being taken on a gentle stroll through the idyllic 1950s’ Kent countryside of H.E. Bates’ imagination, where the sun always shines and there are no problems that cannot be overcome.
It is always a dilemma when bringing to life characters that are already well known – do you imitate the much-loved actors or go your own way? This cast got the balance just right – making the characters their own but giving a strong enough flavour of their TV counterparts that we felt comfortable, and strong direction, good acting and great attention to detail characterised this enjoyable production.
Key to the play are Ma and Pop Larkin, beautifully portrayed by Sarah Dove and Simon Stanley, who obviously adore their family and each other, always eager to include others and phased by nothing. They both kept the pace of this fairly long play going well and brought out the gentle humour of the piece with ease.
Sarah Dove was every inch the Ma Larkin of my imagination – open, warm, welcoming and jolly, without an iota of jealousy, and the way she busied herself in the kitchen, preparing meals and organising the children, added greatly to the realism of the whole play.
Simon Stanley as Pop owned the stage from his first entrance and gave a warm and touching depiction of the cockney wide-boy who can make money out of almost anything and is loved by one and all. He was completely believable as the avuncular host, doling out cocktails from his musical drinks cabinet (a nice touch) and charming everyone, whatever their background.
Sarah Melville and Lawrence Cook were well paired as Mariette and Charley. She gave Mariette just the right amount of experience, while still retaining a degree of innocence, and he gave Charley just the perfect degree of awkwardness and naivety - always believable, although I felt his drunkenness – a difficult thing to get right - during their first evening was switched on a little suddenly. Sue Port was spot on as the prim and proper Miss Pilchester, being loosened up nicely after kissing Pop.
Great praise must go to the younger members of the cast. Not only were they all very natural, but they maintained the action (eating their supper, watching TV etc.) extremely well even when the focus was elsewhere on stage.
As I have come to expect from this group, the set was stunning – dividing the stage into two areas, the Larkins’ kitchen and their garden, with an invisible wall in between. Both sides showed great attention to detail, with well-painted flats and perfectly chosen
period furniture and props. Costumes too were spot on, accurately evoking that post-war period of austerity but with little touches of luxury that the Larkins liked. Well-designed lighting and excellent sound effects completed the picture.
Stage Manager Alan Bristow and his crew must be complimented for their very efficient changes of scene. I know from experience what a monumental challenge it is organising and moving such a large number of props, especially real food.
Many thanks to The Winton Players for taking us back to a slower and more tranquil time. It was a most welcome respite from our hectic 21st century lifestyle and there’s only one word I can use to sum up this great evening’s entertainment: Perfick!
Mark Donalds
NODA SE District 10 Representative
Dick Whittington - Panto Jan 2018
If you wanted to leave a cold January day for something altogether more appealing you could, as the programme notes suggest, do far worse than go to one of the annual highlights at the Festival Hall – the Winton Players pantomime.
I did just this and entered a world of colour, spectacle and fun at this year's offering, the ever-popular Dick Whittington The story is very familiar, with Dick travelling to London to seek his fortune, getting employment but, being accused of a crime for which he is innocent, is dismissed and banished.
Determined chap that he is, he returns to London and the rest , as they say, is pantomime history!Playing Dick is Lucy Davies in her first principal boy role, yet she performed with great confidence – plenty of strutting and thigh slapping. Her songs were well sung – both her solos and those where she was partnered by Emily Watts as Alice Fitzwarren. Emily brought a naïve sweetness to her part and her vocal solo was a delight to hear.
Joff Lacey as Idle Jack was a great hit with the audience with his "wayward socks". His round cheery face and his jaunty walk brought much laughter whenever he entered the stage. His mum was Dame Dolly Dumpling, played with some reserve by Wayne Pinhorn, but they had many amusing moments together, particularly in the ship's galley, ending with the obligatory cream in the face!
Also joining in the comic capers were Captain Cuttlefish (Martin Johnson) and his mate, Scupper (Mark Spiller). Most pantomimes are littered with corny comic one-liners and these two shipmates had more than their fair share.
Accompanying Dick through most if his adventures was his feline companion Tom, a lithe, sinewy performance from Eve Horrocks. John Edwards brought authority to his role as Alderman Fitzwarren as he tried in vain to keep his staff and ship's crew in control. The scene where he tried to instruct the crew in mop handling seemed somewhat familiar!
The forces of Good and Evil appeared at regular intervals. Good Fairy Bowbells was played with cockney charm by Jo Simmons as she kept a protective eye on Dick's welfare. The evil King Rat is one of pantomime's classic villains and Ryan Watts brought oiliness and menace to the role as he patrolled the sewers of London while threatening the audience with dire consequences if they continued to boo him. His ratlings supported him very effectively as they ran amok in London and on board ship.
One of the great attractions of Winton Players pantomimes are the young children and this year they delighted the audience in their various appearances particularly as horn-piping sailors. Some of them also provided the entertainment for the Sultan of Morocco,a regally authoritative portrayal by George Stephenson. Much to everyone's delight, they performed circus tricks, gymnastics ,magic and some very accomplished tap dancing.
In the scene where Dick and Alice first meet romantically, they are replaced in the ensuing dance by their dancing alter egos. Molly Bryant, Megan Knowles and Sally Robinson, all members of the Petersfield Academy of Dance, shared the roles throughout the run and danced with much balletic grace to provide a scene of great charm.
There was a delightful cameo role played by young Nikolai Gibbins who, as cabin, boy seemed to be doing everyone's bidding. In his many appearances, whether bringing on a case or footstool or dancing in a tutu while holding a large ham, he uttered not one word! Yet he almost stole the show and the older cast members had better be looking over their shoulders at this budding talent!
There were fewer in the chorus this year and , at times, the stage looked a little empty. It also impacted the singing which could have done with more power to properly hear the words. The perennial favourite "Consider Yourself" was an exception to this where the chorus sang and danced with great gusto.
Staging a pantomime, particularly on the scale that Winton Players operate, is a major undertaking and Phill Humphries ,a pantomime stalwart who was directing one for the first time, did a sterling job. He was ably assisted by Jane Blower as Assistant Director, Jocelyn Massie as Choreographer and Tony Blackford as Musical Director. The small band provided just the right level of accompaniment and special musical effects to enhance the production. Effective lighting and sound, pyrotechnics , a colourful set and attractive costumes all contributed to the enjoyment of the show.
Whilst perhaps not hitting the heights of previous pantomimes , it was extremely enjoyable and judging by the enthusiastic reaction of the many young members of the audience sitting near me, it was a great hit. Good , traditional family pantomime is nowadays becoming harder to find, so Congratulations, Winton Players, on helping to brighten this dark January. I look forward to seeing Aladdin next year.
JAMES PRITCHARD Petersfield Post
I did just this and entered a world of colour, spectacle and fun at this year's offering, the ever-popular Dick Whittington The story is very familiar, with Dick travelling to London to seek his fortune, getting employment but, being accused of a crime for which he is innocent, is dismissed and banished.
Determined chap that he is, he returns to London and the rest , as they say, is pantomime history!Playing Dick is Lucy Davies in her first principal boy role, yet she performed with great confidence – plenty of strutting and thigh slapping. Her songs were well sung – both her solos and those where she was partnered by Emily Watts as Alice Fitzwarren. Emily brought a naïve sweetness to her part and her vocal solo was a delight to hear.
Joff Lacey as Idle Jack was a great hit with the audience with his "wayward socks". His round cheery face and his jaunty walk brought much laughter whenever he entered the stage. His mum was Dame Dolly Dumpling, played with some reserve by Wayne Pinhorn, but they had many amusing moments together, particularly in the ship's galley, ending with the obligatory cream in the face!
Also joining in the comic capers were Captain Cuttlefish (Martin Johnson) and his mate, Scupper (Mark Spiller). Most pantomimes are littered with corny comic one-liners and these two shipmates had more than their fair share.
Accompanying Dick through most if his adventures was his feline companion Tom, a lithe, sinewy performance from Eve Horrocks. John Edwards brought authority to his role as Alderman Fitzwarren as he tried in vain to keep his staff and ship's crew in control. The scene where he tried to instruct the crew in mop handling seemed somewhat familiar!
The forces of Good and Evil appeared at regular intervals. Good Fairy Bowbells was played with cockney charm by Jo Simmons as she kept a protective eye on Dick's welfare. The evil King Rat is one of pantomime's classic villains and Ryan Watts brought oiliness and menace to the role as he patrolled the sewers of London while threatening the audience with dire consequences if they continued to boo him. His ratlings supported him very effectively as they ran amok in London and on board ship.
One of the great attractions of Winton Players pantomimes are the young children and this year they delighted the audience in their various appearances particularly as horn-piping sailors. Some of them also provided the entertainment for the Sultan of Morocco,a regally authoritative portrayal by George Stephenson. Much to everyone's delight, they performed circus tricks, gymnastics ,magic and some very accomplished tap dancing.
In the scene where Dick and Alice first meet romantically, they are replaced in the ensuing dance by their dancing alter egos. Molly Bryant, Megan Knowles and Sally Robinson, all members of the Petersfield Academy of Dance, shared the roles throughout the run and danced with much balletic grace to provide a scene of great charm.
There was a delightful cameo role played by young Nikolai Gibbins who, as cabin, boy seemed to be doing everyone's bidding. In his many appearances, whether bringing on a case or footstool or dancing in a tutu while holding a large ham, he uttered not one word! Yet he almost stole the show and the older cast members had better be looking over their shoulders at this budding talent!
There were fewer in the chorus this year and , at times, the stage looked a little empty. It also impacted the singing which could have done with more power to properly hear the words. The perennial favourite "Consider Yourself" was an exception to this where the chorus sang and danced with great gusto.
Staging a pantomime, particularly on the scale that Winton Players operate, is a major undertaking and Phill Humphries ,a pantomime stalwart who was directing one for the first time, did a sterling job. He was ably assisted by Jane Blower as Assistant Director, Jocelyn Massie as Choreographer and Tony Blackford as Musical Director. The small band provided just the right level of accompaniment and special musical effects to enhance the production. Effective lighting and sound, pyrotechnics , a colourful set and attractive costumes all contributed to the enjoyment of the show.
Whilst perhaps not hitting the heights of previous pantomimes , it was extremely enjoyable and judging by the enthusiastic reaction of the many young members of the audience sitting near me, it was a great hit. Good , traditional family pantomime is nowadays becoming harder to find, so Congratulations, Winton Players, on helping to brighten this dark January. I look forward to seeing Aladdin next year.
JAMES PRITCHARD Petersfield Post
Murder on the Nile - Oct 2017
Being familiar with the original novel and the 1978 Peter Ustinov film, it was interesting to be introduced to the stage version, adapted from the novel by Agatha Christie herself in 1944. Strangely, she removed Hercule Poirot from the story, so who would have the necessary little grey cells to unravel the clues and solve the mystery?
In typical Christie fashion, the characters are all introduced in the first scene as they come aboard the Nile steamer and they are then cut off from the outside world as it sets sail. The scene-setting allowed us plenty of time to admire the really high quality set depicting the lounge bar of the ship. It was used, with just a change of backdrop, throughout the play and, along with clever lighting and most realistic sound effects, it created the perfect atmosphere, making us feel as if we were fellow passengers. Costumes and props too were top notch and really evocative of the period.
There was good characterisation by the entire cast but I particularly liked Penny Young’s excellent portrayal of the “bullying old harridan” Miss ffoliot-ffoulkes. I was amazed that her mild-mannered niece Christina, a nicely understated performance by Emily Watts, was not tempted to bump her off amid the flurry of deaths that came later.
Simon Stanley was just right as the provocative, wise-cracking young socialist William Smith. Lucy Davies also impressed as the thoroughly unlikeable spoilt rich girl, Kay Mostyn, who has always taken everything she wanted, including her best friend’s boyfriend. Monika Jankowska was convincing as the spurned friend, dogging Kay’s every move, seeking revenge, and Ryan Watts as Simon Mostyn certainly had me believing that he had been shot in the knee – his pain was almost palpable.
I felt that the first half of the play would have benefitted from a little more pace, with one of the scene changes seeming rather protracted. The problem with making a three act play into two acts is where to put the interval - time-wise, it occurred in a logical place, but it meant that we left the auditorium before any murders had been committed. The second half was consequently much pacier, with the murders taking place, and the culprits being identified - the role of detective was assumed by the travelling cleric, Canon Pennefather (John Edwards).
Agatha Christie’s plays are always good value for the audience – the clues are there if you know where to look and which red herrings to avoid, and it is great fun trying to identify “whodunit”. Thank you Winton Players for a thoroughly engrossing and entertaining evening.
Mark Donalds
NODA SE District 10 Representative
In typical Christie fashion, the characters are all introduced in the first scene as they come aboard the Nile steamer and they are then cut off from the outside world as it sets sail. The scene-setting allowed us plenty of time to admire the really high quality set depicting the lounge bar of the ship. It was used, with just a change of backdrop, throughout the play and, along with clever lighting and most realistic sound effects, it created the perfect atmosphere, making us feel as if we were fellow passengers. Costumes and props too were top notch and really evocative of the period.
There was good characterisation by the entire cast but I particularly liked Penny Young’s excellent portrayal of the “bullying old harridan” Miss ffoliot-ffoulkes. I was amazed that her mild-mannered niece Christina, a nicely understated performance by Emily Watts, was not tempted to bump her off amid the flurry of deaths that came later.
Simon Stanley was just right as the provocative, wise-cracking young socialist William Smith. Lucy Davies also impressed as the thoroughly unlikeable spoilt rich girl, Kay Mostyn, who has always taken everything she wanted, including her best friend’s boyfriend. Monika Jankowska was convincing as the spurned friend, dogging Kay’s every move, seeking revenge, and Ryan Watts as Simon Mostyn certainly had me believing that he had been shot in the knee – his pain was almost palpable.
I felt that the first half of the play would have benefitted from a little more pace, with one of the scene changes seeming rather protracted. The problem with making a three act play into two acts is where to put the interval - time-wise, it occurred in a logical place, but it meant that we left the auditorium before any murders had been committed. The second half was consequently much pacier, with the murders taking place, and the culprits being identified - the role of detective was assumed by the travelling cleric, Canon Pennefather (John Edwards).
Agatha Christie’s plays are always good value for the audience – the clues are there if you know where to look and which red herrings to avoid, and it is great fun trying to identify “whodunit”. Thank you Winton Players for a thoroughly engrossing and entertaining evening.
Mark Donalds
NODA SE District 10 Representative
Time of My Life - April 2017
Author: Mark Donalds - NODA
This ingenious play by the prolific Alan Ayckbourn, premiered in Scarborough in April 1992 followed by a run in the West End in August 1993. It is still just as pertinent today, exactly twenty five years later, showing that we are always too busy worrying about the present to notice those moments when we are truly happy, until they have gone past. It all takes place in the Stratton family’s favourite restaurant as they celebrate the mother’s birthday, and takes us backwards and forwards in time showing us the relationship problems of each of the sons and also the parents, whose marriage had seemed rock solid.
The restaurant set was most impressive, with many authentic detail touches like the menus with inner pages, not just card outers, flowers on the tables, real food and, best of all, sound and light effects every time the door to the kitchen was opened. The staging was also well thought out, with the main action (in the present) set at the large table in the middle, while we got glimpses of the past and the future at smaller tables set on stage left and right respectively. Clever lighting changes allowed us to concentrate on where the action was taking place while the actors remained at the other tables, or changes were being made.
Characterisation throughout was well thought out and maintained. Eileen Riddiford shone as the mother, Laura, clearly showing her contempt for her dissolute son Glyn flitting from one relationship to another, and his doormat wife Stephanie. Her gradual intoxication as the evening progressed, leading to the revelation that she had a brief fling with her husband’s brother, was spot on.
Nick Witney was the archetypal business man, Gerry, always more concerned with his work than his wife and now struggling to keep the company – and his family - afloat. Lawrence Cook was a very believable elder son Glyn, never able to stay in a relationship for long even to please his mother and unable to save the company after his father’s death, being made redundant when it is taken over. His wife, Stephanie, was well portrayed by Anne-Lise Kadri, who positively bloomed after she shook off her useless husband and found a more satisfying relationship with a surgeon.
Man of the moment was Joe Dove, standing in at very short notice as younger son Adam, when Charlie Essex was taken into hospital. Despite having the script in his hand, he turned in an excellent performance putting in so much feeling and expression that you barely noticed the script. Adam’s girlfriend Maureen is a real peach of a part and Monika Jankowska really made it her own, extracting every last ounce of humour from it.
Lastly, but definitely not least, is the talented Dil Peeling who appeared in many outrageous guises as the restaurant owner and various waiters. He imbued each with a totally different character and appearance, using the most amazingly awful wigs, moustaches and eyebrows.
I was left with many questions in my mind – was Adam the result of Laura’s fling; was the car accident deliberate on Gerry’s part; and did Adam ever manage to untie the apron strings? I’ll never know, but it just shows how well Ayckbourn and this talented cast and director developed the characters and how well the play engaged me and drew me in.
Hitherto not a huge fan of Ayckbourn, this was an excellent production. I thoroughly enjoyed the play, which was extremely well-acted, well-directed, and well-produced, with great attention to detail. A really good evening.
This ingenious play by the prolific Alan Ayckbourn, premiered in Scarborough in April 1992 followed by a run in the West End in August 1993. It is still just as pertinent today, exactly twenty five years later, showing that we are always too busy worrying about the present to notice those moments when we are truly happy, until they have gone past. It all takes place in the Stratton family’s favourite restaurant as they celebrate the mother’s birthday, and takes us backwards and forwards in time showing us the relationship problems of each of the sons and also the parents, whose marriage had seemed rock solid.
The restaurant set was most impressive, with many authentic detail touches like the menus with inner pages, not just card outers, flowers on the tables, real food and, best of all, sound and light effects every time the door to the kitchen was opened. The staging was also well thought out, with the main action (in the present) set at the large table in the middle, while we got glimpses of the past and the future at smaller tables set on stage left and right respectively. Clever lighting changes allowed us to concentrate on where the action was taking place while the actors remained at the other tables, or changes were being made.
Characterisation throughout was well thought out and maintained. Eileen Riddiford shone as the mother, Laura, clearly showing her contempt for her dissolute son Glyn flitting from one relationship to another, and his doormat wife Stephanie. Her gradual intoxication as the evening progressed, leading to the revelation that she had a brief fling with her husband’s brother, was spot on.
Nick Witney was the archetypal business man, Gerry, always more concerned with his work than his wife and now struggling to keep the company – and his family - afloat. Lawrence Cook was a very believable elder son Glyn, never able to stay in a relationship for long even to please his mother and unable to save the company after his father’s death, being made redundant when it is taken over. His wife, Stephanie, was well portrayed by Anne-Lise Kadri, who positively bloomed after she shook off her useless husband and found a more satisfying relationship with a surgeon.
Man of the moment was Joe Dove, standing in at very short notice as younger son Adam, when Charlie Essex was taken into hospital. Despite having the script in his hand, he turned in an excellent performance putting in so much feeling and expression that you barely noticed the script. Adam’s girlfriend Maureen is a real peach of a part and Monika Jankowska really made it her own, extracting every last ounce of humour from it.
Lastly, but definitely not least, is the talented Dil Peeling who appeared in many outrageous guises as the restaurant owner and various waiters. He imbued each with a totally different character and appearance, using the most amazingly awful wigs, moustaches and eyebrows.
I was left with many questions in my mind – was Adam the result of Laura’s fling; was the car accident deliberate on Gerry’s part; and did Adam ever manage to untie the apron strings? I’ll never know, but it just shows how well Ayckbourn and this talented cast and director developed the characters and how well the play engaged me and drew me in.
Hitherto not a huge fan of Ayckbourn, this was an excellent production. I thoroughly enjoyed the play, which was extremely well-acted, well-directed, and well-produced, with great attention to detail. A really good evening.
Busybody - Directed by Ruth Hiller October 2015
Author: Barbara Fairclough NODA
BUSYBODY, written in 1959 by Jack Popplewell, is a very funny comedy. It is a murder mystery centred on an office cleaner who finds the managing director dead in his office with a paperknife in his back. The detective who arrives to deal with the murder turns out to be a man she had known in her youth. Her simple attempts to help him solve the case gave the audience hours of entertainment. As with any comedy, it is a ridiculously complex plot.
The hilarious play centres on a cleaning women who keeps telling the cops how to mind their business and who steps forward at every opportunity. She lives in the basement of the office building she cleans and one night finds a body. By the time the police arrive, there is no body and no evidence. The wrong alarms are sent out, murdered men turn up alive and the whole thing is caulked up to the cleaning women’s imagination .
The impressive set worked very well with the fast flowing script, many doors were used with great timing including the office cupboard. The stage props were very authentic to the era of the 50’s, as were the costumes.
The lighting and sound was very good with every word being heard by the very appreciative audience, who really got into the feel of great comedy.
Finally, the production by Winton Players was well received by the audience who, by their laughter, showed that they were thoroughly enjoying their evening.
BUSYBODY, written in 1959 by Jack Popplewell, is a very funny comedy. It is a murder mystery centred on an office cleaner who finds the managing director dead in his office with a paperknife in his back. The detective who arrives to deal with the murder turns out to be a man she had known in her youth. Her simple attempts to help him solve the case gave the audience hours of entertainment. As with any comedy, it is a ridiculously complex plot.
The hilarious play centres on a cleaning women who keeps telling the cops how to mind their business and who steps forward at every opportunity. She lives in the basement of the office building she cleans and one night finds a body. By the time the police arrive, there is no body and no evidence. The wrong alarms are sent out, murdered men turn up alive and the whole thing is caulked up to the cleaning women’s imagination .
The impressive set worked very well with the fast flowing script, many doors were used with great timing including the office cupboard. The stage props were very authentic to the era of the 50’s, as were the costumes.
The lighting and sound was very good with every word being heard by the very appreciative audience, who really got into the feel of great comedy.
Finally, the production by Winton Players was well received by the audience who, by their laughter, showed that they were thoroughly enjoying their evening.
Daisy Pulls It Off -Directed by Phill Humphries April 2015
Author: Chris Horton NODA
DAISY PULLS IT OFF by Denise Deegan is set in 1927 in a girls’ boarding school and is the story of Daisy Meredith, an elementary schoolgirl. We follow Daisy as she faces the trials and tribulations of life at Grangewood. Director, Phill Humphries had assembled an excellent cast of young ladies with Amy Perkins as the perky and daring Daisy. Amy allowed Daisy’s innocence to shine through but also showed that she could be brave and mischievous. She had fine support in this hearty adventure story from Francesca Williams as her new chum Trixie. Francesca sustained the energy and comedy of Trixie’s character and was very enjoyable to watch.
The action moved along nicely: classroom bickering, treasure hunting and the formation of a secret society, a cliff-top rescue, hot water bottle fight and assembly. The cast injected a lot of life into proceedings and I particularly enjoyed the hockey match which was executed with enthusiasm and precision.
The set was well designed with wood panelled school hall being transformed by using blackboards (on wheels) depicting various scenes, classroom, the dorm, the san, the library, Miss Gibson’s study and the scene changes were efficient and seamless. Costumes and hair-styles were appropriate for the period and added to the nostalgic feel of the production. This was an ensemble piece and each cast member helped evoke a life far removed from real life but was spiffing fun. Jolly good show Winton Players!
DAISY PULLS IT OFF by Denise Deegan is set in 1927 in a girls’ boarding school and is the story of Daisy Meredith, an elementary schoolgirl. We follow Daisy as she faces the trials and tribulations of life at Grangewood. Director, Phill Humphries had assembled an excellent cast of young ladies with Amy Perkins as the perky and daring Daisy. Amy allowed Daisy’s innocence to shine through but also showed that she could be brave and mischievous. She had fine support in this hearty adventure story from Francesca Williams as her new chum Trixie. Francesca sustained the energy and comedy of Trixie’s character and was very enjoyable to watch.
The action moved along nicely: classroom bickering, treasure hunting and the formation of a secret society, a cliff-top rescue, hot water bottle fight and assembly. The cast injected a lot of life into proceedings and I particularly enjoyed the hockey match which was executed with enthusiasm and precision.
The set was well designed with wood panelled school hall being transformed by using blackboards (on wheels) depicting various scenes, classroom, the dorm, the san, the library, Miss Gibson’s study and the scene changes were efficient and seamless. Costumes and hair-styles were appropriate for the period and added to the nostalgic feel of the production. This was an ensemble piece and each cast member helped evoke a life far removed from real life but was spiffing fun. Jolly good show Winton Players!
Winton Players - Registered as a Charitable Incorporated Organisation number 118736
