Below are reviews of our shows by NODA the premier organisation for amateur theatre and other local reviews:
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!
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