Future Productions

Trial by Jury & Thespis

June 2011

Director: John Harries-Rees

 La Cage Aux Folles

January 2012

Director: Jeff Raggett

Musical Director: Colin Copestake

 
Current Production

The Full Monty

January 2011

Director: Jeff Raggett

Musical Director: Colin Copestake

See CURRENT PROD below for details
LOS Members

LOS Charity

Concert

Sunday 28th November 2010

7.45pm

Epsom Playhouse, Epsom

See Rehearsal Schedule for details
Reviews PDF Print E-mail

Review: Bad Girls, The Musical

Tony Flook for L'head Advertiser, July 2010  

 

Leatherhead Operatic Society (LOS) took a risk when it decided to stage this sometimes downbeat, occasionally raunchy musical, set in Larkhall Women's Prison. In the event, it seemed that the show's fine music, well interpreted by a talented cast, resonated with appreciative audiences, across the age range.

 

Marc Thomas's set and lighting designs were essential in creating the atmosphere. A virtually bare stage, flanked by stairs on either side, joined by a walkway, together with often stark illumination, showed the conditions the convicts had to transcend in order to survive life inside.

Female prisoners are allowed to wear their own clothes so their often-bright colours helped lift the drabness of their surroundings in a frequently sombre show.

 

All 15 inmates looked and sounded plausible, although some had more opportunities than others to show their skills. Jenny Kent articulated clearly as she reflected on One Moment and developed her character as cop-killer Nikki, strongly. Laura Myers showed lifer Shell (described by the judge as "evil personified") as the leader of G Wing. She and arsonist Denny, played by Clare Ogle, promised to be Guardian Angel to oh-so naïve new girl Rachel, who was convincingly portrayed by Josie Piercy.

After building a credible atmosphere, Bad Girls disappointingly slips from time-to-time into clichéd and even farcical situations, as when gangster's wife Yvonne (Rachel Yelland) arrives and, inconceivably, pulls a knife on another lag before unveiling enough booze for a full scale party. Yelland's full-blooded interpretation of the role, as written was, though, faultless, especially when she teamed up with Kate Chesworth and Jenny Hallet for the memorably comic, show-stopping number as the trio bemoaned being All Banged Up. Chesworth poured out her heart as she said Sorry to her son, by phone.

 

The show opened strongly as all the cons asserted I Shouldn't Be Here.

 

Some of the fights between the women looked less than whole-hearted but there was no doubting the passion behind the riot at the end of act one.

 

On the other side of the bars, Kim Hill as Prison Officer Fenner, justified his self-gratifying attitude when he reflected that he held The Key. Victoria Swaine, Wing Governor Stewart, combined attractively with Nikki for Every Night.

 

Bad Girls, an imaginative, brave choice, proved to be a success for director John Harries-Rees, musical director Patrick Isbell and the entire team.

  

Fiddler On The Roof

  Danny Sparkes for L'head Advertiser, February 2010

 

What a joy of an evening!  It was worthy of (and better than some) professional productions.  Everyone is to be congratulated.  This was my first visit to LOS and, from our welcome to our leaving, the evening could not have been bettered. I understand that the set and costumes were hired, and adapted where necessary, for this production.  Nevertheless, the set was atmospheric and suited this stage.  The lighting plot was good and maintained the atmosphere, especially the fire-raising of the village and the spotting in the second act, but there were a couple of occasions in this act when I felt the stage apron was a little underlit.   I was a little worried about the sound balance at the start, but once under way everything settled.  Well done Colin for accompanying and not overpowering the voices.  There were one or two occasions at the beginning of scenes when the performers (particularly the younger members) started speaking before the music had finished.  Never be worried to wait a just a couple of seconds in order that you can be heard. The cast of ‘hundreds’ were well disciplined and moved skilfully.  Bravo Danielle;  Epsom stage is not enormous and you used it very well.  I particularly liked the trio with the 3 sisters – very aesthetic and beautifully in keeping with the mood. The hundreds of props were well handled but perhaps the milk churn (not on the cart) might have been ‘distressed’ in some way?  The costumes were lovely, but I did feel that Tzeitel’s (modern) wedding shoes were a little out of character for this poor family and village.  To give any criticism of this cast would be invidious and, frankly, needless.  They were all first-rate.  I will only be nit-picking.  Lee Power (Tevye) held the stage at all times, ‘on the other hand’ his accent did slip a little at the start and after the interval.  Rachel Yelland (Golde) was beautifully understated as the mother.  Kate Chesworth (Tzeitel), Sian Marr (Hodel) and Chare Ogle (Chava) are treasures that should be valued!  These fine voices could not be faulted.  Aidan Godwin (Motel), Matthew Schouten (Perchik) and Alan Reiss (Fyedka) were all so believable as the suitors for the girls.  Chris Evans (Lazar Wolf) handled the rejection of Tzeitel with dignity – I understand that Chris stepped in at a late date – congratulations.  I loved Judy Kelly (Yente) as the interfering, but well-meaning, match-maker.  What a great fund of voices and actors you have on call.  The various other members of the cast were excellent and I congratulate Jeff on his expect direction of this classic musical.  You are to be envied your cast pool, especially your younger members – look after them! Thank you for a memorable evening and I look forward to your next ‘blockbuster’ in June.

 

  

Sweet Charity

Words and Music, Sep/Oct 2009 issue 

 

'Difficult to fault this show'

Sweet Charity

16-20 June 2009.  The Leatherhead Theatre (Leatherhead Operatic Society (LOS)) Director, Sally Jones; Choreographer, Lea Stock; Musical Director, Guy Norris.

 

Few productions bring together all the elements as cohesively as did LOS's presentation of this ever-popular, upbeat musical comedy.  It would be difficult to fault the choreography, dancing, singing, acting or orchestral input and, crucially, the way they coalesced so satisfyingly.

 

Sweet Charity revolves totally round the title character, dance hall hostess Chairty Hope Valentine.  Amy Putt showed the meaning of each of her three names - her compassion despite seemingly being misused by every man she falls for, her eternal optimism and her capacity to continuously expect to find love.  She hit the right mood for all her numbers, wheterh the rousing 'I'm A Brass Band' or tentative 'I'm The Bravest Individual'.  it was a perforance to savour, in every respect.

 

She was more than ably supported - and counterbalanced - by Laura Meyers and Monica Wallis, who showed the cynicism of women who realise that they are trapped in their jobs at the Fan Dango Ballroom, despite asserting 'There's Gotta Be Something Better' and, later, wistfully urging Charity to 'Baby Dream Your Dream'.

 

Neurotic Oscar Lindquist seems to offer an escape route but Danny Willis's interpretation touchingly showed that even he could not be relied on.  The scene in which Oscar broke with Charity because he would not be able to overlook her promiscuous past, was exquisitely handled.

 

Lee Power had the ideal looks and attitude, tinged with a subtle touch of vulnerability when he let his guard slip, to portray fading film star Vittorio Vidal; his interaction with Charity bought zest to 'If My Friends Could See Me Now'.  The scene in his apartment would, though, have carried more impact had it featured a bed as large as such a man would surely have.

 

Vicki Stanbury was ideally cast as Ursula, Vittorio's unpredictable alternately glacial and fiery girlfriend.  James Turnbull carried authority as Herman, the hard headed ballroom proprietor who unexpectedly confessed 'I Love To Cry At Weddings'.  most of his girls looked credible in 'Hey Big Spender', although one or two appeared rather too mature for thier profession.  Dilip Patel's Daddy Brubeck and his psychedelically dressed followers delivered a punchy 'Rhythm of Life'.

 

Aimee Clar, with her striking arm and hand movements, led a large team of bored-looking socialites as they stalked around the Pompeii Club to 'Rich Man's Frug' in one of many memorable routines, all perfectly executed.

 

Here was West End quality entertainment brought to leafy Surrey.  Written by Tony Flook

 

Please click on the following to read our previous reviews as pdf files:

 

King and I Review - Leatherhead Advertiser

 

Sweeney Todd Review - Leatherhead Advertiser

 
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