White Rock Theatre, 30 October 2013

Guys & Dolls has been a success since it first opened in 1950, and numerous professional productions, not least Richard Eyre’s oft revived National Theatre version, make it a particular challenge for any amateur company. That the Hastleons were able to provide a largely entertaining and enjoyable evening was a tribute to all concerned.

Maintaining a convincing American accent is far more difficult than it may appear, even given our over-familiarity with Americanisms via television and film. Andrew Pilcher was possibly the most convincing here, giving us a highly credible Nicely-Nicely who blossomed superbly for Sit down you’re rocking the boat and was never less than subtly convincing. Rick Baker and Kellie Kelly as Nathan and Adelaide made a strong impact when on stage and sparked well off each other. Her ability to create a rounded character as well as the extrovert entertainer at the Hot Box was impressive.

Kenny Giles sang well as Sky but on the first night was not as relaxed as he might have been. This may equally apply to Robyn Nash as Sarah Brown. While her acting and spoken dialogue carried well and convincingly – particularly in Havana – her singing was tight and often shrill. The amplification may have been at fault here, for there were times she seems more relaxed and the voice was more on centre. Her duet with Adelaide in the final moments of the score – Marry the Man with its Sondheim-like overtones – was the best thing she did.

There are a large number of smaller parts which make heavy demands on a small company, and they were lucky to have Leslie Adams for Arvide’s single but very important solo. The dancers obviously enjoyed themselves and created a sense of a society at ease with itself.

David Sismore’s production moved smoothly and balance between stage and Clare Adams musicians in the pit was always good. The set worked well with smooth changes, though the upper level was rarely used. Lighting was never problematic but the front spots were often too high for the mens’ hats, putting faces into deep shadow. As with many musicals, the set numbers are the key to success and these were all well staged. However some of the spoken dialogue could easily have been trimmed, particularly if there had been any indication in the programme of the story line or history of the work itself.  BH

The next Hastleon production will be Our House 14 – 17 May 2014. Details from Liz Miller 07518 739026 lizmillerhastleons@hotmail.co.uk

White Rock Theatre, Hastings 25 October 2013

There is always a danger of a work like Madame Butterfly becoming over-sentimentalised, and it was one of the great strengths of Fraser Grant’s approach that it eschewed sentiment in the face of a starker emotional reality. Moving the period of the work to the 1920s certainly helped this. The tension between the traditional Japanese east and the more decadent, if not actually debased, proto-Christian west gave a framework within which the tragedy unfolded with uneasy naturalism.

Pinkerton can too readily be seen as a brash cad, but James Heath creates a far more complex personality. In act one his naivety seems closer to Albert Herring than to Don Jose, and the underlying eroticism was helped by Elizabeth Roberts all too willing Butterfly. Her appearance in a western wedding veil was immediately telling, and the arrival of the Bonze (strongly characterised by Toby Sims) who rips the veil from her, highlighted the dichotomy for a society in transition.

Trying to bridge the disparate elements, Peter Grevatt’s Sharpless was a master of tact, but, in the superbly handled letter scene in act two, proved to be out of his depth. There is nothing he can do to prevent the inevitable tragic conclusion, though he spent most of act one warning the love-sick Pinkerton that no good would come of it.

Like Juliet’s nurse, Karen McInally’s Suzuki starts the evening in a warmly comfortable position, hopeful that all will be for the best, but gradually slips into despair. It was noteworthy that her singing became stronger as the evening progressed and she was forced by circumstance to make more and more decisions for Butterfly, who has now lost her grip on life.

Elizabeth Roberts has to carry most of the second act and she did so with relish. Her western dress, and willingness to wrap herself in the stars and stripes, both at odds with her continuing Japanese references, pointed to a mind disintegrating under the emotional pressure. This was equally true of James Heath’s Pinkerton. The intelligent use of costume here indicated that not only was this three years later, but he has matured considerably. The creased white jacket of the first act has become a formal black officer uniform by act two. But he is unprepared for the emotional impact of meeting Butterfly again. Her suicide is unconventional and disturbing. She writhes as she dies with the eroticism we had seen at the end of act one. Pinkerton can only stare impotently, unable to act or react.

Musically it was a fine evening throughout. Kenneth Robert’s approach to the score was unhurried, constructing long paragraphs of lyricism to support the action. Orchestral solos were always apt with some impressive work from the first violin, Andrew Laing. The small chorus sang valiantly, with an effective on-stage rendition of the humming chorus.

The settings, with eight movable translucent screens, were highly effective and intelligently lit throughout. Given the quality of lighting available today, my only mild complaint was that Puccini’s glorious transition from twilight to early morning was ignored visually to be replaced by a loop of Kata martial arts and birds on sticks; a pity not to trust the composer on this occasion, when so much of the rest of the evening had been so good. BH

Final performance tonight at 7.30pm

Holy Trinity, Hastings, 23 October 2013

The Parkinsongsters were formed three years ago to support those who suffer from Parkinson’s disease, and their families and carers. Realising that vocal exercises can help to encourage and enhance the ability to breath and project the voice, Jane Metcalfe drew together a choir which has since launched itself in a number of highly enjoyable events, of which this lunchtime concert in Holy Trinity was the most recent.

The group obviously enjoy their singing and their enthusiasm is infectious. They opened with a brief sortie into The Mikado, moving rapidly to Handel. Gary Marriott gave us a mellifluous rendition of Where’er you walk (and how easily we take baroque ornamentation for granted these days!) before the choir sang Silent worship. This seemed to slip easily into Scarlet Ribbons, the sentimentality taken even further with a tear-jerking We’ll gather lilacs from Jane and Gary.

Members of the choir also brought us solos, with Bernard Crosby’s tongue-in-cheek And her mother came too and Stuart Baker’s moving account of Someone to watch over me. Stuart has had Parkinsons for over fourteen years and enjoys the opportunity to raise awareness and to demonstrate the importance of voice therapy in a very practical and effective way.

The concert ended with a hint at what is to come, with a selection of war time numbers in preparation for next year’s centenary.

A pleasure to hear the choir, and a full audience attested to their popularity. I look forward to their next appearance. BH

Hastings Unitarian Church, 19 October 2013

The final concert in the series, and the last event for this year’s Hastings Week, brought a heady mix of musical styles and periods, opening with Francis Jackson’s The Archbishop’s Fanfare. The Snetzler has always responded well to early music and William Russell’s Voluntary VIII sits snugly with an early baroque sound and gentle phrasing.

Quite what the Lord Mayor got up to in swan-hopping is anyone’s guess but the anonymous dance was delightful, as was the following Southwark Grenadiers’ March before the popular Prince of Denmark’s March.

The central works took a more serious turn with Bach’s Herzlich tut mich verlangen and Mozart’s Fantasia in F. The latter was written for a mechanical clock, possibly for a memorial piece, and has the stature of a substantial work rather than the lollipops often associated with mechanical instruments. The arrangement worked extremely well and allowed Stephen to demonstrate his fleet articulation.

Returning to the medieval period we then heard Estampie from the Robertsbridge Codex and a Canonnade by Balbastre. The warlike tones seemed a little toy-soldierish on this occasion but none the less enjoyable.

Percy Whitlock’s Chanty formed a bridge to the final items which were all lighter and directed towards the theme for Hastings Week. Syncopated Clocks gave way to a joyous jazz arrangement of Here, There & Everywhere, before we were all able to join in with Paddington Bear and The Teddy Bears’ Picnic.  BH

Stephen Page’s next concert will be at Blacklands Church on 30 November at 2.00pm

London Philharmonic Orchestra,

Congress Theatre, Eastbourne,

13 October 2013

Giancarlo Guerrero is not a conductor I have seen before, but judging by his performance this afternoon, I would love to do so again.

He led an inspired performance of Tchaikovsky’s Fourth Symphony which allowed the orchestra to be responsible for themselves on many occasions, and showed an immense love of the music and a trust in his musicians. The first movement brought some delicate, gentle phrasing and a fine control of dynamic, but it was the third movement which brought everything to life.

From my position close to the celli I was aware of his facial gestures. In this pizzicato third movement he gave up conducting with his hands or baton, relying on occasional lifted eyebrows or pursed lips to achieve just the right nudge for the strings. It was highly entertaining but also musically entrancing. There was even a point at which he looked at his watch – was Tchaikovsky really repeating that phrase again?

Then the final movement released the energy which had been held in before. He shaped the paragraphs of the music with his whole body and brought the afternoon to a stunning climax.

I do hope we see him again.

Rustem Hayroudinoff was the soloist in Chopin’s second piano concerto which was impressive, but not as much as his encore. A study for the left hand alone, if I had not seen his static right hand I would have refused to believe my ears. This was music-making of the highest quality.

The afternoon had opened with a suite from Carmen. Though well played it seemed a rather too obviously popular choice as an opening filler and we could have done with something a little more substantial. BH