Hastleons, White Rock Theatre, Hastings, 18 October 2017

Resisting the urge to pull on the leg warmers  and lycra I joined the audience for an entertaining and uplifting evening courtesy of the Hastleons . The show is based on the film, rather than the television series that many of us grew up with. Consequently I found that early on I was mentally renaming some of the characters to fit with the ones in my memory. However, I soon found I no longer needed to do so as every character, without exception, was played with such conviction. The nature of the show – charting the progress of a group of students at the New York School for Performing Arts – calls for a particularly youthful  cast with just a few parts for the longer established members as the school’s staff. Interactions between staff and students were realistic, with differing relationships just as in any school setting.

This is very much a song and dance show and, as well as some outstanding individual performances, I was most struck by the ensemble numbers. The choreography was very reminiscent of dance from the ‘80s – and gave opportunities for the characters to play to their strengths as well as allowing some characters to be less proficient – just as would be the case where students with a specialism are encouraged/forced to take part in disciplines in which they don’t really shine. (I speak from my own college experience!) The energy and interaction between all of the cast in these numbers was wonderful. So much work must have gone into this and it really paid off.

It is difficult to single out individual performances but I was particularly struck by the young leads Nathan McDonald (Nick Piazza), with the lovely I want to make magic and with his convincing theatrical leanings, and Robyn Nash (Serena Katz) in Let’s play a love scene and her feisty angst.  Kenny Giles worked well as the class clown Joe Vegas and the larger than life (but really rather fragile) Carmen Diaz was brilliantly portrayed by Vanessa King. Amanda Porter (Mabel) surprised us all with her fabulous gospel rendition of Mabel’s Prayer. Thomas Nichols’ portrayal of the troubled but finally redeemed Tyrone Jackson worked extremely well – at times full of fire and anger, and at other times quietly resolute. Rapping can be a difficult task but he did it with force and conviction. Tom Golby’s Schlomo was a very endearing character, pulling off another difficult trick, synching his “piano playing” to the band and his attitude at the piano being very convincing.

There were moments in virtually every dance where individuals were doing amazing things.  Just as in an Aardman animation these little background details make all the difference but are often passed over without much comment.

The use of a live band enhances a production so much. The small group of musicians under the direction of Clare Adams, were superb, producing a wide range of sounds and styles, in often up-tempo and complex sounding arrangements. The singing of members of the company was often intricate with solo lines and harmonies appearing from all directions in a fluid and natural way.

A production such as this involves so much time, talent and commitment from those on stage but also from all who have worked behind the scenes and during a long period of preparation. I always enjoy a good musical but how much more enjoyable when it is by a local company, and particularly when so much well established and newly emerging talent is on show. Please support future productions. We will miss them if they disappear.

SP

Emmanuel Centre, Battle, Saturday 21 October 2017

Stephen Page brought a genial mix of music and song to the Emmanuel Centre in Battle as part of this year’s Battle Festival.

The first half was loosely focused on classical, if often very familiar, pieces, opening with Susato’s Mohrentanz – probably the most well-known piece of Tudor music still in the repertoire. The next three works for organ brought together a romantic work by Scotson Clark, his Marche des Fantomes, Buxtehude’s Choral Prelude Now Come Redeemer and the Rondo from Purcell’s Abdelazer.

Stephen then moved to the piano, commencing with a delightful rendition of Chaminade’s Automne, moving through works by Zez Confrey and John Ireland to settle eventually on Bach’s Air on a G string.

Astor Piazolla’s gently melancholic tango Mumuki  gave way to Robert Farnon’s Jumping Bean before he returned to the organ for a rousing rendition of Strauss’ Radetzky March – even if the audience failed to provide the traditional clapping along to the march.

The second half was given over to music from stage and screen, touching on scores from The Lady Killers, The Misson and The Deer Hunter. After the exhilaration of The Entry of the Gladiators the solo part of the evening wound down with Send in the Clowns and the waltz tune from Genevieve. At this point we were invited to join in a sing-along to familiar songs from The King and I, The Sound of Music and My Fair Lady – with the words clearly displayed for us on the overhead screens.

This should have been the end but Stephen was persuaded to provide an encore which he did – singing for us Sydney Carter’s Down Below, whose wistful images send us off home smiling.