White Rock Theatre, Hastings, Sunday 29^th April 2018

For many at the White Rock this was their first encounter with Verdi’s La Traviata and Ellen Kent’s stylish and often beautiful presentation allows the tragic narrative to unfold with simple grace.

The single massive neo-classical setting, with its three arched entrances, works well for all of the scenes, the subtle changes in period furniture giving the right level of class and detail.

Within this heavy interior Violetta’s demise moves from the glare of social events to the intimacy of her private rooms.

Alyona Kistenyova is an impressive Violetta, clearly in charge of the opening party scene and movingly effective when confronted with Alfredo’s father. Her death scene is convincing without becoming too lurid. Iurie Gisca brings out the emotional turmoil of Germont Pere and his singing of Di provenza il mar is particularly moving.

Vitalii Liskovetskyi has a very large tenor voice as Alfredo which works well in the Act Two party scene, where his anger boils over, but seemed rather too strident in the more intimate scenes.

This is partly the problem with the White Rock itself. Not only was the production devoid of its fine drop curtain but the whole cast would be better suited to a far larger venue. It certainly makes the case for Hastings needing a lyric theatre with a proper orchestra pit.

Smaller parts were well cast with Vadym Chernihovskyi bringing warmth to the doctor in the final scene and Zara Vardanean a quietly supportive Annina.

The small chorus are used intelligently and sing securely throughout. One of the real benefits of Ellen Kent’s productions is the size of the orchestra. For La Traviata the strings are particularly important and here there were more than enough of them to make a secure and well balanced impact.

Nicolae Dohotaru’s conducting was well paced though it is a pity the production needs two intervals and a pause between scenes in act two, which holds up the inevitability of the tragedy.

A large and enthusiastic audience showed that there is a demand of high quality performances – now all we need is a venue that can stage them.

Renaissance Theatre Company, St Mary in the Castle 28^th April 2018

Complicated relationships, mistaken identities and shady shenanigans abound as a colourful array of characters – passengers and crew – journey from America to England aboard the ocean liner SS American. This 1934 musical, based on an earlier book by Guy Bolton  & P G Wodehouse, boasts a number of well-known songs with words and music by Cole Porter and reflects the glitz and glamour of the privileged classes in the roaring 20s.

Experienced and capable company members were joined by a number from the next generation, who proved themselves to be worthy of their casting. Strong performances were given by all the leads, and particularly in a number of duets their musical prowess was showcased to the full. There were some quieter moments but mostly this is a fast moving, high energy show and this production had the necessary energy and slick movement to make it work.

As would be expected of something originally from the pen of Mr Wodehouse, acting was often necessarily over the top, brilliantly bringing the flamboyant, larger-than-life characters to life.

In two of the biggest set-pieces, the songs, Anything Goes and Blow, Gabriel, Blow, we witnessed the absolute dedication and commitment of the entire cast as they threw themselves with authentic ‘20s gay abandon in these all-singing, all dancing, up-tempo extravaganzas. Attention to the superb choreography was first rate and I must mention the brilliant tap routines which made me (almost) wish to join in! The brilliant musicianship of the band under the direction of Andy Gill deserves a special mention as does the wonderful rearranged duet by the two sailors.

There were many super performances but one that I feel deserves to be singled out is that of Reggie Regelous as Lord Evelyn Oakleigh, who truly surprised us all with his Gypsy in me!

It has to be said that there are some rather unenlightened attitudes in the writing of the play which make for uncomfortable viewing in 2018. A warning about this was placed at the entrance to the auditorium. I think this was a good idea.

As with any production much work goes into planning and preparation. Congratulations must go to Director Mark Evans and choreographers Jessica Sutton & Sarah Freeman. As well as the dedication of the whole cast and crew there will be many others who have made this all possible. Proceeds from the show will be donated to St Michael’s Hospice and the Shazzie Sparkle Trust.

A truly entertaining piece of escapism that once again highlights the talent and dedication of this group.

Stephen Page