Cast (in order of appearance) Arthur Kipps Sid Pornick Buggins Pearce Flo Bates Kate Victoria Emma Mr Shalford Mr Carshot Mrs Walsingham Mrs Botting Ann Pornick Harry Chitterlow Laura Helen Walsingham Young Walsingham Edith Mr Jones Gwendoline Photographer Simon Tuck Jonathan Hassell Peter Goode Nigel Simpson Jackie Lack Margaret Morrison Sarah La-Plain Julie Richardson Peter Fidler Stephen Smails Vera West Valerie Faiman Sheila Redston Ted Blake Sally Rayner Victoria Humphris David Wynne-Jones Lana Sauer Andrew Nutkins Elaine Gee Dennis Hopwood Townsfolk Maureen Abbs, Alan Bunner, Glenys Blake, Debbie Day, Julia Day, Angela Dunnett, Les Elliott, Valerie Faiman, Elaine Gee, Celia Glanville, Dennis Hopwood, Joan Lai-Tan, Sue Mitchell, Arlene Neckles, Andy Nutkins, Ray May, Sally Rayner, Lana Sauer, Jill Schrodel, Dawn Sikora, Stephen Smails, Rex Whitehurst Children Katherine Lack, Yvette Neckles, Charlotte Sikora, Sonil Teli Production Team Musical Director Director & Choreographer Co-Choreographer Janette Edwards Tom Rainbow Trisha Tebbatt

NODA Review

Society: Wembley Operatic Society
Production: Half a Sixpence
Date: 9th May 2001
Venue: The Winston Churchill Hall, Ruislip
Report by: Harvey Kesselman

As with certain other musicals, "Half a Sixpence'' can almost be considered as a one person show, and provided the main character is worthy of taking on the main part, these musicals can be a great success. Wembley Operatic was fortunate enough to have such a person to take on this most energetic role. As "Arthur Kipps", Simon Tuck proved to be just right for this character, one of the most delightful creations of HG Wells (himself having been a drapers assistant in his early youth). Simon danced and sang his way through the performance with joyous abandonment, and looked as though he was enjoying himself, which in turn transmitted itself to the audience.

He was ably supported by Jonathan Hassell as "Sid Pornick" (surely a Ben Elton lookalike), Peter Goode as "Buggins", and Nigel Simpson as "Pearce'. They all worked together well, and their "Economy" number was very good. Sheila Redston's "Ann Pornick" was most appealing, although their first duet, the title song, was slightly spoilt as Kipps' voice was more dominant than Ann's, their personal mikes not being balanced. However Sheila's acting and singing was absolutely delightful, and she was very well supported by Jackie Lack, Margaret Morrison, Sarah LaPlain and Julie Richardson as "Flo", "Kate", "Victoria" and "Emma', and their "I Don't Believe a Word of it" quintet was performed with great gusto.

I should have really liked a slightly stronger performance from Peter Fidler as "Mr Shalford". He did not quite come over as someone who could 'scare' his shop boys/girls. Stephen Smails as "Mr Carshot'' seemed just right as the obsequious manager of the drapers shop.

Ted Blake's entry as "Harry Chitterlow" riding (and failing off) his bicycle was very amusing. He continued to get the laughs and his pompous delivery of dialogue was just as one would expect from an 'actor'. Loud. brash but just short of going OTT. All the other named characters acquitted themselves very well. Sally Rayner as "Edith", Andrew Nutkins as Mr Jones, Elaine Gee as Gwendoline, and Dennis Hopwood as the photographer.

Vera West's "Mrs Walsingham" perhaps could have been a little more pompous, a sort of Lady Bracknell character, although she did manage to show what she thought of the 'lower classes'. As her son, David Wynne-Jones made the most of a 'not really nice' person, although he was a little stiff in his acting. Victoria Humphris' "Helen Walsingham" could, like her mother, have been a bit more snobbish, and, as with Young Walsingham, needed to be a little more relaxed on stage. Mrs Botting" is the sort of role the audience can easily forget, as there is not a great deal for her to do, but Valerie Faiman made the most of this character.

The orchestra under Janette Edwards, played well, but on occasion were a bit too loud when playing under dialogue. The ensemble singing was very good, and I particularly liked the "Money to Burn" and "Flash Bang Wallop'"numbers. In fact all of the singing by the whole company was of a very high standard, and the solo voice in "The Old Military Canal" was excellent. I was, however, somewhat disappointed at the lack of scenery. Having slides of Folkestone displayed was quite a good idea (in spite of them being slightly out-of-focus and not quite straight), but to have nothing shown on the backcloth was a pity. I do understand there was a problem with the hiring of backdrops etc. and it was a shame. Still, it did not really prevent the show being a success. The costumes were in period, but the lengths of the ladies costumes varied a great deal. Some wore them almost down to the ground (floor) and others were above their ankles. More care must be taken in this department.

I do congratulate Tom Rainbow, ably assisted by Trisha Tebatt, for his direction and choreography, Stuart La-Plain and his stage crew (although I would have preferred if the crew had worn long sleeves as the 'whiteness' of their arms showed up in some of the scene changes), John Jetten, Denis Cater and Ron Laver, for lighting and sound, Jean Lloyds and her crew for make-up, and all the other backstage people without whose help no show would get on to the stage. Only lack of space prevents me from mentioning them all by name. I do feel that I have to name the children, who I hope now know the thrill of appearing on stage, and will continue to grace it: Katherine Lack, Yvette Neckles, Charlotte Sikora and Sonil Teli.

Thank you, too, Ethel Fidler for looking after my wife and myself. We did enjoy the evening, and if I have left anyone out of this report, I do apologise.

I look forward to seeing your next production of "Follies".