NODA Review

Society: Wembley Operatic Society
Production: The Sound of Musicals
Date: 9th Feb 2007
Venue: The Compass Theatre, Ickenham
Report by: Harvey Kesselman

For the first production in their 70th year, WOS chose to present a fully costumed selection of songs from popular musicals dating from Showboat (1927) up to the present day, some of which are still running in London.
This gave a chance for some of the company, who are normally seen as chorus members, the opportunity of performing as soloists. As with all these compilations, there were some very good performances and some that perhaps could have been better.
There were 31 adults, 8 children and some 40 songs in this production; as a result, it is not my intention to either mention individuals by name or their performances, but to give an overall report on the show.
There was no actual set, but the rostra at the back of the stage was quite sufficient and the few props brought on were enough to create the atmosphere required for various numbers.
I have to say how impressed I was at the overall standard of the company.
It was clear that they had worked hard, as this sort of 'show', with so many numbers to learn as well as movement, is much more demanding that a 'regular' musical.
The opening number was very good and set the show off with a cracking pace. Amongst the highlights, there was a wonderful extract from 'Oliver' sung with great verve by a delightful 'Dodger' well supported by 'Oliver' and the company, and a very good performance of 'Memory' that ended the first act.
I personally feel it would possibly have been better to end that act with the full company; perhaps a more up-beat number might have been preferable.
Other numbers that stood out were, 'Love Changes Everything', 'Greased Lightnin', 'All That Jazz', 'Supercalifragilistic…' and the very funny 'Dancing Queen'.
The children were excellent in all their numbers, and it was good to see young performers on stage showing such confidence.
The chorus singing in the extract from 'Les Miserables' was fine, except the men were rather overshadowed by the ladies. This was true in all the concerted numbers and was particularly noticeable in the 'Can't Help Lovin' Dat Man', where the men have a wonderful melody line which, frankly, was not heard.
They were also rather disappointing in 'Standing on the Corner' being rather hesitant in both their singing and movement. Most of the soloists did well, although there was a slight problem when some started their numbers rather far back on the rostra, and were not really heard until they came forward. Even then, there was the problem of projection. Because personal mikes were not in use, more effort should have been made to project; after all, they did not have to cope with a loud orchestral accompaniment.
More attention must be made that, with or without mikes, singers must learn to project if they want to be heard at the back of the theatre.
Although there was no orchestra, Stephen Lethbridge on the keyboard sounded almost like there was one. He was wonderful in his playing, coping with some difficult arrangements and not putting a foot, or should I say a hand, wrong.
Music Director, Ricardo Gonzales, kept tight control over the singers and obviously had worked hard in getting the company to performance level.
Anne Hertler-Smith did a first class job as Director and Choreographer. The whole show went without a hitch, every number was well presented, well costumed, and to see the whole company dancing was indeed a bonus.
Stage Manager Kevin McCarthy, ASM Sarah Jay and crew made certain all went smoothly; the ever reliable John Jetten was responsible for the lighting; costumes were simple but effective; Vera West and Erika Parish were in charge of wardrobe.
The programme was informative and the list of NODA Long Service medal holders was a nice touch as was the notice about the Association.
To sum it all up, this was a very good evenings entertainment and I know the audience enjoyed themselves, leaving the theatre feeling very happy.

Many congratulations.