SMAOS

1999 - THE KING AND I (REVIEW BY NODA REP - JOHN FLAY)

Director Adele Lawson
Musical Director Elizabeth Cheetham
Dance Director Karen Speers

After the cartoon and the remake of Anna and the King this Rodgers and Hammerstein classic comes to us with the image of Yul Brynner's
King stamped right across it. For this revival ideally cast was Nigel Machin who played the King, a role which fitted him extremely well.
Sheila Fildes as the "I", the Siamese royal governess Anna Leonowens, showed innovative style and breathed life into the role. Catherine
Dillon as Tuptim was not musically strong but she was convincing as the ill-fated young lover. All the relationships in this production were
fully imagined. Other roles were well portrayed by David Wycherley (Prince Chululongkorn), Alex Machin (Louis Leonowens), and Peter
Bowers (Kralahome). Not forgetting the winning kiddie display in "The March of the Siamese Children'". There was stylised choreography in
the Asian retelling of Uncle Toms Cabin. With relentless conducting from the pit the director maintained a good. pace making this King and I
easy to enjoy.

1999 - ME AND MY GIRL (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Elizabeth Cheetham
Dance Director: Andrea Balloch

Noel Gay and Stephen Fry's Me and My Girl can only be described as non-sexual high camp. Set in the 1930s, with its distinctive fashion
for both men and women, it was style - from the way you walked to the way you smoked a cigarette! The major stars of the day were Jack
Buchanan, Jessie Matthews and Noel Coward.

It was clear, as this production moved through its careful building of pace, that the director had not really made his mind up as how to
interpret the material. This did not stop the audience's enjoyment, however.

The cast, with Rebecca Okell as Sally, just bubble. Rebecca was well paired with Justin Morley as Bill. Their musical numbers were firmly
sung. Other principals were enthusiastic and hard-working lesser roles were well taken, notably Rod Ashman as Prchester. His rendering of
"The Family Solicitor" captured the spirit of the period.

Choreography was ably handled and the MD whipped through the score. There was good costuming from Homburgs and a most effective set
by Prosceneium.

1998 - SOUTH PACIFIC (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Ian Christensen
Choreographer: Tracey Moss

After 35½ years and 71 productions South Manchester AOS said farewell to the Renold Theatre with this production. This director is known
for his set designs and I waited to see what he had done with this evergreen musical. I was not disappointed. We had a set with a
multi-centrepiece with an operator inside to move it from position to position. There was a fountain within it for the de Becque house, a
shower was fitted for "Wash That Man" and it incorporated a waterfall for "Bali H'ai". On this cleverly effective set Glenn Fildes as the
elegant Emile de Becque was particularly effective: he knew every inch of the character, musically and dramatically. Nellie Forbush was
confidently played by Katherine Machin but, at times, lacked the colour of voice for the songs. Elizabeth Cheetham gave a most convincing
portrayal as Bloody Mary. Strong support came from Sean Kerr (Lt. Joe Cable) and Colin Appleby (Captain George Brackett).

The society can take pride in this last production at the Renold Theatre. I wish them every success in the new home, the Forum Theatre,
Wythenshawe. Good luck!

1998 - THE SOUND OF MUSIC (REVIEW BY NODA REP - JOHN FLAY)

Director Adele Lawson
Musical Director Peter England
Choreographer Andrea Balloch

Even before its opening in 1959 The Sound of Music was set to become a financial success. The story has a tense dramatic core but at
times seems to be rather too sentimental. Director Adele Lawson decided to hire a set for this production which proved to big for the stage
facilities: this hampered the ebb and flow of the piece. Music and orchestra were under a very able MD who revealed the many facets of
Rogers' score. The talents of Sheila and Glenn Fildes combined made the portrayals of Maria and Captain Von Trapp convincing and they
worked incredibly hard to keep the show moving especially in the final scene. Liesl Von Trapp was splendidly portrayed by Kate Willder
while Bill Lawson's interpretation of Max was a sharp and, at times, witty performance. The chorus and supporting actors did everything they
could to make the audience enjoy the moment. The performance belonged to the actors and their work making this an interesting evening.

1997 - CAROUSEL (REVIEW BY NODA REP - JOHN FLAY)

Director: Bill Lawson
Choreographer: Andrea Balloch
Musical Director: Keith Hoskinson

The director achieved quite a feat staging this musical with the limitations of the Renold Theatre. Keeping the scenery simplistic helped the
pace, and this was aided by the musical director who was in total command. So good was the orchestra that you hardly knew they were
there. Adele Lawson and John Jackson made an excellent Carrie and Enoch Snow, singing and acting well. Billy Bigelow's (Glen Fildes)
uncomfortable relationship with Julie (Deborah Grace) came over convincingly. The stirring haunting quality of "You'll Never Walk Alone" was
sung with great pathos by Jenny Heap (Nettie Fowler).The company's best young talent must be Catherine Greeney whose portrayal of
Louise was stunningly refined in style The company achieved an interesting production.

1997 - OLIVER! (REVIEW BY NODA REP - JOHN FLAY)

Director: Sylvia Isherwood
Musical Director: Douglas Butters

Lionel Bart's Oliver was reasonably faithful to Charles Dickens' Oliver Twist. It is now 37 years since the musical's opening night. The score
is full of memorable songs, from ballads to comic ditties, and this show stands alongside The Sound of Music and Carousel in quality.

Once again, this society's excellent production team gave us a set which created all the necessary atmosphere. Musically, the show was
strong. The costumes were not all of the period, but made the right statement.

Tony Rostron (Mr Bumble)and Jenny Head (Widow Corney) gave colourful cameos, with Rebecca O'Kell contributing a portrait of misery and
soulfulness as Nancy. Her reprise of As Long as He Needs Me was magic. She sang and acted most effectively.

Other members of the cast included Bill Lawson, Rita Sykes and Adele Lawson, who all gave sound performances.

An interesting revival of a classic musical. Thank you, South Manchester AOS.

1996 - DIE FLEDERMAUS (REVIEW BY NODA REP - JOHN FLAY)

Directors: Rod and Dorothy Ashman
Musical Director: Clifford Crewe

This operetta is so often subtitled "The Queen of Operettas." Why? Because it is the greatest of all Viennese operettas. No one could write
waltzes like Strauss,and no one ever will write waltz-operettas like Strauss. A superbly dressed pcnduction although lighting was basic, not
enhancing scenes as much as it might. The strong cast carried the clever but complicated plot. In the title role was Glenn Fildes (Gabriel)
who was in fine voice and Jenny Heap (Rosalinda) acted and sang well but all her dialogue and songs were delivered out front. which did'nt
allow for relationships to develop. Alfred played by Tony Rostron was excellent. I never seen him so relaxed in a role. Nice cameo
performances from Sheila Fildes as Ida and Ruth Coppock as Prince Orlofsky. The comedy of Bill Lawson as Frosch lifted the production,
while the directors kept the large cast moving. The orchestra was well-balanced and sympathetic to the action "Brother Mine" was a
musical treat. A very enjoyable revival of a beautiful operetta

1996 - ANYTHING GOES (REVIEW BY NODA REP - JOHN FLAY)

This musical pot-pourri of Cole Porter classics was originally the idea of P.G. Woodhouse and Guy Bolton. The show has seen many
revivals and rewrites. This version was last seen in the West End with Elaine Paige as Reno Sweeney.

Set aboard SS American the scenery by Mossley Bank Society was excellent. The costumes were also good but we did see more than
one period! Rebecca O'Kell as Reno looked every inch the part from wig to shoes. Performances of note came from Evangeline Harcourt
(Rite Sykes) and Moonface Martin (Bill Platt.) - both reaching for the comedy of the piece. The orchestra sounded well, but the MD was not
in touch with the performers on stage. The show moved along at a good pace with a large, enthusiastic chorus who obviously enjoyed
themselves. Thank you for an enjoyable evening and for your hospitality.

1995 - THE YEOMEN OF THE GUARD (REVIEW BY NODA REP - David Lewis)

Director: John E. Flay
Musical Director: Douglas Butters

The Yeomen of the Guard is my least favourite Gilbert & Sullivan opera (for a variety of reasons) and this creates a problem when reviewing. If the review is too
analytical it can be unfair to the performers and the presentation. If the review is too subjective, that too is unfair, because it can allow my personal prejudices to get in
the way. Mindful of this I went along to The Yeomen of the Guard with, I hope, an open mind.

This presentation by South Manchester AOS succeeded where many other presentations of this show have failed, it held my attention! I was intrigued to see the way
the story unfolded, the reactions of this community within the Tower of London boundary, and the involvement of the band of strolling players who were so used by
the gentry. This was no ordinary presentation of museum piece theatre, it was alive and vibrant and had a driving force throughout. Director John Flay had approached
this production with a new look at the libretto giving meaning to the words and actions and situations and making his cast respond to the ever changing situations.

There were some excellent performances from the principals with Lee Woods as Jack Point outstanding. The way this poor, used, love-lorn character was developed
was intriguing to watch. There was genuine sadness, and concern when he collapses. He was partnered by Sarah Amer as Elsie Maynard who has a very good
voice, sings well, but needs to relax more and learn to smile. Itinerant performers have naturally to be gregarious and out-going. Elsie was a little too introspective.

Wilfred Shadbolt, played by Bill Lawson, was a different interpretation from many I have seen and gradually I warmed to this portrayal. He has marvellous stage
presence and seems fully to understand where he fits in with the events unfolding.

Sheila Fildes as Phoebe Meryll gave a mature performance and there seemed to be genuine affection between her and her father played by Peter Bowers who was in
fine voice as Sergeant Meryll.

I was a little disappointed with the performance of Colonel Fairfax by Peter England. This was just not his role from a musical viewpoint with the vocal range of the part
outside his compass.

The most outstanding part of the whole presentation, however, was the chorus work. This was chorus work at its very, very best. The interplay between the
individual characters who made up the company was very finely observed. None of this standing still with hand-on-hip beckoning on the other members. These were
people about their daily business, who were part of a thriving community and who were integral to the whole unfolding saga. The company had obviously been
meticulously directed and had responded magnificently.

I liked the set design too. Robert Hart, the designer, made most effective use of the area available and the integral lighting design by Ian Barlow and Laurie Renshaw
was excellent.

It was a good orchestra which provided sensitive accompaniment for the singers and was under the direction of Douglas Butters.

For once, I really enjoyed The Yeomen of the Guard, not even spoiled by the incessant rustling of sweet-wrappers from a totally selfish trio sitting alongside!

1995 - HALF A SIXPENCE (REVIEW BY NODA REP - JOHN FLAY)

Director: Alex Royle
Choreography: Liz Coombe
Musical Director: Ian Christensen

Another classic this time H.G. Wells "Kipps" adapted into musical theatre. It is the story of rags to riches which we have seen interpreted in
many ways.

Again this director unpicked the show and put it back together using all the society's talents and abilities which resulted in a first class
show.

Any society needs youth to secure its future and youth this society has: Kipps, shop boys and girls were young, some raw, but full of
enthusiasm and a pleasure to watch.

Lee Woods gave us a new, self conscious, but very personal Kipps supported ably by Louise Morgan (Ann Pornick) who had learnt her part
well. In total a strong line-up of principals had been gathered: Rod Ashman (Mr Shalford) Chris Brown (Young Walsingham) and Linda Duers
(Helen Walsingham).

Chorus work was good, likewise, the choreography executed by a good set of dancers. The scenery, designed by Alex Royle and
constructed by Bevis Martin, was effectively simple. The costumes by Homburgs were excellent. Thank you South Manchester AOS for
another good night at the theatre.

1994 - THE MERRY WIDOW (REVIEW BY NODA REP - JOHN FLAY)

Director: Dorothy Ashman
Musical Director: Douglas Butters
Choreographer: Liz Coombe

This operetta is a classic and will stand side by side with any new show. It was first seen in the provinces at the Grand Theatre, Blackpool
in 1909 and has never lost its appeal over the years which again has been proven by the large audiences the society attracted.

Anna (Jenny Head) and Danilo (Glenn Fildes) complemented each other. I should like to have seen more humour from Njegus (Hugh Reeve).
A nice cameo rôle came from Peter Bowers (Baron Zeta). The chorus were well drilled and sang excellently as usual.

It was a good idea to set Act III in front of the audience but it lacked music and the audience must have been confused when they played
the entr’acte afterwards.

All in all a nice show.

1994 - KISS ME KATE (REVIEW BY NODA REP - JOHN FLAY)

Director: Alex Royle
Musical Director: Ian Christensen
Choreographer: Liz Coombe

I have said before that Kiss Me Kate is a difficult show for any society to present. To make the transition from the show within a show to the
backstage lives of the characters, and to maintain it throughout is a daunting task for any director.

The first ingredient towards this mammoth task was the set, designed by the director who took into consideration the stage difficulties. A
simple, effective, workable set was achieved and it looked good too. The Manchester Opera orchestra were at its usual professional
standard. Liz Coombe’s choreography was inventive. Alex Royle brought the best out of the society’s chorus numbers which were well
staged. Lili (Sheila Fildes) and Fred (Glenn Fildes) were well matched. Lois Lane (Sylvia Isherwood) and Bill Calhoun (Brian Moseley)
worked well together.

Thanks to the society for its usual hospitality.

1993 - TRIAL BY JURY & H.M.S. PINAFORE (REVIEW BY NODA REP - JOHN FLAY)

Director: Rodney Ashman
Musical Director: Moira Nixon

Number two and three chronologically in the Savoy repertoire (and the centenary year (1993) of another Savoy opera, Utopia Ltd.). For Trial
By Jury Robert Hart designed a more colourful set than the usual drab courtroom. Once again, Jenny Heap was in fine voice, this time as
the Plaintiff. John Patchett was in the Gilbert & Sullivan style as Council for the Plaintiff.

H.M.S. Pinafore is the most important Savoy Opera, for, had it not been a success, there would not have been a Savoy Theatre or Savoy
Hotel - or a Mikado or a Gondoliers. The set design for this one set operetta was not thought out as usual as it makes exits and entrances
very difficult. There were good performances from Sir Joseph Porter (Bill Lawson), Dick Deadeye (Peter Corbishley) and Josephine (Sarah
Amer).

The director kept this production in traditional style and, I have to admit, I am a traditionalist. The musical director was a little too careful,
which made her tempi a little slow at times. There was some good chorus singing. The enthusiastic applause was a fitting tribute.

1993 - ANNIE (REVIEW BY NODA REP - JOHN FLAY)

Director: Alex Royle
Musical Director: Ian Christensen

A small orphan, rescued from wretched city slum life by a rich man, is pursued by criminals, but wins out. This Dickens' Oliver story was
borrowed for Annie whose previous U.S. national fame since 1924 was as a comic strip.

For this production, Alex Royle designed a composite set, which worked extremely efficiently to enable the story to jump from New York to
mansion, and to workhouse with effortless ease.

Mary Griffin as Annie gave a superbly sparkling performance with the right amount of pathos. The last Annie I saw with as much talent as
Mary has just appeared in Aspects of Love at the Manchester

Opera House. Annie was surrounded by a bunch of loveable orphans, who tugged at the heart strings.

As for the adult principals, the show lifted when jenny Heap (Grace Farrell) appeared on stage and Peter Booth as Rooster gave his all in
this, his début in an amateur musical.

I enjoyed the director's attention to detail and obvious hard work. Unfortunately, at times, the Musical Director's tempi pulled back the pace
of the production. A canine mention for the forlorn-looking and very co-operative dog, Bobby.

1992 - FIDDLER ON THE ROOF (REVIEW BY NODA REP - JOHN FLAY)

Director: Alex Royle
Musical Director: Ian Christensen
Choreography: Liz Coombe

The scenery for this show was so inventive and original. We are so used to seeing the multi-purpose house that it is refreshing to see
something new.

The cast was led by Bill Lawson as Tevye and Jenny Heap as Golde; both got all the pathos and comedy out of his or her character.
Perhaps it would have been an idea for the younger principals to observe and learn from these two experienced players.

All the chorus numbers, particularly the Dream scene, were well presented and had imagination. On the whole the production lacked the
detail and traditionalism of the Jewish faith. It was so rewarding to hear the society sold the show so well in these times of recession.

1992 - CALAMITY JANE

Producers: Rodney and Dorothy Ashman
Musical Director: Fred Flynn
Choreographer: Liz Combe

People refer to this show as the poor man's Annie Get Your Gun. I must strongly disagree with this. Paul Webster's lyrics and Sammy
Fain's music stand alongside any musical of this era, with such gems as 'Secret Love' and 'Black Hills of Dakota'. I have never heard the
latter sung better. Congratulations to the M.D. Sheila Fields in the title role obviously did her homework to achieve such a high standard.
She never stopped working from her first entrance to her last. Sheila was ably supported by Patsy Rea as Katie, and a nice cameo role
came from Fran Dewsnap as Adelaide. With Annie Get Your Gun being withdrawn to amateurs for a professional run, maybe we will see
more of the delightful Calamity Jane.