2008 - CRAZY FOR YOU (REVIEW BY NODA REP - JOHN FLAY)

Director: Juliet Bowers
Musical Director: Emma Corrigan
Choreographer: Lisa Bradshaw

review expected September 2008



2007 - GODSPELL (REVIEW BY NODA REP - JOHN FLAY)

Director: David Leathlean
Musical Director: Liz Cheetham
Dance Director: Lisa Bradshaw

This production was set on an American street and, after a long opening mime and a train/bus journey, the street didn't feature much.
The mime brought all the characters on stage concluding with the original opening number 'Tower of Babel'. This number set the high
musical standard for the rest of the show. Including a chorus into this rock-type musical when there isn't any structure within the original is
difficult. Although the production team worked hard and the chorus gave its all to make it work, it wasn't quite together with the main action.

David Barker as Jesus, and Ross Keeping as Judas didn't deliver the depth of character that was required. The other members of the
company were Vikki Brunning, Helen Castle, Anthony Robinson, Zoe Hulme, Helen Taylor, Sam McVaigh, Tim Coller and Tracey Collinson.

They each communicated individual characters which they presented with great energy and enthusiasm. The stage movement presented by
the choreographer was in keeping with the director's concept and the cast delivered the goods.

This was a grown up Godspell and, because of the cast's determination, it worked.



2007 - THE KING AND I (REVIEW BY NODA REP - David Parkes)

Director: John E Flay
Musical Director: Liz Cheetham
Choreographer: Lisa Bradshaw


This was a delightful production with well thought out, innovative touches that put this above the "usual" category for this well-known show.

Paul Allison was in fine form as the King, not bald, not bare chested and younger than we usually see, but profoundly effective in this
demanding role. He was matched admirably by Juliet Bowers as a sincere, yet determined, Anna who, at times, extracted unexpected
humour from her interpretation of the character.

Shelley Bosson brought superb vocal talent and acting ability to the role of Tuptim and is surely destined for a successful musical career.
She performed the narration to the ballet whilst walking around on stilts - another hidden talent that added to the overall effect of the scene.
Nicky Gallogly was in fine form and voice as Lun Tha, bringing just the right degree of tenderness to the role of the ill-fated lover of Tuptim.

Reprising the role of Lady Thiang, which she previously played with SMAOS in 1999, Ruth Bowden gave a confident performance, capped
by a splendid "Something Wonderful".

Confidence was also the apt description of the performances by the youthful pair of Matthew Fitzgerald and Jack Taylor as Louis Leonowens
and the Prince Chulalongkorn. Both have already achieved stage successes and here they gave assured portrayals in their respective roles.

The remaining minor principals were well cast, the chorus was well drilled and the children, as always, raised the "Aaaahhs" from the
audience.

Perceptions' costumes and Prosceneium's sets were excellent; the music moved at a good tempo and the entire production was one with
which all concerned should feel justly proud.



2006 - THE BEST LITTLE WHOREHOUSE IN TEXAS (REVIEW BY NODA REP - JOHN FLAY)

Director: Eleanor Ford
Musical Director: Tom Chinnery
Dance Director: Lisa Bradshaw

Despite its title this show has comedy and just the right amount of sentimentality. This is the story of a long established Texan Brothel
which has to close after a television exposure. The toe — tapping county style score was so well executed by the band led by that man of
many talents Justin Morley. Costumes made the right statement and the venue with split levels allowed the story to unfold unobtrusively. All
the songs were an extension of dialogue; the movement came out of the situations and the staging allowed the drama to find a truth. All
these elements just fused together showing what can happen when a production team work as one.

Amongst the young strong cast was Catherine Dillon as the new recruit to the "Chicken Ranch", Angel along with Rosie Cawley as Shy.
They were both comfortable in their parts. All the other girls of the ranch portrayed identifiable lives and characters. Miss Mona the friendly
hostess was acted with deeply felt feelings by Emma Corrigan. Sheriff Dodd Miss Mona's ex-lover, characterised by Peter Roberts, gave a
memorable performance.

Now this establishment is nothing without its male visitors and when Sen. Wingwoah (Justin Morley) treats his football team, the Aggies, to
a night at the whorehouse the raunchy romp and raid was highly amusing. Melvin P Thorpe the T.V. front man who wants the close down
the Texas bordello was portrayed with great energy and attack by Paul Allison. Two excellent supporting characters came from Hannah
Durose as Jewel: her rendition of 'Twenty Four Hours of Lovin'' was delivered with great effect. Similarly Bex Smith's point number 'Doatsey
Mae' was equally effective.

This was a very entertaining evening endorsed by a very appreciative audience.



2006 - MY FAIR LADY (REVIEW BY NODA REP - JOHN FLAY)

Director Juliet Bowers
Musical; Director Ian Christienson
Dance Director Michelle Whewell

The Royal Northern College of Music was the venue for this production and to transform that stage Prosceneium's splendid set was used
along with Perception costumes bringing the year 1912 alive. Frederick Loewe's score was well read and the orchestra was well balanced
with good singing from the company.

My Fair Lady is one of the big shows of the golden age of American musicals. The production needs a great understanding of Shaw and the
social history of the times plus all aspects of staging. I think this director was very brave to take the challenge in making her debut with this
heavyweight musical. A director needs input from all areas and a little more creative choreography would have aided the direction giving this
production more colour.

The enthusiasm that came across from the entire cast spread right through the whole evening. The SM and crew changed each scene
without delay keeping the action going. There was clearly team effort from everyone involved in this evening of musical theatre and it was
readily appreciated by the, sadly, small audience.



2006 - KISS ME KATE (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Cliff Grew
Dance Director: Zoe Hulme

Shakespeare re-told by that master of music and lyrics Cole Porter was revived by an energetic cast of over 42 set against scenery by
Scenic Projects and costumed by The Pantomime Shop. Technically the scene changes were not as smooth as usual and the sound was
at times intrusive. The director tried to up-date the action with mobile phones and make the character of Harrison Howell a military leader.
This did not enhance the script and was a little confusing for the audience. The M.D. made sure the orchestra glistened with energy with a
good reading of the score.

Martin Hulme (Fred Graham) and Rebecca Smith (Lilli Vanessi) were engaging and maintained credibility. Gangsters 1 & 2, Liam
Hetherington and Joe Knight had fun 'Brushing Up Their Shakespeare' and Bill Calhoun (Ross Keeping) didn't behave for Lois. It was Dore
Young as Lois Lane who gave the performance of the evening and the rest of the cast turned in ensemble performances.

This musical, where the action mirrors the play within, is one of the most challenging and this production captured the attention of the
audience.



2005 - GUYS & DOLLS (REVIEW BY NODA REP - JOHN FLAY)

Director: Mike Donohue
Musical Director: Liz Cheetham
Dance Director: Vickie Smith

Damon Runyon's "Runyonland' was brought to life by the fabulous new set by Proscenium: it was a shame it wasn't lit properly. Costumes
by Perception were in keeping with the concept and helped to create the right atmosphere for this musical masterpiece. The score was
moved apace keeping the audience toe tapping.

To create A Musical Fable Of Broadway the director brought out of his cast the right caricature in Damon's Del Boy characters. Tony
Roston was entirely convincing as Nicely-Nicely Johnson and Mark Langan as Rusty Charlie and Tim Collier as Benny Southstreet
contrasted well.

Liam Hetherington looked a little young for Nathan Detroit's long engagement but gave the part boundless energy. His Adelaide, played by
Juliet Bowers, hit the spot. The other lovers, Sister Sarah Brown (Helen Watson) and Obadiah Masterson (Jonathan Bowers), were
engaging; their Havana scenes worked well.

There were two more Bowers in the cast; Mum and Dad. Peter in the role of Arvide Abernathy giving a lot of feeling to 'More I Cannot Wish
You' and Lesley as General Matilda Cartwright. Company numbers came to the fore in 'Sit Down Your Rockin' The Boat': this was South
Manchester A.O.S. pulling out all the stops to celebrate its 50th anniversary.



2004 - LA CAGE AUX FOLLES (REVIEW BY NODA REP - JOHN FLAY)

Director Katherine Machin
Musical Director Ian Christensen
Dance Director Kathleen Moreton

"Good As You" or "I am what I am" doesn't have the same impact as it did in 1983 when Broadway was given its first homosexual musical:
I felt the script came across as a little dated. Martin Hulme as George, sporting a Village People moustache, showed warmth and feeling for
his partner and lover, Albin, played with confidence by Nigel Machin. Tom Chinney was over-the-top camp as Jacob, the maid. Jean-Michel,
George's son from his closet days, was played sensitively by Oliver Putland while his bride to be, Anne (Vikki Murphy), and her parents,
Edouard (Peter Bowers) and Mme Dindon (Lesley Bowers), supported well. The ensemble scene at Jacqueline's (Jacqueline was played by
Juliet Bowers) and the Perry Como hit "The Best of Times" was sung with attack and was enjoyed by the audience.

Les Cagelles had fun and clearly enjoyed themselves; a lot of hard work and rehearsing had clearly gone into their performance. Scenery by
Prosceneium and excellent costumes from Trish at The Costume House gave the production colour. The M.D. moved the score apace and
the director and her cast worked well together on this not-so-easy piece of musical theatre.



2004 - OLIVER! (REVIEW BY NODA REP - JOHN FLAY)

Director: Martin Hulme
Musical Director: Ian Christensen
Dance Director: Zoe Hulme

This new director had quite a challenge to set this well known musical with its well drawn characters and well known scenes on a stage any
experienced director would love to work on (The Royal Northern College of Music).
A director has to work to the three A's — actor, author, audience — and in parts this was achieved but experience, I suppose, will fill the
gaps with the other members of the production team, this Oliver! was colourful and interesting.
There were two structures on each side of the prosc arch belonging to the college which fitted in well with Prosceaenium's atmospheric set.

The workhouse was filled with the young inmates led by an angelic Oliver (Adarn Chatterton) and they were all in fear of the Parish beadle
(Tony Young) and Mrs Corney (Emma Corrigan). Enter the undertakers David Leathlean who gave us a rich Dickensian Mr Sowerberry well
supported by Rita Sykes as his unreasonable wife. Now it was time for Tim Wood to show us with great energy the cocky leading performer
in Fagin's gang John Dawkins "Consider Yourself" was a winner with the audience and it was clear everyone on stage was enjoying
themselves.

Lionel Bart makes Fagin a loveable rogue and Nigel Machin carries this off which was made possible by the support from Tracey Boulton
(Nancy), Alasdair King (Bill Sykes) and of course his gang of young petty thieves.


2003 - 42nd STREET (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Liz Cheetham
Dance Director: Zoe Burns

This show leaves its audience with the feel-good factor and that is due to the fabulous songs of Harry Warren and Al Dubin.
Their best have been put into this story of Peggy Sawyer's rise to stardom.
There are so many scenes and Proscenium has come up with a set that captures the era and does not hinder the action.
The number '42' in the title must also apply to the number in the cast for this society seems to going through a metamorphosis with a new
venue and new, young members.
The cast was led by Sally Horsfield who gave an engaging performance as the girl from Alan Town, Peggy Sawyer.
This production was particularly watchable due to the ensemble work of the cast, direction and the
choreography (its no mean feat to get all your cast to tap) and an orchestra that would be at home with the Quincy Jones-Sinatra
arrangements.
Last and by no means least the lighting and sound contributed to this welcome revival.


2003 - FIDDLER ON THE ROOF (REVIEW BY NODA REP - JOHN FLAY)

Director: Alasdair King
Musical Director: lan Christensen
Dance Director: Linden Wint

On a journey from Wythenshaw Forum to Manchester Dance House this society has found a new home at the Royal Northern College of
Music and we all wish them full houses. Fiddler was their début production with a versatile set by Prosceneium, costumes by Pantomime
Shop and excellent lighting designed by Ben Lewis creating the right atmosphere from which emerged involving characters.

Stalwart Peter Bowers as Tevye certainly looked and put all his experience into the part likewise Elizabeth Cheetham as his Golde. Their
daughters Tzeitel (Jo Taylor), Hodel (Rowena Robinson) and Chava (Hannah Durose) all turned in confident performances. Lesley Bowers
was engaging as Yente but I felt more of the humour of the character needed to have been pulled out by the director.

The M.D. handled the score well and kept the pace flowing and the other remaining characters remained traditional although the Jewish
orthodoxy, religion and custom could have been more prevalent.


2002 - WEST SIDE STORY (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Ian Christenson
Dance Director: Beryl Lowry

Like the Jets and Sharks, South Manchester A.O.S. are fighting for survival after the closure of their last venue, Wythenshaw Forum. The
Dance House, the venue for this production, is only host until they take up residence at the Royal Northern Theatre in which we wish them
every success.

I would like to convey my good wishes to Beryl Lowry who is retiring. I have worked with and known Beryl for many years and would like to
wish her good luck and say thank-you for all the work she has done for the movement.

This was a cast of new faces and raw talent which was harnessed by the production team giving this revival great enthusiasm. The leading
players allowed their characters to evolve before the audience. It was seasoned performers like Howard Newhall (Riff) and Dave Mallen
(Schrank) who led the way.

Musically the standard was high; it was a shame we had a reduced orchestra as the balance was impeded in certain numbers.
Choreography was fluent and delivered within the ability of the cast enabling them to unfold the tragic story.

Scenery comprised of two, two level moving modules, which were choreographed expertly, in such a way that the audience didn't see the
changes. This hard work by the company was assisted by good lighting and sound. All this made for a good evening's entertainment.



2002 - OKLAHOMA! (REVIEW BY NODA REP - JOHN FLAY)

Directors: Rod & Dorothy Ashman
Musical Director: Ian Christensen
Dance Director: Lisa Bradshaw

When a musical like Oklahoma is revived it is so easy to present stereotype characters but not in this production. The recent National
Theatre video has made us re-think.

Rita Sykes, as Aunt Eller, re-found the comedy in the part but it was Jo Taylor who was thoroughly enjoyable as Ado Annie and provided
laughs throughout with her beau Will Parker, skilfully played by David Leathlean.

The romance of Curly (Martin Hulme) and Laurey (Heather Glatter) came across but I felt needed more direction as the other mentioned
characters were so well drawn.

The rest of the cast work hard with crisp choreography and a good reading of the score. Scenery by Proscenium and Pantomime Shop
Costumes all contributed to bring this Rodgers and Hammerstein classic alive.



2001 - MACK AND MABEL (REVIEW BY NODA REP - JOHN FLAY)

Director: Nigel Machin
Musical Director: Elizabeth Cheetham
Dance Director: Nigel Machin and Lisa Bradshaw

The book of this musical is so thin and the scenes are so fragmented the director and audience are left with a challenge. Within the pages
of this libretto there is very little space to depict the Hollywood Babylon of the 1920s. In this production the director, with great courage
wanted to simplify things, which at times confused his audience to were the action was.

From the first moment the brilliant Jerry Herman score burst out from the pie, you realised you were in for a musical feast never mind the
plot. Obviously you need a versatile cast to do the music and lyrics justice.

Glenn Fildes gave a strong all-round performance as Mack; it was a shame Emily Grossman lacked bite as Mabel. Ben Keith managed to
have fun as Fatty Arbuckle and there was great support from Kathleen Moreton (Lottie), Howard Newhall (Frank) and Peter Bowers (William
D. Taylor).

I feel the whole company must have gained valuable experience from taking on this challenging musical.



2000 - SWEET CHARITY (REVIEW BY NODA REP - JOHN FLAY)

Director: Katherine Machin
Musical Director: Mark Goggins
Dance Director: Andrea Balloch

There is not a dull moment in Cy Coleman's score and it is all based round one character, Charity. The actor playing this role, Emily
Grossman, took full command of the stage, singing and dancing with unflagging commitment. Desperately seeking love, Charity is set to
marry Oscar played by Howard Newall. His experience shone though and the neurotic lift scene worked well because of it.

The rest of the ensemble cast gave convincing portrayals. There was Peter Bowers as Big Daddy the nonsense religion messiah spouting
his creed in 'The Rhythm Of Life" and Peter England as the Italian film star Vittorio - the wardrobe routine was fun. Also worth noting was
David Hunt as the Fandango Ballroom proprietor who just loves to 'Cry At Weddings'.

The scenery by Prosceneium lacked visual impact to carry this production but there was plenty of colour from the choreography with
animated dancers and the orchestra even though the sound balance was at times a little against performers. Mack & Mabel next, see you
there!


2000 - THE PAJAMA GAME (REVIEW BY NODA REP - JOHN FLAY)

Director: Sylvia Isherwood
Musical Director: Peter England
Dance Director: Andrea Balloch

With scenery designed by society members in the style of the recent Simon Callow production, and surgery to the script and score, we had
a new look Pajama Game. The director moved the piece effectively and the orchestra was in great form. There was a splendid partnership
from Sean Kerr as Sid Sorokin and Louise Morgan as Babe Williams: their character attraction to one another was believable .A lovely
comedy portrayal came from Rita Sykes as Mabel. I enjoyed the dry humour put in to the part and the duet 'I'll Never Be Jealous Again' with
Hines (Dave Hunt) was well-timed acting. Cameo performances came from Justin Morley as Prez and Bill Lawson as Hasler. Andrea
Balloch, in her first acting part as Gladys, needs to pay attention to her diction. From where I was sitting, her voice did not carry at all.
However, her choreography and dancing were exciting and different. The rest of the cast provided effective support. This society had created
a most entertaining production. Good Luck for your next show, Sweet Charity.