THE CUDDINGTON PLAYERS

‘HALF A SIXPENCE’ - OCTOBER 2001

This was my first visit to one of your productions since the re-arrangement within the Southern Area of NODA that resulted in your society being transferred from Region 9 to Region 6. However I did deputise for my colleague, Jim Hatley on one occasion in December 1993 when in I was invited to see "Habeas Corpus". Visiting a Society for the first time can be a little difficult for a Regional Representative as he knows few people in that Society and he is not sure of the reception he will receive. These fears were quickly overcome on Friday evening for you had taken the trouble to ensure that Robbie was at the door to greet us and look after us for the whole evening. Due to her ebullience and friendliness, we were made to feel welcome immediately and started to enjoy the evening even before the orchestra struck their first chords.

"Half A Sixpence" has a certain charm for British audiences because it is set in a place and at a time to which we in this country can relate. Not always the case with shows imported from other countries. It has a storyline based on a book by a famous British author dealing with differences in class in the social structure at the commencement of the 20th century. It has an excellent score with songs that have become standards, often performed outside of the production environment. Its star, Tommy Steele against whom all subsequent performers of the role of Arthur Kipps will probably be compared, largely determined its success in the West End.

Settings for the numerous scenes had been hired from Stagesets and consisted mainly of painted cloths with the addition of a minimum of furniture. Changing of scenery, the setting and striking of flats and furniture was done efficiently so that the flow of the production was smooth throughout. Props were apt for the period and place and for once in an amateur production of "Kipps", Edwin, the shop's cat was a real one and not a pyjama case.

Lighting was suitable to depict the various times of day and weather conditions appropriate for the scenes being enacted. All scenes were lit adequately and the operation of spots to highlight soloists was competantly handled. Some excellent sound effects were used including the most realistic rainfall towards the end of the First Act to mar the regatta on the military canal.

Costumes were suitable for the period in which the piece was set and emphasised the social distinctions between the classes of the characters wearing them. Perhaps some of the apprentices might have looked a little more comfortable in the wearing of their bowler hats.

For musical productions, the Adrian Mann Theatre has a disadvantage in that, not only is the orchestra in full view of the audience, but also, because of the lack of an orchestra pit, the sounds emanating from the musicians can seem overloud. As a result singers who do not have strong voices sometimes have difficulty in making themselves heard above them. No such problem exist however when the chorus is in full voice for such numbers as "Flash, Bang Wallop" and the title song. Segueing under the dialogue during the first scene when the audience was initially absorbing setting and characters proved distracting. For the size of the theatre, one wondered whether a smaller orchestration might have been adequate without minimising the well-balanced execution of the score by the musicians under Barry Pritchard's direction.

Derek Compton had arranged and grouped his cast meaningfully for all the scenes although in general, I thought that use of the traverse curtains for some scenes limited the space available to do so with the result that those involved stood in straight lines. Kaaren Meger had designed numerous dance routines for the specialist dancers and she and the Director, Derek Compton are to be complimented on the precision in movement and action achieved by the whole company in the production numbers. This was obviously the result of hours of drilling and rehearsal.

Singing by the all the principals was of a good standard and the whole company combined together exceptionally well in the production numbers. Generally singing and dancing seemed to have benefited from more rehearsal than the passages of dialogue in between. At times pace during these passages seemed to be a little slow and a number of the lines as they were delivered did not seem to carry the conviction necessary to convey the sentiments, feelings and emotions that the words expressed required.

Those cast in principal parts generally suited the characters they were asked to play. Although Jason Taylor may be physically larger than one's preconceived idea of Kipps he had a very amiable manner to which the audience warmed. He sings confidently in a very pleasant and easy style both in his solos as well as fronting the company. His two loves were played by Sarah Smith (Ann) and Ellie Carr (Helen Walsingham). Sarah is a very pretty girl with a clear soprano voice and she reacted suitably to the changes in her circumstances as they dictated by the plot. Ellie was a rather frosty and unsympathetic upper class miss, interested in Kipps more for his inheritance than for his personality. Her mother was played by Norma Allen, epitomising the "grand dame" who failed to recognise that the wealth and circumstances that had influenced her manner had largely evaporated. Steve Egginton, as her son, maintained a supercilious attitude towards Kipps and the demeaning way in which he delivered his speeches often tended to contribute to the slowness of pace. A larger-than-life performance by Brian Holman as the actor manager Chitterlow dominated the action whenever he was on stage and provided a contrast to the colourless endeavours of the other characters. Kipps' three colleagues at Mr. Shalford's emporium were inseparable played by Neil Bunkham (Sid), Richard Streetley (Pearce) and Tim Tusler (Buggins) with perhaps Neil having the best opportunity to give depth and substance to the role he was playing.

These principals were well supported by those playing smaller parts and together with the substantial and lively chorus all helped to create a very enjoyable show, with which all concerned must be well satisfied.

My wife, Jackie, and I were very pleased to be invited to attend one of the performances and we were entertained by the show and the undivided attention given to us throughout the evening by Robbie, acting as our hostess for the evening.

Reg Humby
Regional Representative
Region 6