|
Based on H G Wells' novel, Kipps, this play traces the fortunes of Arthur, a draper's apprentice who gains and loses an inheritance and, along the way, conversely loses and regains the affections of his first and true love. David Heneker wrote the show as a vehicle for Tommy Steele, already a pop star and on the way to making a name for himself as an all-round performer. Possibly because it puts such demands on its male lead, it is relatively rarely performed by amateurs. The Cuddington Players found someone up to the challenge in Jason Taylor. On stage almost throughout, he stayed in character from start to finish and moved remarkably lightly for a substantially built man. He also hit the right mood for all his musical numbers, from the wistful She's Too Far Above Me to the lively Money to Burn. |
As important, there appeared to be positive chemistry between him and Sarah Smith as Ann, the girl he is detined to marry. Their interchanges and dances looked entirely natural and her singing, too, brought meaning to the lyrics. Ellie Carr was convincing as the aristocratic Helen. She subtly underplayed the haughtiness inherent in the role and introduced an appealing note of dignity combined with self-doubt. There was, though, nothing subtle about Brian Holman's larger than life portrayal of Chitterlow, the ham actor and aspiring playwright. His scenes brought an extra dimension, although some of his words were lost through his booming voice. Colin Barnard looked and sounded totally right as Arthur's boss, the tight-lipped, tight-fisted Shalford. What a pleasure it was to see the five female dancers bringing life to their numbers and looking as if they were enjoying themselves. |
The chorus, too, contributed well, although there was some uncertainty with moves. No matter that it was the first night, these things should have been polished up before then. Good grouping made the ensemble scenes interesting to watch. After some distracting incidental music that drowned out the opening dialogue, Barry Pritchard's orchestra integrated well with the on-stage performers. The stage team worked hard to keep the action moving. Several scenes were played in front of painted cloths while furniture was moved behind them, albeit occasionally somewhat noisily. Costumes were well chosen and mainly colourful, adding to the overall brightness of the production. |