norules-nolights.com
|
||
|
||
|
||
 |
||
Saturday October 30, 2010 Forbidden Broadway: Theatre Sarnia Polish, Poise and Professionalism in a Complex Production by Brian Hay It always bodes well for a musical production when the band supporting the players is good. The four piece unit led from the piano by Dan Sonier was exactly that. The rhythm section formed by bass player Glenn Kennedy and drummer Tim Mellanby was always right in the pocket with Mellanby jumping slightly ahead to mark the changes as they came. On the platform they created Sonier and Brennan were able to give the score a sense of melodic fullness that can only be achieved by a small unit when they're really, really good. Together, they brought an excellent dynamic to the music. The set, designed by Director Vincent Quinn, was an elegant piece that combined form with function. The single arched doorway at its centre provided an entrance for small gatherings while either side of the stage was used to allow ensembles to congregate. It also served as the foundation for the overall design of the unit. One side of the doorway provided space for the band and allowed them to interact more intimately with the performers than they'd have been able to do otherwise. Both sides of the doorway were framed with murals designed to serve the satirical nature of the work. The doorway itself echoed the glamour associated with Broadway while the space above it contained a video and slide presentation designed by Frank Canino that announced and showcased the numbers. The singers were all good. There's too many highlights in their performances to mention all of them but as many as possible have to be pointed out. Marney Austen blew the roof off the place with her portrayal of 'Ethel Merman'. John Reid was hilarious as a (supposedly) underpowered 'Phantom' and even funnier as the 'Male Chanteuse, Mandy Pantinkin'. Danielle Taylor made a wonderful 'Cosette' and completely stole her scene in the part of 'Carol Channing'. Phil Bedard delivered and excellent 'Tevye' from 'Fiddler on the Roof'. Denise Chaulk excelled as 'Bebe Neuwirth' and delivered a brilliant rendition of an addled 'Liza Minelli'. Brody Fitzpatrick's 'Flying Monkey' was hilarious. Dave Mitchell sent up 'Sondheim' and 'Fosse' nicely. Craig Bowie gave an excellent turn as 'Cameron Macintosh'. Sarah Jane Murray was delightfully vulnerable as 'Little Red Riding Hood' and hilarious as the 'Dummy' from 'Chicago'. Jen Brown Nead lit up the stage with her singing of 'Wicked', her work near the finale and on several other numbers throughout the performance. She has a beautiful voice and exceptional control of it. It's wonderful to see her back on this stage. The lighting and sound were excellent. Paul Richardson and Brian Austin Jr. gave the production an atmosphere that was purely theatrical and completely functional. The light was always right for the mood. It always kept the eye focused on the action. The sound mix provided excellent separation between the voices when any group, large or small was singing as a unit. The band and singers were always blended together well. Each part generally had a distinct and individual presence. The choreography, by Shirley Schram, was marvellous. It should be mentioned that many of the performers on the stage at any given time might have little or no real experience with theatrical dance. Shirley invariably had them executing complicated routines (often while singing) with a considerable degree of poise and precision. They moved gracefully, both as a unit and separately. The overall flow of what they did was very smooth. She clearly is a fabulous teacher. Not enough can be said about the wardrobe and the way the costume changes were handled. Jean Dowswell and Lynn Kershaw-Smith, with a huge amount of help from Anthony Fracalanza, designed the entire array of outfits that graced this production and the work they did was magnificent. They captured the glitter and the extravagance of Broadway beautifully. Everything the performers wore looked like it was top-of-the-line. Every outfit suited the number it was used for. The costume changes themselves were so smooth it was easy to forget how much activity must have been going on back there. Many times all but one performer would be on stage while the rest were being fitted for their next appearance. That would finish and the next cycle would begin. Complete transformations of the entire ensemble often took place within less than two minutes. Often it seemed less than that. This was all set up between Stage Manager John L'Heureux who called the cues and a group of people that included Anthony Fracalanza, Jean Simon, Carol Girard, Cindy Garrison, Dympna DeVoy and a few others. Between changes Makeup artists Maddy Taylor and Dawna Robertson would have been insuring that the performers' 'looks'. were intact. It's mind boggling just to stop and think about the scope of all this. Director Vince Quinn did a superb job of placing the performers to suit the action that surrounded them. Music Director Frank Brennan and Co-Director Dan Sonier did a great job with the numbers and their arrangements of them. This is a stellar and fabulously entertaining production. The people of Theatre Sarnia have proven again that there's no substitute for what happens when talent combines itself with hard work. This should be playing to packed houses every night. Fabulous. 'Forbidden Broadway' runs at the Imperial Theatre in Sarnia, Ontario from October 29, 2010 through to November 6, 2010. This review pertains to the performance that was given on Friday October 29, 2010. This line acts as a spacer. |
||
|
|
|
Forbidden Broadway |
||
|
|
|
