Our present decade.
A global pandemic made us pause our main productions. In 2022 we got straight back into the swing of things with Sweeney Todd.
Every show feels distinct in a some way. This show felt unique in a specific way. Here is Anita in the programming explaining, "We have tried very hard to create the wonder and epic nature of this story by adding a 30-piece choir to our ranks...". In addition to a fair sized ensemble on stage, the show is written with an off-stage choir - integral to the musical soundscape of the piece, but separate from the action. This gave us the opportunity to welcome back many old friends (performers from previous shows), who may not have had the time or inclination to get on stage. Also, it offered a chance to bring lots of new faces into the group. Many fingers were crossed after the curtain came down that both the old friends and the new friends would return to join us on-stage for future shows.
The added choir also created a truly unique experience for the audience (and the ensemble). The choir sang from the high side seats nearest the stage, creating a stereo sound sensation at the most dramatic moments in the story. It leads to Hunchback feeling distinct from other shows, a glorious mash-up of Disney and choral musical styles.
Anita references "epic nature of this story", and this was a real challenge. Especially on a tightest of tight budgets. She says more in her programme introduction, "In this time of insanely high costs, putting on a show of this nature is very near impossible and yet here we are." 2023 was a time of high inflation and everyone was feeling the bite of rising costs. Anita continues, "There is no possible way we would have what we have without incredibly gifted and generous volunteers - they are the very heart of this musical." Every LG&S show relies on the time invested by a huge range of members - this was never more true than for this show. The set was mostly made (and the rest was borrowed - including two of the three huge bells). The costumes were made or amended from previous shows. Props were conjured-up from scratch.
It was also a show with a big influx of new performers into the ensemble. Some came with years of experience across many amateur stages. Some were very new to amateur life on stage. My favourite moment was the newest person to theatre asking "how do we bow" as we set the curtain call. This was sensible question because there are terms and traditions in how we bow that we forget are not obvious to anyone new to what we do. We were all reminded that there is so much about putting on a show that relies on the experience held across the society - and that this experience needs to be started and nurtured.
Director: Anita Adams
Musical Director: Adam Boniface
ROLES
ENSEMBLE (of Unsavoury Elements):
Lucy Evans, Ruby Paechter, Kellen Pascoe, Alice Reynolds, Naomi Priest, Emma Stirk, Fran Ayers, Hannah Faulkner, Anne Futers, Emily Futers, Sophie Moul, Debamita Bhattacharjee, Esther Lewis, Becky Barwick.
The CHOIR (of Notre Dama):
Pamela Barker, Rebekah Barker, Stella Cammarata, Gill Dobson, Sarah Gordon, Megan Henderson, Santa Kapina, Pat Kearney, Katie Lister, Abbie Palmer, Elizabeth Relins, Katie Robson, Libby Watkins, Ruth Watkins, Holly Angel, Jazz Caine, Shirley Hoyland, Janet Johnston, Gillian Myers, Elena Tun, Gillian Young, Carol Sass, Peter Loveday, Sam Watson, John Kavanagh, Will Gausden, Frank Lee, Graeme Lister, Tom Sheldon, Michael Reffold
Author: Christine Castle (NODA Royalty)
The Victor Hugo story of the tortured hunchback of Notre Dame has always fascinated - I remember the Charles Laughton black and white film very well and it always made me sad - what I didn't realise until I saw this musical version was how relevant the issues raised in the story would still have repercussions to this day.
To choose this musical, it takes guts and determination - it is big and bold - I so admire Leeds G&S in their choice to present it at the Carriageworks. Of course,it has to be said that the driving force here was the Drector/Choreographer, Anita Adams - her personal style was stamped all over the piece. Along with the excellent Musical Director, Adam Boniface and his orchestra, they were on to a sure-fire winner.
The story begins with the bells of Notre Dame ringing out over Paris - working on a brilliant, gothic set, the ensemble mingles and the story unfolds - briefly, the deformed Quasimodo has been taken in by the cruel Archdeacon Frollo who takes him up to the bell tower to hide him from the outside world - Quasimodo rings the bells and speaks to the statues and gargoyles as his only companions. When travelling gypsies descend on Paris, he befriends Esmeralda and joins her and the Parisian crowds in the street against Frollo's wishes - it doesn't end well, as you can imagine - the crowd make fun of his disabilites. Esmerelda falls in love with Phoebus, the Captain of the Guard at Notre Dame - but she still tries to protect Quasimodo and shows him great sympathy. Frollo hates the way he is losing power over Quasimodo and arrests Esmeralda for being a gypsy and a witch - she is about to be burnt at the stake, when Quasimodo rescues her - however, she has been mortally affected by the fire and dies - Quasimodo pushes Frollo off the parapet and remains with Esmeralda's body in the crypt - eventually dying with her. This is a very brief summary of the story - there are many other twists and turns - it is epic and totally absorbing.
The role of Quasimodo fell to Kristian Cleworth - this young man was brilliant in his portrayal of this sad human being - he was rarely off stage and he captured the character very well without caricature. He had an impressive vocal range and clear diction. Nikki Hosker, as Esmeralda, was so believable in her portrayal of the gypsy girl - again with excellent vocals and diction. The lovelorn Captain Phoebus was perfectly interpreted by Phil Boothby, as was the Archdeacon Frollo, played by Richard Pascoe. Richard loves playing villains and this character was no exception - he relished the mix of religious beliefs and sexual repression.
Three characters made a great impression on me - they were the 'gargoyles' - (played by Joe Smith, Amy Rout and Matthew Oglesby) - they related to Quasimodo by being his 'inner voice' - here I must add that the entire cast had learnt sign language - it must be remembered that Quasimodo was deaf from living in the bell tower. In her programme notes, Anita pointed out that sign language was not invented in medieval times - but she felt it gave a contemporary feel to the story and this was so effective, I was very conscious of the impact this made to the production.
There were many characters and may I say, these were played with major impact - Matt Stirk as Clopin, King of the Gypsies, Warren McAndrews as St. Aphrodisius, Phillip Reuben as Jehan Frollo, Quasimodo's real father; Emma Smith as Florika, Heather Pennwood as the Nice Statue, Scott Pennwood as the Other Statue (they may have remained stationary, but remained beautifully in character whilst being moved on and off stage!), Tom Daley as Father Dupin and Emma Kennedy as Madame - these characters were all played to perfection. There were also listed in the programme as 'Unsavoury Elements', actors (may I say actresses) - who fulfilled their roles with energy and vigour - it reminded me somewhat of Les Miserables ensemble - all excellent.
As I glanced around the theatre, I was surprised to see hooded, monk-like figures in the balcony - these were the 30 piece 'Choir of Notre Dame' and they sang the religious parts of the score, also backing up the on-stage performers - what a dream team! Their singing was superb and played an essential part of the show.
And now to the creatives - I have already mentioned Anita's brilliant staging of this piece of theatre - it is hard to imagine that this musical was originally developed by Disney Theatrical Productions - this was a long way from Mickey Mouse! - but with a score by Alan Menken, lyrics by Stephen Schwartz and book by Peter Parnell, Anita so effectively took us from Leeds City Centre to Paris and evocatively drove her cast to do the same - what vision she has and always knows theatrically what to give her audiences. Adam conducted his orchestra impeccably with brilliant young musicians. I heard every word from the performers - they had been well rehearsed in their individual and concerted numbers and their diction was spot on.
Back stage was an army of skilled but unpaid workers to support the actors on the stage: Tom Mitchell (Repetiteur), Matt Stirk (Production Manager), Paul Myers (Stage Manager), (the last two gentlemen were responsible for set construction, along with Dan Speight - magnificent). Simon Futers (Backstage suport), Anita Adams and Matt Stirk (Set Design - amazing), Lighting and Sound Design (Chris Newsome and Aly Howe), Judith Huntley assisted by Emma Stirk and Gillian Young (Costume), Judith Smith and Matt Stirk (Props), Emma Kennedy and Amy Rout (Publicity), Matt Stirk and Matthew Oglesby (Graphics), Matthew Oglesby together with Simon Futers and Jason Weightman (Photography), Scott Pennwood, Becky Barwick and Katie Lister (Programme) - and last, but by no means least, Richard Naylor (Front of House Manager) and his team - all deserve a tremendous round of applause!
It only leaves me to offer Leeds G&S my warmest and heartfelt congratulations on a superb, professional production - Victor Hugo would have been mightily proud!
This was one of our smaller side projects. Richard Pascoe had an idea buzzing around in his head for a number of years that he could not quite get to go away. Below gives his intro from the programme. It is also worth highlighting that this was a first time performing in the Howard Assembly Room, a magnificent performance venue within the Grand Theatre building. It was a real honour to perform there.
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I admit that this was my idea. I became fascinated by the thought of a whole evening of satirical songs. I wanted to span the generations so everyone found at least one performer or one song they did not know before. And I wanted to explore what makes a great satirical song – mostly to satisfy my own curiosity.
These songwriters have been a part of my musical life. My mother would sing songs of Noel Coward to me as I grew up. The first time I auditioned to join a choir (I was 14) I needed a song to sing – my mother thrust The Hippopotamus into my hands and shoved me into the audition room. Through my twenties I needed songs, other than The Hippopotamus, to sing in small concerts – so I started working through the Flanders & Swann songbook. My brother, a very fine baritone and a doctor in computational chemistry, introduced me to Tom Lehrer, and I found myself hooked on his 3xCD box set of comedy gold.
In more recent years my wife, Claire, steered me towards Fascinating Aida, and I have been chortling to myself ever since. And Victoria Wood? She was always there, always brilliant, until suddenly she disappeared and left a whole in our souls. And why Gilbert? Well, because everything satirical starts with Gilbert!
Richard Pascoe chose the music, researched the history, and wrote the narration.
ROLES
I’ve Jibe & Joke (Yeomen of the Guard) - George Grossmith
When I Was A Lad (HMS Pinafore) - George Grossmith
The Stately Homes Of England - Noel Coward
Don’t Let’s Be Beastly to the Germans - Noel Coward
There are Bad Times Just Around The Corner - Noel Coward
The Slow Train - Flanders & Swann
Misalliance - Flanders & Swann
The Ostrich - Flanders & Swann
We Will All Go Together When We Go - Tom Lehrer
A Christmas Carol - Tom Lehrer
The Vatican Rag - Tom Lehrer
- Interval -
To Help Unhappy Commoners (The Gondoliers) - Grossmith + Brandram
Sad Is That Woman’s Lot (Patience) - Rosina Brandram
Someone That Can Write & Perform… - Victoria Wood
Northerners - Victoria Wood
It Would Never Have Worked - Victoria Wood
Fake News - Fascinating Aida
Cheap Flights - Fascinating Aida
Suddenly New Zealand - Fascinating Aid
This one was a little bit special. Every production is special in some way or other, but this one did feel a bit beyond the normal.
It was our first show coming out of 2 years of the Pandemic. Our 2020 production of H.M.S. Pinafore had to be cancelled a few weeks before making it to the stage. So our previous show had been 2019. The long hiatus meant something in itself, but in addition all of us had gone through challenges, some small and some great, over the 2 years. We started rehearsals in September 2021, very conscious of safety. The early music rehearsals were spent with masks still on. As the months past, the dangers subsided and the masks became less important. From my side, that act of being with people again, in the same space, interacting and participating, was profound. So this one was a little bit special.
The group had evolved a bit since our 2020 almost show. There were lots of new faces and fewer known faces. The "new" were welcomed with open arms, even if many of them seemed vibrant and energetic and young (I was suddenly very much one of the oldies of the company). The "known" who did not (yet) return were sorely missed. There was the pang to see people again who had been with us so many times in past years, the yearning to get straight back into enjoying making music together again. You naturally feel safer and more comfortable working with people who you know and immediately trust. The slight pang of sadness never quite left, but the "new" were so open and involved, everyone became part of the "known" and trusted. They just threw themselves into everything with such gusto! So this one was a little bit special.
This was Sweeney Todd. For some, this was a good reason to miss this production, as it is too extreme a piece to be everyone's cup of tea. For others, though, it is a tea to be enthusiastically imbibed and savoured any chance you get. It is challenging. It has a lot of music to learn that is often complex and quirky. It is dramatically extremely satisfying. For those who chose to drink, this one was a little bit special.
Director: Anita Adams
Musical Director: Adam Boniface
ROLES
ENSEMBLE
Becky Barwick, Tom Daley, Hannah Faulkner, Anne Futers, Will Gauseden, Janet Johnston, Sophie Moul, Heather Pennwood, Naomi Priest, Phil Reuben, Amy Rout, Tom Sheldon, Emma Smith, Holly Smith, Yasmine Stevenson, Emma Stirk, Sam Watson.
This was an elite crew of musical maestros. For a number of reasons they came together quite late (e.g. Elizabeth, our flautist, was a late emergency replacement on the Sunday of show week), but took on the tough Sondheim music with skillful alacrity.
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