2020-

This is a glorious musical with a story that should be told carefully. It is history. It history involving real people.  It is history involving real people going through a catastrophic experience. As Anita explains in the programme, “We are all only too aware of the tragedy that befell RMS Titanic on her maiden voyage in April 1912".  However, it is also a story that involves a lot of optimism and heroism.  Anita continues, "But how easy it is to forget the stories of hope, terror, loss and bravery experienced by those involved. After all this is an all-encompassing human story.”

It is a story of the all the passengers on board and the hopes felt by the different classes. Again, from Anita, “We witness the class divide that still resonates today and we see the human condition in all its forms played out as we portray those who really survived and those who really perished.”

There are no central protagonists. Instead, the show has twenty similarly sized roles.  Almost everyone had to represent more than one person through the evening.  This created a delightful set of challenges for us. Fortunately, the show coincided with an influx of new members from a range of neighbouring societies: Harrogate, Kippax, Bradford, Yeadon. Fresh faces combining with longstanding society regulars. It gave the whole experience a fresh and vibrant feel while keeping the confidence that comes with the presence of our skilled stalwarts. It also made the whole experience extremely collaborative and inventive.

We knew that we needed to treat the human stories with respect. Antia wrote, “We have researched each individual and consider it an honour and a privilege to present their stories to you today. And for me there is no better medium to do this in than musical theatre.”  I believe we all felt the weight of responsibility to depict these lives in a truthful way.

Everyone in the audience knew that we would hit an iceberg. I will never forget the audible gasps each night when the moment came.  Everyone know that the boat would sink, but none knew how we would depict that onstage.  Like the passengers on board, each member of the audience realised at a different moment that the the boat was really, actually, and definitely sinking into the abyss.

Director: Anita Adams

Musical Director:  Adam Boniface

ROLES

Officers

• Tom Daley - Captain Edward John Smith
• Joe Scholes - William Murdoch (1st Officer)
• James Pegg - Charles Lightoller (2nd Officer)

Deck, Engineering and Victualling Crew

• Fen Greatley-Hirsch - Frederick Fleet (Lookout)
• Jason Weightman - Frederick Barrett
• Sam Watson - Harold Bride & Wallace Hartley
• Matthew Leakey - Henry Etches (Steward)
• Hannah Faulkner - Bellboy

First Class Passengers

• Matthew Oglesby - J. Bruce Ismay (Chairman)
• Matt Stirk - Thomas Andrews (Shipbuilder)
• Terry Ford - Isidor Straus
• Janet Johnston - Ida Straus

Second Class Passengers

• Lizzy Hardman - Alice Beane
• George Harvey - Edgar Beane
• Heather Pennwood - Caroline Neville
• Scott Pennwood - Charles Clarke

Third Class Passengers

• Kirsty Barnes - Kate McGowan
• Emma Kennedy - Kate Murphy
• Rachael O’Pipes - Kate Mullins
• Philip Reuben - Jim Farrell

ENSEMBLE

Becky Barwick, Debbie Bhattacharjee, Hannah Birch, Sarah Case, Joanne Cooke, Sally Crighton, Anne Futers, Will Gausden, Rachael Griffiths, Hayley Harris, Marie Isbister, Pat Kearney, Esther Lewis, Gillian Myers, Abbie Palmer, Richard Pascoe, Alice Reynolds, Amy Ransome-Jones, Emma Smith, Emma Stirk, Ruth Watkins, Libby Watkins.

• Violin: Alison Rignall, Megan Deakin 
• Viola: Simon Matthews
• Cello: Alexander Diack
• Bass: Phil Kampen
• Keyboard: Alex Faulkner
• Percussion Dave Luckett

Author: Christine Castle - NODA NE Regional Representative

It doesn’t seem possible that after all these years, the sinking of the Titanic still makes headlines – only a few weeks ago, some items from the ship’s fateful maiden voyage came up for auction – and sold for so much money!  But there you have it – this majestic ship, so cruelly sunk, still lives on in our imaginations.

This talented group took the decision last year to present the musical of the story – and are we glad they did!  This show, with music and lyrics by Maury Yeston and the story and book by Peter Stone, was first presented on Broadway in 1997 – it was a surprise hit, overcoming a sceptical public who really did not think a disaster such as this would be a viable commodity – but the doubters were proved wrong and the rest is truly, history. It won Tony awards for both music and lyrics plus Best Musical of that year.

I cannot find enough superlatives for this production – the Artistic Director, Anita Adams, gave us a top-notch interpretation of this sad story – the staging had verve from the opening sequence to the ending we all knew was coming. This was an ensemble piece, every cast member was a character, this made the production meaningful – the audience was drawn into the story on such a personal level. The Musical Director Adam Boniface, had worked really hard on a quite complicated score - the music was right up my street – rousing choral pieces and soft ballads. An excellent orchestra of strings and percussion gave us the feel of the waves contrasting with the genteel surroundings of the opulence of the ship – and a great deal of keyboard (an excellent Alex Faulkner!). The enthusiasm and singing of the whole ensemble were truly magnificent. 

I know that a lot of research by Anita had gone into this production – after all, these were real people who were so excited to be going on the largest ship in the world to New York – only 450 survived the disaster – 1,500 lost their lives, due to the shortage of lifeboats. It is a sobering thought…..

The musical opens with excited passengers boarding the ship in Southampton – we were introduced to first-class, second class and third-class passengers eagerly boarding the floating palace – the soaring vocals evoking the ship getting underway – we quickly feel the fractious relationship between the Captain and the White Star chairman, J Bruce Ismay, who wants to get to New York in the quickest possible time – had they not increased speed, would they have avoided the iceberg?  There were tensions that developed on the bridge, while the passengers continued to enjoy the luxury of their surroundings – it was a compelling piece of drama. Love stories and friendships were beautifully conveyed with so much feeling. There was also an underlying political nature to the show – you feel the inherent class structure of the first-class saloon, compared to the crowded noise of ‘steerage’ – this was highlighted as the ship began to sink and the lower decks doors were locked, preventing third class passengers reaching the lifeboats - they were all doomed.

The simple but effective set featured a two-tiered bridge, stairs which were moved around, all reminiscent of liners even today – although the playing space was relatively small, it never felt cluttered as the ensemble wove in and out for the many scenes – the narrative was clearly defined as the story unfolded.

Every cast member, too many to name, gave the production their all – I was breathless as to the sheer vitality of their performances and beautiful vocal talents – I admired every one of you.  

I would like to mention the creative team behind stage – all giving their time and talent, supporting the cast onstage – a brilliant job. The video wall at the back of the stage gave the audience a time-line as the events unfolded – and a list of all the lost souls at the end – very moving. I particularly liked the use of oars to represent the lifeboats – a clever innovation - there were so many moving touches that Anita had added – I wondered how she would recreate the actual sinking – well, some of the cast clung to the set and it really seemed the ship was dropping into the ocean – absolutely stunning in effect.

I was truly moved by this production – the memory will stay with me for a long time – I first saw the show in London at the beginning of the professional run and I say in all sincerity, this was on a par with that show in all aspects.

My hearty congratulations to you all – a brilliant show!

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 - which is 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 by us (more accurately, by Matt) 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 when, as we set the curtain call, the newest person to theatre asked, "how do we bow?".  This was perfectly sensible question from as 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

• Quasimodo - Kristian Cleworth
• Esmeralda - Nikki Hosker
• Captain Phoebus - Phil Boothby
• Archdeacon Frollo - Richard Pascoe
• Clopin - Matt Stirk
• St Aphrodisius - Warren McAndrews
• Jehan Frollo / Fredrick - Philip Reuben
• Frolika - Emma Smith
• Gargoyles - Joe Smith, Amy Rout, and Matthew Oglesby
• Statues - Heather Pennwood (the Nice) and Scott Pennwood (the Other)
• Father Dupin / King - Tom Daley
• Madame (+ other characters) - Emma Kennedy

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

• Reed 1 (Cl, Flute, Pic, Sop Sax) Ben Palmer
• Reed 2 (Alto Sax, Cl, English Horn, Oboe): Rachel O'Sullivan
• Reed 3 (Bari Sax, Bass Cl, Bassoon, Cl): Martha O'Sullivan
• Horn: Elizabeth Dixon
• Trumpet 1 (+pic): Sean Gleeson
• Trumpet 2 (+flug): Will Burn
• Trombone: Dan Eddison
• Keys 1: Tom Mitchell
• Keys 2: Robert Sanders
• Drums/Percussion: John Turnbull
• V1: Michele Northam
• V2: Jasmine Grundy
• Viola: Simon Matthews
• Cello Alexander Diack

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

• Narrator - Sarah Case
• George Grossmith - Matt Stirk
• Noel Coward - Daryl Pickthall
• Michael Flanders - Richard Pascoe
• Donald Swann - Matt Oglesby
• Tom Lehrer - Jason Weightman
• Rosina Brandram - Janet Johnston
• Victoria Wood - Megan Henderson
• Dillie Keane - Katie Lister
• Adele Anderson - Becky Barwick
• Liza Pulman - Heather Pennwood

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

• Mrs Lovett - Jasmine Caines
• Sweeney Todd - Jason Weightman
• Anthony - Kristian Cleworth
• Beggar Woman - Emma Kennedy
• Judge Turpin - Richard Pascoe
• The Beadle - Matthew Oglesby
• Johanna - Anna Halliday
• Tobias - Danny Kelly
• Pirelli - Matt Stirk

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.

• Violin 1 - Michele Northam & Jasmine Grundy
• Violin 2 - Jenni Baillie & Ching Kwok
• Viola - Simon Matthews
• Cello - Alexander Diack
• Bass - Joe Wilkes
• Reed 1 - Elizabeth Wells
• Reed 2 - Rachel O’Sullivan
• Reed 3 - Benjamin Palmer
• Reed 4 - Martha O’Sullivan
• Trumpet 1 - Sean Gleeson
• Trumpet 2 - Will Burn
• Trombone - Dan Eddison
• French Horn - Joe Smith
• Keys 1 - Tom Mitchell
• Keys 2 (Harp) - Mason Hirst
• Percussion - Taneli Clarke