DATE    13th May 2023

SOCIETY    Dawlish Musical Theatre Company

VENUE    Shaftesbury Theatre Dawlish

TYPE OF PRODUCTION    Musical

DIRECTOR    Rob Walling

MUSICAL DIRECTOR    Joanna Walling

CHOREOGRAPHER    Hannah Cridge, Rob Walling, Despina Carr

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Author: Iain Douglas

I was delighted to finally make my acquaintance with this musical. It has been around on the amateur circuit for some years although rarely performed in the south of the country. However I have noticed that, recently, a number of productions have occurred across the country, possibly as a result of the more widely recognised 2013 film version of this musical. 

A storyline set to music of The Proclaimers means this is a musical firmly rooted in Scotland, and is essentially a jukebox musical, but with a good book by Stephen Greenhorn, and intelligent use of the songs, the cringeworthy feel of many jukebox musicals is firmly avoided.

The show ends with the Proclaimers most famous song which is a great way to get the audience on their feet following quite an intense, sometimes pessimistic, but ultimately uplifting, story about two recently discharged servicemen, Ally and Davy, who return to their homes and families in Leith, which is a suburb of Edinburgh. As they search for normality after the extremes of action in service, the storyline explores the themes of love and friendship, sacrifice, and personal growth. Ally’s marriage proposal to a childhood sweetheart Liz is rejected. Davy gets a mundane job while his parents relationship is threatened by the discovery years on, of the fathers infidelity. 

I have been saying for the last few Dawlish shows, that each one is the best I have seen here. I really thought they would not be able to better 2022’s Our House, but I was wrong. This production was definitely the best I have seen from this society. I could have sat through it all again immediately. It was well cast, and beautifully directed and performed and sung. 

I would not have expected anything less from this strong husband and wife team of director and MD. The direction was meticulous enabling scenes to run smoothly together. Cast moved the props, and furniture on and off the composite set, which had various playing levels, and this led to a cohesive and fast moving production. Company work was imaginative and interesting to watch with lots of action across the entire stage. No one was sat impassively in this show. It was very hard to believe that a good number of the cast were appearing on stage for the first time, so professional were their performances. 

A show such as this requires a very strong central cast and in Davy and Ally we had two of this areas most capable young male performers. I am familiar with the work of both and this was up there with the best for both of them. 

They were given a close run race though by a number of other performances. I loved Rab and Jean, Davy’s parents. They gave really likeable and sympathetic performances. I loved the way Jean dealt with the revelation of her husbands infidelity many years before and the sudden appearance of a daughter, who, ultimately, is accepted into the fold. I also loved the performances of Liz and Yvonne. Liz cannot accept a proposal of marriage from Ally, who ultimately signs up again. Liz and Yvonne, despite the recent difficult military experiences of their men, have to look after their own lives and feelings. All of the issues were explored beautifully and with sensitivity when required. 

In a nod to that famous Scottish play by Shakespeare, the director introduced 3 “wytches”, local girls who commented on the action and acted as a greek chorus. They helped gel the scenes together and this was a clever move. 

There were no weak links at all in this very strong production. Choreography was kept simple but effective and this aided the staging immensely. 

The 5 piece band was, as usual, off stage right, and created a great sound. This MD always works the cast hard and the singing was the best I have heard from this company. 

Sound and Lighting were first rate. One usually only notices these components if they are poor. There was nothing amiss here. 

I think you can tell from this review that I loved this show. It was good to see something I was not familiar with (I haven't even seen the film) and it was good to see the continued journey to ever greater heights by this company.

DATE    13th May 2022

SOCIETY    Dawlish Musical Theatre Company

VENUE    Shaftesbury Theatre Dawlish

TYPE OF PRODUCTION    Musical

DIRECTOR    Linsie Kemp

MUSICAL DIRECTOR    Chris Matanle

CHOREOGRAPHER    Paula Smith and Hannah Cridge

WRITTEN BY    Tim Firth and Madness

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Author: Iain Douglas

This musical is enjoying something of a renaissance in amateur theatre with many productions of it at present. It is not difficult to understand why it is so popular. A musical score comprised of virtually all of the hits of Madness ensures a musically satisfying evening. Essentially it is a jukebox musical, but with a clever script and storyline, this rises above the average jukebox musical. Musical numbers fall naturally into place and there is nothing trite or corny about the script. Writer Tim Firth ensures the show has good credentials, and through the Madness catalogue he explores themes of love and family, and values and responsibility, against the backdrop of growing up. 

We see 16 year old Joe taking his girlfriend Sarah on a date. They break into an old building and the police arrive on the scene. Does he hand himself in or does he escape ? At this point the story diverges and we follow the stories of both Good Joe (dressed in white) and Bad Joe (dressed in black) and pass back and forth between the two stories as they progress. It is good Joe who hands himself in and ends up with two prison sentences, but ultimately is redeemed, while bad Joe who escapes, becomes successful in business but this leads to shady dealings and the ultimate death of his mother. He ends up behind bars for something far worse than petty criminal acts. Ultimately the main message is that you follow the right path if you end up with the person you love. 

This can, if handled badly, be extremely confusing for audiences. Luckily here it was not. Linsie ensured that there was a clear signposting to the audience. The only time where potentially there was some confusion was right at the start of the show where we meet Joes mum and dad, prior to his birth, and then move forward in time 16 years to meet 16 year old Joe and there is the gradual realisation that his father has died. This was not so clear initially. 

The show relies on the central performance of Joe, and ithe society have someone of great ability. He was absolutely superb. His constant transitions back and forth between the two Joes, were seamless and he adopted quite different postures, mannerisms and gestures to distinguish between the two. It was a power house performance worthy of the final standing ovation on its own account. I believe this character has the most costume changes of any musical theatre character. 

All of the other characters appear in both storylines and have to react very differently so they develop differently, so the challenge for a director is that you are , in essence, directing two pieces, not just one. 

There was a lovely performance as Sarah, the fledgling lawyer, and provided a sobering backdrop for both developing Joe's.

Joes friends Emmo and Lewis were entertainingly played.  I particularly liked Billie and Angie. I love the bitchy dialogue from this pair, who don't give Joe an inch. They are a good contrast to the rather chaotic Emmo and Lewis. 

There was a lovely homely and supportive Kath, Joe's mum. Always proud, but ultimately meeting her end at the hands of bad joe. His deceased criminal father provides the commentary to the piece. Observing and commenting. This was given a nice touch, always careful to avoid dominating a scene, but being present just enough that we are well aware of his thoughts and feelings and guidance.

The baddies of the piece are Reecey, given a nice sleazy and greasy presence and Mr Pressman, the rather ruthless property developer. I always enjoy the Pressman office scene involving both Joes and differing responses of Pressman and his secretary.

The show had great pace, Linsie ensured things moved swiftly along with never a dull moment or a pause between scenes. The excellent composite set helped this aim. Musical numbers were well choreographed. In fact it was some of the best musical staging I have seen from this group. The music was, as is to be expected, deftly handled by Chris and his 6 piece Band, situated as usual off stage right. They produced a great sound, as did the cast, at their best when singing en masse for the big set piece numbers. 

Sound was, on the whole, good. My only criticism was that in the big numbers where everyone was signing, and there was dialogue to the front, that dialogue went unsupported and unheard. The Las Vegas scene was an example. I've played Pressman before so knew what was happening, but other audience members might not have.

Lighting design was excellent and added to the great visual feel that this show had. 

I said at the 2019 production that the society had surpassed itself, but they have done it once again and this was very definitely the best show I have seen at Dawlish for a long long time. Everyone should be very proud of this achievement as it is a difficult show to do well, and do it well you did !!

DATE    15th May 2019

SOCIETY    Dawlish Musical Theatre Company

VENUE    Shaftesbury Theatre Dawlish

TYPE OF PRODUCTION    Musical

DIRECTOR    Marilyn Adams

MUSICAL DIRECTOR    Peter Whittle

CHOREOGRAPHER    Hannah Cridge

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Author: Iain Douglas

This show is a favourite of mine, having seen the first professional tour of it some years ago. This jukebox musical was originally conceived as performer/musician piece where most of the cast also played the instruments. This clearly cannot happen for most amateur productions (although I have seen one that performed it that way) but it matters not and in fact probably, in my opinion, focusses the attention more on the characters. I always think it rather distracting if characters are playing the instruments as well as I end up thinking about the logistics of that instead of the actual characterisations.

Forbidden Planet is loosely based on Shakespeare’s “The Tempest” , and takes its inspiration from the 1950s B movie “Forbidden Planet” which has become something of a cult sci-fi movie. Therefore, given that the music is well known, as is the source material, most audience members would be somewhat familiar with elements of this show. This was somewhat of a departure from the norm for Dawlish, and it was disappointing to see only a half full house for what turned out to be a very entertaining production.

Marylin always directs a well thought through piece and this was well staged and cast. An attractive set, created in house, contained all the elements necessary from flashing lights and panels, to sliding doors, to video screens, to hand held iPads and monster tentacles appearing through flaps and down from the flies. The costumes (purchased I believe as a job lot from another company) were all in keeping with the set.

Lighting and sound by orange box were excellent and the overall look and feel of the piece was really good. In fact, I thought the technical aspect of the show was the best I have seen at Dawlish.

Obviously, this show can be played largely tongue in cheek, although for it to work, the cast have to play it straight. This they did. It is in turn very melodramatic (purposefully), comedic and camp and works best played straight and to the audience. The set (being the bridge of the space ship) acting very much as an amphitheatre for the action that unfolds.

The band was located side stage, but in view of the audience, and supported the cast well and produced an excellent sound. I did wonder how the cast would cope with the well-known pop classics that pepper this show, but they coped very well indeed.

Andrew Malcolm gave a strong and entertaining performance as Captain Tempest, maintaining a good dominance of his crew and an understanding of the Shakespeare elements of the script. Gemma Castro-Silva, a newcomer to Dawlish but well known in Torbay, showed her excellent vocals to good effect as Miranda. Mike Hewitt was suitably melodramatic as Dr Prospero and Ian Clatworthy was nicely hapless as the love lorn cookie. I really liked Elizabeth Borbon’s performance as the science officer / Gloria.

The musical numbers were choreographed neatly to respect the abilities of the cast and the space limitations whereby an already small stage was further limited by the fairly extensive stage set.

If you love the 50s and 60s rock and roll classis, as I do, then you cannot fail to enjoy this show, and I felt this was certainly up with the best that I have seen at Dawlish. It was such a shame that it did not appear to be box office but I suspect Dawlish audiences are perhaps a bit more traditional in their tastes. Those that were present on the night I attended certainly had a ball and enjoyed it greatly although it was entertaining to listen to the ladies in front of me trying to decipher the story and what it meant !!!

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Lorem ipsum dolor sit amet, consectetur adipisicing elit. Maiores ipsum repellat minus nihil. Labore, delectus, nam dignissimos ea repudiandae minima voluptatum magni pariatur possimus quia accusamus harum facilis corporis animi nisi. Enim, pariatur, impedit quia repellat harum ipsam laboriosam voluptas dicta illum nisi obcaecati reprehenderit quis placeat recusandae tenetur aperiam.

Lorem ipsum dolor sit amet, consectetur adipisicing elit. Maiores ipsum repellat minus nihil. Labore, delectus, nam dignissimos ea repudiandae minima voluptatum magni pariatur possimus quia accusamus harum facilis corporis animi nisi. Enim, pariatur, impedit quia repellat harum ipsam laboriosam voluptas dicta illum nisi obcaecati reprehenderit quis placeat recusandae tenetur aperiam.