Musical society storms to success
By VICE PIERCE-JONES HAYLING Musical Society took the community centre by storm, ending celebrations of their 50th year with their third One Night Only - Again.
The show started with a big brass sequence with everyone in a vigorous marching mode which showed this is a society in which every last member is determined to pull out all stops for success.
The seasoned cast of 27 breathed vitality into the cabaret format with shining individuality and complementary costumes.
They were joined by 31 thrilling Hayling youngstars from their newly-formed Youth Theatre, amazingly well-rehearsed and confident in the busy, crowded ensembles of their High School Musical.
The basketball sequence was specially zesty and it all ended with miles of smiles, the whole hall obviously enjoying every moment.
They were choreographed by Zoe Fisher, directed and produced by Eileen Mason and Helen Castle.
The company were also commemorating five exciting years with Helen in the chair.
She has brought artistic excellence with an overriding mode of feminine charm and insight to the society, emphasising style, grace and high standards.
During those years the company has established a nucleus of versatile members all seeming to have leadership skills to inspire the others.
This showed on the night when six members were confident enough to come forward to produce and direct - the whole show itself being produced by the formidable talents of Zoe Fisher and Maria Hammon.
New chairman Jason Favell wrote that he was aiming at a show of assorted themes, a "pot pourri" of entertainment.
Slick changes of mood and mode were achieved with the help of an on-stage screen.
The format was a series of tableaux, ideal for lively ensembles plus interludes giving chances of individual tours de force.
Typical was an Aussie event, Way Down Under, with layabouts in the outback, lying, dying and tying their kangaroos down as the song says.
Actually they swung into songs of their own, led by talented Malcolm Peake on guitar, with Mike Gilbert at the sharp end of a didgeridoo, rocky harmony from a wobble board and something that rattled like a Texan, not Australian, snake.
I never thought I would be reporting on instrumentation like this from Hayling Community Centre, the hall being more for the normal and formal than the phenomenal aboriginal.
But it was great fun.
One of the impressive features of this show was the excellence of the vocalists. Nicola Russell a cool case of this in the bush scene.
Other opportunities came in a tribute to Julie Andrews in which it was clear the men were a force to be reckoned with, so many "first team" players such as Bill Wallage, Mike Elton and Trevor Thurgood being available.
Unfortunately, the programme for the show was a bit mean to critics since it didn't indicate the show's songs and singers, so excuse me if I miss out a few worthy names.
Also atmospheric was the tribute to the silent and not so silent screen by John Summers, directed by Eileen Mason.
Attractive singing here came from Nikki Simpkin.
Unfortunately, during the run John was indisposed but we had the vitality of Lucy Summers to compensate for she sparkles every second she is on stage whenever and whatever.
Dudley Mewett compred the show with druidic depth, pace Paxman at his most pleasing piquancy.
Hilariously tangling with this cinema scene he told a story about a one-legged man auditioning for Tarzan.
He also gave us seasonal advice for getting into heaven with Carol's on Christmas Day.
If you want to know Carol's what, I would refer you to him. Mind the fee.
Since this was the a jubilee event we were honoured with the presence of the society's president Joyce Barrett, who joined in the opening scene.
She described how times had changed since she was a student at the Guildhall School of Music.
Then there were so many taboos, such as that the gentlemen did not dance in shows!
This society, which started with the merger of a ladies' and a gent's choir, has evolved with the times and I notice several new members.
But for the record I must compliment some of the veterans of the recent years.
Vic Briscoe, always a natural at over 80; Kim Budd, such an intense, stylish dancer; Babs Diplock, a fine stage presence and great cameos; Gerry and Lin Smith, naturally adaptive on the set; Louise Gibbon, charm itself.
Pam Day who doesn't look a day older than when I was on stage with her in the 1980s (back row, gents chorus, nearly in the wings!)
Musical director Roger Symes kept a tough grip on proceedings,which were challenging as well as tuneful, ably assisted by Ken Jones on the drums.
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Friday 25 May 2012
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