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Show: Dames At Sea
Society: Performance Preparation Academy – PPA (student productions)
Venue: Bellerby Studio Theatre, Walnut Tree Close, Guildford, Surrey, GU1 4UG
Credits: Book and Lyrics by George Haimsohn & Robin Miller Music by Jim Wise
Type: Sardines
Author: Chris Abbott
Performance Date: 08/11/2017
Dames At Sea
Chris Abbott | 09 Nov 2017 08:45am
It is always a pleasure to return to PPA’s Bellerby Studio Theatre to see the latest in their continuing catalogue of the best of musical theatre. Whether performing at the Yvonne Arnaud, the Electric or, as here, in their own studio, PPA always give of their all under the assured guidance of their experienced teachers.
Dames at Sea, originally a small-scale piece at the Duchess Theatre, is here given a successful re-interpretation by Director Lewis Butler with a much larger cast in a very small space. It is just as well this is largely a tap musical; any other form of dance would be a challenge for so many actors in such a small studio space. The theatre in the first act and the ship in the second were suitably suggested by a basic set which provided a variety of levels which were well used. I was particularly impressed by the ease with which every performer negotiated the highest level without hitting the very low beam which intruded.
As the tight six-piece band struck up the overture the piece got underway with a deft mimed introduction before taking us straight into this daftest of musical theatre stories in a field not exactly known for its profundity. Dames at Sea is not of course an original 1930s musical but a 1960s parody, but both of those time periods will be ancient history for this youthful cast.
This is really a six person show and was originally presented with a cast of that size; and with three men and three women it is perhaps no surprise in this genre that the final number is “Let’s Have a Simple Wedding.” First to make her mark was Beth Lyons (at this performance – the main parts are double-cast) as Ruby. She managed to bring an original take to this clichéd character of the unknown who becomes an overnight star. This was a confident, full-throated portrayal by an actor with a sweet singing voice that was suited to this piece and she was well able to deliver the dialogue as well.
Opposite her, Dick was played by Jack Osmond, whose innate musicality was shown in the timing he brought to his tap numbers. He has the requisite easy charm needed for this part and played a key role in maintaining the pace as his energetic performance invigorated those around him.
The second couple, Joan and Lucky, occupy that tricky role in American musical theatre: the comic duo. As Joan at this performance, Hannah Merry put every effort into creating the screwball character demanded by this aging script and it was remarkable to see how much she achieved with such difficult material; she drew the eye whenever she was on stage and led the Act I finale with great skill. Jordan Newman played Lucky opposite her and was well up to the challenge, with these two actors having perhaps the most difficult roles to portray.
As diva Mona Kent, Clare McCreadie gave a full-throated if occasionally breathless portrayal of this caricature of a stage performer, and mellowed nicely when she met the love of her life. As her love interest, Jordan Harrison played the Captain with a twinkle in his eye, some nicely timed moves and a strong singing voice. Completing the principal cast was Matthew Craig (listed as Matthew Michaels in the photo section) who deftly portrayed another stereotypical character, the irritable Broadway choreographer. The choreography of this production was by Sarah Day and was up to the usual standard shown by the students on the Musical Theatre course at PPA. Although tap accompanied most of the numbers, there was also a deft use of ballet at one point following a quick change of footwear.
The ensemble, 14-strong, according to the cast list although I could have sworn I counted 15, hoofed gamely throughout although some were more adept at the tap sequences than others – but they always looked the part and there was good evidence of individual characterisation and appropriate period attitudes were struck. By the big tap number towards the end, Star Tar, Ruby and the company were tapping in unison and overcoming the limitations of space and flooring.
With a basic set it is left to costume to set the mood and decorate the stage and that was certainly the case here. There were some wonderful hats and an ever-changing series of costumes for the ensemble, all successful I thought apart from those for the first number where the basic leotards with taped-on banknotes seemed unfinished. From then on, however, the stage was continually brought to life by the combination of movement and costume. Principal cast members also looked good and I liked the extra sparkle for the sailors at the finale, though I was left bemused by the costume for the US Naval captain who looked, in his cravat and cruising cap, as if he had just left his cabin cruiser on the Norfolk Broads.
Another success for PPA then, who, with their director, even managed to more or less get away with including one of the more dubious numbers by present-day standards, Singapore Sue. One final comment. There is always a great welcome at PPA, and it’s a pleasure to see the excitement of the friends of the cast and fellow students. However, I was surprised on this occasion that the other students rather took over the audience area. It was difficult for others to get through to the bar area or see the displays and, when the house opened, the excited students rushed to fill the front of the theatre, leaving the rest of the ticket holders to shuffle in after them feeling like they were outsiders who had to fill in the gaps. I don’t remember this happening before, so perhaps this was a one-off caused by first night excitement.
- : admin
- : 08/11/2017