ANNUAL CRITICS AWARDS 2006
At this, the end of my first year as amateur theatre critic for the Luton News/Gazette, I have been asked to review what I have seen in 2006.
Firstly, I would like to say that the standard of shows I have seen this year has, in the main, been extremely high. The majority of societies want and do continually improve, and this is the positive side.
Secondly, and the negative side I suppose, is that audiences are constantly dwindling – I’m sure for very valid reasons, and those people who continually support the various societies are greatly appreciated.
But if anyone out there reading this article doesn’t go and see amateur productions then could I please appeal to YOU – to keep the societies in Luton, Dunstable and surrounding villages going we need better audience figures. You’re missing some memorable productions and super individual performances. Theatre is a thriving leisure industry, and we should all support amateur theatre as the people involved work so hard and give so much to put on shows for our enjoyment. I’ll step off my soapbox before someone knocks me off it, and continue with my accolades – and maybe a brickbat or two!
Best Overall Production of the year must go to the Colin Smith Youth Musical Theatre’s production of Les Miserables. This was an exceptional production. Every element was achieved near perfection. The fact that the actors were all youngsters and pulled out performances of such depth is testament to both their and Director Stuart Farrar’s incredible skills, and his excellent support network. I was hard pressed on the drama front to decide which play made the most impact. It was a close-run thing between two from Dunstable Rep, Bloody Poetry and The End Of The Affair, or one from TADS – Agnes Of God.
I’ve come out in favour of TADS. This is a very special production from a small society. This was a very special production from a small society. This does not take anything away from the super productions from the Rep, which have made me challenge myself when writing reviews for them, as plays are outside my normal comfort zone. But boy, have I loved them and the challenge.
Musicals are more my thing. I enjoyed Fame, Disco Inferno and Company particularly – all good in their own way – but the one that made the most impact and therefore is my winner; I think because it is so different to the norm, and was so well done, is The Hired Man. I’d like to make an award to ALL the technical crews, who do a superb and sometimes unsung job to bring productions to life – with sound and lighting on impossibly low budgets. In a wealth of technical wizardry I’d just like to single out David Houghton, whose lighting designs are a sheer joy.
There are some excellent set designers too, who work to the requirements of the directors and devise some ingenious sets. My award in this category goes jointly to Keith Turton and Gary Nash. Keith for St Andrews Players Oliver and Gary for In Two Minds for the Rep and Murdered To Death for Griffins - although the set for Bloody Poetry was also excellent and deserves a mention.
My directors accolades go to Frances Hall for The Hired Man and Alan Goss for The End Of The Affair. We have had some great musical moments this year. My favourites have been Jonathan Sachon and Tom Jennings in CSYMT’s Les Miserables, with Julia Mcleish taking the female honours for Oliver, closely followed by Elizabeth Welsh and Hayley Thompson for Disco Inferno.
Our MD’s are also a very talented bunch, and I would like to thank them one and all, but my award will go to Fred Thomas for The Hired Man, as not only was the music very lovely, and beautifully sung by the cast, Fred created a wonderfully evocative sound with just three musicians. Musicals these days do not have much call for full-scale dance numbers, but Emma Orr’s choreography for Side By Side in Luton Light’s Company was undoubtedly the most outstanding number I have seen this year. My award for best junior performer has to go to Ben Houghton for CSYMT’s Les Miserables and Aladdin.
This young man is an instinctive performer and I think an exciting prospect for the future, although I’m told he has discovered football, so it could be a close-run thing between theatre and the Arsenal.
Rear Of The Year undoubtedly goes to Derrick Cameron for The End Of The Affair. Several ladies have made an impression on me. Liz Caswell and Annalise Carter-Brown, who always turn in impeccable performances for the Rep, Heather Pitt and Annette Codrington in Company, and Rona Cracknell in The Heiress, but my overall favourite has to be Liz Caswell for The End Of The Affair.
There have also been several young men who have made their mark, notably Declan Perrin, Richard Alexander, Peter Carter-Brown and Ben Jaggers. The performance award goes to Peter Carter-Brown for Bloody Poetry, but my comedy performance award goes unequivocably to Declan Perrin who gave superb performances in Fame, Les Miserables and Disco Inferno. Having said that, Richard Alexander has improved greatly this year in all aspects of performance, and Ben Jaggers’ Genie of the Lamp in Aladdin was a great characterisation. If I have any brick-bats, it is just to say that attention to detail is a must. A mediocre show can be lifted so much if the detail is there. My other hobby horse is diction and projection. Being able to hear what actors are saying and singing about is essential to any production.
I’m greatly enthused by what I have seen this year. But beware; you all have a lot to live up to next year! I hope each and every one of the societies in the Luton area has a successful 2007. Keep those excellent shows coming, and don’t rest on your laurels.
Nova Horley