ACT in Action Issue 17

BILLY LIAR by Keith Waterhouse and Willis Hall. Manchester Athenaeum Dramatic Society Billy Liar is a very well-known play and, whilst being nearly 60 years old, one which is still very relevant today for modern audiences. In this social-media age in which we live, often the line between dreams and realities, for fertile imaginations, can easily be blurred: as seen in the story of Billy Fisher, who believes that ‘Some of us belong to the stars.’ Although difficult sometimes to extract the right amount of humour and pathos from the script, Manchester Athenæum Dramatic Society’s production certainly did a sterling effort to bring new life to an old favourite. Based on the original novel by Keith Waterhouse, and written with Willis Hall, Billy Fisher is an undertaker’s assistant who daydreams, lies and steals to and from all those around him. He wants to leave his dull, middle-class home in Yorkshire and in his mind, his dreams become reality for him: from being the President of the mythical land, Ambrosia, to being both Fred Astaire and Gene Kelly. Whilst staying faithful to the original set design, some nice touches were incorporated into Sue Maher’s design of the set, altering the perspective of the Fisher’s house from the audience’s view. We were peering through an imaginary fourth wall with the lovely element of a fire grate down stage centre to achieve this illusion. A sturdy staircase and internal doors were well constructed, with the clever impression of a hallway leading to the front door worked effectively, especially the scenery beyond the front window. An apron down-stage left allowed the extension of a garden but did not detract from the main playing space, which was well demarcated by planter boxes and foliage to create an ‘outside’ space for Billy’s private conversations in Act 3. The half-real, half-imagined internal walls worked well, except the time when one actor accidentally walked through an imaginary wall. It was punctuated by the fact that all other actors took great pains to move behind the sofa to open the door to go upstairs. We also had moments of someone backstage being very visible in the outside window on numerous occasions, to the point that I thought we had an extra character waiting for their cue! This is something to think carefully about in the future Lighting worked efficiently to show the progression of the 24 hours of the play, with even a hint of different moods inside the house. I particularly liked the slick cross-fading and snappy light switches which were perfectly timed. Even with the different working spaces, the lighting switches were executed perfectly and with ease despite some problems due to space limitations in the garden scene, and the static positioning of the limited lighting available. High praise must be given to Sue Maher, who was not only the set designer of the show but also the Stage Manager, Lighting Designer and operator! There are not many sound cues in the script, apart from the occasional telephone which was timed perfectly. However, the use of the Beatles, ‘Nowhere Man’, at the beginning of each act was a perfect choice of music, linking to Billy’s character excellently. Attention to detail in Ian Dark’s lighting plot was skilled, for example, moving outside with the distant barking of a dogs, passing cars in the distance, and other nocturnal sound effects. Perhaps a more creative lighting and sound cue could have been made to signify Billy’s fantasy sequences, which seemed a little lost in this production, but this could easily have been a direction choice by Bea Turner to play down the ‘fantasy’ element and focus on the grittiness of a ‘real’ situation. Pamela Darke and Joel Austin’s set dressing was superb and provided a ‘lived in’ look to the lower-middle class house. The society must be complimented on their attention to detail of all the period dressings to create an authentic, mid-century, family home, with all the paraphernalia and nick-knacks necessary. All props were authentic, including bottles (which can often be a set pitfall). Not only was the look visually pleasing but instantly told us where and when we were,

CHICAGO Congress Players Director: John Wood

Musical Director: Paul Firth Choreography: Jane Wood

Most audiences might think Chicago has always been a “must see musical”. When it opened in 1975, it was eclipsed by “AChorus Line”. This meant that it would take some time for this hocus-pocus-of-phoney-celebrities show to find its own place in musical history. But such has been its success that it is now almost always being played somewhere in the world. This stripped-back production, with the minimum of props helped to “sex-up” the Vaudevillian burlesque. The performing space, with the audience on three sides, was credibly used by the company. The company members were costumed in black which added that extra something to the overall concept. The drama was well served by the lighting and sound designs. As the show was taken out of the proscenium arch the microscope focused on all the characters. While the director lifted the humour he kept the piece edgy and chilling. The orchestra delivered raunchy and sassy sounds for the ladies of Cook County Jail who are seeking celebrity status through their infamy. The impressive hip–thrusting and high–kicking choreography was an asset to the dramatic content. The ensemble, which also covered the cameo and supporting roles, gave accomplished performances. Matron “Mama” Morton, for a bribe, can supply the prisoners those little extras. Sam Bates, as the jail den-mother was strong in character. On a purely personal level, I just wondered whether a little more of Sophie Tucker styling might have completed the characterisation. Believing there is a little bit of good in everyone is Mary Sunshine, the tabloid columnist. Jack Hawkins, as the sappy journalist, parodied the operatic style with entertaining vocal gymnastics. Roxie’s uninteresting husband, Amos, was given a completely new interpretation by Mat Hepplestone. During his solo, Amos turned into Auguste, the white-faced clown. The application of the make-up and the final smearing it off was so powerful. Mat gave a hugely effective performance. The ringmaster himself, the suave, very manipulative, Billy Flynn entered the three ring circus. He would do almost anything for money and would make celebrities of his killer clients. His media manipulation of murder trials was not unlike the O.J Simpson trial. In fine voice, Gareth Smith’s portrayal of the courtroom charmer was on the mark. Competing for publicity as much as their freedom are the two lead murderesses, Velma Kelly and Roxie Hart. Laura Meredith-Hoyle presented a tough-edged Roxie with just a soupçon of feline vivaciousness. She was both wicked and dumb pulling off a slick “We Both Reached for the Gun”. Velma Kelly, the sexy small-time hoofer, is awaiting trial for murdering her cheating husband. Amy Mason’s portrayal of the hard-bitten femme fatale, Velma, was stylised and impressively delivered. It is easy to see why this show has become a masterpiece of musical theatre. This revival allowed the power of the story, music and characters to ‘Razzle Dazzle’.

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