ACT in Action Issue 17

The whole production contained many song and musical interludes. The sound was a mixture of backing tracks and live music, provided by Michael Holmes and Sam Hirst. The Crystals, Blizzards and Icicles – in other words dancers and tiny tots, were all well-schooled by their choreographers, Clare Pascoe and Sue Bradbury. Throughout the various scenes there was excellent costuming, coordinated by Josie Kirby and sourced by members of the society. Though not massively reliant on props this year, I thought the use of a constructed iceberg for the evil queen to climb as she sang “Let It Go” was inspired and brought the end of the first act to its conclusion. All other technical elements added greatly to this production. The sound had been enhanced by the use of microphones in productions recently and was under the control of Adrian Webber. The lighting plot by Brian Smith, Luke Weir and Daniel Jones established the nature of characters, especially the evil Snow Queen in green light. The projection and glitter ball use gave a nice effect of swirling snow around the auditorium, and the use of a snow machine added to the wintery effect. I thank you for your hospitality and look forward to watching next year’s pantomime, “Sleeping Beauty”. brings the drama back to the Sleeping Beauty of the Wood, one of its many former titles. All the action in this presentation took place on a clever, revolving, composite set. one which included projected images. The scene changes were part of the action all adding to the storytelling. The lighting and sound plots were another dramatic element to give the piece a Disneyesque quality. These chronicled fairy-tales have been animated and they are now being humanised. For this production the director. assisted by Katherine Farrow, kept this fresh interpretation firmly in the land of make-believe; prince, princess, and the fight of good and evil were brought to life. The score was well read and with an excellent orchestra, delivered Simon

have impact and engaged well with Kat. Every pantomime has to have a Dame character with catch phrases that the audience can respond to. Simon Sullivan has been dame for the past couple of years and this week was Grandma. The dialogue contained the usual jokes, storytelling and double entendre that kept the adults on their toes, and Simon was super at this delivery. He supported others on stage with their dialogue and kept the show moving. The Busy Bee gag with Jack Frost was particularly engaging, as was the game show section, though I wasn’t sure if either this and the song sheet were both required, as both felt a bit rushed due to time constraints. Helping Gerda was Sherlock Bones (Dan Oliver-Grant) and Doctor Whatsit (Kate Johnson). These two people worked well as a double act and were quite humorous in their portrayal of spoof Holmes and Watson characters trying to find the Snow Queen’s Lair. Dan’s rendition of “Pure Imagination” at the start of act two was of particular note. Maybe musical theatre beckons? Steven Oliver-Grant was so funny as the flatulent reindeer, Hanky. He certainly had the younger members of the audience, and those with childish senses of humour, giggling. His character even spawned the doctored song sheet, “Hanky, the Smelly Reindeer” for an audience sing along. SLEEPING BEAUTY, the musical Mossley Operatic and Dramatic Society Director: Ian Curran Musical Director: John Barry Choreography: Emma Kelly & Kaireen McDonald This was another world premier for MAODS, the well-known nursery story of Sleeping Beauty which has its origins in tales of the Thousand and One Nights. Princes Aurora has had many reincarnations although it is mainly the brothers Grimm version that we know today. The story has been since embellished and this musical presentation

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