Newbury Operatic Society |
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The Newbury Operatic Society web site is at www.newburyoperatic.co.uk |
Next production
Fiddler on the Roof, 7th to 10th April, 19:30
and 14:30 on Saturday
Music by Jerry Bock. Book by Joseph Stein. Lyrics by Sheldon Harnick.
Based on the stories of Sholem Aleichem. The heart-warming story of
the dairyman Tevye, his family, and the village of Anatevka in
Czarist Russia where faith and love inspire a generation. One of
the most successful and long-running musicals of all time, the score
includes such favourite songs as If I Were A Rich Man,
Match-maker, Tradition and Sunrise, Sunset.
Tickets
From the Corn Exchange, 01635 522733. Ticket prices £12.50 (£9.00 concessions). Concessions are not available on Thursday, Friday & Saturday evening performances.
Where
Newbury Corn Exchange.Previous productions
Night at the Oscars, 22nd to 24th October 2009
Kiss Me, Kate, 14th to 18th April 2009
Jack the Ripper, 16th to 18th October 2008
The Pajama Game, 8th to 12th April 2008. See the review in the
Archive.
The Pirates of Penzance, 18th to 20th October 2007. See the
review in the Archive.
Thoroughly Modern Millie, 10th to 14th April 2007. See the review in
the Archive.
Calamity Jane, 18th to 22nd April 2006. See the review in
the Archive.
Old Tyme Music Hall, 15th to 16th September 2006
Calamity Jane, 18th to 22nd April 2006
Hello Dolly!, 29th March to 2nd April 2005. See the review in the
Archive.
Into the Woods, 2nd to 3rd July 2004. See the review in the
Archive.
HMS Pinafore and The Zoo, 13th to 17th April 2004. See the
review in the Archive.
South Pacific, 22nd to 26th April 2003. See the review in the
Archive.
Trial By Jury, 10th October 2003, at the Ramada Hotel, Elcot Park.
A Gilbert & Sullivan Evening, 24th and 25th October 2002.
See the review in the Archive.
Oklahoma!, 2nd to 6th April 2002.
See the review in the Archive.
My Fair Lady, 17th to 21st April 2001. See the review in the
Archive.
Review of Kiss Me, Kate
14th to 18th April 2009.
From the Newbury Weekly News.
A chorus of approvalNewbury Operatic Society singers and dancers light up the stageNewbury Operatic Society: Kiss Me, Kate, at The Corn Exchange, from Tuesday, April 14 to Saturday, April 18 There are at least two reasons why this musical, which first saw the footlights in 1948, finds favour with amateur societies. The Cole Porter score includes evergreens such as Wunderbar and So In Love, and it has an abundance of smaller roles for a society with the talent to fill them. Certainly, NOS is not short of actors with ability and though I've no room to list all the winners in lesser parts, Tommy Fox (Paul), turning up the temperature superbly in It's Too Darn Hot, deserves particular mention. The play within a play (The Taming of the Shrew) follows the stormy relationship between the two main characters. As shrewish Katharine/Lilli, Sarah Scott-Cound's rich musical voice was well suited to the part. Maintaining the firecracker personality the role of virago Katharine demands to set the stage alight is a big ask and occasionally the action was static rather than fiery However, the joyful duet with jaunty-capped General Howell (Chris Austin) was a star moment. As Fred/Petruchio, Sarah's opposite number Michael Scott-Cound commanded the role, his robust voice making an especial delight of the regretful Where is the Life That Late I Led. Stuart Buchan as gambler (Bill/Lucentio) made a good foil to the exuberant, always entertaining Zoe Wells (flighty Lois/Bianca). Tom, Dick or Harry sung with these two, plus Gremio (Shaun Blake) and Hortensio (Scott Taylor) was particularly slick and enjoyable. With good actors in the roles of First and Second Man they are liable to steal the show and Jeremy Mann and David Price did just that with every action and expression telling. Excellent acting. In this beautifully-costumed show, NOS can be proud of its chorus - good singing and no glum faces - and four dancers who lit up the stage with disciplined happy movement every time they appeared, whether in the stately pavane or more energetic numbers. Combine these two groups with the splendid orchestra, under the control of musical director Michael Evans, sensitive to everything happening on stage, and a framework for success was in place. Jeanette Maskell's skilful direction ensured this marathon of a musical never dragged and again provided the annual treat the society's audiences expect. CAROLINE FRANKLIN |