HAODS - For the best entertainment in live theatre, together with top quality drama - amdram at its best, Henley Operatic & Dramatic Society has it all. Performing at the Kenton Theatre, Henley-on-Thames, NODA award winning HAODS musicals and plays are renowned for excellence.

NATIONAL OPERATIC AND DRAMATIC ASSOCIATION
LONDON REGION

Society            ;    Henley Amateur Operatic and Dramatic Society
Production    ;    "THE BOY FRIEND"
Date                  ;    Friday 23rd April 2010
Venue              ;    Kenton Theatre, Henley-on-Thames
Report by      ;    Henry Hawes - NODA Representative - Area 13

On Friday 23rd April 2010, I was invited to review H.O.A.D.S latest production "The Boyfriend" at the Kenton Theatre, Henley-on-Thames. This is a delightful English musical which recalls the 1920's perfectly. Wherever the "Boyfriend" has played it has always scored its greatest successes when played as it is written - as a fondly written 'new 1920's musical', rather that a campy parody which so often happens in this day and age. H.A.O.D.S. did not fall into this trap with the director ensuring it was played as written with good staging and movement and some excellent characterisations being brought out with a well defined 1920's stylisation sustained throughout. 

Claire Wallis - (HORTENSE) - A delightfully suggestive performance with a French accent well sustained. A good characterisation with good movement about the stage area and a well sung 'Nicer in Nice' - Well done.

Samantha Fields    - (MAISIE)    )   
Emma Powell    - (DULCIE)    )
Ruth Jones        - (FAY)    )
Daisy O'Halloran    - (NANCY)    ) 

These four girls entered fully into the spirit of the show with each one developing their own character. All four blended well together in their musical numbers with precise dance routines and movement. Diction and projection could not be faulted as I could hear every word and I was impressed with the stylised performances which was well maintained throughout - Congratulations

Helen Eastwood - (POLLY) - Very sweet, typical ingenue. Helen had a crystal clear voice both speaking and singing with a well sustained accent throughout, but I did feel that your movements were a little forced, needing to relax a little more. Nevertheless this was a competent and enjoyable performance - Congratulations.

Peter Bridekirk    - (MARCEL)           
Kevin Goodfellow    - (ALPHONSE) 
David Holmes    - (PIERRE)        
Tom O'Halloran    - (LOUIS CRISTOF de la PLAGE) - These four characters gave a spirited performance while endeavouring to attract the attention of the four young ladies from the finishing school. Their movements about the stage area was precise and their routines were well performed. A good effort was made of the French accent but it was inclined to slip on occasions. Vocally they came across very well with a good balance of voices. One small point, it would have been nice to see a crease in the trousers, this attention to detail makes such a difference.       

Julie Huntington - (Mme DUBONNET) - As the Principal of a ladies finishing school in the South of France, Julie gave a good interpretation of the role, although I would have liked to have seen a little more austerness in the first act as befiited such a character and which would have enhanced the character when letting your hair down in acts two and three. Movement, diction and vocal control was well in evidence.

John Ralls - (BOBBY VAN HEUSEN) - John gave a lively portrayal of this extrovert character, lots of presence and fun with good movement, diction and projection, all coupled with a strong American accent which was well sustained throughout

Gareth Saunders - (PERCIVAL BROWNE) - I liked this characterisation by Gareth, he was suitably 'stiff-shirted' at the start and gradually melted to Mme Dubonnet's charms after realising he was her previous lover. Here we had perfect diction together with movement that suited this particular character - Well done.

Edward Henderson - (TONY) - I understand that this young man was a last minute addition to the cast, filling the role of 'Tony', and I must admit he made a very good job of it. Vocally his voice fitted the part, but what impressed me most was his movement about the stage area and he is obviously a highly trained dancer and which came to the fore in 'The Carnival Tango' which was beautifully danced - Congratulations.

Basil Evans        - (LORD BROCKHURST)

Annette Bowden     - (LADY BROCKHURST) - These two worked well together with Basil  presenting a jolly 'lecherous' personality and his duet 'Never Too Late' with Lucy was a joy and showed a good sense of timing. Annette had just the right amount of hauter and 'attitude' keeping an eye on her wandering husband and trying to ensure he stayed 'under the thumb' - Two good characterisations.

Paul Cockfield - (GENDARME)
Andy James     - (GARCON) - These two made the most of their minor roles ensuring the right characterisations were brought out.

Raymond Burton - (DIRECTOR) - I am given to understand that considerable difficulties were experienced in casting this production and all credit must go to the director for presenting a show of this standard. It had eventually been well cast and some very nice stylised characterisations brought out, all reminiscent of the 1920's. Staging had been well contrived ensuring a well balanced stage throughout. I did feel however that it lacked some of the sparkle one associates with this show, but apart from that small point this was a well directed show.

Mark Pizer - (MUSICAL DIRECTOR) - Mark had gathered together an excellent group of musicians who together, gave an excellent flavour of the 1920's music, the balance of the instruments being just right and who played sympathetically for the performers. Mark had also done a good job with the cast who sang their numbers with precision and balance

David Parsonson - (CHOREOGRAPHER) - This show containes a considerable amount of choreography, all in the 1920's style and David had devised some excellent routines which gave the proceedings just the right flavour. Overall the routines were well danced but I did feel that a couple of them appeared a little under-rehearsed, but that is just a small point in a show that was well served choreographically.

Stage Manager & Crew - Generally speaking, this was a well managed stage but I would like to draw attention to the fact that in the first act there was a gap between two of the flats which widened as persons exited over the rostra and which showed a strong light shining behind the flats. Had they been roped off properly?

Set Design & Construction - I was not particularly impressed with the set design. The first act set had been painted in a dark and dismal colour and did not reflect that it was a young ladies finishing school in the south of France at all, and I would imagine that this colour scheme was difficult to light. The second act set gave no indication that it was located at the seaside in Nice as no sea or sand was visible and could have been anywhere. The third act set for the Carnival Ball was not impressive but was better than the other two.

Lighting - A good lighting plot which generated the right atmosphere in the various scenes and on the night of my visit, there were no late cues.

Sound - This was a good sound plot, the operation was well controlled and balanced ensuring no distortion in the voices and all sound cues were well picked up - Well done.

Costumes - Everyone was well dressed in the period with the exception of Mme Dubonnet's costume in the first act, it was totally out of character for the principal of a young ladies finishing school, this type of costume was fine in the third act at the Carnival Ball. I also noted that the mens trousers needed pressing, they looked as if they had been slept in for a week!

Properties - These had been well researched, looked authentic and fitted the action of the musical.

Make-up & Hair - Make-up had been well applied together with good character make-up - Hair had been well styled which denoted the period.

Programme - A nice little programme of the right size containing a number of interesting items. The centre pages giving details of the cast, scenes and musical numbers was very difficult to read in subdued light.

Front of House - As one has come to expect from H.A.O.D.S. Front of House staff were smartly dressed, easily identifiable, friendly and welcoming to their audience - Well done.

Thank you for inviting me to review your latest production and your excellent hospitality and may I wish you all success with your next production 'Raffles of Singapore' which I am looking forward to in anticipation as It is good to see something entirely new on the amateur stage.

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