
It is an encouraging sign of the health of a dramatic society that they should be able and willing to subscribe to new and “different” works. Already this year, Nomads have produced The History of Mr Polly and now, being even more adventurous, comes an original musical, Gold Star Agency, written by local musician, John Bartlett.
In the swinging sixties, the Gold Star Employment Agency is faced with serious financial problems, the auditors being on the doorstep. Regular job-seeker, Peter (Francis Pindar) returns from a holiday in India with a magic stone which he uses to seduce manager Jane (Bronwen Elliott), who embezzles the company funds and runs off with him, leaving the Agency facing bankruptcy until rescued and renewed by the ever-reliable businessman, Arthur Welham (an excellent Stephen Whittock). The Agency is reborn!
The middle of the holiday season is perhaps not the ideal time to present such an ambitious venture. The production team has to work within the limitations of those available – once again it says much for the fortitude of the Company that such a venture be attempted at this time. However, certain criticisms must be made at the outset. It is a pity that the production was presented in the Studio Theatre, rather than the Main Auditorium, limiting the size of the audience but, more importantly, restricting the fair-sized cast’s movements. As a result the dance routines became very cramped in such a small space, with the excellent orchestra (led and conducted by the composer) being situated on the main stage and out of sight of the performers. While this drawback was overcome with aplomb the main stage would have allowed space for both sets of players and simplified communication.
The libretto showed signs of inexperience and could have been tightened up with the over-complicated plot being simplified. Although the well-written programme notes gave a comprehensive run-down of the action – almost like a Shakespearian description – the plot of amusical should surely be pretty self-explanatory without recourse to notes – I would, too, have liked to know what happened to the run-aways Jane and Peter in Brazil, whose fate was left hanging in the air.
Finally, the composer has such a wealth of ideas that the musical was packed with more than 20 songs – too much talent. While we rejoiced in some splendid ensemble numbers, such as Transcendental, The Stationery Song (brilliant but difficult lyrics), Betrayal and Welcome to the Future, a number of others could have been omitted, not only speeding up the action, but allowing development of the best songs which, too often, ended just when the audience was really enjoying themselves and wanted more. Some songs proved too much for inexperienced singers I gather that the interesting programme note for advertisements for job vacancies in 1967 is based on contemporary facts but the salaries on offer seem to me to have been from an earlier and less affluent time. Did a temporary typist really earn only 20/6 p.w.?
Francis Pindar was particularly impressive in his eastern mood as he chanted mantras sitting cross-legged and I appreciated the grace and beauty of Bronwen Elliott and the job hunter, Jill (Catherine Scott) who, however, did speak her lines rather too quickly. I loved the slow dance routine of Peter and Jill.
The lighting and sound effects by the old team of Charles Hope and Tim Williams was, as always, excellent. while the Farrell family – Annabelle (as Serena, the agency supervisor), Nathan (director) and Jordan (choreography) didn’t let the Company down.