On Thursday evening, the weather was at its most miserable, the entertainment on television even more so. The prospect of a good laugh was very enticing and those of us who went to see the Nomad’s production of Stepping Out were well served. There was laughter aplenty! On such an evening, to get the audience “going” is quite a challenge. Add to that the general challenge of playing a comic piece and you have considerable difficulties on your hands. The early section of the performance was a little under projected both in terms of character development and general voice projection. I suppose it had the effect of drawing us in and making us all concentrate a little harder. Like the dancers we gradually got to know the dance and the characters. By the end we had reached complete understanding.
The set was perfect. It was representative of the archetypal village hall. Even the curtains were the kind we could recognise, vaguely floral and vaguely……well, just vaguely something. The lighting was excellent. It was sufficiently dingy to be realistic but sufficient to light the faces of those on stage. The restraint amongst those doing lighting finally got the better of them and they later let rip, but more of that later. One of the great strengths of the Nomads, is the meticulous care and attention to detail in the costuming of pieces. Stepping Out was no exception.
There were numerous costume changes and detail. As we got to know the characters, we looked forward to what they might be wearing next. A fine example of this was Vera (Collette Wighton), obsessed as she was with appearances (she would put Mrs Bucket to shame). Her first entry, in vivid flame red hat and coat, set our expectations racing! We were not disappointed. Almost every time she entered, she wore something of interest. The most spectacular, of course, the outfit she had bought at ‘Pineapple’! She was always on the ‘bling’ side of things. Vera was very well observed. Her voice and body movement conveyed her bossy, vain and nosey character. Just when we were thinking she was shallow beyond measure, she revealed the sad and lonely person she really was. Her daughter had superseded her in her husband’s affections. Our hearts went out to her and we forgave her everything.
In stark contrast was the ‘down under’ character of Rose (Mary Parsons). She epitomised the ‘happily married’. She was intensely smug and sometimes irritating but everyone missed her on the night she was absent. Mary presented us with a lovable, enthusiastic if slightly inept dancer, whose smile always lit up the scene. Sylvia (Tracey Gillard) a ‘salt of the earth’ character was self-deprecating about her appearance, brutally frank about her husband but who clearly loved both her husband and her family. She created a cuddly and loveable character that produced some good interplay with all the other characters.
Not being ‘allowed’ by your role to move around makes things a little tough for an actor. Mrs Fraser, (Rita Derriman), was further hampered by being trapped behind an upright piano! Her delivery was sometimes a little under projected and on the slow side. However, she conveyed clearly and exactly how powerful this rather dreary looking character was. More than that, we understood that ‘Glenda’ had to be treated with delicacy and tact. Her great moment came when, in a great huff, she left a rehearsal, only to return in an uncharacteristic state of ‘tipsiness’! Suddenly she was transformed from the ‘the right notes in the wrong order’ pianist into one who had ‘attitude’ and displayed a dazzling talent in a performance of Chopin’s ‘Revolutionary Etude’.
Geoffrey (Aidan Godwin) as the sole male in piece was a source of interest to all, not least of all to the touchy, sad and withdrawn Andy (Emily Ayres). Her sad marriage to an over-dominant man made her susceptible to the shy but “I speak when I’m spoken to” slightly gangly character of Geoffrey. She made a quietly determined play for him, offering a regular lift home. When she became bolder, the quivering and halting Geoffrey firmly rejected her invitation to dinner. Both characters could have done with a bit more vocal energy but there was no mistaking their characters.
Equally uncertain of herself was Lynne (Charlotte Pennington) slim and fragile looking. It transpired that she had the toughest job of all, that of a nurse. She was always eager to be engaged with the proceedings and her bird like, quick movements declared the nervous and intense character she was. Her stage concentration was very good indeed and she was always involved in some way with what was happening. Even when not speaking she gave the impression of being fully engaged. We felt for her as she cried about one of her patients.She was tender and sensitive and we loved her for it.
Some of the plays more epic comic moments were produced by Dorothy (Annabelle Farrell). Why do cycling helmets make people look so comic? They are so SENSIBLE it just doesn’t make sense. On the head of Dorothy, the helmet became even more comic with her ‘bunches’ sprouting out each side of it. The house collapsed when she brought her bike in to the hall for safekeeping. Dorothy gave us the ‘I’m always listening to your problems’ kind of eagerness. The slightly forward leaning body and the ever-moving eyes, spoke of a character that cared. Just as well really, as she was a civil servant. Only once did she show ‘temperament’ and that was when Sylvia accused her of telling the authorities of her husband’s moonlighting while claiming benefits! The back straightened and the stride lengthened, but not for long!
In contrast to all these and locked in an unspoken battle with Vera, was Maxine (Sasha Silver). Like Vera, she always dressed to be noticed. She was a businesswoman who sold anything to anyone so long as they bought what she wanted to sell. She fancies herself as a bit of a dancer and her swinging blonde pony tail and very upright stance expressed her confident and assured personality. Her confidence took a bit of a tumble however, when the hats that she had volunteered to provide for rehearsal some still bearing price tags, were a medley of styles. They were not the boaters or toppers that had been expected. Ripples of obvious impatience spread through the cast.
The brunt of all his was borne by the ex-dancer, Mavis (Tracey Brammar). This role was beautifully played. She created a real and utterly believable character. As we all know, it is a terrible difficult balance to achieve to be both utterly natural while projecting both voice and character before an audience. Mavis achieved this with consummate ease. She was the patient and diplomatic soul every teacher wishes to be. She also caught our sympathy when the class whined once too often or someone upset Glenda. Finally, she ‘lost it’ when they drove her to the brink of despair and she blurted out that she was, to boot, unhappily pregnant.
Although the opening scenes were slightly under paced, it gradually settled. By the time we got to the second half, there was a new energy and commitment. The piece raced to it final moments to end in a truly dazzling and rousing finale. It was terrific. The tabs were drawn and the dress rehearsal about to start. The now glamorous Mavis, resplendent in tight fitting red dress came in front of the curtain to direct the lighting and sound. This is where the lighting boys let rip. We had a lively dancing small spot playing all over the curtain as Mavis spoke. They were revving up for the performance! Finally up went the curtain. It was a good dress rehearsal, things were not quite right, especially the dancing! The set changed……… what a set of ‘risers’/steps had been created!!!!!! Each step was edged with a glittering strip which caught the lights. The silver “slash” curtain at the back gave it the glamour of ‘Strictly Come Dancing’. The dancing was terrific and reminiscent of ‘Saturday Night at the Palladium’ for those of you old enough to remember. It was tremendous. The final finale opened with a wonderful tap solo by Mavis performed with real style and panache.
The lighting guys were still at it with a wonderful following spot accentuating the glamour of the whole thing. The play itself is written to allow for the dance steps to be gradually improved until the ‘perfection’ of the final scene. This was handled brilliantly by choreographer and cast. We gradually learned the steps with the cast and like nervous parents at a school concert, we rejoiced when it all went so right. The dress rehearsal hadn’t been quite up to snuff, but the performance…………. There are no words! Throughout, the big band music contributed hugely to our enjoyment and general atmosphere. It facilitated the scene changes and kept our feet tapping, This was a really fun night out and I just know everyone enjoyed it as much as I did.
Well done…….. again Nomads.
“Polly”
