Delightful Entertainment In “Can-Can”

Press, Volume CVIII, Issue 31676, 11 May 1968, Page 14

Delightful Entertainment In “Can-Can”

The Christchurch Operatic Society began what deserves to be a thoroughly successful season of Cole Porter’s charming musical comedy, “CanCan” in the Theatre Royal last evening. There was a large audience, and the show, produced by , Laurie Swindell, moves brisk- • Iv and with artistic polish all the way. A credible French atmosphere is captured and maintained, and much of the success of the show can be credited to the exemplary clarity of the words in all the spoken parts. Insistence on this in preparation has brought its reward. The costuming is splendid and nothing has been spared here to mount a show most pleasing to the eye and of high professional standard. The scenery is completely adequate and the many quick changes are brought about without fuss or hitch. Much of the success of the performance must go to Mr Dobbs Franks, the conductor, who has inspired the Civic Orchestra to play with elan, with unfailing clarity and balance, and with appreciation of all the subtleties of a by no means etay score The orchestra, through its varying timbres and sensitive use of expression, did exeel lent work in keeping the atmosphere brightly to the fore.

The chorus, initially trained by Mr Jim Cunningham, responded weU to all Mr Franks's vivacity of performance and sang with pleasing tope and rhythmic drive. In alert response to every requirement of vitality in stage movement and of acting, the members of the chorus kept an unfalteringly high standard.

The cast is a very big one—and, although it is possible to mention but a few, it must in fairness be recorded that there was nobody who seemed to be inadequate in performance or who failed to cany conviction and make a valuable contribution in even the smallest roles. Shirlye Rushton is to be congratulated on a completely faithful rendering of the part of La Mome Pistache, who is arrested for having the cancan danced at her Montmartre cafe-cum-laundry. She brought the brightness of a warm personality and smooth and competent technique to every aspect of her performance.

Bevan Holdgate, as Judge Aristide Forestiere, also did sterling work in maintaining the atmosphere of his part, and his excellent voice was heard to advantage in all his sengS. Although he had a high regard for law and had to condemn Pistache and her danc-

ers, he had also a concern for justice and went to Pistaebe’s cafe to see if this dance were really as lurid as it had been depicted. He eventually fell in love with Pistache, but accidentally received publicity through a photograph taken at the arts ball—and his legal position was compromised. As he could not get a judicial inquiry to clear himself he went into partner ship with Pistache with the intention of forcing prosecution for putting on the cancan and thus gaining a hearing for himself. In the final scene the cancan is danced in the courtroom, thus ensuring that a stern study would be given to it. There were acquittals all round and wild jubilation. This scene and the arts ball scene which ended the first act, were both magnificently staged. In the smaller parts of Claudine and of Boris, Judith Cater and Gilbert Wiberg gave vital and excellently sustained performances, and Robert Naysmith, as Hilaire Jussac, gave a faithful and skilful rendering.

Special mention must be made of the excellent ballet team trained by Joy Wild The performance of the “Garden of Eden” ballet at the end of Aet- I was movingly, beautiful.

The show will continue for a week and can unreservedly be recommended as delightful and thoroughly competenl entertainment.