‘Rodgers and Hart’

Press, 9 March 1984, Page 4

‘Rodgers and Hart’

“Rodgers and Hart,” directed by Bryan Aitken, musical direction by Tony Ryan, presented by the Christchurch Gilbert and Sullivan and Light Opera Society for the Christchurch Festival. Repertory Theatre, March 8 to 17, 8 p.m. Reviewed by Philip Norman. Wit, elegance, poise and sophistication — “Rodgers and Hart” by members of the Christchurch Gilbert and Sullivan and Light Opera Society has all of these qualities. Though admittedly any two of these 3ualities rarely coincide uring the course of the two-hour musical celebration, they are present in sufficient quantities to ensure an enjoyable evening’s entertainment To this list can be added pace. Bryan Aitken has set a sparkling pace for the

production: songs fly by and the various sequences bubble along with little - bar an occasional soggy patch in performance — to interrupt the slick continuity. The stylish costumes and set are strong points in the production. Simply dressed in black and white evening attire, the company of 14 members works on a silver, grey, and white split-level stage, designed in the fashion of a 1930 s high society dance hall. The four musicians, who put out a clean, tight sound, though a little heavy in the drum department, are incorporated into the design of the set, placed upstage behind the action. . While the set looked excellent, the visual effect was gained at sacrifice to audibility. Most of the performance was directed, un-

wisely, far back into the depths of the Repertory stage: lyrics floated unheard into the wings. Better articulation and a greater concentration on diction could help solve this problem of audibility. Of the company, the Richardson sisters (Louise and Christine), particularly when appearing in tandem, shone both for their strong and true singing and their vitality in presentation. Ursula Ryan and Susan Crdme both created magical moments with their voices in various of their solos, performing with grace and sensitivity. Of the men, Murray Scott was undoubtedly the strongest, in presence as well as in,voice. Choreography, by Marlene LeCren, was effective, and wisely held to routines requiring only limited skills from the performers.