‘Stage Door’ revue

Press, 18 March 1985, Page 6

‘Stage Door’ revue

“Stage Door,” presented by the Christchurch Operatic Society, Theatre Royal, March 16 to 23, at 8 p.m. Running time: three hours. Reviewed by Julie Klaassens.

“Stage Door” is a nostalgic collection of 38 musical numbers and six dance routines drawn from 16 musicals and neatly packaged by a congenial host, Pop, the Stage Doorman (Patrick Paynter). With a lively cast of more than 100 men, women, and children, this production runs in the style of a Hollywood extravaganza where costumes, backdrops, lighting, and movement are all there to razzle and dazzle the audience.

Certainly the cast is constantly kept on its toes maintaining a pace that rarely drops below a mile-a-minute. Time alone will tell which will first buckle under the strain — character or costume. Unsurprisingly then,

the opening night saw a few dislodged items of clothing. There are no principals in this revue — virtually each song introduces a new soloist who has had previous links with this society. The musicals, too, are familiar to the society — “Oliver,” “Carousel,” “West Side Story,” “Fiddler on the Roof,” and more. Songs range from the unforgettable “Get Me to the Church on Time” and “Hello Dolly” choruses, both splendidly presented, to the immortal love songs such as “Love Unspoken” and “Deep in my Heart.”

Although the revue was enjoyable non-stop entertainment, there were a few snags, the pressure to get through the programme being among them. Tempi were often on the rushed side and the atmosphere generated by individual songs was scarcely allowed time to settle before another was crying for atten-

An interesting contrast was provided by the taped numbers used for the dances and the choruses from “West Side Story” and “Chicago.” Here the powerful choreography and greater orchestral resources painted vivid scenes which occasionally (as in “All that Jazz”) upstaged the live efforts of those in other numbers — a tricky issue.

The front-of-house microphones also proved bothersome, rendering a principal’s flourishes against the chorus-line as delicate as sledgehammers. These teething troubles aside, the production has strengths of variety, evergreen favourites, and excitement. No-one can deny the energetic spirit of the cast. The live orchestra, conducted by Thomas Brown, can afford to play up. Watch for the “Annie” bracket, performed and timed superbly.