Memories Are Made Of This

Surrey Advertiser

Diana Eccleston

Not so much a revue, more an extravaganza: that’s the way supports have come to describe Wallington Operatic’s entertainment each November. These affairs always boast a full company up to the nines, changing costumes for each routine.

The trouble with this show is that, like an over-stuffed pudding, it is too full of good things. It comes complete with a fish and chip supper during the interval and runs to almost three hours.

A bit of judicious trimming in future would leave more time to polish what remains. I’m not suggesting massive cuts, just a tweak at the medleys, and maybe omitting a couple of the monologues/sketches which are slotted in to give the rest of the cast time for their quick change.

This collection has been compiled by Brenda Meakin with the help of Vivenne Vassay, and they have picked lots of best bits from previous successes.

I liked the bevy of brides in Waiting at the Church who hoist up their wedding dresses to launch into a tap routine; the Ovaltinies (who certainly bring back memories for many) with Cheryl Dunne and Jane Martin looking like a couple of truants from St Trinian’s trying to get in on the act; and the X-certificate Andy Pandy sketch with Barbara Windsor reading the story in authentic Watch With Mother voice, Cheryl as Looby Loo and John Nash and Ian Lambert as the randy Andy and Teddy.

The Irving Berlin medley looks a picture in white and This Is The Army Mr Jones with high-kicking dancers in fishnets and battle dress jackets is great fun.

The brief Irish dancing spoof is another good laugh and Laurie Bright and Yvonne Mount make regular (rather too regular) appearances as the amusing gossipy char ladies.

Laurie, Cheryl and Brenda also make wonderfully tarty barmaids while Laurie heralds the festive finale with her witty monologue about the chaos of Christmas.

This good-looking show has the Victorian Christmas card look for its last sequence and a whole bunch of favourite songs to send you home smiling.

NODA

It was an excellent idea to look back on yourselves to recreate the best from past shows, for this one. There was, however, nothing musty about the programme – it came out with today’s sparkle.

With so many good things to chose from, it is not surprising that ‘what to leave out’ was a problem, but I do feel that the programme was a little to ambitious, both in content and in running time. Your programme, too, seems to have had its own glitches being difficult to read with the printing smudged, and even the word programme Americanised to program.

The number of items also proved a problem for those hectic back-stage quick changes and a considerable number of costumes were not shown at their best on Monday night. Hems were sagging gaps and quite a lot of underwear showed and some costumes had been donned in such a hurry that their linings were all rucked up. The night I came was, I know, your first night, but you will have had the technical and dress rehearsals to sort out such problems.

These comments, however, in no way reflect upon the costumes themselves. They were colourful, well co-ordinated and, in some cases, quite spectacular.

Spectacular, too, is the right work for the opening number. The theme from Sunday Night at the London Palladium set just the right tone for the glitz to come, and those ‘living’ flames added excitement.

As soon as The New Foxtrot Serenaders struck up their overture, it was clear that the music for the whole evening was in good hands – what a great bunch of musicians they are, both as accompanist and in their own right.

Cheryl made the most of her moves in the New Fangled Tango, Cathie’s lovely pure voice was not quite the right choice for the sexy Monroe number and Barnara’s May to December, unusually sung by a lady, came over really well. I have never seen so many brides a’tapping – everyone really looked the part and it was quite a surprise when the routine started, as were the red garters for the unkind note!

The Roger and hart Medley gave a good opportunity for many of WODS good vocalists to really get their teeth into some wonderful songs – Celena’s Where or When was particularly poignant. A wonderful flurry of costumes got the rock ’n roll of to a swinging start. Good to see that Shadows walk again here. The London Medley, with pearl buttons by the core was well composed, moved and sung. Why didn’t you close the first half with it?

After a delicious supper (thank you so much), it was off to the Islands and a mixture of comedy and song. Mad Dogs and Englishmen was particularly well performed.

Liz and Cathie’s version of I Know Him So Well was charming and Fascinating Rhythm made tap dancers of you all and looked great.

The costumes for Broadway Medley looked fabulous and Jane M’s Broadway Baby stole that particular section. The furs for Take Back Your Mink caused quite a stir and the whole number was great fun, as were The Ovaltinies – freckles and all.

The Irving Berlin Medley, all decked out in white and silver, might have been improved by more duets/quartets and a little less of full company numbers, but the ‘argument’ in You’re Just In Love came over very tunefully.

There are some really good comedy interludes. I really liked the Lighthouse, and Andy Pandy was very good indeed. Laurie’s monologues were certainly up to her usual high standard. Those charladies had some amusing comments but I think we saw them a little too often (although I know they provided ‘changing time’.

The Christmas Finale, complete with tree, was beautifully staged and very festive.

Vivienne Vassay’s choreography brought light and air into the show, and I applaud Brenda Meakin’s direction of such a huge undertaking.