Download Review - Centre Stage

ROSE BOWL ADJUDICATION
NAME OF COMPANY:
CENTRE STAGE, EXMOUTH
NAME OF PRODUCTION:
‘BARNUM’
VENUE:
The Pavilion Theatre, Exmouth
DATE:
Saturday, 29th April 2017
ADJUDICATOR:
Gerry Parker
It is ironic that Phineas T Barnum, the epitome of American showmanship and ‘flim flam,’
was originally played on Broadway and in London by English actors, Jim Dale and Michael
Crawford. They brought about a whole new concept of this legendary ‘con man, hoaxer’ of
a showman who it is alleged coined the phrase, “There is a sucker born every minute”.
Rather like one or two other famous saying that were never said, the best known being
Ingrid Bergman’s, “Play it again, Sam” line in Casablanca which is never said in the film, it is
more probable that banker David Hannum said the ‘Sucker’ line, referring to one of
Barnum’s many famous hoaxes.
Before Messrs Dale and Crawford gave their more realistic portrayals of Phineas Taylor
Barnum, the character was associated very closely with the big boisterous performances of
actor Wallace Beery. One thing is certain if Beery had been around when this musical
version of Barnum’s life first hit the stage despite having worked, principally with large
animals in the Ringling Brothers’ Circus as a young man, he was too heavy and ponderous to
have performed the juggling and tight rope walking skills that the two British actors brought
to the role. They and many other professional and amateur player who have followed them
into the role of Barnum spent many hours mastering circus skills. Crawford, whom I saw
play the part in the London Palladium, had perfected his Tight Rope walking, Tumbling and
Juggling skills to a very high standard. Bristol Light Opera Club enlisted the help of the
tutors at the Circomedia centre for circus skills and physical theatre before their production
of Barnum in 1997. They and other companies in the same area had the good fortune to
have these highly trained professional performers on their doorstep.
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With that in mind I searched eagerly through your programme to see what, if any help your
Director, Choreographer and Cast had at their disposal before and during rehearsals. My
front of house contact informed me that indeed this company had spent many hours
acquiring the circus skills so important to the successful presentation of this musical and,
judging from the finished article placed before the public, I would say that those hours of
effort paid off handsomely. In number after number, both as individuals and as an
ensemble, the pictorial presentation was enhanced tremendously by the circus skills
exhibited by those on stage. Obviously, the Director/Choreographer must be awarded a
great deal of praise for the way in which she incorporated these added skills into the visual
presentation of the show and the work in the theatre prior to ‘curtain up’, just as she would
have had to accept the blame had her ideas failed to gel.
Whilst on the subject of visual presentation, we must put the work of the Lighting Designer
under the spotlight. The idea to incorporate the auditorium into the set as a ‘Big Top’ was a
sound one, helped no end by the lighting arrangements in the hall. On stage, with scenes
having to blend seamlessly from one to another, aided by a minimum of stage dressing, the
lighting plot took on an added importance. In presentation there was little to criticise about
the way in which the changing lighting effects were presented, and as we inspect individual
performances were can look more closely at places where they were particularly effective.
As with the stage settings, which like the lighting, were invariably well presented, it would
be overpraising the work of the lighting team to say that every setting enhanced the
pictures it was illustrating. In the main however, as in the sparkling endings to Acts 1 and 2,
the lighting along with the costumes, choreography, and support from the Orchestra, all
combined to lift performers and audience onto a high wave of enthusiasm.
Having mentioned costumes in that last paragraph, this is a good place to praise the quality
of the clothes on view. Some lovely contrasts appeared, Chairy in elegant, understated
colours compared with the striking white worn by Jenny Lind. A query about Barnham’s
tendency too often to appear in shirt sleeves, even on what appeared to be rather more
formal occasions. I know he is a man who likes to roll up his sleeves and get down to work,
but he is also a businessman and knows the value of making an impression on those he is
dealing with. I also think Chairy would have had a word or three with him for arriving at the
restaurant in shirt sleeves!
It is always a gamble to place your musicians on stage as they can so easily be intrusive. This
‘Circus band’ were never that, when they were clearly seen they were an integral part of the
action. When two of them came off stage, one being that magnificent Euphonium, they
fairly stole the scene in which they were involved. When in situ they looked good and
provided the sort of support that singers love - not overpowering, but helping them to feel
like a ballerina whose partner lifts her in a manner that gives her complete confidence in her
every move.
In these days when all Principal singers and the Orchestra have personal ‘mic’s,’ the
question of balance is solely in the hands of the Sound Team. As anticipated, only the
rarest and slightest of blimps in the balance, any criticism in this area will be aimed at those
players who forgot that, personal ‘mic’ or not, without good diction words become blurred
and difficult to understand.
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A golden thread of enthusiasm and drive, something which Phineas Taylor Barnham had
throughout his life (with the exception of the period when he was ‘humbugged’ by
professional politicians) ran right through the heart of this production. This, combined with
fully committed ebullient playing by the company, lifted the audience onto a wave of fun
and entertainment from start to finish.
Individual Performances
Phineas Taylor Barnham: I mentioned diction when talking about the balance between
singers and musicians, and the subject raises its ugly head at the start of what I am glad to
say evolved into a fine performance. The verse of, ‘There is A Sucker Born Ev’ry Minute’
which contains some important words about the philosophy of this gentleman, was not easy
to follow, particularly when you remember that this was the first time we had heard your
voice, and therefore were not attuned to its sound.
Once that early hic-cup was over you settled down into creating a very acceptable P T
Barnum. You probably could have pushed the brash showman side of the character a trifle
more in those opening sequences which would have made the change to a gentler character
for, ‘The Colors of My Life’ an even bigger contrast. (There was a lovely, subtle change of
lighting, perfectly delivered in the period leading up to this number, as colours were drained
out of the visual picture).
In contrast to that earlier effort with the verse of ‘There is A Sucker Born Ev’ry Minute’, you
rattled off the complex lyrics of the ‘Museum Song’ with clarity and speed. The romantic
duet, song and dance with Chairy, ‘I Like Your Style’ provided another nice change of pace as
it helped to cement the partnership between you and the lady. As someone who would
have difficulty in walking a straight line even when stone cold sober, you have all my
admiration for completing that ‘Tight Rope’ walk successfully. It proved to be a good lead
up to that colourfully staged first act closer. In the same exuberant form, you led the still
‘on fire’ company, aided no end by the gentleman in the auditorium with his Euphonium,
through the excitingly staged, ‘Come Follow the Band’. Once again with the Lighting Team
having reinstated the hall lights to give us the impression that we were sitting in the ‘Big
Top,’ the audience felt very much a part of this number.
The change of pace as you attempted to embrace politics, only to find yourself ‘humbugged’
by these wily gentlemen, was nicely marked. A lovely reprise of ‘The Colours of My Life,’ in
some ways even better than the first time around, rounded off this sequence. It also proved
to be an ideal spring board for the rousing final sequence in which you played your part to
the full.
Chairy Barnum: In a show where big and boisterous is the way to go, this performance
was a beautiful oasis of calm and dignity. From the outset, Chairy presented great strength
of character in everything she did and said. From her first meeting with Phineas you knew
that this was the ideal partner for this flamboyant ‘King of flim flam’. For this reason, I
would have liked Phineas T Barnum to have been rather more of the extrovert in those
opening exchanges.
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The Wardrobe Team aided your cause considerably throughout. A series of elegant,
understated in colour, dresses fitted your personality admirably. A hairstyle bordering on
the severe added to the visual picture, giving you the look of a somewhat staid school
mistress. Just below the surface however you showed us many hints that a warm, loving
and loyal woman was firmly entrenched. This warm loving lady came right to the fore when
you joined Barnum in, ‘The Colours of My Life’. Almost immediately the practical side of this
excellent portrait of Chairy came clearly into focus as you led the chorus through the
expertly choreographed, ‘One Brick at A Time’.
When Jenny Lind hove into view, perfectly in keeping with the character you gave the
impression that you knew the danger that this posed to your marriage and had the good
sense to know that a full-frontal attack on the lady was not a course calculated to bring a
successful outcome to the problem. The reprise of ‘The Colors of My Life’, sung with
tenderness and deep sincerity, served to underline just how great a loss, and what a void
your death would have left in P T Barnum’s life. This was a beautifully understated portrayal
of a lady full of strength, integrity and true love.
Joice Heth: I suspect that Joice was well aware that she was a fraud, but had been around
long enough to know that a well-paid, well-fed fraud was better than an honest penniless
subject searching for her next meal. I loved the hat and the rest of the clothes designated
for this nursing ‘Mammy’ of George Washington. Who cares if the maths did not make
sense, looking more like 40 than the 161 years old Barnum claimed you to be, you
realistically pounded the keys and belted out ‘Thank God, I’m Old’ in fine style. Just what
the ‘Doctor’ and, I suspect the Director and MD, had ordered.
Tomb Thumb / Edgar Templeton: The change over from small youngster to the fullygrown Tom Thumb was neatly done with those four stilt-walkers giving the impression that
you were very vertically challenged. Given an opportunity to show off your vocal talent you
were not slow in coming forward in ‘Bigger Isn’t Better’. This is always a very difficult scene
to present on stage, and of course one which leaves you with restricted opportunities
throughout the rest of the show. On this occasion, the staging and playing worked very
well, with one exception - that backcloth depicting ‘Jumbo’ the Elephant which, compared
with the ‘Black and White’ cloth we were to see later, was not up to standard.
With a General Election looming in this country we have become used to seeing professional
politicians appearing on television looking to score point off their opponents at the same
time exuding little or no sincerity in the way they present their views. Your Edgar
Templeton fits neatly into that style of man, so it came as no surprise when you and your
partner reneged on your promises to P T Barnum.
Jules Goldschmidt / Sherwood Stratton: Managers of celebrities are rarely likeable
personalities. Things haven’t changed much over the years, ask any Premier League
Football Manager about his dealings with players’ managers - or agents, as they like to be
called. In your top hat and frock coat you looked the part as Jules Goldschmidt, someone
out to impress and searching for a deal that would enhance his own finances as well as
those of his client.
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The role of Sherwood Stratton gave you perhaps even fewer opportunities to create a
definite character, but there was enough on hand for you to make sure that this gentleman,
seeking to benefit the future of his vertically challenged son, left the impression of a good
man. Obviously in a hardworking company you contributed more than these cameos to
proceedings, but regardless of how much those efforts contributed to the overall welfare of
the production, both of these cameos fitted the bill nicely enough in their own right.
Jenny Lind: When you think of Jenny Lind’s musical background, the fact that Barnum
was able to entice her into appearing in New York and then extensively on tour under his
flamboyant management was extraordinary. Although the personal side of the relationship
between Barnum and Jenny Lind is fictionalised, her reputation as a singer of international
repute is not and therefore it is essential that whoever plays this role has to be able to sing
‘Love Makes Such Fools Of Us All’ in a style befitting of a singer with that sort of reputation,
and the public name of, ‘The Swedish Nightingale’. Adding some very well presented trills,
and with just the right amount of assistance from the ‘sound’ crew, your vocal delivery
fitted the lady’s reputation extremely well.
The character you created, playing the scene with Barnum in which you feigned a lack of
understanding of the English language that was far less than it actually was with a lovely
light touch, helped considerably to set up the development of their personal relationship.
I have already commented on the way in which the Wardrobe Team underlined the
difference in personality and style between you and Chairy Barnum. Dressed in silver and
white, there was an aloofness to your Jenny that contrasted with the warmth of Chairy in
her subdued colours. Despite this cool aloof exterior, you still managed to show hints of the
more passionate woman lurking below the surface who posed a threat to the happiness of
Chairy Barnum.
Blues Singer: When you consider that Phineas T Barnum died in 1891 and the first
recorded sale of sheet music containing ‘Blues’ melodies was in1908, although admittedly
Blues singing has its roots earlier In the second half of the nineteenth century, it seems
improbable that Phineas and Chairy would have been that familiar with the musical genre,
and even if they were, would it have had a large enough public following to warrant such
music being included in ‘The Greatest Show on Earth’?
Having ‘put up all those hares’ against the inclusion of a Blues Singer and a number like
‘Black and White’, may I say how glad I was that the authors of this show saw fit to do so.
It would appear that those responsible for this production, Director, Choreographer, MD
and Lighting Designer, were of a similar mind because they all leapt on the bandwagon to
present a terrific number. Starting with an excellent back cloth and costumes, which the
Lighting Team illuminated with panache, the soloists and Ensemble were moved in a
manner that enhanced the strong blues rhythms and they, headed with tremendous verve
by ‘The Blues Singer,’ responded in the same totally committed style. This ‘one off’ number
held its own with the bigger more boisterous company numbers that so marked the musical
side of this wholehearted production.
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James A Bailey / Amos Scudder: Two good variations on a theme. Both have ideas on
how to engage with the public without the flair to be able to push those ideas through to
the public at large. That being said, you did not send out the same two characters in
difference physical guises, you created two separate men whose dealings with the great
showman were on very different levels. Scudder would always have been a junior partner,
but Bailey, although slightly different, showed distinct signs of being worthy to have his
name alongside Barnum’s, advertising Barnum and Bailey’s ‘Greatest Shown on Earth’.
Ringmaster: The Ringmaster is, as far as the general public is concerned, a very important
personage in the world of Circus, and therefore I felt that in some ways the authors of this
show were a little mean in the way in which they brought The Ringmaster in and out of the
action. When required to take centre stage you did so with great aplomb, then just as I was
expecting you to become one of the major figures on view, the author demoted you to a
supporting level. Not fazed by such treatment you happily turned on the charm and again
played the ‘big’ man when given a further opportunity, and slipped quietly into the
background when not required ‘on voyage’. This can be described as a ‘good team man,’
providing invaluable work in every scene in which he was involved.
Chester Lyman: Hardly a role where you could expect to set the theatrical world on fire,
one however which if badly played could upset the balance of a tricky early scene which was
important in the depiction of Barnum’s early life. No one appeared unhappy with your
performance on stage and it must be deemed to have struck an ideal note, aiding and
abetting all concerned in the scenes in which you participated.
Mrs Sherwood Stratton: Forming a nice double act with your husband this lady, drawn
with a few broad brushstrokes, was just the sort you would expect to react lovingly towards
a son who would face a difficult life. This was what was required and, as asked, you
delivered the package neatly tied and in perfect order.
Wilton: In film studios and, I presume the same applies to TV studios, there was always
someone who inherited the title of ‘Gofer’. The name telling all in that they were called
upon by those above them to ‘go for this and go for that’, which they did quickly without
any argument. Such a person usually put up with such a mundane job because they hoped
it might lead to something better or simply because they would do anything to be part of
the world of Show Business. Your Wilton gave the impression that, although besotted with
the world of entertainment, he was also very loyal to PT Barnum and this added extra to the
character, lifting the portrayal above the level of a few lines just thrown in to link passages.
This Wilton was a nice, not unintelligent man.
Humbert Morrissey: There is a certain inbuilt pomposity about the name Humbert
Morrissey that would have put me on my guard the moment I met him. Obviously this same
thought did not cross Barnum’s mind as you and your partner made use of him to help set
up your party in upcoming elections. You managed to put a veneer of sly untrustworthiness
upon your Humbert that suited the role admirable, before dropping him like a hot brick. (I
only hope you enjoyed playing him more than those allocated the role on Broadway in 1980,
that year no less than four different actors played Humbert Morrissey).
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First and Second Women: Window dressing, yes, but very attractive window dressing
that enhanced the visual and dramatic parts of the Women’s Emporium scene. Many
groups can only find people to walk through such parts without any real thought as to what
they are doing. This one was lucky enough to find two ladies who wanted to be part of the
scene rather than just filling a space.
Ensemble: Although I have placed all the other contributors together under this heading,
in no way do I wish to undervalue their contribution to the production. Sometimes it would
be just a few performers, sometimes a full stage, sometimes the main thrust of their effort
was vocal, at other times bright colourful movement. None of those descriptions includes
the circus skills shown by all in sundry, some very simple and others with a complexity to be
much admired. Most importantly, this was a company that was full of life, yet at the same
time never ill-disciplined, making the stage look overcrowded or untidy in any way.
I am not going to say that every routine or vocal was perfect, or that there were times when
something a little more complex in movement or singing would not have been appreciated,
but what was attempted was invariably well done, and as such hugely enjoyable. Only the
most curmudgeonly of people would have left that auditorium without a smile on their
faces and a warm feeling inside them.
Thank you for your help, prior to ‘curtain up’, information about the background to the
production and that very much appreciated interval coffee. Gerry Parker
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