Because the original story was named ‘a Carol’, Dickens preferred to think of the book’s five chapters as being musical ‘Staves’. The first run of the book, bound in Moroccan leather, was sold for $45 a copy (today’s prices). Six thousand copies sold in a few weeks, however, even after seventh editions, Dickens made very little money from the book, being ripped off by a real-life Scrooge on the way. This had also happened to him earlier with ‘Martin Chuzzlewit’.

This lively and hilarious pantomime is two-and-a-quarter hours of guaranteed merriment. The show is being presented by The Darlington Theatre Players at the Marloo Theatre, Marloo Road, Greenmount every Wednesday, Friday and Saturday evening at 7.30 until Saturday 10^th December. There are Sunday matinées at 2.00 pm.

The main set is the office of Scrooge’s Chocolate Factory, with shelves of books and pictures of the many lollies made there. Other vivid scenes include Jan Butty’s kitchen, a graveyard, and of course Scrooge’s meagre bedroom. The colourful sets were designed by George Boyd, and the numerous props provided by Lesley Sutton.

The full sized – 3-metre – flats and furnishings for each scene were changed silently and speedily under the supervision of Stage Manager Rob Warner, aided by his assistants David Bain and Belinda Beatty. The backstage ‘muscle’ was Guy Jackson, Adrian Ashman and Luke Miller.

       Author, Charles Dickens (Allan Lai) takes us into the office of a Chocolate Factory and points out the miserly owner, Ebenezer Scrooge (Richard Hadler). Since Ebenezer’s partner, the friendly and well-loved Jacob Marley (Timothy Presant) had died several years earlier, the work conditions at the factory have been getting increasingly miserable. The factory shop steward, Bob Cratchit (Peter White) has been paid minimal wages for decades by Scrooge. Cratchit lives in one of Scrooge’s crumbling houses with his dear wife, Mrs Cratchit (Sarah White) and their daughters, Susan (Molly O’Hehir) and Katy (Sophie David). They also have a weak and disabled son, Tiny Tim (Joshua White).

      Scrooge announces to his staff (Marjorie De Caux, Katherine Leevers, Shelly Miller) that they must come into work as normal on Christmas Day. The factory cook, Jan Butty (Jacqui Warner – fabulous) and her two useless, but hilarious assistants, Dough (Rachel Vonk) and Nut (Suzy June Wakeling) decide to cheer up their boss by baking him a cake.

      Just as he is about to go home, Bob answers the office door to two charity workers, Shirley (Jacqui Ashman) and Marjory (Lee Thompson), who are asking for donations for the poor. As they leave, Scrooge’s nephew, Fred (Blake Prosser) and his girlfriend, Elizabeth (Simone Willis) call around to invite Scrooge to their home for Christmas dinner – the reply is naturally ‘bah humbug’.

      On Christmas Eve, as the clock is striking midnight, Scrooge climbs into bed. Soon he is asleep. In his dreams, he meets the Ghost of Christmas Past (Ray Egan), who shows him the happiness that once surrounded him as a child. He sees his school friend, Jacob Marley (Caitlyn Moloney) trying to encourage young Ebenezer (Timothy Zuiddam) to enjoy himself. Then, years later as a young man, Scrooge (Guy Jackson) is seen spending his Christmas doing bookwork and trying to make more money. Even a visit from his childhood sweetheart, Belle (Natasha Smith, under-studied by Katherine Leevers) fails to make him happy.

       In a creepy sequence, Scrooge sees the people that he has treated badly, led by Head Spook (Tim Ward) and his Spook team (Jana Gardner, Lilly Miller, Niamh O’Herir, Sam White, Sarah Zuiddam) rising from their graves and dancing before him. (The first few seconds of this scene may disturb very young children, who have not experienced Halloween fun).

       The nightmare continues as the Spirit of Christmas Present (Suzanna Matla) appears in a beautiful white fur coat; she shows Scrooge the sadness and poverty of the Cratchit’s home. The Spirit of Christmas Future (Luke Miller) then arrives and demonstrates to Scrooge what a difference he could make to his workers’ lives.

       Scrooge goes into the street where he meets a paperboy (Jacob Clayton – very good) and asks him to buy a giant turkey from Mr Brisket, the butcher (Adrian Ashman), and then take it to the Cratchit household.

      Could life be changing for this wretched old miser?

 Choreographer, Rachel Vonk has done a wonderful job with such a large and young cast. With guidance of the experienced directors, Amanda Minutillo and Sallie Ketteringham, Rachel has mingled some of the performers amongst the audience, encouraging punter involvement. Well-rehearsed dancing and singing, accompanied by the catchy, perfectly balanced, pre-recorded tracks from Tony Perry, made specially to the directors’ requirements.

Richard Hadler was brilliant as Scrooge, insulting the audience and drawing plenty of boos and hisses banter throughout.

As Fezziwig, Luke Miller gave an energetic dance performance in the Gangnam style sequence. Little Lilly Miller, whilst very young, was faultless.

The singer of the evening was Tiny Tim (Joshua White), who must be congratulated on his beautiful rendition of ‘Where is Love?’ from ‘Oliver’, which he sang – unaccompanied – with great emotion and perfectly in tune. The sound designer for this fast moving complex show was Tony Perry, with Greg Rusha operating the desk. Great lighting from designer Mike Smale.

There must have been around a eighty costumes for this colourful show, but costume designers, Marjorie De Caux and Shelly Miller, along with their seamstresses gave us a real visual treat.

This really is a show for ALL of the family. Great songs, colour, jokes, slapstick and dancing, what more could one ask for? Another Marloo triumph.

John, who has been a jazz pianist for 50 years, named his play after Spencer Williams’ 1926 Dixieland song, ‘Basin Street Blues’, made famous two years later by Louis Armstrong.

In 1897, New Orleans turned its Storyville Street into an area for illegal, but accepted, prostitution. Being near the French Quarter, it became known as Rue Bassin (Basin Street), due to the land shape enclosed by the peripheral, surrounding canal.

The Darlington Theatre Players present this two hour, lively musical spectacular at the Marloo Theatre, 20 Marloo Road, Greenmount. Performances start at 8.00 pm every Wednesday, Friday, and Saturday until the 8^th August. There are Sunday matinees at 2.00 pm.

The set was another ‘George Boyd special’ – does this man ever sleep? The effect was dazzling. It was the interior of a brothel, ‘The Rising Sun’, in New Orleans in 1917. The walls are dark burgundy, and a carpeted staircase on the right, went up to the working girls’ bedrooms. The band is situated in view at the back of the stage.

With George’s sets, when the curtains open, it is the little finishing details that make the audience gasp; such as the stair newell posts have carved lions on the top, the stained glass sunrise above the main door, nothing is too much effort. The gas lamps and other wonderful props (Lesley Sutton, Liz Rusha) gave the final touch of quality.

The lighting design (Mike Hart) was magnificent, truly a professional standard. David Bain and Mike Smale’s operation was sensitive and perfectly timed e.g. the lighting of the lamps really looked as though the gas mantles were warming up. The sound design for the street scene was at a perfect level, and gave excellent atmosphere (designer Greg Rusha, operated by Greg and Leighton Hughes).

       The stage is in darkness, a shadowy figure can be seen descending the stairs with a lit wax taper in her hand, it is Pearl (Kylie Isaia); one of the bordello’s most experienced working girls. No sooner had she unlocked the main door, than her so-called boyfriend, a bullying pimp, Frank (Pearce Patrick-McGrogan) burst in demanding his cut of Pearl’s earning. His cut being most of what she had. The Madame of the house, Lottie (Amanda Minutillo) seemed to have little sympathy; but the reliable bouncer, Wash (Richard Mananga) soon threw ‘The Dude’ out. It was easy to see that Tony (Toby Millar), the piano player felt deeply for Pearl.

       A lusty customer (Robert Beaton) tried to catch the eye of young Rita (Caitlyn Hughes), but even the impecunious old man (David Zuiddam) across the room seemed to being having more success with the girls.

      When a highly intelligent and attractive virgin, 16 yr-old Josie (Sarah Jackson) arrives, Lottie asks her to take over. Not even wealthy rail worker, Gus (Dowal Hall) who comes in for his weekly constitution, could he get pure Josie. Thankfully, he seems happy with the sassy Lulu (Rachel Vonk – wild) instead. On the other hand, when the Mayor (Iain Martin – great ukulele solo) arrives for some light entertainment – watching the slinky, sexy dancing girls (Jessie Ou Yang, Jordan Tabb) will Josie succumb? Or could it be the wealthy French businessman, Auguste (Paul Reed) and his sexually inexperienced son, Henri (Radomir Kobryn-Colleti) who wins her body?

 

The director, Aarne Neeme, has had a lifetime in the theatre. He has been in a senior position at the Octagon, Playhouse, Hole-in-the-Wall and even been Head of Acting at WAAPA, so it is little wonder that he was recently awarded the Order of Australia. Here, Aarne is assisted by Lee Thompson, the pair giving us a truly lively and uplifting show. The cast were coordinated and retained their powerful deliveries throughout this energy-filled show. Most of the songs were instantly recognisable, and pleasantly performed.

Choreographer Premala D. Sangarananda has learnt her art in several countries, and as a result demands the very best from her dancers. They waltzed, skipped, seductively tempted the audience, leapt, high kicked – those poor girls really had to work, but they smiled for every second and were magnificent, congrats to the whole team. The costumes (Marjorie DeCaux, Rachel Vonk) were delightful, from the simple cotton chemises and long frilly drawers, to The Madame’s glittering designer gown. Topped off with their crowning glories, hairstyles and makeup by Nicole Jelly.

Jazz tends to be one of these musical genres that people can take or leave. Mention jazz and folk will think of discordant, cacophonous music, with everyone in the band playing a different refrain, whilst you try to spot the tune. This band, under the musical direction of Iain Martin and John Beaton, gave the audience many enjoyable melodies, most with a light, sleazy, Dixie / Ragtime jazz foundation.

The highly experienced band comprised, on brass, Rob Anderson (trumpet) and Steven Martin (trombone) giving the authentic rasping depth of the blues. Stuart Campbell (saxophone) and Wayne Griffiths (clarinet) joined them on woodwind, then there was John Lee (banjo), John Perry (bass) and Richard Pooley (drums).

With an old upright piano centre stage, being ‘played’ by ‘Tony’; Radomir Kobryn-Colleti was actually playing another keyboard hidden behind the piano. A very convincing ‘duet’.

The final number ‘House of the Rising Sun’ was sung beautifully by ‘Pearl’, delivered from the heart and doubtlessly caused a few audience tears as it reflected on this prostitute’s life story.

This review refers to the opening night performance, a packed house. Not surprisingly, I understand that almost the whole season of this very different play, has already been sold out, so be quick or miss out. A very well thought out and presented musical. Top-quality.