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"....congratulations on a splendid evening’s entertainment which I could see, by looking about me, was enjoyed by not only myself and my guest, but by the whole audience." Nicholas Clough (Arts Critic)
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CAST
ORCHESTRA
Piano: Ali Ribchester Reeds: Terry Steel Flute: Rob Downing Cello: Becky Cox Bass: Rob Veale Percussion: Steve Robinson BEHIND THE SCENES Director: James Sinclair Musical Director: Ali Ribchester Choreographer: Pam Sutton Rehearsals Pianist: Ali Ribchester & Dorothy Taylor Stage Manager: Nigel Bowdidge Stage Assistants: Rebecca Beard Lighting & Sound: Steve Bearpark Publicity: Jill Sowerbutts & Nicola Friggens Costumes: IMOG Cast & Betty Moore Make up: Aden Clark Front of House Managers: Lilian Hunter & Dizzy Morgan Front of House: Members & Friends of IMOG Tickets: Dizzy Morgan Box Office: Avrohurst Ltd, 53 High St, Ingatestone Poster & Programme Design: Nicola Friggens Programme Printing: Simon Fox |
**Read a review of ‘A Grand Night for Singing, Ingatestone Musical and Operetta Group’
by Nicholas Clough (2 April 2009)
The curtain opened on this Rogers and Hammerstein concert to a company who had dressed themselves in a colourful and casual manner. This was consistent with the style of numbers performed although when the curtain opened on the second act, portraying the same, I was a little disappointed.
However, almost immediately, there was a change of backcloth and a more formal costuming of the cast. This seemed to lift the show and the performers, and the transition complimented the style of music. Soloists and chorus alike seemed to be more comfortable and because of this the momentum was excellently maintained right up to the final curtain.
There were, in the programme, thirty musical numbers, so it would be impossible to mention them in detail. However, backed by a well balanced and sympathetic orchestra, the company moved around the stage with good discipline aided by some excellent choreography and production. The continuity between numbers was alsowell conceived.
My personal favourites of the evening were “The gentleman is a dope” which was delivered with aplomb in a “parlando” style, and “Something wonderful” from The King and I which was extremely moving.
Very few shows are perfect and there is just one little gripe I have with the sound system. The mikes were out balance on occasions, especially the one backstage left.
Overall, congratulations on a splendid evening’s entertainment which I could see, by looking about me, was enjoyed by not only myself and my guest, but by the whole audience.
Nicholas Clough
by Nicholas Clough (2 April 2009)
The curtain opened on this Rogers and Hammerstein concert to a company who had dressed themselves in a colourful and casual manner. This was consistent with the style of numbers performed although when the curtain opened on the second act, portraying the same, I was a little disappointed.
However, almost immediately, there was a change of backcloth and a more formal costuming of the cast. This seemed to lift the show and the performers, and the transition complimented the style of music. Soloists and chorus alike seemed to be more comfortable and because of this the momentum was excellently maintained right up to the final curtain.
There were, in the programme, thirty musical numbers, so it would be impossible to mention them in detail. However, backed by a well balanced and sympathetic orchestra, the company moved around the stage with good discipline aided by some excellent choreography and production. The continuity between numbers was alsowell conceived.
My personal favourites of the evening were “The gentleman is a dope” which was delivered with aplomb in a “parlando” style, and “Something wonderful” from The King and I which was extremely moving.
Very few shows are perfect and there is just one little gripe I have with the sound system. The mikes were out balance on occasions, especially the one backstage left.
Overall, congratulations on a splendid evening’s entertainment which I could see, by looking about me, was enjoyed by not only myself and my guest, but by the whole audience.
Nicholas Clough
