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" The singing was of a high standard and the balance between orchestra and cast was good. Choreography was very strong indeed and I loved the tableau at the end of Seventy Six Trombones, which used the whole width of the stage. Ambitious it may have been but it was certainly successful and enjoyable."
Reviewer- Stewart Adkins Director: Betty Moore
Choreographer: Helene Moore Cast Travelling Salesmen: George Hughes, William Beard, Maurice Steddon, James Kemble & Dan Phimister Charlie Cowell: Brian Lovell Conductor: Peter May Prof. Harold Hill: Allen Clark Newspaper Readers: Ann Horemans & Emma Ware Mayor George Shinn: Maurice Cole The Quartet - Ewart Dunlop: Brian Lovell Oliver Hix: Richard Pennicard Jacey Squires: Peter Spencer Charles Olin Britt: James Kemble Marcellus Washburn: Miguel Martines de Aguino Tommy Djilas: Michael Johnson Marian Paroo: Lynne Johnson Mrs. Paroo: Meryl Spinks Amaryllis: Sophie Gibson Winthrop Paroo: Sam Dexter & Alec Stevens Eulalie Mackecknie Shinn: Carole Cooney Zaneeta Shinn: Kerry Elliott Gracie Shinn: Rebecca Craythorne Alma Hix: Liz Gibson Maud Dunlop: Jill Sowerbutts Ethel Toffelmier: Jacqui de la Salle Mrs Squires: Hilary Weal Constable Locke: George Hughes River City Townspeople: Sue Elliott, Mandy Dexter, Angie Saville, Jean Burrows, Judy Cairns, Gladys Moseley, Chris Hill & Margaret Tasker Dancers: Pam Sutton, Anne Horemans, Nicola Friggens, Emma Ware, Vicki Phimister, Helen Johnson, Louise Mcdermott & Andrew Fox Orchestra Piano: Dorothy Taylor Violins: Helen Ryan & John Hawkins Clarinet/Sax: Alix Oddy Flute/Piccolo: Ann Skinner Trumpet: Nick Quarrell Trombone: Amy Lincoln Double Bass: Rob Veal Percussion: Lyndsay Hollingsworth |
Behing the Scenes
Rehearsals Pianist: Pat Thornton & Dorothy Taylor
Stage Manager: Nigel Bowdidge
Stage Assistants: Sue Burridge, Ian Burridge, Chris Denly & Fred Nichols
Prompt : Ros Langston
Lighting & Sound: Steve Bearpark
Scenery: Paul Lazell
Publicity: Jill Sowerbutts
Props: Rebecca Beard • Thanks to “East Coast Wind & String” for loan of Prop Instruments
Costumes: Shirley Harris, Betty Moore, Helen Moore & Costume Cool
Make up: Lynne Johnson
Front of House Managers: Norma Quartman & Lilian Hunter
Front of House: Members & Friends of IMOG
Tickets: Dizzy Morgan
Box Office: Avrohurst Ltd, 53 High St, Ingatestone
Poster Design: Nicola Friggens
Programme Design: Nicola Friggens
Programme Printing: Simon Fox
Rehearsals Pianist: Pat Thornton & Dorothy Taylor
Stage Manager: Nigel Bowdidge
Stage Assistants: Sue Burridge, Ian Burridge, Chris Denly & Fred Nichols
Prompt : Ros Langston
Lighting & Sound: Steve Bearpark
Scenery: Paul Lazell
Publicity: Jill Sowerbutts
Props: Rebecca Beard • Thanks to “East Coast Wind & String” for loan of Prop Instruments
Costumes: Shirley Harris, Betty Moore, Helen Moore & Costume Cool
Make up: Lynne Johnson
Front of House Managers: Norma Quartman & Lilian Hunter
Front of House: Members & Friends of IMOG
Tickets: Dizzy Morgan
Box Office: Avrohurst Ltd, 53 High St, Ingatestone
Poster Design: Nicola Friggens
Programme Design: Nicola Friggens
Programme Printing: Simon Fox
**REVIEW OF ‘THE MUSIC MAN’ BY STEWART ADKINS (NODA)
Tuesday, May 06, 2008
The Music Man, Ingatestone Musical & Operetta Group, October 23, 2008,
Director and MD – Betty Moore
The Music Man is an ambitious show for any society, requiring multiple scene and set changes, close harmony singing, extended choreography during Seventy Six Trombones, the Library scene and Shipoopi, as well as the movement of various discrete groups of individuals at the same time (eg Eulalie and Ladies, Quartet, Teenagers plus Principals).
IMOG was able to achieve this despite having only one tab track at the front and limited stage space. Furthermore, Betty Moore combined the roles of both artistic and musical director, although she had valuable help with choreography from daughter Helen Moore.
There were some compromises and the most obvious was the Piano Lesson, conducted against an outdoor front cloth which was incongruous, but apart from that this production worked very well.
The proportion of young people was high so that dancers and teenagers were all the right age. The large number of named parts also allowed some to be played by younger members.
Singing was of a high standard and the balance between orchestra and cast was good. Choreography was very strong indeed and I loved the tableau at the end of Seventy Six Trombones, which used the whole width of the stage.
Ambitious it may have been but it was certainly successful and enjoyable.
Reviewer- Stewart Adkins
Tuesday, May 06, 2008
The Music Man, Ingatestone Musical & Operetta Group, October 23, 2008,
Director and MD – Betty Moore
The Music Man is an ambitious show for any society, requiring multiple scene and set changes, close harmony singing, extended choreography during Seventy Six Trombones, the Library scene and Shipoopi, as well as the movement of various discrete groups of individuals at the same time (eg Eulalie and Ladies, Quartet, Teenagers plus Principals).
IMOG was able to achieve this despite having only one tab track at the front and limited stage space. Furthermore, Betty Moore combined the roles of both artistic and musical director, although she had valuable help with choreography from daughter Helen Moore.
There were some compromises and the most obvious was the Piano Lesson, conducted against an outdoor front cloth which was incongruous, but apart from that this production worked very well.
The proportion of young people was high so that dancers and teenagers were all the right age. The large number of named parts also allowed some to be played by younger members.
Singing was of a high standard and the balance between orchestra and cast was good. Choreography was very strong indeed and I loved the tableau at the end of Seventy Six Trombones, which used the whole width of the stage.
Ambitious it may have been but it was certainly successful and enjoyable.
Reviewer- Stewart Adkins
