National Operatic and Dramatic Association (NODA) Awards 2013

Centenary were over the moon to have yet again received nominations for our shows and plays performed in 2012.

The nominees ............................

Best supporting actress in a drama         Patsy Roberts 'Irene' Talking Heads
Best Choreography                              Julie Parry 'The Producers'

National Operatic and Dramatic Association (NODA) Awards 2012

Centenary were over the moon to have yet again received five nominations for our shows and plays performed in 2011. 

The nominees ............................

Best Actor in a Musical                    Dan Grimes 'Tevye' Fiddler on the Roof
Best Supporting Actor in a Musical   Matt Orrillard 'Perchik' as above
Best Supporting Actress in a Drama Jane Rigby ' Gwendolyn' The Importance
                                                                        of being Earnest'
Best Artistic Direction of a Musical    Richard Broadbent Fiddler on the Roof
Best Musical                                   Fiddler on the Roof

We are delighted to announce that Jane Rigby scooped the win for her fantastic portrayl of Gwendolyn in the Importance of being Earnest, a well deserved win!
Congratulations to all of the nominees, we are incredibly fortunate to have such talented members of Centenary and are proud to be able to bring such talent to our audiences.

National Operatic and Dramatic Association (NODA) Awards 2011
(for productions stage in 2010)

Centenary are delighted to congratulate our resident MD Malcolm Fallows on his win at the NODA awards on Sunday 1st May. He scooped the award for 'Best Musical Director' for Centenary's production of Titanic, beating many hopefuls.

We also congratulate all our nominees who were chosen from hundreds of potential  candidates.

All the nominations this year were:

Best Musical:
Titanic

Best Musical Direction:
Malcolm Fallows - Titanic

Best Leading Female Actor in a Musical:
Jane Rigby - Sally, Follies

Best Supporting Actor in a Play:
Ashley Walsh - Felix, The Odd Couple

Best supporting Female Actor Musical:
Patsy Roberts - Hattie, Follies

National Operatic and Dramatic Association (NODA) Awards 2010
(for productions staged in 2009)

Best Director for a Play:
Alan Thomas for No Sex Please We're British

Best Staging of a Play:
No Sex Please We're British

Best Programme for a Play
Shirley Valentine

Centenary are delighted to announce that Alan Thomas won the award for Best Director or a Play. Mark Murphy gratefully recieved this on behalf of Alan who is sadly no longer with us. We also won the award for Best Programme for a Play for Shirley Valentine, congratulations go to Walter Brown.

National Operatic and Dramatic Association (NODA) Awards 2009
(for productions staged in 2008)

Congratulations to:

Jane Rigby - Best Actress (Drama) for he role as Maggie Hobson in Hobson's Choice

Walter Brown - Best Staging Award as Coordinator of the construction of the set for Hobson's Choice



Centenary also received the award for Best Programme (Drama) for Hobson's Choice. Congratulations to Cathryn Boyd who coordinated the production of this award winning programme.

Congratulations to our other nominees for this year:
Michael Mullan - Best Actor - Scrooge - Scrooge the Musical
Derren Dolphin - Best Supporting Actor - Willie Mossop - Hobson's Choice
Peter Boardman - Best Actor - henry Hobson - Hobson's Choice
Anita Warburton - Best Director  - Hobson's Choice
Centenary Theatre Company - Best Play - Hobson's Choice

National Operatic and Dramatic Association (NODA) Awards 2008
(for productions staged in 2007)

Congratulations to Igrayne McDermott (left) for winning the Best Actress (Drama) award for her quiet portrayal of LV in 'The Rise and Fall of Little Voice'



Centenary also received the award for Best Programme (Drama) for 'Little Voice'. Congratulations to Walter Brown for his production of this award winning programme.

Well done to all the members who were nominated this year, including:
Julia Washer for 'Best Supporting Actress' (Lina Lamont) in Singin In The Rain
Neil Townsend for 'Best Direction' in Singin In The Rain
Walter Brown for 'Best Staging' in The Rise and Fall of Little Voice
Kelly Herridge for 'Best Supporting Actress' (Sadie) in 'The Rise and Fall of Little Voice'

National Operatic and Dramatic Association (NODA) Awards 2007
(for productions staged in 2006)

Centenary was delighted to receive five nominations for awards at the 2007 NODA conference.  Four Centenary members were nominated - and the Society itself received one nomination. The nominees were (from left to right):

National Operatic and Dramatic Association (NODA) Awards 2006
(for productions staged in 2005)

Congratulations to Jane Rigby for winning the Best Actress (Drama) award for her portrayal of Sheila Wendice in 'Dial M For Murder'.

Centenary also received the award for Best Programme (Drama) for 'Dial M For Murder'.  Congratulations to Walter Brown for his production of this winning programme.

L: Jane Rigby
Best Actress in a Drama

R:  Sheila Cummins
Director of
'Dial M For Murder'
 - collecting the award for Best Programme

Centenary had received TEN nominations for the 2006 awards.  For the second year running the Society had received nominations for every production staged during the year.

The nominations were as follows:

National Operatic and Dramatic Association (NODA) Awards 2005
(for productions staged in 2004)

The results were announced on 1st May.  The Society won another NODA award to build on the successes of previous years. 

Congratulations to Marilyn Baxter for winning the Best Actress (Drama) award for her stunning portrayal of a murderess in the thriller 'Ladies In Retirement'.

Centenary was further honoured by receiving the 'Runner-Up' certificate in the programme competition, for the Company's programme for 'Kiss Me, Kate'.

Centenary had received the following nominations for the 2005 awards.   The Society is especially pleased that nominations had been received for EVERY production staged in the year.

National Operatic and Dramatic Association (NODA) Awards 2004
(for productions staged in 2003)

Centenary is delighted to have been nominated in 7 categories for NODA awards this year.  This is a wonderful achievement for the Society. 

Nominees L-R:

Clare Asprey
Sheila Cummins
Mark Murphy
Patsy Roberts
Peter Boardman

“Don’t Dress For Dinner” - a farce staged by the Society in May 2003

 “An Inspector Calls” - play staged by the Society in November 2003

The results were announced on 2nd May.  The Society achieved 2 NODA awards from the above nominations.

And the winners are…..

CODS - Best Staging of a Drama - “An Inspector Calls”
Mark Murphy - Best Actor for Inspector Goole – “An Inspector Calls”

Mark Murphy - Best Actor

Audrey Flint, CODS Vice-Chairman, collecting the Society's award for Best Staging of a Play

NODA publishes reviews of all of Centenary's productions.  Some of the recent reviews are included below.

Calendar Girls
Reviewed by: Michael Jones-McCaw
Director: Mark Murphy

I was thrilled to hear that Centenary were taking on the much cherished Calendar girls – with such a strong female line up of potential principals in wings, I knew it would be a hugely successful production even before it was cast.

What was a pleasure to see, was that at Centenary’s Autumn Musical offering, a Calendar had already been shot (and beautifully done!) and mass produced to sell and encourage ticket sales and raise a heap of money for charity. This is a sign of a well organised, proactive committee and production team and such a delight to see.

So the show? Nothing less than I expected; a talented cast, wonderfully and tastefully directed by Mark Murphy and some great lighting and scenery. A great mix for a great show.

Making her debut in the limelight (surprisingly) Jan Orillard played widowed Annie, giving a strong and sincere performance and essentially, a tight relationship with Chris, played by Dawn Flint. Dawn was so natural and believable, I believed their friendship and I laughed with them and I cried with them. They were a great double act and backed by a superb cast of ladies.

Patsy Roberts as Jessie knows how to steal a scene and oh my did she! Her comic timing is impeccable and it always astounds me how you instantly love her even before she has delivered a line!

I loved Vicki Jacksons portrayal of Celia and that of single mum Cora played by Julie Parry. Ruth was played confidently by Rachael Benfield.

The WI cast all performed with such understanding and sensitivity. I could sense the bond and friendship which I am sure was the essential ingredient to making the girls ‘work’ so well. I could see the journey they had travelled together and the work they had put in. Their performances were brave, they were tasteful and so in tune to the real meaning of the play. The most poignant moment was when the letters from the relatives of cancer patients fell from above – having lost my Mum to Cancer this whole production made me think of how worthwhile it must be to be involved in such a production. It’s so special and even more so when its done so well.

The Producers
Reviewed by: Michael Jones - McCaw
Director: Neil Townsend
Choreographer: Julie Parry
MD Malcolm Fallows

Centenary once again pulled together an outstanding production team and brought Mel Brookes comedy to life. Director Neil Townsend worked his magic on this hilarious exhibition of musical madness.

In the spot light, talented Dan Grimes as Max Bialystock was fantastic. Showcasing his versatility he ploughed through the production holding the whole thing together with impeccable comic timing and perfect pace and energy, at the same time, giving a faultless performance. His partner in crime, Bloom, played by Derren Dolphin gave an equally inspiring performance. It was a delight to watch two leading men with such an impressive amount of talent. Helen Gorry as Ulla was delightful – she acted, sang and danced her way into the part with ease and confidence, never once dropping her accent.
Mark Murphy is no stranger to the stage and played brilliant Roger Debris. Carmen Ghia played by Malcolm Wallace was camper than ‘a row of tents’ steeling almost every scene he was involved in.
Just when I thought the ‘belly laughing’ was done, along came Robert Meinardi as Franz Leibkind. Again with comic timing that was absolutely bang on and a stunning voice with the thickest German accent yet the clearest diction was very impressive.
I loved Sara Worton’s interpretation of Hold Me Touch Me. She had the character and the mannerisms spot on.

The Choreography by Julie Parry was so carefully thought through giving even more strength to the production. All movement was well spaced and executed beautifully and really highlighted everyone’s strengths. I particularly enjoyed ‘That Face’ and the Grannies in “Along Came Bialy” – Fantastic!

Malcolm Fallows as MD was, as usual, on top form. Every musical number was performed so well with as much energy as 100 cans of Red Bull.

A thoroughly enjoyable production that I’m so glad I didn’t miss! Congratulations.

Talking Heads
Reviewed by: Michael Jones - McCaw
Directors:      Sheila Cummins
                    Aimee Clare
                    Roy Hayes

The works of Alan Bennett were re-created and captured beautifully by Centenary Theatre Company at the Brindley Theatre. Taking on these vast monologues is such a challenge and requires much skill. I am happy to say that the three chosen actors were at the top of their game and delivered some wonderful theatre.

‘A cream Cracker Under the Settee’ tells the story of Doris, an elderly widow struggling to get by on her own. In fact she tells the whole story from her living room floor after a fall. This thought provoking tale, brought to life by Marilyn Baxter was executed brilliantly. It was delivered with good pace and a physicality that made the character very real. 

‘A Chip in the Sugar’ is told by Graham – a middle aged man, living with his mother and challenged with mental health issues. This made for a great story portrayed by Ron Makin. Ron underplayed the character beautifully, taking his time throughout ensuring that the context of his dialogue was firmly set in everyone’s minds before moving on. This really helped to understand the complexity of the character and perhaps what provokes his thoughts, words and actions.

Patsy Roberts the performed ‘A Lady of Letters’. Irene; needy, lonely, nosey, interfering, quick witted… all made for an excellent character to get hold of and bring to life, making the audience laugh out loud and any opportunity. Patsy certainly made the most of every last bit of the text, giving justice to such a wonderful character, which must have been great fun to play. Patsy, captured Irene with such refinement using her wonderful talent to keep the audience eating out of the palm of her hand throughout – I laughed, I cried and I laughed some more – this was an excellent piece of drama.

Many congratulations to all involved and for providing such a wonderful evening’s entertainment.

Sound of Music
Reviewed by: Michael Jones - McCaw
Producer/Director: John Corcoran
Musical Director: Malcolm Fallows

Rodgers and Hammerstein, my favourite!
Anneli Conreen took the title role and with her stunning vocal abilities she did indeed sound superb. I did find that her accent was distracting and needed much more work on intonation. Maria needs to fight her confused feelings especially the unexpected love she feels for the Captain but so much of that emotion just wasn't there and there needed to be much more depth into the complexity of Maria's true feelings. Anneli had a lovely relationship with the children which appeared very natural.
Captain Von Trapp played by Mark Murphy captured the militaristic approach of the character. I'd have insisted that props needed to source a more adequate whistle that would be loud enough to summon the children from the other side of the house and indeed stop anyone in their tracks. A small point but big enough to make a difference. Mark demonstrated his superb acting abilities and that moment when he realises he has feelings for Maria was so apparent. I particularly loved Edelweiss which was performed with emotion that was timed beautifully with the lib. Well done Mark. There were two teams playing the Von Trapp children and although I only saw one team, I have it on good authority that "Group T" were equally as good so congratulations to you guys. Chloe Davies as Gretl was just the cutest little thing I've ever seen on stage and she performed her little socks off - a definite star in the making.
Maria Dumencic as Leisl was delightful and every bit the innocent 16 year old and had a lovely on stage relationship with Rolf played by talented Matthew Orrillard.
Malcolm Wallace was the youngest Max Detweiler I've ever seen however delivered the most impeccable performance that definitely made him the most memorable. Frau Schrader was played by Julia Hart who played the part so elegantly - a perfect piece of casting.
I'd like to congratulate Malcolm Fallows as the MD and the Cast of Nuns as those harmonies sounded really terrific.

The set worked a treat and as always the lighting and sound delivered some some great work. The wardrobe team did a sterling job as the costumes were just right apart from the nuns heels being a tad to high.
As always, thoroughly enjoyable evening, the hard work you all put in is so apparent. Well done and as always thanks so very much for your warm welcome.

Fiddler on the Roof
Reviewed by: Michael Jones - McCaw
Producer/Director: Richard Broadbent
Musical Director: Malcolm Fallows
Choreographer: Ceris Shadwell

Fiddler on the Roof, love it or hate it …being honest I’ve never come away from this production with that feeling of wanting to see it again - Is that because of the nature of the story?

Dan Grimes was the perfect Tevye. His mannerisms and gestures gave him real character and with impeccable timing mixed with real emotion. He provided sound narration and had the most wonderful rapore with everyone on stage. The relationship with his daughters was so believable and portrayed beautifully - I shed tears during the last few scenes in act 2 - the bar was set extremely high for the rest of the cast.
Patsy Roberts as Golde gave a confident performance whilst the three eldest daughters, Vikky Jackson, Maria Dumencic and Zoe Lelland were all delightful in their roles giving all round great performances.

Matthew Orillard as Perchick gave such a natural performance. The sincerity and passion for his beliefs were highlighted with an impeccable performance. Motel was played by Ron Makin did a great job in interpreting the shy, nervous tailor.

The Matchmaker provides some of the best comedy lines in the show bringing the ‘light’ that’s so needed against the ‘shade’ Anita Warburton was the perfect choice as Yente with fabulous facial expressions and comic timing that was ‘bob on’.

Other Cameo roles worthy of mention came from Aimee Clare as Fruma Sarah and Rob Gregory who played Lazar Wolf.

This is a difficult show for company - its difficult to relate to a character without a name, without knowing a background. Each individual company member had a character - I could read each face, I could almost feel their worry, anger and pain - that was something quite remarkable and very moving.

Director Richard Broadbent should be very proud of his achievements - the emotions, the comedy, timing, stances and glances … it all worked wonderfully with the most appropriate choreography by Ceris Shadwell and the Music directed by very able Malcolm Fallows.

So, Love it or Hate it? I LOVED this production - It was a story that was told beautifully. Congratulations and thanks so much for your lovely hospitality.

Up and Under
Reviewed by: Michael Jones - McCaw
Producer/Director: Seb Farrell

I must say I was a tad apprehensive about this play; rugby brings back haunting memories of school - being made to stand outside in the cold, wet, mud and big burly blokes running at you. It was never my thing...From the minute I walked into the Brindley 'Stadium' I felt committed and involved - I actually thoroughly enjoyed the play. With clever and effective staging ideas (especially when the actors played both sides) the whole thing was slick and went at a pace where I didn't once feel detached from the plot. The performance was very much an ensemble piece and characters were superbly cast. It was obvious that each had worked incredibly hard on their individual roles and the sense of teamwork was so apparent throughout.
Arrogant Arthur played by Michael Mullen played a blinder – we saw all the emotions needed for this proud character and with his on stage rival Dave Rimmer as Reg, they both delivered great performances. Experienced Alex Clare indeed showed his versatility as a fine actor playing Phil. It’s the first time I’ve seen Roy Hayes take on a principal role and I was pleasantly surprised – packed with natural comedy, he played Frank brilliantly. Stu Baker played Funny man Tony and had the audience laughing out loud with some quick quips and Dave Randall as Steve gave an assured performance. The only gal in the production, Vicky Jackson playing Hazel kept the guys in shape and was a wonderful addition to the cast.
Thanks everyone for such an enjoyable evening, as always – a brilliant production.

The Importance of Being Earnest
Centenary Theatre Company
Director Anita Warburton

Wow! The staging and attention to detail in this magnificent set was something quite exquisite. Leonard Rowlands and Walter Brown really pulled out all the stops to create three scenes which set the period beautifully.
Dedicated and extremely competent as director, Anita Warburton chose a wonderful cast, which delivered a very slick, charming and highly witty production.
Derren Dolphin was perfectly cast as Jack, the gentleman with the secret life, and he had some great moments with Malcolm Wallace as Algernon. They both offered some very comedic moments and showcased a lot of sophistication and verve which both these characters required. Jane Rigby, no stranger to the stage, gave a stunning performance as Gwendolyn. She held herself beautifully and without a doubt gave the most confident and consistent performance of the night.
Another performance worthy of much praise was talented Patsy Roberts who played Lady Bracknell, with a brilliant portrayal of this old, mercenary and dominant character. Rachel Alcock did a wonderful job in her debut performance as Cecily. Marilyn Baxter presented us with a memorable performance (for all the right reasons) as Miss Prism.
What a lovely evening I had, well done to all cast and crew.

Sweet Charity
Centenary Theatre Company
Director                              John Corcoran
Musical Director               Malcolm Fallows
Choreographer                 Julie Parry

Experienced Director John Corcoran worked his magic with a fine line up of principals who were well rehearsed and kept the show moving at a very slick pace.
From the outset, Dawn Flint as Charity gave a flawless all-round performance with impeccable comic timing, really making the character her own. Her vocals were bang on and she moved effortlessly across the stage.

Michael Mullan as Vittorio was brilliantly cast providing scene stealing humour. Mark Murphy as claustrophobic tax accountant Oscar was just great – from his very first scene the audience loved him.

Other performances of note were Helen Gorry as Helene – what an amazing voice, and Ashley Walsh as Herman who took complete advantage of his number I Love to Cry at Weddings where he made the stage his own.
Musical Director Malcolm Fallows did an amazing job keeping the tempo which can so easily be taken in all sorts of directions with numbers such as Rhythm of Life. Malcolm has obviously been a hard task master and worked the cast to achieve nothing but perfection.

The choreography by Julie Parry was simple and effective which was all that was required for such a large ensemble. The costumes department did a colourful job as we’d expect. The sets were practical and brilliantly used, providing slick transitions.
It’s great to see societies taking a risk and tackling shows they’ve never done before – Sweet Charity was Centenary’s eighth ‘first’ in five years.

Brassed Off
Centenary Theatre Company
Director Dan Grimes
Musical Director Ian Turner, Tarporley Silver Band

Right from the opening this play was fantastic with a superb set that worked so well. It was simple but did not require complex changes, just very subtle combined with good use of lighting on the white cyc and the introduction of projection images and old film archives all worked for me. 

From the opening I was impressed how the principals worked together on a large stage for a play and this is hard as there is no room for mistakes and I must say I saw a flawless production. 

Daniel Green was confident as Shane. Giving us comedy and connecting with the audience from the start, great projection, well done and keep up the good work. Mike Hall was perfectly cast as Danny delivering a superb character that I believed in. A super monologue at the end. 

Clare Littlemore brought to life the down-trodden Sandra with some lovely moments of empathy. She was partnered by Rob Gregory who played Phil, again a complex character trying to do the best for his family – but always failing, I saw a wonderful light and shade of the character.

Gloria looked fantastic and again brought her character to life and was played by Vikki Jackson, good accent and clear projection. She was wooed by the confident Andy played by Dave Randall who delivered his character well. Just a note, watch dropping accents at times but it only happened during the first scene. Rita and Vera played by Marilyn Baxter and Marjorie Clare have a wonderful sub-plot. They were partnered by Harry and Jim played by Dave Rimmer and Michael Mullan. All four were brilliant and we saw some fantastic acting, especially when they came forward to talk to the audience. I also loved the scene where they were all drunk on the way home. 

Special mention to Craig and Melody played by Thomas Sams and Danielle McDerra. These young people should be congratulated and played their parts well, were always acting on stage and never distracted. Well done, you were brilliant. 

The other cast members took various roles and all performed well. 
The brass band sounded fantastic and I particularly loved how all the principals looked as if they were playing their instruments. This is credit to the attention to detail of the director and hard work of the cast.
The creative use of the gauze and the projection during the pub march was great and this scene had me in stitches.
 
I loved the whole production. A fine play, in fact one of the best I have seen this year and delivered to perfection. 
Kevin Rawcliffe

TITANIC THE MUSICAL
Director: Neil Townsend
Mus. Director: Malcolm Fallows

I was delighted to visit the Brindley Theatre at Runcorn once more to see this very talented company present Titanic the Musical, as this was a show I had never seen before, and I was eager to see how they presented it.

I have to say that I was not disappointed and I thoroughly enjoyed the show.

A lot of thought had obviously gone into the preparation of the programme as each one contained a boarding pass and pull out section in the form of a newspaper showing photographs of the boat and the stories and legends connected with it together with the finding of the wreck in 1985.

This show presents a huge challenge to the cast, the production team and the backstage staff.

Centenary carried all these challenges off quite superbly. The scene changes were slick, and all the choral numbers were very well executed.

There are some excellent singers in this society’s chorus as well as those doing the parts.

Outstanding among the parts were Phil Wade as Captain EJ Smith and Dan Grimes as Thomas Andrews, the designer of the Titanic. I particularly liked The Blame in Act 2 in which they were joined by Michael Mullan, who gave a first class performance as J Bruce Ismay, the managing director of the White Star Line.

Another performance I particularly liked was that of Malcolm Wallace as the stoker, Frederick Barrett. He had an excellent singing voice and brought a shiver to my spine with his ability to bring such emotion to his part – very well done indeed.

He also worked very well with Andrew Bradbury as Harold Bride, the Titanic’s radio officer, another first class performance.

I also like Jane Rigby and Dave Randall as Alice and Edgar Beane. Jane was very well cast as the social climbing passenger who was determined to mix with all the first class passengers and she had the perfect foil with Dave.

I also enjoyed the performance of Mike Hall and Anita Warburton as Isidor and Ida Strauss. I really felt the emotion in their duet Still.

It seems unfair to pick out only a few performances and comment on how much I enjoyed them, when in fact the whole show was so good, so I say to you all very well done on a first class show.

A most enjoyable evening.        

THE ODD COUPLE
Director: Rob Gregory

It is always a pleasure to visit the Brindley Theatre, and once again I was not disappointed as this very well-known play offers some superb character parts for the performers to portray.

Michael Mullan was excellent as the somewhat slovenly Oscar, as was Andrew Walsh as the fastidious Felix.

It was a pleasure to watch two such good actors in the parts made famous by Walter Matthau and Jack Lemmon. Their performances were superb.

Their buddies at the regular Friday night poker sessions at Oscar’s apartment – Speed, Murray, Vinnie, and Roy played by Dave Randall, Mark Fitzsimon, Tom Parry and Rob Gregory, were all superb characterisations in their own right and their antics during the poker games were very amusing and kept the appreciative audience highly entertained, especially when Felix tries, unsuccessfully, to keep everything so neat and clean and tidy.

The two English roses from the upstairs apartment were delightfully played by Linda McGrath and Kelly Herridge.

My congratulations to all those involved in this first class production.

I must particularly mention director Rob Gregory, who took the part of the accountant, Roy, as well as directing the action. It can be very difficult to achieve the two roles successfully, but I think in this case Rob pulled it off very well, despite as he admitted himself, some stresses at the outset. 
                              

Follies
Centenary Theatre Company
Director: Les Gomersall
Musical Director: Malcolm Fallows
 
I was delighted to be making my first visit to the Brindley Theatre to see Centenary Theatre Company whose reputation for excellence has been made known to me.
 
I was equally delighted to see Follies, which is a show I have long wanted to see. I was not disappointed.
 
This was a superb and thoroughly professionally presented show, which gave all members of the Society both younger and older members the opportunity to shine in a principal role.
 
There was not one weak link in the production and it is very difficult to pick out anyone for particular mention, but I have to say that Jane Rigby as Sally excelled in her role and was very professionally supported by Dan Grimes as Buddy.
 
Julia Washer and Phil Wade as Phyllis and Benjamin Stone also gave excellent performances.
 
They were also very ably supported by Aimee Scally and Andrew Walsh as young Sally and Buddy and by Kay Williams and Malcolm Wallace as the young Phyllis and Ben. It is a pleasure to see such obvious emerging talent in the young people - names to look out for in the future.
 
I must also mention two superb performances from two of the older cast members, namely Sheila Cummins as Stella who led "Who's That Woman" with the showgirls and proved that she can still hold a tap routine together; and Patsy Roberts as Hattie who belted out "Broadway Baby", proving that top quality performances are not limited to the youngsters - my congratulations to you both.
 
This was an excellent choice of show for a very talented Society and I think this should be looked at by other Societies who are looking to give all ages of cast members a chance at leading parts both large and small.
 
My thanks to you for your hospitality on our visit.
 
Margaret Taylor

The Diary of Anne Frank
Director: Mark Murphy

This play is unusual in that it is based on the lives of real people who experienced the circumstances that actually happened within living memory of many of the audience.
As Anne Frank, Maria Dumencic gave a supurb performance embodying all the characteristics of a young teenager in contrast to the more serious nature of her older sister Margot, played convincingly by Aimee Scally.
The ever dependable Mike Hall and Marilyn Baxter played the parents Mr & Mrs Frank.
The Van Daan family - who hid with the Franks - were expertly played by Patsy Roberts (mother), Michael Mullan (father) and Joe Reay Reid (son).
The other hideaway, the dentist Mr Dussel, was played by Rob Gregory and the two 'outside' helpers Miep and Mr Kraler by Vikki Jackson and Bas Bennett.
All gave first rate performances in a brilliantly directed production.
The set, designed and built by company members, was a masterpiece depicting accurately the cramped conditions of the attic flat located above Mr Frank's spice factory which was the home of the seven characters for two years and the costumes were appropriate to the era.
I would also like to compliment the designed of the programme whhich contained - in addition to all the usual information - a supplement with much well researched information about the actual characters portayed in the play and the tragedies that befell them when they were eventually betrayed and captured.
To quote from the Director's notes ''this is a story that cannot fail to move us all in recalling those eight real victims - and the six million others''.

NO SEX, PLEASE - WE'RE BRITISH
Director: Alan Thomas

That this farce became the world's longest running comedy way back in the 1970s is small wonder judging by this performance by the Centenary who previously performed it in1990.

The play is set in the flat above the bank where the tranquillity of the newly-wed bank clerk, Peter Hunter and his wife Frances, is fractured when the delivery of her mail ordered "Scandinavian Glassware" turns out to be not what she ordered - but a collection of smutty pictures and other pornographic material.

Recruiting the assistance of the Chief Cashier, Mr Runnicles, their efforts to dispose of the offending material are complicated by the arrival of Peter's snobbish mother, Eleanor and visits from the bank manager, Mr Broomhead, the bank inspector Mr Needham and Police Inspector Paul, plus further deliveries of increasingly pornographic material culminating in the bonus offer of the services of two attractive, scantily clad tarts, Susan & Barbara.

The mayhem went at a cracking pace with a cast of experienced performers; Seb Farrell as Peter, Vikki Jackson as his wife Frances, Patsy Roberts as his mother Eleanor, David Tickle as the cashier, Mike Hall as the manager, Rob Gregory as the bank inspector, Derren Dolphin as the superintendent, Faye Corless and Kelly Herridge as the two willing young ladies and Tom Parry as the hapless delivery man.

All combined brilliantly in a first class production which had the audience in stitches. Congratulations all round to the entire cast and also for the set construction by the society.

I am, however, somewhat concerned that the "Property Supplies" (whatever they were) were also by the Society!!

SCROOGE
Director: John Corcoran
Musical Director: Malcolm Fallows
Choreographer: Julie Parry

This was an ideal choice of show to perform two weeks before Christmas, bringing to life the many characters contained in Charles Dicken's play "A Christmas Carol".

Hardly off stage for a moment, Michael Mullan gave a superb performance as the eponymous Scrooge backed by first rate performances from Robert Gregory as Jacob Marley, Anita Warburton, Daniel Grimes and Alexander Clare (on stilts) as the Ghosts of Christmases Past, Present and Yet to Come.

The Cratchitt family was depicted endearingly by ever-present Seb Farrell as the hardworked Bob, Kelly Herridge, as his equally hard-worked wife Ethel, and their children Kathy, Peter and Martha played by Sophie Critchley, Steven Atkins and Bethany Rigby, with nine year old Jordan Bool bringing years of stage experience to the role of Tiny Tim.

The depth of talent in the Centenary was evident in the casting of David Tickle, and the double NODA award winner Patsy Roberts, as Mr and Mrs Fezziwig, and fellow double award winner Mark Murphy, as the soup seller Tom Jenkins, with admirable performances from the remainder of the cast.

The production moved at a cracking pace with well sung, lively choreographed ensemble numbers.

The opening number has particularly complex harmonies. The fine eleven strong orchestra - what a luxury these days - was at times somewhat overpowering with, what appeared to be unnecessary, amplification.

Costumes by Ian Stead of Halifax and the society were first class and Border Studios' sets provided the icing on the cake of yet another successful Centenary production.

HOBSON'S CHOICE
Director: Anita Warburton

Set in the Salford of 1880 and first staged in 1916 'Hobson's Choice' has been performed regularly on stage as well as on film.

This production by Centenary will rank highly amongst the Company's many successes.

Firstly, the music preceding the opening of both of the acts was well chosen and immediately brought to mind the era of brass bands and cobbled streets.

Secondly, the set was a masterpiece of design in portraying the three settings, Hobson's shop, Mossop's cellar and Hobson's living room, in realistic fashion while making effective use of the large Brindley Theatre stage.

And thirdly, but by no means least, it had a magnificent cast, some of whom were making their first appearance in a Centenary production, and other members of the company were making their debut in a play.

Returning to the stage after a break of a few years, Peter Boardman was masterful as the overbearing Hobson.

Outstanding performances from Elizabeth Osborne, Jane Rigby and Vikki Jackson as his three daughters, Alice Maggie and Vickey were matched by Thomas Parry as Fred Beanstock, Lewis Morris as Albert Prosser and a superb portrayal by Derren Dolphin as Willie Mossop.

The casting of former NODA NW award winners and nominees in lesser roles demonstrates the depths of Centenary's talent.

These were Marilyn Baxter as Mrs Hepworth, Robert Gregory as Dr McFarlane and with the seemingly ever-present Seb Farrell as Hobson's side-kick Jim Heeler.

The cast list was completed by Danielle Segar as Ada Figgins and Walter Brown, who not only performed as Tubby Wadlow but also coordinated the construction of Leonard Rowland's set design. What talent!

Congratulations to Anita Warburton, making her debut as a director and congratulations too to Cathryn Boyd on the design of the programme, which, in addition to the cast list and usual features, included details and photographs of the set construction.

SWEENEY TODD - The Demon Barber of Fleet Street
Director: John Corcoran
Muscial Director: Michael Scott

This was not the normal musical that Centenary is used to performing. I am sure it was challenge, but a successful one.

The set, comprising the Pie shop with the Barbers shop upstairs, moved on and off without keeping us waiting, by the men of the chorus.

The lighting was good, turning the entire theatre red as Sweeney Todd completed his evil deeds.
The orchestra was a little too loud in places, considering that most of the dialogue was sung.

Derren Dolphin, as Sweeney Todd, was exactly right in the part. He had a great singing voice, acted out the character with evil, cunning, eyes that drew you into his mind.
Julia Washer as his accomplice, Mrs Lovett, brought out the comedy with superb timing.

Robert Watson was Anthony, and Aimee Scally was Johanna. Although individually they played their parts well, both in singing and acting, there was not enough love chemistry between them.

Philip Wade as the Judge, Robert Gregory as the Beadle, David Newell as Tobias, Michael Mullan as Pirelli, Julie Parry as the Begger Woman were all well cast and added to the overall, well presented musical. It was slick, well rehearsed, entertaining, and the audience went out with the WOW factor. Well done Centenary.

THE LIVER BIRDS
Director: Mark Murphy

It is almost unbelievable that this hilarious sit-com by Carla Lane and John Chapman first hit our television screens almost 40 years ago when it ran from April 1969 to January 1979 followed by a “20-years-on” series screened in the seventies from which this stage version was developed.

What an appropriate choice it was for Centenary to perform in 2008 when Liverpool celebrates its position as the European Capital of Culture.

As Beryl and Sandra, Vikki Jackson and Aimee Scally were ideally cast, both giving first class performances as the flat mates trying to pursue their romantic ideals whilst having to put up with interfering mothers, an eccentric neighbour, ex-boyfriends and a lovelorn vicar.

The down-to-earth Mrs Hennessey, mother of the brash Beryl, was played by Pat Jackson who got the most out of some cracking one-liners whilst the part of the overbearing Mrs Hutchinson, mother of Sandra, was in the more than capable hands of Anita Warburton with Bas Bennett characterising the role of her hen-pecked husband.

The girls’ love interest was provided by Rob Gregory as Paul and Seb Farrell as Robert, whose antics in attempting to change into his pyjamas, bordered on the hysterical. Further comedy was provided by Mark Hemmings as the vicar.

For the scene-stealing performance of bare faced cheek one can only marvel at Mike Hall’s over the top portrayal of the camp neighbour, Desmond Duvall. A bravura performance that reduced the audience to helpless laughter.

Yet another success for the Centenary both from the performers and the back up teams.

The King and I (October 2007)
Director: Sheila Cummins
Musical Director: Malcolm Fallows
Choreographer: Beryl Rigby

Another successful production by the Centenary. Since its move from Warrington to Runcorn's Brindley Theatre there seems to be no limit to the ability to enthrall packed houses with their performances.

NODA Award winners, Jane Rigby and Mark Murphy, led the cast admirably as Anna Leonowens and the King each bringing a fine degree of sensitivity and understanding to their respective roles.

The love-lorn couple, Tuptim and Lun Tha, played by Helen Gory and Derren Dolphin joined forces in delightfully sung duets. Judianne Fisher played Lady Thiang with fine dignity and sincerity.
The duo of Michael Markey and Thomas Lyons as Louis and the Prince Chululongkorn (now there's a challenge to the spellcheck!) played their parts with a confidence beyond their youthful years and, as always, the Royal Children made their enchanting entrance and obviously enjoyed their school-room scenes with Anna.

The "etceteras" contained numerous faces one is accustomed to seeing in principal parts demonstrating their dedication to the company in taking on the minor as well as the major roles.

The production moved at a good pace with delicately choreographed routines, especially the Uncle Thomas ballet, and the whole show was given a rousing accolade from a receptive audience

The Rise and Fall of Little Voice (Sept 2007) 
Director: Frank Bonser

Igrayne McDermott, in her first principal role for Centenary, not only demonstrated considerable acting ability in the role of Little Voice (LV) - a young reclusive girl who spent all her waking hours listening to a collection of records of famous singers bequeathed to her by her late father - but she also displayed a surprisingly fine talent for mimicry when singing in the voices of Judy Garland, Shirley Bassey, Edith Piaf, Marlene Dietrich, etc. A remarkable performance.

The part of Mari Hoff, LV's overbearing, brash mother was brilliantly portrayed by Julia Washer and her dotty, lumbering neighbour Sadie was played by Kelly Herridge in a side-splitting performance.

The role of the mother's boy friend, the small time showbiz agent, Ray Say, who discovers and tries to cash in on LV's hidden talent, was in the more than capable hands of Michael Mullan. Walter Brown did well as the unprincipled nightclub owner Mr Boo, but I felt that his performance was overshadowed by his garish wigs which to my mind were not appropriate to the character.

The cast was completed by Roy Hayes in the cameo role of the telephone engineer and Seb Farrell as his assistant Billy, a simple soul in love with LV.
The multiple set comprising the living room, kitchen, LV's bedroom, the street and the nightclub stage was a masterpiece of design and lighting by Walter Brown and the Brindley Theatre Technical Team.

An unusual play brilliantly directed and performed. Congratulations all round.

Singin' In The Rain (May 2007)
Director: Neil Townsend
Musical Director: Malcolm Fallows
Choreographer: Julie Parry

What an achievement - persuading the management of the Brindley to permit the real rain scene to be staged in their theatre!  And what an achievement by Centenary in bringing this well known MGM film to the stage in such fine style with a cast combining first time principals with experienced performers in supporting roles.

Opening with the youthful Joseph Parry and Jack Oxley in the roles of Young Don and Young Cosmo, the show moved at a sparkling pace with Derren Dolphin and Tom Parry taking on the adult characters to great effect.

Vikki Jackson, playing her first principal role, was great as Kathy Selden whilst Julia Washer, in her first Centenary production, brought a voice to the role of Lina Lamont that would strip the paint off a door at twenty paces – understandably the star of the silent screen!

Mike Hall and Rob Gregory were suitably harassed as movie mogul
R. F. Simpson and film maker Roscoe Dexter respectively.

Super cameo roles were performed by Anita Warburton as the social commentator Dora Bailey, Judianne Fisher as the diction teacher Miss Dinsmore and Mark Murphy making a welcome return to the stage as the vocal coach.

Other minor roles – film directors and production staff doubling as characters in the hammed-up performance of the Dueling Cavalier were in safe hands.

Indeed, I am convinced that some of the routines had been added to as the show week progressed!  I also liked the idea of the additional flyer in the programme proclaiming the premier performance of the film and its cast.

The musical numbers moved at a good tempo under the baton of Malcolm Fallows, also making his debut with Centenary.  The choreography was imaginative and lively.

Costumes from Chorus Line and the Border Studios set enhanced the production – yet another success for Centenary.

Abigail's Party (January 2007)
Director: Clare Littlemore

Making her debut as director, Clare Littlemore brought her considerable performing experience to the task of bringing out the disparate nature of the five characters in this play by Mike Leigh.

Hosting a suburban drinks party in the '70s to welcome new neighbours, the social climbing couple, Beverly and Laurence, she, with conceited overbearing posturing manner and he, the hen-pecked obnoxious snob, were brilliantly portrayed by Julie Parry and Dan Grimes.

As the new neighbours, the tactless, almost giddy, Angela and the mysterious Tony, Clare Asprey and Seb Farrell – both of whom have distinguished themselves in musical and dramatic leading roles – gave yet more first class performances.

The fifth character, Susan – the confidence lacking anxious mother of the partying Abigail – was sincerely played by Cathryn Boyd making her principal debut with Centenary and with remarkable success.

The set was good and appropriately portrayed the home of the lacking-in-taste Beverly and Laurence.

The brilliance of the performances by the talented cast overcame my impression that Mike Leigh’s script was long on words but short on plot.

Hello, Dolly! (October 2006)
Director: Juliet Mills
Musical Director: Richard Winter
Choreographer: Jo Chatt

We had yet another brilliant production from the multi-talented Centenary Theatre Company with an outstanding performance by Clare Asprey as Dolly Levi, the lady who loves to meddle in other people's lives whilst persuing he aim of marrying the dour half-millionaire Horace Vandergelder played splendidly by Michael Mullan.

Delightful performances came from NODA NW award winner Jane Rigby as the milliner Mrs Irene Molloy and Michelle Taylor as her assistant Minnie Fay together with Derren Dolphin and Andrew Gower as Vandergelder's downtrodden employees Cornelius Hackl and Barnaby Tucker.  Derren and Andrew were both taking part in only their second productions with Centenary.

Samantha Palin was in good stentorian form as Vendergelder's niece the, the perpetually tearful Ermengarde with Mark Hemmings demonstrating his fine dancing and acting capabilities in the role of her suitor, Ambrose Kemper.

Completing the principal line up yet another NODA NW award winner Marilyn Baxter provided comic relief in the cameo role of Ernestine Money and Paul Rigby, also in his second Centenary production, was the head waiter of the Harmonia Gardens Restaurant.

Powerful chorus numbers and lively dancing routines, accompanied by an excellent orchestra, ensured the success of the production which was enhanced by Proscenium's sets and Charade's costumes.

A first class evening's entertainment from this Company which appears to be going from strength to strength.  Congratulations to all concerned.

Educating Rita (September 2006)
Director: Richard Broadbent

This is a complex play from the pen of Willy Russell involving just the two characters - Rita, the brash hairdresser with a passion for higher education, and Frank, her Open University tutor.

In the role of Rita, Judianne Fisher made a double debut by playing her first principal role for the Society and making her first appearance in a play. She rose the challenge admirably as did Philip Croft in the intricate role of Frank, the tutor with his fair share of problems.

The highs and lows of both characters came through in Richard Broadbent's immacualte production.

The single set, that of the tutor's room complete with alcoholic bookcases was well designed and constructed by society members and friends.

Centenary's productions go from strength to strength and Educating Rita is yet another addition to their list of successes.

Guys and Dolls (May 2006)
Director: Neil Townsend
Musical Director: Jill Hyde
Choreographer: Betty Hall

Another first class fast-moving production from this multi-talented theatre company that seems to go from strength to strength since their move to the Brindley Theatre.

A lively rendition of the Fugue for Tinhorns featuring Michael Mullan as Benny, Mike Hall as Rusty and Dan grimes as the sound-alike Stubby Kaye in the role of Nicely Nicely Johnson, was followed by a stirring parade of the Mission Band led by Colin Magenty as the drum banging Arvide Abernathy.

Michelle Taylor and Mark Hemmings both put in excellent performances as Sarah Brown and Sky Masterson combining well in the complexity of the roles as did Seb Farrell as Nathan Detroit with Jane Rigby – following up her NODA Best Actress Drama award as Sheila Wendice in Dial M For Murder, and an outstanding portrayal of the long-suffering Sandra in Brassed Off – demonstrating her considerable musical talent as Miss Adelaide.

All the minor principal roles were well cast and the well known musical numbers were delivered admirably with lively choreography and the customary fine accompaniment from Jill Hyde’s orchestra. 

An outstanding production with which all concerned should be justly proud.

Brassed Off (January-February 2006)
Director: Mark Murphy
Featuring: Golborne Brass Band - Conductor, David Ashworth

This play by Paul Allen, adapted from the screenplay by Mark Herman, was brilliantly performed by a very talented cast, each of whom not only acted superbly but "looked right" in their respective roles.

With the added attraction of the Golborne Brass Band this was a hit from start to finish.

Depicting the turmoil created within the mining communities by the programme of pit closures in the 1990s, the script realistically reflected the stresses and strains on the lives of the miners and their families and the strength of the community spirit brought about by their involvement with the colliery's brass band.

The characters involved with the band had obviously received excellent coaching enabling them to "fit in" with the band's performances, especially the playing of the flugelhorn 'solo' by Clare Ewing as Gloria, the young lady returning to the town to undertake and economic survey on the future of the coalmine.

Mark Hemmings, Daniel Grimes, Alex Clare and Sebastian Farrell admirably portrayed the young men, Harry, Jim, Andy and Phil, bringing out the banter one associates with a group of workmates.

Jane Rigby was superb in the role of Phil's long suffering wife Sandra having to cope with bringing up a young family, no income, debts leading to repossessions by bailiffs and her husband spending money they did not have to buy a trombone!

Vikki Jackson and Clare Asprey put in great performances as Rita and Vera, the slogan chanting supporters the miners' cause - and the band.

Mike Hall excelled in the role of Danny, the bandmaster and father of Phil, bringing to the character all the frustrations of a perfectionist whilst suffering the effects of illness. He had obviously studied the techniques of conducting a band to great effect, so much so that, until he turned to face the audience in the opening scene, I thought that the band's real conductor, David Ashworth, had been given a role in the production.

In addition to the experienced actors, the cast included a star of the future in Greg Martin who played the part of Shane, the son of Sandra and Phil and the grandson of Danny, with all the assurance and confidence of a seasoned performer.

This was an excellent production with which director Mark Murphy and all concerned can feel justly proud and which would doubtless result in sell-out performances if repeated in, say, 18 months time.

Dial M For Murder (October 2005)
Director: Sheila Cummins 

For their first play at the new Brindley Theatre, Centenary chose a well known thriller which became famous following the Hitchcock film version starring Grace Kelly and Ray Milland. 

Well known it may be, but this performance kept the audience on the edge of their seats such was the atmosphere created in this excellent production.

The set which was well designed by the director and constructed by society members and friends was magnificent in every detail and was complemented by the superb lighting provided at The Brindley. 

The five characters in the play were brilliantly portrayed:  the scheming husband Tony Wendice by NODA award winner Mark Murphy, his two-timing wife Sheila Wendice by Jane Rigby, Philip Croft as the small-time crook Captain Lesgate. Who was blackmailed into committing murder but finished up dead, Danile Grimes as Max Halliday the thriller writer in love with Sheila, and Rob Gregory as the archetypical Police Inspector Hubbard.

 Centenary have received many plaudits for all aspects of their productions and this, their latest, ranks among the best I have seen from them.

GYPSY (September 2005)
Director: Alan Thomas
Musical Director: Jill Hyde
Choreographer: Julie Parry

To mark their transfer from the Parr Hall at Warrington to the brand new Brindley Theatre at Runcorn the former Centenary O&DS decided to only adopt a new name but to stage a musical they had not previously performed.

The Brindley is a superbly designed theatre with excellent front of house and backstage facilities including the capability to fly scenery. 

For their debut performance Centenary made a brave choice of show which is based on the memoirs of Louise Hovick who became famous as Gypsy Rose Lee in burlesque. 

The original Broadway production, which starred the great Ethel Merman, ran for over 700 performances and has had several revivals. 

The part of Mama Rose, the pushiest of mothers, was a gift for Patsy Roberts who excels in the Dolly / Mame type of role that she has made her own whilst Mark Murphy performed to his customary high standard as Herbie, her long suffering fiancé. 

The story commences with Mama’s two daughters June and Louise being entered in children’s talent shows and their subsequent progression to being adult performers. 

The two youngsters, Baby June and Baby Louise were delightfully played by Sophie Magee and Ellen Bleasdale – both of whom, I am sure, have great futures in the musical theatre. 

The adult role of June, who eventually gave up performing as a result of mama’s incessant demands, was given a fine portrayal by Kathryn Cooper whilst Clare Ewing added to her list of previous successes with a sterling performance as Louise – progressing from her role as an underrated actress to the star she eventually became. 

Gypsy boasts a large cast of characters and performers in a multiplicity of scenarios from the 1920/30 vaudeville era all of which were well cast and performed with choreography and musical accompaniment to Centenary’s usual excellent standard. 

I did feel that there was some hesitancy in the opening of some of the scenes which I out down to the unfamiliarity of the new layout and facilities but, that said, this was an entertaining production which bodes well for the company’s future productions at The Brindley.

VISTING HOUR (May 2005)
Director: Mark Murphy

A collection of six separately entitled scenes made up this challenging play by Richard Harris. Set in a hospital ward the plots moved briskly from high comedy to high drama with fine all-round performances from all the cast, some of whom appeared in a variety of roles in the differing scenes.

In the first, Mike Hall as Eric, plastered from head to foot as a result of injuries sustained in a traffic accident was visited by his wife Helen (Heather Hall) who was curious about the circumstances surrounding the accident. Credulity was stretched to the limits as he attempted to explain how his car, which was parked without lights on a farm track, was struck by a tractor and why he was found trouserless accompanied by a lady work colleague!

This was followed by a marathon performance by Anita Warburton as Pauline, who, whilst visiting an old lady, reminisced about her mother's long illness.

A television documentary team covering the prospect of a "first" in transplant surgery was the background to the third scene with NODA NW award winning actress Marilyn Baxter in fine form as a publicity seeking surgeon.

Going Home was the title of the fourth episode in which Kate Potts as Cheryl preferred to remain in hospital with her new found friends rather than return home to her dull boring husband.

Another solo performance followed, this time by Bas Bennett as a wheelchair bound old man in the early stages of dementia.

Comedy was re-introduced in the final scene in which the visit to Brenda (Marjorie Clare) by the overbearing Joan (Julie Parry) and would-be magician-cum-entertainer Ron (Mark Hemmings) was subjected to interventions by the neighbouring patient May (Beryl Rigby), her visitor (Mike Hall) and teenager Sandra (Jennifer Dumencic) continually arguing on her mobile phone with her boyfriend .

A good pace was maintained throughout with a realistic set and accurate inter-scene cameos but I was slightly disappointed with the content of the script which, especially in the two solo scenes, seemed to be padded out unnecessarily.

OKLAHOMA! (March 2005)
Director: Richard Broadbent
Musical Director: Jill Hyde
Choreographer: Christine Whitfield

It is almost unbelievable that ‘Oklahoma!’ opened on Broadway sixty-two years ago, but Richard Broadbent, in his first production for Centenary, brought an air of freshness to the well known storyline.

The opening with Daniel Grimes (Curly), Anita Warburton (Aunt Eller) and Clare Asprey (Laurey) set the high standard which was maintained throughout. 

Playing their first principal roles, Helen Gorry and Philip Croft were first class as Ado Annie and Will Parker and Rob Gregory gave a powerful portrayal of Jud Fry in both the play and the dream ballet which was beautifully performed with Samantha Palin and Mark Hemmings doubling for Laurey and Curly. 

Steve Ross brought all his experience of playing comic roles to the fore in his characterisation of Ali Hakim. 

The remaining minor principal roles were all well cast and well performed backed by super chorus numbers and dance routines accompanied by Jill Hyde’s fine orchestra. 

A production with which director Richard Broadbent – whose Grandfather, JW Broadbent, was the Society’s MD from 1935 to 1949 – and all concerned – can be justifiably proud.

KISS ME, KATE (September 2004)
Director: Andy Follin
Musical Director: Jill Hyde
Choreographer: Julie Parry

Plenty of action prior to and during the overture set a realistic back stage atmosphere for the opening of this production and a stirring rendition of "Another Op'nin', Another Show" from Michelle Jackson as Hattie got the show off to a rousing start.

Daniel Grimes and Clare Asprey were well cast in the roles of Fred Graham/Petruchio and Lilli Vanessi/Katherine respectively, both having the vocal and acting talent to carry off the 'dual' roles admirably.

Not to be outdone, Clare Ewing as Lois Lane/Bianca, Joe Whitlow as Bill Calhoun/Lucentio and Mark Hemmings as Paul/Hortensio each gave first rate performances ably supported by Walter Brown as Baptista and Tom Parry as Gremio.

One always anticipates scene-stealing performances from the two gangsters and this proved to be no exception with Seb Farrell and Martyn Gallagher delighting the audiences with their portrayal of the two "heavies" who eventually succumb to the lure of Shakespeare.

The remaining principal roles and the chorus routines, especially the "Too Darn Hot" opening to the second act, were well choreographed and performed.

An unusual addition to the show's souvenir programme was the inclusion of a pull-out section for Fred Graham's production of Taming of the Shrew by William Shakespeare detailing the 'stage' names of the cast. A nice touch!

The scenery was good, the costumes by Charades were excellent and the whole production went at a good tempo backed by Jill Hyde's customary fine orchestra. It was especially pleasing see Denis Robinson making a welcome return at the keyboard after his enforced lay-off following a back injury.

LADIES IN RETIREMENT (May 2004)
Director: Mark Murphy

Having won the NODA NW award for Best Drama Actor twice in three years Mark Murphy made his debut as a director in this period piece set in an old isolated house on the Thames marshes in 1885.

Leonora Fiske, the owner of the house, a retired actress with a penchant for singing G & S excerpts whilst accompanying herself on the piano, was splendidly played by Sheila Cummins. Visiting the house were two rather dotty sisters, Louisa and Emily Creed (Pat Jackson and Patsy Roberts) in the care of a third sister, Ellen Creed (Marilyn Baxter). Each of the three gave convincing performances, bringing out neat touches of wry humour during the plot which culminated in the murder of the rich Leonora by Ellen.

Also visiting the house was the ne'er-do-well Albert Feather (Seb Farrell) who not only had designs on Leonora's wealth but also on her maid Lucy Gilham, delightfully played by Davina Kernaban. In some cleverly constructed scenes they managed to unravel the mystery of Leonora's 'disappearance' putting their own lives in peril at the hands of the murderous Ellen.

Kate Potts gave a sincere performance in the cameo role of Sister Theresa from the local convent.

SOUTH PACIFIC (March 2004)
Director: Neil Townsend
Musical Director: Jill Hyde
Choreographer: Betty Hall

Regular readers will know from my previous reports that the Parr Hall lacks the basics for accommodating staged performances and I must firstly compliment Neil Townsend and the construction team on the design of the sets for this show.

Julie Parry combined her acting, singing and dancing talents — she choreographed Centenary's recent performance of Carousel — in a nicely modulated portrayal of Ensign Nellie Forbush partnered by Mike Hall who gave a good performance as the complex character Emile de Becque, the Father of Ngana and Jerome delightfully played by Laiken Burns and Daniel Murgatroyd.

As Lt Joseph Cable, Sebastian Farrell brought a degree of tenderness and a pleasing voice to his scenes with Liat, beautifully played by Kathryn Cooper, but I felt that he could have been more assertive with the Seabees on his initial appearance.
The Seabees and Sailors, led by Steve Ross as Luther Billis were the typical raucous bunch in the well performed "Bloody Mary" and 'Nuthin' like a Dame" numbers but Anita Warburton, at times, showed rather less exuberance than that usually associated with the role in her nicely sung portrayal of Bloody Mary.

Colin Magenty was a blustering and blistering Captain George Brackett ably supported by Walter Brown as Commander William Harbison.

The chorus routines, especially the "Thanksgiving Follies" and "Honeybun" numbers were well choreographed and the backing of Jill Hyde's customary fine orchestra put the finishing touch to a good evening's entertainment.

AN INSPECTOR CALLS (November 2003)
Director: Sheila Cummins

Following the success of the farcical Don't Dress for Dinner, which was their first production in Warrington's new Pyramid Cultural Quarter, Centenary turned to drama with a capital D with a magnificent performance of this J. B. Priestley classic. The open set of a 1912 dining room, designed by Sheila Cummins and constructed by members and friends, was immaculate in every detail.

The mill owning Birling family, Arthur (Peter Boardman), his wife Sybil (Patsy Roberts) and son Eric (Martyn Gallagher) are holding a small dinner party to celebrate the engagement of daughter Sheila (Clare Ewing) to Gerald Croft (Jason Coman), the son of a neighbouring industrialist. Their celebrations are interrupted when the maid Edna (Beryl Rigby) announces the arrival of Inspector Goole (Mark Murphy) who is enquiring into the death earlier that day of a young lady. At first there appears to be no connection between the family and the unfortunate deceased but the relentless questioning of the inspector proves otherwise. Each of them has been involved in separate incidents in her life.

The performance of each member of the cast was faultless in portraying every nuance of Priestley's enthralling script and I congratulate them all, together with Shiela Cummins — making her debut as a director — and all concerned in this first class production.If there is better drama than this I have yet to see it.

CRAZY FOR YOU (September 2003)
Director: Neil Townsend
Musical Director: Jill Hyde
Choreography: Christine Whitfield

To think of doing a show like this on a stage like the one at the Parr Hall, Warrington, the director you would think would have to be biting off a little more than he could chew. But no, except for the use of the gauze which did not work the night I attended because of the back lighting. Otherwise not only did he cope but the show flowed and so did the scene changes. Well done backstage. Add one of the best orchestras I have heard for some time, and add to that a team of talented dancers and you have a show to be proud of.

I have seen many of this society's productions and the high standard that I have witnessed in the past was back again. With a relatively small enthusiastic cast and a pretty chorus line of ten the time passed far too quickly.

Bobby Child played by a effervescing Mark Hemmings who learned to tap for the show and who was also doing his first principal role did the part justice as did his leading lady, who also was doing her first principal part and performed like she had been on stage all her life. This attractive young lady gave a superb portrayal of Polly Baker, unfortunately the society will lose Joanne Kelly to college but I'm sure she will grace the stage again with talent like hers it should not be wasted.

Sebastian Farrell gave a sound portrayal of Bella Zangler. I particularly enjoyed" What Causes That?" Rob Gregory played Lank Hawkins and we had a lovely cameo by Mike Hall who played Polly's dad, Irene Roth was the man hunter played by Meryl Bunce, Anita Warburton gave her usual extremely good performance as Bobby's Mum. And to finish off we had two delightful performances by Robert Higham and Pat Jackson proving once again that there are no small parts.

But this is another show which needs excellence in the chorus as well as the principals and they did them proud, the gentlemen but even more so the Follies Girls who were brilliant and by the time they had finished their first number you wanted to be tapping yourself, well done girls.So what can I say, a wonderful show that overcame the difficulties, my thanks to all concerned.

DON'T DRESS FOR DINNER (May 2003)
Director: Alan Thomas

Having seen the original production of this comedy by Marc Camoletti and Robin Hawden, which starred Su Pollard and Simon Cadell, prior to the successful West End run, I was particularly interested in seeing how it would transfer to the amateur stage es pecially as it was performed at the new Pyramid Centre which had not previously accommodated a staged production.

A superb set designed by director Alan Thomas constructed by Society Members and Friends provided the backdrop for an extraordinary hilarious production.

Basically, Jacqueline (Patsy Roberts) was to spend a weekend visiting her mother thereby enabling her husband Bernard (Peter Boardman) to invite his mistress Suzanne (Marilyn Baxter) to stay the weekend.
Having booked a Cordon Bleu chef from an agency to prepare their dinner Bernard, for the sake of an alibi, also invited his old chum Robert (Mark Murphy) for the weekend.
Jacqueline promptly cancelled her trip when she learned that Robert was staying as the two of them had been having an affair for years!
Robert was persuaded bt Bernard to pretend that Suzanne was his girl friend much to Jacqueline's annoyance.

The plot was further complicated by the arrival of the chef, Suzette (Clare Asprey) who was mistaken by Robert for his friend's mistress Suzanne.  Are you with me so far?
The later arrival of the chef's husband George (Rob Gregory) added to the reultant hysteria.
How the cast managed not to join in the audience's laughter remains a mystery to me.

It was particularly pleasing to see Clare Asprey taking a part in her first non-musical role for the Society joining the more seasoned farceurs in a first class production.

CAROUSEL (March 2003)
Director: Eric Rimmer
Musical Director: Jill Hyde
Choreographer: Julie Parry

An obstacle that Centenary has to overcome with every production at Warrington's Parr Hall is that it was not designed as a theatre and there are virtually no facilities for staging theatrical performances. Despite this drawback the show opened with a lively all the fun of the fair prelude in which the dancers portrayed the carousel in a well thought out and performed routine.

Clare Asprey brought charm, sincerity and fine vocal talent to the role of Julie Jordan whilst Joe Whitlow, in only his second principal role, was a masterful - if somewhat youthful - Billy Bigelow. The pairing of Clare Ewing as Carrie Pipperidge and Ray Hanson as Enoch Snow worked well. Their characterisations were good both visually and vocally.
Twelve years on from the society's previous production of Carousel, incidentally their first production in the Parr Hall, Sheila Cummins reprised her performance of Nettie Fowler in the traditional warm hearted manner that is the hallmark of this role. Steve Ross was a suitably villainous Jigger Craigin and Anita Warburton was an ideal Mrs Mullins. The scene stealing Snow children were immaculate and I was most impressed with the dancing and acting ability of Davina Kernahan as Louise.

Other minor roles were performed well with good chorus and dancing routines accompanied by Jill Hyde's fine orchestra.

One attribute of the Parr Hall is its balcony which enabled Billy to appear with the heavenly friend 'up there' whilst Julie held centre stage singing "if I Loved You" in an eye-moistening finale bringing the curtain down on a good all-round evening's entertainment.

THE DRESSER (November 2002)
Director: Alan Thomas

A well planned and constructed back-stage scenario was the setting for this play set in the 1940s during the London blitz.

In the role of Norman, the Dresser to "Sir", Mark Murphy gave a brilliant marathon performance being on stage for virtually the entire production. His portrayal of the increasingly alcohol-sustained dresser pandering to the needs and demands of "Sir" was a lesson in timing and stage craft well matched by the performances of Peter Boardman as the over-the-hill Shakespearian actor/manager "Sir" playing King Lear, and Marilyn Baxter as his leading lady "Her Ladyship".

As the domineering Stage Manager Madge, Sheila Cummins later showed a tender emotional side to the character when she disclosed her longstanding devotion to "Sir".

The cast was completed in fine style by Davina Kernahan as the ASM wannabee actress Irene together with Robert Higham, Robbie Coke-Woods and Mark Hemmings as an unlikely trio of Shakespearian actors available solely as they were either too old or unfit for military service! The attention to detail in the set design by stage manager Aaron Cawley which was constructed by members and friends of the society complemented this fine production.

PIRATES OF PENZANCE (BROADWAY VERSION) (September 2002)
Director: Alan Thomas
Musical Director: Jill Hyde
Choreographer: Christine Whitfield

A pet hate I share with colleagues is to have an overture ruined by the chattering of discourteous members of the audience but on this occasion I needed to have no fear. The moment Jill Hyde's fine orchestra struck up, the Parr Hall audience fell silent and enjoyed the opening of Joseph Papp's version of this G & S favourite.

Led by Mike Hall (Pirate King) and Steve Ross (Samuel), the Pirates buckled their swashes in lively fashion. A bevy of well costumed daughters led by Clare Ewing (Edith) sang well but at times their routines appeared to be rather static. Clare Asprey brought her fine vocal and acting talents to the role of Mabel and it was a pleasure to see and hear Joe Whitlow in his first lead role as Frederick. Their duets were delightful. Also playing his first principal role, Robbie Coke-Woods demonstrated a degree of comedy in the part of the Police Sergeant that one would expect from a more seasoned performer.

The obvious talent of these three young performers carries the promise of fine theatrical futures which I am sure the society will appreciate and nurture.

Patsy Roberts (Ruth) and Mark Murphy (Major General Stanley) performed their respective roles to their customary high standard.

The production would have been enhanced by the addition of half a dozen more males in the chorus, an aspect which is becoming more and more prevalent with many societies. It was particularly obvious when the chorus needed to be divided between policemen and pirates in the final scene.

That said, it was still a fine evening's entertainment.

MY FAIR LADY (March 2002)
Director: Neil Townsend
Musical Director: Jill Hyde
Chorus Mistress: Marion Massey
Choreographer: Betty Hall

Putting any musical on stage at the Parr Hall is an achievement but the limitations of this venue were again overcome magnificently by Centenary's Stage Manager Aaron Cawley and the construction team with a superb set.

Mark Murphy was Henry Higgins to a 'T', giving a dominating performance as good as I have seen on the amateur or professional stage. His diction - both spoken and sung - and his stagecraft could not be faulted.

Progressing from her previous performances as Calamity Jane and Tzeitel, Clare Asprey gave an endearing interpretation of the role of Eliza, and Walter Brown, making his stage debut with the Society, was a convincing Colonel Pickering.

Mike Hall obviously enjoyed the role of Alfred P. Doolittle and with his side-kicks Jamie (Joe Whitlow) and Harry (Trevor King) led the chorus in the traditional raucous interpretations of "With a Little Bit of Luck" and "Get me to the church on time".

The production was complemented by the performances of Jason Coman as the lovesick Freddy, Anita Warburton as the stately Mrs Higgins and Audrey Flint as the harassed housekeeper Mrs Pearce, together with the other minor principal characters which were all well cast and directed admirably by Neil Townsend.

The entire show moved at a cracking pace backed by a magnificent orchestra under the enthusiastic baton of Jill Hyde.

A fine production - well done everyone.