The answer was yes to all three questions.  Die Fledermaus offered a sublime combination of a strong plot, good acting and excellent music that could not fail to provide a great evening of entertainment.

I was hooked from the very start when the orchestra opened with a rousing number that visibly moved and excited myself and the people around me.  I then settled back and watched the comedy unfold as the characters we are introduced to in the first act come together, unbeknownst to each other, at the ball in Act II.  The artful confusion increases in the prison in the final act before all is resolved, leaving the audience with a shared feeling of satisfaction.

Apart from the compelling central relationship between Eisenstein and his wife, Rosalinda (Will Davies and Katy Thomson), two particularly outstanding performances must be highlighted.  Sam Morgan as Frank, the prison governor, shone throughout, from stumbling around with a hangover that had the audience in stitches to his superb background acting that threatened to distract my attention completely away from the main action.  Rosy Rowell’s glorious overacting in the first act as the maid Adele was an absolute joy to watch.

Ned French is to be commended for his all-too-brief appearances which extended the humour of the operetta.

The chorus were directed very well and as such they successfully created the sense of a busy and wild party with apparent ease.  The background acting of the whole chorus was strong, which enhanced the professionalism of the production.

The decision to have a female (Sarah Baillie) play the Russian Prince Orlofsky was an interesting one.  Whilst the part was played admirably with great gusto, I feel that the role would have been better played by a male actor whose deeper tone would have provided a more amusing and interesting contrast to the slightly feminised portrayals of the other major male characters.

The scenery was well thought out, fitting in to the performance as a whole whilst not being so dominant that it detracts from the action.  Along with the costumes, it helped to convey the notion of the decadence and the wastefulness of the aristocracy which is so important to this operetta.

Artistic performance is not the primary function of the Great Hall in Durham Castle and, consequently, the nature of the seating meant that my view was not as good as I would have liked (the silhouettes of people’s heads are never as interesting as on-stage action).  However, opera is very much an audible experience, so this did not undermine the production too much.

All in all, everyone involved in Die Fledermaus ought to be proud in their achievement of instilling vitality into a piece that, given its age, could have been dry.  It certainly gave me a taste of the power of opera.  More, please.

When they did work however, the group performances were the highlight of the night. I was impressed at the consciousness of effect when it came to colour in the Modern Jazz performance choreographed by Gemma Gillie who used green and white in a subtle but effective manner to help tell the story of the dance. Whilst it was undeniable that a foot or two went wrong throughout the show,  this could easily be put down to first night nerves and any mistakes which were made were soon forgotten by the audience thanks to some incredibly graceful movements and motifs such as a flower bud opening or a ring, which were a real joy to watch.
Whilst dance is often associated with the feminine, the best performances of the night tended to be from the guys which was a real surprise. Comedy was present with Alex Eccles’ cheeky solo to the song ‘Banana Phone’  but special mention has to go to Derek Addai. His moves were simply phenomenal in their cleanness and quickness – that boy can certainly dance! Addai was a real crowd-pleaser and it doesn’t take much to figure out why – during his later dance with the Phoenix Crew, the pleasure and joy of performing was written all over his face and it was physically impossible not to smile along with him – the mark of a true performer.
Obviously, the girls didn’t let their side down either. Jo Wright’s solo performance was simply enchanting in its expression of beauty and grace; you almost held your breath when watching her. Wright’s choreography too was superb; one of my favourite performances of the night was the Advanced Ballet who weren’t quite walking on air, but certainly weren’t far off. It was hard not to feel calm when watching their serene movements and they were helped by a very smart music choice by Wright whose self-awareness of how music and dance coincide bodes well for any future performances she may do.
Whilst on the whole, the show was satisfying, there were some moments that were downright frustrating. Whilst every perforner has certain idiosyncrasies, some were immensely distracting such as an incredibly irritating arm which flailed around by one of the dancers in the Beginner’s Tap or the utter dourness of one of the gentleman in the Salsa who looked utterly bored at the prospect of dancing with a charming young lady – hardly the spirit of the dance. The Salsa performance also committed another crime, that of talking on stage. I found myself following a conversation rather than focusing on the performance which was a real shame as otherwise, the Salsa added some spice and it would have been nice if there had been more Latin dances or some ballroom added to the mix.
Overall, the show was  definitely worth the watch. The range of performances was impressive, from ballet to a deliciously dirty Hip Hop performance. Whilst flaws were evident and an overall story or progression would have been nice, I sincerely hope that InStep will grace Durham with another show in the near future.

The close-knit cast effortlessly embody an intensity of communal spirit that only the experience of shared suffering can foster.  It is in the homely defiance of ‘Who’s this geezer, Hitler’ that truly conveys how unique this play is; it is stunningly grounded in the familiar, denouncing Hitler as a “nasty little b****** with a black moustache and we won’t have him here” with the charming irreverence of an indignant mother.

And it is in the indignant mother that the pivot of the play is found, Sarah Hollinshead dominating the stage with her deep soulful voice, which her son calls “the voice of doom” in its strength and maternal optimism, exemplifying Bart’s vision of the spirit of Blitzed London.  Hollinshead’s poise skilfully delineates the absolute dignity of the “Bake a Cake” mother, her domestic sublimation of her hardship, her “cakes were all heartaches” epitomising the resilience of the Home Front. The number “So Tell Me…Jack”, Mrs B’s fruitless appeal to her beloved deceased, movingly exposes the frustrated solitude of a single mother of five.

Special mention must be accorded to Hayley Parsons whose searing vocal peaks and nuance faultlessly conveyed her bittersweet fate as the Jewish Juliet to Gordon Taylor’s Cockney Romeo.  The exhausted romantic chestnut is reinvigorated not only in the tangible chemistry of the tentative lovers but in the contextual complexities of an anti-Semitic feud that fails to divide in a staunchly anti-Nazi community.  “As Long As this is England” resurrects the notion of defiance in community, the vast cast forming what seems one homogenous body of national pride as they sway heartily against the exterior threat.

Punctuated by deafening blasts that redefined the notion of contemporary relevance with the audience lurching in fright, the insubordination of the community refuses to abate, a blast followed cheerfully by the pulsating “Leave it to the ladies”.  The inclusion of a large host of child characters boosted and sustained the energy of the piece, their cheerful naivety being the basis of the black humour of “Mums and Dads”, a fiction that so starkly contrasts to the single parents and divided lovers of the war.

However, with the exception of the vibrant Blitztein women and the consistent characterization of the children, the acting on the whole was two-dimensional, lacking recognition of the gravity of the soldiers’ turmoil.  Gordon Taylor, although charming in the role of bashful lover, fails to convince as the traumatized returning soldier and there seems to be an implausible unconcern for the perils awaiting Harry Blitztein in combat on the part of his mother.  Their relationship however is most convincing when conveying generational friction, the timeless hypocrisy of the mother’s “be what you want to be” being exposed by her matriarchal concern.

Blitz! is an unfurnished gem in a sea of glossy musicals whose unrelenting energy and homeliness is truly cheering in this the most unlikely context – in one word, inspired.

When waiting in the Caedmon Hall I must admit to having high expectations of 42nd Street from its glamorous publicity and the knowledge that the production had been in rehearsal for around 2 months. This tap-centred musical depicts the story of a young, naive Peggy Sawyer, (delightfully portrayed by Sarah Peters) who stumbles into the auditions for the play “Pretty Lady”. Inadvertently challenging the once famous Dorothy Brock (Hannah Cope), Peters presents the progression of a chorus girl into a star, guided by her director and later love interest Julian Marsh (David Stodel). The metadramatic nature of the musical allowed for creativity on the directors’ behalf which was taken up wholeheartedly by Jonnie Grande and John Hall. The performance was very visually effective with imaginative use of lighting and an array of costumes which worked effectively with choreography to develop atmosphere in different scenes, seen for example in the silhouetted dance behind a screen.

The show witnessed another stunning performance by Peters with accuracy in her role and notable character progression through the second half whereby her rendition of “42nd Street” was well directed to echo Cope in expression and mounting confidence. Cope portrayed a convincing diva, supported by a powerful voice, giving a strong impression in her first production with Durham Theatre. Some of her characterisation however bordered on too melodramatic, taking away from the authenticity of her role; a criticism which is more concerned with the director. Applause must go to Stodel who gave a consistently charismatic performance with sincerity of character throughout showing undeniable talent. Joe Childs’ emotive rendition of “Lullaby on Broadway” was successfully carried out and Sian Dolding portrayed an enthusiastic Maggie with an appropriate maternal aspect; both actors keeping consistently strong in all areas of performance. It would be impossible not to mention here the comic flair of Dave Jenkins. Mincing on stage and proclaiming “Dancing is my life!” he naturally brings something to the cast, often proving a distraction from the main happenings on stage.

A criticism which must be noted however was the volume of the band. Certain cast members were forced to shout their lines to be heard and some lines were drowned out altogether; something which was frustrating for the audience throughout the performance. This was unfortunate as the musical director Seth Miall showed aptitude in his work with the cast but this did bring down the professional image of the play.

The choreography was undeniably impressive; however the choreographers (Emma Cave and Megan Clayton) needed to recognise the size and limitations of their cast. Some of the dances, particularly those that incorporated the whole chorus appeared too ambitious for a college cast, some of whom had never danced before. Their hard work was clearly seen in the performance of the cast, nevertheless the complexity of some of the routines lacked accuracy which was emphasised by the nature of tap, whereby the effect is not only visual but audible. Some of the dances thus appeared cluttered and mainly led by the core chorus girls. The final routine however had more precision and much higher energy producing a strong penultimate song. The five main chorus girls (Clare Reavey, Adele Pope, Catherine Scutts, Rachel Argent and Laura Warton) all deserve special mention for their talent and accuracy in several numbers. The choreography of their dances was outstanding, tailored to their abilities and executed neatly.

The support and enthusiasm of the whole chorus was evident throughout and really uplifted the musical as a whole. The dedication of the entire cast and crew to pull off such an ambitious production was clear and worthwhile, resulting in a fantastically enjoyable performance on all fronts. I am pleased to say that my expectations were met, and despite occasional weaknesses, the whole team demonstrated aptitude worthy of commendation.

Sadly for director Caz Brett, Guards! Guards! not only failed to hit this reviewer’s spot but was in the wrong region entirely, saved only by the skill of Ben Saunders’ technical team and the commendable acting of a select few. In fact, it is the natural charisma and well-honed comic timing of this handful that holds the play together and saves it from disaster.

Adapted from the eighth book of Terry Pratchett’s Discworld series, this standalone play should have had fans and newcomers alike roaring with laughter. Instead, with a cast of actors who could neither enunciate nor project, this was one comedy that left the audience dumbfounded rather than diverted.

Understudy Diccon Mellors struggled most with his role as Footnote, the play’s one man chorus-cum-commentator. Replacing Katie Logan, he lacked the timing, diction or vocal strength to do the role justice. Lines which should have raised laughter merely raised eyebrows while his late entrances and clumsy exits deserved every frustrated eye-roll. A better casting choice might have been Dave Spencer, who played an array of characters and whose stage presence and ability singled him out from others filling minor roles.

Thankfully, Katie Logan’s strong performance redeemed the show. Playing Lupine Wonse, the Supreme Grand Master who summons a dragon in a bid to take control of Ankh-Morpork city, Logan’s interpretation is an unusual one but her natural talent and superb timing gave the impression that she had been cast experimentally, and successfully, rather than filling in as an understudy for the absent Rob Richmond.

Another notable female was Alice Christian who played Lady Ramkin, an upper-class breeder of swamp dragons. The onstage chemistry between Lady Ramkin and the hero Captain Vimes, played by Karim Mariey, immediately endeared the pair to the audience with their hilariously overt flirtation. Although Mariey’s accent fluctuated from American to generic-Discworldian throughout the evening, Christian delivered a flawless and consistent performance in all respects.

Both actresses were aided by Emma Cunliffe’s excellent costume choices. Lady Ramkin’s wardrobe perfectly suited the character’s batty yet charming personality while the plain black robes worn by the Supreme Grand Master’s band of Elucidated Brothers created a mysterious yet simultaneously absurd atmosphere for this secret society of bungling magicians.

It is a shame that Cunliffe’s attention to detail was not shared by Brett who let her cast down with poor direction. One actor was half-hidden by a curtain while delivering a line and excessive movement from the five Brothers meant that each unnecessary gesture literally created ripple effects across their robes, distracting from those speaking, despite the lighting team’s faultless attempts to direct the audience’s focus.

Excessive noise was also an issue. While the Assembly Rooms is an excellent venue on the whole, the painful squeak of machinery meant that the audience was abruptly thrown out of Ankh-Morpork and back into Durham every time the background screen was lowered. Although this was clearly out of Brett’s control, the efficiency of her stage-hands was not. Irritatingly, black-outs were punctuated by shoes shuffling across floorboards and furniture clunking onstage.

For all its faults, Guards! Guards! still had the last laugh. Tom Eklid’s Carrot injected a sweet-natured enthusiasm as he enforced law and order in a city that had an established ‘licensed thieving quota’ with the Thieves’ Guild, creating much of the comedy in the first act. Ben Saunders and Evan Jones also brightened the second act as the inept duo Sergeant Fred Colon and Corporal Nobby Nobbs, bringing spark and energy to the stage.

With a great script, an excellent technical team and some truly talented actors, this performance of Guards! Guards! had a dragon’s hoard of potential but failed to generate the laughs it promised. This is one reviewer who will not be asking for a second date in Discworld.

What followed was the tale of Jason, a ‘Bramerican’ (that’s British-American) and his Mexican bride Hosanna Juan, who are on the verge of divorce on account of his wife’s ambition to migrate to America, which wasn’t at all reminiscent of West Side Story, which Rebecca Collingwood had starred in at the start of term… Ben Starr lived up to his name as the laugh-a-minute star of the show, taking on the roles of marriage counsellor and Jason’s Bramerican buddy, Jimmy, the second half of ‘J-squared’.  Hosanna’s parents are the owners of a shoelace business, and Steven is the textiles student researching shoelaces (and later Jason’s love rival). The crutch was an ‘ancient object’ he had bought at the market, which turned out to be of great value. He unwittingly gives it as a gift to Hosanna, and Jason uses it to buy her and the Juan family’s passage to the US.

Of course they all lived happily ever after, but along the way there was much sparkling wit, such as J-squared’s signature phrase “Cock to crotch”, silky smooth vocal harmony in ‘We can work it out’, and some eye-popping hip wiggling in ‘Stop stealing my energy drinks’. Dramatic tableaux and medleys were used to great effect, showing off the adaptability of the performers. This crowd pleaser would certainly be a hard act to follow.

24 Hour Plays

After the hilarity that ensued from the Improvised Musical, the two 24 Hour Plays struck a very different chord. The intrepid teams behind them went head to head, with 24 hours to write, learn and perform brand new pieces inspired by audience suggestions. First of all was ‘Forever but Never’, a curious tale of a cheating husband, Giles Gate, who plots to kill his blackmailing bit on the side, a Miss Collingwood, but instead accidentally kills his wife with a car bomb. He seeks out a psychic, The Great Saldini, to contact his wife in the afterlife, via the magic Skype Ball.

As the plot unfolds, we learn that the now deceased Rebecca Gate has been having an affair with Saldini all along. Saldini peppered the play with innuendo, steering it away from being that little bit too experimental. Then an Irishman suddenly appears (don’t ask me) bringing a box onto the stage. It transpires that the box contains a gun-toting Miss Collingwood, who proceeds to kill all of the remaining characters, sending them all to purgatory to join Giles’ wife. They all go off for a steamy Jacuzzi session, leaving Giles alone to sing ‘All by myself’.  The irony was clearly not lost on the giggling audience, and the play went on to win the judges’ award for the Best 24 Hour Play.

The second play, entitled ‘It Takes One to Know One’, was entirely different, playing out as a celebrity fairytale panel show. Rapunzel, it seems has decided to pull a Britney and shave her head. The format of using an off-stage interviewer and putting each of the four panellists in separate studios gave the piece a slightly stilted nature, but there were still endearing moments to be found. Di Gruff (of Billy Goats fame) portrayed palpable heartbreak as Rapunzel’s former squeeze, whilst Specky the not-so-blind mouse perfectly emulated the spaced out druggie of the Pete Doherty persuasion. Goldilocks had starred alongside Rapunzel in ‘The Oatso Simple Life’, and came across well as the It-girl fallen from grace, after a sex tape scandal involving Daddy and Baby Bear. But it was ‘The Artist Formerly Known as Prince Charming’ who stole the show with his camp bitchiness, with one-liners such as, “I wonder why they call her Snow White? Sniff, sniff”, and, “Sleeping Beauty – date rape.” Despite the Prince’s efforts, this piece did not seem to mesh together as well as ‘Forever but Never’, which explains why it lost out on the awards front.

The DULOG Caberet

The DULOG Cabaret gave a fitting celebratory flourish at the end of the festival, showcasing a wide array of talented singers, actors and dancers. These ranged from regulars on the Durham Musical Theatre scene, to those who were treading the boards of the Assembly Rooms for the very first time. Jo Cichonska provided faultless piano accompaniment

The breathtakingly dramatic opening act was choreographed by Maddy Mutch, and was a sublime tango-ballet fusion to ‘Roxanne’ from ‘Moulin Rouge’. The spot on pointe work of the dancers fitted perfectly with the climactic music, and the use of red lighting was extremely atmospheric.

This was followed by the wonderful Jessie Keely’s perfectly acted rendition of ‘The Life I Never Led’ from ‘Sister Act’, in which you could almost feel the audience being won over by her vulnerability one by one. We were treated to yet more dynamic dance in the form of a Blues Brothers’ Medley, choreographed by Tamara Gates, which was performed with real gusto, accompanied by a cheeky glint of the eye.

A trio consisting of the Nikki Jones, Rebecca Collingwood (of Maria in West Side Story fame) and Rebecca Mackinnon then showcased their rich vocal harmony and characterisation in ‘Bluer than you’ from the musical, ‘A… my name is Alice’, winning over the crowd with their portrayal of three women unlucky in love.

Emma Cave performed an emotion-fuelled lyrical dance to ‘Easy as life’ from the musical ‘Aida’, once again leaving the crowd hanging on her every movement. Sarah Baillie sang, ‘Maybe this time’ from ‘Cabaret’, with raw emotion that had the audience rooting for her Sally Bowles. This won her the Best Musical Performance award later that night.

Sarah Peters’ ‘Surabaya Santa’ from Jason Robert Brown’s  ‘Songs for a New World’ was one of the comedy highlights of the evening, as she lamented her loneliness as Mrs Claus. Her comic typing was right on the mark, and gave her real entertainment value.

Cara Parkinson performed, ‘Leave Your Troubles at Home’, a tap dancing accompanied tune penned by Durham’s own Andrew MacFarlane. This piece was one of the more typically cabaret style of the night, and Cara performed it with panache. The ‘Alto’s Lament’ performed by Debra Lowe was another comedy highlight, as she portrayed the chorus girl longing for a melody.

But it was the ‘Rent’ medley that really brought the house down and gave the final valedictory flourish. It was directed by Emma Butler, and performed by a group whose charisma and hours of practice shone through. This final piece of the Durham Drama Festival certainly lived up to its name, acting as a true celebration of the manifold talent that Durham students have to offer.