National Operatic & Dramatic Association London Region
Thank you for your invitation and for the additional ticket which was much appreciated. Peter and Ruth
your welcome was as warm as ever; thank you for the drinks and the chat Peter.
All Shook Up was very well directed by Peter Dodsworth – both on stage and musically – quite a work
load especially as I know you are BTC’s chairman too. When I realized you were using tracks instead of
a live band I was doubtful as I have heard and seen bad results in the past but this time it all worked well,
mainly I suspect due to Peter’s firm hand on the buttons!
Peter was ably assisted of course by a very talented production team and, importantly, by two excellent
choreographers, Adam Millard and Johnny Schwerzmann. All the movements and dances were well
thought out and performed with immense energy and enthusiasm.
Your ‘ ‘elf and safety’ announcement was well delivered in character, which is always a plus in my
estimation – as it has to be done, it might as well be part of the show.
I liked the set, designed and built by Peter, Andy Kennett, Paul Roxan and Ian Selinger. Siting the
workshop in front of the tabs SR worked well and putting the Tunnel of Love high up SL was excellent.
Having part of Sylvia’s Café sited underneath it was another detail that really worked as it took some of
the protagonists out of the way of the main scene whilst leaving them fully visible. All three of these side
scenes were very well lit by Paul Roxan using Peter Humphries’ design, as was the main stage. However,
I thought that once or twice, for example in All Shook Up, some of the principals were out of the spots.
This is more likely to have been their fault, I suspect, rather than down to lighting. I think you had no
follow spot so I realise that it is a well-nigh impossible situation for the lighting operator to rectify.
The sound too was very good; Nick Cooper kept control of all aspects of this alongside Peter, who, I
understand, dealt with the tracks; both of you worked hard to ensure that the singers were never drowned
out and sound effects, such as the arrival of the motorbikes, blended seamlessly into the action.
The Programme, designed by Paul Roxan, was informative but why just list the musical numbers with
their appropriate credits without saying who was singing them in the show? Also, there was no list of
scenes. Nice mention of NODA and you are justly proud of your regional award for the best musical.
Good cast photographs by Rosalind White too.
Make up, no credit in the programme but this was very appropriate for the period, well done –
presumably the cast did their own?
The wardrobe team, Julia Saddler, Michelle Selinger, Hannah Austin and Ali Bowlzer, coordinated the
period outfits well. I loved all the blue shoes, a nice touch this. However, Natalie wore two dresses
which were very similar, the second only lacking the large oil stain sported by the former. There was
very little difference in her appearance, especially as she retained a head scarf, and certainly not enough
to justify the cries of amazement and admiration when she appeared. Perhaps loose hair, a bigger skirt
with period net petticoats underneath would have helped here?
Finally, on the tech side, your stage manager, Andy Kennett, and his crew managed the changes swiftly
and efficiently. However, Andy, watch those sight lines. There was a very visible ladder DSR; I kept
thinking that this would play a part as it was in view of members of the audience who were on the far side
of the auditorium but there did not seem to be a reason for its presence. It is always well worth viewing
your finished set from all angles!
Now to the all-important performance notes.
The ensemble, the Movers and Shakers plus the Milk Shakers, were all very good. Your diction was
excellent and your entrances and exits slick and well timed. You danced and moved well too.
The principals, without exception, were excellent and you all maintained your accents and characters
throughout. I can honestly say that there was not one of you who ever lost concentration and full
awareness of what was happening around you, even when the audience’s attention was not on you.
Chad, Craig Allen – good rock singing a la late lamented Elvis. The opening number Jailhouse Rock was
particularly good and you set the bar very high for everything which followed.
Natalie, Leanne Dormody, you have a great voice, especially for this type of music. All your songs were
excellent and Fools Fall in Love was superb.
Sylvia, a great performance in this part from Pauline Aldridge. Played with immense energy and
enthusiasm too.
Jim Haller, John Asher, again, you were really excellent and I particularly liked your actions on the
sidelines in Heartbreak Hotel.
Laurie Asher, your portrayal of geeky Dennis was outstanding and your expressions underlined your
words and actions well.
Sandra, Kat Mann, another really good performance from you Kat. Congratulations. Your version of
One Night with You was very funny and you sang Let Yourself Go very well. Loved the statue dusting
incidentally – even the live ones never sneezed!
Dean, Alex Bree, the epitome of a shy mother-dominated teenager, who rebels when he meets the girl of
his dreams. It’s Now or Never with Lorraine, played by Holly Honeyman, was another excellent number.
Holly, you and Dean paired very well with good chemistry between you which helped your characters
really come to life.
Karen Aimee played Mayor Matilda Hyde as an overbearing character with a hidden soft centre. Your
simpering bride in the finale was priceless!
Sherriff Earl, Nick Callaghan, a silent cipher, until we were almost at the end of the show. Well played.
You are a very talented group and the attention to detail you bring to your shows makes it a real joy to
watch you.
Judith Watsham
Regional Rep NODA London 11 and 11A
Thank you for your invitation and for the additional ticket which was much appreciated. Peter and Ruth
your welcome was as warm as ever; thank you for the drinks and the chat Peter.
All Shook Up was very well directed by Peter Dodsworth – both on stage and musically – quite a work
load especially as I know you are BTC’s chairman too. When I realized you were using tracks instead of
a live band I was doubtful as I have heard and seen bad results in the past but this time it all worked well,
mainly I suspect due to Peter’s firm hand on the buttons!
Peter was ably assisted of course by a very talented production team and, importantly, by two excellent
choreographers, Adam Millard and Johnny Schwerzmann. All the movements and dances were well
thought out and performed with immense energy and enthusiasm.
Your ‘ ‘elf and safety’ announcement was well delivered in character, which is always a plus in my
estimation – as it has to be done, it might as well be part of the show.
I liked the set, designed and built by Peter, Andy Kennett, Paul Roxan and Ian Selinger. Siting the
workshop in front of the tabs SR worked well and putting the Tunnel of Love high up SL was excellent.
Having part of Sylvia’s Café sited underneath it was another detail that really worked as it took some of
the protagonists out of the way of the main scene whilst leaving them fully visible. All three of these side
scenes were very well lit by Paul Roxan using Peter Humphries’ design, as was the main stage. However,
I thought that once or twice, for example in All Shook Up, some of the principals were out of the spots.
This is more likely to have been their fault, I suspect, rather than down to lighting. I think you had no
follow spot so I realise that it is a well-nigh impossible situation for the lighting operator to rectify.
The sound too was very good; Nick Cooper kept control of all aspects of this alongside Peter, who, I
understand, dealt with the tracks; both of you worked hard to ensure that the singers were never drowned
out and sound effects, such as the arrival of the motorbikes, blended seamlessly into the action.
The Programme, designed by Paul Roxan, was informative but why just list the musical numbers with
their appropriate credits without saying who was singing them in the show? Also, there was no list of
scenes. Nice mention of NODA and you are justly proud of your regional award for the best musical.
Good cast photographs by Rosalind White too.
Make up, no credit in the programme but this was very appropriate for the period, well done –
presumably the cast did their own?
The wardrobe team, Julia Saddler, Michelle Selinger, Hannah Austin and Ali Bowlzer, coordinated the
period outfits well. I loved all the blue shoes, a nice touch this. However, Natalie wore two dresses
which were very similar, the second only lacking the large oil stain sported by the former. There was
very little difference in her appearance, especially as she retained a head scarf, and certainly not enough
to justify the cries of amazement and admiration when she appeared. Perhaps loose hair, a bigger skirt
with period net petticoats underneath would have helped here?
Finally, on the tech side, your stage manager, Andy Kennett, and his crew managed the changes swiftly
and efficiently. However, Andy, watch those sight lines. There was a very visible ladder DSR; I kept
thinking that this would play a part as it was in view of members of the audience who were on the far side
of the auditorium but there did not seem to be a reason for its presence. It is always well worth viewing
your finished set from all angles!
Now to the all-important performance notes.
The ensemble, the Movers and Shakers plus the Milk Shakers, were all very good. Your diction was
excellent and your entrances and exits slick and well timed. You danced and moved well too.
The principals, without exception, were excellent and you all maintained your accents and characters
throughout. I can honestly say that there was not one of you who ever lost concentration and full
awareness of what was happening around you, even when the audience’s attention was not on you.
Chad, Craig Allen – good rock singing a la late lamented Elvis. The opening number Jailhouse Rock was
particularly good and you set the bar very high for everything which followed.
Natalie, Leanne Dormody, you have a great voice, especially for this type of music. All your songs were
excellent and Fools Fall in Love was superb.
Sylvia, a great performance in this part from Pauline Aldridge. Played with immense energy and
enthusiasm too.
Jim Haller, John Asher, again, you were really excellent and I particularly liked your actions on the
sidelines in Heartbreak Hotel.
Laurie Asher, your portrayal of geeky Dennis was outstanding and your expressions underlined your
words and actions well.
Sandra, Kat Mann, another really good performance from you Kat. Congratulations. Your version of
One Night with You was very funny and you sang Let Yourself Go very well. Loved the statue dusting
incidentally – even the live ones never sneezed!
Dean, Alex Bree, the epitome of a shy mother-dominated teenager, who rebels when he meets the girl of
his dreams. It’s Now or Never with Lorraine, played by Holly Honeyman, was another excellent number.
Holly, you and Dean paired very well with good chemistry between you which helped your characters
really come to life.
Karen Aimee played Mayor Matilda Hyde as an overbearing character with a hidden soft centre. Your
simpering bride in the finale was priceless!
Sherriff Earl, Nick Callaghan, a silent cipher, until we were almost at the end of the show. Well played.
You are a very talented group and the attention to detail you bring to your shows makes it a real joy to
watch you.
Judith Watsham
Regional Rep NODA London 11 and 11A