National Operatic & Dramatic Association London Region
Thank you for your usual very warm welcome and the refreshments. It was a delight to see a show which was
both completely new to me and also so very well performed. The hard work put in by the entire cast, your MD
Peter Dodsworth and your director and choreographer, Paula Geere, really paid off with this production and I
can honestly say that you achieved near professional heights from the initial squeaky recorder playing to the
final bow.
Paula’s choreography was excellent – particularly the tap dance and all the duets. The movement in Hello
London looked complicated but it all worked so very well. Several of the cast have had dance training and I
think this helps anyone who hasn’t had this advantage to up their game massively.
Your set, designed and built by Ian Selinger, was more minimal that usual but it worked really well. Good use
of the two DS areas too, firstly for the headmistress’s study and the locker room, then with excellent cut outs
representing London icons which I think must have been painted by your scenic artists Jo and Christian
Twelftree. The gauze blocking the band was another area which worked efficiently; I have seen groups use
gauzes recently when the lighting was not quite right, so the audience saw through it – not the case here with
Peter Humphreys’ excellent lighting plot – well operated by Joe Queralt. Loved the LED string behind the band
when they hove into view at The Stairways Club. The simplicity of the set meant the minimum disruption when
migrating into and out of the School Hall for example. Also, the balcony, aka Chelsea Bridge, looked fantastic.
Julia Saddler, assisted by Alison Bowlzer, produced some great costumes – all in period. The tunics and shirts
worked well when changing for the hockey match. Great ties, and I noticed the band wore them too – it is little
touches like this which lift productions to new heights. Very well done. Giving Camilla a belt to give her more
shape than the other girls was a clever move too as it emphasised that here was a character who was more
grown up than the other sixth formers as was required by revelations as to Camilla’s character as the story
unfolded.
The tuneful small band never drowned the singers either – so good work on the sound Nick Cooper and Peter
Child. Loved the sound of the off-stage showers too!
Props all good – well done to Hannah Richardson, your SM, who supplied these. Umbrellas – costume or
props? Nice colours! My companion was particularly struck by the effect these had when used in the number
Hello London. Again, good little touches like the contents of the Head’s desk – all add to the build up of the
right atmosphere. The book on the desk, for example, “A Guide to Married Life”, added to Miss Bleacher’s
character even though I doubt that many of the audience even noticed the title, I only did because, being a
props person myself, I had a nose around in the interval! Nice photo of Peter Dodsworth too! One question,
should Camilla have had her suitcase in London – she left school with it, arrived in London without it but it
magically reappeared in the Chelsea flat?
Clare Ball’s programme, with photographs from Rosalind White and Christian Ball, was very good. Do consider
entering it into next year’s programme awards – 5 copies of the programme with a completed form
downloaded from the NODA London website are required and programmes and posters from 2019 shows can
be submitted at any time up to the end of this year.
The assorted ensemble, who, alongside named principals appeared frequently in various guises all moved and
sang well. I think one of BTC’s many strengths is the ability to move in character and dance in unison when
required; I am aware that you have a mirror wall in your rehearsal premises which must give you a tremendous
advantage in this area.
Helen Isaac’s Miss Austin was excellent. Your desperation at the beginning, appealing for help from the School
Governors, was acted and expressed so well. Your singing voice was very good indeed and you put the number
A Young Heart over beautifully.
Karen Aimee, you really developed a believable prune face as the head from hell, Miss Bleacher. Facial
expressions all well in keeping with your character, which was consistently good throughout the show. I was
impressed by your quick thinking too when a gown fell off the hook and you glared at your colleague and just
pointed to it. Your numbers Future Mothers and I Ask for Nothing were very well performed.
The two main protagonists, those who were guilty of ‘unnatural behaviour in the art room’ were played by
Lauren Thackray and Sarah Shipley. Both of you were totally in character throughout and displayed excellent
singing and dancing talents.
Lauren Thackray gave us a delightful portrait of the rich, smart, rebellious, not to mention selfish, Camilla
Faraday. A great cut glass accent Lauren, good dancing too. Your singing just gets better and better. Liked
your wiggle as the French waitress Camille in the Club too.
Susan Smart was very well portrayed by Sarah Shipley and your solo, What Good is Life Without Love was
another really excellent number, sung with great feeling too. I really felt you were contemplating jumping off
the Bridge.
School sneak Brenda was beautifully played by Kat Mann. Your facial expressions when spying behind the
towels were priceless and you found a great self-righteous expression when reporting to the Head. Good
squeals when in the hamper, it must have been most uncomfortable, so I expect they were heartfelt!
Daimler Jones, Becky Curtis, excelled in her solo number Too Much in Love, as well as singing well in a couple of
duets and ensemble numbers. When you became the nightclub singer Desiree Jones, you performed What If
very well.
All the members of the Upper Sixth performed well whether as part of the ensemble or with a named part.
Each one of you looked, moved and sounded just so right that you were very believable. Indeed we could
forget that you were, well let ‘s just say, no longer 17 years old! All solos, duets, quartets, etc were very well
sung and acted too.
Diana Dosserdale, Gemma Lloyd-Buckingham, in disguise as Miss Givings was suitably hearty, plotted
believably with brother Dorian, and, if that wasn’t enough, was transformed into Buzz Brakelast, guardian
angel. I got the feeling you enjoyed the roles Gemma as much as we in the audience enjoyed watching you
perform.
Brother Dorian Dosserdale, masquerading as a rather unlikely cockney odd job boy, was very well played, not
to mention danced, by David Rhys. Your portrayal of the school’s founder Dame Dorothea was excellent.
Great wig David!
Shell Harris strutted her stuff well as Marlene Dietrich in the Club and sang Sugar und Spice in a cod German
accent – very funny you were too Shell.
Mr and Mrs Smart’s number, It’s Only Because We Love You, was another well sung and acted number by
Ben Sewell and Pippa Roxan. Outfits were very ‘60s too.
I know that the audience all enjoyed the show as I overheard several very complimentary comments in the bar.
You can be very proud of this one Berkhamsted! Probably the best you have done since Evita.
Judith Watsham
NODA London Regional Representative Districts 11 and 11A
Thank you for your usual very warm welcome and the refreshments. It was a delight to see a show which was
both completely new to me and also so very well performed. The hard work put in by the entire cast, your MD
Peter Dodsworth and your director and choreographer, Paula Geere, really paid off with this production and I
can honestly say that you achieved near professional heights from the initial squeaky recorder playing to the
final bow.
Paula’s choreography was excellent – particularly the tap dance and all the duets. The movement in Hello
London looked complicated but it all worked so very well. Several of the cast have had dance training and I
think this helps anyone who hasn’t had this advantage to up their game massively.
Your set, designed and built by Ian Selinger, was more minimal that usual but it worked really well. Good use
of the two DS areas too, firstly for the headmistress’s study and the locker room, then with excellent cut outs
representing London icons which I think must have been painted by your scenic artists Jo and Christian
Twelftree. The gauze blocking the band was another area which worked efficiently; I have seen groups use
gauzes recently when the lighting was not quite right, so the audience saw through it – not the case here with
Peter Humphreys’ excellent lighting plot – well operated by Joe Queralt. Loved the LED string behind the band
when they hove into view at The Stairways Club. The simplicity of the set meant the minimum disruption when
migrating into and out of the School Hall for example. Also, the balcony, aka Chelsea Bridge, looked fantastic.
Julia Saddler, assisted by Alison Bowlzer, produced some great costumes – all in period. The tunics and shirts
worked well when changing for the hockey match. Great ties, and I noticed the band wore them too – it is little
touches like this which lift productions to new heights. Very well done. Giving Camilla a belt to give her more
shape than the other girls was a clever move too as it emphasised that here was a character who was more
grown up than the other sixth formers as was required by revelations as to Camilla’s character as the story
unfolded.
The tuneful small band never drowned the singers either – so good work on the sound Nick Cooper and Peter
Child. Loved the sound of the off-stage showers too!
Props all good – well done to Hannah Richardson, your SM, who supplied these. Umbrellas – costume or
props? Nice colours! My companion was particularly struck by the effect these had when used in the number
Hello London. Again, good little touches like the contents of the Head’s desk – all add to the build up of the
right atmosphere. The book on the desk, for example, “A Guide to Married Life”, added to Miss Bleacher’s
character even though I doubt that many of the audience even noticed the title, I only did because, being a
props person myself, I had a nose around in the interval! Nice photo of Peter Dodsworth too! One question,
should Camilla have had her suitcase in London – she left school with it, arrived in London without it but it
magically reappeared in the Chelsea flat?
Clare Ball’s programme, with photographs from Rosalind White and Christian Ball, was very good. Do consider
entering it into next year’s programme awards – 5 copies of the programme with a completed form
downloaded from the NODA London website are required and programmes and posters from 2019 shows can
be submitted at any time up to the end of this year.
The assorted ensemble, who, alongside named principals appeared frequently in various guises all moved and
sang well. I think one of BTC’s many strengths is the ability to move in character and dance in unison when
required; I am aware that you have a mirror wall in your rehearsal premises which must give you a tremendous
advantage in this area.
Helen Isaac’s Miss Austin was excellent. Your desperation at the beginning, appealing for help from the School
Governors, was acted and expressed so well. Your singing voice was very good indeed and you put the number
A Young Heart over beautifully.
Karen Aimee, you really developed a believable prune face as the head from hell, Miss Bleacher. Facial
expressions all well in keeping with your character, which was consistently good throughout the show. I was
impressed by your quick thinking too when a gown fell off the hook and you glared at your colleague and just
pointed to it. Your numbers Future Mothers and I Ask for Nothing were very well performed.
The two main protagonists, those who were guilty of ‘unnatural behaviour in the art room’ were played by
Lauren Thackray and Sarah Shipley. Both of you were totally in character throughout and displayed excellent
singing and dancing talents.
Lauren Thackray gave us a delightful portrait of the rich, smart, rebellious, not to mention selfish, Camilla
Faraday. A great cut glass accent Lauren, good dancing too. Your singing just gets better and better. Liked
your wiggle as the French waitress Camille in the Club too.
Susan Smart was very well portrayed by Sarah Shipley and your solo, What Good is Life Without Love was
another really excellent number, sung with great feeling too. I really felt you were contemplating jumping off
the Bridge.
School sneak Brenda was beautifully played by Kat Mann. Your facial expressions when spying behind the
towels were priceless and you found a great self-righteous expression when reporting to the Head. Good
squeals when in the hamper, it must have been most uncomfortable, so I expect they were heartfelt!
Daimler Jones, Becky Curtis, excelled in her solo number Too Much in Love, as well as singing well in a couple of
duets and ensemble numbers. When you became the nightclub singer Desiree Jones, you performed What If
very well.
All the members of the Upper Sixth performed well whether as part of the ensemble or with a named part.
Each one of you looked, moved and sounded just so right that you were very believable. Indeed we could
forget that you were, well let ‘s just say, no longer 17 years old! All solos, duets, quartets, etc were very well
sung and acted too.
Diana Dosserdale, Gemma Lloyd-Buckingham, in disguise as Miss Givings was suitably hearty, plotted
believably with brother Dorian, and, if that wasn’t enough, was transformed into Buzz Brakelast, guardian
angel. I got the feeling you enjoyed the roles Gemma as much as we in the audience enjoyed watching you
perform.
Brother Dorian Dosserdale, masquerading as a rather unlikely cockney odd job boy, was very well played, not
to mention danced, by David Rhys. Your portrayal of the school’s founder Dame Dorothea was excellent.
Great wig David!
Shell Harris strutted her stuff well as Marlene Dietrich in the Club and sang Sugar und Spice in a cod German
accent – very funny you were too Shell.
Mr and Mrs Smart’s number, It’s Only Because We Love You, was another well sung and acted number by
Ben Sewell and Pippa Roxan. Outfits were very ‘60s too.
I know that the audience all enjoyed the show as I overheard several very complimentary comments in the bar.
You can be very proud of this one Berkhamsted! Probably the best you have done since Evita.
Judith Watsham
NODA London Regional Representative Districts 11 and 11A