OVERALL PRODUCTION

Your chairman’s message in your very informative programme touches on the core of your successful performance, in that ‘Blitz’, had been an emotional show to rehearse and perform, which had clearly bonded you all together and that in the greater picture you had recognised those who still put themselves at risk for the sake of others. ‘Help for Heroes’ bringing home the present situation. With such serious themes to explore nothing but in-depth historical research and identification with the characters would have brought the show to life. The creation of the characters and storyline was totally convincing and I am sure we the audience, found it a moving and thought provoking experience and in my case, a nostalgic if hazy memory of the past, when I lived as a small child in Bathampton for the duration of the war.

Like all good theatre there was a mixture of laughter and tears in the ingredients mixed in with Lionel Bart’s emotive score.

The large cast of all ages including a chorus of children seemed at home on the stage, the restricted space lending itself to the underground shelters and station scenes. The East end of London round Petticoat Lane and the market was acceptable with the front doors of the Eastender’s houses looking realistic amongst the red brick of time.

Lighting and effects were excellent.

The costumes and particularly the uniforms were in period and authentic looking.

Above all the cast gave their all and looking at their animated faces at the final ‘curtain’ , I hope they too realised that a good job had been done and as they say they had certainly pulled it off.

Congratulations for a most entertaining evening.

MUSICAL DIRECTION AND SINGING

Having directed Oliver several times, the music for ‘Blitz’ does not have the same ‘catchy’ elements that one finds oneself recognising from Radio, TV etc, but is nevertheless exciting and powerful with searingly poignant romantic numbers. There were many highlights from the enjoyable instrumental prologue through to the rousing ‘Our Hotel’, Vera Lynn’s wonderful ‘The Day After Tomorrow’ to ‘We’re going to the Country’ and the exhilarating ‘Who’s this Geezer Hitler’, ‘Leave it to the Ladies’ was superb. The ‘Far Away’ solo I felt was set a little too far back. The children’s numbers were well rehearsed and confident. The ensemble work was very polished ‘Is this gonna be a wedding’ another high spot of the show. I loved ‘Far Away’ with all the couples dancing. The voices blended well together with some memorable soloists.

The small band worked very well together under the leadership of your talented M.D. and the relatively small venue added to the intimate atmosphere.

CHOREOGRAPHY

The opening mime sequence was well organised, the use of the gallery entrance and stairs was a brilliant device throughout the show. The imaginative choreography expressed the emotions of the songs and the period. The girls number ‘Leave it to the girls’ stood out. ‘Down the Lane’ another show stopper. The knees up for ‘Is this gonna be a wedding’ was appropriately energetic. The children had the usual input of vitality and did very well ‘Opposites’ was another noteworthy number.

The air raid panic scene was very effective and convincing for whomever planned it and the market ‘Freezing’ episodes. The crowd scenes dominate the show and were effectively disciplined.

SET DESIGN

When premiered in the West End the sets by Sean Kenny were described as ‘amazing’ and ‘spectacular’ and allegedly the most expensive British musical to date.

Although your venue is small I found the design captured the impression of London’s crowded East end. The hanging posters, sand bags and red brick walls and doorways with an overhanging porch over the pub and bench underneath was more than adequate to represent the background. The props were very authentic, the stretcher and market produce, even with the herrings and bagels, being two examples.

The raised ‘platform’ on stage left was a useful addition and gave greater scope. The entrances and exits worked well. (I did make a note that it was a pity Carol used the same exit as George just before she was caught by the bomb blast, but perhaps that was a mistake).

The ensemble work in front of the background transforming into the platform and so on was absolutely fine. The wedding table and Union Jack bunting across the stage and half eaten food on plates was another thoughtful detail. I did feel that it was unnecessary to cover the table before the bomb blast, as the lighting was focused on a small area, it was rather distracting to see the stage crew at that point.

LIGHTING AND SOUND

Of course this technical support is essential to the credibility and success of ‘Blitz’. There were many praiseworthy visual effects. The projections of fire fighters being important for the audiences’ involvement being one. The sound alone of the Blitz beginning, during and after was spine tingling. The dawn chorus for the evacuee sequence and train, the thunder and lightening were all reminiscent of the action, especially hearing Churchill’s and Lionel Gamlin’s voice.

The lighting design was an empathic asset to the action, the search lights and haze especially. The soldiers firing guns against the red backdrop was another atmospheric highlight, also the focus on Mrs Blitztein under the rubble.

COSTUMES

 I always enjoy the 40’s fashion for all walks of life and thought you had achieved the right look for all ages. The uniforms were very impressive and detailed, the make up and hair was attractive too. I did have observations re: Mrs Blitztein's yellow patterned hat, it somehow didn't carry through her image, I would have had her wearing a black hat to reinforce her symbolic circumstances, the wedding hat did not change my opinion I’m afraid! One other small point in the ensemble number ‘Down the lane’ there were some cast in winter clothes others predominately in summer, this was rather distracting. Other than this everyone looked great not forgetting the spivvy suits for the black marketeers and wedding hats!

INDIVIDUAL PERFORMANCES

Mrs Blitztein

What a wonderful role for the more mature actress. This was ideal casting and I could see how the cast was led by her pivotal character. The interaction with other key parts was generous and convincing, especially the tender relationship with Carol, her despair and shame over Harry was painfully brought out. The humorous banter with Alfie and her exasperation with his, to her, unreasonable behaviour was all very amusing. The final scene with him resolving their differences gave hope to the future.

‘Who’s this Geezer Hitler’ was a show-stealing number with the unrelenting hatred coming through. ‘Our hotel’ and the moving soliloquy ‘So tell me Jack’ were memorable.

The accent worked well but did become a little Welsh at times, not an easy balance to find. Body language, facial expressions and movement were all maintained to give a convincing performance.

Harry Blitztein

A character with depth, his temperamental mixed up feelings for his predicament of being a soldier and his escapism with Mrs Matthews revealed his brooding personality. Reaching rock bottom by deserting, he reforms by the end. I enjoyed this portrayal very much as he interacted with his dominating mother and friend Georgie . Body language, dancing and singing skills were very competent. ‘Duty calls’ could have been projected out to the audience a little more when singing solo always hold your head up front. ‘I wanna whisper something’ was appreciated.

Carol Blitztein

 An outstanding performance of great sensitivity. A lovely singing voice and appearance with pleasing serenity held the stage. Her blindness throughout Act II was amazingly realistic and must have been analysed and studied to achieve. The poignant moment with Georgie, which was a real tear jerking cliff hanger until they kissed, will stay with me for a long time, a coup de theatre.

Mr and Mrs Josephs

This endearing duo was very engaging and totally convincing, you worked so well together as a devoted and anxious to please couple amongst your Jewish community.

Georgie

This was another interesting portrayal of a young man caught up in the ravages of war. Falling for Carol before embarkation and facing reality through the war and on his return when finding her blinded, was handled with great sensitivity and poignancy. The answer we were all waiting for came over as a coup de theatre, when the kiss said it all. A fine singing voice was enjoyed laced with humour with Harry in ‘I wanna whisper something’ and later with tender emotion in ‘The far away waltz’. His dilemma over Carol’s disability and inner conflict was touchingly played. A sincere performance.

Ernie Nearmiss

A far more affable character than Alfie, he accompanies him round with the odd cursory bit of advice. The interaction between you and Mrs Blitztein was always entertaining.

Alfie Locke

The physicality of his comedy role, always feeling resentful and seething towards Mrs Blitztein came through with essential comic timing kept in control. The scenes with Ernie Nearmiss as your sort of side kick raised lots of laughs. The dialogue was clearly projected. I enjoyed the surprise factor of rescuing Mrs Blitztein from the rubble.

Elsie

This performance had zest and enviable vitality. A performer who knew how to play out to an audience and communicate. Excellent dancing and singing ability did full justice to ‘Leave it to the ladies’ and ‘Down the lane’ propelling the action along at a fast pace.

Other cameo roles contributed 100%. The children in the cast deserve top marks for putting so much into the Show, we all felt sorry for orphaned Tommy.

Thank you for an enjoyable evening
And Kind Hospitality
Best Wishes for Future Productions

Linda Evans