Wiltshire Times

FRIDAY, MAY 28, 1982

'Quaker' Cast Coped Well on
Shallow Stage

The Quaker Girl (book, James T. Tanner and Emile Littler; lyrics, Adrian Ross and Percy Greenbank; music, Lionel Monckton). Presented by Trowbridge Amateur Operatic Society, Civic Hall, May 25-29.

Avoiding the mention of cereals, The Quaker Girl was nevertheless a satisfying meal.

Rather filling, perhaps, when considering the large cast which had to make do on a rather shallow stage. In fact their ability to move freely and dance without collisions occurring showed a good sense of gracefulness on the part of the chorus and principals involved.

The scenery was well adapted to conform to the changes dictated by the action and displayed much thought in its design and execution. As for the costumes, it was a credit to an amateur company that the dresses – mostly made by the ladies themselves – displayed in the Paris salon scene were so varied, colourful and conforming to the period of the piece. Which is more than can be said of the telephone. Still, it did ring on cue – and that sometimes fails to happen on the professional stage.

THE SINGERS

Prudence (Sue Asplin) held the whole audience with her appropriately demure appearance and the shining honesty of a Quaker maid. Prince Carlo (Glanville Davies) had a good stage presence, but his voice let him down in the upper register when called upon unfairly. American Tony Chute (John Clark) supplied male bubbly comedy as well as the straight aspect of his part, whereas Dennis Duro as Jeremiah provided the bulk of the comedy added to the slapstick of John Lindsay as a French police chief. Not forgetting the ladies – both in singing and dancing in a restricted area and also in comedy they certainly played their part, including providing the dresses already mentioned.

One piece of singing was most striking: the scene where the Quakers denounce Prudence for drinking a wedding toast was pure bel canto and reminiscent of the famous quartet in Rigoletto.

All through musical director Ronald Foxwell kept things moving along smartly and his orchestra responded according. From the percussion side of the orchestra the lead trumpet seemed to be responsible for most of the singers’ cues, an arrangement which seemed to work well.

All in all, a presentation enjoyed by an audience which could with advantage have been a third larger to do justice to the performance.

FEWB