OVERALL PRODUCTION

I had not seen "The Card" before, but was greatly looking forward to seeing another of Paul Butler's productions having adjudicated his brilliant "Hired Man" performed at Erlestoke Prison.

The staging caught my interest immediately on entering the Civic Hall auditorium. Mrs Machin's cosy kitchen permanently built at the side of the stage with its washing line extending across the stage complete with bloomers and garments of the period, gave the flavour of the environment of Bursley, a working class town set in 'The Potteries' or `Five Towns' area as introduced in your programme.

The lights dimmed and we were soon swept along by Tony Hatch's delightful score into the prologue.

A strong cast propelled the action forward supported by an energetic chorus.

The wide stage, an asset to the production, was cleverly utilised with imaginative grouping and choreography and enabled you to have the orchestra at the side.

The constant changes of location were designed to ensure the smooth running of the show.

Having said all that, although I enjoyed the show, I felt there was a lack of pace at times, this was partly due to some long pauses between scenes when there was no cover music and some noisy exits when the whole company was on, for example after the ball, and a lapse before the Liverpool dock scene.

I must say that I was very impressed that you had resisted mikes, and the performance skill of vocal projection with clear diction is still a priority.

Finally, I was surprised that your programme did not include a list of the scenes and I had to make a hasty list in the interval as I had been asked to return the script on the night I attended. Ideally, your adjudicator should keep the script briefly after the show and of course it is a prerequisite on entering the Rose Bowl competition for the adjudicator to receive a script before seeing the performance.

The audience responded enthusiastically to the show and appreciated the comedy elements of this rags to riches story.

MUSICAL DIRECTION AND SINGING

This was clearly in very experienced hands and the toe tapping score kept everything bubbling along. The chorus had been securely rehearsed and the soloists had sympathetic support for their high musical standard.

As aforesaid there were times when scene changing was left in complete silence; this does slacken the dramatic tension that has been built up in the previous scene and, as I know in my own experience as a director, I have had to persuade an M.D. to repeat or find something in the score to use as cover and it really does help! The more enjoyable the music is, the greater the shock to the audience when it stops and their suspension of disbelief is hard to recapture.

There were many memorable musical numbers, 'Another time another place', 'How do', 'Rents', 'Lock stock and barrel', 'That's the way the money grows', 'Is it just me', 'If only' and of course 'The card'.

CHOREOGRAPHY

Unable to find a credit for this, I assume that your talented director was responsible for the lively choreography and all the general movement. Here again, the unusual formations in the grouping and tableaux, the unpredictable dance steps and the use of the aisle and auditorium for the tricycle and bicycle were exhilarating to watch.. `The card' was particularly well planned and the scenes outside the Town Hall were well organised and riveting to watch.

SET DESIGN

This was also designed by your director, who I note was involved in the set construction too!

The backcloth of Bursley and the small, but not cramped insets on trucks worked well with a sense of period. Duncalf's office, the dancing academy, the tailor's and the shipping office in Liverpool were very acceptable. The kitchen complete with fire was excellent and of course, you had the time to create a detailed set. The sumptuous municipal ball was a challenge and I appreciated the chorus exit off the stage past the orchestra to accelerate the scene change to Duncalf's office.

The seaside pier scene was adequate, the width of the stage possibly made a backcloth of sea and waves prohibitive.

The beach props were resourceful and colourful, the symbolic rope for the sea rescue was reasonably effective.

LIGHTING AND SOUND

This was a creative support to the contrasting moods of the show and the essential sound effects transported us into the various events as the storyline unfolded.

COSTUMES

I note that these were mostly hired, the ball dresses were very impressive.

The workers and townspeople were acceptable in their waistcoats, caps and shawls etc, but I did feel that Denry should have worn a waistcoat, on his first entrance he looked disconcertingly modern without one. The Countess of Chell's ball dress seemed rather bland and formal, I thought the second act red gown much more suitable and glamorous.

Nellie's blouse, which hung out of her skirt for her solo 'If only' was much improved by the jacket which was put on later.

INDIVIDUAL PERFORMANCES

Denry Machin

Very much the protagonist of the show, the company are fortunate to have had the services of this performer in the demanding role of Denry. My note, written in the dark at the time of his first entrance, simply says `a confident card'. This confidence and belief in himself is the key to a successful characterisation. A very pleasing appearance, singing voice and clear projection of dialogue, together with a warm stage presence captured the comedy and brazen cheek of Denry's rise to fame and riches.

The interaction with his Mother and Nellie was relaxed and, of course, blinkered to their value in his life, this was shown by off hand body language and facial expression, whereas with the Countess and Ruth we could see his intention to conquer both. The exasperation with Ruth's feckless spending and his relentless ambition came through with a sense of humour and comedy timing. As we saw his progress mature over the next fifteen years, we grew to admire his success and were happy to see him achieve all his goals ending up as Bursley's Mayor and recognising Nellie's worth. This acceptance of a loveable rogue by an audience is not an easy balance to achieve.

Duncalf

This pompous but astute, grumpy Town Clerk who was also a solicitor and chairman and owner of the Bursley United staff single store wore many, influential hats with an air of authority, especially in the scenes with Denry and Parsloe. Rich, powerful vocal skills and deportment made a convincing town dignitary

Parsloe

This was an endearing performance as Denry's colleague and friend, played with boyish charm. 'That's the way the money goes' was a highlight. Dialogue and dancing was very competent.

Councillor Calvert

Conveyed the necessary dignity of a town elder who has to ultimately acquiesce to Denry's rise to fame and fortune. The scenes outside the Town Hall were most entertaining. Movement and body language appropriate.

Mrs Machin

This was a memorable, gritty portrayal and very popular with the audience. The timing of all the one liners was very funny indeed, especially the pedalling entrance and exit across the auditorium on a bicycle. The realistic handling of Denry with some cynicism was cleverly pointed with a poignant rendering of 'Is it just me'.

I was just a little concerned about the washing up and so on going on in your kitchen whilst another scene was in progress, the lights dimmed before it became too distracting, but only just!

Ruth Earp

A good part for a young actress/singer. This was very well cast for the demands of the role. This manipulative, self-centred character was a match for Denry and was cleverly paced to build up over the time span to the equally ambitious Lady Cope of the future. 'Another time, another place' was a musical treat and contrast to the fast 'Moving on, Vocal projection and establishment of the character needed to be more powerful at times, for example, after the first number you appeared to switch off as you sat down, whereas I felt you should have been gleefully carried away, smiling to yourself and so on, when Denry interrupts with his entrance, the emotions and intentions were a trifle underplayed. Well sung and danced.

Nellie Cotterill

This was a sincere and focused performance as the loyal, loving and patient Nellie. A lively singing voice did full justice to 'If only'. The role grew in intensity towards the finale and gained the audience's sympathy.

Countess of Chell

A plum role depicting the mysterious allure of playing an influential countess in a small town like Bursley, `the royal' of the area. Appearance, body language, movement and deportment were all complimentary to the character. ‘The Countess of Chell requests the pleasure’was effectively sung and the reaction to Denry's obvious charisma was amusingly conveyed.

Other small parts all contributed to the sense of unity in the show. I must mention that in the ball scene, I was rather distracted and surprised by a member of the male chorus continually adjusting his costume! There were many delightful cameos and here I must say how much I enjoyed Mr Shillitoe in the tailor's dance sequence.

Thank you for your kind hospitality and Best Wishes for Future Productions
Linda Evans