Joyful, fantastic and brilliant are just some of the well-deserved superlatives to describe Louth Playgoers’ production of The Sound of Music.

Over the years, I have seen many excellent shows at Louth’s Riverhead Theatre, but this outclasses them; the cheers and standing ovation on opening night said it all.

Inspired by the true story of Maria Von Trapp’s memoirs and wrapped within a sugary coating, this musical has become familiar to most of us over the last fifty years.

Yet, it is very easy to overlook the complexities of bringing it to stage and the directorial team of Sue Hamilton and Margaret Blackmore have done an excellent job.

Overseeing the singing and directing the 14-piece orchestra fall’s to Tony Blackmore and the result is pure harmony.

Meanwhile, Bob Booth and his team successfully rose to the challenge of delivering a multitude of demanding and constantly changing sets, from mountainsides to abbey to villa.

They are the hidden ‘stars’ because it is the cast on stage that we see and I suspect only Anne Robinson would be disappointed, because there are no weak links.

From Julie Medlar’s flibbertijibbety Maria to Jeannine Ridha’s commandingly benevolent Mother Superior, from Derek Smith’s austere Captain Von Trapp to Jamie Harris’s wise cracking Max Detweiler – they all shine.

As do the children playing the Von Trapp family and on opening night 6-year-old Tilly McCutcheon, one of two Gretl’s, had the audience in the palm of her hand.

Nor should we ignore the contribution of the nuns, their delivery of plainsong is much harder to accomplish than one might imagine.

Yes, The Sound of Music is a story of love, faith, hope and patriotism but it also has a collection of so many brilliant and memorable songs that it is not even necessary to list them.

However, we got the chance to sing Edelweiss, representing the audience at the singing festival where the Von Trapp family make their escape; complete with menacing Nazi storm troopers at our side.

A truly uplifting production and though spare tickets are as rare as gold in the Lincolnshire hills, it’s worth prospecting because this is one nugget not to miss.

TREVOR EKINS

I make it no secret that, whilst I admire the work and expertise of Rodgers and Hammerstein, I am not particularly struck on The Sound Of Music. I find the story relatively bland and the music overrated, yet I appreciate that it is considered to be one of the greatest musicals ever to exist. Of course, my own prejudices meant that the reviewing process was going to be rigorous and staying open-minded quite a challenge.

Perhaps the greatest shock for me so far this year is the fact that I actually enjoyed the show. Genuinely. In fact, I would probably go as far as to say that it is one of the top musicals that I have seen on the Riverhead Theatre stage. So, what caused this sudden change of heart?

There is very little doubt that veteran director Sue Hamilton and her assistant, Margaret Blackmore, had a difficult task in casting such an iconic show. Every character had to be spot on perfect for the show to be a success and it had to look believable; the children not only needed to be ideal height-wise but they needed to, understandably, be talented performers. Good news – they certainly are little stars, likely to blossom into the future of the stage.

It would be unfair to single out individuals for their performances with such an all-round talented and highly capable cast (not to mention the sheer length that this review would amount to!) but a special mention must go to the chorus of Nuns who offer a neck-hair-raising rendition of Preludium, followed by a note-perfect rendition of Maria to open the show and they continue with musically gorgeous interludes throughout. However, all cast members seem to be enjoying themselves and they gel remarkably well together, and this does so much in captivating the audience.

One aspect of any Louth Playgoers’ musical that never fails to shine is the live orchestra; in this instance a relatively small group of immensely skilled musicians with such natural musical chemistry, led with proficiency by Tony Blackmore. From subtle pizzicato strings to punchy bass notes; they are all magnificent on the ears.

All of the classic musical numbers are present and they sound nothing short of great. The Lonely Goatherd is the fun, upbeat number that it should be, No Way To Stop It has stunning harmonies and Climb Ev’ry Mountain is a powerful finish to both Act I and the end of the show.

As expected, the backstage teams have all worked very hard in order to produce spectacularly ambitious set pieces with smooth and efficient transitions, and the lighting, sound, costume and props assist in submerging the audience into the story.

The show is almost a complete sell-out already and therefore it really is a case of hurrying to grab those few last tickets in order to avoid missing the performance that changed my opinion. Get booked now, folks!

STUART SPENDLOW

Guffawing with Godber!

In typical Godber fashion, Up ‘n’ Under is bursting with humour whilst looking at the most un-comical situations.

Arthur Hoyle, played by new comer Richard Lyon, bets his life savings that he can coach the ‘Wheatsheaf Arms’, the worst team in the rugby league sevens, to beat the best and most feared team,  the ‘Cobbler’s Arms’. However, Arthur as Arthur trains the ‘Wheatsheafs’ it becomes clear that he has a lot of work to do if he wants to keep his money.

Another new-comer to the Playgoers stage is Rob Bishop, who played the role of Phil Hopley, a teacher who thinks he’s better than he actually is. Rob gave a superb performance and you never know that he only joined the cast 2 weeks ago to fill in for another cast member that unfortunately had to pull out at the last moment.
Jamie Harris gave an exceptional performance as Frank Rowley, a recently divorced butcher who hates the life of a singleton. He also showed off his musical talents by leading the quartets and singing to his himself too.
Philip Marshal also gave a brilliant performance as Tony Burtoft, the youngest and most sarcastic member of the ‘Wheatsheafs’.

In contrast to most of the Playgoers plays, there was no set apart and, in true Godber fashion, the scenes relied upon just a few, well used, props and lighting techniques to set the scene.
One of the best scenes was Phil’s nightmare, where it is just Phil, centre stage, and the lights turn from a blue wash to an electric red as he relives the nightmare; Simplistic, yet so very, very effective. The rugby scenes were also staged well, with cast members multi-rolling and the action taking place in slow motion.

This unique production is one not to miss.

KATHRYN NORTON

The show runs from Monday 16^th – Saturday 21^st April.
Tickets available from the Box Office.
Open: Mon – Saturday 10am – 1 pm
Tel: 01507 600350

This week Louth Playgoers introduce us to the world of rugby league sevens, a game born out of rebellion, we quickly learn.

Yet, for the team from the Wheatsheaf Arms, their pride lies not in their fighting spirit but their unbroken record of defeats.
John Godber is our third most performed playwright and although, in some respects, his work is the equivalent of theatrical marmite, director Clive Knock succeeds in persuading us to root for the underdogs.

Richard Lyon is the ex-pro Arthur Hoyle, passionate about rugby but described as a man for whom brain and mouth are separated by two continents.
This prompts him to bet his entire savings that he can train any team to beat the mighty Cobblers Arms; despair soon sets in, however, when he discovers that team has to be the Wheatsheaf Arms.

They are a motley crew, woefully unfit and more attracted to swilling beer than thundering down a rugby pitch.
There’s posh teacher Phil Hopley (Rob Bishop), apprentice miner Tony Burtoft (Philip Marshall) always ready with a cutting remark, Frank Rowley (Jamie Harris) recently divorced and uncomfortable being single and mechanic Steve Edwards (Geoffrey Barnes).
We follow their uphill struggle to achieve fitness and observe their misogynistic reluctance to accept help from female coach Hazel Scott (Holly Mapletoft).
In true Godber fashion, there’s no stage set and few props but as the actors paint pictures through the delivery of their lines, they ensure plenty of laughs.

Experienced local actor Rob Bishop, making his Playgoers’ debut, delivers a sterling performance throughout, even more remarkable for having stepped in at just two weeks notice.

The highlight is the closing mighty clash between the Wheatsheaf and the Cobblers, a David and Goliath battle played out in slow motion to the Chariots of Fire theme tune.

On opening night, the audience enthusiastically cheered and urged the Wheatsheaf team on, engaged totally in the story.

TREVOR EKINS

The nights may be getting lighter, but this week Louth Playgoers plunge us into the dark murky world of Victorian Gothic revivalism with a classic spine tingling horror story.

Many of us may be familiar with Stevenson’s tale of Jekyll and Hyde, but in Brian Cliffe’s expert directorial hands, this adaptation by Leonard Caddy proves absorbing, holding our attention from start to finish.

A production that reflects Louth Playgoers at their very best, which is appropriate as opening night coincided with the 80th anniversary of their formation.

The curtain rises on an impressive and authentic looking mid-Victorian parlour that offers sight of the adjacent infamous laboratory and prompts the first applause of the night.

As the story unfolds, we gain a glimpse into the respectable world of Dr Jekyll and his social circle, upstairs and downstairs.

We meet Poole, his loyal butler played with gravitas by Jeremy Smith and Charlotte, his young maid to whom Lucy Cooper introduces a touch of steely vulnerability.

There’s Celestine (Liz Gardner-Clarke) his socially superior romantic interest, Dr Lanyon (Jim Walpole) her patrician-like Uncle and Utterson (Bruce Bourquin) his laconic lawyer.

They offer a peek in to a class-conscious world that considers women inferior and there are plenty of opportunities to laugh at such outdated opinions.

Central to the story, of course, are Jekyll’s experiments to uncover the darker side of his personality and these ultimately lead to the addictive discovery of his alter ego Edward Hyde.

John Elliot’s portrayal is truly remarkable, one moment he is the charming and urbane Jekyll and the next he is the repulsive Hyde.

The transformations are so effective; they lull our senses into a false belief that an entirely different actor has stepped into the role.

They are Hammer House of Horror moments sending shivers down your spine and guarantee you’ll peer nervously at the shadows as you return to your car.

TREVOR EKINS

You know, without any shadow of a doubt, that a play directed by Brian Cliffe is going to be good. Remarkable. Outstanding. In fact, very few words can actually describe the attention to intricate detail and the dedication that Brian takes in his directing, and not just during the rehearsal process but for months beforehand too. It is for those reasons that Jekyll & Hyde is one of the most enjoyable pieces of theatre that, without sounding clichéd, I have ever seen.

There are dozens of stage and film adaptations of Robert Louis Stevenson’s classic 1886 novel (The Strange Case of Dr Jekyll & Mr Hyde), although there have been no major adaptations (so far) that remain faithful to Stevenson’s original. Leonard H Caddy’s version is a thoroughly enjoyable and clever adaptation with a wordy yet captivating script.

Alongside Brian Cliffe has been Mike Gibson; new to the directing aspect of theatre but certainly no stranger to the stage, and between them they have created a masterpiece with true Victorian authenticity and a spine-chilling atmosphere from the ground-trembling start through to the dark, gloomy end.

Of course, even the greatest of direction relies upon a strong cast, and the cast of Jekyll & Hyde is most definitely that. Each and every scene is teeming with talent and the actors’ passion for what they do so very well is highlighted throughout. Whilst each and every actor is superb, a special mention must go to the magnificently talented John Elliott who plays the part of Dr Jekyll/Edward Hyde with such remarkable contrast and power – you cannot help but watch in admiration of his abilities.

As with any production, the backstage teams assist in bringing the action into another dimension with stunning sets, authentic props, detailed lighting and highly atmospheric sounds.

Louth is very lucky to have a performance of such calibre and perfection – make sure that you book now to avoid huge, huge disappointment.

STUART SPENDLOW

In 1981, Leonard H Caddy turned away from the life of pantomime and decided to adapt Robert Louis Stevenson’s tale of ‘Jekyll and Hyde’ for the stage. Naturally, his work received good reviews and has been performed by both professional and amateur companies all over the country.

Rehearsals of Jekyll and Hyde promise a fantastic show, full of drama as this dark plot unfolds and truth and fantasy become a dangerous mixture as they merge into a twisted reality.

The tale tells of Dr. Jekyll, who experiments upon himself to attempt to bring out the darker side of his personality. Upon his success he discovers that his ‘inner-self’ is in fact the evil Edward Hyde. Getting addicted to seeing his success in changing his personality, he overdoses on the potion and the distinction between Dr, Jekyll and Edward Hyde becomes ever more blurred.

Can he stop before he changes completely?

Find out for yourselves at Playgoers Riverhead Theatre on Monday 19^th – Saturday 24^th March. Tickets are available from the Box Office. Tel: 01507 600350. Open: Monday – Saturday 10am – 1pm.

KATHRYN NORTON

John Osborne’s Look Back in Anger broke the mould of British theatre when it stormed the London stage almost 60 years ago.

It abandoned the notions of theatrical escapism and substituted harshness and gritty realism; pioneering kitchen sink drama that echoes in the populist soap operas of today.

This 21st century reincarnation staged by The Lincoln Company, features undergraduates from the Lincoln School of Performing Arts under the direction of Dr Mark O’Thomas.

Against a 1950’s backdrop, Jimmy Porter, the central character, is an angry young man railing at everyone and everything and to whom sneering seems as natural as breathing.

Alison, his wife, is the primary target of these ranting tirades; his misogynist tendencies are never far from the surface, he takes pleasure in her humiliation and attacking her middle class background.

Alex Watson delivers a powerful performance, creating a character that we quickly dislike, ensuring that Porter’s attitude is even less acceptable to our ‘modern’ mindset.

This performance featured Rebecca Britten in the role of Alison, successfully capturing the essence of a downtrodden and oppressed wife condemned to live her life in a marital prison with, perhaps, occasional parole.

Their flatmate Cliff, played on opening night by Jimmy Morehouse, shares or endures this cauldron of anger but introduces elements of tenderness and compassion.

Meanwhile, Amy Szypusz is Alison’s loyal and supportive friend Helena who briefly usurps her in the marital bed.

It is easy to see how 1950’s audiences were shocked by the political context and references to sex, abortion and marital infidelity but today we are worldlier.

However, Look Back in Anger retains the power to shock because our liberal attitudes are less accepting of vicious displays of sexual inequality.

TREVOR EKINS

The Owl who was Afraid of the Dark

I had the great pleasure on Saturday 18th February 2012 of taking my six year old grandson to the Riverhead Theatre, Louth to see The Owl who was Afraid of the Dark presented by the Blunderbus Theatre Company.

On entering the auditorium we are greeted by the cast members with a friendly ‘Hello’ and a chat after which we are introduced to PLOP the baby barn owl who is afraid of the dark!

With help from Mrs Barn Owl we are all encouraged to try to dislodge PLOP from his nest and experience the night time. We do so with an irresistible blend of music, puppetry and storytelling as we journey into the night time of fireworks, campfires, moonlight and starry nights of adventure.  We are all involved and, judging by the children’s enthusiastic applause, they gave their stamp of approval – well done!

Review, Peter Maddison

In an ever-changing and uncertain world, it’s reassuring that some things remain reliably consistent such as the annual pantomime at Louth’s Riverhead Theatre.

Under the co-direction of Stuart Spendlow and Neil Warne, Babes in the Wood maintains a traditional approach featuring all the familiar ingredients that make panto a truly British institution.

This is a sumptuous production, with garishly bright costumes, that fizzes from start to finish with laughter, song and dance.

It’s clean wholesome entertainment for all the family or “boys, girls and quite older people” as one character disparagingly describes the audience.

In a nutshell, the story is about the evil Sheriff of Nottingham who tries to dispose of his late brothers young children in order to seize their inheritance, but is thwarted by Robin Hood.

Of course, being panto, this is incidental to the excuse to cause mayhem on stage for three hours.

When it comes to being evil, Jeremy Smith’s Sheriff wouldn’t frighten a flea; he is the most endearing rogue you are likely to encounter and seems to relish the opportunity for unscripted asides.

Jamie Smith, as panto dame Nurse Glucose, plays it for giggles and during a schoolroom scene hilariously rewrites the rulebook when it comes to maths.

There are plenty of musical numbers throughout and Ceri Royston-German, as Robin Hood, shines during Take That’s Love Love and the Pet Shop Boy’s Go West.

Baggy Trousers, the old Madness hit, is certainly a highlight of the dance routines provided by Nicky Wright’s Studio 2000 dancers.

If panto is about laughter, however, the award has to go to the partnership of Peter Glanfield and Graham Turner as the Sheriff’s henchmen Toyle and Trubble.

Their silliness, wordplay and comic routines never miss a beat and make this panto a must-see.