As always, I was looking forward to my visit to GLOC at Questors to see how they performed this version of The Wiz which has been the subject of many different interpretations - and I was not disappointed. This production, co-produced by Martin Elliff and Kirsty Smith, was thoroughly enjoyable and contained all the ingredients to keep the audience - from the very young to the senior citizens - entranced and spellbound. This is due in no small part to the excellent continuity which prevailed throughout, great attention to unencumbered entrances and exits - it was good to see various accesses around the auditorium used to their full advantage - and the well-choreographed movement and dancing, which was a credit to Kirsty's talent and ability.

Musical Director Martin Wilcox wielded his seven-and-a-half inches (that's another tenner!) in his own inimitable - but less manic - style and led his superb band of musicians through this sometimes difficult score with verve and gusto. The orchestra was well-balanced and tuneful, and created the right atmosphere from the beginning. The fact that they were positioned 'up in the air', and in hazy view, did not detract from the action or cause sound reproduction problems - but I expect Martin was less active than normal in case he went over the edge! The voice coaching, I assume by Martin, was of a high standard and all the solo and chorus numbers were well presented and there were some pleasant harmonies. A special mention to Rehearsal Pianist - and second keyboard player - Lee Shiel for his hard work and musical ability, which was a major contribution to the success of this show.

The staging was effective in its relative simplicity, and full marks to Stephen Parfitt for his excellent set design, which was practical and extremely functional. Stage Manager Paul Hayes and his crew effected the various scene changes swiftly and, apparently, effortlessly so that the continuity flowed - and not a bad construction job either, Paul.

A production such as this needs a good lighting plot to create the correct magical and mystical atmosphere, and Lighting Director Pete Balls achieved this magnificently. I know that Pete does sterling work for quite a few societies in the area, and I am always impressed by his imagination and ability. Apart from convincing effects during the storm sequence, and effective use of gobos, Pete managed to depict the times of day accurately and light up the various acting areas on cue so that the audience's attention was focused correctly. Excellent work, as always, Pete.

To be able to achieve the correct sound balance in a show such as this, with a large orchestra and diverse acting areas, is a challenge in itself, and Sound Director Andrew Lumsden had his work cut out. I noticed towards the beginning that the backing vocals sounded 'tinny', it was difficult to hear some of the song lyrics, especially during You Wanted To Meet The Wizard and Who Do You Think You Are?, and there was a late cue on Glinda's radio microphone for her solo. On the plus side, the general balance between the orchestra and singers was correct, and the orchestra was not overpowering. There were some excellent sound effects. Keep at it, Andrew - you're getting there!

The Costumes formed, I expect, quite a large slice of your budget and I am pleased to say that the expenditure was very worthwhile, as were the number of hours and degree of effort put in by Barbara Myrtle and her team to achieve the various colourful and visual effects - especially the way in which the Yellow Brick Road was depicted. Where there is a minimal set, the costumes are all important and you should be justifiably proud of the end result.

The Properties by Claudia Chaperlin and Rick Myrtle appeared correct and appropriate to the action.

The Programme by Deborah Wood, with editorial by David Smith and logo design by Stephen Parfitt was well laid out and informative and contained all the necessary credits. I was pleased to see the Band Members each mentioned by name, and the inclusion of the musical numbers within the scene synopsis - something I always look for. The only criticism I would have is that the typeface was difficult to read in half-light during the performance, and you really ought to think about going 'glossy' and using colour in the future - the front cover would have looked so much better.

Front of House Manager Richard Currie and his team gave my guests and I a warn welcome, and were attentive and polite to the audience's needs, even though some crowd control was necessary due to the enforced unisex temporary toilet facilities! - I did have a pleasant chat with some ladies in the queue, who seemed unperturbed and said they were enjoying the show (The Wiz, that is!).

Now, on to the individual performers:-

Jo Burton (Aunt Em) Jo played this part well, and it is not easy to have the opening song in a show. Nevertheless, her rendition of The Feeling We Once Had was nicely sung, apart from a lack of volume in the lower register, and her interaction with Dorothy and Uncle Henry was good.

Nikki Gerrard (Dorothy) An exceptional performance from Nikki, who put a great deal of effort into this portrayal with the required result. She used the stage well, had good facial expressions and reacted appropriately to the action going on around her. I could not hear some of the dialogue during the thunder effects, but this did not detract from her performance. Her various songs were performed competently and tunefully, culminating in a superb rendition of Home. It is comforting to know that we share the same hobby, Nikki - it does aid the voice!

Gareth Bevan (Uncle Henry & Underling) It is good to see someone of Gareth's directorial abilities take a part or two in someone else's show and put on a creditable performance. As Uncle Henry, he gave an energetic portrayal and he has an excellent baritone (a la Johnny Cash) voice. As the Underling, the transformation was quite remarkable and shows what a versatile performer he is. Izal (sic) be looking forward to Good Vibrations, Gareth, - when I trot along to your next show!

Jan Marchant (Addaperle) we all loved Jan in this part - as we were supposed to do - and she came across well as the one with good intentions. I liked her southern accent, and she led the song He's The Wiz superbly.

Mark Evans (Scarecrow) This part was characterized well by Mark, who managed to sustain his chosen accent throughout, sang well and performed some brilliant acrobatics. There was plenty of energy in this performance and Mark's actions were fluid. The cleverly designed costume aided this movement

Stuart Kennedy (Tin Man) Expecting to see Stuart attired in pots and pans with a liberal amount of bacofoil, I was pleasantly surprised to see that poetic licence had taken over and he did not rattle and crash all over the place as is the norm. Instead, another cleverly designed costume was used which gave the right impression and was aided by sound effects when necessary, but was extremely practical. It was a credit to Stuart's acting ability that he managed to portray the stiffness in his joints before he was suitably oiled, and he moved convincingly following the lubrication as well. Clear diction and good singing as well, Stuart - a very good debut performance.

Ken Kinghorn (Lion) The audience reaction when Ken came on stage spoke for itself. This was a delightful portrayal of a not so Mean Ole Lion and Ken used his speaking and singing voice to great effect, and his movement was convincing. The song Be A Lion with Dorothy was a memorable rendition.

David Smith (Gatekeeper) This was a good and comical performance from David, with excellent delivery and reactions.

Rick Shaw (Slinky Winky) Rick looked totally at ease in his outrageous outfit, and the cod piece was an interesting additional accessory. He certainly complimented Evillene in the fashion stakes, and his interaction with her was good. He managed to convey menace and evil, while still retaining that comical touch.

Rob Seymour (The Wiz) Rob certainly looked the part, and his entrance was commanding and atmospheric. I am afraid, however, that the song You Wanted To Meet The Wizard suffered from inaudible lyrics, although its presentation was quite spectacular, whereas Believe In Yourself was not very well sung and, at times, out of pitch.

Sian Bowles-Bevan (Evillene) What a brilliant characterization this was by Sian. The voice she used was excellent, and she managed to maintain it during the song No Bad News. Another triumph for the costume and make-up department, because she looked and acted wickedly, and her facial expressions were superb. A good effect of disappearing into the throne, too.

Miles Eagling (Messenger) A fitting debut for Miles, who played this part well.

Linda Hayes (Glinda) It is always nice to have a good bit in the end, and Linda is no exception! Following her success in Chess last year, I was really looking forward to hearing her sing again, and I was not disappointed. Even the lack of amplification at the beginning of her song did not put her off, and she gave another fine performance. Linda has a tremendous amount of stage presence, which exudes confidence and natural movement. Nice one, Linda.

Chorus Too numerous to mention by name, but an integral part of this show and all of whom worked well together. They sang well, and their movement and dancing was well rehearsed, leading to excellent performances by all concerned. The secret of a good chorus is teamwork, so that no particular individual stands out, and this was apparent throughout. By the time you read this, you will know that GLOC have won the NODA London Area award 1997/1998 for Chorus Work in Chess, known as the Kathleen Oyler Trophy - the ultimate accolade indeed and extremely well deserved - and, who knows, The Wiz could well be in the running next time. Sincere congratulations to you all.

SUMMARY

This again was Musical Theatre of the highest calibre, due in no small part to the formidable talents of Co-Producers Martin Elliff and Kirsty Smith, and Musical Director Martin Wilcox. Apart from her production skills, Kirsty showed great imagination and foresight with her well designed and contrived choreography which was evident throughout the performance. The subtle adaptations to the original show to bring it up to date were skilfully encompassed into the action, resulting in excellent continuity, and I would again mention the brilliant costumes.

My wife, Vivienne, and I, not to mention my two guests, thoroughly enjoyed our visit and thank you for yet another memorable experience.

As your NODA Regional Representative, I am immensely proud of the accolade you have been given for Chess - especially as there are 273 societies in the London Region, over 200 of which are Musical Societies.

My best wishes to you all.

KEN HOWARD
23rd June 1998