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NODA Review: Huge Stick of Musical Rock

General

Compilation shows are potentially problematic for many groups being frequently used as a means of

showcasing the talents of performers who may not always feature as soloists. The concern with this

approach is that, with the best will, there is a reason why some may not have been given such solo

opportunities previously. Thankfully, no such issue was evident in this Stick of Musical Rock.

Director

A selection from Hair ensured the show opened with a bang, with an energy which never flagged at

any point. The distribution of fifteen hand radio mics with eight cable mics established that the

technicals had been considered from the word go, along with necessary mic swaps between songs.

Tal Hewitt & Stephen Hewitt compiled a well balanced cabaret show so much more than the ‘park

and bark’ referred to by chair James-Lee Campbell in his programme notes. There was something to

please everyone, from classic rock “bangers” which had the audience on its feet to numbers which

may not have been familiar to some. The considerable vocal talent was supported by a strong dance

company. Tal’s spirited link stories kept things moving and the audience entertained during what

were actually very quick costume changes. However knowing Centre Stage’s strong commitment to

diversity there was a slight question over the use of Proud Mary from Tina Turner:The Musical. While

clearly there should be no limits on gender or race on the performance of individual numbers (unless

lyrics are gender or race specific) anchoring the song so firmly in that musical might suggest it should

have been delivered by a person of colour. (No reflection on the actual performance, which was

outstanding.) Something like over-emphasising its history written by John Fogerty and recorded by

Creedence Clearwater revival two years prior to the Tina Turner version and performance in that

context might have done the trick.

Players

It would be impractical to credit every individual solo performance but there were some that

particularly stuck in the memory. Sanchez Collingwood-Simpson fronted a powerful “What’s the

Buzz?” from Jesus Christ Superstar, with Olivia Stearman owning the audience in “Superstar”. Rosie

O’Rourke’s comic turn and characterisation with Ben Woolley in “Damn it, Janet!” from Rocky Horror

Show definitely raised a smile. El Leaper raised the roof with “Don’t Stop Believing” from Rock of

Ages. The only quibble in performances related to diction, which was not always of the highest order

– particularly noticeable in the Spring Awakening sequence. It may be rock, but there is still a story to

be told.

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Choreography

Sara Ramirez & Peter Stonnell made the most of a talented bunch of dancers with some spectacular

choreography absolutely fitting the rock genre along with well-drilled simple movement where

complexity would have detracted from vocal work.

Music

Guitar MD Stephen Hewitt with Choral Master and Piano MD Dominic Veall produced a fabulous

vocal wall of sound from soloists and ensemble alike. Terrific individual performances were supported

by a strong ensemble/choir producing some rich harmonies. Arrangements for the six piece band

were spot on, with a driving rock vibe balanced by more subtle moments, including some beautiful

unaccompanied vocal work.

Costumes

Between Geri Hutyan’s styling and Kat Cooper’s wardrobe realisation, the cast was well-dressed,

allowing for individuality, a nod to characterisations while maintaining style consistency and colour

themes.

Set and Props

Set realisation by Andrew Laidlaw & James Chadwick provided two levels of rostra, accommodating

the band on Stage Left of the upper level, leaving space on Stage Right for soloists on occasion or

featuring Dominic Veall with his cello. This worked extremely well for the most part, although the

height of the upper level was such that view of performers was significantly restricted for audience

members located to the rear of the auditorium, including this NODA rep.

Stage Management

The pace of this show was clearly not a little influenced by the stage management of Andrew Brooks

& Andrew Laidlaw.

Lighting & Sound Design

Given the basic two level rostra set and rock based sound production, lighting needed to provide

particular impact, which Liv Bailey & Alok Kumar duly provided with effective use of moving spots.

Sound design by Henry Whittaker, operated by Adam Coppard, Ben Fry & Chris Love was obviously

dictated by the rock genre. However balance did not always favour the vocalists, particularly in solo

work. It may be rock but it is still musical theatre and lyrics are important. There is only so much clear

diction can achieve in these circumstances. Having an audience member unfamiliar with the material

at the dress rehearsal (preferably sooner if facilities allow) is often a useful way of identifying issues as

the production team tends to be too familiar with performances to be entirely objective.

NODA Website & Production Summary

This was a high energy rock musical compilation showcasing the considerable solo and ensemble

talents of singers and dancers alike. Pace & energy never flagged in a well-balanced programme which

still had light and shade in its selection of well-known alongside unfamiliar songs. Notwithstanding

some very strong vocals supported by a terrific band, the icing on the cake would have been extra

emphasis on diction in some songs with sound balance tipped more favourably towards singers.

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NODA – Be Inspired by Amateur Theatre

Programme

card exterior and colour printing rightfully included biographies of all cast and creatives but sadly no

acknowledgement of NODA membership, making it ineligible for the Programme & Poster

competition.

Front of House

As this was my last official visit as NODA Representative for District 1, may I take this opportunity of

thanking volunteers for their warm welcomes. I am sure you will give the same support to Matt

Bentley who now takes on the position of District 1 representative on a permanent basis. However I

hope this won’t be the last Centre Stage will be seeing of me!

All the best for your future productions.

Robin Kelly

NODA London Regional Representative & Associate Representative District 1

City & Central London

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