NODA Review: Our House

General

As a result of its Madness based score, Our House is frequently ascribed the somewhat pejorative

classification of “Jukebox Musical”. Yet its critical success can be measured by the achievement of

2003 Olivier Award for Best New Musical. Its enduring popularity can be measured by four UK tours

after its West End run and the enthusiasm of the Bridewell Theatre audience suggests its popularity

has not diminished.

Director/Designer

Apart from the basic problem of period costuming, Tom Kershaw-Green’s contemporary setting

solved a number of problems, not least of which was the gender swaps for the characters of Reecey

and, in particular, Pressman. Whether these swaps were satisfactory (no reflection on individual

performances) is probably a matter of personal preference although Pressman was perhaps the most

successful of the two. A by-product was also the ability to use mobile phones which had the effect of

keeping the action moving as scenes changed. The unusual shape of the Bridewell space forces

imaginative responses, which in this case led to the creation of a box shape with multiple entrances

(including the obligatory black & white doors) as well as moving walls. In turn, this forced other

decisions. Dispensing with the screen for back projection during Driving In My Car led to the

imaginative application of physical theatre by using the company to create the car, with some

wonderful details such as a personalised number plate. The technique was used again in Nightboat to

Cairo. Scenery and props were likewise stripped back, so that (for example) Kath Casey’s coffin was

represented by localised lighting and mugshots in the police station represented by light flashes.

Players

Principals:

Much rests on the shoulders of Tate Spiers (Joe Casey) for this show. Rarely off stage, dealing with

quick changes and the challenge of portraying a character who splits into two distinct personalities as

a result of one choice at the age of sixteen. Tate carried the responsibility with great confidence,

although would have benefitted from a greater divide between the “good” and “bad” elements, along

with attention to projection. This had a tendency to drop at the end of some phrases. He sang well

while still managing to keep the energy levels up despite all his presumably frantic changes behind the

scenes.

As Joe’s love interest, Surriyah Rashid (Sarah) was vocally outstanding. Her solo in N.W.5 was a real

highlight of the show. She delivered just the right amount of pathos and did not over-belt the

number. She gave intensity, allowing her voice to float over the song and sell her emotion to the

audience. Dramatically too, we were able to see her grow from a school girl to an adult and easily

comprehend the different paths her life took in the two different versions of their future.

Be inspired by amateur theatre

Page 2

NODA – Be Inspired by Amateur Theatre

It would be unfair to divide Charlie Nicholas (Emmo) and Jack Bolton (Lewis) so well did they work as

a double act as Joe’s less than smart friends. Similar considerations apply to the performances of

Melisa Minton (Billie) and Catherine Stevens (Angie) both channelling their inner Lauren Cooper (the

Catherine Tate character) but Melisa’s wicked sense of humour winning through.

Watching and commentating on the action, David Robson (Dad) provided a solid link to the action

along with a powerful voice. It was a moving performance as Joe’s deceased father, balanced well

with both Sarah and Joe in the various numbers they performed together. Dramatically this is a

challenging role, as there is little interaction with other characters. Nonetheless concern for his son

and regret over the path that life had taken them both on was clear.

As Joe’s still present mother, Emma J Leaver (Kath Casey) has a fine voice, despite the relatively small

vocal demands in this production. There was never any question of her character and how she would

likely react to events as they unfolded. She clearly loved her son, but was also not going to be swayed

from what she believed was right.

Hattie Kemish (Reecey) gave a strong performances as streetwise and unpleasant Reecey. Vocally, she

only had the one real number, but she sang well, maintaining both her character and accent

throughout.

Siobhan McConnan (Pressman) relished her role as Joe’s mentor; gratuitously unpleasant and self-

serving without a care for what the consequences of her actions would be on others, provided they

were profitable for her. This was very much character driven, reflected in the few songs in which

Pressman is featured.

Ultan Roe (Callum) was the ultimate Mr Nice Guy who ultimately and perhaps inexplicably loses out

to Joe as Sarah’s love interest. As such, it is difficult to make much of the character in his brief

appearances but Ultan succeeded in communicating a natural charm.

Ensemble

For an amateur company, an added bonus of this show is the number of smaller roles available to the

ensemble. There were a number of cameo roles in which individuals made their mark, not least Jake

Harrison-Clarke (Ray). Centre Stage has such strength in depth that there were no weaknesses to be

found in any of the fifteen strong ensemble. There was also no doubting the commitment of everyone

involved in the enthusiastic rendition of the Madness score, although lyric clarity would have

benefitted from some attention. The energy invested in dance and movement was huge, with

glistening faces bearing witness to the effort expended.

Music

Joe Reece led a tight seven piece band which did justice to the Madness score as well as providing

solid support for individual and ensemble work. Harmonies were secure and delivered at full belt for

company numbers as well as sensitivity for solo numbers. However this show features a huge amount

of underscoring for dialogue which frequently carries and develops the narrative. While it may be that

a significant part of the audience is familiar with the plot, this cannot be taken for granted. It was

Page 3

NODA – Be Inspired by Amateur Theatre

therefore unfortunate that dialogue was overwhelmed at key moments. While band volume played a

part in this as well sound balance, clearer projection and diction by performers would have helped.

Mics can assist to an extent but cannot compensate for absence of either.

Choreography

Rochelle Bisson made excellent use of all the talents on stage. Experienced dancers had their

moments but good use was made of all performers in the limited space available. There were some

extremely intricate moves during which it was fascinating to see how patterns were formed, reformed

and resolved. The ensemble was extremely well drilled, with all moves executed with precision,

working well within the context of the piece as well as capturing the feel of Madness music.

Costumes

Alex Horner and Rochelle Bisson sourced or constructed costumes for a cast of fifty characters, as

well as the vital quick changes for the matching-yet-opposite outfits for Good vs Bad Joe. School

uniforms also looked completely plausible with the advantage of being ageless. The contemporary

setting of the show reduced the complication of period costumes as there has been no significant

development over the past twenty two years or so. There were some really nice touches, such as the

colour themes in Wings of a Dove. Special mention should go to the various people who worked

behind the scenes as dressers, no doubt ensuring characters such as Joe were able to scramble in and

out of the various costumes in seconds and ensuring the production continued without any obvious

breaks.

Set and Props

The squaring of the irregular space presented by the Bridewell Theatre by Tom Kershaw-Green

provided a suitable backdrop to the action with its multiple entries and movable walls. Stripping back

scenery worked well for the most part but the absence of stalls made it difficult to visualise Camden

Market during Sun and the Rain. In addition, while some props can be regarded as representative,

there are occasions when audience proximity demands that specificity is required, such as the deeds

for Casey Street and photographs taken for the simplest dance in the universe.

Stage Management

Our House is a fast moving show, with some very short scenes employing multiple characters as well

as numerous lighting effects. Sarah Hooper succeeded in ensuring that the technical aspects of the

show ran smoothly. The movement of doors/furniture etc was all slick, with no disruption to the pace

of the show.

Sound Design/Operation

Designed by Henry Whittaker while volume was appropriate to a Madness based score of musical

numbers, some adjustment to balance might have helped lyric audibility during musical numbers and

especially dialogue on underscoring. At the same time, it has to be said that the onus lies on

performers to ensure that their own projection and enunciation is as clear as it possibly can be.

Page 4

NODA – Be Inspired by Amateur Theatre

Lighting Design

Ben Sassoon’s lighting throughout the production was excellent, focussing attention on the action

and mood of the moment. This involved the use of numerous specials, as well as colour to support

mood and location as appropriate.

NODA Website and Production Summary

The relentless pace of this high energy show kept the audience riveted, supported by Madness songs

cleverly interwoven into the narrative. Highlights were the terrific company numbers but these were

balanced by some well delivered individual and group songs. A strong principal line up was supported

by some excellent cameo performances, of which there were many. There was a tight seven piece

band, but vocal work was compromised by over-amplification of musicians. An imaginatively designed

set combined with physical theatre kept the action flowing at pace for a really enjoyable evening’s

entertainment.

Programme

As no specific credit is provided for the programme, it is presumed that responsibility lies with TKG

Design for the twenty page square full colour (and colourful) programme. It was however a pity that

space could not be found for a synopsis. Although it is not an easy story to summarise, it is also not

necessarily easy for the uninitiated to follow! It was also unfortunate that proof reading did not reveal

the omission of Hattie Kemish as Reecey other than in her biography.

Front of House

As ever, there was a warm welcome from Front of House volunteers – the unsung heroes of any

production.

Robin Kelly

NODA London Regional Representative District 4 South-East London and Part of Kent