The opening to Act II was meticulously built by Jon Ford and the ensemble from a languid start to full throttle as they declared that it was Too Darn Hot. This was just one of choreographer Vanessa Chambers’ many imaginative, often athletic routines.  Kevin Stuart weighed in with his portrayal of a bone-headed General and Nick Rogers contributed many brief, perfectly-timed appearances as stage manager Ralph.

The sparkling, sometimes astringent dialogue, crisply delivered throughout, was always totally audible.

Stage manager Ross Savage and the crew seemed to change locations in a blink which, together with episodes played in front of the drapes, meant that action flowed continuously.

Musical director Susan Rowlinson’s interpretation of the score was, itself, worth the ticket price.

Please don’t close down the Harlequin

Once again I would like to sing the praises of the East Surrey Operatic Society, after seeing their recent brilliant production of Kiss Me Kate by Cole Porter.  My daughter and I believe they get better and better each time we see their shows at the Harlequin.  The music, acting and costumes as ever were fantastic.  The singing, dancing and comedy were so good.

It is such a pleasure to be able to be taken into a world of music and laughter in a local theatre, and to be able to enjoy the facilities there.  Many people would not be able to enjoy such entertainment if the Harlequin theatre is closed. It is one asset that we would not like to lose.  It has a variety of entertainment to appeal to everyone.

There is such a wealth of talent in the area which will be affected if this is lost.  Where will all the local societies be able to put on their wonderful shows?  We appeal to the Reigate & Banstead Council, please don’t close the Harlequin.

Sylvia Gammon
Mid Street
South Nutfield

East Surrey Operatic Society (ESOS), The Harlequin, Redhill.

ESOS’s production delivered sheer entertainment from the moment the full cast hit the pace with Another Opening, Another Show ,right thorugh to the inevitable happy ending.

Admittedly, the story of the on and off-stage relationships between the two fictional actors touring a musical version of The Taming of the Shrew takes a bit of following in places but the journey is more than worthwhile just to hear some of Cole Porter’s most enduring and memorable numbers – especially when performed as well as here.

Director Paul Longhurst and the team cast every key and supporting role without compromise.  It would be difficult to think of a better Lilli than Jane Hogg.  Celebrating the first anniversary of her divorce from Fred, she was vituperative in the dressing room and a virago as Kate in the play within a play.  She demonstrated her ability to hold the stage in her solo So In Love, although her I Hate Men could have used a little more passion.  Lee Power showed how fire fought fire as Fred and co-star Petruchio but recalled the good times in Were Thine That Special Face although later reflected wistfully Where Is The Life That Late I Led. Their voices were perfectly balanced on their duet Wunderbar.

Alys Dreux (Lois/Bianca) and Francis Radford (Bill/Lucentio) were equally well matched – she with a display of flighty; he portraying an amiable rogue.  Stephen Bonnett and Terry Foster made the most of the scene stealing opportunities offered to the ‘gangsters’ – not only in their showcase Brush Up Your Shakespeare but also as tow unlikely actors, taking to the stage to ensure Lilli didn’t skip town.

Special mention must be made of Cheeky, played by Keane, who made a significant contribution to the overall effect; he had been faultlessly drilled by his owner and trainer Suzanne Phillips. It is said that one should never perform with children or animals and it was certainly true that when Keane was on the stage we had eyes for little else!

Overall this was a most entertaining production which set the highest standards. - a fitting end to the first 100 years! Very well done to all involved and very many thanks for your excellent hospitality - I am already looking forward to my next visit!

Here's to the next 100!

Joanna Silcox
NODA Rep, District 8, SE Area

It couldn’t have been easy for ESOS to decide which musical to perform for their centenary production - yes, they first took to the stage in 1907 with The Mikado.  As the key objective must have been to celebrate this landmark occasion Anything Goes was probably as good a choice as any.  Although the show has next to no story, this is more than compensated by Cole Porter's unforgettable tunes and often-witty lyrics.  It's really just a feast of music with barely a downbeat moment and no villain to spoil the party.

The major strength of the production, directed by Lydia Easton, was that everyone in the cast sang faultlessly and most managed to bring their character to life.  Soloists delivered their numbers with feeling, duos were perfectly balanced, the male quartet brought out the best from their showcase song and the ensemble made the set pieces memorable.

Juliette Ewbank showed confidence as Reno Sweeney. She put verve into her solo, I Get a Kick out of You although her speaking voice and movement lost some of its potential impact by veering more towards the slinky, seductive Mae West style rather than the rasping Ethel Merman approach.  She and Andy Lingfield teamed up for a lively You're the Top and she was equally well matched in declaring Friendship, with Francis Radford.  These two male leads were impressive in their own right.  Andy Lingfield injected life into the basically two-dimensional character of Billy Crocker and sang Easy to Love as if he really meant it.  Francis Radford added extra personality to the show's best character role Moonface Martin, soft as a pussy-cat 'public enemy No 13'.

Jenny Chantelle Clarke looked demure and sang Goodbye, Little Dream, Goodbye sweetly as Hope, a part that only allowed her to hint at her acting ability.  Chris Whitebread's aristocratic mask slipped when Lord Evelyn Oakleigh revealed The Gypsy in Me.  Alys Dreux (Erma) warned off potential suitors with her no holds barred Buddy Beware.  The full team came to the fore in a meticulously harmonised Blow Gabriel Blow and in the title number but apart from a brief, eye-catching, tap sequence dancing rarely captured the imagination.

One performer who was always well received was Cheeky, played by Keane, a perfectly-behaved terrier who seemed to enjoy being in the spotlight.

The overall impression was that, after a slightly slow first act, the production picked up pace in the second half and ended on a high note.

Congratulaticns to ESOS for enticing musical director Angela Barker out of 'retirement' to bring cut the best from the score - the very heart of Anything Goes.

Reviewed by Tony Flook in the Surrey Mirror

East Surrey Operatic Society (ESOS), The Harlequin, Redhill.

This was a brilliant production of a perennial Cole Porter favourite. Originally adapted from a book by PG Wodehouse and Guy Bolton it contains many well known song and dance numbers, typical Wodehouse characters and humour, and the backdrop of a cruise liner - an excellent choice for the company's 'big splash' Centenary production.

Lydia Easton's direction was of the highest order, incorporating lots of lovely touches; she managed her talented cast with great skill. Musical Director, Angela Barker, captured the 1930s mood perfectly - she led her spirited band with distinction - the standard of the singing was extremely high from both chorus and principles. Lively and appropriate choreography was supplied by Louise Wright; it was great to see the whole cast executing a well drilled tap dancing finale.

Stage management was smoothly and inconspicuously handled by Ross Savage and his team. The quality of the sound - it depends on so many factors and frequently is the area least well handled in amateur theatre - was perfect, thanks to Jeremy Covell. Effective lighting by Ian Fagg combined with a splendid set by Scenic Projects created a series of wonderful backdrops from romantic balmy evenings to hot razzmatazz and glitz. Properties were well handled by Jenny Toye and her team.

Wardrobe (Sue Bracher and Elizabeth Elliott) was colourful, elegant and thoroughly appropriate for the time and location although I felt that Lord Evelyn' s underwear should have been much more extreme. Hair and makeup were attractive and reflected the era perfectly.

Billy Crocker (Andy Lingfield) headed a fine cast, dancing and singing with great aplomb he demonstrated his versatility as a performer. Hope Harcourt, his love interest, was played by true English rose, Jenny Chantelle Clarke; with fine singing voice she captured the grace and glamour of the period.

They made a most convincing and charming couple. Francis Radford as Moonface Martin brandished his weapon with great humour and convincing ineffectuality; his especially shaven head served to emphasise the swivelling eyes of true gangster! He was very ably assisted by Alys Dreux as Erma, who brought verve and sassiness to the stage whenever she appeared.

Juliette Ewbank played Reno Sweeney, the nightclub singer, with impressive conviction - it is hard to believe that she is a newcomer to the amateur stage. She was ably backed by her quartet of "angels"- Purity, Chastity, Charity, Virtue (Rebekah AlIen, Jill Day, Fiona Radford, Fiona Thompson) with convincing dubiety.

Her eventual partner, Sir Evelyn Oakleigh, was portrayed by Chris Whitebread. He acted and sang well and achieved an upper-class gent and but was a bit too 'normal' for my taste.

David Longes as Elisha Whitney flitted about in myopic fashion and added a touch of real professional humour and Sally Hatton as Mrs Harcourt was a typical fortune hunting mother. Smaller parts were ably filled, with particular credit to the Chinese converts, Luke and John, played by Heather Stasiw and Tina Campey. Chorus work was very smooth and each member played their own particular characters faultlessly; the company performed excellently as an ensemble.

One tiny child who grew up and developed into a leading actress was Alys Dreux, here playing Grace Farrell, Warbucks' secretary. A fabulous performance, wonderful style and the perfect blend of deference to her boss blended with the command that such a position would hold. As a very small child she was in productions with her father Helier, he was still there with her on the stage, 20 years later and no doubt feeling very proud of her success.

The entire Warbucks household were very believable (ghastly caps for the maids) with Mark Nicholson as Drake the Butler.

The crooked Rooster and his girl friend Lily, were very convincingly portrayed by Francis Radford and Katy Rudd and their performance with Jenny Clarke in Easy Street one of the best songs in the show. Andrew Glass made an excellent Roosevelt, great accent, pushed around in a wheelchair and Fred Harrison, another stalwart of ESOS, as Justice Brandeis.

Annie must have a Sandy and this was played brilliantly by Finn, a professional dog actor, who has been in many productions and on TV. Not a paw wrong and great expressions.

The production was graced by the presence of the Mayor, Councillor Francis Dixon and her party and she will no doubt take back to the Reigate and Banstead Council the message from the stage, that it would be a disaster for Redhill if the theatre had to close for lack of funding.

Where do all these talented little girls come from? And what happens to them later? By rights, operatic societies should be bursting with young boys and girls who have had the thrill of being on the boards in Annie or Oliver! and want to keep going into adulthood. Yet this is not the case. Thirty brilliant children were needed to bring Annie to perfection in the ESOS production at the Harlequin, alternate casts for each performance. Thursday’s team were the Badgers with a superb Annie played by Rosie Hegarty, who already, at 13, has been in Annie and Oliver! at other theatres and had the confidence and stage presence of a seasoned performer.

The other 14 orphans equally well provided a good chorus where required and an enthusiastic dance number later in the story. As the supervisor of the orphanage, Miss Hannigan, Jenny Clarke drank copious draughts of gin, staggered about and blurred her speech sometimes a little too realistically.

Oliver Warbucks, the rich financier, needs to be at least middle-aged to fit the story, yet young enough flying about America to make his millions. Terry Foster made the supreme sacrifice and was shaved bald and "aged” to look exactly right. Perfect accent (missing with many of the cast) and characterisation and fine singing voice.

These three all showed considerable stage presence, each personalised to their particular character. Their individual singing was near-faultless and they harmonised perfectly in ‘Old Friends’.

The talent did not stop there. Louise Forrest was striking as the grasping, marriage-wrecking Gussie. Joe, portrayed with understanding by Terry Foster, slid from being a top producer to a bum, relying on handouts from Gussie, his ex-wife. Alys Dreux brought pathos to Beth, Frank’s first wife, driven to divorce because of his infidelity.

It was encouraging to see young performers in key supporting parts, including eleven year-old Connor Vickery, who looked a natural as Frank and Beth’s son.

Ensemble work was above average and the whole team moved easily on the basic, multi-level set to Louise Wright’s generally simple but totally effective choreography. Grouping made a major impression.

Colin Warnock’s small wind and percussion-dominated band made a vital contribution in maintaining the pace.

The only technical problem was some imbalance in the sound, compounded by the fact that not all performers wore personal mikes, which meant that crucial early dialogue was lost.

Ian Fagg’s imaginative lighting was, by turn, subtle and dramatic.

It may be difficult even for ESOS to surpass the standard it set in this production.

There’s nothing unusual about plays in which we see relationships develop and breakdown. Stephen Sondheim’s “Merrily We Roll Along” is different. It starts in 1976, when Frank is a successful film producer, Mary a washed-up drunk and Charley’s name must not even be mentioned between them. The story then tracks back, progressively, over the years to finish in 1957, when the three first become friends with their own dreams and ambitions. It is a rewarding if, at times, demanding experience for the audience as well as for the performers. ESOS’s memorable production, directed by Lydia Easton at The Harlequin, held attention throughout and was well up to professional quality in many ways.

It’s one thing for an actor to portray a character who evolves in the usual chronological way. In this show the key players are faced with the challenge of having to revert, stage by stage from middle age to bright young hopefuls. Frank, played by Alastair Lindsey-Renton, is the most forceful of the trio; we eventually learn that he was driven by the ambition to achieve commercial success from the time he was a young man, using his skills as a composer as a springboard. By contrast, Charley, the lyricist, (Chris Whitebread), is from first to last intent on maintaining his musical integrity. Mary, Sarah Males, always secretly in love with Frank, worked her way up in the literary world before sinking into alcohol-induced near oblivion.

ANTHONY DREWE, who wrote the book and lyrics for Honk!, attended the last night of ESOS's production at the Harlequin last week. He said that it was amongst the best stagings he's seen of the work - and he must have sat through many.

How can I disagree with the writer?

It was, indeed, a polished production with several genuinely high-quality performances and an overall strength not always found in youth theatre.

Much of the credit must go to the director, Gillian Jarvis, for recognising and developing the youngsters' potential and to Alys Dreux, whose choreography encouraged the performers to extend their abilities but never pushed them too far.

Musical director Martin Hall's experience was crucial in giving confidence to the on-stage team.

Based on Andersen's The Ugly Duckling, Honk! follows the adventures and misfortunes of Ugly, a cygnet inexplicably hatched into a family of mallards.

Luke Kempner, at 17, already a veteran of several shows, won sympathy as Ugly - an outcast loved only by Ida, his mother and lost from his home much of the time.

East Surrey Operatic Society (ESOS) dug deep into the archives to find this largely-forgotten gem of a show and gave audiences at The Harlequin an example of non-professional musical theatre at its best.

The story, set around 1930, is simple. Tony, an Italian immigrant grape farmer in California's Napa Valley, falls for a young waitress when on a visit to San Francisco. He, though, is ageing and unattractive so he woos her by letter, ultimately enticing her to marry him by sending a photograph of a younger, better-looking man.

Complications are inevitable but the couple eventually establish what should be a lasting relationship.

The Most Happy Fella is closer to being an Opera than to a conventional musical - there's relatively little dialogue; the story and the characters' personalities are developed more in song than in spoken word. This is where ESOS scored. Every one of the dozen or more lead and supporting actors had voices that were absolutely right for their roles.

Alastair Lindsey-Renton never faltered as the generous-hearted Tony. He totally immersed himself into his role and conveyed his emotions through vocal inflexions and totally believable body language. His broken English was carefully modulated and always intelligible. His philosophy was shown