AMATEUR THEATRE REVIEW: Oklahoma! - St.John's Hall, Whitworth, Rochdale.

When recalling my own performance days in local productions, I fondly recall the great social aspect and sheer enjoyment that came with the adrenalin pumping from dancing and working as a team with fellow cast members.

Tonight, Whitworth Amateur Musical And Dramatic Society's production of the Rogers & Hammerstein classic 'Oklahoma!' showcased that same enjoyment and teamwork at St John's (church) Hall, Studd Brow, Facit, Whitworth. (A note to attendees that the hall is in front of the church but you can park by the church but be warned to not go too far up the lane - or get lost like I (and others) did - lined with real wheat/barley, adding to the experience, much like the presence of two horses for photographs and the mannequin posed at the self-playing piano.)

The story of the show is simple (I guess) and much-loved. With love, darkness and humour, we enjoy (in parts) a jolly good knees up, as well as some rather oddly-composed and dark songs too - this time, most unfortunatley made somewhat worse by the seemingly underrehearsed and, at times, out-of-tune orchestra (under the direction of Jeremy Sleith) - not helped by a few first-night glitches of the sound and lighting team, all of which can perhaps be forgiven (the blinding spotlights and flickering faulty emergency exit sign cannot, but can maybe be attributed to the placement ot the audience 'in the round'/either side of the performance space). Nonetheless, on to the show...

We open, as per the iconic opening, with the character of Curly McLain (usually) setting the bar with a rousing tingling powerful a-capella start in 'Oh What A Beautiful Mornin' as he enters the stage alone, with Aunt Ella readily churning butter. The interesting choreography and diverse voices did keep me intrigued - perhaps the best were those of the female chorus. As mentioned, there are some odd songs in 'Lonely Room' and the start to 'It's A Scandal, It's An Outrage' but the cast did well throughout. The characters/singers of those two songs were very good in their portrayals of deprived Judd Fry (Paul Ryan) and Persian peddler Ali Hakin (Joe Marsden). Ben Vaughan's Will Parker and Annabelle Taylor's (somewhat annoying, but very much in-chararacter) Ado Annie were also stand-outs, supported by their (impressively executed) choreography. They provided welcome comedy, as did, Ali Hakim, Emma Bradburn in the role of Gertie Cummings and Angela Mayall as ranch matriarch Aunt Eller.

The prominant storyline follows lover (who refuses to accept the fact), Curly (Terry Banham), and Eller's niece Laurey Williams (Leonie Picariello). Whilst both are clearly highly experienced, for me they could have exuded a little more charm and chemistry at the start but it was present later on, especially in their shared dislike for Judd (I have to ask why there was an action of opening an invisible door when every other cast members just walked straight through it. This bothered me - sorry).

I enjoyed the group numbers involving the chorus/ensemble (when the choreography was polished - like the opening of act 2, which seemed to be led by bass player and father to Ado Annie, Andrew Carnes, played by Andy Kelly, who sported some rather modern looking trainers which I doubt would be authentic to the period!). The 'Dream Sequence' was different to my expectation, but it was enjoyable though, as was the majority of the show.

Both the male and female ensemble gave great support to the leads and helped to move the show along, with ad-libs and quirky characters, and I am glad they looked like they were enjoying it as much as I hope they were.

It is great to be back watching live performances again and it's heartwarming that local groups are able to get back to doing what they love, as well as the fun and social side. Well done to all involved and thank you for the vast team front-of-house for your welcoming hospitality, especially Irene. I hope the remainder of the run is a success.

The show, with directon by chairman and cameo-creator Andy Kelly and choreography from society newbie Eleanor Ross, runs until 9th July.

Reviewer - John Kristof
on - 5.7.22