A Little Night Music
Review
You don't exactly come out of a Stephen Sondheim musical humming the tunes, and this handsomely-produced HumDrum AmDram production is no exception.
Send in the Clowns is the best-known song in 'the world's first adult operetta' (as the programme calls it).
But Sondheim's not after writing hits but using his elaborate, melodic tunes to reflect the state of play among the three sets of lovers as relationships come to a head during a dirty weekend in the country. HumDrum's staging - courtesy of directors Psu Boyne, James George and Michèle Johnson - makes full use of the New Theatre Royal's restricted acting area.
The production certainly looks and sound a treat, although a few performers are under-powered vocally from time to time. A little more edge to the brittle dialogue wouldn't go amiss in places wither.
But full marks for mostly pulling off a fiendishly difficult Sondheim show that won't be everyone's cup of tea.
Steve Pratt The Portsmouth News - Wednesday 24th July 1996
With excellent acting and delightful Sondheim songs, A Little Night Music was bought to life by HumDrum AmDram Musical Society.
The small but highly effective band of players, formed in 1992, portrayed this piece with energy, professionalism and more than a touch of humour. There is no plot to the musical as such, but it was a snapshot of the times, commenting on the society and politics. James George played the well-to-do lawyer, Frederick Egerman, excellently, which was complemented greatly by the faded Carmen figure of his ex-lover Desirée Armfeldt, played with great character by Lisa Keld.
Sondheim's common thread was to portray relationships in threes. It was not the classic meage à trios but a whole host of interrelated liaisons which added to the enjoyment and complexity of the plot. Desirée was not only feted by her ex-lover, but by a very forthright and proud Count, whom with strong stage presence was played by Peter Colley. The Liebeslieders were there to serve as 'witness' to the whole proceedings and were played harmoniously by Jay Cross, Stuart Francis, Karen Lacey, Caz Reeves and Sam Shimbart. The costuming was very appropriate for the era and the choreography by Michèle Johnson was spot on using the limited stage access to perfection and not over stretching the company's dancing capabilities.
There was the occasional dropped note (and microphone) with a very curious backdrop which resembled an EEC Irish Conference emblem in the shape of a harp surrounded by blue stars, but Psu Boyne has obviously developed a group of players who enjoy challenging less popular productions. One wonders what achievements they could make with better funding and resources.
Future productions include Snoopy!!! The Musical, The Importance of being Earnest, and Moby Dick!
Best Performance: James George
One for the Future: Sam Shimbart
John Simpson Musical South - Issue 1 July to September 1996
