23 November 2007
Merton Hall
Stephen Macvicar
Thank you very much for inviting me to Wimbledon Light Opera Society’s production of “Jack the Ripper” recently at Merton Hall. Thanks also to Dianne Norton for making the ticket arrangements.
Synopsis
The play is a musical reconstruction of incidents relating to the East End murders which took place between Friday, August 31st and Friday, November 9th, 1888. A solution of Jack the Ripper’s identity is hinted at, but the play is an atmospheric commentary rather than an historical re-enactment, shifting between reality and artificiality, with characters representing “real” people as well as members of the music hall audience and players. It is an essential feature that some characters are called upon to play more than one role. They thus have a life within the Music Hall and also in reality. The Chairman also plays the authoritative roles of Sir Charles Warren, the Magistrate, and the Dock’s Foreman, while Montague Druitt is also known as Toynbee and plays the villain in the melodrama and the magician.
Overview (for NODA London Magazine)
WLOS immersed themselves in the Victorian theme as they transformed the Merton Hall into a region of 1880’s London. An Olde Tyme Music Hall sing song during the interval added to the atmosphere. There were some good lead performances and some excellent choral singing in evidence. Amplification was lacking and snappier lighting cues would have greatly assisted. Despite some small, picky criticisms a lot of effort had gone into this production and it showed.
I think Jack the Ripper was a wonderful choice of show for WLOS. It is an excellent ‘society’ show i.e. there were just as many working hard behind the scenes as there were on stage. In one society I was with a few years ago, several members chose not to take part in a production of Jack the Ripper on the grounds of the title and perceived subject matter. By the end of the show they had regretted their decision not to take part in such a boisterous and good fun show.
WLOS has played at a few venues in recent years and while Merton Hall was perfect for this scale of production, it is such a shame that you have to leave the borough for larger scale productions. It is perhaps worth mentioning it to the mayor the next time he or she is invited to a show!
From the moment we turned in out of the main street in Merton 2007, we arrived in Victorian London of the 1880’s. Whether it was deliberate or not, the narrow entrance acted as a superb alley way between the two worlds. Cast members and assistants in period clothes went about their business selling programmes and raffle tickets etc – nice touch.
The production as a whole had a nice atmosphere about it. Under the direction of Matthew McDowall there were some nice principal performances backed up well by a lively ensemble. Scenes in the Steampacket were particularly rousing but there were times when principals needed to speak up. WLOS had obviously thought about how the format of the evening would take place. Changing the natural two act show into a three act show and including a Music Hall sing-a-long section was an inspired decision. It suitably padded the evening to the desired length without making it obvious. Matthew also undertook the Choreography and whilst the stage is tight for space the ensemble were moved efficiently. ‘God Bless Us’ was probably the strongest ensemble number in the show. The fantastic score was in the very capable hands of the ubiquitous Al Clogston. In between playing a lead role, designing the set, leading the sing-a-long, drawing the raffle and probably making the cast teas, Al had time to teach the cast the music and organise the band with the undoubted help of pianist David Harvey. The harmonies although relatively straightforward were executed perfectly.
The technical side of the show went pretty smoothly. I think some amplification boosts were needed in certain places and the cast needed to speak up at times. In darker moments of the show, some cast members were almost whispering but we still require that projection. It looks like a difficult hall to light in an atmospheric way but apart from a lack of sharpness in a few lighting changes, it was well plot. Costumes were excellent but by and large everyone was too clean and well turned out.
A smaller than usual WLOS cast, each acquitted themselves admirably. Some were more experienced than others but there no obvious weak links. The chorus are on stage for much of the play, being involved both as the audience in the Music Hall scenes and as inhabitants of Whitechapel. There are too many characters to mention individually but I have made a few comments on the main principals;
Marie Kelly – Marion Hayter – Marion was an engaging, youthful leading lady. At her best in the philosophical ‘Half a Dozen Pints’.
Montague Druitt – David Ballard – David portrayed the posh and well educated side of Druitt to a ‘T’ but wasn’t sinister enough for me. In your version Druitt is identified as the ripper, therefore we have to believe Druitt is capable of butchery and I never got that impression.
Lizzie Stride – Linda Pullinger – Another good characterisation by Linda. Her stirring duet with Marion, ‘Step across the River’ was well worth waiting for.
Chairman – Al Clogston - Along with all his other duties, Al did a first class job as the Chairman. He kept the pace of the piece moving sufficiently and was suitably rousing at times but was demure when required.
Dan Mendoza – Seumas Grey – I liked the energy and enthusiasm that Seumas put into the part of the despicable Dan but for me his comedy timing was not quite there.
Annie Chapman – Amie Shallcross – Good to see Amie being given a principal role and played the part very effectively.
Polly – Alison King – As well as designing the excellent souvenir programme, Alison impressed as the youthful ‘old hag’ Polly Ann Nichols
Police Sergeant – Paul Sadler – a reasonable portrayal with some nice comedy moments, especially the cross-dressing scenario.
Lady Overcoat – Bel Gibbs – Usually Lord Overcoat but Bel made the transition of the part seem relatively natural.
Dinky (William Bennett), Bluenose (Adam Phillips) and a female Slop (Georgina Christmas) all gave valiant support as did the stream of whores, assorted east end characters and in particular a mention for Zak Rutt as the Paper Boy for his very promising and wholehearted contribution. This was a good solid ensemble piece and one the society can rightly be proud of.
The ‘East End Chronicle’ was well conceived and had plenty of interesting items. Short biogs were very welcome as it shows the relevant experience and growth of performers. It was nice a touch to include other society productions. In return hopefully they will do the same for you. It would be nice if you could include a small section on NODA in future programmes. This will allow you to enter the programme competitions etc; I have varying sizes of articles which I would be happy to provide.
Congratulations to one and all. It was an entertaining performance and hopefully you will have been able to balance your books accordingly.
Once again thank you for inviting me to Merton and best wishes for your next production, Stephen Sondheim’s “Follies”, in May.
I look forward to seeing you again soon and if I can be of any assistance at any time, please do not hesitate to contact me.
Kindest Regards
Stephen Macvicar
NODA Rep
London Area 3