An evening of varied, polished performances
An Evening of Rogers and Hammerstein Classics, Showbiz Canterbury, Isaac Theatre Royal, May 26
Rogers and Hammerstein wrote many great songs, and this concert reminded us of their endless variety and invention.
Conductor Richard Marrrett drew spirited playing from the excellent on-stage orchestra, which played with consistent vitality and finesse. The decision to retain Robert Russell Bennett’s original orchestrations was gratifying, although, presumably Don Walker’s original instrumentations were used for Carousel, and the opening Carousel Waltz, with its wonderful bi-tonal introduction, was (after my wife silenced a talkative woman behind us) one of the highlights.
However, we live in an age where insistent impact is the norm. So, the show was miked to the hilt, which caused problems, not so much in terms of excessive decibels but, rather, in overblown expression. Everything was delivered at a healthy forte, allowing little room for subtlety or nuance. This eventually became a little relentless. It was less of a problem with the huge chorus, which sounded more naturally projected. The ‘‘entrance’’ of the chorus was a striking theatrical moment when a backdrop behind the orchestra rose to reveal the hundred-plus singers in tiered rows, making the most of the luxurious depth of the theatre’s stage. Their formal regimentation belied the energy and exuberance with which they contributed their youthful, full-toned voices, and which made them another real highlight.
Soloists tended to suffer by comparison with a very similar Broadway concert by the Christchurch Symphony just four weeks ago. Good as they were, none was quite in the same league as the CSO’s classy line-up. Showbiz’s soloists were often more generalised in their expression. Additionally, bulky hand-held microphones masked facial expression and compromised visual communication.
And the general habit of turning and smiling at the orchestra during instrumental phrases weakened dramatic continuity. Some were more convincing: Kira Josephson and Greta Casey-Solly characterised their songs impressively; and Blair McHugh was especially enjoyable in his expressively detailed performance of The Surry with the Fringe on Top.
A few of the songs totally missed their expressive point. A prime example was Climb Every Mountain, delivered as a bombastic Les Mis-like call-to-arms instead of as caring, inspirational (and moving) advice from a wise mentor to a troubled novice.
Still, there was plenty to enjoy in this well-prepared and polished concert, and the audience must have left the theatre humming Richard Rogers’ inspired and enduring melodies. – Tony Ryan