When you let yourself
be cajoled into seeing a friend’s amateur dramatic
performance, you usually
prepare yourself for the awkward after show questioning. ‘‘Well, what did you
think? Did you like it?’’
This past weekend, I headed to see
the Maidstone Amateur Operatic Society perform one of my all-time favourite
films/musical/ musical films of all time, The Producers by Mel Brooks.
As the programme states it is a ‘serious
contender for most non-PC mainstream production ever’.
It requires a male heavy cast, which
in my own experience has proven to be particularly difficult in the professional
industry, let alone, the amateur side.
Not only was I anxious about the bold
choice of performing a highly controversial show, I was also intrigued as to
how the cast would handle the irrational actions and reactions demanded by the
script. Again, only within my experience, this usually descends past farce with
each actor breaking the forth wall and hamming up for a bigger laugh or a scene
stealing moment.
I need not have worried.
The show eliminated my need to come
up with rehearsed niceties.
The cast came together excellently
and genuinely gave their all into a show which expects nothing else.
The farcical script is cleverly
crafted. It’s a sideswipe at the manipulative world of show business and serves
as a reminder that nothing is above being satirised.
Our lead, Max Bialystock, was
portrayed by Chris Chedzey, who quickly and comfortably eased us into the world
of The Producers. As a fan of Nathan Lane, original Broadway and motion picture
cast, I quickly drew parallels. I can only assume that Chris is also a fan.
There was more than one occasion where I found myself comparing his performance
to the one I’d heard many times before.
Max’s methods have to be instantly dislikeable
whilst the character has to endear himself to the audience. We know his methods
are flawed but we all seem to wish him well and even empathise with his
behaviour.
This role would be difficult for any
actor to pull off and the challenge was expertly met by Chris. His timing was first
class, his accent unfaultable and his understanding of the character impeccable.
There was a hint of Lane’s portrayal but Chris gave enough of his own originality
to the role to dismiss any comparisons as merely homage to the original.
Leo Bloom dreams that his mundane life
will be replaced by that which he secretly desires but never dare chase, a Broadway
producer. This performance came in the guise of David Amos. After reading the
programme, I discovered that this was David’s first musical outside of his school
background. Leo is quiet, unsure & timid and whether those on show were an interpretation
of a character or just David’s own nerves remains to be seen. All I can tell
you is that I was unconvinced about his performance to begin with but fully converted
at its conclusion. His spoken vocals and accent were, again. flawless.
Every now and again, amid these
strong lead performances, you were catapulted back into the Am Dram world.
Leo was an early but not exclusive culprit
of, searched for but never found, bum notes. In my book, this is unforgivable.
There are many ways around this but unfortunately these slips were left in. A 'flat' or, more correctly sharp, note, when held and amplified through the house
P.A is very noticeable. However this is forgotten as quickly as it arrives.
My one outstanding memory was the
collective professionalism of the cast. Not one of them was playing for laughs;
no one person was trying to upstage another. The forth wall was breached on few
occasions and only when the script dictated and no more. They all remained
loyal to the excellent script they had agreed to retell.
To the cast & crew: You should be
very proud of your achievement. Please take any criticism as one person’s opinion;
this is all it will ever be.
Please keep up your commitment & involvement
to the arts, I, for one, will be singing your praises.
