‘All came together beautifully’
A true highlight of every new year at Durham University is getting to see all the new talent come in, beginning with the freshers shows in Michaelmas, and Open Call: A Hild Bede Cabaret did not disappoint. The entire cast showed strength after strength, and all around there was a great display of potential across their vocal and acting performances. Though there were some obvious nerves from the outset, each performer settled in well and their joy of performance in the second act was incredibly infectious.
Many of these performers were particularly stand out for their quality of voice: Megan Pollard displayed a lovely style in her vocals and was crucial in carrying the lower harmonies of songs within the second act; Lucy Marshall had a beautiful vibrato that suited her poignant and grounded performance of ‘Far From the Home I Love’ (Fiddler on the Roof); and Danielle Wilson displayed a remarkably powerful belt, which stood out right from the outset during the full cast opener of ‘Beautiful’ (Heathers). Additionally, Paige Elizabeth and Izzie Farrow’s duet All I Ask of You (The Phantom of the Opera) was a strong rendition of what is traditionally a soprano/baritone duet. Each performer had the opportunity to present the clarity of their upper register, with Farrow singing a beautiful transposition of Raoul’s part as Elizabeth impressively executed the final harmonies from Christine.
Prim Rothman handled the pressure of the first solo (‘Take Me to the World’, Evening Primrose) incredibly well and with great poise, displaying a beautifully rich tone in her vocals. Along with Sophie Shirin Sadar and Freddie Dale, these performers made excellent use of the space, taking opportunities to interact with each side of the audience. Dale should also be commended for his exceptional control of the tempo changes in ‘Reviewing the Situation’ (Oliver!), and Shirin Sadar’s performance of ‘Diva’s Lament’ (Spamalot) contained impeccable comedic timing and dramatic delivery.
Evie Tickner’s performance of Catherine of Aragon in ‘Ex-Wives’ (Six) had incredibly strong characterisation, with her passion and impressive vocal agility being mesmerising to watch. Similarly, Lily-Mae Lewis took fantastic command of the space; each song she was in had a compellingly considered performance that demonstrated how suited for the stage she is.
Of course, a huge appreciation should be given to the creative team, led by members of the HBT exec. The direction of Lucy Atkinson and Phoebe Murray (shadowed by Hadiya Iqbal) made clever use of the various entrances within the Fringe Academy and beautifully highlighted the performers’ strengths in their blocking. The pair acted as comperes through the show, showing incredible comedic prowess – with thanks to the hilarious script of company manager Julia Panova (who was shadowed in this role by Char Lloyd). These interruptions provided the cabaret with a clever narrative throughout – of holding auditions for their “upcoming” cabaret – that helped to draw attention to the artful structuring of the show’s set list. The work of co-musical directors Ilan Miller and Ollie Painter (shadowed by Alexander Penny) shone throughout the performance, particularly resonating in the harmonies of songs such as ‘Ex-Wives’ (Six) and ‘When the Chips Are Down’ (Hadestown). Additional praise should be offered to Miller, who had to step in last minute to cover a part within ‘At The Ballet’ (A Chorus Line) due to cast illness, which he performed incredibly well. Indeed, the entire exec performance of ‘Cell Block Tango’ (Chicago) was a delight to watch, displaying well-rounded performances of acting and singing from the six onstage, with a lovely inclusion of production manager Aoife Bowles in the voiceover.
Attention also should be given to the technical team, headed by Bowles and supported by tech shadow Liesel Barge, who performed exceptionally well within the limitations of both a showcase and the venue. Sound designer and operator Leia Ong demonstrated remarkable precision in timing of cues, and the levels were set well to allow the tracks to be at a reasonable volume without drowning out the singers. Particularly impressive was the execution of cuts in songs such as ‘Cell Block Tango’, to fit the pacing of the monologues. The lighting design (created and operated by Naomi Cattermole) was incredibly effective, making clever use of a simple rig for all the lighting states, while still offering variation between performances.
The general purple wash that existed between many of the performances was a nice touch, in matching marketing designs of producer Jamie Duncan (shadowed by Feyifemi Ogunyemi) whose work reflected his usual standard of excellence. The stage team, made up of stage manager Gemma Christie and assistant stage manager Dori Sassan, were efficient in their scene changes, keeping transitions between songs smooth. There was a simple but effective use of set and props, with the subtle shifts in chairs between various songs in the first act speaking again to how well considered each moment of the cabaret was by the tech team.
Every member of this company should be proud of what they have achieved – putting on a showcase is incredibly difficult with often limited time in which to rehearse or design elements, but it all came together beautifully. Returning members proved themselves once again as assets to Durham Student Theatre, and as for the freshers, I cannot wait to see what’s next for them after this incredibly successful DST debut.
By Molly Winchurst