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CHORUS OF APPROVAL

Friday, May 2, 2008
CHORUS OF APPROVAL
In A Chorus Of Disapproval are, back, from left, Daniel Cawtheray, Lynne Phillips, Pat Ayles, George King, Christian Manderfield, Bernard Meatyard, Andy Ball, Jo Adams and Ralph Edermaniger. Kneeling, Sam Howard, Liz Belcher and Fiona Gwinnett. Picture by PETER BOAM.
STAGE REVIEW
CHORUS Of Disapproval, by the Ad Lib Theatre Company, was an ambitious production, particularly as there were extra songs added, some of which appeared to have had words written especially for the occasion.
Andy Ball had a strong singing voice and a tuneful one at that. Unfortunately, Samantha Howard’s trained vocal contribution was such it dwarfed the other singers, despite their accuracy.
The setting and minimal scenery were fine and the costumes, shoes included, looked quite in keeping with the period, particularly the outfits of the hangmen.
The choreography was particularly noteworthy and the opening sequence with the dance, plus the strong movements in Let Us Take The Road were really inspiring. The long fight sequence was most realistic and believable.
Liz Belcher, as Bridget Baines, was a great success, as was Ralph Edermaniger as Jarvis Huntley-Pike.
To get the most out of Chorus Of Disapproval, one really needs to be well acquainted with the Beggars’ Opera, since Ayckbourn obviously intended the storyline to be a parallel. Somehow this did not come across, so the rise to stardom of the rather inept Guy and his eventual ostracism, became the show itself.
Not that this mattered — except to Ayckbourn — as one was able to follow the shenanigans of all and sundry with relative ease, making for an amusing play in its own right.
The whole production was as faultless as are all those performed by Ad Lib. Yet somehow, the usual depth of character did not come across. I don’t know why, as each cast member played his or her role with panache.
The songs were, I imagine, meant to back up the story but they were just songs, the words of which were not always comprehensible. Maybe by being on level with the stage and therefore not being able to see the action very well, much was lost to many of the audience.
RITA BOFFIN