Merrie England

Lancashire Evening Telegraph

AT the risk of making a report of an operetta sound like a soccer write-up, I must describe the opening of "Merrie England" by the Bel Canto Theatre Group as an affair of two distinct halves.
The first half was competent and workmanlike but somewhat lacklustre; the second thoroughly enjoyable, as the production burst into life.

Maybe first-night stiffness was partly to blame for most members of the chorus looking ill at ease, but on the other hand, producer Raymond Grice's stage movements for them did not allow them much scope to appear to be having fun.

They often appeared to have been regimentally drilled rather than rehearsed. However it would be preposterous not to state right away that the standards of singing, musical arrangements and dance routines were as high, if not higher, than in most amateur light opera.

Inevitable

There was no doubt at any rate, that the first-night audience at Oswaldtwistle Town Hall enjoyed this Jubilee Year show - a Basil Hood—Edward German work centred on an imaginary incident in the lives of Elizabeth I, Walter Raleigh and the Earl of Essex.

The strength of the Bel Canto production is in its leading players, in particular Dorothy Fagan, who sang beautifully and with perfect tone and pitch as Bessie, the Queen's lady-in-waiting, and Geoff Hill, singing masterfully as Raleigh.

There was also excellent singing from John Riley, comfortable in his role as the scheming Essex; Joyce South, as a stonily regal Elizabeth; Katie Birtles, a stunner as the alleged witch Jill; and Malcolm Graham, as the simple forester Long Tom.

David Norris was both in fine voice and great comic form as strolling player Walter Wilkins
with his usual partner, Brian Fagin, expertly providing the butt for his shafts.

Barbara Taylor appeared not quite at home as the May Queen with a mean streak, but blossomed humorously as the Pharaoh's daughter in the masque that Wilkins lays on for the Queen.

The dancers were perfectly in step, and avoided stereo typed movement and Peter Holmes, as Forester Ben, joined them in a quite impressive Cossack dance.

Full marks should especially go to the fine orchestra and their musical director, Alan Robinson,
The production runs every evening this week, until Saturday.

ERIC BEARDSWORTH.