Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - It's All An Act

I had the unique opportunity to attend a rehearsal of Joseph and The Amazing Technicolor Dreamcoat by the outstanding cast of Basingstoke Amateur Theatrical Society and directed by Louise Travis. Despite being a rehearsal, the performance was already incredible, showcasing raw talent that promises to be even more breath-taking with the addition of music, lights and scenery.

Highlights

The Potiphar Scene brought a fascinating clockwork orange vibe, adding a unique touch to the production.

The integration of narrators with the characters, particularly the brothers, was a brilliant choice, providing a fresh perspective on the storytelling.

The choreography was outstanding, effectively utilising the space and engaging the audience.

The well-rehearsed children added a delightful dimension to the production, contributing to a great overall sound.

Character Performances

Joseph: While well-sung, there seemed to be a bit of holding back, and I wished for more depth in the portrayal of light and dark throughout the performance as Joseph goes on a rollercoaster of a journey.

Jacob: Though lively, I felt he appeared a tad too sprightly for a father of 12 sons, particularly in the dance numbers. I understand the need for the involvement especially within the dance numbers but didn’t believe the age of the character.

Pharaoh: Surprisingly kind, lacking the expected arrogance, which offered an interesting take on the character. Working more as a crowd pleaser than a ruler.

The Potiphar’s: Potiphar’s ‘roar’ was appreciated, along with the aggressive nature that was to be expected with this character and Mrs. Potiphar effectively conveyed discomfort and tension in her scenes with Joseph and the audience.

Group Performances

The brothers showcased individual characters, each distinct, even while competing with their flowing locks. Those Canaan Days sung in acapella was just *Chef’s Kiss* and gave me goose bumps.

The wives’ inclusion was a lovely touch, providing great routines and support to the brothers even with all the quick changes demanding them.

The ensemble, including the angels, provided seamless support, singing as one. The angels sang cohesively, contributing to the ethereal atmosphere. The Ishmaelites added a delightful visual dynamic to the show. The Baker and the Butler, portrayed by Sally Manning and Laura Hughes respectively, took me by surprise with their vocal prowess. Their unexpected vocal abilities added an extra layer to the ensemble, showcasing their talent in a way that pleasantly caught me off guard. If you go to see this production, you’ll certainly understand what I mean when the Baker and the Butler open their mouths.

Observations

Due to unforeseen illness, only two narrators were singing, which was handled well and still made an amazing sound.

Lightning couldn’t be commented on directly due to the rehearsal venue, but set pictures and videos indicated a visually stunning production.

The costumes, which I got to see most of was great as this show can be very confusing with the different time settings and trying to figure out which route to go down, but feel they got it just right.

In conclusion, this rehearsal of Joseph and The Amazing Technicolor Dreamcoat provided a captivating glimpse into what promises to be an exceptional performance. The dedication of the cast and the creative choices made already set the stage for a truly memorable show. For those fortunate enough to attend, this production is sure to offer a magical experience at the theatre.

Jaz Wilson
It’s All An Act

Rent Review, May 2023 - NODA

SET AND PROPERTIES: The set, a multi level steel structure, was practical and made good use of the space; part of the upper level housed the orchestra. Tables were moved around and used in various scenes. Props were well used – even the candles which can be notoriously badly behaved in live theatre!

THE PROGRAMME: The programme was in A4 format, glossy and gave clear and interesting information about the production, background and planning with photos and information about the cast. There was a Chairman’s message as well as information about their future production and how to get involved with the group.

COSTUMES: The costumes were many and impressive ranging from Angels’ outrageous drag outfits to the cow costume for Maureen’s avant-garde performance in ‘Hey Diddle Diddle’. The Bohemians were dressed relevant to the period and location.

LIGHTING AND SOUND: The lighting was effective throughout, well controlled and varied in accordance with the nature of the emotion in the scenes such as gloomy lighting when there was an air of desperation or lighter and more colourful when the mood and musical numbers were more upbeat. The sound from the orchestra was first class and the voices were clear and blended well with the level of the music. There was clever ‘miming’ when a guitarist in the orchestra played but gave the impression that the actor was the one strumming. The music throughout was of the highest calibre.

THE PRODUCTION: This was a very polished production from the opening scene to the end when the characters reflect on living life in the moment and cherishing the time they have left. The message of the show was evident from the energy and commitment of the performers. There were some stellar solos as well as ensemble performances: Angel’s high energy and phenomenal entrance was amazing and Maureen’s Tango being just two of the highlights. Everyone was totally engaged and absorbed into their characters and this was complemented by the excellent live music. BATS have performed many shows and this production shows BATS at their very best with core roles for a good number of actors and therefore opportunities for many to shine. The direction, music and technical and creative team worked hard to ensure the success of this vibrant, sometimes sombre and thought provoking show. 

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Society (NODA)

Rent Review, May 2023 - It's All An Act

This exuberant and impassioned show takes us on a journey through a year in the lives of struggling young artists and musicians in New York’s East Village during the mid-1990s.

Rent revolves around a diverse group of characters facing their individual challenges while united by their dreams, loves, and conflicts. Roger, who has overcome his drug addiction, struggles to finish writing that one great song. Mimi, a nightclub dancer, finds herself in an on/off relationship with Roger. Tom discovers his soulmate in the radiant drag queen, Angel. Maureen expresses her chronic infidelity through performance art, while her partner Joanne questions the worth of their relationship. Benny, once part of the group, has compromised his ideals for financial gain and moved away. Mark, an aspiring filmmaker, documents their lives on camera while feeling like an outsider himself. Throughout the story, the characters navigate their paths amidst the physical and emotional complexities of HIV/AIDS.

The performances in this production were commendable, with a few standouts worth mentioning. Jack Baldwin as Mark Cohen delivered a captivating portrayal, bringing depth and authenticity to the character. David Honeywell as Roger Davis showcased both vulnerability and strength, while James Young as Tom Collins infused his role with heartfelt emotion. Tom Boncey’s portrayal of Angel Dumott Schunard was filled with charm and warmth, and Jade Williams gave a dynamic performance as Maureen Johnson.

The acting was overall impressive, and the cast brought the characters to life with conviction. However, I found some of the choreography to be a bit out of sync with the show’s theme at times, and there were moments where the singing fell flat. Despite these minor hiccups, the quality of the production remained solid, and the performers’ dedication was evident.

The production values of Rent were praiseworthy. The set design was awe-inspiring, although it occasionally felt overwhelming and restricted the movement of the dancers. The costumes beautifully captured the essence of the era and complemented the show’s theme perfectly. The lighting design was well executed, with some notable effects that added an extra layer of visual impact. One minor distraction was the mimed guitar playing, which could have been better coordinated between the actor and the guitarist or addressed during rehearsals.

Overall, Rent by BATS was a well-crafted production with excellent casting choices. The dedication and effort put into this show were evident in every aspect. It successfully captured the essence of friendship, love, survival, and the importance of living for today. Despite a few minor flaws, this performance was a heartfelt tribute to the spirit of the original work. I commend the entire cast and crew for their commitment in bringing this powerful and uplifting story to life on stage.

Jaz Wilson
It's All An Act

Rent Review, May 2023 - Retiring in Style

“We can all learn how to survive from those who stare death squarely in the face every day, and we should reach out to each other and bond as a community, rather than hide from the terrors of life.”

So wrote Jonathan Larson, author and playwright of Rent, the latest production from the super-talented cast and crew of Basingstoke Amateur Theatrical Society (BATS). Director and Choreographer, Louise Travis, with Musical Director Jonathan Eiø, pulled out all the stops to draw out the very best from the players.

Rent is a challenging production on many counts. It is a challenge for the actors and a challenge for the audience. It is also a serious vocal challenge and one that requires all involved to reach into the depths of their very selves to create meaningful, recognisable characters that everyone can relate to in one way or another. For some watching it may be uncomfortable at times – but what is good drama if not, occasionally, to take us out of our comfort zone? Above all, it is a story of friendship and fear, love and loss, death and the legacy we leave behind us when we die.

Set in New York, in the 90s, Rent doesn’t flinch from introducing us to the lives of those “staring death squarely in the face.” Best friends Mark and Roger rent an apartment which they can’t afford to pay for and are being chased for payment by a former flat-mate, Benjamin Coffin III (Benedict Kennedy) who has sold out to respectability – though this, it turns out, is the least of their worries and those of their friends. Mark, played by Jack Baldwin, is the narrator of their story, filming every event on camera in a despairing attempt to capture what life is like for those facing issues of homelessness, drug addiction, gender identity and, above all, the scourge of AIDS. Not the easiest part but Jack played it brilliantly, his sure and powerful voice conquering those difficult vocals with seeming ease while providing the vital link holding the various strands of the story together. Sometimes standing by to watch the lives of your friends fall apart is as bad as experiencing it yourself.

First time BATS performer, David Honeywell, playing Roger, provided a good contrast to Jack. Roger has a tragic back story, HIV positive himself and having lost his one-time love to suicide after she discovered she was HIV-positive too. He is frightened to love again, initially resisting, painfully, the attractions of Mimi, Luannsa Goodman turning in a feisty performance. David’s acting was impressive, every quiver on his mobile face evidence of his fear and his longing. His desire to leave behind one last song (One Song Glory) which would stand the test of time was a recurring theme, just as film-maker Mark’s was to compile a realistic record of troubled times.

Essentially, Rent focuses on three couples and their very different approaches to love. Most poignant of the three was that of Tom Collins (James Young) and the enchanting Angel (Tom Boncey). Angel, a drag queen extraordinaire, strives to bring joy to enrich the lives of everyone she meets, especially Collins, through unfailing kindness and generosity. The two together, James and Tom, take everyone with them as they fall head over heels in love. Their duet, I’ll Cover You, is one of the most beautiful in the show. When Angel dies, Collins at the bedside, the light goes out and the community of friends start to fall apart. It’s only at the end of the show that Angel’s own legacy – the understanding that all you need is love – becomes clear.

Laura Burrell played Joanne, the girl who falls in love with someone completely different from herself, the outrageous and ever-flirtatious Maureen (Jade Williams) a former girlfriend of Mark. One of the stand-out songs, early on in the show is Tango Maureen, danced with considerable aplomb by Mark and Joanne, reflecting on the way Maureen effortlessly has them both dancing to her unique tune. Unique is the only word to describe Jade’s performance, as Maureen, of Over The Moon which was completely bonkers and totally captivated an appreciative audience.

Act One, despite the underlying tragedy transmitted so effectively through the AIDS/ HIV support group rendering of the powerful anthem Will I Lose My Dignity?, included several upbeat songs to stay in the memory. Among these were Angel’s joyous Today 4 you - a toe-tapping musical ‘present’ brightening up Christmas Day for Mark, Roger and Collins; and Mimi’s intoxicating Out Tonight as she tries to persuade Roger out of his melancholy and into her arms. The Act finishes on a riotous note. Mark leads the company in La Vie Boheme, a raucous hymn of praise for the Bohemian lifestyle they have all embraced, excellently performed by one and all.

This production of Rent offered many such opportunities for the whole cast to demonstrate their boundless enthusiasm and energy, the hallmarks of many a BATS performance.

Right from the start of Act Two, there was a sense of impending doom, of dark days ahead. The first Act had been concentrated on Christmas Eve/Day - while the beautifully sung Seasons of Love at the start of the second Act talked of the 525,600 minutes in a year, measuring the year to come in seasons. It was good to see members of the Ensemble taking solo lines, giving them a chance to shine.

Angel’s death, from AIDS, came as a shock with Collins’ tender administrations to his ailing lover almost unbearably poignant. This was great acting by James Young which had many of the audience in tears. His reprise of I’ll Cover You at Angel’s funeral was incredibly moving. So, too, was Mark’s breakdown at Hallowe’en, laden down with anticipatory grief and survivor guilt. Truly memorable scenes.

In the end it was Angel whose example, even in death, brought the community together after their painful split. Mark and Roger were reconciled, as were Maureen and Joanne, Mimi and Roger - Mimi’s near-death prompting Roger’s realisation that “you were the song all along.”

We can’t know what will happen to each of them next, but the Company’s Finale was full of the hope that they could make each day that followed count if they only clung together through everything thrown at them.

BATS has a reputation for shows which are out-and-out people pleasers - but for a Society which wants to grow in strength and to stretch the talents of its excellent members, including many promising up and coming newbies, Rent proved the ideal vehicle. More importantly still, it was abundantly clear that this production meant a great deal to every one of the cast and crew - they totally believed in its messages. And because of that, they helped their audiences to understand and appreciate those messages too.

Jaqui Ball
Retiring in Style

Rent Review, May 2023 - Basingstoke Gazette

Basingstoke Amateur Theatrical Society (BATS) took many risks deciding to perform Rent - but it was a risk worth taking and every decision has paid off.

Over the last few years, Basingstoke has been guaranteed a fun night out at the theatre with BATS who have recently performed hits like Elf - The Musical, Sister Act, Shrek, and Oliver!.

But, this time around they went in a completely different direction with Rent - Jonathan Larson's multi-award-winning musical, that follows a year in the life of a group of struggling young artists in New York’s East Village in the mid-1990s.

Tackling topics like drug abuse, sexuality, homelessness, mental health, and the impact of HIV/AIDS, Rent is a tough musical to master - but BATS have done it justice.

If performing such a tough musical wasn't hard enough, a number of the main cast members are braving leading roles for the first time.

Luannsa Goodman gave a moving performance as Mimi Marquez, and even tackled a costume malfunction like a pro.

Likewise, Tom Boncey as Angel Dumott Schunard took the difficult role in his stride and was a convincing partner to James Young, who played Angel's lover Tom Collins. In the second act, they both mastered some of the more emotional scenes as Angel succumbs to HIV/AIDS. 

Jack Baldwin confidently leads the musical as Mark Cohen, a struggling musical director who narrates the whole performance.

In the opening show on Tuesday, May 16, Jade Williams earned the biggest roar from the crowd as Maureen Johnson. This was no doubt thanks to the effortless comedy interjected into Over The Moon which took a risky twist on the classic performance but absolutely paid off and had the whole audience laughing.

Rent may not have been as vocally confident as other BATS performances in the past, but the passion, dedication and determination to give these characters some truth was evident in the brilliant acting from all leads.

BATS is evidently determined to tell an emotional story that still resonates today, and the group is determined that their performance impacts outside the theatre.

Teenagers from local schools and colleges were invited to attend a community performance for free and encouraged to interact with local charities and support networks before the show. 

Megan Stanley
Basingstoke Gazette