Kiss Me Kate Trinity

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Trinity - Kiss Me Kate

Kiss Me Kate, Trinity Methodist Music and Drama,
May 13, 2009
Director – Beccy Ashton; Musical Director – Susannah Edom

I admit I was apprehensive when I heard that Trinity was tackling Kiss me Kate. Cole Porter’s finest, in my opinion, is technically challenging for the backstage crew and is physically and vocally demanding, especially for Fred/Petrucchio. And what a step up from a regular diet of G&S to a combination of Shakespeare and schmooze! But Trinity rose to the challenge, i’ faith, and produced the best show I have seen them do. To be fair, this play within a play has a strong storyline (it is Shakespeare after all) and some glorious music, which I understand was from the Broadway version, rather than the “regular” show, thus accounting for some extra music and slightly different harmonies at times. So the basis for a good show was always there. However, some great principals, a mobile chorus, good orchestra and strong direction were also key ingredients needed for success and these were all in place. Starting with orchestra; the music was glorious throughout and although that perennial battle between orchestra and onstage volume was comprehensively won by the orchestra this was a price I, for one, was willing to pay for the richness of sound, especially from the brass, during the bigger numbers. Scenery, lighting and costumes were all good and I was glad to see that the director had forsworn the “men in tights” look in favour of doublet and breeches for the men. The former is usually unflattering and always distracting, especially when the men are, how shall we say, more mature. I enjoyed the build up of action during the overture, which gave the chorus more to do and the little touches such as the progressive tiredness during successive choruses of We open in Venice, were fun. Strong directorial touches were seen also during Where is the life that late I led, a beautifully choreographed and lustily sung number. The principals, some new talent and some home grown, were very good, all with strong voices. David Slater as Fred/Petrucchio was equally at home as director/lover or Shakespearean actor; his strong delivery was full of nuance and fun throughout. Janet Moore was a worthy shrewish adversary and I particularly enjoyed her So in love which gave free rein to her lovely voice. Alex Moore as Lois/Bianca and Richard Rosetti as Bill/Lucenti were convincing as ditzy blonde and gambling ne’er do well, respectively while the gangsters, played by Derek Lee and David Ehrlen were highly entertaining throughout. The smaller roles were well cast; I saw far more talent than I was aware of from previous shows. My final word must go to Adam Sullivan as Harrison Howell; his stereotype of the military officer combined with the best delivery of From this moment on I have ever heard had me in stitches. His performance epitomized the whole production. I had few expectations before the performance but came away delighted and hugely entertained.

Reviewer – Stewart Adkins

KISS ME KATE

Trinity Methodist Drama at the Civic

12.05.09

Another openin', another show. Beccy Ashton's production of the Cole Porter backstage classic began with bare boards, a quick tune-up from the pit, and a brilliantly planned build-up as chorus, crew and principals drifted on, adding their two-penn'orth to the Baltimore overture.

Trinity fielded a strong side of singers “entertaining and vivacious”. David Slater had the voice, the style and the presence for the leading man, Petruchio in the play, well matched by his Shrew, Janet Moore as the failed movie star making her stage come-back: they were utterly believable as the Wunderbar operetta duo. As the juveniles, Richard Rossetti was a precious Lucentio, with Alex Moore as the blonde Bianca. Derek Lee and David Ehren were the inept gangsters, still in spats for Shakespeare, deadpan vaudevillians.

In smaller roles, Matthew Lecznar was a flamboyant Gremio, seizing the chance to shine in the Act Two opener, Too Darn Hot, the other standout production number. And Adam Sullivan was a barnstorming General, his effortless baritone bringing his one number to glorious life.

Elsewhere, the ensemble work was unremarkable, and the smallish chorus struggled to match the panache of the principals. Accents were a problem for many; the cast are required to do American, then American doing Shakespearean British !

The set, from Albemarle, was superb, with flying pieces, a lovely front cloth and a truck for the adjoining dressing rooms – not quite stable enough for waltzing, though … And props: a gasp greeted the inappropriate blooms, and plastic flowerpots are poor weapons !

The excellent band, led by Trinity veteran Anton Archer, was under the baton of Musical Director Susannah Edom.