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BALALAIKA (OCTOBER 1958) |
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"BALALAIKA", the story of the Russian Revolution, is one of many contrasts, and the show opened with the unusual sight of a plump, obedient and lovable dog (belonging to Janet Robinson) sitting on the stage holding out her paw at command. The opening song was to have been sung by Tony Hunt, and for weeks during rehearsals the rendering of it by Len Dean touched our hearts, and stirred many poignant memories. |
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The Corps de Ballet was an outstanding success, a combination of beautiful colour, girls and music. The romantic chorus "At The Balalaika" is a charmingly catchy tune and Cyril Conquer made a striking hero as he strolled among the guests at the Balalaika Restaurant. The colourful gipsy scene and the magic moment when the soldiers were summoned to meet at dawn, gave this show an air of excitement which we all enjoyed. The ten changes of scenery were expertly handled by a very courageous band of backstage boys, and there is little doubt that "BALALAIKA" will stand out as one of our most ambitious and successful shows. |
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DORIS SEAMAN |
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REVIEW BY "ORPHEUS" IN THE "MIDDLESEX CHRONICLE" |
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Since its formation 12 years ago, Hatton Operatic Society has not been afraid to tackle large scale works, and in Eric Maschwitz's "Balalaika" which was staged last Wednesday for the first of five performances at Lafone School, it has "picked another winner" to add to its many successful productions. This play, with music by George Posford and Bernard Green, has ten scenes in three acts and needs 39 characters and a chorus. It provides ample opportunity for every member of the society (not forgetting the efficient squad of "back room boys") to display their capabilities and they take full advantage of it. The synopsis of the story printed in the programme puts the audience "in the picture" to enjoy the splendidly produced show. |
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The first scene at the Balalaika Restaurant in Paris, where former members of the Russian Court are employed, quickly sets the scene for "flash-backs" showing what has caused this change in their fortunes. We are given a "Corps de Ballet" of beauties, a group of Cossack officers, the central lovers, and the usual humorous characters. Some of the scenes, especially those in the restaurant in Russia and the ballet, are beautifully arranged and are a feast of gorgeous colour and captivating movement and music. |
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Cyril Conquer makes an ideal hero as Count Peter both in figure and voice. There is a rich resonance in his speech and song which is a model of clarity. Phyllis Knight, as his lovely Lydia, dances, sings and acts delightfully in the love scenes and as the Countess in the "Reflections" ballet (some explanation of this should have been included in the synopsis) Their vocal numbers, like "Red Rose" and "If The World Were Mine" are among the best. Another pair of lovers, Doreen Davis as Masha and Alfred Smith as Nicki, quickly endear themselves to the audience with their admirable fooling and acrobatics. There is a good sense of timing and understanding in all they do, and their songs "Casanova" and "Nichevo" are loudly applauded. |
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Among the many characters one must mention Belle Barker as the imperious ballet mistress and Frankie Higgins as the American tourist. The former is an example of excellent diction and the latter's scene in the restaurant is admirably done. Both give characterisations of a high standard. Some good singing is also provided by Leonard Dean as the Street Singer and the two gipsies in the song "Two Guitars" |
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The theme song "At The Balalaika" is persistently "plugged throughout and there is plenty of melody and movement to attract such as the male voice "Come This Holy Night Of Christmas", the "Drinking Song" and "The Devil In Red", the scene in the restaurant at the end of Act I, the ballet practice room, the "Reflections" ballet and the palace scenes. The efficient orchestra led by Stephen Mayer with Joan Venton at the piano have plenty to do and do it well. There is a tendency at times to overpower the dialogue, but this will no doubt be remedied as the show is speeded up (it ran three and a quarter hours on Wednesday). The musical director, the producer and the choreographer are all deserving of high praise and this very attractive polished production, which is notable for its good teamwork, should have no difficulty in drawing full houses for the rest of the performances. |
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REVIEW BY UNIDENTIFIED CRITIC |
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As a musical comedy is seen and heard for no other reason than enjoyment, the success of a particular production can be judged from the answer given to the question "Was it entertaining?" |
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The answer to the question relative to Hatton Operatic Society's production of "Balalaika" last week was "Only in parts" |
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Main trouble was the unsuitability of the operetta for the small stage at Lafone School. Eric Maschwitz's story is set at the time of the Russian Revolution. It opens outside the Balalaika Restaurant in Paris where exiles from the Russian Court are employed in various capacities, and then in the manner of the cinema "flashback" traces the events which led to this reversal of fortune. There are no fewer than ten scenes, each of which requires a different setting. |
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While Hatton Operatic Society used almost the same flats throughout, so much time was spent in rearranging them that the waiting became tedious. The playing ad nauseam of the same little melody during the gaps had the reverse effect intended. |
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One can admire Hatton for its enterprise in tackling a musical comedy requiring the full facilities of a theatre and attempting to produce it on a miniature stage, but at the same time wish ambition had been tempered by a recognition of the practical difficulties. |
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Among the things that were pleasantly diverting were the singing and acting of Phyllis Knight. She took the part of Lydia Marakov, the ballet dancer who falls in love with Prince Karagin (David Gunn). War and the revolution separates them and not until her anarchist father later returns to Paris as his country's ambassador are they reunited. |
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Frankie Higgins let herself go in the unpleasant part of Mrs Morrison, an extremely coarse American, and Harold Scott as Marakov successfully concealed his murderous propensities behind a bland exterior. |
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The orchestra under Mr Reginald Curtis played well, and though the players must have been heartily sick of the gap-filling melody by the end of the performance, their feelings were not betrayed by any lowering of the standard of their playing. |
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EDITOR'S FOOTNOTE |
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"Balalaika" is another show which I had to look up in my reference books. It started life as "The Gay Hussar" (a title which no-one would contemplate using nowadays!) - this show had a disastrous first night in Manchester in 1933 (among other things, the leading man was almost boiled alive when a Russian bath in which he was sitting on stage fused!) and only ran for about a month. Renamed "Balalaika" the revised show opened at the Adelphi Theatre in 1936 and had a highly successful run of 570 performances. |