Half a Sixpence – A Review by Philip Shell |
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Well it was certainly nothing to do with Gary Wilmot as Kipps, who single handed did everything in his powers to keep the show alive. For he was the person who stood head and shoulders above the rest. Yes Gary has a pedigree of many years at the top of his profession, but why with such a talented lead did others not raise their game to try to equal or match his performance? Gary is the personification of musicals, his acting combines timing, humour, pathos, facial expressions, the ability to move effortlessly, and a singing voice that echoes like the lutine bell around the theatre. He believes in what he is playing and he was Kipps. The emotion he brought out was unmatched from anyone else within the cast and therefore made it appear unparallel. Those tears were real, and the emotion in his voice was pure. If only Claire Marlowe as Ann Pornick, his childhood sweetheart, could have matched the emotion and feelings required of her role. Unfortunately Claire gave a wooden performance and lacked any emotive quality. There was no chemistry between her and Gary, who as I have said played his role with aplomb and dexterity. Zara Plessard as the aloof Helen Walsingham did have some of that emotive quality required and several people did make mention at the end that they wished Claire and Zara’s roles could have been reversed. That longing look as Helen leaves Kipps as a penniless man said more than any words could. theatre-half-a-sixpence1.jpgDavid Delve gave a very over the top and flamboyant performance as Mr Chitterlow, supporting Gary well. The ensemble played many different roles including moving scenery on and off the set, but they lacked enthusiasm and energy and therefore meant the show never achieved what it should have. That being said, it would be wrong to tarnish the entire ensemble in the same way, especially Kelly Sims who put her heart and soul into her performance, both dancing and acting. The scenery was minimal yet effective, with sound and lighting being of good order, and the orchestra under the baton of Tom de Keyser was tight and polished. The direction of Bob Tomson left something to be desired, with basic site line rules being ignored, and with a limited cast could have made more of filling the stage For example when three leads were on the stage, why did they all have to stand masking each other stage left, when Ann coming on from upstage right would have opened the entire scene, and would have given more meaning. Straight lines by cast are not impressive and lack imagination and foresight by those concerned. If it had not been for Gary Wilmot this show would have been nothing. It came across as being tired and being on auto pilot, longing to come to the end of its tour. A shame for it could have been so much better if only an effort had been made. This was a disappointing show that could have been up there with the best. Philip Shell |