Skip to main content

Review of Summer Holiday by the Northampton Musical Theatre Company at Cripps Hall Theatre, Northampton

It is safe to say that I love the Northampton Musical Theatre Company, while there are many other amateur groups in the town, they for me hold the mantle of being the most professional. Much of this is because of the absolute belief needed to make their shows work at all, these productions don't just require acting like most of the other groups, this little group has to throw singing and dancing as well into the mix for its performers. Perhaps because of this and the fact that performers of this ilk are not finite, it can't always work and areas have to be cut where you can't get a whole cast that can do the full gamut. However, this is where the amateurs own neat trick comes to the forefront, over professional actors sometimes, enthusiasm. The very real reason these people do these things is not through monetary gain, it's because they first and foremost want to, and that always shows on stage, as it does through this latest production, Summer Holiday.

I had a bit of a downer on their previous show Grease. While it was well performed, its selection was a bit questionable, and it is a pretty poor stage show, nowhere near like the film. Therefore I was a tad concerned that Summer Holiday, a slightly generic film might not translate to the stage too well either. The film as much as I remember of it is simple popcorn fodder built around a few good tunes and a star name, and the stage show it turns out is pretty much the same without the sunny filming locations.

Katy McNaughtan (Barbara) and George Johnston (Don)
More than willing to take on the challenge of iconic people following his stint as John Travolta in Grease, George Johnston is back onstage as the Cliff Richard lead Don. While I felt he missed the Zuko swagger in Grease, here he feels much more relaxed and is definite building leading man material. Some of the lighter songs he can't quite nail, but when he can, with songs like We Say Yeah (ironically not in the original film, but in The Young Ones) he is not only an excellent performer but a great stage presence.

Clearly, the best vocal performer of the show is Katy McNaughtan as Barbara, who makes an immediate impact with Constantly, but perhaps is at her very best in her songs in the second act after her evolution of the character. There is great fun and entertainment to be had from Mimsie (Helen Kennedy), Angie (Ella Styles) and Alma (Hannah Taylor) as the travelling singers both in their brilliant vocal performances but also the fun to be had from their comic scenes, including their deliberately clumsy Gee Whizz, It's You. There's high value also from Barbara's pursuing mother Stella (Eleanor Digby) and her agent Jerry (a really terrific comic turn from Brett Hanson and his uncomfortably large maracas). There is also a brief but gorgeous solo performance of Lei Vuole Ballare by Katy Bachelor, which offers a nice moment of very different music.

Centre: Helen Kennedy (Charley, I mean Mimsie) andleft Harvey Morris (Steve).
The star of the show though is Ben Stanton and his brilliant Edwin, tagging along for the ride, Ben plays the role with a sort of Eric Morecambe mannerisms and maintains a great dialect which he carries brilliantly into the singing numbers, where he is confident and strong with his highlight being Move It which brings him into Buddy Holly territory. It really is a brilliant performance and one which steals many a scene.

The famous bus of the show is brought to life on the stage with an emphasis on cute rather than realistic in its very cartoony aspect, as is Shady the car, which also has a perfect comic book moment of its own where you can imagine the sound balloons in your head. I mustn't mention the point where the bus appears to be driving sideways though, so I won't. The bus also dared to fight back during the evening I saw the show but there was a hero stage hand to the rescue and the audience genuinely loved it for that perfect "this is live" moment. Kudos also for Ben Stanton's brilliant recovery "this trip is taking a long time" moment, makes you want it to happen every show. Adding to the cartoon moments is a truly magic moment featuring the ferry which I don't want spoil, but safe to say it was an audience favourite of the night.

Ben Stanton (Edwin) and cast.
At the further mention of the audience, its pretty safe to say that my evening they were a seriously comatose affair, totally not active in any way and the show deserved better reception through many of the scenes. The age old thought that every audience is different was really prominent with this lot. I feel certain that the audience will be more responsive for the rest of the performances.

So, if you enjoyed Grease last year you are sure to enjoy Summer Holiday. It is a much better structured play for one and full of some great songs, including a huge number of especially good ones not in the original film, fleshing it out and making the show better for it. This coupled with some great comic moments makes this a show that you will not leave disappointed from.

Performance reviewed: Thursday 1st June 2017 at the Cripps Hall Theatre.

The Northampton Musical Theatre Company performs Summer until Saturday 3rd June 2017 (with a matinee on Saturday).

They have a website which can be found at http://www.nmtc.me.uk/, while they are also on Twitter @theNMTC and Facebook at https://www.facebook.com/NorthamptonMusicalTheatreCompany



Popular posts from this blog

Review of Annie at Milton Keynes Theatre

Annie was first performed now a remarkable fifty years ago at Goodspeed Opera House in Connecticut, and since then, the tale based on a 1920s comic strip and adapted for the stage by Thomas Meehan on book, with music by Charles Strouse, and lyrics provided by Martin Charnin, has become a perennial favourite across the world. Indeed, this version, directed by Nikolai Foster, last appeared at Milton Keynes Theatre in 2023. So, after all these years, does Annie still have that appeal? Set in  1930s New York during the Great Depression,  Annie  follows the life of an orphan abandoned to the care  of its evil matron, Miss Hannigan. Annie seeks escape, and after one failed attempt, she finds herself the chosen Christmas guest of billionaire Oliver Warbucks, and things slowly, hopefully begin to improve for the little but fiercely strong Annie. Leading the adult cast for this tour now as the cruel Miss Hannigan is Claire Sweeney. Sweeney clearly revels in the chance to embr...

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...

Review of Sweeney Todd: The Demon Barber of Fleet Street at Birmingham Rep

Sweeney Todd: The Demon Barber of Fleet Street first appeared in this musical form in 1979. Adapted from an original play by Christopher Bond, the work was set to music and lyrics by Stephen Sondheim, with a book by Hugh Wheeler. It quickly became a huge success, opening on both Broadway and the West End within a year. Following Tony and Olivier wins, the show has seen revival after revival over the years, as well as a musical film starring Johnny Depp. Now, Birmingham Rep presents its own pared-back version of the show, featuring some big stars of the theatre world. So, the question is, is Sweeney Todd as razor-sharp as it once was? What is clear to all at the outset is that director Joe Murphy, also artistic director at Birmingham Rep, has assembled a remarkable and bold cast for the show. Leading as Sweeney is Ramin Karimloo, whose bio speaks for itself and is the biggest draw for this show, especially for theatres outside London. His Sweeney is a perfectly brooding affair, broken...