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 Rambert Dance in Peaky Blinders - The Redemption of Thomas Shelby at Royal & Derngate (Derngate), Northampton

The Rambert Dance Company is the oldest such company in Britain having first performed in 1926. However, despite this, this was my first encounter with the group in my ten years of theatre-going. Coupled with this, it was also my first encounter with Peaky Blinders , having never seen the show, and only knowing a few vague things about it. My companion for the evening however was very familiar with the show, allowing some background behind the show. It turns out though,  Rambert Dance in Peaky Blinders - The Redemption of Thomas Shelby needs a little more than a good bit of knowledge of the show, as despite this production having incredible style, there struggles to be a cohesive structure to the show and the storytelling. Much more than other dance shows as well. The first act does a whistle-stop tour of the first five seasons and while it is a feast on the eye, and on the ear, it gets extremely confusing at times. The second act is freestyle and drifts away from the stories tol...

Review of Breaking the Code at Royal & Derngate (Royal), Northampton

Breaking The Code , the opening play in the new Made in Northampton season at Royal & Derngate, is a surprisingly old and rarely seen play. Written in 1986 by Hugh Whitemore, it tells the story of legendary codebreaker Alan Turing, a man who, in the 1980s, when this play first appeared, was relatively unknown. The years since the origin of this play have been good for Turing, with his life's work finally getting the recognition it deserves, and also, very much what this play centres on, a recognition of the horrific life and end that Turing had as a result of dealing with the laws of the day. Breaking the Code has seen life before on the stage of the Royal, as back in 2003, Philip Franks took to the role of Turing in a very well-received production. So, what of this brand new version directed by the Royal & Derngate's artistic director Jesse Jones? Does it live up to Turing's legend? That is an unquestionable yes with no machines needed to crack the class behind thi...

Review of National Theatre Connections 2017 (16 Shows) at Royal & Derngate (Royal & Underground), Northampton

Alongside the University of Northampton BA Actors Flash Festival, the Connections festival at Royal & Derngate is now my joint favourite week of theatre each year. This is my fourth year at the festival and each time I have tried my very best (and succeeded) in seeing more and more of those on offer (four in 2014, ten in 2015 and twelve last year). This year I cracked sixteen shows, including the most interesting, a chance to see two of the plays by three different groups. I was able to see nine of this year's ten plays (a single nagging one, Musical Differences by Robin French was missing from the R&D line-up), and most I either enjoyed or finally understood their merits or reasons for inclusion. The writing of sixteen reviews is a little bit of an daunting prospect, however, I will do my best to review each of the plays and those I saw more than once, and pick around the comparisons. Extremism by Anders Lustgarten Performed by Bedford College Extremism was perfo...