Singin’ In The Rain

Blackout makes a big welcome splash with this joyful and entertaining production. The show had us singing along and tapping our toes by the end.

The dancing, the acting, the singing, the effects, the costumes; these all combined to create a fun night.

Adding to this was knowing that the venue had only opened four days before the show opened, and the cast and crew had far less than the usual number of days to “tech” the show in the venue. Further they weren’t using their own gear but the equipment provided by the venue – no time to get used to the gear, and yet Blackout flushed out a high-quality show. It’s a good venue. It’s an even better production. Full marks to director Cierwen Newell and co-director John Hannah for the smooth pace, imaginative blocking and keeping the cast focused on diction and character. Two other highlights were Adam Pickstone’s lovely period choreography, paying homage to the film without aping, and the beautiful costumes by Angela Hanna and Ann Hanna.

In what is becoming a trend this production used a rear projection screen. With such new toys it’s tempting for them to be overused. Not here. The rear visuals were kept in check so that they only enhanced, not detracted from, the cast. Besides, screening movies is intrinsic to the plot of this show, so a screen is going to turn up somewhere. On that point, the actual creation of the film scenes by John Hanna, Wayne Newell and Cierwen Newell, and the special effects by Kieran Vella, Ken Buckley, and Toby Buckley with sound and lighting were clever and innovative.

Jonathan Nash Daly played the Gene Kelly role of Don Lockwood. He danced and acted well. He was outshone by the female leads of Cathlyn-Rose McKellar in the Debbie Reynolds role of Kathy Selden (lovely mix of showgirl chutzpah and tender fragility) and Abi Smith deliciously enjoying her time as villain Lina Lamont. Her rendition of What’s Wrong With Me? is a scene stealer. How she delivered that song without breaking that ditzy nasal accent is a minor miracle.

Speaking of miracles, I thought the highlight was James Carter in the Donald O’Connor role of Cosmo Brown. The vibrant energy coming off Mr Carter could power a small town. Just wait ’til you see him do Make ’Em Laugh.

The other highlights were the Ensemble and smaller roles: all perfectly done. The Ensemble sing, act, and dance up a storm. The cameos and Ensemble flooded us with so much talent that they could have gone on without a set and still would have been entertaining to watch. More importantly, they worked hard to Entertain The Audience.

Not everyone sang in the style of the era of the songs. One song was delivered in the modern-day style, sounding like some pop group lead singer wandered in while on their way to the arena concert. It was beautifully sung (as was the singing from the rest of the cast) but the modern delivery took me out of the on-stage magic, especially when everyone else is singing in the style of the older era. I mention it as I wasn’t the only one to notice it. Still, it didn’t dampen my enjoyment of the show.

A lot of well-staged and bright fun.

Peter Novakovich