I have fond and vivid memories of being taken along as a small child, to see Winchester Operatic Society (WOS or - if memory serves me correctly - WAOS in those days) performing Gilbert & Sullivan at The Guildhall. It was the early 60s, when they had already reached their half-century. I say vivid, because it was one of the most colourful, spectacular events I had ever witnessed and I became aninstant fan, both of WOS and G&S, the latter to my parents' embarrassment as I had a habit of whistling along with the overtures.
Fifty years later, not much has changed, but I do refrain from whistling, or even humming, along. Not that I would have been able to whistle or even hum along with their latest production, Billy. Actually, a lot has changed - the group's sheer audacity at tackling something as different, complex and demanding of such a high standard of acting, singing and stagecraft, the sumptuous red velvet surroundings of the Theatre Royal Winchester, and the dancing. WOS was never like this "when I were a lad”, as Billy's dad would say.
In fact I didn't really know what to expect. Initial research told me it was based on Keith Waterhouse's 1959 book Billy Liar, the story subsequently made famous by Tom Courtenay in the 60s film and stage versions and which then launched Michael Crawford's stage career in the musical version. Therefore I knew that it was a story about a young middle class northern lad, Billy Fisher, who couldn't help but weave a web of lies around him as he attempted to extricate himself from a dull job and two engagements to local lasses. Promotional material and sneak previews told me to expect comedy, music by John Barry and a lot of big chorus numbers with dancing.
What I didn't expect was to be bowled over by the whole show. It simply flashed by in a whirlwind of big ensemble numbers, slick scene changes to small, intimate two/three/four-handed scenes, with a music score, 12-piece orchestra and singing that were a joy to the ears, and truly effective lighting that enabled those scenes to look and feel different from one another. A touching, funny script ensured the audience’s attention and mirth at all times.
The simple set centred around one large piece that smoothly and quietly revolved when pushed by the cast to become the backdrop for an imaginary land called Ambrosia, Billy's front parlour (complete with flying ducks and tea cosy), with Billy's bedroom atop, a terrace of houses, a park, an office, nightclub, railway station and cemetery.
That and a few sound effects, side flats, flown flashing signs and swings, desks, chairs, park benches and some simple props, completed the illusion of 1960s small town in Yorkshire - all choreographed into place by the cast as an integral part of the action.
That and a few sound effects, side flats, flown flashing signs and swings, desks, chairs, park benches and some simple props, completed the illusion of 1960s small town in Yorkshire - all choreographed into place by the cast as an integral part of the action.
This was a team effort so it would be unfair to single anyone out because everyone obviously worked hard to make this the slick entertainment it surely was.
But mention must be made of Chris Horn, playing Billy, who hardly ever left the stage and whose singing, acting, Yorkshire accent and powerful performance couldn't be faulted; husband and wife Hamish and Anne McDonald who played Billy's parents, plus Liz Petley-Jones as Gran, who as a group also became, on occasions, Billy's ‘other’, imaginary family from an aristocratic background and who swapped between the two stereotypes with superb skill; Suzanne Hall who did a professional job of directing and choreographing; and Martin Paterson, musical director.
But mention must be made of Chris Horn, playing Billy, who hardly ever left the stage and whose singing, acting, Yorkshire accent and powerful performance couldn't be faulted; husband and wife Hamish and Anne McDonald who played Billy's parents, plus Liz Petley-Jones as Gran, who as a group also became, on occasions, Billy's ‘other’, imaginary family from an aristocratic background and who swapped between the two stereotypes with superb skill; Suzanne Hall who did a professional job of directing and choreographing; and Martin Paterson, musical director.
If ever there was a living, moving, colourful advertisement for getting involved in local big-show theatre, this was it. Worthy of any West End production, Billy will stay with me for a long time to come - though perhaps another fifty may be pushing it, and by then I won't have many teeth to whistle through anyway.
Well done, WOS, you have a winner to be proud of.
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