Thank you very much for inviting me to Swanbank Music’s production of "Salad Days” recently at the Putney Arts Theatre. Thanks also to Billie Stephens for arranging my tickets and to Val Cookman for her very warm welcome.
Synopsis
Salad Days is a light hearted, comedy musical in an almost Shakespearian style but with out the dark undertones. Set in London in the early-mid 20th Century the story revolves around Jane and Timothy. Jane is in search of marriage, Timothy in search of a career. It is a magic piano called Minnie which takes them on an enchanted adventure by compelling people to dance and be happy. The result is a wealth of comical situations and a jolly musical.
Whether you love or hate ‘Salad Days’, there is no denying it is certainly different to any other show out there. Who would have thought that a show about a magic piano, two fairly boring graduates, a spaceship and a tramp would still be performed approximately sixty years after it was written. Despite these inexplicable subject matters, probably something to do with hallucinogenic drugs, its appeal amongst amateur societies remains. I personally prefer their other major collaboration ‘Free As Air’ better but I realise that I am in the minority.
With such a nonsensical show as ‘Salad Days’, a society has to make a decision whether to play it twee and very much of its time or try and go over the top with it and turn it into some kind of pantomime. Fortunately Swanbank chose the former and played it with a straight bat.
There was a lovely atmosphere about this Swanbank production. A nice vibe came from the cast and the set was colourful, both of which always bring a smile to the audiences face. I think it’s fair to say that some performers are more experienced and natural than others but there was total commitment all round. Credit for this must go to Director Jonathan Winfield and his fellow Production Team members; Iain Cowden as Musical Director, Tamsyn Salter and Emma Ruth as Choreographer and Assistant Choreographer respectively. The small hidden band were very effective and the bulk of the choreography was pitched fairly conservatively to allow all standards a chance of getting it right. It was indeed a very sensible choice in my opinion. Technical matters seemed to go smoothly at the performance I attended and Haslemere’s costumes looked good with Ann Knight and Charles Lowe taking control of Wardrobe duties.
As a result of the large cast that this show was written for, many of the cast members were asked to double up and on some occasions treble up their personas. This can cause confusion but is entirely necessary with male chorus members and support principals at a premium.
The cast is too large to mention individually but I shall make a few observations of the performances I saw;
Rosalind O’Dowd gave a pleasant performance as ‘Jane’. Rosalind was always smiling, looked the part and sang very well but didn’t have any major sparkle.
Daniel Harvey was an interesting choice for the role of ‘Timothy’. Daniel lacked some basic stagecraft – engaging with audience (through eye contact) for instance or turning the correct way on stage to name a couple of points but somehow his awkwardness seemed to be right for the part.
Billie Stephens stood out a mile as ‘Tim’s Mother’ but it is far too paltry and undemanding a role to test her considerable skills in any real way.
Martin Chapple looked fairly uncomfortable as ‘Tim’s Father’ but perked up considerably as the Police Inspector and his scene with PC Boot, painfully as the puns were was amongst the highlights of the show.
Guy Brew as ‘The Tramp’ has a very engaging face for the stage. His eyes were always working and he has a ‘Benny Hill’ like smile – cute not sleazy!
What can one say about Joe Putnam – outrageous comes to mind! Mid way through a song he stopped and started again only to admit to the audience that he had gaffed. He calmly started again and the audience were in the palm of his hand. It is hard to compare him to anyone in particular but he his ability to entertain to an audience on his own, which is quite a remarkable skill.
Alice Cowan and Philip Austin were well cast as the peripheral friends ‘Fiona’ and ‘Nigel’. Both performers have a very secure stage presence.
Jenkin Thomas was suitably pompous as ‘Augustine Williams’ and Sally Manton impressed as ‘Lady Raeburn’.
I liked Roger Dipper as ‘Troppo’. I’ve seen this part played in many ways but his youth and his innocent approach seemed to charm the audience in many ways. Perhaps his natural ‘autumnal’ hair colouring and expressive, vulnerable face helped this.
Humphrey Gale as ‘PC Boot’ had a whale of a time and threw himself into this part. I think the dialogue he has would frustrate me but Humphrey ‘went for it’ and it came off.
Last and certainly not least I mention Farah Dhanani’s portrayal of ‘Asphynxia' – a joy to behold.
Other contributions were worthy of mention but space does not allow. Congratulations to all Swanbank, both on stage and behind, for a successful production.
This production was a fitting tribute to the late Julian Slade, full of nostalgia and providing us all with a look back with rose tined glasses. Suitably known as our own Salad Days.
Once again thank you for inviting me to the Putney Arts Theatre and best wishes for your 2007 productions in your silver jubilee year. Congratulations on this landmark and greater still for the phenomenal amount of money raised in a worthy cause. We said we’d never look back but I think the money you have raised is something you can be very proud of.
Stephen Macvicar, NODA Rep
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