The annual SALOS Christmas variety show is true to the company’s origin and charter. This year’s programme notes refer to their love of ‘older musical theatre shows which may not otherwise be seen locally’, along with a nod to vaudeville. Take that combination and add a sprinkling of Christmas songs, and you get a concert with endearing melodies, along with some comedy sketches, all wrapped in a welcoming, folksy atmosphere that more than satisfies SALOS’ loyal audience. That they are still doing this, and still drawing appreciative audience support is testament to the drive and commitment of a few, principal among them this show’s Director Pam Tucker, a proud nonagenarian who just keeps going strong.
With those expectations, we weren’t disappointed. In fact, it was an enjoyable afternoon for all at the Tower Theatre. The ensemble pieces were well sung and, when movement was called for, the choreography was pretty well executed. The solos, usually delivered with a serious stillness, were well-tuned and heartfelt. The skits in another context may have shown their age, but here they were pertinent, mostly funny and clearly tickled the audience.
MD Peter Potts had schooled the cast well, and, as has been commented on for some years now, they delivered the songs clearly, with feeling – and all without microphones. That remains a strength of this venerable company. Noel Carthew accompanied the entire performance on piano, and did so with sensitivity and style. Indeed, he was the essential yet unintrusive driving force of the production.
Among the soloists Katrin Treloar was a standout. The quality of her true soprano was on show in a number of delightful songs, Lover Come Back To Me perhaps the most memorable, along with the duet Deep In My Heart, shared with tenor Andrew McKinnon. We enjoyed the warm baritone of David Roberts in, among others, the Peter Dawson favourite The Floral Dance, where he showed his experience in drawing out the meaning of a song. He also brought a friendly, reassuring tone to his direct addresses to the audience in successfully engaging us in singing along with some seasonal carols.
Other impressive solos were Bronwyn Calvett’s Oh Holy Night and Climb Every Mountain. Among the ensemble pieces, one of the most impressive was the well modulated female chorus Merry Christmas Day in which the harmonies were true and the voices were well balanced. The comic high point was the entertaining recitation-cum-comic-song If I Were Not Upon The Stage where the physical gags while predictable, were still funny. The sextet of Andrew McKinnon, Charlie Burke, Sue Whittaker, Sean Nugent, Kathy Cilento and Marlene Small brought it off with flair.
The audience, as ever, went home well pleased with the show.
