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22 - 26 MAY 2001
Pioneers are basking in a bright golden haze

There’s a bright golden haze on the medder down Bromley way this week, and it spreads a warm glow over the auditorium.

West Wickham Operatic Society have returned to the show which, 15 years ago, marked their first venture into the world of the American musical. Though a familiar figure in the WWOS ranks, Patrick Vincent is making his directorial debut, and an impressive one.

His is a boisterous production, full of the devil-may-care pioneering spirit that created the fledgling state of Oklahoma, with a leavening of broad comedy from Kevin Gauntlett, who takes over the role of the pedlar Ali Hakim which his father Terry played in the Society’s previous production. There’s family tradition for you.

Contrast is the name of the game. For this is a production of changing moods, by turns warm-hearted and quarrelsome, sentimental and sinister, and handsomely served by the energetic choreography of sisters Caroline Field and Julie Lockyer, with third sister Sally Gawadzyn dancing Laurey in the beautifully staged ballet.

Georg Tormann, who can hold a note with the best of them, is Curly, as expansive as the prairie, artlessly innocent, endlessly patient with Vicki Hall’s sometimes petulant Laurey, who brings out the capricious in her character to the point of personal danger.

For Alex Banks is as darkly brooding a Jud Fry as you will ever see, a figure of genuine menace, a loner who neither asks for nor attracts sympathy.

Michael Gawadzyn and Jo Tormann make a delightful partnership as the good-hearted Will Parker and the pliable Ado Annie, whose supple limbs seem to obey their own laws independent of the body that supports them.

Terry Gauntlett is her father Andrew Carnes, and much incidental humour springs from his uncompromising intentions towards Will and the luckless Ali Hakim.

But it is the pedlar’s fate in the end to be saddled with Gertie Cummings, as whom Jenny Appleby’s braying laugh is lethal at ten paces.

Presiding over the whole proceedings with matronly grace, and keeping order whenever quarrels threaten to disturb the peace, is Pauline Gregoire in her second time round as Aunt Eller, the spirit of tribal wisdom.

The singing is of a high order, complementing the excellent dancing, and the distinguished musical director is Ian Skipper.

Donald Madgewick
Croydon Advertiser


One of the pitfalls of amateur musical theatre is that often audiences are given the same show over and over again, interpreted by one group after the next.

Oklahoma! is one of the current favourites and last week it was the turn of West Wickham Operatic Society to stage the work at the Churchill Theatre.

The main clement of the plot is the relationship between the self-assured, independent Laurey (Vicki Hall), the charismatic Curly (Georg Tormann), and the introverted, hot-tempered Jud Fry (Alex Banks). The show was the first in which Vicki Hall had taken a lead role for the WWOS and it took her along time to bring substance to her part. Although she sang well, it was not until the second act that she really began to impose her personality onto the action and ultimately won deserved applause.

In many ways, the production was almost a showcase for the talents of Georg Tormann. He has turned into a very versatile performer who sings extremely well, acts like a seasoned professional, dances with considerable skill, and generates a stage presence that endears him to the younger members of the audience.

Alex Banks excelled in the role of Jud Fry and nicely married the physical power and hostility of his character with the underlying sense of dejection created by his isolation within the small society in which he lives.

Good comic acting came from Kevin Gauntlett as pedlar Ali Hakim, while Jo Tormann made it big impression as the sexually obsessed Ado Annie, Jenny Appleby, too, made a lively contribution to the event as Gertie, whose shrill laugh was a delight. There were moments of real artistry in, for example, the opening sequence and the dream ballet.

Patrick Vincent’s direction generated many inventive moments and the essential pace. Caroline Field and Julie Lockyer created some superbly choreographed dance sequences, while the orchestra excelled under the baton of Ian Skipper.

Roy Atterbury
Kentish Times