Very occasionally, I get invited to a show which I have not seen before and think to myself, "I am not sure if I'm going to like it." Such was the case with Children Of Eden, as it had quite a short run professionally with little critical acclaim, and very few amateurs have attempted it because of the content, and the musical and staging demands. Nevertheless, having considered all these aspects, I said, "If anyone can do it, GLOC can" and, sure enough, yet again you triumphed.

As Gareth and Martin said in their editorial, it was different in style and format to anything the company has done before, but that's what GLOC likes - a challenge. It was also the London amateur premiere, so there were no pre-conceived ideas or anything to copy. This is not an easy task, starting virtually from scratch, with a script, the dots and little else, but, with such a formidable Production Team, how could it fail?

The other difficulty with a show such as this is that it is musically demanding with little or no script, so the songs and the action have to tell the story. Consequently, you need good singers, dancers and actors rolled into one. Thankfully, GLOC has such a wealth of talent in all disciplines that the Producers could confidently go ahead with their project.

Gareth Bevan and Martin Wilcox as Producers, Musical Director, Musician, Production Designers, Publicity Designer and Programme Editors worked hard to create a production of merit. Their well known musical talents were put to the test with this production with outstanding results, and the stage direction was innovative and well-contrived. I was a little disappointed not to have been able to see the Band except for Martin on various monitors - some might say that was quite enough! However, I appreciate that all the available stage space was required for the action, and the set design on various levels and good use of entrances and exits around the auditorium was practical and unencumbered given the number of people involved in most of the action. The 'Unseen' Band were superb, pitch-perfect and well balanced and did not overpower the singers. A very special mention to Rehearsal Pianist Lee Sheil who must have worked tirelessly to achieve the high standard of musical interpretation. As both Producers were involved in the Programme Design, along with Stephen Parfitt who designed the logo, and David Smith, I will comment on it here. It was refreshing to see that some of my previous remarks on programme presentation were taken on board, as the glossy cover was effective in its simplicity, and the content was interesting and informative, with an excellent show synopsis. My only criticism would be that because of the amount of editorial, the print was small and difficult to read, especially in half-light - perhaps a few more pages or A4 format might have been better - but I am mindful of printing and typesetting costs which are rarely recouped from programme sales. With so much on their plates, I am sure that the Producers were appreciative of the help given by Production Assistants Miles Eagling and Anthony Brody.

Choreographers Kirsty Smith and Rick Myrtle produced movement and dance of a very high standard. This show was totally visual with no curtains or blackouts throughout, so it was important that the cast moved in unison and the stage was filled with action when required. It was also necessary to ensure that the continuity flowed into each scene, and this was achieved by positive well rehearsed positioning and movement. The various dance routines were innovative, at times stunning and visually delightful. You both should be very proud of your achievements in these respects.

Construction Manager Stephen Parfitt built the set well, it was solid and practical, but I expect there were some nervous moments on the unguarded staircases during the run throughs! Stage Manager Paul Hayes and his team kept the action flowing with minimal but flowing scene and prop changes - the tree was a well constructed prop thanks to Bacofoil and various tubing.

As usual, Lighting Director Pete Balls did a splendid job and maintained the atmosphere with some excellent effects, and the various acting areas were well lit individually to maintain the illusion. The opening scene was particularly stunning, together with the well choreographed torch action. The cyclorama cloth up stage showed some beautiful effects, particularly the rain.

Sound Director Richard Eliot controlled the various balances well - there were one or two surges and late cues on the radio mikes, but, overall, a good result. Sound Effects by Andrew Lumsden were well controlled and convincing.

Costumes by Jaqueline Wood, Barbara Myrtle, Pam Smith, Liz Yuille, Jo Lambert and The Company were very good indeed. They were practical and effective, and I applaud you all for co-ordinating them so well. The Animal Head Pieces by Rick Myrtle were well made and decorated, and Properties by Anthony Brody were in keeping with the setting.

It is difficult to name everyone associated backstage and front of house in any production, but you all contributed to the success of this show. A special mention to Children's Chaperones Stephanie King and Demelsa Edwards for keeping the little darlings in order backstage, and making sure they all appeared on time on stage.

PRINCIPAL CHARACTERS

Martin Elliff (Father) This was a demanding part for Martin, as he appeared on stage virtually throughout. Nevertheless, he managed to maintain his character, showed excellent acting ability with flowing and natural movements, and he delivered his songs well.

Nick King (Adam) It is unusual for a musician of Nick's standing to take to the stage - in my experience the band members like to be first in the bar! However, he proved just how versatile he is by playing this part well and demonstrating his fine singing voice.

Nikki Gerrard (Eve) Following her success in The Wiz and her raunchy renditions in Good Vibrations, it was interesting to see Nikki as the First Woman. She had some difficult songs to sing, but she performed them well. There were some excellent harmonies with Adam and the Father, and her acting ability is first class.

Mark Evans (Cain/Ham) A well characterised role played by Mark, firstly as Cain, who instilled atmosphere into the dramatic scenes, with good facial expressions. His solo song Lost in the Wilderness was performed well, and his harmonisation was evident in others. As Ham, he continued this fine performance.

Ben Morgan-Smith (Abel/Shem) in his first major role with GLOC, Ben performed well and showed some good acting skills. A little wooden at times - natural movement will come with experience Ben - but you died well!

Sam Edwards and Michael King (Young Cain and Abel) Although not on stage for long, you both helped to keep the story moving and how quickly you grew up! Good portrayals from both of you.

Ken Williams (Noah) Ken played this role well as the archetypal father figure, and he put good humour and comedy into it. Add a tuneful and harmonious voice - who cares about his facial hair?

Sian Bowles-Bevan (Mama Noah) What an excellent actress Sian is! This may have been a heaven-sent (?) part for her, but her character shone through and Ain't it Good was a superb number.

Dave Roberts (Japheth) Another superb portrayal by Dave, who sang, danced and acted well. A beautiful duet with Yonah in Whatever Time We Have, even though you both made it rain!

Debbie Wood (Yonah) A convincing portrayal by Debbie, who managed to put the right amount of light and shade into her performance, as the unjustly accused. She sang well, but there was a problem with her mike volume which deterred from her rendition somewhat.

Claire Weaver (Aysha) Claire gave a good strong performance, with good stage presence and movement and performed well in the "family" numbers.

Liz Yuille (Aphra) Good acting and movement from Liz, convincingly pregnant, making her larger than life on stage! It was a pity that both her and Claire got a bit overshadowed by that servant girl!

Snake, Principal Storytellers, Storytellers and Junior Storytellers I am sorry that there is not the space and time to mention you all individually, but you all gave performances which reflected the hard work and dedication you obviously put in to make this show such a success. Most of the movement was spot on, you knew where to stand and what to do, and reacted well to the main action. Added to that there were some excellent choral harmonies. Teamwork is the secret of success, which you certainly achieved.

*****

SUMMARY

This somewhat unusual piece was musical theatre of the highest standard, and the audience were spellbound throughout. Vivienne and I had a wonderful I evening with you, as always.

On a personal note, I am sorry it has taken so long for me to prepare this report. I am finding the demands on my spare time are increasing, so I have, with great reluctance, decided to resign as a NODA Representative with effect from the end of this month. I have thoroughly enjoyed my term of office, having met many interesting people, made new friends and seen some great shows. I was particularly proud of GLOC's achievement last year. I am asking Liz to keep me on your mailing list so that I can become an ordinary audience member without having to scribble copious, sometimes indecipherable, notes in the dark!

In the meantime, if any of you are interested in becoming a NODA Representative, please let the Area Councillor, Dorothy Lawson, know on 01895 637823, or contact me on 01753 736807 or Email on howardk39@aol.com if there is anything you would like to ask.

My sincere thanks and best wishes to you all.

KEN HOWARD
5th July 1999