Chiaroscuro - dark and light - contrast, and variety: this entertainment directed by Mr. Kincaid and Mr. Williams, and stage-managed by Mr. Tyrwhitt, was Variety, and had variety in more ways than one, ranging from the genteelly amateurish to the vibrantly professional. The show as a whole moved fast, though it lacked impact at the beginning and end - one felt that at least the company, being billed equally with the other turns, could have, conventionally, sung some little ditty, or walked on doing their respective acts. However, the audience did not withold their applause on this account.
We began with a pleasant "Palm Court" rendering of 'Oh Johnnie.' Over the strict tempo of the orchestra (which needed a little more bass) could be heard the expert twiddles of the Director's flute. Then came Russell Pinder and his cerise accordian, which he played with a musical technique remarkable for one who began only six months before. Until the third item, the show had no visual interest at all - we had not seen the stage. Now the Folk Song Choir stood dramatically silhouetted against purple; the voice of the soloist, high-pitched and clear, contrasted with the deep tones of the choir, and the spirituals were well suited to the dramatic setting. They sand strongly, but with little variation of volume.
Again, contrast: John Orchard, looking like the proverbially angelic choirboy, played rather woodenly some popular music, and with some sensitivity a piece of Debussy - very pleasant. After the angel came the devil, mimed Stackolee and vanished again, while we, a little dazed, admired the perverse ingenuity which had packed three scenes, a trap and a trapeze act into less than five minutes.
Burlesque, and loud, followed in the exquisite shape of one William McTavish plodding over the stage in search on one last definitive, ludicrous glissando. Grey's entrance left us in no doubt that serious matters were in hand. He gave us a composition of atmospheric and evocative music, full of melodies which caught the ear, and tended to hold it, perhaps overlong, as if the composer was hesitant to develop his themes. It was ambitious, and Grey's exit left us in no doubt that he was serious.
J. Dimmock and J. Dicker, looking startlingly wholesome and handsome, gave us some exceedingly pleasant songs. They improved as they went on, for the unsolicited help of the audience made them smile, and at last we were rid of the lugubrious expression which had characterized the soloists so far. With his popular tunes on the organ, G. H. A. Brown made a brave attempt to combat the unsuitably ponderous quality of the organ playing light music.
Now we come to the highlight of the evening - a performance excellently staged, and of a standard easily professional, from the Four-Plus-One Ensemble. Barker's guitar is superior in timing, inventiveness and musical sense to most of the flood of music that streams from our loudspeakers, and he was backed by a lively, if overloud drummer, and two rhythm players who might have left Barker's sounds a little less isolated. Fine sang, amazingly relaxed, very much in the light casual style, though, in his woolly sweater, he reminded one forcibly of a frenetic Teddy Bear. This was expert, entertaining and wildly applauded. It was a pity that in the second half the lighting was so poor, for the playing of the group was even better, notably in 'Rumble'.
There were (unfortunately) only three fresh items in the second half, and two of them were very close in style. The Skinner Trio, and the Tail-enders. the drummer again was too loud, there were some false notes, and some raggedness: we may hope that these groups will continue to play together, and add polish to the enthusiasm in which they have begun. There was also Director Chips himself, a performer who acts as well as sings, takes care to engage his aufience and not to ignore them. Urbane, melodious and macabre, he sang three songs, and left us wanting more.
We want more indeed. There was a polish, speed, and much entertainment here, in spite of the limitation of having purely musical items. That the popular music best and most forcibly by the Four-Plus-One Ensemble has a place in our lives is a truism; let us have more opportunities for its 'fans' to convince us that it has a value.
Mr. J. G. Robertson
Gaytonian 1960