Jack the Ripper

Reviews

The first Blackmore Players production my Wife and I have ever seen - it wont be the last. Outstanding entertainment and so professional. Congratulations to all involved.

Mark Allen

We're promised fun, terror, song and dance, and Blackmore Players certainly delivered in this clever blend of music hall, melodrama and serial murder.

It all happens in the mean streets of Whitechapel and in the Steam Packet Public House, where Simon Haskell's genial Chairman tried to keep order amongst the dockers, pimps and whores who make up the clientele and the chorus.
This chorus was on stage for most of the action - just as well, since getting them all on and off stage is a long process which inevitably slows the action. Pace generally was a problem, with cues picked up slowly, dragging dialogue and sagging gaps of silence between scenes.
But the show, directed by Steve Drinkall with Dave Smith the producer, had many ingenious touches. I liked the magic lantern projections for the shadow of the Ripper, and the instant switch from reality to pub stage, simply done with lighting and acting style.
Some fine performances amongst the large cast. Particularly pleasing to see a number of talented younger actors, bringing freshness and verve to the proceedings as well as boding well for the future of this enterprising village company.
The four lads had some nice comedy moments, and got to impersonate some of the usual suspects in Act Two. James Hughes especially impressive as Dan Mendoza - his Sing Sing duet the first of many telling contributions. Lisa Rawlings was excellent as the tragic Marie, one of several nicely characterized sisters of the night. "Step Across The River" the most successful of the serious songs. Good vocal work from Anna Green's Polly, and from Sandra Trott in the unlikely double of doss-house proprietrix and Empress of India.
Montague Druitt, aka Toynbee, was played with some style and exemplary clarity by Sam Haskell. An enigmatic figure, he's the villain of the melodrama, as well as Marvel the Mystic.
The question mark ending, with the final victim led off to the quiet canal path, and one last Ripper shadow high on the wall, was genuinely chilling.
The music - a prepared piano sound from the pit keys-and-drums duet - was in the capable hands of Shirley Parrott. And there were many lovely musical moments - the torch songs, the knees-ups, the a capella opening to the trio ...
Nice to see this rather neglected little musical again - chronologically and stylistically somewhere between Oliver! and Sweeney Todd - the history, the jollity, the gore and the pathos all enthusiastically tackled by the Blackmore Players.

Michael Gray

Not the most entertaining subject matter but this show is written to echo the Music Halls of the era and does, therefore, give the director some scope to lighten it up. Steve Drinkall, in his directorial debut for the Players did exactly that. It was a fast moving romp through a rather unsavoury period in East London's history.

The stage did seem rather crowded on occasions and I think that, sometimes, fewer people on stage works better, even in the chorus numbers. In fact, the stage was so crowded some of the cast were in front of the proscenium and out of lighting. I appreciate that it is a very small stage but I am sure that the cast would prefer to have room to move and be lit!

Lisa Rawlings played the lead role of Marie well and she was ably supported by Simon Haskell, playing the music Hall Chairman and bringing the threads of the story together. Sam Haskell was excellent as Druitt. Well done to the three young men who played Dan (James Hughes) Dinky (a very tall Chris Joyner!) and Slop (Matthew Pearson). Great team work and good comic timing. There were lots of lovely characterisations in this play, I am, unfortunately, unable to mention everyone but I did enjoy the performances.

My only real criticism is with the condition of the costumes. They were beautiful but this was supposed to be the poorest part of east London and they 'ladies of the night' were much too well dressed! It was a shame because they were all lovely dresses. I appreciate that the company do not want to ruin a set of really nice period costumes but these 'ladies' should have been dressed in layers of rags, tightly laced bustiers, lots of petticoats and everything very dirty.

The rest of the costumes were more appropriate to the place and the period and my compliments to Sam Haskell, he is the first young man I have seen who actually knew how to put on and wear a top hat properly!

The scenery was minimal, as it has to be in this theatre, but it was effective and worked well. I particularly liked the 'lit up' music hall stage effect.

The musicians, under the direction of MD Shirley Parrott were perfect for this small venue and very appropriate to the Music Hall effect of the play.

Overall I enjoyed the performances, well done to Blackmore Players.

Tessa Davies, NODA