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May, 2002 |
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Cast & Backstage
Return to top of page STEPPING OUT! by Richard Harris ACT
I "We do it just for fun..." ACT
II "We've got a show to do!" It is 1977. A Labour
Government is grappling with sleaze; there is a new Conservative leader who
nobody quite believes; there are rail strikes; public services are in
disarray; there is trouble in the Through it all, in a community hall
somewhere in suburban Middle England, a tap class for beginners meets each
week with no greater ambition other than dancing for the fun of it. Set the
challenge of taking part in a public show to celebrate the Silver Jubilee,
the class members are gradually forced to take a closer look at themselves and
soon realise that their need for the tap class is
far greater than the mere urge to master a shuffle-ball-change-buffalo
routine. Written by Richard Harris, Stepping Out
won the Evening Standard's Best Comedy Award in 1986 and was made into a
memorable movie with Liza Minelli
and Julie Waters in 1991. Return to top of page<br Stepping
Out! reviewed: Painswick Beacon, June 2002 As one of about 450 who watched and
listened to this Painswick Players' production, staged across four evenings
last month, I was among audiences that enjoyed the show enormously. The most
effective of advance publicity for any event carries with it the risk that
there is a catch, and begs such questions as "Are they having difficulty
in selling tickets?" or "Have they over-stretched themselves this
time?". Few would deny that amateur productions
have an in-built ‘buzz’ all their own; this when
compared with professionals who rely upon years of working together and a
full-time commitment to create illusions. In this production, we received the
definitive example of the very best that amateurs can prepare and offer. To
single out any one individual for their performance or other contribution
towards the completeness of the performance would, certainly in this
instance, be unfair on all others; there was a totality of inter-dependence
which ensured that our attention was concentrated upon the stage, the script,
and the movements of an all-dancing cast to the exclusion of all other
influences. The suburban ‘Middle England’ location of
the late 70s devised by Richard Harris for his story to be portrayed required
that the cast persuade us that we were certainly not in Painswick, and this
they did with remarkable conviction. Add to that the fact that the entire cast
should be proficient in tap dancing to a standard which convinced the
audience that all had career qualifications in the art was no mean challenge,
and yet we all came away knowing that there are some ‘lovely movers’ in our
midst. The attention to detail from all behind
the scenes was essential if the production was to hold the audience, and we
were to become focused upon those proscenium curtains and the ten Scenes that
unfolded. We were led through the experiences and personal joys and problems
of people coming together for, it seemed, relief
through a shared interest in tap dancing, and on to stage a production as
part of the Silver Jubilee celebrations of 1977. Management of the Front of
House, light and sound control, the design and construction of the sets,
through to the tuition given through numerous dancing classes, all played a
critical part; not overlooking the skill of the off-stage live piano
accompaniment to synchronise with the on-stage
piano and dance routines. This was a faultless production, one which
we must hope is the first of many with musical elements and which continue to
tax the skills of all willing to participate - not least the courage of the
director. I suspect the other 449 share my view. Leslie Brotherton
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