Hats off to the Musical Theatre Society for a terrific production of Urinetown at the Marlowe Theatre Studio in Canterbury this weekend; a hard-working ensemble were led by a strong cast, delivering an energy-filled and very physical performance, with some wonderful comic touches and some genuinely touching moments.
Soprano Francesca Charlton had great charm and vocal presence as Hope Cladwell, whilst Charlie Hunt was outstanding as a deliciously villainous Caldwell B Cladwell; Matt Cooke was a delight as Bobby Strong, ranging from rabble-rouser to vulnerable with great skill, whilst Charley Tench dominated the stage as Miss Pennywise – she brought a hugely expressive face to the production, striding around like a colossus whenever she was present. Philip Hunt was an engaging narrator in the role of Officer Lockstock, whilst Anna Reith played Little Sally with beguiling charm, the fulcrum character representing the meeting-point between the downtrodden citizenry and the money-grabbing powers of the upper world. And a tip of the hat to Daniel Hemming, who played several roles (including Pop Strong) and was a scene-stealer throughout the performance, with comic timing and a devilish sense of mischief that was a delight to behold.
Directors Ben Chamberlain and Sarah Butt demonstrated a great eye for tableaux and some fabulous ensemble pieces, and the set design and costumes showed real inventive flair; there were occasional salient nods to the current political climate too, plenty of in-character interaction with the audience both before the performance began and during the interval, which brought us closer to the production, and a few in-jokes to appeal to the local crowd.
Supported by a tight-knit and musically agile pit band under the baton of Jack Gray, this was a top-notch production greeted rightly with terrific applause from a packed house; bravo to everyone involved!
Main images courtesy of the Musical Theatre Society
Curated by Dr Dan Lloyd, the collection of images, each generated through engagement with current research, showcases the beauty in scientific data.
Every image shown has a story to tell, and explores cutting-edge research in the fields of biomedical science, biochemistry, genetics and biotechnology. In addition to introducing new and interesting concepts at the forefront of scientific research, the exhibition aims to encourage the viewer to explore their own perspectives on art within the context of the biological sciences.
The exhibition forms the backdrop to an exciting lunchtime concert on Weds 1 February in the concert-hall, Cellular Dynamics, which brings together science and music in image-projection and time-lapse photography, accompanied by live music for piano by Philip Glass and Tarik O’Regan, and Gavin Bryars’ My First Homage for two pianos, performed by Dan Harding and Matthew King (details 
Choosing a secondary school presented some opportunities to fulfil one of my two ambitions. One of my options was Abraham Darby Academy, a performing arts and business enterprise specialist academy. Their flagship concert band, called the ‘Showband’ had recently returned from Carnegie Hall, New York, and an opportunity like that would have been too good to turn down. I started year 7 at Abraham Darby Academy and was inspired to reach the standard needed for the Showband. I began my first clarinet lessons with the head of music, Rachel Morton, and quickly progressed up through the various ensembles the academy had to offer. The Megaband was the first ensemble I was a part of, where you needed to pass your grade one to enter. Next was the Friday Band, which – you guessed it – rehearsed on a Friday after school. This was an intermediate band with students of around grade 2/3 to grade 7 standards playing. In addition to the concert bands, I was invited to pick up a tenor saxophone and play with the Junior Jazz Band. It was from there where I progressed even further, passing an audition for the Showband and the Senior Jazz Band on 3rd clarinet and baritone saxophone respectively.
As usual, we’ve performances in the majestic surroundings of Canterbury Cathedral with the Chorus and Symphony Orchestra in Tchaikovsky and Puccini for the annual Colyer-Fergusson concert, and the Chamber Choir and Ensemble will fill the Crypt with Fauré’s evocative Requiem in a new chamber edition. The Concert and Big Bands return in March with a dazzling evening of concert band classics and big band swing, and the Musical Theatre Society is back in action too. CantiaQuorum brings its usual eclectic and innovative approach to programming with a new series of concerts, and our popular Lunchtime Concert series ranges from the shores of Scotland to the heady sensuality of Argentinian tango.
A new collaboration with the School of Biosciences forms the backdrop to a concert bringing together live music with beautiful images from its cutting-edge research, which will also be exhibiting in the Colyer-Fergusson gallery throughout the spring term; and there’s a look ahead to warmer weather and seaside pleasures with events to come during our annual Summer Music Week festival in June.
Wednesday afternoon saw General Harding’s Tomfoolery, the vintage dance-band, taking to the foyer-stage in a spirited selection of swing classics, for which they were joined by The Minervettes; trombonist and singer, post-grad Rob Cliff was a smooth host, and both band and singers were in fine form in pieces including American Patrol, Puttin’ On The Ritz and Sleigh Ride.
It’s been a terrific term, full of music-making; thanks to both everyone who has performed throughout the term, as well as to those who have been amongst the audiences. We’ll be back in the New Year with full details of our spring / summer season; from all the Music team here, we wish you all a happy and peaceful Christmas!
The final piece, Walton’s Suite from Henry V included seasoned Shakespearian actor Simon Paisley Day, who held the audience’s rapt attention in various speeches from the Bard’s play, concluding with a rousing Agincourt carol with the Chorus.