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| Cast | |
| Mavis | Maria Berry |
| Mrs Fraser | Desni Hanford |
| Lynne | Katrina Summerfield |
| Dorothy | Aysev Ismail |
| Maxine | Jenny McCarthy |
| Andy | Linda Gay |
| Geoffrey | David Oatley |
| Sylvia | Annette Hines |
| Rose | Lola Lee-Walsh |
| Vera | Charlotte Bacon |
| Nigel | Steve Duggins |
| 1st Man's Voice | Nathan Aspell |
| 2nd Man's Voice | Paul Berry |
| Crew | |
| Stage Manager | Rebecca Mason |
| Choreography | Maria Berry, Jenny McCarthy |
| Prompt | Yvonne Golding |
| Backstage | Colin Rayment, Steve Duggins. Lucinda Tyrrell |
| Set Design | Wendy Marsh |
| Set Construction | John Vinnels, Ron Andrews, Paul Freun |
| Set Decoration | Wendy Marsh, Steve Duggins, John Vinnels, Paul Freun |
| Costumes | Wendy Marsh |
| Properties | Wendy Marsh |
| Lighting Deign & Rigging | Jerry McKeon, Christine McKeon, Horry Stepleton |
| Lighting Operation | Nathan Aspell |
| Sound | Charlotte Jacobs |
A word from the director
When approached and invited to direct Stepping Out I was very excited. Having enjoyed directing both plays and musicals over the past four years at the EAT, I needed a new challenge and this was it. A tap-dancing extravaganza! With a wonderfully written script by Richard Harris, we are introduced to a team of complete misfits who, if somewhat misguidedly and driven by one reason or another, decide that they will meet together and share a common interest...sound like anyone you know? (Only joking guys!)
Well, I said I needed a challenge and boy has this been a challenge. That said this is a superb piece of theatre for any director to get their hands on and I have had help from some wonderful individuals along the way. As any director who has directed at the Edward Alderton will know, there is what seems at times to be an insurmountable amount of work needed in order to get the show up and running. In addition, problems arise along the way (like not having any technical crew until days before the double run!). We are well into the holiday season, and a lot of our members are away. I was saved however, and I will be indebted to certain individuals like Eleni Koureas for taking the time out to run the sound just for one day for me, Charlotte and Nathan for running both lights and sound at the last minute and Rebecca for stepping in as Stage Manager. You guys are the best!
Of course there are many others who have selflessly put in time and effort to assist in various ways, like John Vinnels and Jerry McKeon always going above and beyond the call of duty, Steve and Lucinda who deserve a mention as they have never worked backstage before and the rest of you....you know who you are guys and you are greatly appreciated. Finally, I hope you will enjoy the show. There have certainly been some laughs in rehearsals and if you do, please come back to visit us again soon, we'd love to see you.
Wendy Marsh
Review
Triumphant tappers step out
Richard Harris’ 1986 comedy Stepping Out offers a feelgood ‘misfits make good’ storyline that is as simple as it is funny. An embittered dance teacher slaves away training a bunch of enthusiastic no-hopers to perform a tap dance routine at a local charity show. It’s a sort of off-off-off Broadway A Chorus Line without the songs.
Closing the current Edward Alderton Theatre season in fine style, the production, directed by Wendy Marsh, boasted some wonderful comic performances by a cast who seemed to effortlessly inhabit their larger-than-life characters. As the dance tutor reflecting on what could have been, real-life dance teacher Maria Berry was, unsurprisingly, entirely credible in the role.
EAT newcomers Katrina Summerfield and Annette Hines made strong impressions as two of the dancers, with the latter’s funny one-liners (“I couldn’t even understand the intermission!”) delivered with perfect timing. Linda Gay, although arguably a little young for the part, was charmingly gawky as the shy Andy who falls in love with the sole male of the group, anally retentive Geoffrey, played with relish by a nasal-voiced David Oatley. The energy of Lola Lee-Walsh as the self-proclaimed “token spade” contrasted nicely with Aysev Ismail’s shy cyclist Dorothy. Charlotte Bacon was a little too mannered as the snobbish Vera, but Desni Hanford threatened to steal the show as the tipsy Northern pianist. Co-choreographer Jenny McCarthy (alongside Maria Berry) played the lycra-clad Maxine as a real ego on legs. She was the most talented dancer - and let everyone else know it.
As the play progresses, the troupe is supposed to slowly improve. However, in this production they all remained largely incompetent until the very final routine - a black tie and tails number against a glittering silver backdrop - which saw them jump rather improbably to near-professional standard overnight. The play is also far too long, with Act 2 dipping for a good twenty minutes while the characters share contrived ‘serious’ moments with each other. The realistic church hall setting was constructed by John Vinnels, Ron Andrews and Paul Freun.
Mark Campbell
Kentish Times | 19 July 2007
Miscellaneous
