Lucky Stiff

The Marco Players

Runs Until Saturday

The Marco sings once again with their presentation of Stephen Flaherty and Lunn Ahren’s musical farce, Lucky Stiff.

We had the body, the doors and the unlikely storyline which are all perfect ingredients for any farce, and with the addition of a musical score, impromptu dance routines; a quirky set; brilliant projection, in-keeping with the theme of the scene and an array of splendid costumes; the stage is set for a good nights light entertainment, safe in the hands of this talented bunch, under the esteemed direction of Natalie Crompton.

As the plot is set, we are introduced to "the stiff" played excellently by Dax Owen.

Although it is apparent it took him no time at all to learn his lines, he has evidently researched on how to be a corpse because he did not move one iota — this was convincing beyond belief and displayed an acting skill that no words can match.

As Henry Witherspoon, Phil Maxwell was utterly convincing as he carried out the last wishes of the stiff to a tee, until falling off the wagon and inadvertently bedding the charity worker, Annabel Glick, who was trying to catch him out. Nathalie Haley acted and sang this role with consummate ease.

Assuming their positions if the makeshift bed was a touch of genius. Special mention must be made of the number “it was nice” which was more than nice- it was stunning and was undoubtedly the best number in the show.

With the realisation that an inheritance of six million dollars it risk, Rita La Porta, who is set to lose the money takes on the task of tracking down the diamonds which is quite fitting as this was a diamond of a performance by Natalie Crompton. Slick, measured and never overplayed, Natalie made the part her own and maintained the pace throughout. Dean Dixon-Foster as Vinnie Di Ruzzio (Rita’s brother) was an ideal foil for Rita’s plan and gave a strong performance throughout.

Cameo roles were safe in the hands of the entire cast with worthy mention to Richard Leigh, Jacqui Brian, Sharon Shaw, Judith Firth, Judith Johnson and Matt Rigby with the unequivocal support of a strong ensemble comprising of Collette Wiseman, Helena Carter, Matt Smith and Rhiann Millington.

A highlight of this production was the musical direction which Karl Pendlebury brought to life by ensuring each number and underscoring flowed effortlessly, and it did, culminating in an all-round super production that placed a smile on the faces of the capacity audience.

Paul Cohen

BATS

For tickets ring 01204 841561/07756 510462