BLUES IN THE NIGHT. To 6 July.
Oldham
BLUES IN THE NIGHT
by Sheldon Epps
Coliseum Theatre To 6 July 2002
Mon-Thur/Sat 7.30pm Fri 8pm
Runs 1hr 55min One interval
A cool, colourful end to a successful season in Oldham."I hope it's the World Cup," an audience-member commented on a thin night at the Coliseum, in the foyer Comments book. It wasn't a football night – and England were long out of the tournament – when I visited Sheldon Epps' song-compilation show, and again it was only semi-filled.
Perhaps it was the passing summer heat – though Blues is cool enough for anyone. Maybe it just didn't appeal to many Oldham people, who have supported their theatre keenly through the spring season. Perhaps it seems insufficiently dramatic, though the piece earns its place in a theatre season, especially when it receives the visual flair which encompasses Kate Edgar's production.
Three lonely ladies in separate downbeat U.S. hotel bedrooms dream, hope and regret, though there are times they leave their separate existences to unite down front with a feisty, assertive energy that rounds out the experiences of the female singer-songwriters whose words and music form the evening.
There's barely a spoken line, highlighting both the narrative lines and expressive range of the songs from the likes of Bessie Smith, Alberta Hunter and Ida Cox. Hunter lived on as late as 1984, but it’s the first half of the 20th century where these blues moods primarily exist.
This is a Black woman's world; Oliver Beamish's lone white, male singer inhabits only the public areas – no room for him – a downbeat, melancholy presence, muted by the side of the three women. His occasional trumpet phrases, too, ally him with the white, male five-piece band who snake away side-stage into behind-scenes invisibility.
In cold light, Celia Perkins' split-level set would probably look dull and formless, but given the atmospheric focus of Phil Davies' lighting – for which it was made – it's a composite of the moods the songs explore. A fragile world (Tennessee Williams comes to mind) backed by 2D drawings of a city as seen through hotel windows. Davies colours it all in moody pinks and blues. Performances are very good, though technique and effort occasionally show through.
But in all departments, it's an evening to indicate the Coliseum's changed artistic director at a very happy time for its producing powers.
Lady from the Road: Hope Augustus
Man in the Saloon: Oliver Beamish
Woman of the World: Dawn Hope
Girl with a Date: Melitsa Nicola
Director: Kate Edgar
Designer: Celia Perkins
Lighting: Phil Davies
Sound: Mark Howarth
Musical director: Richard Atkinson
Choreographer: Beverley Edmunds
2002-07-03 16:44:42