Radio Days, Wellington Operatic Society

Audiences were treated to a show of unashamed and unadulterated nostalgia in this production. While one naturally expects radio to be an aural experience, this was both an aural and visual delight.

The show tracked the first 40 years of radio from the 1920s until the Home Service and Light Programme etc were superceded by BBC Radio 1,2, 3, 4, 5live and the plethora of other radio stations we know today. The BBC’s stated aims to educate, inform and entertain were achieved with the emphasis on the latter in a fast-moving show full of evocative songs from the past.

Rebecca Beard, who devised and directed the production, had the inspired idea to base her script on a family’s experience of radio from wireless days to the inception of pirate radio, set against a background of contemporary history. A young couple with a baby saw their children grow, go to war and then have children of their own. A constant feature in their lives was the radio, much as television is in our homes today.

The audience was kept aware of the timescale by a series of news photos projected onto a large screen above the stage which put the songs into context. The fact that so much was happening below on the stage to grab the audience’s attention meant that many of these excellent images passed unnoticed.

It was not solely an evening of song. It was the story of radio, which included short snippets of many timeless favourites including Dick Barton, Special Agent, The Archers, Round the Horne and The Goon Show. However, song and dance predominated. Often in amateur performances there is a weak link but not in this production. All the soloists were excellent, as were the company singers, thanks to vocal coach Margaret Liddel.

What made this production such a visual feast was the excellent choreography by Ashleigh Payne and the energy of the dancers. On a small stage it must be difficult to get a variety of dance routines without repetition but Ashleigh achieved this. Particularly impressive was his staging of Flowers in the Rain with well rehearsed much twirling of umbrellas. It is difficult to believe that Ashleigh is only 16, a gifted young man with such infectious energy, talent and potential.

As always, lighting, costumes and sound were superb and the crew deserves congratulations for maintaining the Op Soc’s high standards. Although this was an amateur production, the standard was truly professional. There are so many talented performers, ranging from children and teenagers to septagenarians, that next year’s production at the Wellesley in May of Sugar, based on Some Like it Hot, is likely to be a sell out.

Apart from the finale song, Radio Gaga, it seemed entirely fitting that the show ended with Those Were the Days. How appropriate! They certainly were. Congratulations Op Soc – best November show yet!

Tony Deahl