“UPSOOT’S GARDEN THEATRE, SATURDAY SEPTEMBER 19th
KALI WOODS, HOLTON, HALESWORTH

It was an interesting situation, a show presented by Halesworth’s Cut Arts Centre, performed by Bungay’s Upshoot Theatre in a wood in Holton, owned by neither of them.
It was one of a series of outdoor performances directed by Laila France and produced by Darren France to replace a production of ‘O what a Lovely War’ made impossible by Covid regulations. Even in the open air, the audience was limited to forty. Not surprisingly it was an instant sell out.

Outside a wooden cabin, adorned for this evening with sound equipment, the audience arranged their ‘bubbles’ on chairs or rugs they had brought themselves, under tall Hornbeams whose upper foliage was warmly illuminated by the spotlight of the evening sun.
A local ukulele band kept us cheerful with foot tapping melodies until the show started.
The first half was a selection of songs designed, appropriately, to echo the impact of the virus through the year so far. The stage was bare earth outlined by a rope, the background a faded velvet curtain propped up on poles, but the professionalism of a cast simply dressed in black soon made you forget you were not in a fully equipped theatre. There were also many informal touches that matched the picnic atmosphere of the setting. The actors were enjoying themselves and so were we.

For January ‘Pure Imagination’ from Charlie and the Chocolate Factory sung by the whole company expressed the initial dismissal of the Covid threat and gently introduced our theme. Songs from ‘The Little Shop of Horrors’ and ‘Moulin Rouge’ (a previous hit for the company) followed, until ‘I dreamed a Dream’ from ‘Les Miserables’ movingly sung by Laila France marked the March crackdown. ‘Sweeny Todd’ wittily covered the ensuing death toll with a suitably evil performance from Leon Bedwell as the Demon Barber. Appropriate songs including more from ‘Les Miserables’ and ‘Moulin Rouge’ followed, delivered by an exuberant cast, of singers and dancers, well drilled by director Laila France, climaxing with the whole company singing ‘Give a little love’ from Bugsy Malone.

After an interval with volunteers, led by Rachel Kellett, owner of the wood, serving refreshments and some audience members exploring the mysteries of Clarissa the compost toilet, the second half was given over to comedy.

Costumes of sombre black were replaced by colourful doublet and hose and high headdresses, provided by Norwich Theatre Royal, as the company brought Richard Curtis’s ‘Blackadder’ to the stage. They performed Episode One of the Second series. The challenge was not to disappoint those of us who remember the original production and they met it riotously. The speed of the TV script involved some hasty exits and entrances, but the pace never dropped. Daniel Self and Judah Carter gave performances of Blackadder and Baldrick that were not mere imitations and to pick one out of the array of equally hysterical cameo performances, Luci Bedwell’s screeching young crone was suitably over the top. Laughter was continuous and the select audience left feeling privileged to have had such a varied and entertaining evening in a beautiful setting.
A member of the original cast, Helen Atkinson-Wood who played the role of Mrs. Miggins
in all six episodes - a part originally written for her - arrived to see the performance complete with a delicious Apple Pie and raw cream, which was enjoyed by all the cast, and well deserved, while packing up at the end.”

“Well done for a splendid evening - you made it happen - despite Covid! The singing was splendid and uplifting and as for Black Adder! I have seen some other attempts at replicating the humour and madness of the characters, but this was by far the best yet. All were wonderful - Nursey and Queen Bess were just as good as the originals. Lots of clever touches too, like the lips and arrows.”

“Well done for the show we saw at St Peters Brewery on 18th Sept. We thought the singing was lovely and the whole talented cast dealt so well in the challenging conditions. Putting on any show in these Covid times requires some courage, flair and imagination - apart from all the hard work - and everyone played their part in a very successful evening.
”

“Just to say how much I enjoyed the Upshoot’s production ‘Garden Theatre’ I attended on 20th Sept 2020 - there were many highlights for me, as a big Les Miserables fan I was blown away by Laila France’s soaring and ecstatic solo
This live theatre event was great entertainment, and I loved every minute of Black Adder, and the glamorous costumes, of the second half.
Thank You Upshoot”

““Guys and Dolls”, Upshoot Theatre, performed at the Fisher Theatre, Bungay
This musical “Guys and Dolls” is a treat for the eyes and ears. The resourceful performers march behind Miss Sarah (Beth Keys-Holloway) as her Salvation Army troops, they dance at the Hot Box nightclub behind Miss Adelaide (Katie-May Gooderham) and even fly down to Havana for a night out — and that’s just the Dolls.
As an MC of a kind, Nathan Detroit (Simon Godfrey brings 1930s Broadway to life on the small stage in Bungay, trying to organise a crap game AND to keep the love of Miss Adelaide, “to whom he is engaged for 14 years already”. There are excellent performances: Beth Keys-Holloway, as the upright Miss Sarah is, as the guys agree, a looker, “100% eyes”; Nathan Detroit’s energy and accent never flag; Katie May Gooderham sings Adelaide’s celebrated comic songs with panache; and the inveterate gambler Sky Masterson (Michael Blackman) delivers “Luck be a Lady” with total conviction and style. The best thing about the show (directed by Laila Choat) is how well ALL the Guys and Dolls dance, sing and move about the stage.
It’s a joy to abandon yourself for a couple of hours to Damon Runyon’s larger-than-life characters. A high point for me was the duet between Miss Sarah and Sky Masterson, “I’ll know (when love comes along)”, but there was much else to remember. It makes one look forward to Upshoot’s next production.
John Crowfoot
”