THERE are two kinds of musical: one that carries the cast along; the other that is carried along by the cast – Viva Mexico! is of the second sort.
The plot is corny, the dialogue is wooden, there are too many songs, the end is in the middle and it lasts too long. It could have been a tedious evening. But it wasn’t.
Thanks to the expertise and verve of the cast we were treated to a dazzling, funny, tuneful and thoroughly entertaining show.
From the very start, a lively band of what we were told are Muchachas and Muchachos belting out some cracking songs, led us into Mexico (though whether a Mexican would recognise it I have no way of knowing). Our thanks to the singers: Martin Aitchison, Rosie Blenkinsop, Janis Boyes, Donald Duggan, Mavis Eslor, Christine Henderson, Dave Jones, Elisabeth Kay, Barbara Pettitt, Margery Robinson, Karen Short, Syd Sinclair, Lilian Smith, Eddie Stewart and Ethne Turnbull.
They provided the atmosphere in which the principals could progress the plot. Maureen Gillie brought her well-honed acting and comic ability to the role of the widowed mother, Mama Inez, whilst Raymond Williams and Lyn Manderson gave to Ramon (the mysterious Zorro) and Raquelita his neglected girlfriend more substance than the script deserved. They also gave us a couple of polished duets, “Love Stay in My Heart” being especially pleasing.
Roy Baldwinson looked and behaved like the American Senator he was supposed to be. His daughter Lucille, one of the plum parts in this show, was played superbly by Carmella Williams. Ryan Coates was not so fortunate; he had a cardboard cut-out of a part, Mendoza. That he succeeded as well as he did is a credit to his skill and dedication. It is a measure of young Katie Blatchley’s maturing ability that she was given, and so brilliantly executed, the difficult role of Lola who had to be villain and victim at the same time. Casilda (Roisin Hearn) had not such a meaty part but carried it off with great aplomb.
Then there were the comics, and what a wealth of comic talent we saw on display. The casting of Bob Lockwood and Campbell McNeil as the dumb duo Pepe and Pablo would not have come off if either had been over dominant, but they complemented each other perfectly and wrung every ounce of humour from their busy roles. George Kay’s nicely underplayed Sergeant Bernado acted as a foil to the brooding Captain Lopez, played in his own inimitable style by our old friend David (Rocky) Wilson.
Singing used to be a weakness of this group but now it is a strength. What a splendid job they made of La Cucaracha.
The costumes, thanks to May Jappy and Utopia Costumes of Dundee were bright, colourful and in the best sense of the word, romantic. Who would not volunteer to play a part if they could to dress up like Aileen Bunker, magnificent in red, yellow and gold as the Priestess in the Aztec Temple? And she can sing too.
The same scene amply demonstrated the ability of make-up (Karen Smith and Linda Thompson) to produce a stunning theatrical effect. The show demanded Mexican hair styles and that is what we got (from Wynd and Wave) even to the flowers in the hair – of the ladies, of course – the gents had sombreros!
The sets and props (Border Studios, Joan Blatchley, Ronnie Levy and Alan Dougal(who made the flea circus)) were ingeniously designed and employed to fit what continues to be a restricted stage. That same restriction robbed us of enjoying more of the obvious grace and dynamism of the dancers (Amy Clement, Tasmin MacKechnie, Lucy Ruthven and Rachael Smith, choreographed by Lilian Smith and Margery Robinson)
This show demanded much from the orchestra and much was delivered. Under the direction of Margaret Carey, from overture to finale, they treated us to the authentic sound of a lively theatre orchestra. Our thanks to Stephen Bender (piano), Dorothy Mutch (flute), violins Fred Baxendale and Tony Kime, Brian Maynard (bass) Sam Smith Magee (clarinet), Remo Forte (trombone), percussion (David Douglas) and Mike Hardy (trumpet).
The Dream Team (Joan Blatchley, Leigh Aitchison, David Ireland, Alison Davidson and Hilary McKean) were so professional back stage that we did not notice them! The same may be said of slick sound engineering (John Peakman, Pamela Toward and Reckless Productions) and subtle lighting (James and Karen Battison). Moira Gillie as prompt did have a little work to do the night I was there and that perhaps is something some of the older members of the cast may wish to work on. Joyce Birne and friends Front of House made us welcome and comfortable.
Well done, Pauline Greive, the producer. You have created a talented and committed company. Now, how about showing us what they can do in something of substance – like My Fair Lady, or Fiddler on the Roof, eh?
