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The Cast & Crew
Soloists
Sam Barrington
Henry Daly
Gus Howland
Marc Lindgren
Christian Oberschneider
Jeremy Ogbonna
Cenk Oguz
Marcus Ovey
Jake Simpson
Group Soloists
Joel Balogun
Tate Cecil
Henry Kendall
George Laing
Clyde Lartey
Rory Nell
Freddie Newland
Harry Nichol
George Palin
James Scott
Anton Shashenkov
James Stewart-Smith
Acting roles
Ayomide Ajibola
Rollo Buckley
Freddie Bulmer
Tom Eadie
Dylan Grafftey-Smith
George Gvaradze
Kit Henderson
Hieronim Hodges
Sebastian Howland
Titus MacDermot
Henry Macdonald
Sam Mackie
Jack Maxwell
Theo Mellor
Albert Moores
Ernest Newland
Chinweike Onwu
Augustus Stanhope
MarcusWigwe-Chizindu
MylesWilliams
Chorus
Doron Akinyanju
Salman Al Saud
Austin Anite
Temi Balogun
Tilewa Balogun
DJ Banda
Freddie Dooley
William Giffard
Ewan Gleason
Florian Hull
Louis Lord
Harry Lowndes Lumb
George Marks
Milo Millard
Koko Momodu
Sebastian Salata
Gabriel Sun
Gabriel Thomas
Imran Tinubu
EdwardWhitbread
Boni Yin
CREW
Sound & Lighting:
HCTR, Rafe Hogben,
Jimmy Milne,Vadim Gurinov,Tommy Sainz de
Vicuña,Will Heseltine, Finn McCullagh, James
Clapperton, Oliver Edwards, Rory McNair
Stage hands:
WB, Xan Crasneanscki
Set design:
MLS, JDAN
Chreography:
MLS
Costumes:
MLS, JSB
Make-up:
Mrs Sarah Sparrow, Mrs Christine Berry
Devised, written, produced and directed by
MLS
oneself, space for ‘being who you want to be’
will always remain part of the recipe ‘to make
it on my own.’
Eclipsing previous outings in both
technical virtuosity (especially handling
uncompromisingly wide ranges of pitch
and dynamic) and also mature intensity of
delivery, the following left the auditorium
spell-bound:
Henry Daly
, combining
expansive licks with sheer purity of tone
in his jazz rendition of
Over The Rainbow
;
Marc Lindgren
, with the power of his
emerging rounded baritone underscoring
a lunar shimmer in
Memories
;
Christian
Oberschneider
, whose chilling
Empty Chairs
At Empty Tables
evoked pity and shame in
equal measure through wounded innocence;
and
Jake Simpson
, unparalleled in poise
and presence, who proved that when in
complete command of texture, its subtlest
variations are the most telling, and enticed
our surrender to
The Music of The Night
.
Meanwhile all the Members of the Board,
headed by the go-get-’em-business-good-
sense of
Sebastian Howland
and persuasive
rhetoric of
Albert Moores
, already showed
signs that ‘the world and I’ will probably
get along just fine all the time a sharp
suit is at hand and a lunch meeting in the
offing.
Rollo Buckley’s
tortured genius
with writer’s block and
Sam Mackie’s
age-
worn but determined producer exchanged
reminiscences and well timed one-liners,
into which jumped the ebullient playboy
Freddie Bulmer
who had ‘made it’ and then
taught others who might make it how
not
to flaunt it. The counterweight to these
competing interests and egos? A masterful
portrayal by
Nimo Hodges
as the cleaner
who, now permanently attached to his
broom after thirty years’ watching trends
come and go, had not only seen it all before
but knew the value of backing something
not for profit but because it defines and
makes sense of life itself.
As ever the technical crew, along with the
stage-hands and the costume and make-
up artists, provided the invisible structural
support and extra flourishes without which
we could not have enjoyed either full show
or solo brilliance half as much. And therein
lies the final analogy with Summer Fields:
when young spirits aim high and ‘What we
need is in - div - id - u - A - LI -TY!!’, it sure
helps to be surrounded by the best team.
KLHN
S u m m e r F i e l d s
2 0 1 5 – 2 0 1 6
45