wedding dresses for older brides

Ruth Allsopp's review of 'I love You, You're Perfect, Now Change'. We hit the jackpot!!!

Book now to avoid disappointment...
bookings@milnertonplayers.com 082 267 1061

'The hit musical revue "I love you, you're perfect, now change", book and lyrics by Joe de Pietro and music by Jimmy Roberts, is running at the Milnerton Playhouse. Sheila McCormick directs for the Milnerton Players, with Tersia Harley as music director.

This witty show in about 20 scenes takes us through a spectrum of male-female relationships from awkward early dates, to first sex, break-ups, marriage, children, loss of libido, disastrous family outings, divorce and old-age dating. There was much laughter of recognition from the audience and sympathetic silence at the touching moments.

In her director's note McCormick points out that the four actors (two men and two women) need to be able to sing and act comedy 'with the ability to play multiple parts'. Her cast of Neil Leachman, Christian Marais, Fiona Tanner and Christine Thonissen completely fill these criteria.

Each scene is a gem - I can mention only a few of the highlights for me: Fiona as 'always a bridesmaid, never a bride'; Christine as a forty-something divorcee making her first dating video; Christian as an old man at a funeral, hoping for a date; Neil as a mature husband realizing that he is still in love with his wife.

Costumes were finely chosen to fit scene and character, from the Druid-like garments for the Genesis-style scene of the creation of male and female to unflattering bridesmaids' dresses, tennis outfits, wedding and funeral gear etc etc. Changes were amazingly quick with dressers near at hand. A most efficient stage-crew moved simple props and furniture in double-quick time, with Tersia at the piano to bridge the short gaps between scenes. wedding dresses for older brides

Black curtains enclosed the acting area, with the piano unobtrusive centre back. Lighting by Fin McCormick was most expertly set, designed and operated; head-mikes were worn by the cast and the sound was smoothly handled by Tedd Kroukamp. (I occasionally found it a tad loud.) Laura Singh controlled the slides projected onto an elevated small screen - these set the venue or, in cartoons, set the theme of an episode.

Sheila McCormick has thought of every detail; as usual, her directorship was firm, creative and true to the writers' intentions. The cast and crew are outstanding; the music is expertly handled- congratulations here to Tersia Harley.

This is a fine show - one emerges at the end warmed and smiling.'