Reviewers 2024 - 2025 Season Scott Lees Sophie Lord John Flay Paddy Darnell-Walsh Ste Oliver-Grant Jonathan Mallinson Helena Rose Nicholas Collinge Jane Newman Joanne Koffman Helen Codd Katy Thomason-Stewart Contact: admin@actuk.org
A NIGHT at the MUSICALS Directors: Jake Little & Conner Parkinson Choreography: Jake Little Music supplied by backing tracks APeel Drama Croup This Group has started an innovative journey with a young creative team. The younger membership has been enlarged bringing in new talent, enthusiasm and energy to the group. There is a good balance of experience to help guide the young performers. The venue presentation has to be complimented, from the meet-and-greet front of house, led by Pam Beaver, to the well-appointed auditorium layout. The tables and chairs were arranged in cabaret style for this dinner-theatre musical extravaganza. The staging consisted of hard black wing flats, with black tabs across the back to include the words of the revue title. The performers were dressed in black allowing the lighting to give colour and create atmosphere. Jake Little’s lighting design was inventive giving depth and mood for the musical numbers. I have to say the sound was inconsistent, at times; the mic’s were too open and the balancing of tracks and vocals was distorted. Surprisingly, this did not deter from the slick, well rehearsed delivery by the company. We heard songs from over twenty Broadway and West End musicals all glued together with introductions from compère Geoff Millard. Geoff gave just enough information for each number; it was nice to see he worked without notes too. Everyone was quite solid with their music: maybe the less experienced would have benefitted from having
a little more coaching, but nonetheless, the musical content moved at a cracking pac, even if you didn’t like a particular number it was soon on with the next. By the time it came to the last number there had been something for everyone. Choreography and movement suited all abilities making sure everyone was together. This created strong imagery to enhance the musical content. The concept and staging of the revue was inventive and showcased the company. The cast were as one with soloists, duos, trios and quartets coming from the ensemble and the going back into the ensemble. The audience’s attention was taken with the opening number “Façade” setting the pace which never dropped; every number was precisely and cleanly delivered. There were notable performances from John Essex, the Johnson family, Stacey Hanson and Coleane Buckley. Connor Parkinson had to take over at the last minute the vocally challenging number, “Getting Married Today” from Company. He cut through the tongue twisting delivery like a hot knife through butter. There was a great rendition of “Six”, and the ensemble movingly sang “Seasons of Love”. These were just a few of the highlights from this musical miscellany There was a special treat with Gina Groom returning back from retirement to the microphone. “It was as though she had never say goodbye”. This evening was clearly a team effort, from catering through to the stage crew. This was community theatre at its best.
BONNIE & CLYDE Music by Frank Wildhorn; lyrics by Don Black; book by Ivan Menchell. Musical Director Ben Evans-Clarke Director: Ben Evans-Clarke Musical Director: Alex Williams Choreographer: Becky Brady Together for Theatre Productions This story of Bonnie & Clyde told through the music of Frank Wildhorn and the words of Don Black appeared to have had patchy fortunes on the professional stage. Well, thanks to the fine production I saw in Knutsford tonight, this musical has a new fan. I thoroughly enjoyed it. The show opens somewhat darkly, with the dramatic demise of Bonnie and Clyde. Their story is the stuff of American folklore, so it is not exactly a spoiler. From the spatter of gunshots, we are launched into the story of the criminal pair who rose to infamy during the 1930s. The music is rich and varied from ballad to gospel and the script is funnier than I expected in a story about the murderous duo. It is the balance of humour and tragedy which makes this production so watchable. We laugh, cry, and even sympathise with the characters. Thanks to the press, the public became fascinated by the bandit gang during their reign of crime, with Clyde being seen as the main protagonist. However, life of 1930s America during the depression is woven through the narrative and provides the audience with a backdrop of understanding as to how the couple arrived at their itinerant lifestyle. We are introduced to the young Bonnie (Becky Brady) and Clyde (Jayden Evans) with their differing life plans of becoming a famous movie star and an infamous gunslinger, epitomised by the first rendition of “Picture Show” full of Bonnie’s hopes for the future to the poignant final rendition by them
both at the end. Kat Rawling (Bonnie) and Kieran Picken (Clyde) step into the adult shoes and take over the titular roles, commanding the stage throughout. Kat’s interpretation of the ill-fated Bonnie who cannot resist the charms of Clyde was excellent – driven by her dreams to be an M.G.M. star and anxious to do the right thing by her mother (beautifully played by Janine Royle). She battled with her instincts to keep away from Clyde when she saw her life swirling downwards into criminality but couldn’t resist his charms. This was a performance of vivacity, depth and tenderness. Kat has a stunning voice, which thrilled from the start with “This World Will Remember Me” and brought us to tears with her tender rendition of “Dyin’ Ain’t So Bad”. Kieran was her perfect partner offering us a strong and rich characterisation of Clyde. Another talented and versatile vocalist who delighted us with powerful performances such as “Raise a Little Hell” and warmed us with renditions of his love songs. Kieran was able to draw convincingly the complex nature of Clyde which I think Don Black wanted us to see. His portrayal in the Jail scene after suffering abuse from a fellow prisoner was something I will long remember. Forceful and achingly sad. It was a turning point in the musical towards the dark ending we were set to witness. Cory Evans’ characterisation of brother (Buck) in the shadow of Clyde was affectionately done from the fun they had in “When I Drive”. We could sense he was both in awe, and slightly afraid, of his dominating brother. But it was in the scenes with Abbie Lloyd as his wife Blanche (who he was even more afraid of!) where he showed tenderness and, with her influence, the urge to try and reform. Abbie gave us a performance of sharp humour and grit. The slick fun in the scene “You’re Going Back to Jail” (with the well drilled ladies of the company) established the balance of their relationship. Abbie’s comic wit was complemented by a beautiful singing voice which showed us the tender side of Blanche in “That’s What You Call a Dream”. Her love for Buck never wavered, right up to the sad end. I must mention two other members of this vocally talented cast who brought the story to life through music. Namely Steve Sheppard as The Preacher who led the way (supported by Blanche and the Company) with his rich, smooth voice in the gospel
choral “God’s Arms Are Always Open”. This was a fabulous number, full of energy and well-choreographed. By contrast he held our attention with poignancy and reverence in its reprise at the end of Act II. Daniel Cartwright, as Bonnie’s secret admirer Ted Hinton, gave us a riveting cameo of “You Can Do Better Than Him”. The final, perfectly timed, tear-jerking phrases when he is joined by Clyde were particularly special. All this vocal talent was accompanied by a superb band, situated behind the set, led by Alex Williams. Although a (very) few times, slightly overpowering, this was a sympathetic partnership between instrument and singer. All credit to them for a magical moment when Clyde is in the bath singing a tender a Capella “What Was Good Enough for You” with Bonnie and they gently start to join in and offer their accompaniment. The cast were given an excellent set by Sean Duvall; a simple but well-designed exterior of a South American barn, which could accommodate the car in which Bonnie and Clyde met their fate; well-placed simple furniture, blocks and even jail bars on wheels which were smoothly slotted into place to create the different scene changes. This was particularly well-done during Act II when multiple short scenes were used to progress the story to its conclusion. Similarly, the technical teams supplied the appropriate effects which enhanced the action. Spot on gunfire effects, of which there were plenty, didn’t miss their mark. The lighting design from Ian Wiper and Millie Capper gave us a visual treat which was by turn scintillating during the fast-paced action and attuned to the right mood for the tragic scenes. As I have come to expect from this company who all work so well together, this was an excellent production from a talented cast, directed with skill and empathy by Ben Evans-Clarke. As you hang up your southern drawls and gun holsters, you should be mighty proud of what you have achieved.
SEVEN DAY PLAY 2024 Hyde festival Theatre While I have seen and reviewed a number of One Act plays completed in a week, or even 24 hours, this was the first time I had been asked to review one from a youth section. Hyde Festival Theatre has, over the years, encouraged their youth element from various groups which use the theatre to take some ownership of their pantomime/play/musical choices. The volunteers work hard to facilitate the choices and also offer support and guidance for the choices so that there are clear opportunities to develop performance skills. There are youth representatives on the HFT committee and they are encouraged to discuss and bring their ideas for future productions and fundraising opportunities that ultimately lead to a performance for the public to attend and enjoy. The idea for the Seven Day Play was just one of these put forward. A week prior to the production all of the cast and creatives attended workshops in Acting, Directing and Writing – all facilitated by the adults from various groups, passing on their knowledge and giving the parameters and scope of One Act Plays that would hold the interest of a range of ages in the audience. The youth were then randomly drawn into four teams to perform the new plays. Each cast member had to bring their own prop that had to be written into the script, whether that was a wig, a stuffed toy or a chameleon! Not only were the performers given opportunity to develop elements of stage craft, the directors planned all the sound effects and lighting for the plays. And so to the four plays: Play 1: Conspiracy, Accusations and Champagne: Theme – On a cruise ship Written by Lee Dodd Directed by Libby Hall Lee had drafted a 15 minute “who-done-it!” Various characters making accusations of one another as they try to work out the murderer. However, there was no murder at the conclusion. With any writing, whether that be story or play, there has to be a beginning, middle and end that doesn’t feel rushed. In my experience, young people often start off with an idea and then it runs out of steam and the end fizzles out. Here, Lee had constructed a piece that felt equally weighted. Performing a play, quite rightly, relies on the delivery of dialogue. Here I mean, vocal
projection. It is true for other dramatic disciplines of musicals and pantomime and often they are helped by the use of a microphone, especially if they are in competition with music. Drama, in my opinion is different and actors need to have opportunities to project their voices into the auditorium so they can be clearly heard, without shouting. I cannot begin to count the amount of times I have stood at the back of a theatre or school hall, holding my ears and projecting “I cannot hear you”. If some of the performers are a little unclear as to what I mean, I suggest they listen to the delivery of Michael Brickell and Ned Evans as there was clarity, intensity and some expression in their delivery. Play 2: Grandma’s are very cool Theme – Holiday Written by George Partington Directed by Chloe Croke Life experiences very often help a writer establish the content, direction and staging of their script. Here, I could well believe that George Partington, who wrote and led this piece, had experienced a holiday that involved the chaotic animation scenes that many of us have experienced on holiday. The games that we are enticed to join in with during the evening entertainment. This play included audience involvement in so much as there was a requirement for some on stage to go out into the audience for shoes and to bring people onto stage. This did provide some joviality to the evening. If I can offer a little advice, I would just suggest that if this is necessary then it would be advisable to have prepared certain people prior to the production and have them strategically seated as it does alter the flow of the piece. I know we use this in pantomime to get audience participation but we rarely use it in plays. Play 3: Struggles on Isle School Theme: In a school, waiting for an exam Written by Freddy Shaw Directed by Harry Melling I am intrigued by Freddy’s experiences at school as some of the satire and depictions of a teacher’s thoughts as we get older did seem a little accurate. I wonder if any relatives teach or that he is very perceptive. Either way, I did raise a wry smile at the portrayal of the aging teacher by Martha Evans. The writing, while being larger than life, did have elements that we all recognise from our own experiences; favouritism, grading, shouting and teachers that seem to have lost the plot or given up and have little energy. I did think that the inclusion of the escaped class pet chameleon was a little bonkers but then I remembered when I taught a Year 3 class, we had class stick insects that would escape and we would be half way through lessons and they were crawling over books. Or the class hamster that would escape at night and we would find it because it had walked on an ink pad and left little footprints around the room. When I thought of that, it didn’t seem so bonkers at all. The inclusion of music by Culture Club did fit well.
Play 4: On Tour Theme – On Tour Written by Bella Bunting Directed by Leo Husband The idea of this play was that a rock star, in the mould of Taylor Swift, played by Evie Etches is arrogant, demanding and lacks any talent. The talented singer is her wardrobe mistress, played by Erin Kay, who dubs her voice. For those who are unsure that this really happens, I assure you that it does at times. Do look up the talented Marni Nixon who made a career of doing this for the likes of Audrey Hepburn. Eventually, the truth comes out. Again, during the play there was audience participation. I would suggest having a read of the above when similar was used in an earlier play. If you are bringing people onto stage thought needs to go into their role and how do you finish that section without them looking lost and unsure of what they are to do or go. Part of directing is about looking at the staging area and being able to use the space creatively. Leo Husband had done this. While most action was on the main staging area, he did use one of the side stages to place the clothes rail and give a platform for Erin to sing. Erin sang beautifully and Evie did a great job of lip-synching the words, it was quite mesmerising. In this theatre, due to sight lines the smaller staging areas need to be used sparingly and for brief periods. As these plays were 10-15 minutes in length there were some other acts. There was a solo performance by Alexa Mottershead who confidently sang “A Little Bit Naughty” from “Matilda”. This was an impressive performance, at the age of 7 there was so much stage presence and confidence. I look forward to seeing this young performer in future productions. Equally confident was Erin Bradbury, who had been given 5 days to choreograph a dance routine. There was also a lovely duet from Max France and Libby Hall who sang a number from “The Greatest Showman”. Although there was constant adult supervision throughout the week. The adults were strictly informed to not get involved in the writing and creating of the plays. I was pleased to see that these performers did show a level of restraint that is needed so that productions are meaningful and enjoyable. Thank you for the invitation and I will see a lot of you during the pantomime season…. Oh yes I will!
CABARET Directors Megan Ashbrook & Katie Fisher Music supplied by backing tracks. Alderley & Wilmslow Musical Theatre Company There is something in the. British psyche to mean we love being entertained. This group, with enough energy to run Blackpool illuminations, presented a Cabaret musical feast. The presentation of the production started by dressing the function room turning it into a cabaret lounge. The main performance space followed the theme with a lit voile back drop and twinkling topiary trees. The scene was set and so a welcoming ambience greeted the audience on arrival. The all-important front of house team welcomed everyone. The concept went a little deeper than delivering a set list of musical numbers. Engaging a cabaret audience requires a whole different set of skills. As there is no proscenium arch the company entered by singing as it passed through the audience. On the stage area there was an intimate exchange with the audience ensuring the delivery and phrasing to be personal. The movement was so important, whether solo or company: the creative team’s choreography and movement was both clever and sophisticated. There has to be a special mention to the technical departments – the lighting enhanced the evening’s musical delivery. The backing tracks and vocals were very well balanced at a level just right for a cabaret floor show. Completing the event imagery the company was dressed in black but with the men adding white braces. The lights dimmed: M.C. Steve Sheppard entered with his warm welcoming delivery with minimum wordage setting the opening. Music came from over twenty musicals from “Oklahoma!” to “Songs from The New World”. There were just a couple that did not work as well out of
context but, in saying that, there was so much in the programme for the young and eternally young. This was a company presentation teamwork at its best with everyone supporting each other. The following are just a few highlights of the evening’s enjoyment. “One Night Only” with Megan Ashbrook taking the lead. The new score on the block is “Dogfight”; Katie Fisher and Scott Walker treated us to “First Date/Last Night”. It is hard to believe that the stage musical, “Chicago” was first performed in 1975. Lisa Jones gave a standout performance of “Roxie”: her movement and armography was so slick. A young man making a name for himself is Alex Connolly who delivered his number, “The World Will Remember Me” from the ill fated musical “Bonnie and Clyde, with such pathos. Bringing the evening to a close soloists and company gave a powerhouse rendition of Tina Turner’s “River Deep, Mountain High”. After the performance the audience stayed to finish their drinks and talk to their friends in the cast. It was evident live theatre is more than just a sit-andwatch experience.
OPEN ALL HOURS Adapted from Roy Clarke's original television scripts by Laura Martin authorised by Roy Clarke and licensed by the BBC. Directed by Stephen Woods Bacup Royal Court Theatre Group From its first episode in 1973, “Open All Hours” was an instant hit. Audiences around Britain loved its familiar setting, good-natured humour, and the hilarious partnership of Ronnie Barker and David Jason. Whilst it only ran for 26 episodes, it firmly cemented itself as a British comedy classic. The show's setting is a small grocer's shop in Balby, a suburb of Doncaster in South Yorkshire. The owner, Albert Arkwright (Niel Gioia), is a middle-aged miser with a stammer and a knack for selling. His nephew Granville (Daniel Starkie) is his beleaguered put-upon errand boy who blames his work schedule for his lacklustre social life. Across the road lives nurse Gladys Emmanuel (Gill Richardson), who is largely occupied by her professional rounds, and her elderly mother. Arkwright longs to marry Gladys, but she resists his persistent pressures. The small first night audience was transported to Arkwright’s world with an excellent characterisation of Arkwright by Niel. His reaction to the wayward till was excellent and his “G-G-G-Granvilles” were spot on. Granville proved to be a very physical role when meeting the dominatrix at
number 84, and generally being clumsy when in awkward situations. We did get shades of Frank Spencer with the physicality, but Daniel created a very believable characterisation of the hapless lad. Nurse Gladys was every inch the district nurse fending off Arkwright’s advances and yet offering sympathy where necessary. The small cameo roles were all well observed and certainly added to the overall proceedings. These were Winston played by Maxwell Hopkinson; Mavis – Julie Stanworth, Mrs. Braddock – Ingrid Lehmann; Mrs Blewitt Kay-lee Woolley-Naylor; Salesman – Colin Cropper; Norman – Gary Waugh; The V.A.T. Man – Guy Gibbs; Gloria/Linda – Lauren Moran. First night performances can sometimes meet the odd glitch but when there was a problem with a set change, the audience applauded when the lights eventually went up. There were very many scene changes – some minor, some more complex but, on the whole, they were well executed. As the run progresses, I have no doubt that these changes will be speeded up. The set was excellent although I would have like more of the counter area to have been downstage. I understand why it was positioned where it was, it is just a shame that logistics meant the counter area and living room were somewhat cramped. The properties were well sourced, many of which had been provided by Bacup Museum. I do think the pile of tins should have been full, though, as they were so obviously empty. If I have a criticism, it is that the delivery of lines was often not clear meaning that we lost a great deal of the humour. Despite the use of microphones clarity of pronunciation is paramount with the beginning and endings of words clearly defined. Doing this will naturally slow down the overall speed of delivery so that the back of auditorium will hear the dialogue as clearly as
those audience members closer to the stage. Voice projection is so important so that all the dialogue is clearly heard. Projection is a particular soapbox topic of mine but if too much reliance is placed on microphones, we are in danger of losing dialogue clarity: turning up the volume does not help. Despite being approved by Roy Clarke, I think the script suffers from trying to incorporate too many situations from the original television series into one narrative. Having said all that, however, the company presented a nice evening’s entertainment. Congratulations to everyone involved.
NOW That’s What I Call Armageddon Trinity Amateur Operatic Society It was a pleasure to be invited to the Trinity Amateur Operatic Society’s Revue and enjoy a first visit to this delightful theatre in Congleton. On arrival, I was presented with a nicely produced programme which gave a nod to the sleeve covers of the NOW hit parade compilations which, back in my day, were on CD rather than Spotify (and other similar mediums!). I absolutely loved the premise of this Revue – The Ultimate Playlist for the End of the World – a collection of epic songs to get you through the “End Times” during the final countdown. The programme promised us some awesome tunes, and we weren’t disappointed. We were encouraged to scan an app and vote for our ultimate playlist, but I don’t think many of us disagreed with the ones that were actually “chosen” to be performed. We were guided through the Countdown by the AI presenters, Bob and Chuck, transmitting from a large screen at the rear of the stage. Apparently, the end of the world was nigh, but they still gave us plenty to chuckle about. There was even a funny tongue in cheek “Sunblast Sunscreen” commercial break! Well done to the technical team who devised this.
The production rocked its way through a fabulous collection of tunes from the outset, and the audience members were clapping along to the first ultimate song - for singing in the shower – Shania Twain’s “I Feel Like a Woman”. A great choice! The whole company gave us a scintillating evening, slick and dynamic with some wonderful performances. I can’t name-check any individuals as the programme listed the company performers as one. At first, I was a little disappointed as I would have liked to remember the names of some of the soloists but, on reflection, I rather admired the company for this. It typified one of the over-riding features of this production for me, which was the unity of the whole company. They were a cohesive unit who worked together to give us cracking non-stop performances of great quality and it was a testament to the production team of Simeon Green, Simon Matthews, Helen Lilley, and Dave Francis who pulled this all together. For me personally, there were some stand-out favourites, such as the Guns and Roses ‘Sweet Child of Mine” which featured a
dazzling guitar performance, Aerosmith’s ‘Don’t Want to Miss a Thing’ and Christina Perri’s ‘Human’. The U2 song ‘One’ was also a highlight, a lovely arrangement and enhanced by B.S.L. interpretation. The diverse talents of this society were showcased by two completely different numbers. We had a rip-roaring ending to the first half with a fabulous “Bonkers” which was a stunning combination of lighting, sound, choreography, and vocals. We were left buzzing at the interval and ready for a drink in the bar! Conversely, later in the second half, you couldn’t hear a pin drop as we were treated to a most beautiful rendition of Simon & Garfunkel’s ‘Bridge Over Troubled Water’ in the ‘Ultimate song that makes us cry category’. Another great choice. Congratulations to every single one of you involved, both on stage and behind the scenes. At one with your audience, we cheered along with the “ultimate” choices and, by the end of the world, were on our feet and clapping along for the last song we’ll ever hear … allegedly!
FOLK by Tom Wells directed by Darren Brierley Rossendale Players The Rossendale Players' production of “Folk”, directed by Darren Brierley, is a charmingly offbeat and deeply human exploration of friendship, faith, and music, filled with humour and heart. Siobhán Edge as Winnie, the swearing, Guinness-drinking nun with a love for folk music, is an absolute standout. Siobhán breathed life into this delightfully unconventional character, delivering sharp comic lines while revealing the depth behind Winnie’s tough exterior. Her raw passion for folk music and the way it ties into her complex relationship with faith creates a fascinating and captivating performance. Aimee Gallagher as Kayleigh was the aspiring folk singer who’s not quite ready for the spotlight. Gallagher nailed Kayleigh’s chaotic enthusiasm and awkwardness. The character's innocence and eagerness to please made her endearing, and Aimee’s ability to blend comedy with subtle moments of vulnerability elevated the performance. Nathaniel McCartney-Williams brough warmth and charm to Stephen, the shy and socially awkward man who desperately wants to fit in. His understated performance perfectly captured Stephen’s nervous energy, and his transformation throughout the play felt natural and heartfelt. What stood out in Nathaniel's performance was his
musical ability, from the tin whistle to the guitar: this musical element enhanced the entire production immensely, Director Darren Brierley deserves high praise for his handling of the material. His direction kept the energy light and comic while allowing the deeper emotional currents to shine through. Brierley ensured each character's unique quirks and personalities played off each other, creating a dynamic trio that drew the audience in with laughter, empathy, and the sense that they were witnessing something real and raw unfold on stage. In summary, Folk was a delightful, well-paced production that blends quirky humour with a touching exploration of human connection. The Rossendale Players, under Brierley's capable direction, delivered a truly memorable performance that left audiences laughing, humming, and thinking about the unexpected places where we find friendship and meaning.
I AM MY OWN WIFE by Doug Wright directed by Sarah Lorenz Knutsford Little Theatre This play is a dramatization of the life of Charlotte van Mahlsdorf (born Lother Berfelde ) who openly lived as a trans woman in Berlin during the terrifying oppression of Nazi rule and the ensuing communist occupation of East Berlin. It takes the form of a series of interviews between Charlotte and the American playwright, Doug Wright, embellished throughout by further interactions with a number of different people as her story unfolded. It appears that Charlotte was quite well known in her era, but I must admit that I knew nothing about her, nor this play. I was intrigued when I read the programme and discerned that there was one cast member – Sean Duvall - portraying Charlotte … as well as a list of other characters. One man? Would he change clothes on stage, use a plethora of props? I was baffled. The stage was set as a main room in Charlotte’s home, the Grunderzeit Museum in Berlin. Tastefully dressed with period furniture, there was space on the back wall either side of the splendid doors, where various images were projected throughout the play, such as photographs of the museum interior as it exists today and footage of decadent life in West Berlin. Sean took on the role of Charlotte with the dedication required to bring this complex biography to life on stage. The wardrobe was simple – a plain black dress, solid orthopaedic shoes, and a string of pearls. As Charlotte, I was immediately charmed by Sean’s winsome portrayal with the delicate smile, tilt of the head and use of hand gestures. I became enthralled as, still dressed as Charlotte, he weaved his way through a portrayal of an extensive range of over thirty characters.
He became the American author Doug Wright, members of the SS, members of the Stasi, friends, and a German chat show host. This was a staggering achievement by Sean who adopted each character through voice, stance and hand gesture alone. It was a triumphant one-person show as Sean figuratively stepped into all their shoes and we were spellbound. All these performances were sympathetically directed by Sarah Lorenz who was able to set just the right tone for each vignette in different parts of the stage. An excellent technical team enhanced the swift changes of mood and characters with some beautiful lighting effects. Charlotte’s story is difficult to hear in these more enlightened times but her long and complex life is worth the telling. The script was not devoid of a scattering of humorous moments, such as the recollection of a shooting incident involving her violent father. We must also be gratified that Charlotte lived a relatively long life for her times, to the age of 74. I think it was Doug himself, so keen to bring her story to life, who questioned how she had even managed to exist? She didn’t just live in a museum; she “was” a museum. The play was not afraid to tackle the issue of whether Charlotte was as innocent as she purported to be. There remains a question over her alleged collaboration with the Stasi. Did she inform on her friend who eventually died in prison, or did she do what she had to do to survive? The audience were left to draw their own conclusions but, as much as I was drawn to, and admired Charlotte, I suspect she had to make some tough decisions over the years about her own loyalties. Thank you for your warm hospitality. I feel privileged to have been introduced to this historical pioneer through such a mesmerizing theatrical experience.
ANNIE Director: Michael McCaw Musical Director: Paul Lawton Choreographer: Tracy Harper The Drama Dept. The Drama Dept.'s production of Annie at The Plaza, Stockport, delivered a heartwarming and lively rendition of the beloved musical, with standout performances and stellar choreography. Zara Bateson shone in the title role, bringing both vulnerability and spunk to the iconic orphan Annie. Her vocals soared, especially in the show-stopping "Tomorrow," and her on-stage presence was magnetic. Paul Allison, as Daddy Warbucks, perfectly balanced a stern exterior with the warmth that slowly builds between him and Annie. His chemistry with Sarah Clarke’s Grace Farrell was natural, and Clarke's portrayal was both graceful and engaging. The orphans were wonderful - every one of them spot on with their movement and choreography, not to mention impressive vocals all round. I feel the need
to mention Beth Moran who played Duffy - her characterisation throughout was impeccable, never dropping it, hitting every mark, and catching the eye in every scene. One other impressive youngster was the smallest of the orphans, Sofia Elbahrawy. I’ve never seen so much attitude! She was brilliant, and at only 7 years old she delivered every line, every step, and every song like a pro. A highlight of the production was Sarah Thewlis as the villainous Miss Hannigan. Thewlis managed to inject humour into every scene while maintaining Hannigan's tough-asnails edge. The was wonderfully grotesque and unlikeable - just what’s needed for a classic villain. Gary Jones (Rooster) and Kira Richardson (Lily) were equally wonderful villains. Their performance with Miss Hannigan of "Easy Street" brought energy and laughter to the show. The trio's chemistry was spot on, and their timing impeccable. Special mention goes to Obi the dog, who won over the audience with ease - you could say stole the show at times! Peter Bowler as President Roosevelt embodied the slightly unhinged leader of the U.S. and brought a grandfatherly feel to the character. Jon Harrison as the dignified
Drake was hilarious and wonderfully scathing. His characterisation was excellent, and the haughtiness really shone through. He definitely had the audience laughing. The ensemble has to be praised for their meticulous delivery of the choreography, movement, and vocals. They enhanced the show throughout, never on stage without a reason, and really shone as a cohesive cast. The 16-piece orchestra, led by musical director Paul Lawton, added richness to the production. While their performance is undeniably skilled, there were moments when the music slightly overpowered the actors' dialogue. A bit more balance would have allowed the actors to shine in those quieter moments. The simple set design, which largely relied on props to indicate scene changes, worked effectively, keeping the focus on the performers. Costumes were right for the period, reflecting the 1930s era while adding colour and vibrancy to each character. Credit to Janet Newcombe and Annabelle Reyes for their hard work in the costume department. The uniforms of the Warbucks’ staff were eye-catching and accurate and really stood out. Tracy Harper's choreography was nothing short of fantastic. The ensemble danced with precision and energy, bringing life to each musical number. Harper's ability to keep the entire cast in sync, particularly in large group numbers, is impressive. And how she got all the youngsters to deliver everything so beautifully, I’ll never know! Under the direction of Michael McCaw, the pace of the show was tight, and the emotional beats landed just right. The combination of strong performances, engaging choreography, and solid direction made this production of Annie a joy to watch, despite minor technical imbalances with the orchestra. All in all, this was a delightful evening at The Plaza, offering a fresh and vibrant take on a classic musical. Many thanks to the Drama Dept. for their hospitality, and I look forward to seeing what they do next.
FINDING NEMO Jr Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez; Book Adapted by Lindsay Anderson Directed by Janet Philbrook Stage Door Youth Theatre, Junior Company Stage Door Youth Theatre’s Junior company recently presented Disney Pixar’s Finding Nemo Jr. at Burnley College Theatre, and it was a truly delightful experience. From the moment we arrived, the welcoming atmosphere created by the front of house volunteers set the tone for the evening. The production was a whirlwind of fun and laughter, and I found myself wishing I could attend again the following night. The show was filled with memorable performances and a vibrant energy, highlighting the dedication of the entire team in every detail, making for a thoroughly engaging night. Based on the beloved Pixar film, Finding Nemo Jr. is a lively musical adaptation that showcases the underwater adventures of Marlin, his son Nemo, and the forgetful Dory. The story unfolds in a colourful oceanic world, exploring themes of bravery, friendship, and family. The young performers brought this heartwarming tale to life, effectively capturing the essence of adventure and the importance of teamwork. As they navigated their challenges in the depths of the ocean, the characters delivered a mix of humour and emotion, resonating well with both children and adults in the audience. Directed by Janet Philbrook, with production assistance from Lewis Sugden, the team skilfully ensured that both comedy and heartfelt moments permeated each scene. From the emotive opening, where a glowing egg represented baby Nemo being thrust from his siblings and mother—an image that nearly brought me to tears—to the hilarious chorus of seagulls popping up from behind the curtain, screeching “mine” at a passerby trying to eat her lunch, every moment was thoughtfully crafted. The choreography was essential in creating these fun interactions, particularly during the “Fish Are Friends” number by the sharks, which perfectly encapsulated their playful camaraderie. The colourful melting pot of the bustling coral reef came to life through clever and impressive choices that clearly delineated each character’s identity, with attention to detail that allowed the individual talents of everyone involved—from costumes and props to actors and tech crew—to flourish. The energy was kept high throughout, and the flow of the piece was seamless, ensuring that there were no dull moments. Claire Tetlow, the
stage manager, along with her crew—Paul Jarvis and Janet Philbrook—kept the action moving effortlessly, manoeuvring set pieces into position and contributing to the immersive underwater experience. Lighting designer Mark Storton crafted an effective underwater ambiance, employing washes of blue light that truly made us feel submerged in the ocean. Spotlights were used strategically to highlight key scenes, while clever choices conveyed various emotional atmospheres—such as an eerie glow for the jellyfish and vibrant hues in the reef. The sound design by Leroy Philbrook, and assisted by Toby Edmondson, was equally commendable; microphones were perfectly balanced to ensure clear dialogue and music, allowing every joke and heartfelt moment to resonate with impact. Notably, the soundtrack was seamlessly managed alongside live dialogue, a feat that undoubtedly required skill and precision. Projections provided by Fendt Theatrical Projections LLC were particularly impressive, enhanced by Burnley College's dual projectors that allowed for edge-to-edge coverage. This setup immersed the audience in the Pixar universe, enriching the storytelling with clever visuals that set the context for each scene. The projected moving imagery was expertly timed to the action on stage, requiring constant attention from the crew. This was especially critical during moments like the emotive “swim down” net scene towards the end, where a massive net filled with fish was projected, and the actors had to synchronise their movements with the imagery for maximum effect. The set, props, and costumes were truly remarkable, showcasing the talents of many individuals. Props impressively crafted by Mike McKeown—such as LED-clad clear umbrellas representing the squishy jellyfish, the glowing egg symbolising baby Nemo, ingeniously repurposed pool noodles as expansive coral, and the oversized “P. Sherman” scuba mask—added an enchanting touch to the visual storytelling and further enhanced the creative landscape. Costumes designed by Anne Allan were equally stunning, featuring inventive elements like an old-style headmaster gown with a flowing cape for Professor Ray, cleverly representing both his role as a teacher and the wings of a ray. The vibrant, colourful attire for the reef fish, including a multicoloured skirt for Pearl’s tentacles, brought the underwater world to life, while tinfoil-esque fire blankets humorously depicted the shoal of synchronised
shimmery fish. The sharks donned simple grey outfits paired with toothy glasses to clearly convey their identities. Meanwhile, the turtles' tie-dye clothes and puffer jackets served as their shells, perfectly embodying their laid-back vibe. The seagulls’ costumes were a highlight, featuring orange leggings, crocs, and feathery white hats with big eyes. Every piece was thoughtfully chosen, showcasing smart design choices that brought each character to life. Harry Hayhurst's Marlin captured the essence of a worried father figure, striking a perfect balance between comedy and genuine emotion. He navigated numerous scenes with heartfelt depth, particularly during moments that highlighted his protective nature. His strong singing voice was impressive, especially in the more complex transitions between dialogue and song, a challenge compounded by the mix of live singing with a recorded soundtrack. George Greenwood’s Nemo radiated energy and curiosity, effectively showcasing the character's adventurous spirit and determination despite his challenges. His performance served as a reminder that great things can come from those who might seem small or limited. It was lovely to witness his character arc as he learned to take pride in his father, recognizing that the adventurous spirit he possesses also runs through Marlin’s veins. Emma Cox, as the unforgettable yet forgetful Dory, was nothing short of hilarious and charming, delivering outstanding comic timing through her unique blend of forgetfulness and whimsical wisdom. Each time she took the stage, she brought laughter with her classic moments from the film, and it was heartwarming to see her find a family by the end of the show. Meadow Wood, as the curious little octopus Pearl, Anni Lewer as the nervous seahorse Sheldon, and Khaylan Hamilton Ebanks as the bold butterfly fish Tad all brought delightful youthful energy to the stage. Their playful interactions perfectly embodied the spirit of schoolchildren. The humorous parents,
played by Mia Williams, Bella Haworth, and Lydia Lamont, added a charming mix of protectiveness and sarcasm that resonated well with the audience. Ellissa Pickles portrayed the wise and kind Professor Ray, donning a clever costume and beret that complemented her character. Her resonant projection and singing voice provided a calming presence among the excitable schoolchildren of the reef, making her a standout figure in the ensemble. Isabella Eaves as Coral, Nemo’s mother, although only present for a short time at the beginning, delivered a memorable performance in a sweet yet poignant scene before the barracuda attack. This moment not only gave Nemo his name but also established Marlin’s deep sense of protectiveness and worry for his only child. The fish tank crew excelled as Nemo’s adopted temporary family while he awaited his father’s return. Ruby Hurran was hilarious as the dim-witted and obsessive Bubbles, portraying the character's whimsical nature with just one word—“bubbles”—while emoting effectively and eliciting plenty of laughs. Eva Whiteley brought charm to Bloat, the jovial and dopey pufferfish, showcasing her good singing voice. Amelie Bancroft played Gurgle, the germaphobe afraid of the open ocean’s uncleanliness, with commendable flair. Iris Robertshaw, as Peach the helpful and observant starfish, also displayed a lovely singing voice and embodied her character well. Timo Ruiz shone as the determined and moody Gill, with his large black mohawk to represent his dark tropical persona, leading his tank friends with authority. Their sidekick, Nigel the pelican, played by Anni Lewer, emerged as the unsung hero, helping to reconnect Marlin and Nemo. I was particularly impressed with Anni’s physicality; she captured a bird’s movements beautifully, delivering her lines flawlessly despite stepping into the role at the last-minute during dress rehearsal. Each character had their moment to shine, contributing to the camaraderie of the group and adding
vibrant energy to the performance. The sharks, featuring Zoe Blackadder as the charismatic great white Bruce, Millie Jarvis as the goofy hammerhead Anchor, and Lottie Mather as the excitable shark Chum, were a comedic highlight, especially during their lively number “Fish Are Friends.” Their choreography was engaging and entertaining, perfectly maintaining the show's comedic tone. Zoe impressively portrayed Bruce’s transformation from funny to fearsome, particularly in the moments when the other sharks tried to gang up on him to protect their fish friends, showcasing delightful physicality that matched the energy of the song. Meanwhile, the turtles—led by Nyla Obi as the laid-back Crush with a fantastic singing voice, Leo West-Wilkinson as his cute and energetic son Squirt, Josef Hamilton as the adventurous Kai, and Liliah Pickles as the chill Breeze—perfectly embodied the free-spirited essence of the hippie lifestyle. Their colourful costumes and relaxed attitudes contributed to their charm, while their catchy, feel-good song encapsulated the carefree nature of their characters, leaving the audience with smiles. The fish ensemble, composed of Marnie Uttley, Rosie Tillotson, Lainey Waddington, Tyler Brogan, Elena Godfrey, Isla Rohu, and Aria Sanda, truly brought the ocean to life with their joyful performances. Their infectious energy and cohesive teamwork
were standout highlights of the production, showcasing impressive harmonised layered vocals during various numbers. Special mention goes to Rosie Aspden, the scuba mask dancer, whose playful movements added an enchanting touch to the scenes. Isabella Eaves, portraying the Old Lady, garnered uproarious laughter with her brilliant physical slapstick comedy as she settled down to enjoy her food, only to be accosted by mischievous seagulls—eventually outsmarting them with a secret chocolate stash that elicited a big laugh. The hilarious seagulls, played by Bella Haworth, Lydia Lamont, Ellissa Pickles, and Abigail Edmondson, contributed comedic flair with their jolty, bird-like physicality and a chorus of screechy “mine,” contrasting perfectly with the frustrated Old Lady. The combination of singing, dancing, and enthusiasm among the cast was impressive, particularly during collaborative moments like the shimmery shoal recreating the iconic Sydney Opera House scene, the inspiring net scene, and any scenes set at the reef. Together, they encapsulated the fun and companionship of the ocean community, leaving a lasting impression on the audience. Finding Nemo Jr. was a resounding success, showcasing the hard work of everyone involved—from the talented performers and dedicated production crew to the parent volunteers who supported rehearsals and made it all possible. Special mention goes to the chaperones: Michelle Cox, Leon Cox, Louise Jarvis, Sammy Greenwood, Amelia Norcross, Lucie Gillam, and Lisa Brewster, for their invaluable support. Congratulations to the entire team on a job well done and remember: just keep swimming!
SPARKS at the MUSICALS Directed by Daniel Oliver-Grant Choreography by Sue Bradbury and assisted by Erin Bradbury Musical Director – Kat Rawling Sparks Dramatic Society In the present economic climate, a number of societies in the AMDRAM world are trying different methods to raise money for their groups. Many of them decide to stage a musical revue as one way to accomplish this. While a full stage musical can be staged after a number of months, many revues are put on after a very short rehearsal period and in this we must acknowledge the vast amount of work and dedication which goes into staging such an event, especially when it is for one night only. The creative team behind “Sparks at the Musicals” must have been very pleased with their production, which ran for a single evening. The set was quite simple, with black curtains across the back wall and a raised stage block, giving some height so people at the back were elevated and seen. In front were two benches, that helped create interesting pictures, especially when a lot of the company of 23 were on stage. Adding to the picture was an old fashioned street light and sound effects which helped create ambiance in musical numbers. This staging left quite a large front space for movement and dance to take place. All the dance sections were well rehearsed and added lively interest to the production. The lighting was thought through and added to the finished spectacle. The only slight tweak that was needed was the sound quality. Due to a range of backing tracks being used, the louder numbers sometimes
drowned out the singing and so seemed a little out of balance to me. This revue did not have an MC who would link the numbers together with some dialogue and audience interaction, instead the numbers flowed one after another. The director had given a lot of thought into how this flow could seem seamless and not awkward. For example, he did a solo performance of the song “Pure Imagination” and held a plethora of balloons in one hand, giving them out to passing people but gave a final one to the next soloist, Alexa Mottershead. She held this throughout her cracking rendition of “Castle on a Cloud”. Alexa’s performance was even more striking when you consider her musicality, timing, singing and confidence at the age of nine. She held the audience spellbound as she sang this heart-breaking number from the musical, Les Misérables. There were thirteen numbers in each half from a range of musicals over many decades, from Funny Girl and Oliver! in the ‘60s, Mamma Mia in the ‘90s and the more modern Six, to name a few. Choosing the programme content is quite difficult as you want it to reach across ages and be known to audiences so they are familiar with the musical but at the same time, you want to introduce some more contemporary content to educate members of the public. In this
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