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This one was over 50 years in coming, a lifetime after I first heard the drum beat of Can the Can. Suzi Quatro is now 75 and I can only hope I have that much energy in thirteen years’ time. Okay, maybe not as raucous as 1973, but still a great voice and hitting that bass with profound effect. With a full band and backing singers whose names I can unfortunately not recall, Symphony Hall roared from start to finish.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026

Launching into The Wild One, the show had two long sets giving you hit after hit among many other tracks. In addition to the two already mentioned, we had Devil Gate Drive48 CrashStumbling InIf You Can’t Give Me Love and She’s in Love with You, and many more, as they used to say in the 70s on the old K-Tel adverts. Other personal favourites of mine were Daytona DemonMama’s Boy, and Little Miss Lovely. However, covers of Slow Down (Larry Williams), Bad Moon Rising (Creedence Clearwater Revival), Rockin’ in the Free World (Neil Young) and Sweet Little Rock and Roller (Chuck Berry) were also top drawer.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

The night gave us a pure nostalgia fest and proved Suzi can still rock us other oldies (as most of the audience were) and still pull off the denim and leathers. As well as the music, there were stories and history with Ms Quatro really connecting with the crowd. From the early years as a singer with her sister in The Pleasure Seekers, Quatro tells of contacting Micky Most and heading to the UK where she became the star she still is today. Tales of TV including Happy Days (Happy memories as Leather Tuscadero) and being killed off in Midsommer Murders. Mind you, not listening to mainstream radio for 40 years I had no idea she spent 15 with her own show on BBC Radio 2. My musical theatre experience, unfortunately, never brought me to see her in Annie Get Your Gun in 1986, but I do have the cast recording, as I do all of her albums.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Although the late 70s was when I was in my teens and discovering my taste in music, the era of Quatro, Slade, The Sweet and T Rex helped form those likes for the future, and Suzi played a huge part in that. And I can only say, thank you, Suzi. A great night out.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

Come with me and you’ll be 
in a world of pure imagination. 
Take a look and you’ll see 
into your imagination.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Second sampling of this musical within the space of a few weeks, this time with the Peterbrook Players at the lovely Core Theatre in Solihull. This was my first experience of Peterbrook and I was not disappointed, the show a delight from start to finish.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Briefly going over the plot again — Poorest family in the world with the most bone-idle grandparents in history are dependent on Charlie and his mother’s earnings to survive. I mean, have they never heard of social security? Anyway, famous chocolatier contrives for Charlie to gain entry to his factory while also seeking the four most horrible children in existence, just to teach them a lesson. What you get is a magical experience full of good songs and dance with a decent plot, based on the Roald Dahl book of the same name, also including some of the numbers from the 1971 movie, Willy Wonka and the Chocolate Factory.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Oisin Kelly (in this performance) was Charlie, and he excelled with outstanding presence and voice. On alternating performances, Alfie El-Safti took on the role, so I will credit him too. Equally as excellent, Matt Barnard shone as the wizard-like Wonka, directing events as they unfolded on stage. Danielle Pancheri was particularly strong as Mrs Bucket. Grandpa Joe, who in the original film is for me the villain of the piece, is thankfully here more of a supporting hero for Charlie and he was played well by Andrew Alton. As the other bedridden wrinklies (I’m 62, I can get away with saying that) we had Alison Tumber (Grandma Josephine), Annette Whalley (Grandma Georgina) and Nick Tickner (Grandpa George), who added subtle humour at times. As for the four horrors with their respective parents, all were on top form. These included Iona Cameron (Augustus Gloop), Amelia Bickerton (Veruca Salt), Annie Stephenson (Violet Beauregarde), Jacob Young (Mike Teavee), Paula Whitehouse (Mrs Gloop), Rob Jervis (Mr Salt), Michael Stephenson (Mr Beauregarde) and Anna Gifford (Mrs Teavee). Completing the principals well were Melissa Goode (Cherry Sunday), Jude Maskell (Jerry Jubilee) and Ann Bloomer as Mrs Green with her barrow of pre-loved vegetables. All the above were complemented by a strong ensemble complete with juniors and adults both.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

The show was directed in both staging and musicality by Paula Whitehouse who can be very pleased with the results which included phenomenal voices throughout. The choreography was also top of the tree and this is a credit to Abi Harvey who had that responsibility. Good use of projected backdrops also worked well on top of impressive sets. However, what was clear above all else was just how enthusiastic the cast were, enjoying every minute. And how could they not be with such a polished performance which totally deserved the applause at the end.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

So concludes the second of two amateur productions of this musical, both which I enjoyed more than the professional tour a couple of years back. I am seeing another company’s offering of this show in the Autumn and after Peterbrook’s production, I can only look forward to it again.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Cheers,

Antony N Britt

*Photos taken from social media.

Do you believe in fairies?

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Always one for a new musical, and in this case, based on a tale I know well. The Cottingley Fairies relates to events from the early 20th century about two girls who convinced the world (and in particular, Sir Arthur Conan Doyle) that fairies were real. I remember this from my youth and the magazine, The Unexplained, around 1980. It was in this publication that one of the girls, now elderly, revealed that they had faked the photos (No shit, Sherlock, if you forgive the pun, Sir Arthur). Having said that, it was still a magical idea and well suited for transformation onto the stage.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

My first visit to the Patrick Studio at the Birmingham Hippodrome which I enjoyed, sat on the front row, fully immersed into the whole experience. With some excellent scenery and props, you really did feel like you were part of procedings. It was also my first time sampling British Youth Musical Theatre who worked with Clare Packham (Writer/Co-Lyricist) and Fintan Kealy (Composer/Co-Lyricist), who are part of Cameron Mackintosh’s Resident Writing Team Placement. The result — an intriguing and most enjoyable production.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Told mostly through song and dance movement, there was a real feel of folk with a fair bit of prog rock thrown in. This worked well concerning the subject matter and I loved the imagery of the fairies as they surrounded the characters in a dreamlike fantasy state. By the end, you really wanted the story to be true, and such was the effect, those fairies were real enough to me. I enjoyed how the older and younger versions of the two girls interacted, the audience getting a solid feel of a story being told by the elder ones. We had turmoil, poignancy of loss during wartime, and a fair bit of humour at times, all delivered well by an outstanding cast.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Nicole Cammack was exceptional as Young Frances (Bearing an uncanny likeness to the real one, too) as was Blaize Middleton in the role of Elsie. For their older counterparts, strong performances came from both Danielle Kelly-Honey (Frances) and Fern Mellor (Elsie). Supporting well though were Scott Hawthorne as the duped Conan Doyle, Gwen Pritchard-Thomas (Annie Griffiths), Zack Went (Edward Gardner), Isla Jones (Polly Wright) and Caitlyn Hamilton (Arthur Wright). However, an ensemble of more than 30 also played their part in the whole magical experience. At the helm in production were Ewa Dina (Director), Jacob Savage (Musical Director), and Hannah Fairclough (Choreographer). Credit must also be given to the amazing costumes and set (Lu Herbert), effective lighting (Rachel E Cleary) and solid sound (Sam Levy).

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

So, did I believe in fairies afterwards? Not exactly, but it is a nice idea. However, I did believe in British Youth Musical Theatre, and I shall be watching with interest in the future. Overall, a wonderful outing to Yorkshire of 100 years ago and a production I shall remember for a long time.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Cheers.

Antony N Britt

*Photos taken from social media and the internet.

That is the elephant in the room. 
Well, is it relevant to assume 
That a man who wears perfume 
Is automatically, radically fey?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

It would be an understatement to say I am no stranger to Legally Blonde the musical as I had already seen it eight times (but never watched the film — strange). So, what was it that made me book tickets well in advance? One person. Amber Davies. I had previously seen her in 9 to 5 and Pretty Woman and soon had her as my favourite musical theatre performer. And yet, she still gets bad press from a small quarter. Whether this is down to Love Island fame from years ago, I don’t know. C’mon, give the girl a break. She was trained in Musical Theatre long before that.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Okay, the tedious bit. Legally Blonde is a 2007 show with music and lyrics by Laurence O’Keefe and Nell Benjamin and a book from Heather Hach. It is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name. It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend, Warner.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

The show itself is up with the best, and there is not a bad number in the song roll. My personal favourite this time was There Right There. If you know, you know. Having seen it so many times, I did notice a few tweaks with some of the derogatory stereotyping removed and more modern references replacing dated ones. The direction of Nikolai Foster and choreography from Leah Hill was outstanding, but you still need a good cast to pull it off.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

James Lim really played his part and captured the spirit of Emmet well, as did in other roles: Karen Mavundukure (Paulette), Adam Cooper (Callaghan), Jamie Chatterton (Warner), Annabelle Terry (Vivienne), Jocasta Almgill (Brooke), Hannah Lowther (Margot), Rosanna Harris (Serena), Remi Ferdinand (Pilar), Ty-Reece Stewart (Kyle), Bradley Delarosbel (Carlos) and Keanna Bloomfield (Enid), as well as an excellent company of ensemble and swings. And sorry, this time, I refuse to credit the bloody dogs as the trainer wasn’t even mentioned in the programme. Ha!

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Of the songs not already listed, I love Ireland, Bend and Snap and … just about all the rest of them. Excellent lighting, sound and set with a good orchestra conducted by Cerys McKenna topped an outstanding show.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Oh … have I missed someone?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Yes, the star of the show, the one I came to see. As always, Amber Davies was exceptional. Born to play Elle Woods, this was the best I have seen in the role. Excellent voice, strong acting, and superb dance, but not afraid to bring what I suspect is natural vulnerability. Amber has been through a lot in the past six months. Hate on social media during Strictly Come Dancing and more recently, criticism for the heinous crime of … getting ill. Take heart, Amber, for every keyboard critic, there are dozens that love you. You would not have sold out every show otherwise and had them queueing at the stage door in hundreds. And, have the satisfaction that for those in the minority of haters, you are still occupying a part of their sad little minds.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Cheers.

Antony N Britt

*Photos taken from public domain and may not represent the performance reviewed.

All you wanna do, all you wanna do, baby
Is please me, squeeze me, birds and the bees me.

Six — Birmingham Hippodrome — 1 April 2026

I don’t think I will ever tire of Six, the one act musical about the wives of Henry VIII. Three times in the past 18 months I have been to see it. Once in the West End, an excellent teen edition and now, the UK tour. And I have another teen youth production to review in the summer.

Six — Birmingham Hippodrome — 1 April 2026

From the pens of Toby Marlow and Lucy Moss, the show contains songs from the six wives, each detailing their own personal trials (literally) and tribulations as they battle for the place of being top queen. After the rousing opener of Ex Wives, Catherine of Aragon (LaSasha Aldredge) tells us No Way before we reach the “One, you’ve all been waiting for,” and Anne Boleyn (Vna Montarde) with Don’t Lose Your Head. Jane Seymour (Emily Dawson) then relates the sad tale of her Heart of Stone before we are transported in 90s club style to the House of Holbein where we meet Anne of Cleves (Jodie Knight) and her orders for King Henry to Get Down. Katherine Howard (Sammy Timbers), who had her fan club on the front row, told the audience All You Wanna Do before the final wife, Catherine Parr (Layla Chivandire) declared I Don’t Need Your Love.

Six — Birmingham Hippodrome — 1 April 2026

The show is rounded off with the title track before a mega finale in MegaSix. Supporting our queens on stage are the live band consisting of Maddie Lygo (Keys and Musical Direction), Dejeante Hinks (Guitar), Alex Maseed (Bass) and Amanda Dal (Drums). All performers, singers and band members alike were on top of their game and this offering was as powerful and funny as ever. One item that I was unsure of in this production, though, was the use of regional accents, but each to their own and I can’t criticise wanting to put an individual identity to a show. All in all, a great night out and fully deserving of the standing ovation.

Six — Birmingham Hippodrome — 1 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

*Some photos taken from the public domain.

One day I dream that there will be 
a new world waiting there for me. 
Where the dark clouds will fade from view. 
And the sun will come shining through.

Rosie — The Adelphi Theatre, London — 17 March 2026

I have waited a long time for this premiere, having first heard songs from the show back in 2019 on Lucy Thomas’ debut album, and several more on later releases. With a book and lyrics by Chris BroomRosie tells the true story of Edwardian Gaiety Girl, Rosie Boote and I have to say, this semi-staged performance was a delight from start to finish. Lucy Thomas has long been the muse of Broom, and I can see why. Yes, I will say it. Lucy Thomas has the best voice I have ever heard. Then with such strong numbers in the show, the experience was an emotional one.

Rosie — The Adelphi Theatre, London — 17 March 2026

The story begins in Ireland with a young Rosie (Santi Cohen) delivering One Day, a song so beautiful it has been in my head ever since. Then, after the death of her father, Rosie is sent to live in a convent while her mother returns to her stage career. And it is here, during Dear Lord, We Thank You for This Day that Young Rosie departs to be replaced in adult form by the magical Lucy Thomas. The narrative then moves through song and dialogue with the outstanding numbers, Suddenly and Starlight, reflecting Rosie’s journey to be a star of the stage. Scandal follows as she falls in love and eventually marries high society figure, Geoffrey Taylour, much to the chagrin of his mother and even the King. However, love conquers all and (as they say) the rest is history.

Rosie — The Adelphi Theatre, London — 17 March 2026

This has been a long project over ten years for Broom and many changes have been made in that time, most recently, the sublime Gentle Breeze moved and now sung by Taylour, also portrayed with excellence by Will Callan. The duets between Callan and Thomas (who have worked together many times over the years) were truly out of this world. Supporting well, though, were Desmonda Cathabel (Lily Turner), Sally Ann Triplett (Lady Emily Taylour), Connor Carson (James Walker), and Madelana Alberto (Annie Boote) among a strong cast. Credit must also go to Musical Director, Yshani Perinpanaygam for bringing Broome’s excellent score to the stage as does Cressida Carre for direction and choreography. The only slight criticism I would have of the entire production would be a couple of instances in plot. Although I thought the script professionally written, I felt there needed to be more conflict and hurdles to overcome, as it all panned out as though Rosie’s troubles solved themselves. However, this is a minor matter which could be easily rectified with an increase in subplot between Lily and James, and the two coming to rectify the communication problems created by Lady Taylour.

Rosie — The Adelphi Theatre, London — 17 March 2026

I am honoured to have been present at this amazing experience, seated in the second row and can only hope that Rosie goes onto a greater stage. I don’t normally give out stars, but I would award Rosie top marks, even though the script still needs work. The desire to improve never ends. But from my own personal enjoyment, Rosie is up with the best.

Rosie — The Adelphi Theatre, London — 17 March 2026

Cheers.

Rosie — The Adelphi Theatre, London — 17 March 2026

Antony N Britt

*Some photos taken from social media.

Life was good for a short while. 
Hot sweet nights days that were fine. 
Spent many hours just looking at you. 
Heart stopped beating for a moment or two. 
Long black veil now you are mine.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Stranglers guitarist for 26 years with the latter twenty fronting many of the vocals; Baz Warne is a legend to those fans who are grateful for the longevity of the band. I am lucky that many of my favourites have lasted decades, producing new music and still touring, and The Stranglers lead the way in this, myself having seen them 23 times in all incarnations. Now that may seem a lot but judging by the Q&A session at the end, I am a mere novice as there are those whose attendance is in the hundreds and have followed them all over the world. In fact, Baz is on first name terms with many of these admirable souls.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Following the 2025 release of his book, No Grass Grows on a Busy Street, Warne embarked on this tour (Convivial) which is described as a seated run of shows blending songs, conversation, and audience questions in an informal setting. Somewhere between a book tour and a gig with each night unfolding differently. I have deliberately avoided reading the book until now because I wanted to hear as much as I could fresh, and I was not disappointed. What is immediately clear is that Warne is a genuinely honest and open top guy.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Interspersed between an excellent casual conversation with WCRFM’s Garry Foster, Warne treated a packed audience to seven acoustic songs. These were Long Black VeilPeachesBreatheAnd If You Should See DaveBear CageThe Lines and Goodbye Toulouse. All were excellent, and poignant in the tribute song as you could feel the emotion at the loss of Dave Greenfield from Covid in 2020 which followers still feel now. But there was also humour in abundance, especially with impersonations and tongue in cheek references to current and past band members. Some genuinely kind words were said about the songwriting of Hugh Cornwell, which is important as although the show goes on, and that era is long in the past, the legacy always needs recognising. I do think, though, the band are now better live than ever, and much of that is down to Baz Warne including the excellent standard of studio albums produced over the past couple of decades.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

What did we learn? A snapshot would be that Baz Warne loves Status Quo, his favourite cheese is Red Leicester and that former band member, John Ellis is a cunt. Overall, though, Baz comes across as humble and grateful to the fans, as we are to him. And in a photo opportunity at the end where he gave his time to all who queued, I told him after following The Stranglers since 1977, through times they could have folded, he has helped keep the magic alive. And for that, I can only say thank you.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Cheers.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Antony N Britt

*Some photos blatantly stolen from Garry Foster’s Facebook page.

Once I had a secret love, 
that lived within the heart of me. 
All too soon my secret love 
became impatient to be free.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

My second sampling of this Wild West Musical in the last six months. The first was by the professionals with Carrie Hope Fletcher, so … could a youth group entertain me just as much? Absolutely. And that is down to the wonderful team and members of Starcross Youth Theatre who I have now been going to see for over three years. And there is one thing I have found about Starcross, the faces might change over time, but the quality remains and those taking their place are of the same high standard.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Starcross is a family effort from Phil Cross MBE (Producer/Director) and wife, Belinda (Assistant Director/Consultant Choreographer), and more recently, daughter, Christine (Assistant Producer/Choreographer), who has moved full time into production after many years on stage. Let us also not forget the extended family with Ben Batt (Musical Director) who fronted a six-piece band, plus vocal coaching from Ashleigh Foster and support on choreography from Elise Harrison.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Calamity Jane is a spit ‘n sawdust Wild West Romp which has entertained audiences since the 1953 film of the same name. With music by Sammy Fain, lyrics from Paul Francis Webster and book courtesy of Ronald Hammer and Phil Park, this show is instantly recognisable by the songs, Just Blew in from the Windy CityThe Deadwood StageBlack Hills of Dakota and more. It is a tale of Secret Love and hope. Thoroughly entertaining from start to finish and Starcross totally pulled this one off. Great sound, lighting and slick movement on stage, including the smooth scene changes, plus an incredibly impressive set complete with full size coach. Sat on the front row, mere inches away from the performers, I was well and truly immersed into this experience.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Top marks must go to Lily Cross for capturing Calamity to a T. This is a role which must be hard vocally and in need of much energy, but Lily smashed it, also showing a fine voice during the softer musical moments (Secret Love). As Wild Bill Hickock, if you didn’t know this was a youth company, you would swear Alex Hill was the real deal in terms of being on the professional scene. Such a strong performance which was also backed up vocally during the musical numbers. Lily-Grace Palmer played Katie Brown, who poses as a famous singer to achieve her dreams. A lovely performance by her complemented well by Darius Stirbat as Lt. Danny Gilmartin. Supporting well, though, were Tia Rafferty (Henry Miller), Stanley Clowes (Francis Fryer) and Lexie Jennings (Susan), who also doubled as Dance Captain alongside Ellie Fletcher-Brown. And for this performance, Adelaide Adams was portrayed by River Onions who delivered It’s Harry I’m Planning to Marry excellently.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Over the years I have made a rod for my own back by listing the entire cast in youth shows, as they deserve it. This usually takes time and much cross checking and with this one, over four performances, some roles were not just spread between two people, but in certain cases, three. Therefore, I am going to cheat and include below the cast from the programme. Credit to all, though, and I am certain those who I did not see on the day were equally superb during their own moments on other performances.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Starcross are back in July with a showcase concert titled, Showstoppers. I am unfortunately unable to attend this one as I have prior commitments on both nights, but I will certainly be there at the end of October for their huge offering of Jesus Christ Superstar.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Cheers.

Antony N Britt

*Photos taken from social media.

‘Cause I’ve got a golden ticket. 
I’ve got a golden twinkle in my eye.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

Apologies for the delay in this one, I have been busy with two shows of my own. My first experience of Top Box Studios but second time watching Charlie and the Chocolate Factory. This is a musical I am familiar with, having seen the UK tour a couple of years ago, therefore, I knew what I was getting. Or so, I thought.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

What I saw way back in 2023 was the West End version but to my delight, Top Box delivered the Broadway one. Now, although I did enjoy the professional tour, this offering has more songs from the 1971 film, Willy Wonka and the Chocolate Factory like Candy ManI’ve Got a Golden TicketPure Imagination and especially, the Oompah Loompa song. And we did get the orange faced, green haired variety as well, all who smiled throughout and looked to be having the time of their lives. Another difference between West End and Broadway was that the latter has Wonka posing as the Candy Seller in a pop-up shop, building the relationship between him and Charlie from the off as opposed to only appearing at the end of Act One in the West End version.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

Charlie was played (as stated in the programme) by Tommy L and gave a truly professional performance with good acting and timing. Also, on the children’s cast were Grace L (Veruca Salt), Izzy K (Violet Beauregarde), Louie W (Mike Teavee) and my personal favourite, Harry W (Augustus Gloop). Maybe some of the children’s playing ages stretched my pure imagination a little bit, but most still appeared close in looks to the characters they were portraying. Split into two, though, I only saw one of children’s casts, so I must therefore credit Alex P (Charlie), Corbyn G-T (Augustus), Darci H (Veruca), Ilana M-S (Violet), and Ed K (Mike). I am sure they were fantastic too.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

As the main man himself, Eddie Faizey was outstanding in his depiction of Wonka with an amazing voice and stage presence. But equally so were the supporting members of Charlie’s family, namely Tom Bowes (Grandpa Joe), Marianne Midgley (Mrs Bucket), Debbie Guest (Grandma Josephine), Kate Divit (Grandma Georgina), and Jason Keley (Grandpa George). Parents of the obnoxious kids in this show were Sam TaylorChris Stroud (Mr Salt), George France (Mr Beauregarde), Max Day (Mrs Teevee), and Abigail Mann (Mrs Green). Finally, we had the news reporting duo of Jerry (Scott Cartwright), whose appearance became more dishevelled with each appearance and the more elegant Cherry (Leane Davies). Such a strong cast including an ensemble too many to mention.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

Good use of props and projected scenery completed a polished production, and the creative team of James Baldwin (Director), Tracy Ann Wright (Director/ Musical Director) and Georgie Pearce (Choreographer) can be well pleased. I was also impressed by my first visit to the wonderful Palace Theatre. Over one hundred years old and it is a delight. A mini palace, indeed, with all the interior character for a theatre of its age.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

My first visit to see Top Box; it will not be the last.

Charlie and the Chocolate Factory — The Palace Theatre, Redditch — 5 February 2026

Cheers.

Antony N Britt

*Photos taken from social media and may not represent the performance reviewed. 

What have I been hiding from? 
The girl I was, the girl I used to be. 
Why have I been so afraid of everything 
when I could just be me? ~ Rise.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

One of the things I love about Smile Musical Youth Theatre, in addition to the top-quality productions, is their willingness to look outside the box in terms of show choices. For a relatively new company it would be easy to go for the tried and tested but after The Lightening Thief two years ago we now had The Great British Bake Off Musical.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

Not only had I not seen this show before (with a book and lyrics by Jake Brunger and music and lyrics from Pippa Cleary), but I have never experienced one second of the television competition of the same name. Talk about going into this blind. However, I do get the gist of the concept. People gather in a tent and bake cakes, each round eliminating one person until there is a winner. For this musical, we had eight contestants and four hosts, each scene divulging a little about their lives, loves and struggles. If I am honest, the plot is totally bonkers, but sometimes bonkers is good and this one worked to the point that I really enjoyed it. I particularly liked the chemistry between Gemma (Macy O’Donoghue) and Ben (Thomas Bastable), then throwing in the relationship between Ben and his young daughter, Lily (Eva Myers). However, due to the structure of the plot, all contestant characters also have their respective moments. These were Izzy Hale (Babs), Nancy Minaker (Izzy), Nathan Thevar-Ward (Hassan), Taylor Simner (Russell), Makena Straker-Sharpe (Francesca), and Charlie McRobert (Dezza), who is first to get the boot but humorously makes every effort (but failing) to return.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

On the presenting front, we had Grace Glover (Jim), Casey Michaela (Kim), Molly Bastable (Pam), and Max Thompson (Phil). The remaining cast were Violet Flynn-Jones, Amel ZegnaniEmelia FonesMeadow PowerLibby SandleIsabel BakerFrancesca BosleyHannah AllsopAmelia PerryCian GraysonLucas BarkerEvie RoperEsme CheadleJackson Tomkys and Stanley Flynn-Jones.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

Always difficult when not knowing any of the songs, but I particularly enjoyed Don’t Send Me HomeGrowBab’s Lament and Obviously. And even though I liked it, I’d Never Be Me Without You seriously freaked me out with the Phil masks, then Keep on Keeping On brought Act One to a close well. My favourites, though, were the beautiful My Dad and Rise, the latter which allowed everyone to experience the excellent vocals of O’Donoghue.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

The production team for Bake Off can be immensely proud of this product, these being Stacey Harris (Director), Joe Logan (Choreographer), Elliott Lingard (Musical Director), Sarah Jennings (Production Assistant/Vocal Coach), Freddie Perry (Assistant Director), Beth Gilbert (Assistant Choreographer), and Lois Houlihan (Assistant Musical Director). I must also commend the excellent use of marketing materials and gift stalls, plus the lovely welcome from Front of House.

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

Smile return in the summer, first with Seussical and then an intensive project produced over a short space of time in Carrie. I highly recommend both which should have you leaving with a smile. Ouch!

The Great British Bake Off Musical — Dormiston Mill Theatre — 31 January 2026

Cheers.

Antony N Britt

*Photos courtesy of Smile Musical Youth Theatre.