Archive for August, 2026


I can see that you’ve got quite a mind for your age! 
Why, one Think and you dragged me right onto the stage! 
Now, I’m here, there is no telling what may ensue 
With a Cat such as me, and a Thinker like you! 

In my last review (Alice in Wonderland) I spoke about the beauty of the imagination in creating strange new worlds. Well, anything Lewis Carroll could do; Dr Seuss goes ten steps further.

Seussical — The Dormiston Mill Theatre, 25 July 2026

Seussical begins with a child reading a book on an empty stage, bar a red and white hat, in which she thinks up a cat who encourages the child to use the imagination to create wonderful worlds. These include the jungle dwellers of Nool and the Whos that live in a speck of dust which is protected by Norton the Elephant. Makes sense? No, but it is not supposed to. This is fantasy after all. I had no prior knowledge of this musical and very little more of the worlds of Dr Seuss. So much so, I will admit having to Wikipedia it all during the interval. I have only had to do that once before in a musical and that was American Idiot, with the music of one of my favourite bands in Green Day, therefore Seussical was in good company. What I will say, though, despite not having a clue until Act Two, I enjoyed every minute full of incredible performances beyond those expected for youth theatre ages with great voices, dance and acting. It is certainly a show I want to explore further with a cast recording; a sure sign that a production has hit the mark with me.

Seussical — The Dormiston Mill Theatre, 25 July 2026

It is always good to see high levels of excellence, and these were clear throughout the entire cast. As The Cat in the Hat, we had Thomas Bastable who led the standards on show in all areas. Then, playing JoJo with fine voice was Tiffany Clarke; again such a strong voice. Horton the Elephant was Max Thompson with Molly Bastable (Gertrude McFuzz) and Nancy Minaker (Mayzie La Bird) and all three were up there in merit. I particularly, also enjoyed Sour Kangaroo (Casey Micheala) which took voice strength even higher along with an equally sassy Roo (Matilda Crump).

Seussical — The Dormiston Mill Theatre, 25 July 2026

As I have said, the brilliance spread its way through the company, and these were Hannah Allsop, Makena Straker-Sharpe, Lucas Barker and Jackson Tomkys (The Wickersham Brothers), Clan Grayson (Yertle the Turtle), Stan Flyn-Jones (Vlad Vladikoff), Macy O’Donaghue, Ava O’Donaghue, Amelia Perry, Kiran Thevar-Ward, Meadow Power and Isabella Hale (The Bird Girls), Nathan Thevar-Ward (Mr Mayor), Isla Smith (Mrs Mayor), Taylor Sminer (General Genghis Khan Schmitz), Leo Locklin (The Grinch), Isabella Baker (Cindy Lou Who), Esme-Jean Forbes-Moore (Who Storyteller) with Eva Myers, Amel Zegnani, Benji Williams, Ruby Owens, Evie Roper, Emelia Forbes and Libby Sandle (Remaining Whos).

Seussical — The Dormiston Mill Theatre, 25 July 2026

Top numbers for me were Oh Thinks You Can Think, Alone in the Universe and All for You. I did also thoroughly enjoy The Circus McGurkus, however my overall favourite was the tap dancing by torchlight during Havin’ a Hunch.

The creatives behind Seussical were Stephen Flaherty, music and Lynn Ahrens lyrics with both writing the book. The director was Stacey Harris with Joe Logan (Choreographer and Musical Director). They were both aided on production by Sarah Jennings (Production Assistant/Vocal Coach), Freddie Perry (Assistant Director/Musical Director) and Beth Gilbert (Assistant Choreographer). All can be proud of their work and that of the cast in this wonderful show.

Seussical — The Dormiston Mill Theatre, 25 July 2026

I must also compliment Front of House. Always a good raffle and merchandise on sale to raise funds and having been invited to review, the VIP treatment of welcome pack, seeing if we were happy with our seats and the complimentary Magnums during the interval were appreciated. Smile are back very soon for their summer intensive and Carrie the Musical before taking on Everybody’s Talking About Jamie. Check them out, you will not be disappointed.

Seussical — The Dormiston Mill Theatre, 25 July 2026

Cheers.

Antony N Britt

*Photos courtesy of Smile Musical Youth Theatre.

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

I can’t go back to yesterday because I was a different person then.

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

I have always had a fondness for Alice in Wonderland, even bypassing the suspicious inclinations of its author, Lewis Carroll and possible intentions surrounding his muse, Alice Liddle (i.e. missing diary pages torn out by descendants after his death). I guess we will never know and what we are left with is one of the greatest works in literature with a message that we should question strict rules and embrace the absurd while navigating a confusing, illogical adult world. It is one I have always followed, especially being autistic. Basically, the method Alice uses is that of eating and drinking anything she comes across in the hope that it will solve her problems. Life is best lived as a fairytale; that has always been my motto, and I have always looked to live within a world of imagination. Well, it’s a lot more fun than real life, isn’t it?

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

This was my first time experiencing the youth talent of Illuminate Performing Arts for this production of Brainerd Duffield’s adaptation which combines Alice’s Adventures in Wonderland and Through the Looking Glass. I have to say, I loved every minute as we were transported to a series of wonderful worlds full of fun, fear, and fantasy. Lily Nolan shone in the role of Alice, balancing innocence and spark while Lilly Goodwin was particularly scary as the psychotic Queen of Hearts. She gave me that megalomanic vibe I get from the current President of the United States. Yep, power corrupts. Also, speaking of psychosis, Harry Andrews was suitably strong as The Mad Hatter, complemented well in his tea party by Sophia-Rose Nykamp (Dormouse) and Elora Williams (March Hare). Then there was the White Rabbit played by Phoebe Smirthwaite who we all followed down the hole and into a brand-new universe. Supporting well, were Lucas Sousa (King of Hearts), Beau Sirrell (Cheshire Cat), Harrison Nield (Caterpillar/White Queen/7 of Spades), Kearney Carmichael-Wearing (Red Queen/5 of Spades), Hannah Clayton (Mouse/Mock Turtle) in good voice, Rocco Santoriello-Smith (Gryphon), Scarlett Smith (Duchess/Humpty Dumpty), Rory Hoey (Frog Footman/Tweedledee), Louis Clayton (Fish Footman/Tweedledum), Evie Beale (Cook/2 of Spades), Ruby O’Kelly (Knave of Hearts) with Hannah Wong and Harriet Strange (Ensemble).

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

The production team for Alice in Wonderland was Kerri-Anne Boyle (Principal), Scott Cartwright (Teacher), Chloe Amos (Teacher) and Jon Millen (Production Assistant). All of them can be proud of the results which were fully appreciated by the audience on an extremely sweltering day. Although there were fine performances throughout, what impressed me was the characterisation from all principals to ensemble. Facial expressions and movements which often go unnoticed by some but are essential in creating the world on stage. A lovely and entertaining Sunday.

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

Cheers.

Antony N Britt

*Photos taken from social media.

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

Take me back to the Black Hills, the Black Hills of Dakota. 
To the beautiful Indian country that I love.

My third visit to the Black Hills in 10 months with various productions and all three were unique in their own way with so much to love. Always, a fan of Birmingham Youth Theatre, I was pleased to see 2026’s big show as I missed last year’s Footloose due to my availability. And what a delight this was. I must admit, Calamity Jane has never been one of my top ten, but both Acts flew by without me checking the time once. A sure sigh that my attention was well and truly grabbed.

Calamity Jane — The Crescent Theatre, Birmingham — 10 July 2026

As Calamity herself, we had Charlotte Foxall whose performance I enjoyed as she totally nailed the part to perfection. With a contrast of hard and soft songs, Foxall showed great versatility and excellence. But this show is not all about Calamity, and Joseph Taylor had a fine voice and commanding presence far beyond the age of Youth Theatre in his portrayal of Wild Bill Hickok. Supporting well, though, in a fine cast of principals were Livvy Owen (Katie Brown), Alfie Phelan (Lt. Danny Gilmartin), Erin Haran-Lewis (Adelaide Adams), Oliver Jenkins (Francis Fryer), George Beckett (Henry Miller), Megan Allsop (Rattlesnake), Rose McHale (Susan), Gethin Randerson (Doc), and Finlay Hill (Colonel). Additionally, we had the Stage Door Johnnies in Eva Campbell, Jessie Butler, Maddy Sykes and Talia Hockley. There is always a good standard of dance from BYT, and this was no exception with the Can Can dancers being Cerys Worthington, Ena Moreton, and Martha McGrath. Further ensemble included Georgia Dunn (Joe), Shire Clarke (Hank), Tayla Clarke (Pete), and Thomas Harmon (Officer). Finally, a company of cowboys including Edina Bilham-Moore, Imogen Jenkins, Isobel Jenkins, Kendall Owen, Sebbie Parker, Anne Williams, and Aya Inoue-Horn.

There are many great numbers in Calamity Jane, and each time see it, it is a different one that makes my favourite. This time, The Black Hills of Dakota hit the mark. Not normally my top tune, but I have to say, the harmonies were some of the best that I have ever heard in any level of theatre, let alone Youth. Other memorable numbers for me were The Deadwood Stage, It’s Harry I’m Planning to Marry, Windy City, A Woman’s Touch, Careless with the Truth and, of course, Secret Love.

Production for Calamity Jane was in the safe hands of Ralph Tappin (Director), Chris Corcoran (Musical Director), and Amber Southall (Choreographer). All can be well pleased with such professional results. Excellent sound, lighting, costume, and stage crew all added to a marvellous experience.

Calamity Jane — The Crescent Theatre, Birmingham — 10 July 2026

I have said it before and will keep on repeating. Many people think of youth theatre as kids in a village hall, but they are so much more. I enjoyed this Calamity Jane as much as seeing Carrie Hope Fletcher at the Grand, Wolverhampton last Autumn. So, do not write it off, check youth theatre out. Always excellent value.

Cheers.

Antony N Britt

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

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

I love rock and roll,
so put another dime in the jukebox, baby.
I love rock and roll,
so come and take your time and dance with me.

When Joan Jett announced her first headline tour in 16 years, I knew I had to go. Like many artists who have been around since the 1970s, you do wonder how many more opportunities you will get to see them. So, third time for me with Joan and as good as ever. Better, in fact.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Kicking off with Victim of Circumstance, we were then treated to two numbers from Joan’s time with the groundbreaking all female band, The Runaways in Cherry Bomb and You Drive Me Wild. Then, we had hit after hit with the likes of (I’m Gonna) Run Away, Love is Pain and I Hate Myself for Loving You. Of course, it was obligatory that she would perform Bad Reputation and I Love Rock and Roll, which came towards the end of the evening, but my personal favourites of the night were The French Song and Fake Friends. French Song just shows the influence of JJ and the Blackhearts as you can hear the riffs in one of my other favourite bands – Green Day. Fake Friends was more a guilty pleasure, as it totally summed up how those I thought were friends, threw me under a bus a few years back. I guess that we have all been through it sometime or other.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Not known for vast interaction with the audience, Joan Jett let the music do the talking for most of the show, but it was nice to hear from producing legend, Kenny Laguna (Keys and percussion), reminding us of the influence that he has had over the years.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Hopefully, Joan will be around for a long time to come. She is only 67 after all, having begun her Runaways career at a ridiculously young age. But there was no sign of current age on view, or of slowing down. Joan Jet and the Blackhearts rocked Wolverhampton from start to finish, and here’s hoping for more in years to come.

Cheers.

Antony N Britt

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

All you wanna do, 
All you wanna do, baby. 
I think we can all agreeI’m a ten amongst these threes.

Six is a musical I only saw for the first time in 2024 but have revisited twice since then. Therefore, when one of my favourite youth groups, Script Musical Youth Theatre announced that they too would be performing a teen edition, I just had to go, not once, but twice. My three earlier were in the West End, on tour recently and another teen edition, and I knew already that nothing is lost in a less-adult offering. However, my reasoning for seeing it this time on two separate nights was this. Script, like many other youth groups often split their casts into two groups for different performances. And knowing the quality of the company, I simply could not leave one lot of six teens out. So, consecutive nights it was.

Six — The Highbury Theatre, Sutton Coldfield — 3 & 4 July 2026

Six is a 75-minute (or thereabouts) musical in which the six wives of Henry VIII battle in song to decide who was dealt the cruellest blow. And this show is a pop extravaganza from start to finish and even though I knew what was coming (especially twice in 24 hours), I never checked the time once. It is one musical that I would recommend everyone to see, and these two casts totally nailed it in terms of entertainment.

Six — The Highbury Theatre, Sutton Coldfield — 3 & 4 July 2026

Now, you might think that it was a case of Deja-Vu, with the same theatre, same excellent production team, and same set. However, you would be wrong. Each of the two sets of wives brought something different to the stage and it really was a case of watching two individual and unique shows. In interpretation, character, humour, and voice, they were both top of their game and no, I simply could not separate them, because they were so different. Honestly, I did not have a favourite. The cast of Six were:

Jessica Lewis and Hannah Jones (Catherine of Aragon). 

Maia Johnson and Frankie Donohue (Anne Boleyn). 

Erin Freeman and Gracie Reynolds (Jane Seymour). 

Cassie Cranshaw and Holly Hardcastle (Anne of Cleves). 

Niamh Scott-Walters and Lexie Burton (Catherine Howard) 

Maddie Howard and Dorothy Twigg (Catherine Parr).

Six — The Highbury Theatre, Sutton Coldfield — 3 & 4 July 2026

Producer for Six was Louise Homes with choreography by Karen Lyon and musical direction from Ian Cheadle. All can be proud of the end results, and they were supported well with great costumes courtesy of Leo’s Costumes along with excellent lighting and sound. Always a lovely welcome from Front of House and I cleaned up on the raffle both nights.

Six — The Highbury Theatre, Sutton Coldfield — 3 & 4 July 2026

So, that’s five times for me now watching Six, and it never gets old. One interesting observation, though, in all the performances I have seen, among the many innuendos, nobody in the audience ever seems to get the Francis Dereham one.

Helped him in his office, had a duty to fulfil. 
He even let me use his favourite quill. 
Spilled ink all over the parchment, my wrist was so tired.

Six — The Highbury Theatre, Sutton Coldfield — 3 & 4 July 2026

Six is an amazing work by Toby Marlow and Lucy Moss and I urge anyone to see it when they get the chance. Do so, or heads will roll.

Cheers.

Antony N Britt

*Photos taken from social media.

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

There’s a face that we wear 
in the cold light of day. 
It’s society’s mask, 
it’s society’s way, 
and the truth is 
that it’s all a facade!

It has been a few years since I attended a Birmingham Ormiston Academy (BOA) show, but I knew from past experiences I would be seeing a production of professional quality. At BOA, there is a fine collection of local school age talent, and this offering of Jekyll and Hyde was up with the best. Although familiar with some of the numbers, having performed them in concerts, this Frank Wildhorn musical was new to me. Based on Robert Louis Stevenson’s 1886 novella, The Strange Case of Doctor Jekyll and Mr Hyde, the show tells the story of one man’s search for the difference between good and evil.

Jekyll and Hyde — The Old Rep, Birmingham — 30 June 2026

In a production which has the primary object of being a module for performing arts curriculum, it is excellent for the audience that all mediums of music, acting and dance have their boxes ticked. Such was the high standard on view, you would be forgiven for forgetting that these were Year 12 pupils.

In the title role of Jekyll/Hyde on my attendance was Jamie Wilson. I have already mentioned the professional quality but in Wilson, we were really seeing West End calibre. This is the Moment was outstanding, but the rest of the performance defied the actor’s years. Supporting brilliantly, though, were Noah Gray (Utterson), Tabitha Christian (Lucy), who was marvellous in A New Life, Lola Ashton-Elvidge (Emma), perfect in delivering Once Upon a Dream, Faris Harlow-Makin (Danvers), Euan Barnby (Stride), Bethany Mattocks (Lady Beaconsfield), Archie Pitt (Bishop of Basingstoke), Kenneth Elangwe (Lord Savage), Faith Corry (Lady Glossop) and Chloe Peacock (Sir Archibald Proops).

Jekyll and Hyde — The Old Rep, Birmingham — 30 June 2026

The dance also was phenomenal, especially the Red Rat girls who totally immersed themselves into this engrossing tale and I particularly liked Bring on the Men. I also enjoyed the actors playing Hyde’s Shadows who were sinister indeed to the point that one female Shadow with bobble plaits actually scared the hell out of me. But this show was really a team effort and all the near 50 onstage shone a bright light within the dark setting. Other songs which stood out for me were In His Eyes, His Work and Nothing More.

Jekyll and Hyde — The Old Rep, Birmingham — 30 June 2026

Jekyll and Hyde is an extremely dark gothic opera which still has the audience gripped with good dialogue and excellent song. As well as on stage, those behind the scenes were students as well, under the supervision of BOA staff. I am not sure it is a show I would repeatedly go to see, so I am glad that when I did that I experienced a Five-Star production. There are many stage schools about and in my experience of Musical Theatre content, BOA are the best. And it shows in the results.

Cheers.

Antony N Britt.

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

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

I was determined to hate Anfield Stadium in Liverpool. You see, back in the days when I gave a toss about football, in 1979, my worst experience happened when at the age of 15 I was kicked to pieces by men in their 30s and 40s. It was also the worst racist abuse I have heard directed at black players (to this day). Not just a few, 50,000 of them. However, after the horrible experience of Villa Park seeing the Foo Fighters two years ago with the worst venue ever for a stadium gig, Anfield was the best. Friendly, helpful staff, low queues, loads of toilets, clean, and decent food (for a football ground). Two years ago in Aston, the sound was terrible, but this time every word and chord of the Foo Fighters was clear as they rocked the Liverpool stage.

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

Kicking off with All My Life, a packed audience were on their feet most of the night for Dave Grohl and the band, hearing hit after hit including The Pretender, Times Like These, My Hero, Learn to Fly and Walk. A short foray to the B-Stage for an acoustic set which included Wheels, Big Me and Under You. And then back to the main with Monkey Wrench, Breakout and Aurora (dedicated to Taylor Hawkins).

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

The Foo Fighters, in the earlier times that I have seen them, have always had big guest appearances. This time, it was a guy from (apparently) the crowd who solved a cube puzzle to play a song. He took the drums and boy, could he do them well, and all on his 18th Birthday. Of course, it was a setup. His name was Max and he is Dave Grohl’s daughter’s boyfriend. But it was a cool moment anyway.

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

The obligatory encore included The Teacher, about Dave’s late mother, and we ended the night with Everlong, accompanied by a massive firework display. One thing I always love about going to see the Foo Fighters is the crowd singing parts of a certain song as they leave. This was the seventh time I have seen the Foos, and I have to say, the best yet from start to finish. I cannot remember a single negative. The band ended the main set before the encore with the classic Best of You, and I can honestly say that those watching got the best of them.

Cheers.

Antony N Britt

*** Many apologies for the delay in this review. I have had quite a few issues of late. ***

Sharing a flat can be murder.

Yet another production based on a film that I have never seen. And that is a good thing, because I have nothing to compare it with. I understand that there are similarities between this production and the 1992 movie version of the same name (based on a book by John Lutz), but this stage version really was its own offering. Adapted by Rebecca ReidSingle White Female had me on the edge of my seat all the way through.

Single White Female — The Alexandra Theatre, Birmingham — 6 May 2026

Going through a divorce, Allie (Lisa Faulkner) and daughter Bella (Amy Snudden) move into a new apartment and advertise for a sub-letter to help pay the bills. Enter, Hedy, played by Kym Marsh (also Executive Producer) who at once rings alarm bells with Allie’s business partner and neighbour, Graham (Andro). Through a sequence of manipulation, including that of Bella, Hedy soon takes control of the environment.

Single White Female — The Alexandra Theatre, Birmingham — 6 May 2026

Kym Marsh is genuinely frightening to the point you would not want to be left alone with her. I have come across a few Hedy’s in my time (minus the murder) and believe me, this was spot on. Lisa Faulkner was excellent as the vulnerable Allie and the contrasting chemistry between the two worked well. Rounding off the support was Jonny McGarrity as Sam, being the stereotypical ex-husband who gets an eyeful of aggression from Hedy towards the end of Act Two. Andro, as Graham, portrays the rock-like support but also adding a little humour at times. Finally, Amy Snudden’s Bella has all the angst and attitude of a troubled teen whose own dark secret is foreshadowed in the prologue.

Single White Female — The Alexandra Theatre, Birmingham — 6 May 2026

Directed by Gordon Greenberg, the show moved swiftly without sense of time, at least in the theatre, passing. But I must also credit the wonderful work of Lighting Designer (Jason Taylor) and Sound and Composition (Max Peppenheim). These mediums worked side by side creating changes in mood and atmosphere at just the right times during proceedings. Finally, an effective and convincing apartment set (Just the one throughout) was created Morgan Large along with the contemporary costumes.

Overall, this was a wonderful production which I will keep in my nightmares for a long time. But remember, always do research on who it is you are letting into your home.

Single White Female — The Alexandra Theatre, Birmingham — 6 May 2026

Cheers,

Antony N Britt

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