Tag Archive: BOA


Cry Baby — The Old Rep, Birmingham — 13 March 2023

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March 22, 2023

Because of covid it has been four years since I saw musical theatre from Birmingham Ormiston Academy (BOA). In the past, a highlight of the year with productions up there with the professionals, and at a fraction of the price. Stars of the future. The best young talent around.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

I had never seen Cry Baby – The Musical before and could barely recall the 1990 John Waters film of the same name, having only seen it on its release. However, BOA are the draw for me and with a musical score from David Javerbaum, plus the late great Adam Schlesinger of Fountains of Wayne fame, I was optimistic. Also, a book from the brilliant Thomas Meehan and Mark O’Donnell, it’s hard to know why Cry Baby hasn’t the high profile it deserves.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

The show revolves around a group of delinquents in Baltimore who refer to themselves as The Drapes and their interaction with the rest of the town and another sub-group, The Squares. Centre to this are Wade ‘Cry Baby’ Walker (a Drape) and Alisson Vernon-Williams (a Square) who fall in love, despite their cultural differences. Yes, it’s Romeo and Juliet, without the death. A simple plot device that still works well.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

This was BOAs Year 13 Production, and with a roll call of just under a hundred in Musical Theatre it is inevitable that this show was split into two casts. A shame for me on one part as I only got to see half the talent available (including missing some who I have seen in other Youth Productions). However, I know for certain both casts would have been as good as each other.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

On my visit Fergus Edwards was in the title role as Wade, the second time in a few months I have experienced his enormous talent after watching him as Peter Pan last year. Phenomenal voice and stage presence, Edwards excelled throughout. In Allison, we had the equally wonderful Misty Griffin with the Wade/Alisson duet, I’m Infected a highlight.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

It’s hard to comment on most of the numbers as I was not familiar, but I now have enough interest to get a cast recording soundtrack. From my notes, I particularly enjoyed A Whole Lot Worse, You Can’t Beat the System, Misery, Agony, Helplessness, Hopelessness, Heartache and Woe, All in My Head, Do That Again and Nothing Bad’s Ever Gonna Happen Again. However, all were decent so if I’ve missed some out, it’s because I was too engrossed at the time.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

Also in this excellent principal line up was Ella Holland who shone as Cordelia Vernon-Williams, especially during I Did Something Wrong … Once. Then we had Max Hall as Dupree, giving an impressive performance during Jailyard Jubilee. The antagonists in Cry Baby are the Whiffles and Max Coleman (Baldwin), Jack Winstanley, Cameron Dews and Taylor Gibson were all outstanding. On the other side were the lead Drapes and Abi Pearce (Pepper), Georgia Williams (Wanda) and Jessie Wilson (Mona ‘Hatchet Face’ Malnorowski), each commanding in presence, song, and dance. And on the subject of dance, there was a tremendous troupe led well by Sam Reed.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

There is one person I have saved till last and like many shows, a performance sometimes stands out to me and this time it was Anna Watkins as the psychotic Lenora. Always in character and I found it hard to take my eyes off her for fear of losing a moment of magic. Watkins particularly delivered during Screw Loose, which says it all about Lenora. Brilliant.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

Direction for Cry Baby was in the hands of Georgie Meller with co-assistance from Alice Scott and Jack Broughton. Mellor also oversaw choreography with support from Lucy Lowe and Sam Reed. Musical Direction was by Daniel Summers and Tim Harding.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

A superb production, up with the best out of the dozens I see each year. BOA is back on the menu, and I can’t wait for the next one.

Cry Baby — The Old Rep, Birmingham — 13 Match 2023

Cheers.

Antony N Britt

*Photos blatantly taken from The Old Rep’s Facebook Page.

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Phantom of the Opera – The Old Rep Theatre, Birmingham – 22 March 2019

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March 23, 2019

I have a confession to make. I had never seen Phantom of the Opera until this experience. Sure, I’m familiar with the Andrew Lloyd Webber music, having played the soundtrack for years and have also seen the 2004 film version. However, I always thought the first time I saw Phantom it should be at its traditional home of Her Majesty’s Theatre in the West End. That was until I discovered it being performed local to me by Birmingham Ormiston Academy (BOA).

Now, I’m no stranger to BOA, having seen and reviewed two of their Year 13 productions in The Witches of Eastwick (2016) and Sister Act (2018). Both were of the highest quality, talent surpassing the years of those on stage. Therefore, when I searched out this years’ offering, I had no hesitation in breaking my promise of waiting for London. I knew I’d be in for a treat with BOA and boy, I was not disappointed.

As before, the academy provides four performances with the cast split into A and B (Two each). The fact they can produce this with two entirely different casts of the same calibre makes it more amazing. I won’t go over the plot as really, if you’re reading this, you should know it. What I want to do is laud as much praise as I can on the remarkable BOA students.

In the role of The Phantom on the night we had Llewellyn Graham who captured the role with mystery, character and great voice. Then, speaking of voice, we had our Christine Daaé. OMG! Colleen Curran was amazing. I have witnessed leading ladies in professional shows who were not as good. An outstanding performance. I was on the edge of my seat during Think of Me with goosebumps on my arms, it was so magical. See you in the West End one day, Colleen. Equally, Rhiannon Street as Carlotta owned the stage with her presence. A fabulous voice and acting which totally exploited the character the way it needed. Then, playing Raoul was Sam Astbury who complimented his love interest in great fashion. Much good chemistry between the two.

An interesting take on the original tale saw André and Firmin played by in Kitty Hosty and Libby Clifford respectively. I know these are generally male roles, but these two worked so well, providing much comedy in a wonderful double act. Rounding off the principals were Niamh Slater (Madame Giry), Katherine Lester (Meg) and Leo Carl Abad (Piangi). Each once more than attained the high standards of others on stage. And that went for the rest of the cast too, which was massive. Wonderful ballet routines added to great sound from the chorus during musical numbers with lots of interaction and characterisation.

Then we had the effects. Yes, the chandelier came down (and made everybody jump, even though I suspect half the audience knew it was coming). Also, there was good use of the set for the signature number where The Phantom takes Miss Daeé into the catacombs. A successful use of doubles also made this appear like the long journey down into the depths it’s meant to be. Mood and magic were consistent throughout until that final scene where The Phantom disappears into his chair, leaving Meg Giry alone on stage with the mask. Both chilling and beautiful.

Of the musical numbers, there are many highlights: Phantom of the Opera, Music of the Night, All I Ask of You, Masquerade, Wishing You Were Somehow Here Again, The Point of No Return … Hell, I could list the lot.

In charge of production was Dan Branch with musical direction of a good band by Daniel Summers. Choreography was from Lee Crowley, assisted by Lucy Jennings and Georgie Meller.

I began by saying this was my first experience of the show. My partner, who accompanied me, has seen it both in the West End and on tour. Her verdict was that this surpassed both. These student productions are not just for parents to watch and credits towards an education, they are welcome inclusions in any theatre schedule. I thoroughly recommend them to be checked out. I know I’ll certainly continue to do so.

Phantom of the Opera – The Old Rep Theatre, Birmingham – 22 March 2019

* Post to this review being published, I’m informed all production and tech were completed by students too, making the entire process more amazing. Full details kindly supplied by Heather in the comments section below. Thank you.

Cheers.

Antony N Britt

Many thanks to BOA for providing cast names for this article.

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The Witches of Eastwick – The Old Rep Theatre, Birmingham – 18 March 2016

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April 6, 2016

The Witches of Eastwick – The Old Rep Theatre, Birmingham – 18 March 2016 Birmingham Ormiston Academy (BOA)

I have to admit, when buying tickets for this, I’d never heard of Birmingham Ormiston Academy (BOA) before and at £10 a seat, I wondered what level of performance I should expect. Despite the excellent value in price, though, I still guessed it would be good, but never expected how good.

Over the past few months I have seen The Lion the Witch and the Wardrobe at the newer Birmingham Repertory Theatre, and Jesus Christ Superstar (starring Glenn Carter) at the Hippodrome. I can honestly say, this production of The Witches of Eastwick knocked both those offerings out the building in terms of enjoyment.

The Witches of Eastwick – My new favourite show, and all thanks to the wonderful production team, orchestra and more important, the talented Year 13 musical theatre students of BOA.

An academy in performing arts for ages 14 to 19, BOA have the cream of the region and it was obvious from the outset, you’ve got to be damn good to get into this school.

My interest in The Witches of Eastwick had been piqued while taking part myself in a concert featuring two of the numbers, and I wanted to see what the entire show had to offer.

The Witches of Eastwick – The Old Rep Theatre, Birmingham – 18 March 2016 Birmingham Ormiston Academy (BOA)

Loosely based on the novel of the same name by John Updike, but having more in common with the 1987 film, The Witches of Eastwick tells of three women searching for the man of their dreams. Pooling energy together, their dreams do come true, but they also get more than they bargained for.

The enigmatic Daryll Van Horne arrives and soon seduces all three, causing destruction, and eventual death along the way. The women realise what it is they have created and decide they have to put things right and send Daryll back from where he came.

Looking at the programme, the pen pictures tell me there were two casts. I learned that these were basically the A and B teams. I don’t know if there was any significance in these categories, or that it was simply a way of dividing to give the students an equal opportunity over the course of the run. As it was, I saw the B cast and if the A lot were meant to be the primary, then they must have been something extra special because the B team I witnessed were out of this world.

Once you got over the fact that, yes, the majority of parts are meant to be played by older people, you soon became lost in the show. In fact, I’d forgotten how old they really were halfway through the opening. Sitting in Row B, I think I spent the entire show leaning forward with chin in hand, mesmerised by what I saw on stage. Not an easy task to keep me from fidgeting throughout a performance.

I imagine it must be hard to pull off characterising much older parts, especially the males, but Jack Sanders did a fantastic job with his portrayal of Daryll. And then you had the witches, themselves. Wow! To get one good voice is great, but all three? Talulla Wheatley (Alex), Heather Foster (Jane) and Lydia Gardiner (Sukie) were all amazing. Incredible voices and fantastic harmonies with great acting to top it off. Then you also had the supporting principles and an ensemble which brought their numbers onto another scale, Dirty Laundry, in particular. And what an opening we had!

I have to say I already had a liking for I Wish I May but at the climax to Act One when Alex, Jane and Sukie send their spirits soaring skyward and fly, I wanted to get to my feet and give a standing ovation there and then. But I thought, behave, there’s still the second act to come yet.

As well as those already mentioned, I loved every number in the show, in particular, the three seduction numbers, each different in their own way. Now I’m not into narcotics, and the strongest thing I’ve ever smoked is a piece of salmon, but even I craved a cigarette after Waiting for the Music.

Since watching, I’ve had the Original London Cast CD on repeat in the car. This is all testament to the BOA cast and production team. A mention, of course, has to go to Director – Rian Holloway, Musical Director – Michelle King, Choreographer – Lee Crowley and Company Manager – Amy Rutter. I hope those credits are right, I got them from the back of the programme. Also, hats off to the rest of the band and crew who made this occasion for me – magic.

Cheers.

Nick

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