Tag Archive: Core Theatre


* Apologies for the time it has taken to produce this review, I have been fully occupied with auditions for my own production but can now breathe once more. *

Welcome to the rock if you come from away. 
You probably understand about a half of what we say. 
They say no man is an island, but an island makes a man, 
especially when one comes from one like Newfoundland. 
Welcome to the rock.

Come From Away — The Core Theatre, Solihull — 1 November 2025

On September 11, 2001, USA came under attack from terrorists who had hijacked domestic airplanes and … the rest is well known. What wasn’t at the time was that 38 flights holding 7000 passengers were diverted to the small town of Gander in Newfoundland whose population doubled overnight. Come From Away is the story of those who landed, and the ones who helped.

Come From Away — The Core Theatre, Solihull — 1 November 2025

This is a musical I have been wanting to see for a long time; therefore, I was delighted to hear of this Solihull amateur premiere courtesy of Creators Theatre Company. A group only founded five years ago, but what I saw was a production of professional standards so high you would think you were in the West End.

Come From Away — The Core Theatre, Solihull — 1 November 2025

The stage at The Core had been transformed with rustic wood cladding, and you could smell it in the atmosphere, taking you to a destination far away. As for props, it was pretty much basic tables and chairs, used to great effect and worked so well imagination didn’t even come into it, such was the power of the performances in front of you. The cast was 16 who portrayed as well as their principal characters (and as described in the programme) — & Others. It’s hard to pick standouts as they were all magnificent and strong in delivery. However, I did enjoy the chemistry between Nick (Lloyd Scarsbrook) and Dianne (Jenne Collins) and the wackiness of Emily Holton as Bonnie the Vet. But as I have said, this was really a team effort with the rest of the cast being Adrian Wilson (Claude), Charlotte Boyer (Beulah), Alexandra Stait (Capt. Beverley Bass), Beth Jones (Janice), Solomon Smith (Bob), Izzy Owen (Annette), Daniel Summers (Kevin T.), Dominic Wilson (Kevin J.), Gabby Baldwin (Hannah), James Moore (Oz), Ravin Thakrar (Ali/Doug), Kate Davie (Crystal) and Gavin Whichello (Garth).

Come From Away — The Core Theatre, Solihull — 1 November 2025

This is a show about love and kindness, but it is also one which moves at a speed which doesn’t give the audience chance to catch breath, let alone those on stage. I’ve directed shows and yet I wouldn’t know where to begin with this one. Credit therefore must go to the fantastic production team of Richard Agg (Director), Chris Davies (Musical Director) and Suzanne Ballard Yates (Choreographer). The movement of the actors was coordinated in a way that I had never seen before, and every one mattered with those on stage all having the responsibility for scene and prop changes. The accents and aesthetics were authentic as well, and you genuinely felt you were there. Well, being in the front row, I certainly did. A totally immersive experience.

Come From Away — The Core Theatre, Solihull — 1 November 2025

It’s hard to pick standout songs because this is an epic from start to finish. The show is one act, lasting 100 minutes, and this added to the experience and pace. At the end, there was a standing ovation from all, and so deserved. One of the best productions I have seen on the local front for a long time.

Come From Away — The Core Theatre, Solihull — 1 November 2025

Cheers.

Antony N Britt

*Photos taken from social media.

* Apologies for the time it has taken to produce this review, I have been fully occupied with auditions for my own production but can now breathe once more. *

My third trip to The Core Theatre in as many weeks and this time to see a musical version of one of my favourite films of its era in The Full Monty. I have also always been impressed by St Augustine’s Musical Theatre Company in the past, therefore, whatever the production, I knew I’d be treated to a top drawer offering. And I was not disappointed.

The Full Monty — The Core Theatre, Solihull — 11 November 2025

The plot. Six out of work men try to make money and regain some pride by attempting to emulate a group of male strippers who are popular in the local town. This musical is based on the 1997 hit film of the same name, with the major difference being that Sheffield UK is replaced with Buffalo, New York. And here I must admit that I felt the story lost the heart of the original template. It was a good story, don’t get me wrong, and the plot adheres closely to that of the bleak North of England, but the substitute added nothing, in my opinion.

The Full Monty — The Core Theatre, Solihull — 11 November 2025

But as I say, it was still good and St Augustine’s did it proud with a strong cast in all areas. Clandestine women in the auditorium, roaring on the stripper during the opening was a clever touch and got the audience energised from the off. In the role of Jerry, we had James Gough, and you felt the struggles he was going through in efforts to be a good father. I then enjoyed Chris Lambeth as Dave with his dry humour and irony; one of life’s labourers for whom nothing ever goes right. I also thought the chemistry and growing relationship between Malcolm (Harvey Grant) and Ethan (Alex Fraser) was handled well with sensitivity and this particularly showed during You Walk With Me where they come out, declaring love for one another. Light moments were also provided by the long-suffering Harold (Jon Laight) and ageing Noah/Horse (Patison Harrigan). For the wives, we had sterling performances from Nicola Siviter (Georgie), Sophia Gough (Pam) and Sue Burrows (Vicki). Plus, credit is also due to Tobias Warrender and Owen Horsley who played Jerry and Pam’s son, Nathan on alternating performances. I only saw one but am sure both were equally excellent.

The Full Monty — The Core Theatre, Solihull — 11 November 2025

As far as the songs go, I can’t say they were the greatest numbers in musical theatre, but Jeanette’s Showbiz Number led by Kate Buckley-Dyer sets Act Two into motion well and I enjoyed Breeze Off the River and Big-Ass Rock. The Director/Producer for The Full Monty was Veronica Walsh with Michelle King as Musical Director leading a splendid 12-Piece orchestra and Cassie Rivett in charge of wonderful choreography.

The Full Monty — The Core Theatre, Solihull — 11 November 2025

Of course, anybody who knows the original film will recall how it ends, with our heroes going all the way in naked glory. Do you see anything? Well, I couldn’t from Row K as it was all done in the best possible taste, as Kenny Everitt used to say. Strategically placed lights at just the right time did the job. Probably not a show I would see again due to what I have already mentioned, but I will return to see St. Augustine’s. A very talented amateur company with professional productions.

The Full Monty — The Core Theatre, Solihull — 11 November 2025

Cheers.

Antony N Britt

*Photos taken from social media.

Ever since I was in a concert which featured a musical number from this show, I have wanted to see The Producers. More than that; I want to play Max Bialystock, a role only equaled by Daryl Van Horne as far as my theatre dreams go.

I’d not seen anything from St Augustine’s MTC before, but I had heard good of their reputation. Therefore, I had high hopes for my first viewing of this Mel Brooks masterpiece. And I was not disappointed.

The Producers tells of Max Bialystock, Broadway’s worst producer, and his attempt, aided by accountant, Leo Bloom, to contrive a massive flop and the worst show in history, thus pocketing the invested money once it folds after opening night. Of course, things do not go as planned.

The Producers is fast, funny and full of excellent numbers. Add to that fine performances and good production, then you have a hit. Ironic that a show about how to make a flop is such a smash, notably reflected in a record-breaking 12 Tony Awards after opening on Broadway in 2001.

As I have said, such a good show, but a script can only do so much. You need a team capable of fulfilling the potential, and in St Augustine’s they had that and more. I see a lot of theatre, both amateur and professional, and I would not only rate The Producers as being one of the best of the unpaid kind, but in my top five of all time, including those on tour and West End.

Leading the line was John Morrison as Max. Quite one of the best character actors I have seen and having witnessed previous performances in other shows, the main draw for me going in the first place. From the King of Broadway to the brilliant Betrayed, the audience saw a performance up there with the best.

But then there was also Richard Perks as Leo Bloom, equally as good and both he and Morrison were magnificent in their collaborations on We Can Do It and Where Did We Go Right? And it does not end there. There is such a wealth of good character opportunities in this show and we had no weak links on this occasion: Nicki Willets (Ulla), Nick Salter (Franz Liebkind), Mike Bentley (Roger DeBris) and Lochlann Hannon (Carmen Ghia) were outstanding.

Other top tunes for me included: I Wanna Be a Producer, Der Gutten Tag Hop-Clop, Keep it Gay, When You’ve Got it, Flaunt It, It’s Bad Luck to Say Good Luck on Op’ning Night and Prisoners of Love. Best of all for me was Along Came Bialy. However, my favourite moment in the entire show is when Ulla paints the entire office white. Loved it.

“She’s even painted the numbers on the combination!”

I can’t praise highly enough, also, the production team: Veronica Walsh (Producer/Director), Stephen Powell (Musical Director), Sharyn Hastings (Choreography) and Tony Walsh (Stage Manager) can be so proud of their efforts.

A marvelous company, full of good acting, song and fabulous dance. What a show!

Picture blatantly stolen from St Augustine’s Facebook page.

Cheers.

Antony N Britt

Over the past couple of years I’ve tasted a variety of musical theatre companies and looked forward to Throroughly Modern Millie at The Core Theatre, Solihull. I’d not seen anything by St Alphege Musical Productions Society (STAMPS) before, so didn’t know what to expect.

Thoroughly Modern Millie – The Core Theatre, Solihull – 5 November 2016

So how were they? A nice showing where Becky Willetts as Millie gave a good performance and both Miss Dorothy, played by Lucy Clarke and Trevor Graydon (Kris Evans) were excellent. Also, the character of Jimmy Smith played by Jack Walsh was likewise good, but I would expect nothing less from a former student of BOA.

Stand out songs for me were Speed Test and Falling in Love. We also had good choreography in most numbers, but nothing in Muquin which could have done with being sent up more. There were also lost opportunities for jokes. For instance, failing to capitalise on the George Gershwin, Rhapsody in Blue gag.

Also giving good performances on the night were Fran Foster (Muzzy Van Hossmere), Rosie Asher (Mrs Meers) and Kim Bradshaw (Miss Flannery).

Musical direction came from Phil Ypres-Smith with Viv Morrison as director and choreographer.

A decent enough offering after what must have been many months hard work.

Cheers.
Nick