Tag Archive: Musical Theatre


Be our guest! Be our guest! 
Put our service to the test. 
Tie your napkin ’round your neck, Cherie, 
and we’ll provide the rest.

Another great welcome from Script Youth Musical Theatre Company and another fantastic production. And this was their biggest yet, now in the main auditorium of The Crescent Theatre, Birmingham. Now, it seems that only a few weeks ago I was reviewing another Script production in Legally Blonde Jr. And that is down to the company having a younger section in recent times. This means that the talent is always coming through when it reaches full potential. And this is even more important when you consider a number on stage in Beauty and the Beast were taking part in what would certainly be an emotional final performance before leaving for pastures new.

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

This is the classic love tale brought to life with the music of Alan Menken, lyrics from Howard Ashman and Tim Rice with a book by Linda Wolverton. Featuring well known songs such as Be Our Guest, No Matter What, Gaston and that tale as old as time, Beauty and the Beast (Title Song), the story is possibly more famous as the 1991 Disney film. But make no mistake, the stage musical is far superior and nobody I have seen has done it better than Script.

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

Playing Belle was Erin Phillips who was excellent in the lead role. Amazing voice and perfectly at home and confident throughout. Samuel McCormack played the Beast well, commanding the stage with authority but also showing the vulnerability the character needed. If I Can’t Love Her was amazing. Finlay Laidlaw was the arrogant Gaston who shone particularly during his own-named song. Always a good performance from the long-standing member. And the same can be said for Evie Rice in her final show. I have seen Evie many times and each role is as diverse from the last as could be possible, showing the skill of the character actor. This time it was Lefou, falling and being thrown about stage continuously in a comic fashion that Evie rose to admirably. I also need to break away from cast complements to add that she was also responsible for the design and creation of the main costumes, as part of her final year at the prestigious Birmingham Ormiston Academy (BOA).

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

Also shining, if you forgive the pun, was Kian Haden as Lumiere who shared excellent comic moments with the equally superb Aimee Whillis as Cogsworth. Playing Mrs Potts was Chloe Mason whose delivery of the title song was superb. A special mention to a new member in the fabulous Oliver Malkin who had the unenviable task of spending nearly all of the show in a teacup on a trolley as Chip. The rest of the brilliant principals were Zachariah Scrivens (Maurice), Jess Lewis (Madame De La Grande Bouche), Amelia Green (Bookseller), Calvin Gunn (Monsiuer D’Arc) and finally, Louise Heard as Babette, whose lovely smile throughout was infectious.

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

A huge shout out to the main dancers interpreting the great choreography of Kelly McCormack. These were Effie Jobling, Isabelle Round, Darci Rice and Lexie Shaw. I have to say, the performance of Be Our Guest was one of the best dance numbers that I have seen for a long time. The rest of the named cast were Frankie Donahue (Narrator), Baily Latusek (Baker), and Leo Stubbington (Young Prince). But equally as important is the ensemble which no show can do without. These were Maia Johnson, Corey Mayne, Holly Hardcastle, Dean Donnelly, Grace Bishop, Charlotte Redman, Nevada Grizzle-Francis, Isla Thorp, Dotty Twigg, Scarlette Williams and Heidi Haskins. Please correct me if I have missed anyone or spelled names wrong.

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

The rest of the production team were Louise Farmer (Director) and Tom Wells (Musical Direction) who can be enormously proud of what was one of the best from Script to date. Although some students are leaving, the future still looks secure with the talent awaiting. And that is great news for future productions of Into the Woods Jr. (Nov 2025), Six – Teen Edition (July 2026) and Charlie and the Chocolate Factory (September 2026). I highly recommend.

Beauty and the Beast — The Crescent Theatre, Birmingham — 13 September 2025

Cheers.

Antony N Britt

*Photos taken from social media.

Do you hear the people sing? 
Singing a song of angry men. 
It is the music of a people 
who will not be slaves again.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

To celebrate 40 years of Les Misérables, amateur theatre companies around the UK were contacted by Musical Theatre International with the offer of staging one the greatest shows of all time for the am-dram circuit. In the West Midlands, this was Birmingham and Midland Operatic Society (BMOS) along with Bournville Musical Theatre Company, Bilston Operatic Company and West Bromwich Operatic Society. The process then began a year ago to prepare for a once in a lifetime moment. The thing is, could amateur dramatics beat what the professionals have to offer on a daily basis?

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

The plot, in a nutshell: It’s 1815 where Jean Valjean breaks parole (and his word at every opportunity) and successfully evades the worst police officer in France for nearly 20 years. Miraculously, with the proceeds of a few pieces of silver, he becomes a mayor, builds up a business which revolutionises a town’s fortunes, then abandons them to ruin and goes on the run again with adopted child in tow. He then once more survives on nothing but his secret stash to live a life of luxury. Meanwhile, a group of 3000 insurgents rebel against the monarchy and are swiftly defeated by the superior force of the military. All these worlds collide, and we get the wonderful musical based on the 1862 Victor Hugo novel, Les Misérables. Yes, in the musical version plot, there are more holes than a Swiss cheese, but if you can get past the sometimes-dodgy lyrics and mention of God in every other sentence, it’s a must see for anyone. Honest, I do still love it.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

With excellent costumes and staging, director Stephen Duckham must have been pleased with the results. So too the musical team of David Easto and Callum Thompson. In addition, the movement (There is not much dance in Les Mis) was superb from the coordination of Aaron Gibson and Lauren Shirley. A few tech issues with mics aside, the sound was good, but I was extremely impressed with lighting and smoke effects which added to the already atmospheric experience throughout.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

The already mentioned Aaron Gibson played a superb Valjean as was the case with Robbie Love as Valjean’s nemesis, Javert. Delivering a fine rendition of I Dreamed a Dream we had Annabel Pilcher while Beth Dickson did fantastic justice to my favourite character in the show, Eponine. The Romeo and Juliet of Les Mis are Marius (Luke Griffiths) and Cosette (Ismay Dudzinski-Grubb) and A Heart Full of Love was sublime. Griffiths also delivered my top tune of the night in Empty Chairs at Empty Tables; not a number I normally like, but this time it gave goosebumps. Leading the revolution was Ben Evans as Enjolras, giving a powerful performance on stage. On the comedy front (Yes, even woe and tragedy need lighter moments) we had the Thenadiers. Tim Jones and Sophie Grogan did everything that you would expect in portraying this most odious couple. Wonderful. And a mention to the younger cast who took their opportunities well. Jaron Lewis Haynes (Gavroche), Polly Lewis-Gvozdenovic (Young Cosette) and Florence Hickman (Young Eponine) all shone.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

However, you can’t have a show without an ensemble and in this case, all were on point magnificently. For an amateur production, this was very professional. Maybe not so a few of the audience around me who seemed is if they had never been in a theatre before, going back and forth to toilets and bars during songs, talking and having no idea of the right time to applaud. But that was only a minor fly in a rich ointment. This was a magnificent triumph for all, and a pinch me moment for many on stage and the near 100% standing ovation was totally deserved.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

Better than the professionals? Of course not. It’s a full-time job for the Pros, and they get paid for the work as opposed to amateur players who do the opposite for the pleasure (Contributing up to £500 in this instance). But I’m guessing it was all worth it. Yeah, I never expected better than a professional Les Misérables, but it was still better than some other professional musicals I have seen (Hamilton, &Juliet take note).

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

Do you hear the people sing? I certainly heard the audience at the climax. And that was good.

Les Misérables — Alexandra Theatre, Birmingham — 13 June 2025

Cheers.

Antony N Britt

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

Must die, must die, this Jesus must die.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

One show always has a special place in my heart as it was that of my first time on stage. I had also seen it twice before, professionally, but never an amateur or in this case, a youth version. I was, therefore, delighted to be invited back by Smile Musical Youth Theatre to review Jesus Christ Superstar.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

An excellent Front of House full of gift stalls and many raffle prizes (I won two), and friendly volunteers to give help where needed. And with my history of this production, I was looking forward to (even with me being an atheist) enjoying a musical about Jesus. Well, I treat it as any other work of fiction.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

JCS tells of the last days of Jesus Christ, his betrayal by the ones around him and the persecution from those whose stability of power he threatens. I hate to go on yet again about having done this show, but when the opening guitar chords of Overture sounded, I had goosebumps. We were immediately introduced to the insurgent, James Alphaeus (Grace Paskin) who delivered a wonderful solo lyrical dance while being confronted by the black clad aggresion representing authority.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

Straight away I was drawn to the costumes (Courtesy of Suzanne Harris), which for the rebels, could easily have come from my wardrobe. Yes, Harem Pants galore, which of course, I approved of. As mentioned already, black was the theme of oppression and this went for all in that category, be it Roman or Jewish Authority. On stage we had a static set which works well in this show, made all more atmospheric by the excellent lighting provided by Jack Tustin from Going Dark Theatrical Services. I must also credit the sound (DW Technical Services) which apart from one brief bit of feedback was otherwise faultless. But I have talked enough tech; on with the show.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

In the role of JC was Samuel Broomhall-Tighe who I have seen a few times now, and this was by far his best performance of an already high caliber. Outstanding in Gethsemane and Poor Jerusalem, among others. In fact, this was the best Jesus I have seen from an auditorium, and I’ve experienced Glenn Carter in the role. What I also liked about Smile’s Jesus was the freedom to break from the clichéd version of having him look like a 1970s Bee Gee. Here we had what appeared a normal guy; a good stamp of individuality for this show.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

Onto Judas and another first in my experience in the fact that the role was female. Macy O’Donoghue was simply amazing, excelling in Heaven on our Minds and Damned for All Time, while leading well in Superstar. Then, together with Samuel Broomhall-Tighe, the vocal battle between Judas and Jesus during The Last Supper. An especially powerful Judas, also topping those I had seen professionally. As Mary Magdelene, Nancy Minaker completed the trio of better than the professional, in my opinion. So strong from the earliest appearance and perfection and power during I Don’t Know How to Love Him.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

Supporting well in solo songs were Josh Mills (Simon the Zealot) in Simon Zealots, Michael Robinson (Peter) during Could We Start Again Please, Freddie Perry (Pilate) in Pilate’s Dream and The Trial and finally, the gloriously OTT Taylor Simner as Herod in Herod’s Song. Then you had two more figures of authority as heads of the priests in Makena Straker-Sharpe (Caiaphas) and Charlie McRobert (Annas). This Jesus Must Die (Always a favourite of mine as it included my first ever lines) had those goosebumps rising again.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

The remainder of this excellent cast not already mentioned were Hannah Allsop (Andrew), Isabella Fitzpatrick (James Zebedee), Amelia Perry (John), Katelyn Elizabeth Harper (Bartholemew), Evie-May Smith (Matthew), Annabella Nneka Amogu (Thaddeus), Violet Flynn Jones (Phillip), Cian Grayson, Cat Allsop, Maxwell Ridley (Priests), Molly-Ann Oakley, Isla Smith, Ezme-Jean Forbes-Moore (Soul Girls) with Jackson Tomkys, Libby Sandle and Georgia Haynes completing the ensemble.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

There was so much to love about this performance, and I was mesmerised by all the blood in 39 Lashes and even more so by the surreal image of those dressed in white singing Superstar, complete with splatter. The production team of Joe Logan (Director and Choreographer), Elliot Lingard (Musical Director), Sarah Jennings (Vocal Coach) and Tom Fitzpatrick (Assistant Musical Director) can be well pleased with the results of months of hard work.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

You can tell I have enjoyed a show when a review is so easy to write, as in this case. One session taking 60 minutes, 800 words with only the minimal editing. Best version of Jesus Christ Superstar I have seen. Well done all.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

Cheers.

Antony N Britt

*Photos courtesy of Smile.

What did Lewis say to Clark 
when everything looked bleak? 
What did Sir Edmund say to Tenzing 
as they struggled toward Everest’s peak? 
What did Washington say to his troops 
as they crossed the Delaware? 
I’m sure you’re well aware …

The Producers — Stourbridge Town Hall — 16 May 2025

Always a joy to be present at a Tinker’s Farm production and my outing to see The Producers was no exception. There is so much bad taste in this Mel Brooks musical, it’s wrong every way you look at it. Yet it is so brilliant. Blimey, it was controversial when the original film was released in 1967, so heaven knows how it survives a woke culture of the 2020s. Fortunately, it has, and audiences still enjoy this funny, well-written romp by Brooks (aided with the book by Thomas Meehan).

The Producers — Stourbridge Town Hall — 16 May 2025

The plot: Failed Broadway Producer, Max Bialystock is persuaded by accountant, Leo Bloom that they could make more money from a flop than a success. Therefore, they choose a script about Hitler and the Third Reich and put it on Broadway. Now, I don’t know if it happened this time, but I have heard that folks have left during the interval in the past with this show, even before Springtime for Hitler. And that’s a shame because if people would accept it for the tongue-in-cheek farce that it is, they would see a great show.

The Producers — Stourbridge Town Hall — 16 May 2025

In the role of Max was Daniel Cox who looked like he was born to play this role and excelled in all areas. However, it is Betrayed which is the solo of all solos that topped a marvelous performance. Equally good as Leo we had Richard Cooper who also nailed the part as written. I Wanna to be a Producer was superb. Also excellent and playing Ulla was Rebecca Bate who doesn’t enter until near the interval but at once makes a mark with When You’ve Got it, Flaunt It.

The Producers — Stourbridge Town Hall — 16 May 2025

Normally I would have a dream of playing one character from a show but in The Producers, there is so much choice. Any of the following would fit the bill. As Liebkind we had Matthew Morgan and Der Gutten Tag Hop-Clop is as poor taste as they come, but it is so funny. Then you have the wonderful duo of Roger De Bris (Tom Bowes) and Carmen Ghia (Tyrone Howell). Again, totally as written in all the stereotypical glory that makes this show great. These are my favourite characters and led an extravagant rendition of Keep it Gay, which simply got bigger and bigger, eventually spilling into the audience. Completing the principals in fine send-up fashion was Dianne Hingley as Hold-Me Touch-Me, one of Max’s ageing backers.

The Producers — Stourbridge Town Hall — 16 May 2025

This show is full of top-notch tunes in addition to those already mentioned. I have a fondness for We Can Do It, having performed it myself but the pinnacle of bad taste is Springtime for Hitler, and you must wonder how Mel Brooks got away with it all those years ago.

The Producers — Stourbridge Town Hall — 16 May 2025

The Producers was directed and choreographed by Emma Harley with musical direction from Tim Harding and both can be well satisfied with the results. I must also credit the impressive costumes and excellent sound and lighting from Going Dark while not forgetting the slick stage crew who managed a good set. This must be difficult to work, especially as you need two versions of Max’s office, pre and post Ulla (No spoilers).

The Producers — Stourbridge Town Hall — 16 May 2025

There was not one weak area in this production; cast or crew, and it was of the highest professional standards. Be sure to check out Tinkers Farm Operatic, for they are a gem of the Midlands theatre scene.

The Producers — Stourbridge Town Hall — 16 May 2025

Cheers.

Antony N Britt

*Photos taken from social media and may not be from the actual performance attended. 

Now is the time to seize the day. 
Stare down the odds and seize the day. 
Minute by minute, that’s how we win it. 
We will find a way. 
But let us seize the day.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

I had never seen Newsies before this showing, although I was familiar with several of the numbers, having performed or used them in concerts and pantomimes of my own. With the music of Alan Menken (Lyrics by Jack Feldman) and book from Harvey Fierstein, Newsies tells the tale of young paper vendors and their fight for decent pay, held back from them by the greedy newspaper owner.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

This was my second sampling of West Bromwich Operatic Society Youth (WBOS Youth) and with the calibre of cast and links to the senior incarnation of this company, I knew I was in for a treat. I see a lot of youth theatre, and this was as polished as any professional production. I can honestly say that there was not one single weak area in any of the performances.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

In the lead role of Jack Kelly, Melvin Umah excelled in all areas. Good acting and strong vocals, particularly during Santa Fe. Alongside him was Grace Boden as Katherine and she too gave a stunning performance and totally nailed Watch What Happens. I know how difficult that song is to master and time correctly and have seen it done both brilliantly and terrible in the past. Fortunately, Grace was the former. Amazing.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

Sometimes in junior versions pre-existing songs from the full show are omitted and replaced with others, and this was the case with Just a Pretty Face. Led by Casey Michaela (who I saw recently for Birmingham Youth Theatre in the Snow White Panto) as Medda, this was a wonderful number with great vocals complemented by equally amazing backing and dance from Athena Paskin (Ada), Macy Pickett (Olive) and Holly Edwards (Ethel). Completing the principals were Jordan Obrien (Pulitzer), Freddie and Oscar Wetherall (Davey and Les), and Jack Keasley who gave a heartwarming performance as Crutchie and delivered a fine rendition of Letter from the Refuge.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

The remainder of this brilliant cast were Isabelle Butt, Cameron Simms, Charlie McRobert, Isabelle Hale, Amara Dyer, Alice Moth, Harry Hemingbrough, Lola Wooldridge, Jack Mullen Hughes, Jackson Fryer, Honor Whitehouse, Ettie Bailey, Imogen Jeffs, Ayda Whitehouse, Dougie Goule, Gracie Richards, Maddison Ashmore, Phoebe Bird, Laney Murray, Anaya Patel, Robyn Harrison, Ava Figures, Layla Griffiths, Elsie Hogan, Amber Parkes, Izzy Evans, Eliza Flavell, Seth Foster and Heidi Gottschall. Please contact me if I have either missed a name or gotten one wrong. There were an awful lot of Newsies to list, and my eyes are getting old.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

On top of the outstanding solo numbers there are some incredible company tunes, and this is where Newsies rocks. Carrying the Banner set the tone from the off and The World Will Never Know continued that. But it is the massive duo of King of New York and Seize the Day which had the audience punching the air. At the finale, after Once and for All, the audience were on their feet, and rightly so.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

Costumes and makeup were excellent while backstage controlled a simple set which changed smoothly whenever it needed to. The director of Newsies was Emma Wetherall with choreography from Claire Flavell and musical direction by Amber Seddon.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

This was a marvelous show; however, I am unfortunately in London for a West End Weekend at the time of WBOS Youth’s next production of West Side Story. If I were not, I would certainly be in attendance. I do, however, recommend you all are.

Cheers.

Antony N Britt

*Photos taken from social media and may not be from the showing reviewed.

Hit Me Baby One More Time! In this case, because I am falling asleep as I’m so bored.

& Juliet — Birmingham Hippodrome — 26 April 2025

I have never been a fan of What If? scenarios. All those what if Germany had successfully invaded Britain? And then alternate universes like His Dark Materials. It always seems lazy writing. However, & Juliet appeared an interesting concept with a world where Shakespeare and Anne Hathaway battle to create the perfect sequel to Romeo and Juliet; one where the lovers did not die. A decent enough idea. And that’s where the interest ended. Within the first ten minutes I was bored and checking the time.

& Juliet — Birmingham Hippodrome — 26 April 2025

The plot by David West Read is weak and full of more holes than the roads of Birmingham after a bad winter. The major chasm was the fact that once Romeo returned, nobody mentioned that Juliet’s proposed marriage to Francois could not happen because by not being dead, Romeo was still her husband. The reveal only happened at the convenient critical point it was needed towards the end. Yeah, husband survived and quite normal to forget you are still married to them. It is normal, isn’t it? Hmm, I thought not. And I can’t say I recall many of the characters, including Romeo’s best friend who is introduced at the beginning of Act Two as a device then discarded and not heard of again once their usefulness was at an end. And all of this was before we got to the script itself. The dialogue so incoherent at times it went in one ear and out of the other.

& Juliet — Birmingham Hippodrome — 26 April 2025

And the same level of forgettable can be said for the music. It was dire, all sounding extremely generic and even the two Britney Spears songs that I recognised (… Baby One More Time and Oops!… I Did It Again) were insipid due to the amount they had been watered down.

& Juliet — Birmingham Hippodrome — 26 April 2025

Composer, Max Martin has been described as a Hitmaker, and his success is hard to dispute. But the world of pop music has always been filled with those who inflict onto us what I like to call Dustbin Music. In other words, listen to it, like it, then lose it in the trash where it belongs once you’ve tired of it. Such was my experience of & Juliet. So much so, I am not going to bother listing any other numbers, because there are none of note. Even Can’t Stop the Feeling, which I have performed myself, isn’t as good as the version in the Trolls movie.

& Juliet — Birmingham Hippodrome — 26 April 2025

I can appreciate, I was not a fan to begin with, but I can say despite me believing I would be in the minority with my criticism, the audience were clearly also divided between loving it and wanting to be anywhere but the Birmingham Hippodrome.

I must give some credit, though. The performances of Jay McGuiness (Shakespeare), Geraldine Sacdalan (Juliet), Lara Denning (Anne), Sandra Marvin (Angelique), Jordan Broatch (May), Kyle Cox (Francois) and Ben Jackson-Walker (Romeo) were all okay, given the material they had to work with. Not sure what Ranj Singh, a former Daytime TV Doctor playing Lance added to this show, though, but he looked like, erm, a former Daytime TV Doctor appearing in a show.

& Juliet — Birmingham Hippodrome — 26 April 2025

Musical supervision was courtesy of Bill Sherman with choreography from Jennifer Weber. The director was Luke Sheppard. & Juliet was a long two and a half hours to endure, and I won’t return to it in a hurry.

Cheers.

& Juliet — Birmingham Hippodrome — 26 April 2025

Antony N Britt

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

Out of the many pantomimes I have been to, I had never seen a version of Hansel & Gretel before. However, I had previously sampled Smile Musical Youth Theatre and many scripts by the talented writer, Joe Logan and knew I was in for a treat. It had been a trying day, but all the woes inflicted on myself were banished after two hours of comedy, great song, acting and dance.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

The classic Brother’s Grimm tale of Hansel & Gretel is a simple one. Kids get lost in the forest and end up in a witch’s gingerbread house, or something on those lines. So, to make that into a full show required many sub-plots, a fact which was even cleverly used as a line in the script. Now, we have the heroes preparing for the Ultimate German Bake Off (topical) while the cast contend with not only the Wicked Witch of the Woods, but an evil stepmother to the twins in Brunhilda, who turns out to be the witch’s sister. Therefore, throw in a wonderful OTT dame, a couple of villainous stooges, an unlikely hero amongst others, and the plot certainly thickens.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Excellent Front of House selling programmes, raffle tickets (I didn’t win), hot and cold drinks, snacks, and gifts. Nice to see so much effort and ingenuity to make money to bolster funds. Directed and choreographed by Chair of Smile, Joe Logan, Hansel & Gretel ticked every box and was helped by the excellent musical direction and vocal coaching of Emily Beaman and Sarah Jennings, respectively. I must also commend the wonderful costumes, under the control of Suzanne Harris, especially those worn by Dame Fanny Knickerbocker.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Heading a cast of 30 we had Freddie Perry (Hansel) and Andgelle Batchelor-Foster (Gretel) who combined well, especially during I Can’t Lose You. Then, in the role of the previously mentioned Dame Fanny, we had Josh Mills, who owned this unique type of role which was handled with respect in our age of greater trans awareness. Good interaction with the audience and even more so from Taylor Simner as Otto. It takes great confidence to hold the audience, and both were on top form.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Also flying solo at the top of the show was Isobel Landa who was superb as Willow, the Spirit of the Wood. Equally so, the impressive Ruby Blount. Not the first time I have seen Ruby in panto and excellent as always portraying Brunhilda. I particularly loved the character leading Little Girls. This was not the Annie stage version, but the one used in the 2014 film which I have preferred since first hearing it.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

This show had a plethora of baddies and none more so than the Witch of the Wood for which Molly Bastable was outstanding. I also thought the combination with her two comic stooges worked well, and Erika Steventon (Jobs) and Erin Grehan (Worth) added comic moments while also combining well with Bastable in my favourite number of the night, Candy Store.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Other good song leads came from Sam Broomhall-Tighe (Christophe) in Waving Through a Window, Thomas Bastable (Mayor Manfred) with The Final Countdown and Tegan Lynch (Paula Dollywood) for Jolene. Finally, another character I took a shine to was Wilma the Weasel (who may or may not be a stoat) played by Grace Glover. She led a good rendition of The Wild Wonders with Charlie McRobert as Frank the Fox.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Other named characters were Klaus (Max Ridley) and (Anna) Ezme-Jean Forbes-Moore, playing alongside a strong ensemble. These were Katelyn Harper, Cat Allsop, Evie-May Smith, Tobias Tart, Annabelle Bevington-King, Hannah Allsop, Macy O’Donoghue, Amelia Perry, Kyra Jepson, Georgia Haynes, Isabella Fitzpatrick, Makena Straker-Sharpe, Isla Smith, and Libby Sandle. Please tell me if I have mistakenly missed anyone.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

This was a wonderful and thoroughly enjoyable show; thank you so much for the invite. Smile return at the end of May, this time to The Dormiston Mill Theatre where they will perform Jesus Christ Superstar. I recommend you check them out.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

Cheers.

Antony N Britt.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

*Photos courtesy of Smile Musical Youth Theatre. 

The holidays will seem bittersweet 
while you’re alone in bed. 
But how can one girl ever compete 
with a magic fat guy in a flying sled?

So, the person who dislikes the whole Christmas shebang goes to see a show made famous by one of his most disliked actors in Will Ferrell. How was he going to cope? Quite easily when it is Script Youth Musical Theatre Company at the helm of the production. Yes, I know it wasn’t really my thing, but I had fun, all the same.

Elf — The Crescent Theatre, Birmingham — 21 December 2024

Elf, based on the 2003 film of the same name with music and lyrics by Matthew Sklar and Chad Beguelin, plus a book adapted from the movie courtesy of Thomas Meehan and Bob Martin. The setting is simple. A tale of Christmas, finding yourself and family love. Buddy the Elf discovers that he is human and after his mother died, he crawled into Santa’s sack one Christmas and arrived at the North Pole. Jeez, didn’t the police ever try to find him? At least have his face on a milk carton. However, knowing the truth, Buddy goes to New York to find his real father, who did not know he existed.

Finlay Laidlaw was magnificent as Buddy, complete with OTT exuberance, comic awareness, and good vocals in World’s Greatest Dad. Alongside him as the practical and initially no-nonsense Jovie was Emily Kate White who really impressed me in her first Script outing and gave me my favourite number of the show in Never Fall in Love (With an Elf). Samuel McCormack played Buddy’s reluctant dad with excellence while Evie Rice was equally as splendid in the role of his wife, Emily. I particularly loved the duet between her and onstage son Michael (Bailey Latusek) in I Believe in You.

Elf — The Crescent Theatre, Birmingham — 21 December 2024

This was a loveable show with a fabulous sound thanks to the vocal coaching of Sarah Jones and wonderful interpretation of Kelly McCormack’s choreography. The producer was Script Chair Louise Farmer who must have been delighted with the excellent results.

The remaining cast on this showing were Kian Haden (Santa), Corey James Mayne (Fake Santa), Nevada Grizzle Francis (Charlotte), Zachariah Scrivens (Mr Greenway), Frankie Donohoe (Shawanda), Claudia Edwards (Charlie), Molly Fitzpatrick (Manager), Izzy Round, Ophelia Ronney and Darci Rice (Elves), Mya Cartwright (Delo), Maddie Howard (Matthews), Jessica Lewis (Darlene), Dean Donnelly (Guard) and Calvin Gunn (Ensemble).

Now, I only saw one of two casts as like many youth productions, runs are split into two. I must therefore credit those I didn’t see, namely: Lewis Ward-Bygrave (Buddy), Niamh Scott-Walters (Jovie), Arlo Conway-Ford (Walter), Peyton Lockley (Emily), Poppy Kerr (Michael), Edward Lawlor (Santa), Robin Lawlor (Fake Santa), Amelia Green (Charlotte), Zachary Duke (Mr Greenway), Mae Gregory-Martin (Shawanda), Ava Faulkner (Charlie), Daniel George (Manager), Effie Rose, Kitty Scrivens, Isabella Byrne Drew and Lois-Ann Rollings (Elves), Tilly Cartwright (Delo), Lilah Edmonds (Matthews), Isla Thorp (Sarah), Gracie Reynolds (Chadwick), Leo Stubbington (Guard), Lily Read and Frankie Jordan (Ensemble). The creative team for these performances were Louise Sall and Tim Rice (Producers) with Erin Mooney and Aimiee Whillis (Choreography).

Elf — The Crescent Theatre, Birmingham — 21 December 2024

Always a lovely welcome and I cleaned up on the raffle. A wonderful company who return to The Cresent in July with Legally Blonde, the musical I have seen more than any other. Youth theatre is underrated and brilliant. Try keeping me away.

Cheers.

Antony N Britt

*Some photos taken from social media.

I saw my problems, and I’ll see the light 
We got a lovin’ thing, we gotta feed it right.

Grease – The Musical, at The Crescent Theatre, Birmingham. 28 to 30 November 2024

Grease most definitely is the word. The original musical adapted into the 1977 blockbuster film of the same name is on at The Crescent Theatre, Birmingham Thursday 28 to Saturday 30 November 2024. One of the most popular and feelgood shows of all time, this adaptation comes courtesy of The Arcadians Musical Theatre Company.

Arcadians have been delivering quality productions for over 50 years now, and Grease will be no exception. Therefore, expect lots of laughs with great vocals and harmony combined with excellent dance and acting of the highest quality. One thing is sure, an Arcadians audience always goes home happy and with mainstream theatre so expensive, this is a great alternative.

Grease – The Musical, at The Crescent Theatre, Birmingham. 28 to 30 November 2024

Written by Jim Jacobs and Warren Casey, Grease follows ten teenagers as they navigate the complexities of life. And, after a whirlwind summer romance, leather-clad greaser Danny and girl-next-door Sandy are unexpectedly reunited when she transfers to Rydell High for senior year. With numbers including Summer Nights, Hopelessly Devoted to You, We Go Together, Sandy and You’re the One That I Want, this is one show you won’t want to miss.

Tickets for Grease (Thursday 28 to Saturday 30 November, plus Saturday Matinee) are available from the box office here. So, the Crescent Theatre in Birmingham is the only place to be. Don’t settle for putting up the Christmas lights while Grandma tells her boring stories around the fireside; get along to Grease and relive those glorious summer nights.

Grease at The Crescent Theatre, Birmingham. It’s the One That You Want.

Ticket Link Here.

Grease – The Musical, at The Crescent Theatre, Birmingham. 28 to 30 November 2024

Cheers.

Antony N Britt.

When I grow up 
I will be tall enough to reach the branches 
that I need to reach to climb the trees.
You get to climb when you’re grown up

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

I’m a huge fan of youth theatre, as my reviews show, and I had no hesitation about going to see Matilda Jr, even though I experienced the full version in the West End only a few months ago. And in Script Youth Musical Theatre Company, you know you are always going to be entertained with high quality. Now, Matilda Jr was an outing for the younger members of the company, with only one part played by someone outside the age bracket of 10 to 14. But the professionalism was still there for all to see.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

Based on Roald Dahl’s book, Matilda tells the story of a young girl who is thrown from the frying pan into the fire when her awful, unloving family send her to Crunchem Hall School under the tyrannical rule of Miss Trunchbull. In the title role of Matilda, we had Tilly Cartwright who was every bit as good as the child stars I saw in London during that performance. Just the right combination of sass and vulnerability, delivered with perfect vocals and great character.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

On the school staff, though, was Trunchbull, played with fire and brimstone by Maddie Howard who totally captured the intimidating presence and was genuinely frightening at times. Then, at the opposite pole was the pleasant mentor of Matilda in Miss Honey, beautifully portrayed by Gracie Reynolds who once again showed a pure but strong voice. Another adult friend to Matilda is Mrs Phelps the librarian, and in this role, Peyton Lockley was also strong. Mrs Phelps appears during interlude segments where Matilda tells the tale of the Escapologist (Lois Rollings) and the Acrobat (Poppy Kerr). Great gymnastic skills on show.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

But all Roald Dahl tales have baddies, with the Wormwood’s being arguably as nasty as Trunchbull. Wonderfully horrid and performed excellently by Darci Rice (Mrs Wormwood), Edward Lawlor (Mr Wormwood) and Robin Lawlor (Michael). Joining the Wormwoods was Arlo Conway-Ford as Rudolpho, the dance partner who had me in stitches with his moves around Miss Honey when she visits to family.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

But a performance is not just the sum of the principals, and every person counts. Therefore, all on top of their game and seemingly having the time of their lives were Niamh Mulligan (Lavender), Mae Gregory-Martin (Bruce), Millie Parsons (Hortensia), Kitty Scrivens (Sergi), Leo Stubbington (Eric), Frankie Donahoe (Alice), Polly Lewis-Avozdenovic (Amanda Thripp) and Izabel Devlin (Mechanic). As dancers, we had Isla Thorp and Amelia Green while the big kids were Ava Faulkner, Presley-Ann Owen, Effie Jobling and Izzy Round. Then, completing the ensemble, we had Phebe Roberts, Georgia Lewis, Melody Thompson, Isla-Rose Thompson, Dottie Twigg, Olivia Watkins, Lexi Roberts, Zachary Duke, Taylor Howard and Jade Owen.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

There are some magical numbers in this show: Miracle, Naughty, School Song, When I Grow Up and Revolting Children. But there was nothing at all revolting here. All were brilliant, and credit must go to the structure of Script and the production team of Louise Sall and Tim Rice on direction, with Erin Mooney working excellent choreography, plus good vocal coaching from Sarah Jones.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

I always get a great welcome from Script, and much of this is down to a marvelous Front of House led by Clare Russell. A great youth company throughout. When these kids grow up, they will be reaching for more than simply the tall branches, they will be attaining top roles in big companies, and even the professional stage.

Cheers.

Matilda Jr — The Crescent Theatre, Birmingham — 28 September 2024

Antony N Britt 

*Photos blatantly taken from social media.