Antony N Britt (calls himself Nick, to be awkward) is the author of horror novels: Finding Jessica and Dead Girl Stalking, plus, short story collection: Ghost Stories. All page-turning tale that slaps you in the face when you least expect it. He lives in Walsall in a house full of CDs, videos, books and many unread pieces of paper which may hold the secret to eternal life, but are most probably pizza menus.
Finding Jessica
Finding Jessica
Jessica, Jessica, who were you? And what brought you to that bar last night?
Rob Devlin. Former TV investigative reporter, former alcoholic, formerly alive. The experience in an afterlife of near-death ends when Rob’s soul returns to the body. The wrong body.
Jessica Davies was the stranger Rob died trying to save; the reward is to live her life. But was it more than chance they met? Rob needs answers and unable to resume his old life, one option remains. She must become Jessica. First, Rob needs to know who Jessica was and in order to put things right, Rob must set about finding Jessica.
From the author of Dead Girl Stalking and Ghost Stories: Tales From The Dead of Night.
I saw my problems, and I’ll see the light We got a lovin’ thing, we gotta feed it right.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
We could’ve been anything we wanted to be, but don’t it make your heart glad. that we decided, a fact we take pride in. We became the best at being bad.
Back in 1976 I think I was the only person in my school class who didn’t go to the ABC Cinema in Walsall to see Bugsy Malone. Nowadays, I blame the autism. Come on, kids playing adults, with adults then dubbing the vocals coming out of the kids’ mouths. It was too weird, even for me, and I have never seen it since. However, due to a 70s upbringing of Tiswas and Multi Coloured Swap Shop on a Saturday morning, I saw enough clips to make my judgement and run screaming to hide behind the lava lamp.
But this was a youth theatre version, courtesy of Quarry Bank Musical Theatre Society Youth,therefore all was well. So how did Bugsy Malone fare? Well, the Alan Parker script is awful, and the music by Paul Williams, forgettable, but I kind of enjoyed it anyway, mainly due to the quality present on stage. This is an excellent youth company, make no mistake about that, and it was nice to see most of the kids who had performed in School of Rock a few months ago with the adult incarnation of this society.
The plot. Two rival gangs in New York shoot each other up with foam-spraying Splurge Guns. Amid this, Bugsy Malone, a smooth-talking man about town, falls for new singer, Blousey Brown. Intrigue and double-crossing commence, culminating in a chaotic free for all at the end which simply halts for no reason whatsoever. Now, even though I don’t like the show itself, I bet it was a blast throughout for the kids during the months of preparation, and even better once they successfully brought the product to the stage.
Playing Bugsy was Jackson Fryer who had great stage presence and was ably complimented by Eliza May Plant as Blousey Brown. In the role of Fat Sam we had Finn Dyas-Harrold with Daniel Cwiertak as rival, Dandy Dan. Tallulah, a character made famous in the original film by a young Jodie Foster, was portrayed superbly here by Lily Grace Wooldridge who led the cast well in the Act Two opener, My Name is Tallulah. Other principals included Liam Cox (Fizzy), Noah Tromans (Cagey Joe), Finlay Hassell (Leroy), Martha Crump (Smolskey) and Sofia Nicol (O’Dreary).
But youth theatre is a team effort, and every member counts. Therefore, the rest of the cast were Amelia Cox, Amelia Elizabeth, Beth Pearce, Bonnie Wilson, Charlotte Carter, Connie Davies, Connie Perks, Daisy May Sandel, Dylan Henry, Ellie Southwell, Erin Hennessey, Fabiana Bennett, Felicity Oakley, Georgia Loughton, Georgia Riga, Giovanna Cutts, Hallie Smith, Izzy Pankhurst, Jack Head, Jayden Palmer, Katy Clarke, Kersten Davies, Lilybell Greaves, Lola Wilson, Louise Perks, Maggie Head, Masie Harrison, Maria Riga, Naomi Thompson, Noah Jeavons, Olivia Cwiertak, Olivia Ward, Oscar Wilkinson, Seb Roach, Sienna Capewell and Sofia Iantosca.
So, you don’t have to like a show in the first place to have had a good time, and the kids made this so. Amazing talent throughout performing on a great set. Also, excellent musical direction and band led by Nick Jeavons, then direction and stunning choreography from Zoe Russell, with Niamh Hadley assisting on the choreography. Has this production banished my early teenage nightmares? Not quite, but QBMTS Youth went a long, long way.
Oh, oh, oh, woke up today, feeling the way I always do
But that was before I went to the Hippodrome in Birmingham to see the touring production of Hairspray. I have always been a fan, right from when I saw the original John Waters movie starring Rikki Lake and the late Divine.
It’s 1962 and Tracy Turnblad auditions to be a dancer on the Corny Collins Music Show and after initially being rejected due to body image, she makes the cut and instigates a revolution for racial integration. It seems abhorrent now, the views of that time, but that’s how life was, in fact, even worse than what is portrayed in this show.
Hairspray is a musical which launches at full throttle with the excellent Good Morning Baltimore, Nicest Kids in Town, Mama I’m a Big Girl Now and I Can Hear the Bells. And there is always the fun Welcome to the 60’s. But that does not mean to say everything is 10 out of 10. When you’ve seen it before, You’re Timeless to Me seems overly long and begins to grate, and the supposed ad-libs do appear scripted. Likewise, the two Motormouth numbers, although well performed, are boring and forgettable. Pity. This included the end of Act One tune in Big, Blonde and Beautiful which had me checking the time while I tried desperately not to nod off.
However, after what seemed a sad lull either side of the interval, things picked up again and Without Love certainly makes the grade. The title track, however, is a bit of a damp squib and Cooties must rank as one of the worst tracks in Musical Theatre. But then you get the awesome You Can’t Stop the Beat, or as I have heard it described, You Can’t Stop to Breathe. And I can concur with that, having performed the song in panto, and this offering was as energetic as anything I have seen recently. I felt exhausted just watching.
In the lead role as Tracy, Alexandra Emmerson-Kirby was outstanding in all areas. Great voice, stage presence and impressive dance. Of course, the top professional dancer on show was Joanne Clifton in a role (as Velma Von Tussle) which usually does not have many opportunities to utilise dance as much as others, but Drew McOnie’s choreography rectified that, as well as being top drawer throughout.
Playing Edna Turnblad was Neil Hurst who gave the part everything you would expect and more. Move over John Travolta, this was the real deal as Edna. I know the character is drag and meant tongue in cheek, but I have always found the best attempts at cross-gender are the ones where you just accept the switch because it seems so natural, and you don’t even give it thought that a man is portraying a woman.
Other cast members included Michelle Ndegwa as Motormouth, Dermot Canavan (Wilbur), Solomon Davy (Link Larkin), Katlo (Little Inez), Declan Egan (Corny Collins), Freya McMahon (Penny), Shemar Jarrett (Seaweed) and Allana Taylor (Amber).
Musical direction for Hairspray was from Richard Atkinson while the show was directed by Paul Kerryson and Brenda Edwards. This production is touring well into Spring of 2025 and despite a few niggles from me, is still worth the time.
Cheers.
Antony N Britt
*Photos taken from social media and may not be representative of the performance reviewed.
The hills are alive with the sound of music. With songs they have sung for a thousand years.
It might not have been the hills in Birmingham, but certainly was the case that The New Alexandra Theatre was alive with The Sound of Music. Yes, the Richard Rodgers and Oscar Hammerstein classic with book by Howard Lindsay and Russel Crouse — it’s a production which needs no introduction.
The previous evening, I had been to see the overrated and totally underwhelming Hamilton and within the first few minutes of The Sound of Music, the horror of the day before was blown away by incredible vocals, great dance, excellent chorus and outstanding all round talent.
Leading the way was Molly Hopkins as Maria where during those opening bars of the title track, I almost thought that it was Julie Andrews’ actual voice I was hearing, it was that good. Excellent in all areas, Hopkins was a perfect Maria. But she also needs her love interest to make the show what we know, and Cree Henson was equally up to the task as Captain Von Trapp. A great combination.
In the Von Trapp children we had Bessy Hingley (Liesl), Jake Miles (Friedrich), Evie O’Malley (Louisa), Logan Meers (Kurt), Sophie Ballentyne (Brigitta), Frankie Foulger (Marta) and Lilly Jones (Gretl). All were tremendous with standards consistently high throughout and again, great chemistry. And they looked like they were enjoying and seizing the moment as well.
Playing Max Detweiler and Elsa Schraeder were Kieran Powell and Molly Ann Bache respectively. Extremely polished and they also got to perform the two great numbers sadly cut from the film in How Can Love Survive and No Way to Stop It. Then we get to the nuns of the Abbey. These were led magnificently by Ella Blair as Mother Abbess who shone in all her numbers, especially the iconic Climb Every Mountain. Also, in the convent were Rebecca McGregor-Black (Sister Berthe), Liv Glenny (Sister Margaretta), Emily-Violet Haywood (Sister Sophia) and Holly Boden (Sister Hilda). Additionally supporting well in the principals were Samuel Ryan (Franz), Eden Wedgbrow (Frau Schmidt) and Aiden Cooney (Rolf). I could go on and list the entire cast, they were so good, but with their numbers being almost 70, I don’t think my eyes could cope with all the cross-referencing this time to make sure I’ve spelt them correctly.
The producers of Sound of Music were Victoria Ellery-Jones, Becky Peers and Hannah Whitfield. The Director and choreographer was Pollyanna Turner with assistance on choreography from Olivia Wicks while Chris Newton oversaw Musical Direction.
What also stood out in this marvellous show was the use of ensemble. Now, I have been on company committees during show selections and the argument against what would almost certainly be a sellout is that there is not much for the chorus to do in Sound of Music. This production proved the opposite. It’s amazing what you can achieve with creativity and that stage buzzed with life throughout. Favourite number of the night was the full company Lonely Goatherd. So much to see and digest, you didn’t know where to focus at times.
Now, this production was The Alexandra Theatre’s 2024 Stage Experience, and I have left that information until last for a purpose. Take in all the wonderful observations above, then realise that this was rehearsed and put together with the final team in two weeks. Amazing. Also nice to see a few familiar faces from local youth companies. This was a top performance from all involved which had goosebumps rising in an audience who showed their appreciation with a near 100% and well-deserved standing ovation at the end.
Cheers.
Antony N Britt
*Photos taken from social media and may not be representative of the performance reviewed.
You’ll be back, soon, you’ll see. You’ll remember you belong to me.
It’s a challenging task to highlight positives in a musical you hated. And I guess this is going to be an unpopular opinion as everybody else that I know has enjoyed Hamilton. To me, though, this show suffers from The Emperor’s New Clothes Effect with people believing that they’re supposed to rave about it.
With a book, music and lyrics by Lin-Manuel Miranda, Hamilton covers the life of American Founding Father, Alexander Hamilton, and his involvement in the political history of the early United States. Sounds riveting? No, I didn’t think so, either, but still gave it a chance which elapsed 10 minutes in after My Shot when I turned to my fiancée and mouthed, “I’m bored.” Unfortunately, it did not get much better. Far too much rap, which let’s face it, is a genre of music devoid of singing, talent and … music. Best number of the night was You’ll Be Back from Daniel Boys as King George III, but even he struggled to hit the top notes and Jesus, the number was milked to death with two reprises. Point to note, sometimes less is best.
In the rest of the principal cast we had Richard Logun (Alexander Hamilton), Sam Oladeinde (Aaron Burr), Mia Mullarkey (Eliza Hamilton), Aisha Jawando (Angelica Schuyler), Charles Simmons (George Washington), Jonathan Hermosa-Lopez (Lafayette/Thomas Jefferson), KM Drew Boateng (Mulligan/James Maddison), Gabriella Benedetti (Peggy Schuyler/Maria Reynolds) and DeAngelo Jones who as well as portraying John Laurens, also had the embarrassing task of pretending to be Hamilton’s nine-year-old son (complete with goatee), a production decision which was cringeworthy. Admitted, there were plus points in the performances, but these were not retained in the memory due to the sub-standard material the cast had to work with. However, I did like the way the chorus lurked in the alcoves, adding mystery to proceedings at times.
At £90 a ticket, Hamilton is overpriced, overlong and overrated. Honestly, out of hundreds of theatre trips experienced, I have never enjoyed a musical less, and I’ve sat through Godspell. It was like being locked in a room with a box set of Vera playing on loop. I mean, even Escape Rooms set you free after an hour. No such luck in Hamilton as because of the others with me I was unable to leave during the interval. I did, however, vacate my seat during that interval to stretch my legs, which like my brain, were numb. There I passed audience members desperately looking up Hamilton on Wikipedia to find out what the hell was going on. Before I knew it, my wanderings had taken me close to Front of House where that exit door was oh, so close.
Directed by Thomas Kail with choreography from Andy Blankenbuehler and musical direction at the hands of Alex Lacamoire, Hamilton is a show where I join a tiny minority who do not shout its praises. But at least I had the honour of saying, “Look at the King, look at the King, the King, the King, the King. I will not be back.
Cheers
Antony N Britt
*Photos taken from social media and may not be representative of the performance reviewed.
I only saw The Addams Family a few weeks ago and although that production itself was quality, I knew that I would be equally entertained and enthralled by Starcross Theatre Company’s offering.
I think I can honestly say out of the half dozen youth companies that I review and follow, I really don’t have a particular favourite standing above the others because there is outstanding quality in all. And that’s a good thing for theatre. But each have their own individual elements making the occasions special and Starcross’ standards could not get any higher, already being at the top of their game.
The Addams Family is based on the characters of the 1960’s American sitcom and subsequent movies/series. Synopsis briefly. Daughter, Wednesday falls in love, wants to get married with a normal boy and two worlds collide. It’s a basic plot by Marshall Brickman and Rick Elice with good music from Andrew Lippa, but one which serves a purpose with a few short sketch-type segments thrown in.
As was the case in their previous shows, Starcross split their cast so that, in this case, twenty of them get a shot at the ten principal roles. This is good for development, experience, and inclusivity and although I only saw one of the two versions, I am certain the other would have been equally as outstanding.
On my viewing I had the amazing Brandon Harrison as Gomez, commanding the stage with great presence and excellent vocals. Brandon totally captured the spirit of Gomez, and it is a shame, due now to age and pursuing a theatrical career, that this was his last show with Starcross. Equally so was the always amazing Christine Cross as Morticia and the chemistry between her and Brandon will be hard to replace. The choreography and performance during Tango De Amor was incredible. Christine has now joined her parents on the production side and is described by them as taking on the mantle.
Playing a fantastic Wednesday Addams was Holly Hunter who totally nailed Pulled while Jack Harley was tremendous with the comic relief offered by Fester, particularly during The Moon and Me. Grandma (who may or not actually be a relative) was Lauren Downes while Lurch was portrayed by Cole Bennett. Both were exceptional in their roles. Lucas was Callum Brothwood, Mal (Tia Rafferty) and Alice (Lily-Grace Palmer). Got to commend Lily-Grace on the execution of the total breakdown of inhibitions at the end of Act One.
Now, I have saved Pugsley for last as although I don’t normally hark back to personal connections, I feel I must in the case of Alfie Jennings. In 2021, aged 8, Alfie took part along with sister Lexie (also in this show) in their debut stage roles during my production of Cinderella, and I have followed their progress ever since. I knew then both were something special and it is no surprise that in September, Alfie starts Year 7 at a leading and prestigious performing arts school. I must admit, my eyes were moist during his solo of What If?
Beginning with When You’re an Addams, The Addams Family is a great show for ensemble because you can create as many parts as you need in the form of the family ancestors, giving much stage time too. These were Scarlett Bennett (Bride), Lexie Jennings (Ballerina), Grace Froggatt (Viking), Lottie Wilkes (Flamenco Dancer), Sophie Spruce (Baseball Player), Ellie Fletcher Brown (Hippy {Loved the hippy costume}), Jay McDonald (Cowboy), Jaime Nutting (Chef) and Zadie Wilson-Smith (Cave Woman). Further ancestors were portrayed by those in the principal roles on alternative performances. These were Lily Cross (Bull Fighter/Gomez), Kelsey Taylor (Flapper/Morticia), Darcy Harman (Stewardess/Wednesday), Noel Jeavons (Monk/Fester), Daisy Lunt (Astronaut/Pugsley), Shayera McDonald (Nurse/Grandma), Dimitri McDonald (Pirate/Lurch), Alex Hill (Sailor/Lucas), River Onions (Nun/Alice) and Lucy Keates (Elizabethan/Mal).
This was an outstanding show, full of colour, energy, and movement throughout. Direction and choreography were perfect, and this was down to the long-standing team of Belinda and Phil Cross MBE who run Starcross. Musical direction was in the safe hands of Ben Batt with vocal support from Ashleigh Foster. I must also highlight the great costumes too.
It is always a struggle for companies like Starcross to survive and hopefully they will continue for a long time. The talent of the future are the kids of today and theatre needs places like Starcross. Here endeth the lesson.
Up where they walk, up where they run. Up where they stay all day in the sun. Wanderin’ free, wish I could be, part of that world.
You might think that seeing so many youth productions I would become accustomed and end up taking them all for granted. However, with each one, something fresh always comes along which then completely blows me away.
I have been watching Birmingham Youth Theatre for years now and have seen some extraordinary talent depart and new emerge. And it is when you become a regular attendee that you witness the progression of that talent. Always with a warm welcome, BYT this time offered Alan Menken’s, The Little Mermaid. Not a show I have seen before but familiar with many of the songs, and not through Disney either. I have been involved in many in concerts of my own, and suddenly realised at times, Oh yes, it’s that one.
Full of colour and energy with excellent vocals, choreography and direction, this performance flowed so well it was over before you could catch breath. Always a good sign when you don’t even have to check how long Act One has been going. I have said in recent reviews about the quality of amateur and youth societies and would yet again recommend the same. They are up there with the best shows, and cheap to watch. Win win!
The Little Mermaid. Classic tale of a fishy princess who trades her soul for love but regains it through that love itself. Menken’s score is a good one and with lyrics by Howard Ashman and Glenn Slater, plus a book from Doug Wright, it is one of the best musicals around. And BYT totally did the show justice.
Bit of an odd one this time with cast; many of the programme listings only gave first names, so I shall respect that and credit as printed.
Ariel was played by Eva Phelan who captured the spirit of the character from the start and was perfect during Part of Your World. In the role of Prince Eric was David Morrison who I have seen develop over the past couple of years and the vocals have now reached a marvellous level with the delivery of Her Voice excellent indeed. Supporting well was the roller-skating Flounder (Shire C), the extremely red lobster, Sebastian (Andrew Morrison) and my favourite character of the show, Scuttle the Seagul (Lucie).
But then there be baddies and strife, and Sharouq A was decidedly evil as Ursula, supported well by Casey Michaela (Flotsam) and Livy Owen (Jetsam). I enjoyed Daddy’s Little Angel but still prefer the song it appears to have now replaced — I Want the Good Times Back. However, Sharouq’s rendition of Poor Unfortunate Souls was up with some of the best that I have seen.
In King Triton’s (Alex) palace we had Grimsby (Gethin Randerson) and six sisters for Aurora in the form of Lola Swoffer (Aquata), Daisy Wright (Andrina), Cerys Worthington (Arista), Lucy J (Atina), Sophie T (Adella) and Sophie Ashford (Allana). The number, She’s in Love particularly rocked with great vocals and energy and was my favourite song of the night.
Rounding off the named cast were Luke (Chef Louis), Finn H (Pilot), Ava Jones (Winward) and Anna (Leeward). And no production can work without an ensemble and here I pay tribute to Alex Lee, Amelia R, Amelia Soffe, Ava, Aya, Bella, Breah Grimley, Eden Blaney, Edina, Ella Peirce, Emily, Erin Louise, Eva Campbell, George B, Georgie D, Hannah A, Jess, Loaira Carvalhido-Gilbert, Marni, Martha McGrath, Meg Allsop, Niamh, Oonagh W, Sophia C, Tabitha Vlok, Talia, Tayla and Thomas. Please message me if I’ve accidentally missed anyone out.
On the creative team, Vivienne Morrison as Director/Choreographer can be incredibly pleased at yet another perfect production which was one of the best I have seen. Aiding well on production, though, were Maddison Clarke and Luke Griffiths with the former also co-choreographing outstanding movement from the specialised dancers in the show. Finally, Chris Corcoran was at the helm with musical direction which led to further good numbers including Under the Sea, Positoovity, Kiss the Girl and If Only, of which the quintet version blew me away.
I must also commend the excellent costumes and use of a video screen backdrop which worked well. So, another successful production from a wonderful youth company. BYT return early 2025 with the annual pantomime and this time it is Snow White. I shall certainly be there, and so should you.
Cheers.
Antony N Britt
*Photos taken from social media and taken by Paul Goode Photography.
I have become a regular attendee at Script Youth Musical Theatre Company productions, therefore, combining them with the music of Queen was just a win-win situation for me.
We Will Rock You — The music of Queen with a script by Ben Elton has been doing the rounds for ages now and when I first saw it professionally a couple of years back, I was underwhelmed by Elton’s book. Now, this production was a youth edition, adapted by Marc Tumminelli, and as a result, some of the more padded out dialogue had been cut. So, in contrast to those professionals in 2022, Script’s offering flowed seamlessly throughout.
Plot. A not so far distant future where music and people’s minds have been eradicated by control of the internet. It is therefore up to a few rebellious youths to re-discover the lost genres of music. And it’s rock music, not just any old music. Favourite lines of the show:
We can do it a cappella if necessary.NO! It’s never necessary.
Kian Haden had the massive job of taking on Galileo and was out of this world, and the same can be said for Aimie Whillis playing Scaramouche. The duet of Who Wants to Live Forever was sublime. Both leads were strong in every department. Then, equally supporting well was Louise Heard as Killer Queen, delivering a powerful rendition of Another One Bites the Dust. Completing the bad guys was Finlay Laidlaw as Khashoggi who gave a truly villainous performance, up with the best. Seven Seas of Rhye was outstanding.
Evie Rice was Ozzy alongside Sam McCormack in the role of Brit. Both teamed up for an incredible outing for I Want it All. Completing the frontline principals was Ruby Edmonds who showed she had moved into a different league twelve months on from School of Rock where she learned guitar for that show. Guitar solos were extremely good, including a classic in the finale of Bohemian Rhapsody.
Massive credit must also go to the fantastic dancers under the choreography team of Mollie Chamberlain and Maddie Fleming. Script’s dancers are always perfect with innovative ideas and delivery. These were Lexie Shaw, Lewis Ward-Bygrave, Izzy Round, Lola Weir-Phillips, Francesca Roberts, and Darci Rice.
Completing the cast were Calvin Gunnharrold (Ringo), Corey Mayne (Michael), Mya Cartwright (Aretha), Ollie Dawes (P Puff Diddy Daddy), Jess Lewis (Sixx), Lilah Edmonda (Bruce), Zachariah Scrivens (Paul), Daniel George (Guard), Dean Donnelly (Guard), Molly Fitzpatrick (Quatro) and Nevada Grizzle-Francis (Teen Queen).
My favourite number of the night was No-One But You (Only the Good Die Young). And that’s where I went all emotional. You see, nothing breaks me. Well, barely anything, anyway. But beautiful vocals going with screen images of dear departed rock legends got me. I was wavering throughout, seeing Bolan, Bowie, and Kurt Cobain, and then Taylor Hawkins appeared on screen, and I was gone.
I could not see a band, or anything credited for music in the programme, so I assume backing tracks were used. Not always easy but the vocals were brilliant. I must also commend the wonderful costumes, credited to the wardrobe exploits of Jo Rice and Vicky Round. Overall, a production up with anything I have seen from Script so far, and anywhere else, for that matter. Producer, Louise Farmer can be well proud of her cast and crew. Here’s to the next one.
Cheers.
Antony N Britt
*Photos taken from social media and originally produced by Studio 55 Photography.
Alright, yes, I confess that my actual name is Dewey Finn, yes indeed. And although you should know I’m not licensed to teach, I promise you, I can read.
School of Rock is aboutliving your dreams, and for the performers themselves,those dreams are fulfilled while taking part. This show has everything. A great, funny script by Julian Fellows, a cracking score from Andrew Lloyd Webber and Glenn Slater … and rock. What more can you wish for?
It’s the story of Dewey Finn, an unsuccessful rock artist who after being sacked by his band, poses as a teacher to pay the rent. Once at Horace Green School, he discovers his pupils are musically talented and engineers a plan for them to compete in the Battle of the Bands. Really, it’s grooming and corruption of minors at the highest degree, but also a plot which works well, all very tongue-in-cheek farce.
I made the vow a few years ago to see School of Rock at every opportunity and this time it was the excellent Quarry Bank Musical Theatre Company delivering the goods. Always a challenge, QBMTC perform in a venue I acoustically hate, but the power of rock truly overcame that this time.
In the role of Dewey was Carl Cook who had the enormous task of being centre stage for over 80% of the time (There is a reason I know this). Leading the cast well, Cook gave us When I Climb to the Top of Mount Rock as well as joining the kids in the massive numbers, Stick it to the Man and School of Rock (Teacher’s Pet) among others. Alongside him as Rosalie Mullins, the headmistress, we had the fabulous Sarah Coussens whose offering of Where Did the Rock Go was amazing. Then, supporting in fine fashion were Tom Robinson as Ned and Bryany Palmer playing Patty.
But the real standouts for this show are the kids, especially those playing instruments live. These were Finlay Hassall (Zack), Adam Porter (Freddie), Kersten Davies (Katie) and Maria Riga (Lauren) in the band. Then, in the other roles we had Daisy May Sandel (Summer), Connie Davies (Tomika), Charlotte Carter (Sophie), Lilybell Greaves (Shonelle), Dylan Henry (Billy), Sofia Nicol (Marcy), Eliza May Plant (Maddison) and Jett Richards (Mason). All excellent and as good as any professional production. In fact, my top tunes this time were Time to Play and If Only You Would Listen.
The director was Mike James with choreography from Attiye Passey and musical direction by Chris Passey. Having seen this show many times, I still find something new, and I found the arm waving by the kids during Math is a Wonderful Thing funny, showing just how far into loving the deception they are.
There were not many negatives for me, but the addition of dancers into some songs kind of metaphorically photobombed the moments, especially during Where Did the Rock Go. However, in a show with very little for a larger adult cast, I can appreciate the need to give everybody stage time. Overall, the audience will have gone home happy and I’m probably being over picky, knowing Scholl of Rock so well.
This is an incredible show and I defy anyone not to love it. And QBMTC certainly delivered the goods.
Antony N Britt - Author 