Tag Archive: Musical


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

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

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

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

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

Seussical — The Dormiston Mill Theatre, 25 July 2026

Cheers.

Antony N Britt

*Photos courtesy of Smile Musical Youth Theatre.

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

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

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

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

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

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

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

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

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

Cheers.

Antony N Britt

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

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

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

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

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

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

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

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

Jessica Lewis and Hannah Jones (Catherine of Aragon). 

Maia Johnson and Frankie Donohue (Anne Boleyn). 

Erin Freeman and Gracie Reynolds (Jane Seymour). 

Cassie Cranshaw and Holly Hardcastle (Anne of Cleves). 

Niamh Scott-Walters and Lexie Burton (Catherine Howard) 

Maddie Howard and Dorothy Twigg (Catherine Parr).

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

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

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

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

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

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

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

Cheers.

Antony N Britt

*Photos taken from social media.

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

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

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

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

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

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

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

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

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

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

Cheers.

Antony N Britt.

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

Tale as old as time. 
True as it can be. 
Barely even friends, 
Then somebody bends 
Unexpectedly.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Third time in two years seeing Beauty and the Beast. Always a delight, and safe in the prospect of an excellent production with Tinkers Farm at the helm. I like this society and each year they offer two quite different mediums, at least since I have been going to see them. In Autumn, you get a Comedy Play/TV Tie-in and Spring, a musical. And they do not come much bigger than Alan Menken’s classic fairytale. Full of instantly recognisable numbers, I was enthralled by the opening night for this run.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Okay, there were some early teething troubles. Sound issues (like that never happens in am-dram) and what looked like the most cumbersome set ever were a couple, but these were in the opening fifteen minutes, and everything appeared to sail smoothly after that. Then, by the end of the show, you felt you had watched the professionals.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

As our Beauty we had Rebecca Bate who was on top form in the role of Belle, shining in Home and A Change in Me, plus taking the lead in Belle. Alongside and the man behind a quite fearsome mask was Richard Cooper playing the Beast. Excelling during How Long Must This Go On and If I Can’t Love Her, Cooper was also commanding in stage presence. Gaston, the villain of the piece was Adam Siviter who gave a powerful performance. I only wish audiences would not boo the baddie in musicals; this is not panto. People have put their heart and soul into a role and deserve their moment. Raymond Turrell was a likeable LeFou as was Dave Hogan playing Maurice. I will add, for Maurice, it was a brave but wise decision to ditch the false moustache mid-show after several mishaps. Into the Beast household and Simon Wilkinson was my personal favourite as Cogsworth, but he was ably supported by Helen Hogan (Mrs Potts), Matthew Morgan (Lumiere), Gabby Baldwin (Madame), Sarah Jennings (Babette) and both Maisie Harrison and Katie Cleary (for alternating performances) as Chip (I have no idea which I saw). Dominic Butters played Monsieur D’Arque while the Enchantress was Tina Andrews. I also enjoyed the entertaining and funny rivalry between Les Fillies (Rachael RoyalEmma Preece and Evan Johnson). A strong ensemble then completed a magical production which Emma Harley (Director/Choreographer) and Richard Ganner (Musical Director) can be proud of.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Familiar numbers including No Matter WhatGastonBe Our Guest and that tale as old as time, Beauty and the Beast made this even more special. Tinkers Farm return to comedy drama later this year with Blackadder II (a cunning plan) before a massive undertaking this time next year in Chitty Chitty Bang Bang. I am well jealous of those taking part in the latter.

Beauty and the Beast — Stourbridge Town Hall — 5 May 2026

Cheers.

Antony N Britt

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

Come with me and you’ll be 
in a world of pure imagination. 
Take a look and you’ll see 
into your imagination.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Second sampling of this musical within the space of a few weeks, this time with the Peterbrook Players at the lovely Core Theatre in Solihull. This was my first experience of Peterbrook and I was not disappointed, the show a delight from start to finish.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Briefly going over the plot again — Poorest family in the world with the most bone-idle grandparents in history are dependent on Charlie and his mother’s earnings to survive. I mean, have they never heard of social security? Anyway, famous chocolatier contrives for Charlie to gain entry to his factory while also seeking the four most horrible children in existence, just to teach them a lesson. What you get is a magical experience full of good songs and dance with a decent plot, based on the Roald Dahl book of the same name, also including some of the numbers from the 1971 movie, Willy Wonka and the Chocolate Factory.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Oisin Kelly (in this performance) was Charlie, and he excelled with outstanding presence and voice. On alternating performances, Alfie El-Safti took on the role, so I will credit him too. Equally as excellent, Matt Barnard shone as the wizard-like Wonka, directing events as they unfolded on stage. Danielle Pancheri was particularly strong as Mrs Bucket. Grandpa Joe, who in the original film is for me the villain of the piece, is thankfully here more of a supporting hero for Charlie and he was played well by Andrew Alton. As the other bedridden wrinklies (I’m 62, I can get away with saying that) we had Alison Tumber (Grandma Josephine), Annette Whalley (Grandma Georgina) and Nick Tickner (Grandpa George), who added subtle humour at times. As for the four horrors with their respective parents, all were on top form. These included Iona Cameron (Augustus Gloop), Amelia Bickerton (Veruca Salt), Annie Stephenson (Violet Beauregarde), Jacob Young (Mike Teavee), Paula Whitehouse (Mrs Gloop), Rob Jervis (Mr Salt), Michael Stephenson (Mr Beauregarde) and Anna Gifford (Mrs Teavee). Completing the principals well were Melissa Goode (Cherry Sunday), Jude Maskell (Jerry Jubilee) and Ann Bloomer as Mrs Green with her barrow of pre-loved vegetables. All the above were complemented by a strong ensemble complete with juniors and adults both.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

The show was directed in both staging and musicality by Paula Whitehouse who can be very pleased with the results which included phenomenal voices throughout. The choreography was also top of the tree and this is a credit to Abi Harvey who had that responsibility. Good use of projected backdrops also worked well on top of impressive sets. However, what was clear above all else was just how enthusiastic the cast were, enjoying every minute. And how could they not be with such a polished performance which totally deserved the applause at the end.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

So concludes the second of two amateur productions of this musical, both which I enjoyed more than the professional tour a couple of years back. I am seeing another company’s offering of this show in the Autumn and after Peterbrook’s production, I can only look forward to it again.

Charlie and the Chocolate Factory — The Core Theatre, Solihull — 17 April 2026

Cheers,

Antony N Britt

*Photos taken from social media.

Do you believe in fairies?

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Always one for a new musical, and in this case, based on a tale I know well. The Cottingley Fairies relates to events from the early 20th century about two girls who convinced the world (and in particular, Sir Arthur Conan Doyle) that fairies were real. I remember this from my youth and the magazine, The Unexplained, around 1980. It was in this publication that one of the girls, now elderly, revealed that they had faked the photos (No shit, Sherlock, if you forgive the pun, Sir Arthur). Having said that, it was still a magical idea and well suited for transformation onto the stage.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

My first visit to the Patrick Studio at the Birmingham Hippodrome which I enjoyed, sat on the front row, fully immersed into the whole experience. With some excellent scenery and props, you really did feel like you were part of procedings. It was also my first time sampling British Youth Musical Theatre who worked with Clare Packham (Writer/Co-Lyricist) and Fintan Kealy (Composer/Co-Lyricist), who are part of Cameron Mackintosh’s Resident Writing Team Placement. The result — an intriguing and most enjoyable production.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Told mostly through song and dance movement, there was a real feel of folk with a fair bit of prog rock thrown in. This worked well concerning the subject matter and I loved the imagery of the fairies as they surrounded the characters in a dreamlike fantasy state. By the end, you really wanted the story to be true, and such was the effect, those fairies were real enough to me. I enjoyed how the older and younger versions of the two girls interacted, the audience getting a solid feel of a story being told by the elder ones. We had turmoil, poignancy of loss during wartime, and a fair bit of humour at times, all delivered well by an outstanding cast.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Nicole Cammack was exceptional as Young Frances (Bearing an uncanny likeness to the real one, too) as was Blaize Middleton in the role of Elsie. For their older counterparts, strong performances came from both Danielle Kelly-Honey (Frances) and Fern Mellor (Elsie). Supporting well though were Scott Hawthorne as the duped Conan Doyle, Gwen Pritchard-Thomas (Annie Griffiths), Zack Went (Edward Gardner), Isla Jones (Polly Wright) and Caitlyn Hamilton (Arthur Wright). However, an ensemble of more than 30 also played their part in the whole magical experience. At the helm in production were Ewa Dina (Director), Jacob Savage (Musical Director), and Hannah Fairclough (Choreographer). Credit must also be given to the amazing costumes and set (Lu Herbert), effective lighting (Rachel E Cleary) and solid sound (Sam Levy).

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

So, did I believe in fairies afterwards? Not exactly, but it is a nice idea. However, I did believe in British Youth Musical Theatre, and I shall be watching with interest in the future. Overall, a wonderful outing to Yorkshire of 100 years ago and a production I shall remember for a long time.

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Cheers.

Antony N Britt

*Photos taken from social media and the internet.

That is the elephant in the room. 
Well, is it relevant to assume 
That a man who wears perfume 
Is automatically, radically fey?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

It would be an understatement to say I am no stranger to Legally Blonde the musical as I had already seen it eight times (but never watched the film — strange). So, what was it that made me book tickets well in advance? One person. Amber Davies. I had previously seen her in 9 to 5 and Pretty Woman and soon had her as my favourite musical theatre performer. And yet, she still gets bad press from a small quarter. Whether this is down to Love Island fame from years ago, I don’t know. C’mon, give the girl a break. She was trained in Musical Theatre long before that.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Okay, the tedious bit. Legally Blonde is a 2007 show with music and lyrics by Laurence O’Keefe and Nell Benjamin and a book from Heather Hach. It is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name. It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend, Warner.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

The show itself is up with the best, and there is not a bad number in the song roll. My personal favourite this time was There Right There. If you know, you know. Having seen it so many times, I did notice a few tweaks with some of the derogatory stereotyping removed and more modern references replacing dated ones. The direction of Nikolai Foster and choreography from Leah Hill was outstanding, but you still need a good cast to pull it off.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

James Lim really played his part and captured the spirit of Emmet well, as did in other roles: Karen Mavundukure (Paulette), Adam Cooper (Callaghan), Jamie Chatterton (Warner), Annabelle Terry (Vivienne), Jocasta Almgill (Brooke), Hannah Lowther (Margot), Rosanna Harris (Serena), Remi Ferdinand (Pilar), Ty-Reece Stewart (Kyle), Bradley Delarosbel (Carlos) and Keanna Bloomfield (Enid), as well as an excellent company of ensemble and swings. And sorry, this time, I refuse to credit the bloody dogs as the trainer wasn’t even mentioned in the programme. Ha!

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Of the songs not already listed, I love Ireland, Bend and Snap and … just about all the rest of them. Excellent lighting, sound and set with a good orchestra conducted by Cerys McKenna topped an outstanding show.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Oh … have I missed someone?

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Yes, the star of the show, the one I came to see. As always, Amber Davies was exceptional. Born to play Elle Woods, this was the best I have seen in the role. Excellent voice, strong acting, and superb dance, but not afraid to bring what I suspect is natural vulnerability. Amber has been through a lot in the past six months. Hate on social media during Strictly Come Dancing and more recently, criticism for the heinous crime of … getting ill. Take heart, Amber, for every keyboard critic, there are dozens that love you. You would not have sold out every show otherwise and had them queueing at the stage door in hundreds. And, have the satisfaction that for those in the minority of haters, you are still occupying a part of their sad little minds.

Legally Blonde — The Alexandra Theatre, Birmingham — 4 April 2026

Cheers.

Antony N Britt

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

All you wanna do, all you wanna do, baby
Is please me, squeeze me, birds and the bees me.

Six — Birmingham Hippodrome — 1 April 2026

I don’t think I will ever tire of Six, the one act musical about the wives of Henry VIII. Three times in the past 18 months I have been to see it. Once in the West End, an excellent teen edition and now, the UK tour. And I have another teen youth production to review in the summer.

Six — Birmingham Hippodrome — 1 April 2026

From the pens of Toby Marlow and Lucy Moss, the show contains songs from the six wives, each detailing their own personal trials (literally) and tribulations as they battle for the place of being top queen. After the rousing opener of Ex Wives, Catherine of Aragon (LaSasha Aldredge) tells us No Way before we reach the “One, you’ve all been waiting for,” and Anne Boleyn (Vna Montarde) with Don’t Lose Your Head. Jane Seymour (Emily Dawson) then relates the sad tale of her Heart of Stone before we are transported in 90s club style to the House of Holbein where we meet Anne of Cleves (Jodie Knight) and her orders for King Henry to Get Down. Katherine Howard (Sammy Timbers), who had her fan club on the front row, told the audience All You Wanna Do before the final wife, Catherine Parr (Layla Chivandire) declared I Don’t Need Your Love.

Six — Birmingham Hippodrome — 1 April 2026

The show is rounded off with the title track before a mega finale in MegaSix. Supporting our queens on stage are the live band consisting of Maddie Lygo (Keys and Musical Direction), Dejeante Hinks (Guitar), Alex Maseed (Bass) and Amanda Dal (Drums). All performers, singers and band members alike were on top of their game and this offering was as powerful and funny as ever. One item that I was unsure of in this production, though, was the use of regional accents, but each to their own and I can’t criticise wanting to put an individual identity to a show. All in all, a great night out and fully deserving of the standing ovation.

Six — Birmingham Hippodrome — 1 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

*Some photos taken from the public domain.

One day I dream that there will be 
a new world waiting there for me. 
Where the dark clouds will fade from view. 
And the sun will come shining through.

Rosie — The Adelphi Theatre, London — 17 March 2026

I have waited a long time for this premiere, having first heard songs from the show back in 2019 on Lucy Thomas’ debut album, and several more on later releases. With a book and lyrics by Chris BroomRosie tells the true story of Edwardian Gaiety Girl, Rosie Boote and I have to say, this semi-staged performance was a delight from start to finish. Lucy Thomas has long been the muse of Broom, and I can see why. Yes, I will say it. Lucy Thomas has the best voice I have ever heard. Then with such strong numbers in the show, the experience was an emotional one.

Rosie — The Adelphi Theatre, London — 17 March 2026

The story begins in Ireland with a young Rosie (Santi Cohen) delivering One Day, a song so beautiful it has been in my head ever since. Then, after the death of her father, Rosie is sent to live in a convent while her mother returns to her stage career. And it is here, during Dear Lord, We Thank You for This Day that Young Rosie departs to be replaced in adult form by the magical Lucy Thomas. The narrative then moves through song and dialogue with the outstanding numbers, Suddenly and Starlight, reflecting Rosie’s journey to be a star of the stage. Scandal follows as she falls in love and eventually marries high society figure, Geoffrey Taylour, much to the chagrin of his mother and even the King. However, love conquers all and (as they say) the rest is history.

Rosie — The Adelphi Theatre, London — 17 March 2026

This has been a long project over ten years for Broom and many changes have been made in that time, most recently, the sublime Gentle Breeze moved and now sung by Taylour, also portrayed with excellence by Will Callan. The duets between Callan and Thomas (who have worked together many times over the years) were truly out of this world. Supporting well, though, were Desmonda Cathabel (Lily Turner), Sally Ann Triplett (Lady Emily Taylour), Connor Carson (James Walker), and Madelana Alberto (Annie Boote) among a strong cast. Credit must also go to Musical Director, Yshani Perinpanaygam for bringing Broome’s excellent score to the stage as does Cressida Carre for direction and choreography. The only slight criticism I would have of the entire production would be a couple of instances in plot. Although I thought the script professionally written, I felt there needed to be more conflict and hurdles to overcome, as it all panned out as though Rosie’s troubles solved themselves. However, this is a minor matter which could be easily rectified with an increase in subplot between Lily and James, and the two coming to rectify the communication problems created by Lady Taylour.

Rosie — The Adelphi Theatre, London — 17 March 2026

I am honoured to have been present at this amazing experience, seated in the second row and can only hope that Rosie goes onto a greater stage. I don’t normally give out stars, but I would award Rosie top marks, even though the script still needs work. The desire to improve never ends. But from my own personal enjoyment, Rosie is up with the best.

Rosie — The Adelphi Theatre, London — 17 March 2026

Cheers.

Rosie — The Adelphi Theatre, London — 17 March 2026

Antony N Britt

*Some photos taken from social media.