Tag Archive: Reviews


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. ***

I love rock and roll,
so put another dime in the jukebox, baby.
I love rock and roll,
so come and take your time and dance with me.

When Joan Jett announced her first headline tour in 16 years, I knew I had to go. Like many artists who have been around since the 1970s, you do wonder how many more opportunities you will get to see them. So, third time for me with Joan and as good as ever. Better, in fact.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Kicking off with Victim of Circumstance, we were then treated to two numbers from Joan’s time with the groundbreaking all female band, The Runaways in Cherry Bomb and You Drive Me Wild. Then, we had hit after hit with the likes of (I’m Gonna) Run Away, Love is Pain and I Hate Myself for Loving You. Of course, it was obligatory that she would perform Bad Reputation and I Love Rock and Roll, which came towards the end of the evening, but my personal favourites of the night were The French Song and Fake Friends. French Song just shows the influence of JJ and the Blackhearts as you can hear the riffs in one of my other favourite bands – Green Day. Fake Friends was more a guilty pleasure, as it totally summed up how those I thought were friends, threw me under a bus a few years back. I guess that we have all been through it sometime or other.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Not known for vast interaction with the audience, Joan Jett let the music do the talking for most of the show, but it was nice to hear from producing legend, Kenny Laguna (Keys and percussion), reminding us of the influence that he has had over the years.

Joan Jett and the Blackhearts — The Halls, Wolverhampton — 7 July 2026

Hopefully, Joan will be around for a long time to come. She is only 67 after all, having begun her Runaways career at a ridiculously young age. But there was no sign of current age on view, or of slowing down. Joan Jet and the Blackhearts rocked Wolverhampton from start to finish, and here’s hoping for more in years to come.

Cheers.

Antony N Britt

*** 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.

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.

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.

Life was good for a short while. 
Hot sweet nights days that were fine. 
Spent many hours just looking at you. 
Heart stopped beating for a moment or two. 
Long black veil now you are mine.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Stranglers guitarist for 26 years with the latter twenty fronting many of the vocals; Baz Warne is a legend to those fans who are grateful for the longevity of the band. I am lucky that many of my favourites have lasted decades, producing new music and still touring, and The Stranglers lead the way in this, myself having seen them 23 times in all incarnations. Now that may seem a lot but judging by the Q&A session at the end, I am a mere novice as there are those whose attendance is in the hundreds and have followed them all over the world. In fact, Baz is on first name terms with many of these admirable souls.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Following the 2025 release of his book, No Grass Grows on a Busy Street, Warne embarked on this tour (Convivial) which is described as a seated run of shows blending songs, conversation, and audience questions in an informal setting. Somewhere between a book tour and a gig with each night unfolding differently. I have deliberately avoided reading the book until now because I wanted to hear as much as I could fresh, and I was not disappointed. What is immediately clear is that Warne is a genuinely honest and open top guy.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Interspersed between an excellent casual conversation with WCRFM’s Garry Foster, Warne treated a packed audience to seven acoustic songs. These were Long Black VeilPeachesBreatheAnd If You Should See DaveBear CageThe Lines and Goodbye Toulouse. All were excellent, and poignant in the tribute song as you could feel the emotion at the loss of Dave Greenfield from Covid in 2020 which followers still feel now. But there was also humour in abundance, especially with impersonations and tongue in cheek references to current and past band members. Some genuinely kind words were said about the songwriting of Hugh Cornwell, which is important as although the show goes on, and that era is long in the past, the legacy always needs recognising. I do think, though, the band are now better live than ever, and much of that is down to Baz Warne including the excellent standard of studio albums produced over the past couple of decades.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

What did we learn? A snapshot would be that Baz Warne loves Status Quo, his favourite cheese is Red Leicester and that former band member, John Ellis is a cunt. Overall, though, Baz comes across as humble and grateful to the fans, as we are to him. And in a photo opportunity at the end where he gave his time to all who queued, I told him after following The Stranglers since 1977, through times they could have folded, he has helped keep the magic alive. And for that, I can only say thank you.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Cheers.

Baz Warne — Convivial — Wolverhampton Arts Centre — 7 March 2026

Antony N Britt

*Some photos blatantly stolen from Garry Foster’s Facebook page.

Once I had a secret love, 
that lived within the heart of me. 
All too soon my secret love 
became impatient to be free.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

My second sampling of this Wild West Musical in the last six months. The first was by the professionals with Carrie Hope Fletcher, so … could a youth group entertain me just as much? Absolutely. And that is down to the wonderful team and members of Starcross Youth Theatre who I have now been going to see for over three years. And there is one thing I have found about Starcross, the faces might change over time, but the quality remains and those taking their place are of the same high standard.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Starcross is a family effort from Phil Cross MBE (Producer/Director) and wife, Belinda (Assistant Director/Consultant Choreographer), and more recently, daughter, Christine (Assistant Producer/Choreographer), who has moved full time into production after many years on stage. Let us also not forget the extended family with Ben Batt (Musical Director) who fronted a six-piece band, plus vocal coaching from Ashleigh Foster and support on choreography from Elise Harrison.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Calamity Jane is a spit ‘n sawdust Wild West Romp which has entertained audiences since the 1953 film of the same name. With music by Sammy Fain, lyrics from Paul Francis Webster and book courtesy of Ronald Hammer and Phil Park, this show is instantly recognisable by the songs, Just Blew in from the Windy CityThe Deadwood StageBlack Hills of Dakota and more. It is a tale of Secret Love and hope. Thoroughly entertaining from start to finish and Starcross totally pulled this one off. Great sound, lighting and slick movement on stage, including the smooth scene changes, plus an incredibly impressive set complete with full size coach. Sat on the front row, mere inches away from the performers, I was well and truly immersed into this experience.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Top marks must go to Lily Cross for capturing Calamity to a T. This is a role which must be hard vocally and in need of much energy, but Lily smashed it, also showing a fine voice during the softer musical moments (Secret Love). As Wild Bill Hickock, if you didn’t know this was a youth company, you would swear Alex Hill was the real deal in terms of being on the professional scene. Such a strong performance which was also backed up vocally during the musical numbers. Lily-Grace Palmer played Katie Brown, who poses as a famous singer to achieve her dreams. A lovely performance by her complemented well by Darius Stirbat as Lt. Danny Gilmartin. Supporting well, though, were Tia Rafferty (Henry Miller), Stanley Clowes (Francis Fryer) and Lexie Jennings (Susan), who also doubled as Dance Captain alongside Ellie Fletcher-Brown. And for this performance, Adelaide Adams was portrayed by River Onions who delivered It’s Harry I’m Planning to Marry excellently.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Over the years I have made a rod for my own back by listing the entire cast in youth shows, as they deserve it. This usually takes time and much cross checking and with this one, over four performances, some roles were not just spread between two people, but in certain cases, three. Therefore, I am going to cheat and include below the cast from the programme. Credit to all, though, and I am certain those who I did not see on the day were equally superb during their own moments on other performances.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Starcross are back in July with a showcase concert titled, Showstoppers. I am unfortunately unable to attend this one as I have prior commitments on both nights, but I will certainly be there at the end of October for their huge offering of Jesus Christ Superstar.

Calamity Jane — Arena Theatre, Wolverhampton — 21 February 2026

Cheers.

Antony N Britt

*Photos taken from social media.

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

Consider yourself at home. 
Consider yourself one of the family. 
We’ve taken to you so strong. 
It’s clear we’re going to get along.

Oliver — The Gielgud Theatre — 15 November 2025

Last of three shows during a theatre weekend break and after Paddington and Phantom of the Opera, this one was a bit of an afterthought — a filler. You see, I’ve seen Oliver half a dozen times and I thought I knew it well, but how wrong I was. This revival is Cameron Mackintosh’s reimagining of the classic Lionel Bart musical, directed and choreographed by Matthew Bourne. So, no shortage of Musical Theatre royalty there, then. And boy, it paid off with Consider Yourself being one of the best ensemble numbers I have seen in many years.

Oliver — The Gielgud Theatre — 15 November 2025

Ten minutes into the show, I turned to my wife and said, “This is amazing.” And it did not let up. I am all for updating shows, that without being unkind, can become stale, as I found with Phantom earlier in the day. Oliver had no such problems. It was energetic, loud and drew the audience into an immersive experience which made you feel you were part of the show.

Oliver — The Gielgud Theatre — 15 November 2025

Best of the lot was Simon Lipkin as Fagin who was far more outgoing than earlier versions, full of magic tricks, a bit of stand up and the odd piece of audience interaction thrown in for good measure. What was more important, though, and it echoes what I have already said; Lipkin’s Fagin was new, fresh, and it showed, making a hell of a difference to the show. It was also nice to see some of the other character’s ages cast correctly as well. For instance, a young Bet and having Dodger as an older teen. Good to have girls in Fagin’s gang as well.

Oliver — The Gielgud Theatre — 15 November 2025

In the role of Oliver, we had William Barker who excelled during Where is Love, but supporting equally well was Billy Jenkins as Dodger, complete with fan club of half the audience in what was apparently his last show. Tegan Bannister was superb as Nancy, particularly during As Long as He Needs Me and Aaron Sidwell frightened the life out of me as Bill Sykes. Supporting well were Oscar Conlan-Morrey (Mr Bumble), Ebony Jonelle (Widow Corney), Stephen Matthews (Mr Sowerberry/Grimwig), Jamie Birkett (Mrs Sowerberry/Mrs Bedwin), Lois Craig (Charlotte), Callum Hudson (Noah Claypole), Harry Cross (Dandy), Lochlan White (Charley), Isabel Methven (Bet), Stephen John Davis (Mr Brownlow) and Wendy Somerville (Old Sally).

Oliver — The Gielgud Theatre — 15 November 2025

Full of old classics: I’d Do AnythingFood Glorious FoodBe Back SoonIt’s a Fine Life and so much more; this Oliver rocked from start to finish. One of the best musicals I have seen in a long time. I recommend you do too, if you get the chance.

Oliver — The Gielgud Theatre — 15 November 2025

Cheers.

Antony N Britt

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