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 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.
I have become a great fan of Script Youth Musical Theatre Company in recent times; therefore, I had no hesitation going to see this short junior version of the West End hit, Frozen. We were in the smaller, Ron Barber Studio at The Crescent and with a company of 50, it was inevitable the four performances would be split into two casts. On my visit I saw Cast Anna with Cast Elsa being the ones I unfortunately missed. However, having been to a few shows by Script now, I am certain the Elsas would have been as equally amazing.
I am not going to dwell too much on the story. Princess with magical freezing powers flees her land to safeguard her people and is followed by her sister and friends who want to save her, plus enemies who are out to destroy her.
In the role of Elsa was the wonderful Evie Rice who never disappoints and excelled in Let it Go. As Anna, we had the equally amazing Aimee Whillis who duetted well with Evie during For the First Time in Forever. Aimie also shared the excellent Love is an Open Door alongside the marvellous Sam McCormack who played Hans. Elsewhere, we had a great rendition of Reindeers are Better than People from Finlay Laidlaw (Kristoff) and Lewis Ward-Bygrave (Sven) who also successfully undertook the task of working the reindeer puppet. Similarly, Ruby Edmonds did a fantastic job at the helm of everybody’s favourite snowman, Olaf and performed In Summer well. I also want to mention the younger Elsa’s (Poppy Kerr and Lilah Edmonds) and Anna’s (Matilda Cartwright and Maddie Howard).
With such a large amount of people involved, it’s impossible to give everybody the credit they deserve, so I shall simply scan the cast list of both groups. Producing Frozen Jr on my visit was Louise Farmer while choreography was shared between Molly Chamberlain and Maddie Fleming. The dancing had an especially high standard and in particular, Francesca Roberts stood out in flair and skill. Production for Team Anna, on other performances, was Louise Sall and Tim Rice (Producers) and Erin Mooney (Choreography).
The show was a short one at an hour, but that did not lessen the experience as you were taken to a magical land in such an intimate venue. It was also interesting to note that many on production and backstage were pupils past and present, and that some of the senior members attend the prestigious BOA Academy in Birmingham. A sign of this youth company having a high standard indeed. Script are back next summer with We Will Rock You at the Highbury Theatre in Sutton Coldfield. I recommend you check them out.
Rock the house and make a scene And crank the amps to 17 And scream until their ears are shot They all can kiss your you-know-what Do everything they ever tried to ban …
It’s my favorite musical. End of. Sure, Heathers is right up there but School of Rock has that extra oomph and feelgood factor. And holds the message that no matter what people say otherwise, you can do anything if you really want to.
School of Rock explores and fulfils the dreams of failing rock guitarist, Dewey Finn, who himself, poses as a teacher and reaches the kids in his (illegal) care. Wanting to take part in a rock band competition, Dewey dupes his pupils into forming a band but in truth, shows them the way to be themselves and make their parents listen.
Script Youth Musical Theatre Company are top quality, having seen them a few times now, and the friendliness and welcome of their Front of Houseis always second to none. Youth theatre is so important. These are the performers of tomorrow and many will go onto bigger things. Even if it’s simply amateur theatre, these beginnings are massive. Where would any company be without the talent nurtured in youth societies like Script? However, looking at the programme, many of those on stage here are already in the prestigious BOA Academy, meaning the quality was high indeed.
In the role of Dewey Finn was Harry Robbins who lived the part from start to finish. I’ve seen this show in both the West End and on tour and Harry was Dewey. Every mannerism, every turn of phrase, every reaction. Excellent. Then, co-starring as Rosalie Mullins was the brilliant Evie Rice. Where Did the Rock Go is such an emotional and poignant song and Evie nailed it completely. And supporting well were Finlay Laidlaw (Ned) and Erin Mooney (Patty) as Dewey’s long-suffering friends (Well, Ned is his friend, at least).
Then there are the kids Dewey tells, “You’re in the Band.”Ruby Edmonds (Zach — Guitar), Kadeena Glendon (Lawrence — Keys), Chloe Perkins (Katy — Bass) and Alex Brown (Freddie — Drums). Each equipped themselves excellently with some learning the instruments specifically for this show. It’s the stuff dreams are made of. Wonderful.
But a band isn’t just about those performing to the crowd. Maddie Howard (Marcy), Erin Phillips (Shonelle), Leo Stubbington (Mason), Isla Thorp (Sophie), Lexie Shaw (Amy), Darci Rice (Maddison), Zachary Duke (Billy) and Eddie Lawlor (James) were all tremendous being the band’s crew. As manager and class swot, we had Mya Cartwright who portrayed Summer to perfection. Last time I saw School of Rock the role was played by a Voice Kids finalist and Mya was more than equal for Script, particularly with Time to Play. Then finally from the kids, we had Gracie Reynolds as shy Tomika, a girl who doesn’t fit in until having the bravery to show what an outstanding voice she has. All about reaching for those dreams again. And Gracie proved what incredible vocals she has, especially during the reprise of If Only You Would Listen. Little nudge, Gracie — Voice Kids 2024. Apply now.
As the parents, teachers, and other ensemble parts we had the older Script students: Robin Lawlor, Corey Mayne, Sam McCormack, Aimie Whillis, Ella Gilson-Brookes, Ollie Roberts, Bethany Sall, Sam Williams, Molly Fitzpatrick and Zachariah Scrivens were all great in their roles.
School of Rock was directed by Louise Farmer with musical direction from Chris Corcoran and choreography shared between Molly Chamberlain and Maddie Fleming. I can’t praise production highly enough for bringing the original template alive. Brilliant show and great script from Julian Fellows. Then, if that isn’t the elite of theatre, you have music from Andrew Lloyd Webber and Glenn Slater. So many fantastic tunes: When You Climb to the Top of Mount Rock, If Only You Would Listen, Teachers Pet, all before you even consider the phenomenal Stick it to the Man.
My favourite musical and Script smashed it. You can tell when I’ve enjoyed a show. So much that I lose track of time writing the review, overrun by 200 words and end up burning my dinner.
Cheers,
Antony N Britt
* Photos blatantly lifted from Script’s social media.
Cinderella is the latest pantomime by Author & Theatre Reviewer, Antony N Britt, with plans for more to come.
One of Antony N Britt’s aims is to remove stereotypes. Therefore, expect strong female characters who rescue helpless Princes. Also, no ugly sisters, just beautiful ones with dark personalities. And Dames these days should be more attractive drag instead of hairy men in dresses. Written for 21st century audiences, these scripts still contain, though, many traditional pantomime elements families have enjoyed for years.
The Story
Cinderella lives at Hardup Hall with her father (The Baron), sister (Bonnie) and three attractive, but not nice stepsisters (Chardonnay, Spumante and Prosecco). The stepsisters arrived with their mother (Madame Waitrose) who married the Baron. Also at the hall is Buttons, son of the live-in-cook (and part-time witch, Madame Lidl), plus numerous Kitchen Kids who appear by magic, notably when Lidl waves her wand.
Prince Charming is sent by the King to find a bride and along with companion, Dandini, visits the town of Hardup. All the women fall for the prince, much to the dismay of Buttons who loves Cinderella. If only he would declare it, though, for Cinderella secretly loves him in return.
To complicate matters, Hardup Town is in the middle of a crime wave. Not only are the villains, Deichmann and Brantano about, but so too the notorious Ninja Cat who keeps beating them to the spoils.
Will Cinderella get to the ball? Does the prince find his bride? And how can a size 5 shoe possibly fit only one person?
The truth will out.
Hire Fees, based on proposed theatre capacity:
Up to 150 seats £50 per performance.
151 to 300 seats £70 per performance.
301 to 500 seats £90 per performance.
Over 500 seats Please ask for quote per performance.
Video Licence and Editable Script included in above prices.
For further details and to hire Cinderella, you can use either the contact function or direct at antonynbritt@gmail.com
Sleeping Beauty is the first pantomime by Author & Theatre Reviewer, Antony N Britt, with plans for more to come.
One of Antony N Britt’s aims is to remove stereotypes. Therefore, expect strong female characters who rescue helpless Princes. Also, no ugly sisters, just beautiful ones with dark personalities. And Dames these days should be more attractive drag instead of hairy men in dresses. Written for 21st century audiences and already performed successfully, Sleeping Beauty also contains many traditional pantomime elements audiences have enjoyed for years. Plus, with a script containing 65-70 minutes of dialogue, this leaves ample time for similar in songs for the ultimate musical theatre experience.
The Story
Welcome to the kingdom of Edsheeran, a land of magic, song and … chicken drumsticks! Well, not everything is straightforward, as King Stefan discovers when the evil witch, Maleficent places a curse on the young Princess Aurora.
Therefore, faced with the possibility of falling into a never-ending deep sleep, the princess is taken away to live in secret under the new name, Rose, by three, ahem, trustworthy witches.
Twelve years pass and it’s time for Rose to return home for her wedding to Prince Phillip, with all the grace and decorum of a princess. Okay … again, some things simply don’t go to plan. You see, Rose would rather dress like a boy, stealing from orchards while planning to mine diamonds in the Ariana Grande Mountains. Perhaps her friends, Nova and Nebula, can talk some sense into her. Then again …
Meanwhile, Maleficent has waited patiently and sends her servant to enlist help in making sure the curse is fulfilled.
Does Prince Phillip even want to marry the girl? And will he save the day? Only if Rose can rescue him first. And everyone else. Can Flora keep her two fellow witches under control? Will Fauna find a man? And does Merryweather ever stop eating? And just who is that bird thing which keeps flying around?
All will be revealed …
Hire Fees, based on proposed theatre capacity:
Up to 150 seats £50 per performance.
151 to 300 seats £70 per performance.
301 to 500 seats £90 per performance.
Over 500 seats Please ask for quote per performance.
Video Licence and Editable Script included in above prices.
For further details and to hire Sleeping Beauty, you can use either the contact function or direct at antonynbritt@gmail.com
Photos from the Aldridge Musical Comedy Society 2018 production of Sleeping Beauty.
Antony N Britt - Author 