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 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.
So, the 2023 challenge to the one who hates Christmas. Twelve months ago, it was the D-Day Darlings’ Christmas offering; this time around, Bournville Musical Theatre Company (BMTC) gave me A Very Musical Christmas. And I must say, I still think I was conned into going as I was under the impression that it would not be all Christmas songs. “No,” my partner told me, “I said it wasn’t all Christmas Carols.” Wow, Antony, please enter Room 101. With that said, you know you’re going to get honest feedback, even if I’m not keen on the subject matter.
The show consisted of 30+ in the cast, supported well by a 4-piece band led by Chris Corcoran with production in the hands of Lily Moore and Stuart McDiarmid. As for the test, would it make the biggest Bah Humbug feel remotely Christmassy? It did, if only for one moment during Have Yourself a Merry Little Christmas, sung in lovely fashion by Randy Johnson. There I found myself transported back to childhood, reminiscing about being curled up with Bing Crosby on the television and a nice warm fire. So, if that could be done to me, then 99% of those who were into the Christmas spirit would have gone home happy.
Top number of the night for me was Into the Unknown (Frozen 2) performed excellently by Sophie Wood and Joanne Kandola, with Kandola also singing my second favourite in Do You Want to Build a Snowman (The first Frozen). And no, it was not because they were the only non-Christmas tunes of the night, I just enjoyed them most, and I’m not even a particular fan of Frozen. These were closely followed by Lewis Doley and Natalie Buzzard with Fairytale of New York during a Christmas Rocks Medley. Other numbers that stood out for me were Never Fall in Love with an Elf (Rhian Clements), A Christmas Song (Chloe Turner & Tay Noronah-Hall) and Once Upon a December (Claire Brough).
Other numbers included It Feels Like Christmas, A Christmas Carol, I Wish it Could Be Christmas Every Day, Merry Xmas Everybody and the classic, White Christmas. There was good choreography, spread out from Sadie Lovelady, Claire Brough, Chloe Turner, Lotte Flynn, Josh Goodwin, Helen Gauntlett and Lisa Colvin-Grieve. One thing I did find frustrating, though, was the positioning in some full chorus numbers where shorter singers were behind those taller in the front row. Despite sitting on raised seats, there were several performers I simply could not see.
Overall, it was a well put-together production that embraced the spirit of Christmas with the audience joining in towards the end, even if it was still November at the time. Arrgh! But everyone enjoyed it, and that’s what counts.
What’s the buzz, tell me what’s a-happening? What’s the buzz, tell me what’s a-happening?
Ah, the atheist in me would love to hate Jesus Christ Superstar (JCS), however, it being the show I made my stage debut in makes it a little special instead. It also helps that Jesus’ apostles are portrayed as apathetic and full of self-important belief. In fact, the real protagonist is Judas who spends the show banging his head against a brick wall, trying to remind Jesus what he and the disciples should really be about.
Basic plot — the last week of Jesus’ life, and the fight for his destruction by the Jewish authorities. There is no spoken dialogue, the story being told though music and lyrics with no breaks. But JCS works in this format, flowing seamlessly from one number to the next with a good rock vibe from Andrew Lloyd-Webber’s original score. Okay, some of Tim Rice’s lyrics are questionable at times (Jesus calling Judas, a Judas?) but overall, it is plotted well.
Leading the show as Jesus was Ian McIntosh who I last saw as Galileo in We Will Rock You. Equally as strong now as he was on that occasion, McIntosh’s delivery of Gethsemane was one of the strongest performances I have seen in any musical theatre number. Not so much, Shem Omari James in the role of Judas. Jesus’ betrayer is meant to be forceful, and I was not convinced. With poor diction, I struggled to understand James and felt the show dropped on each appearance. Outstanding though was Hannah Richardson as Mary, performing I Don’t Know How to Love Him. Equally so during the fight with Christ was Ryan O’Donnell who came into his own during Act Two as Pilate. This is good as Pilate’s Dream during the first half is the weakest song in the show.
As the gravelled-voice Caiaphas we had Jad Habachi with Matt Bateman playing the scheming Annas. Both led their team well, especially during This Jesus Must Die. However, I found Herod’s Song terribly dumbed down and the performer not even credited in the programme. Yes, I know it was originally Julian Clary (who now thinks it more important to do panto), but for heaven’s sake (no pun intended) credit the actor taking on the role.
There was a lot to like about this production, but I still found it needlessly arty at times. On the one hand, enjoying the busker/hippie vibe of Jesus’ followers, but then at odds with the strange throwback to the 1970s film imagining of the priests. An excellent band led by Tom Deering was in a gantry on stage for all to see. A nice touch, but I found Drew McConie’s choreography rushed on occasions, seeming to run out of ideas as if performers were given the instruction, we haven’t got time to do more complex moves, so just wave your arms aimlessly. Directing was Timothy Sheader and although there was much to enjoy, I still found my attention wandering. Maybe if I had been more captivated, I might not have noticed that Jesus appeared to be crucified on a speaker stand. And then there was 39 Lashes where instead of being whipped, the crowd threw glitter over Christ instead. The biggest let-down though was Judas’s Death where there was no hanging, but the dropping from a height of a power cable. A simple but effective set from Tom Scutt included a large cross which doubled as a walkway and Last Supper table at times. However, this was positioned so far stage left that anyone in the first half dozen seats on that side could not see it.
Overall, I’m sure most went home happy after this Regent’s Park Open Air Production, but frankly, I’ve seen better from Am-Dram companies.
Several years back I watched a professional performance of Chitty Chitty Bang Bang (Reviewed on this site) and was extremely underwhelmed by the interpretation of one of the classics from my childhood. However, after seeing Bilston Operatic Company in Peter Pan twelve months ago, I attended this one with optimism for something special, and was not disappointed.
It’s always a good benchmark when time flies through a show, and this was the case here. I didn’t think about anything else with other thoughts forgotten.
I am not going to go over the plot. If you don’t know Chitty Chitty Bang Bang, where have you been all your life? Adapted by Jeremy Sams from the 1968 film written by Roald Dahl, Ken Hughes, and Richard Maibaum, itself based on Ian Fleming’s 1964 novel, the show features both original film and new songs from musical legends, Richard and Robert Sherman.
The first thing I must highlight was the absolute quality. Bilston Operatic are the best amateur company I have seen to date. Sure, their budget must be huge; you could tell this by the fact the entire chorus were Mic’d. But they obviously reclaim costs by filling the impressive Wolverhampton Grand for seven performances with shows people (particularly families) want to see. It is unusual for amateur companies to do midweek matinees, but the house was sold out, partly due to several classes of children on trips. How lovely. An enjoyable school outing and a way to get children on mass immersed into the experience of musical theatre. Hopefully, many will have sat and thought, “I want to do that,” and join a youth theatre company as a result.
Leading the cast as Caractacus Potts was the incredibly impressive Alec White. Perfect for the role, commanding the stage and outstanding during Me Ol’ Bamboo, You Two and Hushabye Mountain. As Truly Scrumptious we had Issy Checketts, instantly at home in character and marvellous during Lonely, Lonely Man and Doll on a Music Box.
I was also overly impressed with the children playing Jeremy and Jemima (Daniel Webley and Eden Owen). Both were excellent and looked easily at home on stage, working well with the adult cast, especially in the song and dance with Grandpa Potts (Mike James) during Posh! The child actors were split into two groups for alternating performances in this production, therefore I should credit Oliver Rudge and Lara Maguire who I didn’t see but am sure were equally as good.
Supporting well in the cast were Stacey Lovatt (Baroness Bomburst) and Jon Ranwell (Baron Bomburst). Both were excellent in Chu-Chi Face and captured the spirit of the roles well. Equally so was Ally Burkett as The Toymaker and Nicholas Sullivan, The Child Catcher who adopted the familiar and best guise used by Robert Helpmann in the original movie. Two of my favourites, though, and used expertly were the Vulgarian spies: Boris (Olly Derham) and Goran (Ben Evans). These are roles expanded in the musical, full of comic relief and both worked well during Act English.
This is the second time in a few weeks Simon Pugh has been at the helm of a production that I have seen, and both have been excellent. And the direction of Tye Harris was superb with lots going on in the background and a good flow to proceedings. Equally so, from Gareth Howard, musical direction led to an all-round wave of top tunes and sound. These included Toot Sweets, Truly Scrumptious, The Roses of Success, Teamwork and of course, the title song itself. And then there was the dance. With Martyn Davies in charge, we saw energy and precision throughout, even a dance ignoramus like me taking note. Particularly in The Bombie Samba, which when I saw the professional show, was a huge bore fest. However, here I was captivated, and it was a highlight. Just goes to prove what you can do with the right people.
One of my favourite childhood films, badly let down a few years ago but now with faith restored by the wonderful Bilston Operatic Company. Peter Pan last year, Chitty Chitty Bang Bang now, and Nativity in 2024. Bilston certainly know the formula to bring in revenue to make such splendid productions.
I just blew in from the windy city. The windy city is mighty pretty but they ain’t got what we got, no sirree.
First time seeing Calamity Jane for me and first time watching Cradley Heath Amateur Operatic Society (CHAOS).
Somewhere, in the black mining hills of Dakota, there lies a town called Deadwood – home to Calamity Jane. A whip-cracking, sharp shooting and tall-story telling stage driver who runs the route between Deadwood and Chicago. Also in town lives Wild Bill Hickock, Lt. Danny Gilmartin and failing saloon owner, Henry Miller. When Miller books the wrong singer in male, Francis Fryer, Calamity goes to Chicago to find star singer, Adelaide Adams. However, she is duped into bringing novice, Katie Brown instead. All works out, despite the complications of love. It’s a lively, funny show with a book from Ronald Hammer and Phil Park, plus music and lyrics by Sammy Frain and Paul Francis Webster. Yes, some of the lines are dated, especially those relating to sexual equality, but otherwise the script holds up well in 2023.
Starring as Calamity we had Liz Compton whose self-inflicted attack on the throat must have earned her shares in Vocalzones. An outstanding performance and equally so from Richard Probert as Wild Bill Hickock. And that level of excellence went all through the entire company. Top notch singing and fine character acting. Supporting well were Emma Newton (Katie Brown), Thomas Lloyd-Price (Lt. Gilmartin), Adam Partridge (Francis Fryer), Bek Millward (Susan) and Salli Gage (Adelaide Adams). Then, I loved J. Paul Murdoch in the comic role of Henry Miller with a characterisation reminiscent of silent actor, James Finlayson.
I’m never a huge fan of musicals in Town Halls like Stourbridge as I find the sound gets lost in these cavernous venues. Fortunately, I was on the front row and heard everything perfectly.
There are several instantly recognisable tunes in Calamity Jane. Most notably The Deadwood Stage, Windy City, The Black Hills of Dakota, and Secret Love. All were delivered with excellence, as was Love You Dearly and It’s Harry I’m Planning to Marry, all under the musical direction of Edd Caine.
An impressive set worked well with slick movement between scenes and the direction of Steve Humpherson always had the cast busy with facial expressions and interactions. And there was a high quality of dance as well, choreographed by Emma Newton making this an all-round excellent production. One thing I did notice was CHAOS do not appear to have many younger members, but this did not reflect negatively on the performance. Overall, the entire team of Calamity Jane were up there with the professionals, and I look forward to their next production.
Who can take a sunrise, sprinkle it with dew, cover it with chocolate and a miracle or two?
I don’t think I have come across a musical so divisive as Charlie and the Chocolate Factory. Having spent a while reading comments on social media relating to the tour, I find myself frustrated at the ignorance of many.
“Why were the Oompa Loompas 6ft tall silver cybermen?”
“Charlie Bucket is a boy and should not be played by a girl.”
“Hardly any of the songs from the films were in the show.”
Those are just a few comments which irritated me. It makes me wonder how many of those nigglers have ever been to musical theatre before, and that maybe this medium is not for them. It’s theatre, and if creativity interprets Oompa Loompas as silver, then so be it (And they were not all 6ft tall, they were the dancers). Similarly, there is no reason Charlie cannot be a girl and finally, if people wanted a carbon copy of the film, then they are best sticking to watching the film and not a musical theatre interpretation. But that does not mean I didn’t have a gripe of my own. Although, excellently performed, the casting of adults in child roles (The four naughty Golden Ticket Winners) made me cringe. There are some fantastic child performers in the UK, so use them. There … rants over.
I’m not going to dwell on the plot because if you’re reading this, you will know the ins and outs of the story anyway. Let’s face it, it’s on TV most Christmases. The show stays faithful in the main to both original book by Roald Dahl and the movie versions which followed. And going back to silver Oompa Loompas, Dahl’s original vision was them being black pygmies. Ouch!
Although Willy Wonka is billed as the chief character, I am going to differ and give top spot to Jessie-Lou Harvie as Charlie Bucket. Let’s face it, Wonka does not appear until the end of what is a rather slow Act One. I had no issues with Charlie being female and it did not cross my mind otherwise until I saw negative feedback afterwards and needed to defend. Jessie-Lou was magnificent (Loved the accent, as well), excelling in acting, song, and dance. Particularly during Almost Nearly Perfect.
Wonka himself was played on this occasion by Ewan Gillies, the second understudy in a lead role I had seen in a week, but no less amazing. A top draw performance capturing the magic, mystery, and eccentricity you would expect of Willy Wonka.
In the part of Grandpa Joe, we had Michael D’Cruze who fitted the role and delivered Charlie, You and I very well. I must have missed the reasoning, but I couldn’t fathom why Joe went to the factory tour dressed as a Bus Conductor. As usual, though, the lazy bugger, having spent 20 years in bed, jumps up in song and dance when there’s a chance of free chocolate. At least he didn’t persuade Charlie to steal Fizzy Lifting Drink.
Mrs Bucket (also Mrs Teevee) was portrayed by Leonie Spilsbury and sang Candy Man. I was also impressed with the signing by Spilsbury throughout. The other parents shared roles with the bed-ridden grandparents: Morgan Scott (Grandpa George/Mr Salt), Kate Milner-Evans (Grandma Josephine/Mrs Gloop) and Emily Winter (Grandma Georgina/Mrs Beauregarde).
I have already said my opinion about adults in child roles (Bleugh!) but cannot fault Kazmin Borrer as Veruca, particularly in the ballet sections. Equally well done to Robin Simoes Da Silva (Augustus Gloop), Marisha Morgan (Violet Beauregarde) and Terry Hinde (Mike Teevee). Rounding off the principals we had Victoria Nicol (Mrs Pratchett), Ty-Reece Stewart (Jerry) and Lucy Hutchinson (Cherry).
Numbers and dances I liked especially were Pure Imagination, Strike That! Reverse It, Veruca’s Nutcracker Suite, and The View from Here. It was all spectacular with energetic dance and good choreography from Emily Jane Boyle. Simon Higlett’s setwas also impressive, as was musical direction by David Shrubsole. The director of Charlie and the Chocolate Factory was James Brinning. The production was adapted by David Greig with musical composition from Mark Shaiman and lyrics, Scott Wittman.
This is a spectacular show and as long as you do not expect a carbon copy of a 50-year-old film, you will be transported indeed, to a world of pure imagination.
Pretty woman, walkin’ down the street. Pretty woman, the kind I like to meet. Pretty woman, I don’t believe you, you’re not the truth. No one could look as good as you.
So … Pretty Woman, a musical based on the 1990 film which followed a trend of being named after songs to boost popularity. I have never seen the film but am told the 2018 musical follows the plot closely. It centres on the relationship that develops between Vivian Ward, a free-spirited Hollywood prostitute, and Edward Lewis, a wealthy businessperson who hires her for a week to be his escort for several business and social functions.
With a book by Garry Marshall and J.E. Lawton, plus music and lyrics from Bryan Adams and Jim Vallance, Pretty Woman draws heavily on the nostalgia and popularity of the original movie but also has a sound script which flows with decent songs. My only criticism would be that the plot is too simple with apparently less conflict between Vivian and Phillip Stuckey (Stuart Maciver) than the movie.
In the title role of Vivian, we had Amber Davies. I like Amber Davies. I recall going into 9 to 5 a few years back, only hearing second-hand of the Love Island connection and being wowed by the fully theatre trained talent she is. An impressive performance in acting and voice, excelling particularly in Anywhere But Here and I Can’t Go Back. Edward, on this occasion was played by understudy, Ben Darcy but (as I have found on many occasions of seeing the understudy) was outstanding, including perfect renditions of Something About Her and You and I.
As Happy Man/Mr Thompson, we had TV Presenter and Strictly Come Dancing winner, Ore Oduba who many in the audience had come to see. Happy to say he was excellent in the role although I do have to draw issue with the unnecessary references to Strictly. Come on, this is musical theatre, not panto, and it wasn’t all about one principal. Equally strong was Natalie Paris as Kit De Luca, also giving a good showing with Oduba and Ensemble during Never Give Up on a Dream. And I must give a special mention to Noah Harrison who stood out strong in many scenes featuring his comic character, Giulio.
Other good numbers included You’re Beautiful, Long Way Home and Together Forever. Finally, after the bows, we got the full cast rendition of the title song, which has no relevance to the plot whatsoever, other than feelgood factor but was welcome and well-delivered.
Pretty Woman was directed and choreographed by Jerry Mitchell with the UK tour responsibilities in the hands of Dominic Shaw and Matt Jones. Global Musical Supervisor was Will Van Dyke while Griff Johnson led an excellent orchestra.
A decent enough show. Not sure I would see it again for a while but overall, a good night out, especially due to Amber Davies.
You just call out my name, and you know, wherever I am, I’ll come runnin’ to see you again.
Last year I saw Beautiful – The Carole King Musical for the first time and such was the enjoyment on that occasion, I had no hesitation in seeing the regional premier of the show by an amateur company. I say amateur for formality only, for this showing from West Bromwich Operatic Society (WBOS) was anything but amateur. I also must praise the choice of venue. I Know WBOS have filled larger theatres than The Mill but while I criticised another local company recently for playing to a half-full New Alexandar, this was exactly right for half a dozen performances of Beautiful.
Beautiful tells the story of songwriter/singer, Carole King from the origins of a partnership with husband Gerry Goffin to an even greater (in my opinion) solo career in the 70s and beyond. Writing songs for giants of music such as The Drifters, The Shirelles and Little Eva, King is best known for the 1971 solo release, Tapestry. Mixed in the tale, there is an interesting subplot featuring the friendly rivalry with fellow songwriters, Cynthia Weil and Barry Mann.
In the lead role we had a phenomenal performance from Kim Graystone, and I cannot stress enough the workload this part entails. Okay, not in every scene but near enough and with a vocal outing to rival the professionals twelve months ago. Supporting well, though, we had Dan Smith (Gerry Goffin), Emma Wetherall (Cynthia Weil), Callum Rogers (Barry Mann) and Greg Yates (Donny Kirschner). Beautiful also boasted a large company who are too many to mention but were all the highest quality.
And the songs themselves would make a great hits compilation including, Will You Love Me Tomorrow, Take Good Care of My Baby, On Broadway, We Gotta Get Out of This Place and The Locomotion. All from the catalogue of King/Goffin/Weil/Mann. And in the Tapestry era we had You’ve Got a Friend, It’s Too Late, I Feel the Earth Move, (You Make me Feel Like) A Natural Woman and the title of the show itself, Beautiful.
This was an excellent show and those in the thick of things in terms of production can be immensely proud of their cast and crew. Directing Beautiful was Simon Pugh with choreography by Claire Flavell and musical direction from Matthew Hall.
WBOS return May 2024 at The Wolverhampton Grand with Love Never Dies. Well worth a look.
The Stage Experience has been in existence for over 20 years. It’s aim, to change the lives of young people through the medium of Musical Theatre. In the space of two weeks, participants put on a show from scratch with involvement in all areas of production. This is a fantastic opportunity which leads many to successful careers in theatre following them taking part.
Bring it On is loosely based on the 2000 film of the same name with the music of Tom Kitt and Lin-Manuel Miranda, lyrics by Amanda Green and Miranda, plus a book from Jeff Whitty. The plot revolves around cheerleader captain Campbell Davis who is forced to move schools and set up a new crew with streetwise kids to compete in the Nationals’ competition.
I will say from the off, my only negatives of the show were with the original template itself. I found the songs uninteresting, forgettable, and only redeemed by the fantastic performances of the cast. It was the same with the script. Although enjoyable in the main, I found some characters underused and only there to fill gaps with others having a huge amount of work to do. That said, the story was fast paced with some innovations I liked, including the cell phone conversations. Very realistic and contemporary.
What the fabulous Stage Experience does go to show, however, is that even with a non-perfect starter, an amazing cast and crew can send the audience home happy. And that was the case.
In the lead role, Laura Bryan was amazing as Campbell in vocals and acting. A top performance throughout. Equally so as Danielle, we had Brittany Jarman-Watson delivering added sass in addition to all the other aspects of musical theatre. I also enjoyed the portrayal of Eva by Bessy Hingley with a character transformation that easily duped you into thinking she was sweet, only to find out she was, in fact, the villain of the piece. I then loved Bridget, the outsider who keeps on trying which was made special by the outstanding performance of Eden Wedgbrow.
Supporting well, though were Molly Ann Bache (La Cienega), Demi Mitchell (Nautica), Kieran Powell (Randall), Aiden Cooney (Cameron), Freddie Holt (Steven), Alexia Mouzakitis (Skylar), Holly Boden (Kylar) and K’Vae Brown (Twig).
Although Bring it On is musical theatre, it’s heavily stacked towards dance and under the direction of Pollyanna Tanner, who also co-choreographed with Olivia Wicks, the results were stunning from everyone and led well by Emily-Violet Haywood (Dance Captain). The show was produced by Hannah Whitfield and Victoria Ellery-Jones with musical direction from Chris Newton.
So, although I am not a fan of hip-hop/rap, I still had a wonderful time because when the talent is there, nothing else matters.
I can get in. I can get close to any woman. Even a nun. Watch and learn.
Those lines are a bit special to me because just over twelve months ago, I was a gangster, trying (hopelessly) to woo the nuns of the Queen of Angels Church, Philadelphia. Therefore, I really looked forward to Birmingham Youth Theatre’s production of Sister Act. As reviewed on several occasions now, I am a great fan of BYT, and they did not let me down.
Sister Act tells the story of Deloris Van Cartier who sees a murder at the hands of her gangster boyfriend, Curtis. Helped by cop, Eddie, who was at school with Deloris and had a crush on her, she takes refuge in a convent where the idea is for her to remain inconspicuous.
“Inconspicuous, how can she be inconspicuous? A neon sign blinking Wa-Wa Food Market is less conspicuous!” ~ Mother Superior (Act 1 Scene 5).
Sister Act is a great show with the music of Alan Menken, lyrics by Glenn Slater and a book from Chris and Bill Steinkellner. But to do it justice, you need a great cast and boy did BYT have that.
Zeena Abdalla was amazing as Deloris, excelling in Fabulous Baby (both versions) and especially, Sister Act (Title Number). But there was the right characterisation too and the chemistry between fellow cast members was superb. And there was none more so than Maddison Clarke as Mother Superior who gave a performance Dame Maggie Smith, the original Mother Superior in the 1992 film, would have been proud of. In musical theatre, Maddison ticks all the boxes. Fantastic acting skills on top of an incredible voice. I Haven’t Got a Prayer was out of this world.
In the role of (Sweaty) Eddie was Harrison Doherty who worked well as the luckless cop, giving a great rendition of I Could Be That Guy. Supporting well, though, and sharing some fine scenes with Mother Superior was Luke Griffiths in the role of Monsignor O’Hara (with a brief cameo as the drag queen).
We also had the villains. David Morrison shone as Curtis, including a perfect delivery of When I Find My Baby. Also in that number were Curtis’ henchmen. Joey, played by Charlie McRobert, was excellent, and had my seal of approval. Guess which role I had in the same show last year? Then Andrew Morrison as Pablo was spot on where most of his lines are in Spanish. So hard to do if you are originally unfamiliar but Andrew appeared natural doing so. And finally, Luke Holcroft as TJ. During the opening number, I could tell at once which of the three was TJ as Luke had got the personality from the start, jigging around and appearing, well, goofy. Brilliant.
And then there were nuns.
Where do I start? Daisy Wright (Sister Mary Robert) gave as great an outing of The Life I Never Led as I have ever witnessed. Marvelous for one so young. Last week in a review I commented that one young member of that cast should apply for the Voice Kids 2024. Make that another; Daisy, your voice was amazing. As Sister Mary Patrick we had Lily-Mae Nicholls with the oddball, scatty (for a nun) personality that Mary Patrick needs, making her stand out strong. Then as Mary Lazarus, was Kitty Smart, superb, rapping and delivering some of the best moments and one-liners of the show. Rounding off the main nuns were Marni Carroll giving us Mary Martin-of-Tours, perfect, in her own little world, and Sophie Terry as the oldest nun, Mary Theresa, reminding us that she was “In the room.”
It was lovely to meet some of those behind BYT during the interval who showed real appreciation for my past reviews. And the comment that the members were delighted last January in the Cinderella review where I named all the cast. I let myself in for it with that one, didn’t I? Christ … here goes …
Nuns were Livvy Owen (also Michelle), Emily Green (also Tina), Eva Phelan (also Susan), Tabitha Vlok, Lucy Jones, Beatrice Roberts, Megan Allsop, Sophia Chilton, Sophia Cupples, Amelia Jennings, Sarah Sambhi, Abigail Bell, Anna Simpson, Chyna Smyth, Breah Grimley, Edina Bilham-Moore, Ella Peirce, Ena Moreton, Maisie Cotterill, Oonagh Williamson, Lucy Holcroft, Ava Jones and Bella Hopner. Then Gethin Randerson played Ernie and many other roles, as did George Beckett. Phew!
This was an excellent production of Sister Act and Vivienne Morrison (Director) and Kennedy Glews (choreographer) can be extremely proud of the end results from their fabulous cast. And a very young one at that. But that’s the wonder of youth theatre. The ever-revolving door of talent from small acorns to the giant oaks of stage. Having done the show, I know how hard everybody (particularly the nuns) will have worked for the past six months. Plus, kudos must go to the exceptional set. I bet that wasn’t easy backstage, but well done all.
In charge of an excellent band and overseeing musical direction was one of the best in the Midlands in Chris Corcoran. Sister Act is full of tremendous numbers such as Take Me to Heaven, Here Within These Walls, Good to Be a Nun, Raise Your Voice, Sunday Morning Fever and Spread the Love Around. And of course, there is the one with a special (notorious) place in my heart — Lady in the Long Black Dress.
A fantastic evening. Brilliant show and well deserving of the standing ovation. I heard many saying afterwards that it was BYT’s best show ever. Impossible to disagree.
Antony N Britt - Author 