Tag Archive: West Midlands Events

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

June 6, 2025

Must die, must die, this Jesus must die.

Jesus Christ Superstar — Dormiston Mill Theatre — 31 May 2025

One show always has a special place in my heart as it was that of my first time on stage. I had also seen it twice before, professionally, but never an amateur or in this case, a youth version. I was, therefore, delighted to be invited back by Smile Musical Youth Theatre to review Jesus Christ Superstar.

An excellent Front of House full of gift stalls and many raffle prizes (I won two), and friendly volunteers to give help where needed. And with my history of this production, I was looking forward to (even with me being an atheist) enjoying a musical about Jesus. Well, I treat it as any other work of fiction.

JCS tells of the last days of Jesus Christ, his betrayal by the ones around him and the persecution from those whose stability of power he threatens. I hate to go on yet again about having done this show, but when the opening guitar chords of Overture sounded, I had goosebumps. We were immediately introduced to the insurgent, James Alphaeus (Grace Paskin) who delivered a wonderful solo lyrical dance while being confronted by the black clad aggresion representing authority.

Straight away I was drawn to the costumes (Courtesy of Suzanne Harris), which for the rebels, could easily have come from my wardrobe. Yes, Harem Pants galore, which of course, I approved of. As mentioned already, black was the theme of oppression and this went for all in that category, be it Roman or Jewish Authority. On stage we had a static set which works well in this show, made all more atmospheric by the excellent lighting provided by Jack Tustin from Going Dark Theatrical Services. I must also credit the sound (DW Technical Services) which apart from one brief bit of feedback was otherwise faultless. But I have talked enough tech; on with the show.

In the role of JC was Samuel Broomhall-Tighe who I have seen a few times now, and this was by far his best performance of an already high caliber. Outstanding in Gethsemane and Poor Jerusalem, among others. In fact, this was the best Jesus I have seen from an auditorium, and I’ve experienced Glenn Carter in the role. What I also liked about Smile’s Jesus was the freedom to break from the clichéd version of having him look like a 1970s Bee Gee. Here we had what appeared a normal guy; a good stamp of individuality for this show.

Onto Judas and another first in my experience in the fact that the role was female. Macy O’Donoghue was simply amazing, excelling in Heaven on our Minds and Damned for All Time, while leading well in Superstar. Then, together with Samuel Broomhall-Tighe, the vocal battle between Judas and Jesus during The Last Supper. An especially powerful Judas, also topping those I had seen professionally. As Mary Magdelene, Nancy Minaker completed the trio of better than the professional, in my opinion. So strong from the earliest appearance and perfection and power during I Don’t Know How to Love Him.

Supporting well in solo songs were Josh Mills (Simon the Zealot) in Simon Zealots, Michael Robinson (Peter) during Could We Start Again Please, Freddie Perry (Pilate) in Pilate’s Dream and The Trial and finally, the gloriously OTT Taylor Simner as Herod in Herod’s Song. Then you had two more figures of authority as heads of the priests in Makena Straker-Sharpe (Caiaphas) and Charlie McRobert (Annas). This Jesus Must Die (Always a favourite of mine as it included my first ever lines) had those goosebumps rising again.

The remainder of this excellent cast not already mentioned were Hannah Allsop (Andrew), Isabella Fitzpatrick (James Zebedee), Amelia Perry (John), Katelyn Elizabeth Harper (Bartholemew), Evie-May Smith (Matthew), Annabella Nneka Amogu (Thaddeus), Violet Flynn Jones (Phillip), Cian Grayson, Cat Allsop, Maxwell Ridley (Priests), Molly-Ann Oakley, Isla Smith, Ezme-Jean Forbes-Moore (Soul Girls) with Jackson Tomkys, Libby Sandle and Georgia Haynes completing the ensemble.

There was so much to love about this performance, and I was mesmerised by all the blood in 39 Lashes and even more so by the surreal image of those dressed in white singing Superstar, complete with splatter. The production team of Joe Logan (Director and Choreographer), Elliot Lingard (Musical Director), Sarah Jennings (Vocal Coach) and Tom Fitzpatrick (Assistant Musical Director) can be well pleased with the results of months of hard work.

You can tell I have enjoyed a show when a review is so easy to write, as in this case. One session taking 60 minutes, 800 words with only the minimal editing. Best version of Jesus Christ Superstar I have seen. Well done all.

Cheers.

Antony N Britt

*Photos courtesy of Smile.

Tags: Andrew Lloyd Webber, Antony N Britt, Dormistn Mill Theatre, JCS, Jesus Christ Superstar, Musical, Musical Theatre, review, Smile Musical Youth Theatre, Theatre, Tim Rice, West Midlands, West Midlands Events, Wolverhampton, Youth Theatre

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Little Women — Birmingham Repertory Theatre — 21 May 2025

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May 31, 2025

Little Women is not a story that in the 1960s to 70s, should have appealed to a boy. You see, we were supposed to be into Action Men toys and war comics. However, while at a trip to the dentist, aged 4, I was offered a free comic from the reception, I chose the Bunty. Therefore, my range of culture has never exactly been stereotypical. Therefore, over 50 years later, I readily attended Anne-Marie Casey’s adaptation of Little Women at the Birmingham Repertory Theatre.

Based on the 1868-69 novels, Little Women and Good Wives, by Louisa May Alcott, the story revolves around four sisters (Meg, Jo, Beth, and Amy March) who mature from childhood throughout the story. The themes Little Women addresses are domesticity, work, and true love, all independently and each important to the hero’s individual identity. As in the book, the plot takes an episodic format with each sequence seamlessly segueing into the next, and much credit must go to Loveday Ingram (Direction) and Mike Ashcroft (Movement) for this.

Little Women — Birmingham Repertory Theatre — 21 May 2025

A minimal set always works, letting the imagination do the rest without the need for extravagance which detracts from the performances of the cast. This was the case with this production and Ruri Murchison’s designs totally did the trick and were complemented by excellent sound and lighting from Matthew Bugg and Mike Robertson, respectively. Credit also to Dave Nelson and his stage management team.

Playing the principal sister, Grace Malony displayed all the tomboyish character of Jo while showing the fiery temper and stubborn personality as she matures into the successful writer she is to become. The dependable and eldest girl, Meg was portrayed by Jade Kennedy who captured the character’s down-to-earth sprit. Then you get Beth. I always have an affinity for Beth, and her demise is still to this day one of the most tragic and upsetting in literature. Catherine Chalk, I am pleased to say totally nailed the part and gave me the Beth I knew. And then we get Amy. Ah, Amy, the troublesome youngest sibling, precocious and vain at times who like many youngest children gets what they want. Imogen Elliott was perfect in this role, but also showed the softer side at times, which I liked.

There were also good performances from Cillian Lenaghan (Theodore “Laurie” Lawrence) and Jack Ashton, playing John Brooke in Act One, and Professor Bhaer in Act Two. Stepping up to replace Honeysuckle Weeks as Marmee was Ellie Pawsey who totally owned this role.

Finally, as Aunt March, the domineering matriarch of the family, was Belinda Lang. I have liked and enjoyed Lang’s work for well over forty years. To Serve Them All Our Days (I’ll never get over Beth Powlett-Jones’ death – sob!), the brilliant Dear John and one of my all-time favourites, the often outside of the box comedy, 2Point4 Children. I can honestly say, though, such is the high calibre of acting from Lang, you would not have known it was her, such was she Aunt March. Powerful and formidable but caring at times. A wonderful performance I was privileged to see.

Little Women can be found touring the UK until November. Well worth a visit to the March family.

Cheers.

Antony N Britt

*Photos taken from the public domain (Primarily by Nobby Clark) and may not be representative of the actual performance reviewed.

Tags: Antony N Britt, Birmingham, Birmingham Rep, books, Drama, Little Women, Louisa May Alcott, review, Theatre, West Midlands, West Midlands Events

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The Producers — Stourbridge Town Hall — 16 May 2025

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May 19, 2025

What did Lewis say to Clark
when everything looked bleak?
What did Sir Edmund say to Tenzing
as they struggled toward Everest’s peak?
What did Washington say to his troops
as they crossed the Delaware?
I’m sure you’re well aware …

The Producers — Stourbridge Town Hall — 16 May 2025

Always a joy to be present at a Tinker’s Farm production and my outing to see The Producers was no exception. There is so much bad taste in this Mel Brooks musical, it’s wrong every way you look at it. Yet it is so brilliant. Blimey, it was controversial when the original film was released in 1967, so heaven knows how it survives a woke culture of the 2020s. Fortunately, it has, and audiences still enjoy this funny, well-written romp by Brooks (aided with the book by Thomas Meehan).

The plot: Failed Broadway Producer, Max Bialystock is persuaded by accountant, Leo Bloom that they could make more money from a flop than a success. Therefore, they choose a script about Hitler and the Third Reich and put it on Broadway. Now, I don’t know if it happened this time, but I have heard that folks have left during the interval in the past with this show, even before Springtime for Hitler. And that’s a shame because if people would accept it for the tongue-in-cheek farce that it is, they would see a great show.

In the role of Max was Daniel Cox who looked like he was born to play this role and excelled in all areas. However, it is Betrayed which is the solo of all solos that topped a marvelous performance. Equally good as Leo we had Richard Cooper who also nailed the part as written. I Wanna to be a Producer was superb. Also excellent and playing Ulla was Rebecca Bate who doesn’t enter until near the interval but at once makes a mark with When You’ve Got it, Flaunt It.

Normally I would have a dream of playing one character from a show but in The Producers, there is so much choice. Any of the following would fit the bill. As Liebkind we had Matthew Morgan and Der Gutten Tag Hop-Clop is as poor taste as they come, but it is so funny. Then you have the wonderful duo of Roger De Bris (Tom Bowes) and Carmen Ghia (Tyrone Howell). Again, totally as written in all the stereotypical glory that makes this show great. These are my favourite characters and led an extravagant rendition of Keep it Gay, which simply got bigger and bigger, eventually spilling into the audience. Completing the principals in fine send-up fashion was Dianne Hingley as Hold-Me Touch-Me, one of Max’s ageing backers.

This show is full of top-notch tunes in addition to those already mentioned. I have a fondness for We Can Do It, having performed it myself but the pinnacle of bad taste is Springtime for Hitler, and you must wonder how Mel Brooks got away with it all those years ago.

The Producers was directed and choreographed by Emma Harley with musical direction from Tim Harding and both can be well satisfied with the results. I must also credit the impressive costumes and excellent sound and lighting from Going Dark while not forgetting the slick stage crew who managed a good set. This must be difficult to work, especially as you need two versions of Max’s office, pre and post Ulla (No spoilers).

There was not one weak area in this production; cast or crew, and it was of the highest professional standards. Be sure to check out Tinkers Farm Operatic, for they are a gem of the Midlands theatre scene.

Cheers.

Antony N Britt

*Photos taken from social media and may not be from the actual performance attended.

Tags: Antony N Britt, Mel Brooks, Musical, Musical Theatre, review, The Producers, Theatre, Tinkers Farm Opera, West Midlands, West Midlands Events

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Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

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Now is the time to seize the day.
Stare down the odds and seize the day.
Minute by minute, that’s how we win it.
We will find a way.
But let us seize the day.

Newsies Jr. — Dormiston Mill Theatre — 10 May 2025

I had never seen Newsies before this showing, although I was familiar with several of the numbers, having performed or used them in concerts and pantomimes of my own. With the music of Alan Menken (Lyrics by Jack Feldman) and book from Harvey Fierstein, Newsies tells the tale of young paper vendors and their fight for decent pay, held back from them by the greedy newspaper owner.

This was my second sampling of West Bromwich Operatic Society Youth (WBOS Youth) and with the calibre of cast and links to the senior incarnation of this company, I knew I was in for a treat. I see a lot of youth theatre, and this was as polished as any professional production. I can honestly say that there was not one single weak area in any of the performances.

In the lead role of Jack Kelly, Melvin Umah excelled in all areas. Good acting and strong vocals, particularly during Santa Fe. Alongside him was Grace Boden as Katherine and she too gave a stunning performance and totally nailed Watch What Happens. I know how difficult that song is to master and time correctly and have seen it done both brilliantly and terrible in the past. Fortunately, Grace was the former. Amazing.

Sometimes in junior versions pre-existing songs from the full show are omitted and replaced with others, and this was the case with Just a Pretty Face. Led by Casey Michaela (who I saw recently for Birmingham Youth Theatre in the Snow White Panto) as Medda, this was a wonderful number with great vocals complemented by equally amazing backing and dance from Athena Paskin (Ada), Macy Pickett (Olive) and Holly Edwards (Ethel). Completing the principals were Jordan Obrien (Pulitzer), Freddie and Oscar Wetherall (Davey and Les), and Jack Keasley who gave a heartwarming performance as Crutchie and delivered a fine rendition of Letter from the Refuge.

The remainder of this brilliant cast were Isabelle Butt, Cameron Simms, Charlie McRobert, Isabelle Hale, Amara Dyer, Alice Moth, Harry Hemingbrough, Lola Wooldridge, Jack Mullen Hughes, Jackson Fryer, Honor Whitehouse, Ettie Bailey, Imogen Jeffs, Ayda Whitehouse, Dougie Goule, Gracie Richards, Maddison Ashmore, Phoebe Bird, Laney Murray, Anaya Patel, Robyn Harrison, Ava Figures, Layla Griffiths, Elsie Hogan, Amber Parkes, Izzy Evans, Eliza Flavell, Seth Foster and Heidi Gottschall. Please contact me if I have either missed a name or gotten one wrong. There were an awful lot of Newsies to list, and my eyes are getting old.

On top of the outstanding solo numbers there are some incredible company tunes, and this is where Newsies rocks. Carrying the Banner set the tone from the off and The World Will Never Know continued that. But it is the massive duo of King of New York and Seize the Day which had the audience punching the air. At the finale, after Once and for All, the audience were on their feet, and rightly so.

Costumes and makeup were excellent while backstage controlled a simple set which changed smoothly whenever it needed to. The director of Newsies was Emma Wetherall with choreography from Claire Flavell and musical direction by Amber Seddon.

This was a marvelous show; however, I am unfortunately in London for a West End Weekend at the time of WBOS Youth’s next production of West Side Story. If I were not, I would certainly be in attendance. I do, however, recommend you all are.

Cheers.

Antony N Britt

*Photos taken from social media and may not be from the showing reviewed.

Tags: Alan Menken, Antony N Britt, Musical, Musical Theatre, Newsies, review, Theatre, WBOS, West Bromwich Operatic Society, West Midlands, West Midlands Events, Youth Theatre

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& Juliet — Birmingham Hippodrome — 26 April 2025

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Hit Me Baby One More Time! In this case, because I am falling asleep as I’m so bored.

& Juliet — Birmingham Hippodrome — 26 April 2025

I have never been a fan of What If? scenarios. All those what if Germany had successfully invaded Britain? And then alternate universes like His Dark Materials. It always seems lazy writing. However, & Juliet appeared an interesting concept with a world where Shakespeare and Anne Hathaway battle to create the perfect sequel to Romeo and Juliet; one where the lovers did not die. A decent enough idea. And that’s where the interest ended. Within the first ten minutes I was bored and checking the time.

The plot by David West Read is weak and full of more holes than the roads of Birmingham after a bad winter. The major chasm was the fact that once Romeo returned, nobody mentioned that Juliet’s proposed marriage to Francois could not happen because by not being dead, Romeo was still her husband. The reveal only happened at the convenient critical point it was needed towards the end. Yeah, husband survived and quite normal to forget you are still married to them. It is normal, isn’t it? Hmm, I thought not. And I can’t say I recall many of the characters, including Romeo’s best friend who is introduced at the beginning of Act Two as a device then discarded and not heard of again once their usefulness was at an end. And all of this was before we got to the script itself. The dialogue so incoherent at times it went in one ear and out of the other.

And the same level of forgettable can be said for the music. It was dire, all sounding extremely generic and even the two Britney Spears songs that I recognised (… Baby One More Time and Oops!… I Did It Again) were insipid due to the amount they had been watered down.

Composer, Max Martin has been described as a Hitmaker, and his success is hard to dispute. But the world of pop music has always been filled with those who inflict onto us what I like to call Dustbin Music. In other words, listen to it, like it, then lose it in the trash where it belongs once you’ve tired of it. Such was my experience of & Juliet. So much so, I am not going to bother listing any other numbers, because there are none of note. Even Can’t Stop the Feeling, which I have performed myself, isn’t as good as the version in the Trolls movie.

I can appreciate, I was not a fan to begin with, but I can say despite me believing I would be in the minority with my criticism, the audience were clearly also divided between loving it and wanting to be anywhere but the Birmingham Hippodrome.

I must give some credit, though. The performances of Jay McGuiness (Shakespeare), Geraldine Sacdalan (Juliet), Lara Denning (Anne), Sandra Marvin (Angelique), Jordan Broatch (May), Kyle Cox (Francois) and Ben Jackson-Walker (Romeo) were all okay, given the material they had to work with. Not sure what Ranj Singh, a former Daytime TV Doctor playing Lance added to this show, though, but he looked like, erm, a former Daytime TV Doctor appearing in a show.

Musical supervision was courtesy of Bill Sherman with choreography from Jennifer Weber. The director was Luke Sheppard. & Juliet was a long two and a half hours to endure, and I won’t return to it in a hurry.

Cheers.

Antony N Britt

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

Tags: & Juliet, Antony N Britt, Birmingham, Birmingham Hippodrome, Musical, Musical Theatre, review, Reviews, shakespeare, Theatre, West Midlands, West Midlands Events

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Tom’s Midnight Garden — Sutton Arts Theatre — 29 March 2025

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April 20, 2025

Time No More.

Tom’s Midnight Garden — Sutton Arts Theatre — 29 March 2025

I first read Tom’s Midnight Garden by Philippa Pearce back in 1974 after enjoying the three-part BBC adaptation. I also loved the 1999 film; therefore, I had no hesitation in going to see David Wood’s stage version at the lovely Sutton Arts Theatre. A nice friendly welcome by Front of House and I found myself on Row A1, so close I could have reached out and read the annuals by the bed where Tom’s brother, Peter, spends most of the play. Talk about immersive.

The plot. Set in the 1950s, while his brother has measles, Tom Long goes to stay at his aunt and uncle’s converted flat in what was once a large manor house. At night, when the clock in the communal hallway inexplicably strikes thirteen, Tom finds he can escape to a time 50 to 70 years earlier. There he meets a young girl, Hattie, but on each visit she is a different age. This continues until Hattie reaches adulthood and forgets what she thought of as being a ghost or imaginary friend.

Directing was Louise Farmer who can be well proud of the results. These were made more memorable by an impressive set designed by Mike Nattrass which changed many times throughout. Therefore, further credit must go to the stage crew managed by Allan Lane and Evie Rice. Evie also controlled the Pincher the Dog puppet to favorable effect, and yes, when I first saw the publicity photograph below, I thought it was a real bloody dog!. Good lighting, sound and excellent costumes completed what was a polished production.

In the role of Tom was Finlay Rowland who captured the character of the inquisitive boy well. Playing Hattie was Gracie Reynolds, and she was also strong, really bringing out childlike naivety and carefree spirit. As Aunt Gwen and Uncle Alan we had Becky Easen and Mark Nattrass delivering convincing performances. Then there was poor Peter, for whom Peter Barker had to spend much of the play under the bedcovers next to me, being driven mad by the aroma of my family size bag of M&M’s. Other prominent roles included Mrs Bartholemew (Valerie Tomlinson), Susan (Evie Rice), Aunt Grace (Katherine Vance), Abel (Jerome Pinnock-Glasgow), James (Kian Haden), Edgar (Ethan Jones) and Barty/Hubert (Samuel McCormack). Further parts were portrayed by Frankie Donahue, Nancy Wright, Amelia Ryan, Heidi Haskins and Lucy Darby.

Tom’s Midnight Garden is a beautiful tale, and I loved every second of it, especially the timey wimey stuff and particularly the scene with the ice skates. In fact, my fiancée and I enjoyed it so much we watched the 1999 film version a few days later. The power of a good production.

Cheers.

Antony N Britt

*Photos taken from social media.

Tags: Antony N Britt, art, Birmingham, books, Philippa Pearce, Play, review, Sutton Arts Theatre, Theatre, Tom's Midnight Garden, West Midlands, West Midlands Events

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Sister Act Jr. — The Lamp, Brownhills — 8 March 2025

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March 21, 2025

I had previously seen Sister Act four times by amateur or youth companies, all amazing and this offering by Brownhills Musical Theatre Company Youth was no exception. It was also the first time I had seen the youth section of BMTC, and the future looks bright indeed for this society.

Sister Act tells the tale of Deloris, a singer, who witnesses a murder by the hands of her gangster boyfriend and as a result, goes into witness protection in a convent. Unwelcomed by the Mother Superior, but popular with the rest of the nuns, Deloris transforms their singing with the result of drawing attention to her secret hideaway. Lots of fun, finding inner strength and learning who we are, later, a happy end is in store for all … except the gangsters.

Playing Deloris was the wonderful Maggie Bell, who I appeared in panto with over eight years ago. Half a lifetime, for Maggie that is, and it is no surprise now to see her as the lead commanding the stage. Great sass and excellent vocals, particularly in the title song. In equally top form was Amelia Kinsey as Deloris’ reluctant ally in Mother Superior. Here Within These Walls was perfect. Good convincing acting, too.

As Officer (Sweaty) Eddie Souther we had Jake Silvester and I really enjoyed the rendition of I Could Be That Guy, with the three different costumes worn throughout that song. No wonder they called him Sweaty Eddie. In the role of Mary Robert, I was most impressed with Millie Parsons; one of the best renditions of The Life I Never Led I have heard. Such strong vocals, hitting that top note with ease. Completing the leading nuns were strong performances by Grace Hill (Mary Patrick), Poppy Tye (Mary Lazarus) and Ophelia Rooney (Mary Stephen/Newscaster).

Sam Khatri doubled up well as the comical Monsignor and gangster Joey. And that is the only drawback about this junior version, the gangster roles are all but cut. However, there was still time enough for Connor Matthews (Curtis), Nataniel Done (TJ), Carrick Kennerley (Pablo) and Jenson Done (Ernie) to shine. The rest of this fabulous cast were Charlotte Wilkes-Brotherton, Millie Silvester, Darcey Wood, Isobel Southwell, Mia Brotherton, Sophie Brotherton, Ivy Cameron-Prowse, Abbie Crump, Roxie Kennerley, Poppy Martin, Ronnie Gelder, Scarlett Mason and Aria Legister.

The version of Sister Act was directed by Sonia Cameron with musical direction from Ian Windsor. The amazing choreography came courtesy of Elizabeth Hill and Sian Cameron. All on production can be enormously proud of the results on show.

Sister Act features the music of Alan Menken with lyrics by Glenn Slater, plus a book from Chris and Cheri Steinkeller. Having performed this show myself, I was familiar with all the musical numbers and therefore do not have a favourite. I also pre-empted most of the humour with my prior knowledge, but such was the excellence of the cast, I still found it all equally funny.

According to the programme, BMTC Youth was formed in 2019 and strike off a year for Covid, then this is still a very new setup. And one that I approve of. More societies should encourage youth, because one day main societies will need them.

Cheers.

Antony N Britt

Tags: Antony N Britt, Brownhills Musical Theatre Company, Musical, Musicals, review, Reviews, Sister Act, Theatre, West Midlands, West Midlands Events, Youth Theatre

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Shrek — The Arena Theatre, Wolverhampton — 21 February 2025

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March 7, 2025

I must be honest, I only went to see Shrek because I am a huge fan of Starcross Theatre Company, having been wowed by them on many occasions. You see, when I saw another production of Shrek a few years ago, I did not enjoy it. This, however, was not the case with Starcross. OMG! Fantastic performances with so much energy, bringing the story to life in a way which had me hooked from the start.

Shrek — The Arena Theatre, Wolverhampton — 21 February 2025

Based on the 2001 film of the same name, Shrek is a fairytale which delivers off the wall scenarios and plotlines that oddballs like me love. And this musical version by David Lindsay-Abaire has all those elements in it, plus a decent score from Jeanie Tesori. Great humour without being corny.

In the lead role was Mitchell Griffiths who totally captured the character of Shrek. Strong voice in both song and spoken dialogue. A perfect performance. Now, Starcross always split their shows into two casts for many of the lead parts, taking alternate shows and Shrek was no exception. On my viewing, Kelsey Taylor played Princess Fiona, and I was impressed by not only the amazing voice and acting, but also when not centre stage. Facial expressions and reactions which came across perfectly. As Donkey we had Tia Rafferty who totally owned this extrovert role. Then, playing Lord Farquaad was Darius Stirbat, embracing this character well and taking all the hits that the script throws. The voice behind the dragon was courtesy of Scarlet Bennett. Top marks for that. I also enjoyed Daisy Lunt’s Pinocchio for its excellent comic portrayal. Then, I must credit Lexie Jennings and Lily-Grace Palmer as the young and teen Fionas during I Know it’s Today, which was my favourite number of the night.

Other songs which hit the mark for me were Build a Wall, Freak Flag, Who I’d Be and the rousing finale of I’m a Believer. Credit must go to Ben Batt as MD for getting the best out of the cast, particularly as I know how hard it is working to backing tracks. And that brings me to a point. Some might scoff at backing tracks with musical theatre snobbery, but saving costs are the only way many companies can survive. Shame for the musicians, but that’s life in the 21^st century.

Christine Cross, Lily Cross and Alex Hill played Fiona, Donkey and Farquaad, respectively on other performances, and there were, of course, many other alternates, but it’s too complicated for my brain to work it out. Therefore, the rest of the cast of Shrek were (Here we go, and tell me if I’ve missed anybody) Summer Taylor, Lauren Downs, River Onions, Dimitri McDonald, Jay McDonald, Sharon Mokam, Ashleigh Foster, Jack Harley, Lotte Wilkes, Cole Bennett, Elise Harrison, Callum Brothwood, Grace Fletcher-Brown, Ellie Fletcher-Brown, Zadie Wilson-Smith, Requane Wade, Harry Webb, Alexa Nutting, Tyler Nutting, Jaime Nutting, Millie Hateley, Sophie Spruce and Xanthe Marshall.

In addition to the already mentioned musical direction, Phil Cross MBE directed and produced Shrek along with Belinda Cross and Christine Cross on production and choreography. And that latter regarding the dance must also get a mention of praise. Excellent, as was the marvellous set for which the movements during scene changes ran like clockwork. Also, some great costumes and makeup. A good production all round.

This was so much better than the version I saw a couple of years ago. It meant something to those on stage and I felt immersed and part of it. I have been coming to see Starcross for a few years now and do not intend to stop. Youth Theatre is the future, and Starcross are one of the best.

Cheers.

Antony N Britt

*Photos taken from social media during the entire run and may not relate to the performance reviewed here.

Tags: Antony N Britt, Arena Theatre, Musical, review, Shrek, Starcross Youth Theatre, Theatre, West Midlands, West Midlands Events, Wolverhampton, Youth Theatre

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Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

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February 4, 2025

Out of the many pantomimes I have been to, I had never seen a version of Hansel & Gretel before. However, I had previously sampled Smile Musical Youth Theatre and many scripts by the talented writer, Joe Logan and knew I was in for a treat. It had been a trying day, but all the woes inflicted on myself were banished after two hours of comedy, great song, acting and dance.

Hansel & Gretel — Gospel Oak School, Tipton — 25 January 2025

The classic Brother’s Grimm tale of Hansel & Gretel is a simple one. Kids get lost in the forest and end up in a witch’s gingerbread house, or something on those lines. So, to make that into a full show required many sub-plots, a fact which was even cleverly used as a line in the script. Now, we have the heroes preparing for the Ultimate German Bake Off (topical) while the cast contend with not only the Wicked Witch of the Woods, but an evil stepmother to the twins in Brunhilda, who turns out to be the witch’s sister. Therefore, throw in a wonderful OTT dame, a couple of villainous stooges, an unlikely hero amongst others, and the plot certainly thickens.

Excellent Front of House selling programmes, raffle tickets (I didn’t win), hot and cold drinks, snacks, and gifts. Nice to see so much effort and ingenuity to make money to bolster funds. Directed and choreographed by Chair of Smile, Joe Logan, Hansel & Gretel ticked every box and was helped by the excellent musical direction and vocal coaching of Emily Beaman and Sarah Jennings, respectively. I must also commend the wonderful costumes, under the control of Suzanne Harris, especially those worn by Dame Fanny Knickerbocker.

Heading a cast of 30 we had Freddie Perry (Hansel) and Andgelle Batchelor-Foster (Gretel) who combined well, especially during I Can’t Lose You. Then, in the role of the previously mentioned Dame Fanny, we had Josh Mills, who owned this unique type of role which was handled with respect in our age of greater trans awareness. Good interaction with the audience and even more so from Taylor Simner as Otto. It takes great confidence to hold the audience, and both were on top form.

Also flying solo at the top of the show was Isobel Landa who was superb as Willow, the Spirit of the Wood. Equally so, the impressive Ruby Blount. Not the first time I have seen Ruby in panto and excellent as always portraying Brunhilda. I particularly loved the character leading Little Girls. This was not the Annie stage version, but the one used in the 2014 film which I have preferred since first hearing it.

This show had a plethora of baddies and none more so than the Witch of the Wood for which Molly Bastable was outstanding. I also thought the combination with her two comic stooges worked well, and Erika Steventon (Jobs) and Erin Grehan (Worth) added comic moments while also combining well with Bastable in my favourite number of the night, Candy Store.

Other good song leads came from Sam Broomhall-Tighe (Christophe) in Waving Through a Window, Thomas Bastable (Mayor Manfred) with The Final Countdown and Tegan Lynch (Paula Dollywood) for Jolene. Finally, another character I took a shine to was Wilma the Weasel (who may or may not be a stoat) played by Grace Glover. She led a good rendition of The Wild Wonders with Charlie McRobert as Frank the Fox.

Other named characters were Klaus (Max Ridley) and (Anna) Ezme-Jean Forbes-Moore, playing alongside a strong ensemble. These were Katelyn Harper, Cat Allsop, Evie-May Smith, Tobias Tart, Annabelle Bevington-King, Hannah Allsop, Macy O’Donoghue, Amelia Perry, Kyra Jepson, Georgia Haynes, Isabella Fitzpatrick, Makena Straker-Sharpe, Isla Smith, and Libby Sandle. Please tell me if I have mistakenly missed anyone.

This was a wonderful and thoroughly enjoyable show; thank you so much for the invite. Smile return at the end of May, this time to The Dormiston Mill Theatre where they will perform Jesus Christ Superstar. I recommend you check them out.

Cheers.

Antony N Britt.

*Photos courtesy of Smile Musical Youth Theatre.

Tags: Antony N Britt, Birmingham, Joe Logan, Musical, Musical Theatre, Panto, Pantomimes, review, Reviews, Smile Musical Youth Theatre, Theatre, Tipton, West Midlands, West Midlands Events

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Snow White — The Crescent Theatre, Birmingham — 11 January 2025

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Always a joy to watch Birmingham Youth Theatre and I have become a regular at their wonderful pantomimes over the past few years. This time it was Snow White, and the fun and talent were there for all to see. Adapted by Adam Swift and Paul Delaney from an original script from the talented Joe Logan, this version had a twist at the end which I totally approved of in terms of who Snow ended up with. So much better than the cliched endings that most have with heroines being rescued by the male prince (Ugh!). I also loved the dark humour which crept in at places, particularly the dance featuring the dead creature killed seconds before. Only now being propped up by two live ones. Oh yes, we love off the wall ideas.

Snow White — The Crescent Theatre, Birmingham — 11 January 2025

Under the musical direction of Chris Corcoran, there were some great numbers delivered well by all the cast, and what better opening song to have than Mr Blue Sky, because you can’t beat a bit of ELO. Others which I loved included Don’t Stop Me Now, You and Me (But Mostly Me) and Dance the Night, but my personal favourite was the powerful end to Act One and Someone Gets Hurt. Then, a panto always needs a good finale and that was achieved with We Are Family. And you got the feeling that meant something to the cast, because societies like BYT are more than simply a means to putting on productions, they are a family, and it shows.

In the role of Snow White was the excellent Sharouq Al Saffar who was supported well by the comic lynchpin in Muddles, played by Gethin Renderson. On the Darkside, though, there were some memorable performances by Casey Michaela (Lucrecia), Sophie Ashford (Mirror) and the especially convincing Joseph Taylor as Fleshcreep. Also strong in the principals were Edgar Shirley (Prince), Daisy Wright (Sally), Evelyn Palmer (Narrator), Ava Parker (Little Snow), Alexander Lee (Billy), Alfie Phelan (Bobby), Freya Baylis (Youngster), Megan Allsop (Queen), plus Sophie Terry and Lucy Jones (Guards).

And then there be Dwarfs, played with fun and sensitivity by Amelia Rosado (Mopey), Bobby Hayward (Sloppy), Finlay Hall (Wheezy, complete with inhaler), George Beckett (Gok), Jessie Butler (Trumpy, with the inbuilt secret weapon), Talia Hockley (Cashful) and Maddy Sykes (“That’s so sad!” – Weepy). But we also had the dwarf Mums. These were Hannah Ashford, Anna O’Hara-Green, Martha McGrath, Ava Jones, Elizabeth Soffe, Georgie Dunn and Livvy Owen. Completing the Dance Troupe and Ensemble was Amelia Soffe, Amy Flanagan, Charlotte Foxhall, Eden Blayney, Erin Haran-Lewis, Grace Kelly-Vernon, Cerys Worthington, Ena Moreton, Oonagh Williamson, Ariana Rahman, Breah Grimley, Edina Bilham-Moore, Eva Campbell, Niamh McKeon, Shire Clarke, Sophia Chilton, Tayla Clarke, Thomas Harmon and Tiffany Clarke. Please tell me if I have mistakenly missed anyone.

I must applaud all the fabulous costumes, particularly for the two dames who were respectfully represented in this age of trans awareness. Choreography was by Emily Bullingham and Lydia Rose Hackett with the latter also directing this entertaining show. I must also commend an excellent Front of House, and it was nice to be invited to the Green Room during the break and catch up with some familiar faces.

Birmingham Youth Theatre return to The Crescent in July with Footloose. I highly recommend you get tickets.

Cheers.

Antony N Britt

*Photos taken from social media: Paul Goode Photography.

Tags: Antony N Britt, Birmingham, Birmingham Youth Theatre, Christmas, Crescent Theatre, Musical, review, Reviews, Snow White, Theatre, West Midlands, West Midlands Events, Youth Theatre

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Antony N Britt – Author

Finding Jessica

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Tag Archive: West Midlands Events

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Snow White — The Crescent Theatre, Birmingham — 11 January 2025

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