Tag Archive: Writing


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. ***

I can’t go back to yesterday because I was a different person then.

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

I have always had a fondness for Alice in Wonderland, even bypassing the suspicious inclinations of its author, Lewis Carroll and possible intentions surrounding his muse, Alice Liddle (i.e. missing diary pages torn out by descendants after his death). I guess we will never know and what we are left with is one of the greatest works in literature with a message that we should question strict rules and embrace the absurd while navigating a confusing, illogical adult world. It is one I have always followed, especially being autistic. Basically, the method Alice uses is that of eating and drinking anything she comes across in the hope that it will solve her problems. Life is best lived as a fairytale; that has always been my motto, and I have always looked to live within a world of imagination. Well, it’s a lot more fun than real life, isn’t it?

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

This was my first time experiencing the youth talent of Illuminate Performing Arts for this production of Brainerd Duffield’s adaptation which combines Alice’s Adventures in Wonderland and Through the Looking Glass. I have to say, I loved every minute as we were transported to a series of wonderful worlds full of fun, fear, and fantasy. Lily Nolan shone in the role of Alice, balancing innocence and spark while Lilly Goodwin was particularly scary as the psychotic Queen of Hearts. She gave me that megalomanic vibe I get from the current President of the United States. Yep, power corrupts. Also, speaking of psychosis, Harry Andrews was suitably strong as The Mad Hatter, complemented well in his tea party by Sophia-Rose Nykamp (Dormouse) and Elora Williams (March Hare). Then there was the White Rabbit played by Phoebe Smirthwaite who we all followed down the hole and into a brand-new universe. Supporting well, were Lucas Sousa (King of Hearts), Beau Sirrell (Cheshire Cat), Harrison Nield (Caterpillar/White Queen/7 of Spades), Kearney Carmichael-Wearing (Red Queen/5 of Spades), Hannah Clayton (Mouse/Mock Turtle) in good voice, Rocco Santoriello-Smith (Gryphon), Scarlett Smith (Duchess/Humpty Dumpty), Rory Hoey (Frog Footman/Tweedledee), Louis Clayton (Fish Footman/Tweedledum), Evie Beale (Cook/2 of Spades), Ruby O’Kelly (Knave of Hearts) with Hannah Wong and Harriet Strange (Ensemble).

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

The production team for Alice in Wonderland was Kerri-Anne Boyle (Principal), Scott Cartwright (Teacher), Chloe Amos (Teacher) and Jon Millen (Production Assistant). All of them can be proud of the results which were fully appreciated by the audience on an extremely sweltering day. Although there were fine performances throughout, what impressed me was the characterisation from all principals to ensemble. Facial expressions and movements which often go unnoticed by some but are essential in creating the world on stage. A lovely and entertaining Sunday.

Alice in Wonderland — Alvechurch Village Hall — 19 July 2026

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. ***

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. ***

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.

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

I was determined to hate Anfield Stadium in Liverpool. You see, back in the days when I gave a toss about football, in 1979, my worst experience happened when at the age of 15 I was kicked to pieces by men in their 30s and 40s. It was also the worst racist abuse I have heard directed at black players (to this day). Not just a few, 50,000 of them. However, after the horrible experience of Villa Park seeing the Foo Fighters two years ago with the worst venue ever for a stadium gig, Anfield was the best. Friendly, helpful staff, low queues, loads of toilets, clean, and decent food (for a football ground). Two years ago in Aston, the sound was terrible, but this time every word and chord of the Foo Fighters was clear as they rocked the Liverpool stage.

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

Kicking off with All My Life, a packed audience were on their feet most of the night for Dave Grohl and the band, hearing hit after hit including The Pretender, Times Like These, My Hero, Learn to Fly and Walk. A short foray to the B-Stage for an acoustic set which included Wheels, Big Me and Under You. And then back to the main with Monkey Wrench, Breakout and Aurora (dedicated to Taylor Hawkins).

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

The Foo Fighters, in the earlier times that I have seen them, have always had big guest appearances. This time, it was a guy from (apparently) the crowd who solved a cube puzzle to play a song. He took the drums and boy, could he do them well, and all on his 18th Birthday. Of course, it was a setup. His name was Max and he is Dave Grohl’s daughter’s boyfriend. But it was a cool moment anyway.

Foo Fighters — Anfield Stadium, Liverpool — 25 June 2026

The obligatory encore included The Teacher, about Dave’s late mother, and we ended the night with Everlong, accompanied by a massive firework display. One thing I always love about going to see the Foo Fighters is the crowd singing parts of a certain song as they leave. This was the seventh time I have seen the Foos, and I have to say, the best yet from start to finish. I cannot remember a single negative. The band ended the main set before the encore with the classic Best of You, and I can honestly say that those watching got the best of them.

Cheers.

Antony N Britt

This one was over 50 years in coming, a lifetime after I first heard the drum beat of Can the Can. Suzi Quatro is now 75 and I can only hope I have that much energy in thirteen years’ time. Okay, maybe not as raucous as 1973, but still a great voice and hitting that bass with profound effect. With a full band and backing singers whose names I can unfortunately not recall, Symphony Hall roared from start to finish.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026

Launching into The Wild One, the show had two long sets giving you hit after hit among many other tracks. In addition to the two already mentioned, we had Devil Gate Drive48 CrashStumbling InIf You Can’t Give Me Love and She’s in Love with You, and many more, as they used to say in the 70s on the old K-Tel adverts. Other personal favourites of mine were Daytona DemonMama’s Boy, and Little Miss Lovely. However, covers of Slow Down (Larry Williams), Bad Moon Rising (Creedence Clearwater Revival), Rockin’ in the Free World (Neil Young) and Sweet Little Rock and Roller (Chuck Berry) were also top drawer.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

The night gave us a pure nostalgia fest and proved Suzi can still rock us other oldies (as most of the audience were) and still pull off the denim and leathers. As well as the music, there were stories and history with Ms Quatro really connecting with the crowd. From the early years as a singer with her sister in The Pleasure Seekers, Quatro tells of contacting Micky Most and heading to the UK where she became the star she still is today. Tales of TV including Happy Days (Happy memories as Leather Tuscadero) and being killed off in Midsommer Murders. Mind you, not listening to mainstream radio for 40 years I had no idea she spent 15 with her own show on BBC Radio 2. My musical theatre experience, unfortunately, never brought me to see her in Annie Get Your Gun in 1986, but I do have the cast recording, as I do all of her albums.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Although the late 70s was when I was in my teens and discovering my taste in music, the era of Quatro, Slade, The Sweet and T Rex helped form those likes for the future, and Suzi played a huge part in that. And I can only say, thank you, Suzi. A great night out.

Suzi Quatro — Symphony Hall, Birmingham — 19 April 2026 Photo © Antony N Britt 2026

Cheers.

Antony N Britt

Do you believe in fairies?

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

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

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

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

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

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

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

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

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

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

The Cottingley Fairies — Birmingham Hippodrome — 12 April 2026

Cheers.

Antony N Britt

*Photos taken from social media and the internet.

Who Do You Think You are Kidding?

A group of Home Guard Volunteers collect for the needy during WW2

Soldiers Without Guns.

A collection of Land Girls and Auxilary Volunteers meet to go to the cinema, amidst the conflict of WW2.

How to Kill Five Minutes With a Short Sketch – The Amateur Dramatics Committee.

An amateur dramatics committee meet to discuss their next production.

The Restaurant.

A purely visual restaurant scene with many guests and the comic incidents which occur, set to classical music.

Hire Fees, based on proposed theatre capacity:

Up to 150 seats £20 per performance.

151 to 300 seats £30 per performance.

301 to 500 seats £40 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 scripts, you can use either the contact function or direct at antonynbritt@gmail.com

All works belong to the author, and any unauthorised use is strictly prohibited and will result in legal action.

Having worked before with all three writers involved in this production, I had no hesitation going to see one of the debut performances of Ghost Stories. This is a one act play (55 minutes) written by the partnership of Scott Cartwright and Joshua Coy in collaboration with Kieran Sketchley. Performed in a small, intimate venue, Ghost Series is a fully immersive experience where you believe you are in the woods with our players. The show consists of two characters and five voiceovers, which within the context of the setting, are creepy in the extreme.

Ghost Stories — Dingle Social Club — 26 October 2024

Teddy and Jasper go camping overnight in the woods to find the truth about recent bear attacks which have claimed the lives of children and their adult camp leader. Here they confront fears and memories of the past through storytelling around the campfire. This tests their friendship as they unlock the doors which have kept the horror and secrets of the past firmly hidden.

Scott Cartwright (Teddy) and Kieran Sketchley (Jasper) are both accomplished and professional performers and I was completely riveted by their delivery. Very good interaction between the two with great chemistry. The voices of the kids were provided by Ava Vaughan, Luke Green, Sophie McDonald and Maria Lee Vazquez with Brandon Ferguson as Camp Leader Ferguson. These voices blended well, fitting in perfectly with the setting.

Ghost Stories — Dingle Social Club — 26 October 2024

To have a performance containing just two onstage actors is challenging but the results here were a captivating scenario which had you gripped through many twists and turns right until the end. I particularly liked the injection of humour alongside the suspense, a method I always enjoy. Without giving too much away, a conclusion was used that I have often done myself, and that is the real horrors out there are not the monsters, but people themselves.

I also liked the pre-show exchanges which gave clues, foreshadowing much of what was to come. A thoroughly enjoyable afternoon’s entertainment and I have no hesitation in recommending any future productions of this, or any others from this talented writing team. One last observation; Teddy Bears Picnic really is a creepy song.

Ghost Stories — Dingle Social Club — 26 October 2024

Cheers

Antony N Britt

*Some photos taken from social media

There’s a place for us. 
Somewhere, a place for us. 
Peace and quiet and open air. 
Wait for us. 
Somewhere.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

I have never been a fan of Bernstein, Sondheim and Laurents’ West Side Story. Hated the 1961 film (although enjoyed the 2021 remake) and have always found the characters unlikable. I have even performed the show on stage, and still did not enjoy it. However, I loved this version from the wonderful Starcross Youth Theatre.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

What can I say? I see many amateur and youth companies and in Starcross, an exceptional quality of talent runs throughout. There were no weak areas in this production, time flying fast due to being captivated by what was on view. Of course, West Side Story is one of the best-known musicals going. A re-imaging of Romeo and Juliet set to gang warfare in 1950s New York. And as I have said, few characters in the show are likable, but still engaging all the same.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

Playing Tony was Brandon Harrison who once more shone in a lead role, excelling during Something Coming and Maria. Then, complimenting him as Maria herself in this performance was Christine Cross. A believable portrayal with added petulance and fight which brought more to Maria than just being perfect, which has often been the case in the role. Great control in voice, hitting the top notes during Tonight and One Hand, One Heart, in particular. Plus, excellent acting and dance.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

As Anita, we had the outstanding Kelsey Taylor. This is such a good role and Taylor totally gave it justice with A Boy Like That. Superb. In the part of Riff, Alex Hill was on form as the hot-headed leader of the Jets, as was his Shark counterpart, Bernardo (Dimitri McDonald). One other performance also standing out in the principals was Lily Cross as Action where I totally believed the anger issues shown in the characterisation. That moment where one person constantly grabs your attention each time they are on stage.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

The rest of the cast was made up by Noel Jeavons (Diesel), Tia Rafferty (A-Rab), Daisy Lunt (Baby John), Emmie Adcock (Snowboy), Callum Brothwood (Gee-tar), Sophie Spruce (Mouthpiece), Lucy Keates (Spiff), Lauren Downes (Anybody’s), Jack Harley (Chino), Jay McDonald (Pepe), Requane Wade (Luis), Mia Lombard (Anxious), Elle Fletcher-Brown (Nibbles), Grace Froggatt (Juano), Zadie Wilson-Smith (Toro), River Onions (Rosalia), Lexie Jennings (Consuella), Shayera McDonald (Francisca), Lottie Wilkes (Margarita), Lily-Grace Palmer (Estella), Scarlet Bennett (Graziella), Alexa Nutting (Velma), Darcy Harman (Minnie), Holly Hunter (Clarice), Harry Webb (Doc) and Jaime Nutting (Krupke).

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

The final cast member to be mentioned gets a special one as six years ago I played Shrank, so I took note and not only was Mitchell Griffiths strong and commanding as the Police Lieutenant, but I was also genuinely scared at times.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

On alternate performances some roles were changed, including Maria/Darcy Harman, Riff/Lucy Keates, Anita/Holly Hunter, A-Rab/Jack Harley, Pepe/Ellie Fletcher-Brown and Lily-Grace Palmer/Consuela, all swapping the roles with those I saw.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

This production pulled no punches, particularly staying faithful during that scene towards the end in Doc’s Drug Store. Shocking, yet not glorified. I must also credit some wonderful choreography, especially during the dream sequence, plus America and Dance at the Gym. There was so much to enjoy about this offering, and I do think Starcross has won me over into liking West Side Story now. And how can I finish without mentioning the epic Tonight Quintet? Heck, the whole show was amazing.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

At the helm in terms of production, direction and choreography were husband and wife team and Starcross founders, Belinda and Phil Cross MBE. The vocals were also on top form throughout, and this is a testament to the direction of Ben Batt in terms of music, with support from Ashleigh Foster. Especially so as due to West Side being ridiculously OTT and expensive to do with a live orchestra, backing tracks were used by Starcross. Most in the audience would not have been able to tell, and how brilliant it was that the timings were all spot on. Such a feat. As well as playing Maria on the night, Christine Cross also aided in production as well as choreography where the latter area was then supported by April Kruszynski, Emma Babiy and Brandon Harrison.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

A thoroughly enjoyable night.

West Side Story — Arena Theatre, Wolverhampton — 17 February 2024

Cheers.

Antony N Britt

*Photos taken from Social Media.