Royal Shakespeare Theatre, Stratford-Upon-Avon – until 7 September 2024

Reviewed by Amarjeet Singh

5*****

The tale of The Merry Wives of Windsor revolves around Sir John Falstaff and his antics with the Merry Wives of Windsor, Mistresses Ford and Page. Arrogant, sly and hedonistic, the only thing larger than Falstaff is his ego. Arriving in Windsor, he decides to address his financial issues by seducing the wives who happen to be married to two wealthy merchants. The wives discover they have been sent identical letters by the lust filled lothario and plot to take their revenge by playing tricks on Falstaff when he tries to carry out his seductions. Meanwhile Mistress Page’s daughter, Anne, has a fair few suitors fighting for her hand in marriage. Justice Shallow’s nephew Slender, Anne’s father’s choice, Doctor Caius, Anne’s mother’s choice and Fenton, Anne’s choice. Complications ensue when all three men connect with Mistress Quickly, Doctor Caius’ assistant and a friend of Anne, asking her to help them to win Anne’s affections. Much hilarity ensues as each character pursues their needs and ultimately bring Falstaff to justice.

This production is beautiful, modern, and fresh. With a myriad of mustard hues weaving their way through Windsor, the style, set, direction and casting is utter perfection. The Merry Wives themselves, played by Samantha Spiro and Siubhan Harrison are a joy to watch. The mischief and comradery in their cahoots is so natural, as if they were actual friends. This made their antics completely believable. The joy they took in spicing things up in Windsor oozed from them and Spiro’s scream made us scream with laughter. Shazia Nicholls performance as Mistress Quickly made for sublime viewing, Quick witted, delivering the role with real warmth and humour she brought the character fully to life. John Hodgkinson is a fabulous Falstaff, commanding the stage with oodles of comedy, swagger, and ease, engaging the audience in his various misdoings which saved him from being a complete villain. Scenes of him dressing up as a maid, jumping into laundry baskets and being chased, had the audience roaring with laughter. Jason Thorpe as Dr Caius, Ian Hughes as Sir Hugh Evans and Patrick Walshe McBride as Sir Slender brought much laughter as the battling suitors, the physical comedy amplified every comedic moment. The cast as a whole combined to make this a fantastic production. Director Blanche McIntyre’s contemporary and modern interpretation worked perfectly. The set and costumes by Robert Innes are stunning. The central backpiece of it rotated to reveal a pub, a front door, a side alley, an office, and a living room, ultimately lifting to reveal its final, haunting piece of set. The lighting by Malcolm Rippeth and the live music composed by Tim Sutton combined with the set and costume to give us a believable, relatable, and contemporary Windsor.

This was a wonderful adaptation of The Merry Wives of Windsor similar to that of a quintessential English sitcom. Bright, bold and brimming with belly laughs, its guaranteed to leave you merry.

Cockpit Theatre – 23 June 2024

Reviewed by Claire Roderick

3***

It is a real treat getting the opportunity to see a new science fiction play, and Tani Gill’s Jupiter’s Ghost is a solidly entertaining piece exploring The Last Spark of Humanity – familiar themes of consciousness, humanity and morality.

Sam Lucas Smith’s ominous voice-over relates the destruction of Earth and humanity’s merging with AI to create a race of synthetic hybrid humanoids. Alone on a spaceship, Dr Crete (Conor Pavitt) is obsessively working on human clones to rebuild a new Earth, but is this an authorised experiment or a solo mission? Crete’s teenage son, Jove (Jack Chambers), is bored, frustrated and curious about Crete’s latest clone – Jupiter 101 (Olivia J Knight). Jove’s disgust at humanity, knowing what they did to each other and their planet, fades as Jupiter becomes his obsession too.

Earlier experiments are brushed over, but Lola Kinard’s wonderful opening dance becomes clearer as a failed clone who gets weaker as her spark of humanity fades. Also on board is CAII, an AI assistant (Madison Lazarus), and the omnipresent Mother (Hannah Turner) – an enigmatic figure only sensed by Crete and Jupiter.

Gill directs her play with an intuitive flow through episodic encounters between the characters – with the obligatory Star Trek door opening sound signalling entrances and exits between chambers. Rather than making Jove’s origins mysterious, Gill makes this obvious from the beginning of the play with many verbal and physical clues, building the audience’s sympathy for the young man in his ongoing quest for the truth and cementing the expectation of the unavoidable tragedy to come.

Jove, and eventually, Jupiter are the only characters who speak openly and clearly, contrasting wonderfully with Dr Crete and the AIs – who give the bare minimum of necessary information. Crete and Mother’s conversations are peppered with loaded references to the past that never quite get explained, creating a Dr Frankensteinesque aura around him as he fights to save his son.

The fantastic cast give their all, adding extra layers to Gill’s words with beautifully judged physical performances, and Neel Murgai’s atmospheric music creates a weirdly intense atmosphere around the dance sections.

Gill’s play is timely as governments still ignore data about environmental damage and questions and warnings about the use of AI are prevalent; while revealing the truth so soon makes the audience complicit in the desperate but dubious moral choices made by Crete. Jupiter’s Ghost is a smart and often lyrical play that is well worth seeing.

BUSH THEATRE LONDON – UNTIL 27th JUNE 2024

Reviewed by Jackie Thornton

5*****

Since the death of her father last year Peace, the only Black history teacher at a private school, has felt lost and rootless. So when she finds Bolu, a half-brother from Nigeria who she didn’t know existed, she invites him to England. Partner Roy, of mixed heritage, couldn’t be more supportive but her suffocating mother, Favour, is convinced this outsider could bring harm to her only daughter. What good will raking up the past do?

But here is an opportunity for Peace to connect with the culture, language and heritage that her parents had always denied her. And so the stage is set and the jollof rice ready for an unsettling family reunion where lives will never be the same again.

This gripping tale of grief, identity and belonging is the first produced play from award winning writer and actor Faith Omole and it’s certainly a crowd pleaser. The atmosphere was electric as the audience roared with laughter, cheered, hissed and gasped – fully engaged and invested at all times. Clever layers to the writing allow this family story to also explore the UK’s relationship with Africa and question the teaching of black history in school curriculums. A simple, naturalistic living room set from TK Hay hosts all of the action as Rebekah Murrell’s thoughtful direction shifts the story along seamlessly. Everything feels so real and even the father’s well-placed haunting voice from beyond the grave has an air of naturalism to it.

First class performances from Tiwa Lade as Peace, Theo Ogundipe as Bolu, Gabriel Akuwudike as Roy and Rakie Ayola as Favour – every bit the domineering and manipulative mother – draw us in with such humour, realism and pathos that when big truths are laid bare in the climax, every moment feels 100% earned.

Get along to the Bush for this highly entertaining, hugely funny and deeply moving piece of theatre.

MYTHICAL ADVENTURE MUSICAL EXPLODES INTO
THE OTHER PALACE FOR ITS LONDON PREMIERE

FROM 23 NOVEMBER 2024 – 02 FEBRUARY 2025

“Worthy of the gods!”

Time Out New York

“A blast!”

Boston Globe
 

Bill Kenwright Ltd and Paul Taylor-Mills present the London Premiere of The Lightning Thief: The Percy Jackson Musical adapted from Rick Riordan’s 2005 best-selling book series at The Other Palace this Autumn.

Based on the much-loved best-selling book series (with over 180 million copies sold worldwide), that has also been adapted into both films and a major hit TV series for Disney+ which has just been renewed for a second season, the rock musical first premiered off-Broadway in 2014 to rave reviews and went on to have two US tours, an additional off-Broadway run in 2017 and a 16-week limited run on Broadway in 2019.

Crafted by an exceptional creative team, who transport the beloved adventures to the stage, immersing audiences in a world of magic and myth, inviting you to be transported into a world like no other. Now, London audiences will get to experience this magical musical for the first time.

When New York City teenager Percy Jackson discovers that he is the half-blood son of the Greek god, Poseidon, his life takes a dramatic turn as he is plunged into a world much bigger than he could possibly have imagined.

With newly discovered powers he is unable to control, an unwanted destiny and a whole textbook’s worth of mythical monsters on his trail, Percy must learn what it means to be a hero.

The future of the world hangs in the balance as Percy and his friends embark on an epic adventure that will have you on the edge of your seat.

David Gilbery (CEO of the Bill Kenwright Group) said:

“We are thrilled to be bringing this epic and exciting mythical adventure musical to London for the very first time. With the book series capturing the minds of children and adults alike, we very much look forward to welcoming fans into the world of musical theatre. Bill Kenwright Ltd is proud to present The Lightning Thief as part of our 2024 diverse programme in London following Cruel Intentions – The Musical, Boys from the Blackstuff, Heathers the Musical and the Death of England Series of Plays. BKL continues to develop and grow a wide range of productions both in London and on tour across the UK, building on the late Bill Kenwright’s great legacy.”

Paul Taylor-Mills (Artistic Director of The Other Palace):

“I’m delighted we are bringing The Lightning Thief to The Other Palace and continuing to support new writing and rising creative talent, showcasing Lizzi Gee’s Directorial debut! Lizzi was the obvious choice for me to direct this wonderful piece of theatre. I spotted early on she had a creative vision like no other and her energy is captivating. I cannot wait to see her bring this epic story to life on stage”.

This dynamic musical adaptation of Rick Riordan’s bestselling The Lightning Thief has a book by Joe Tracz (Be More Chill), music and lyrics by Rob Rokicki (Monstersongs) and is directed and choreographed by Lizzi Gee (Groundhog Day).

Casting and full creative team to be announced.

The Lightning Thief is presented by arrangement with Concord Theatricals Ltd. www.concordtheatricals.co.uk

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT

THE LIGHTNING THIEF

THE PERCY JACKSON MUSICAL

Book by Joe Tracz

Music & Lyrics by Rob Rokiki

Adapted from the book The Lightning Thief by Rick Riordan

Direction and Choreography by Lizzi Gee

From: 23 November 2024– 02 February 2025

Performance Schedule: Tuesday – Friday at 7.30pm
                                                    Saturday at 2.30pm and 7.30pm
                                                    Sunday at 1.30pm and 6pm
Christmas Schedule:
Tuesday 24 December at 1pm and 5.15pm
Friday 27 and Saturday 28 December at 2.30pm and 7.30pm
Sunday 29 December at 1.30pm and 6pm
Tuesday 31 December at 2.30pm

Thursday 2 January at 7.30pm

Friday 3 January at 2.30pm and 7.30pm

Run Time: approximately 2hrs 30 minutes including interval

Ticket Price: from £26

Venue: The Other Palace

Address: 12 Palace Street, London, SW1E 5JA

Box Office: 020 7592 0302

Website: theotherpalace.co.uk

Socials:

Facebook, Instagram and Tiktok: @percyjacksononstage

Twitter/X: @PercyOnStage

Royal Court Theatre – until 13 July 2024

Reviewed by Claire Roderick

3***

After a successful run in Live Theatre, Newcastle, Stewart Pringle’s new play The Bounds comes to London with football, friendship and folk horror creating a heady and intriguing mix.

It’s 1553 and the Allen Valley Whitsun game is in full swing. The rivalry between the villages of Allendale and Catton for the annual bragging rights is all important to Percy (Ryan Nolan) and Rowan (Lauren Waine). Unfortunately, they have been deployed far from the action, right on the bounds of the vast playing area where they can’t see or hear anything that is going on in the game. Rowan sardonically accepts this as evidence of their football skills, but Percy could probably be the first “It’s coming home” fantasist – steadfastly insisting on their tactical importance and ready to leap into action and take a vital role in the defeat of Catton. The play begins as a buddy comedy, with fantastically written bickering between the pair mixing historical references with bawdy coarseness and familiar modern football supporters’ attitudes. Rowan’s fatalistic listing of Allendale’s miserable record is a hoot – full of violence and fatalities.

The arrival of Sam (Soroosh Lavasani) at their remote position unsettles Percy and Rowan. His obvious wealth and education mark him apart from the villagers they know, and Percy’s resentment becomes increasingly visceral. Sam’s unconvincing reasons for being with them unravel as they chat, but Rowan’s warnings about the dangers of not conforming in the valley fall on deaf ears. This first part of the play is the most successful, as the three outsiders sit powerless on the boundary unable to influence the drama of the football game.

There are some intriguing and thrilling ideas in what follows. As night falls and a parade of mysterious lights appear, Percy is alone as a strange boy (Harry Weston) appears beating the bounds with his father’s men. The realisation that the boy king in London can change the boundaries of the land, with no thought or care of the consequences for the people living off the land itself has a profound effect on Percy and Pringle begins to riff on the powerless and disenfranchised in society as that society destroys itself, mixing folk horror and metaphysical musing before the game ends. The ending doesn’t hit the heights of a winning hat trick, more a solid draw, but there are the bones of a tight and more satisfying conclusion ready to finesse.

Verity Quinn’s earthy set, Drummond Orr’s lighting, Matthew Tuckey’s haunting sound design and Jack McNamara’s assured direction build an increasingly wild and primal atmosphere. The cast are wonderful: Ryan Nolan’s Percy is a wonderfully clueless bundle of pent-up aggression and resentment; Lauren Waine is brilliantly spiky as Rowan and Soroosh Lavasani balances the charm and creepiness perfectly to create unease when his character is onstage.

The Bounds is funny and unsettling as writer Stewart Pringle shifts the boundaries of his play in unexpected directions. Well worth a look.

Barbican Theatre – until 14 September 2024

Reviewed by Claire Roderick

4****

Cole Porter’s classic comes to the Barbican with a cast to die for. Adrian Dunbar takes on the role of embattled actor/director Fred Graham while Broadway legend Stephanie J. Block plays his ex-wife, movie star Lilli Vanessi.

Having convinced Lilli to join his production of The Taming of the Shrew, the backstage relationships and shenanigans are as outrageous as one of Shakespeare’s comedies. Fred is enjoying the company of Lois Lane (Georgina Onuorah) – along with many other men, but she loves co-star Bill Calhoun (Charlie Stemp). Bill is a much better dancer than he is a gambler, so his fake IOU in Fred’s name leads to a pair of theatre-loving gangsters coming backstage to recoup their boss’ s losses.

The misogyny of Shakespeare’s play is laughed at, and thankfully the careless misogyny of golden age Hollywood is dispensed with in this production, meaning that the only person dealing out blows is Lilli, and her rendition of I Am Ashamed…, Katherine’s controversial acquiescing speech at the end of the play is sung sweetly and archly as she eyeballs Frank, confirming that she is happy following his direction onstage, but never off it. Block and Dunbar are a brilliant comedy duo, bouncing of each other with a light touch and perfect timing. Block is a superstar, with her ferocious rendition of I Hate Men an absolutely fabulous moment. Amongst such stellar vocals, Dunbar’s voice is obviously not as strong but he croons with gusto and charm. Speaking of stellar vocals, Georgina Onuorah’s Always True To You In My Fashion brings the house down. Hammed Animashaun and Nigel Lindsay are a hoot as the gangsters.

Michael Yeargan’s set revolves as the action switches between onstage and backstage and Bartlett Sher’s direction ensures an energetic and effervescent production. Anthony Van Laast’s choreography is lots of fun and the ensemble make the most of their comedy moments. Too Darn Hot is staged brilliantly, with Jack Butterworth leading the steamy dance before being joined by Charlie Stemp for a glorious dance off. Wunderbar.

Fantastic, old-fashioned fun – Kiss Me Kate is the perfect summer treat.

New rehearsal images for the & Juliet UK and Ireland Tour in the download link below. The tour opens at Manchester Opera House on 8 July and continues until concluding on 28 June 2025 at Cardiff’s Wales Millennium Centre.

NEW ADVENTURES

ANNOUNCES FULL CAST AND FURTHER TOUR DATES FOR

MATTHEW BOURNE’S

SWAN LAKE

The Next Generation

AS THIS LEGENDARY PRODUCTION RETURNS FOR A 30^TH ANNIVERSARY UK TOUR

OPENING AT PLYMOUTH THEATRE ROYAL

ON 11 NOVEMBER 2024

THEN PLAYING AT THE LOWRY, SALFORD

AHEAD OF THE ANNUAL CHRISTMAS SEASON

AT SADLER’S WELLS, LONDON

AND A 2025 UK TOUR

New Adventures is delighted to announce the full cast of 40 for Matthew Bourne’s Swan Lake, as it returns for its 30^th anniversary with a 2024-25 UK tour. This groundbreaking production of Tchaikovsky’s masterpiece caused a sensation when it premiered almost 30 years ago and has since become the most successful dance theatre production of all time. In celebration of that ongoing impact, Matthew Bourne’s Swan Lake will take flight once more in this major revival, as the next generation of dancers brings it to new audiences across the UK.

Making their debuts as The Swan/The Stranger are rising New Adventures stars, Harrison Dowzell, Jackson Fisch and Rory Macleod, alongside James Lovell, Leonardo McCorkindale and Stephen Murray as The Prince, Nicole Kabera and Ashley Shaw as The Queen, Katrina Lyndon as The Queen and the Girlfriend, and Bryony Wood as the Girlfriend.

The company is completed by Matthew Amos, Benjamin Barlow Bazeley, Alistair Beattie, Ben Brown, Carla Contini, Jade Copas, Anna-Maria de Freitas, Perreira de Jesus Franque, Jamie Duncan-Campbell, Alexander Fadayiro, Savannah Ffrench, Cameron Flynn, Louis Fukuhara, Louis Harris, Kurumi Kamayachi, Aristide Lyons, Callum Mann, Eleanor McGrath, Jarrod McWilliams, Maisie Mwebe, Mukeni Nel, Eve Ngbokota, George-Murray Nightingale, Harry Ondrak-Wright, Barnaby Quarendon, Molly Shaw-Downie, Nikolas Shikkis, Xavier Andriambolanoro Sotiya, Tom Standing and Christina Walters.

Matthew Bourne said today, “It’s hard to believe that our Swan Lake is now 30 years old and even harder to acknowledge that we are now casting most Swans and Princesses who were not even born at the time of the show’s premiere! Many dancers have grown up with this production and dreaming of one day dancing in it, so I am particularly excited to announce this line-up of young performers.

Many of these dancers have been nurtured through our talent development programmes at New Adventures, notably Swan School. I know from experience what a life changing experience this show has been for previous casts and how it has inspired new audiences for dance throughout the world. I am therefore truly thrilled to welcome the next generation of swans and swan watchers as we celebrate three decades of our Swan Lake.”

Matthew Bourne’s Swan Lake begins at Theatre Royal Plymouth from 11 November until 16 November before visiting The Lowry, Salford from 19 November until 30 November, ahead of the 8-week annual Christmas season at Sadler’s Wells from 3 December 2024 to 26 January 2025. In 2025, the production will tour to Birmingham, Nottingham, Liverpool, Bristol, Southampton, Norwich, Newcastle, Edinburgh, Milton Keynes, Cardiff, Canterbury, Bradford and Glasgow with further venues to be announced.

Thrilling, bold, witty and emotive, this genre-defining event is still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered convention, turning tradition on its head.

First staged at Sadler’s Wells in London in 1995, Matthew Bourne’s Swan Lake took the dance theatre world by storm becoming the longest running full-length dance classic in the West End and on Broadway. It has since been performed across the globe, collecting over thirty international accolades including the Olivier Award for Best New Dance Production and three Tony Awards for Best Director of a Musical, Best Choreography and Best Costume Design.

To coincide with this 30th anniversary tour of Matthew Bourne’s Swan Lake, New Adventures has developed Swan Lake Take Flight, an ambitious dance project which seeks to reach over 2,500 young people in the UK. The activities that make up this project, which include regional dance-artist training and employment, school and community movement workshops and in-theatre experience days, are inspired by Swan Lake and will engage young people who may or may not have ever experienced dance before. The activities will focus on how connecting, creating, and moving together can improve wellbeing. Furthermore, through a pioneering research partnership with The Centre for Health and Wellbeing across the Lifecourse at Brunel University London, New Adventures will identify the conditions and mechanisms by which Swan Lake Take Flight achieves its wellbeing outcomes.

The project will be delivered with New Adventures’ Placemaking partners, including Mayflower Theatre and MAST Mayflower Studios, Norwich Theatre, the Alhambra Theatre, Bradford, Theatre Royal Plymouth, The Marlowe Canterbury, Theatre Royal Newcastle and Farnham Maltings, as New Adventures aims to support relationships between venues and local community groups and bring new audiences into theatres across the country.

Etta Murfitt, Associate Artistic Director of New Adventures, said,“Now, more than ever, young people need dance and dance needs young people!  Just as our production of Swan Lake embraces the next generation, Swan Lake Take Flight will get today’s generation of children and young people moving and excited about dance and validate the impact of dance on wellbeing to support the future of our industry and generations to come. I could not be prouder of this pioneering programme and look forward to working with our venue partners throughout the UK to make it a success.”

Fortnum & Mason is the Official Partner of Swan Lake. Edwardian Hotels is the Official Hotel Partner.

FULL CAST ANNOUNCED

OLIVIER AWARD NOMINEE

CLARE FOSTER

AS ELOWEN KEENE

TO JOIN

OLIVIER AWARD WINNER

JOHN DAGLEISH

AS BENJAMIN BUTTON

IN

THE AWARD-WINNING, UNORDINARY MUSICAL

THE CURIOUS CASE OF BENJAMIN BUTTON

BY JETHRO COMPTON & DARREN CLARK

AT THE AMBASSADORS THEATRE

FROM 10TH OCTOBER 2024

The producers of the award-winning and unordinary new musical THE CURIOUS CASE OF BENJAMIN BUTTON are delighted to announce that Olivier Award nominee Clare Foster will star as Elowen Keene, alongside the previously announced Olivier Award winner John Dagleish as Benjamin Button, at the Ambassadors Theatre from Thursday 10th October 2024.

Completing the company will also be Katy Ellis. They join Matthew Burns, Jonathan Charles, Oonagh Cox, Anna Fordham, Philippa Hogg, Damien James, Elliot Mackenzie, Ann Marcuson, Jack Quarton and Benedict Salter.

Clare Foster’s theatre credits include, Travesties at the Menier Chocolate Factory and Apollo Theatre, for which she received an Oliver nomination for Best Supporting Actress, Consent at the Harold Pinter Theatre, Merrily We Roll Along at the Menier Chocolate Factory and Harold Pinter Theatre, Crazy For You at the Novello Theatre, for which she was nominated for a What’s On Stage Award for Best Actress in a Musical, the original West End cast of Avenue Q and most recently Best of Enemies at the Noel Coward Theatre. Her screen credits include the role of PC Millie Brown in ITV’s The Bill, Nolly, The Crown, Sherlock and Alan Menken’s musical comedy series, Galavant.

An electrifying journey through the timeless tale of a love that defies all odds, THE CURIOUS CASE OF BENJAMIN BUTTON is an enchantingly beautiful and truly unordinary musical that reminds us to make every second count. The production captured hearts last year with its sold-out Southwark Playhouse run – winning Best Musical Theatre Production at the 2024 Off West End Awards.

With a breathtaking soundtrack brought to life by an extraordinary actor-musician ensemble, F. Scott Fitzgerald’s iconic short story is relocated to a fishing village on the north coast of Cornwall by writing team Jethro Compton and Darren Clark.

Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong? Only time and tide will tell…

THE CURIOUS CASE OF BENJAMIN BUTTON is based on the short story of the same name by F. Scott Fitzgerald, author of The Great Gatsby and The Beautiful and Damned. With Book & Lyrics by Jethro Compton and Music & Lyrics by Darren Clark. It is directed by Jethro Compton who also designs the stage, with co-music supervision, orchestration and arrangements by Mark Aspinall and Darren Clark, choreography by Chi-San Howard, costumes and associate stage design by Anna Kelsey, sound by Luke Swaffield, lighting by Zoe Spurr, musical direction by Mark Aspinall and casting by Ginny Schiller.

It is produced by ATG Productions, Gavin Kalin Productions, Gary Beestone Associates, Eilene Davidson Productions, Susan Edelstein Productions, Umeda Arts Theater, Rupert Gavin & Mallory Factor, Winkler & Smalberg and Jethro Compton Productions.

Kings Theatre in Portsmouth – until 22nd June  2024

Reviewed by Emma Barnes

5*****

Taking center stage once again at the beautiful Kings Theatre,  The Portsmouth Players delighted the audience last night with their electrifying production of Fame The Musical.  Based on the iconic 1980s TV series and film, this high-energy show tells the story of the aspiring performers of New York’s High School of Performing Arts as they chase their artistic dreams under the spotlight.

Fame boasts a punchy score by Steve Margoshes and Jacques Levy, which had our feet tapping right from the start. The obvious crowd pleaser was the title song ´Fame´ skillfully brought to life by Madison Cathrow as Carmen Diaz, and the vibrant music, dance and top notch choreography continued to be delivered with such professionalism and infectious energy that it was easy to forget that this a community theatre group.  An unexpected break and delightful contrast from the pop score was a beautifully portrayed ballad ´These are my children’ by Kate Thomas as Miss Sherman. 

Fame the Musical was a great choice for this group as the script allowed director Timothy Quinlan to display a diverse range of dance, singing and acting on the one stage, and it truly was a young and talented cast.   ´Ty´s rap´ performed by Jacob Bailey was another highlight.  Other special mentions should go to vocal performances by Megan Parkes as Serena Katz and Rosy Stephens as Mabel Washington. 

The show doesn’t shy away from the harsh realities that pave the path to stardom. We see the students grapple with demanding teachers, personal struggles, and the relentless pursuit of artistic excellence. The script also didn’t shy away from content which in today´s era felt to me to be sometimes less palatable,  the body shaming scene in particular made me squirm,  however I interpreted this as a portrayal of moment in time and reminder of how much the world has moved on. 

This production is a must-see for anyone, from any background,  and any shape or size colour or creed who has ever dared to dream big. It’s a celebration of youthful ambition, artistic expression, and the unwavering belief that with hard work, supportive teachers and friends by your side anything is possible.  So put on your dancing shoes and head down to Kings Theatre – this performance of Fame will have you remembering their names long after the curtain falls.