Tag: Devizes Musical Theatre

All Together Ooky; Addams Family Musical with Devizes Musical Theatre

Whether you’ve a bizarre inclination to meet the Addams Family in the flesh and figure this might be your closest opportunity, you couldn’t think of anything worse, or you’ve absolutely no opinion on the matter whatsoever, Devizes Musical Theatre’s Addams Family Musical is a must-see!

Invited to the dress rehearsal yesterday, The Addams Family Musical opens tonight, Wednesday 1st, and runs to Saturday 4th April, at Dauntsey’s School, and I can confirm it’s creepy, kooky, mysterious, spooky and absolutely brilliant. I left delighted and more charmed than spooked. 

The Addams Family began as a panel in the New Yorker by Charles Addams, a cartoonist alleged to be nearly as weird as the characters he created, but it was the gothic sitcom of the sixties which most will fondly recall, and Barry Sonnenfeld’s nineties movie adaptations brought them into contemporary culture.

The popularity of a recent television spinoff about the family’s daughter Wednesday fares well with the timeliness of this production, especially being the story of this musical centres around Wednesday coming of age too. Within the beloved setting of the Addams Family franchise, it follows a classic musical plot of forbidden love with a happy ending.

It tells of losing inhibitions and that love is calmly discussing your differences. But, no more spoilers from me! Rest assured you’re in capable hands, because the casting on this is impeccable, and its appearance is the best we’ve seen so far from Devizes Musical Theatre; it’s a ghoulish visual feast.

I couldn’t pick a favourite part, they were all exceptional. Gary Robson makes a convincing Gomez, the father, but Dolly May was born for the part of his wife Morticia, it would seem, and the chemistry between them was magnetic. Likewise for Wednesday, played so utterly wonderfully by Grace Sheridan, and the object of her desires, Lucas, in which Oscar Thorley played with superb ease; if Oscar is his name, well, he should win one!

In contrast to the family traits, Lucas’ parents Lucy Burgess and Simon Hoy presented them with professional quality, particularly when their influences are altered by the course of the narrative. Then you have the steadfast extra family members, pouring the comedy into it, such as the Grandma, Debby Wilkinson, whose haunting cackle alone would be plentiful for comic effect, without the need for her grinning smirks and ambling around the stage.

Cameron Williams plays Frankenstein’s Prometheus butler Lurch, who is still amazing, despite having nothing but a growl, because there’s a twist, at the end, and I’ll say no more. The troubled son Pugsley, played with magic by Georgia Saunders is key to a plot twist, and is so convincing in the relationship with his sister, she may as well be a sibling to Grace. 

Attending a dress rehearsal has slight differences to the actual show, one thing you wouldn’t see at the show was when, at the interval, Ben Griffiths-Mills, who plays the disturbingly innocent Uncle Fester, came to address the director Lyn Taylor, who happened to be sitting beside me. The Addams Family is more music and fun than spooky, the most shocking part of my evening was not in the show, rather when Ben spoke in his normal voice to Lyn, as I was so utterly convinced by his sublime performance as Fester, I expected him to speak with the quirky high-pitched accent of Fester! And this sums the experience up, so credible it is, I had to remind myself these were actors in character; in that, Thing wasn’t wandering around the school at night, and if forced to pick a favourite, Uncle Ben Fester would probably be it!

Such is the attention to detail, I reveal there’s not just a random collective of excellent dancers too, but they’re separate characters of the ghostly ancestors the Addams have venerated, and each dances around their crypts according to their back stories and fate; the program identifies them, and the cast highlight the show.

I’ve mentioned the dubious double-meaning of the word ‘amateur’ used in the term ‘amateur dramatics’ before, being a noun for ‘unprofessional’ doesn’t necessarily mean the subject it refers to is ‘rubbish,’ as second definitions suggest. I did so in a review of a Devizes Musical Theatre production, because, while everyone volunteers, the standard, attention to detail, and production values are so high you could assume you’re at the West End. This notion has never been more relevant than with their latest production, The Addams Family Musical; if you’re going, you’re in for a treat…and definitely not a trick.

When people come to see ’em, They really are a scream, The Addams Family may not have the same box office clout as Devizes Musical Theatre producing a Disney fairy-tale; there’s a few tickets left for a performance which usually sells out. Do not be distracted by the quirky choice of production, as this was DMT at their very best.

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Beauty & the Beast; Devizes Musical Theatre at its Best

It was a fantastically successful opening night for Devizes Musical Theatre at Dauntsey’s School for their latest show, Disney’s Beauty and the Beast, and I returned home still singing Be My Guest and Gaston; they’re still stuck in my head now truth be told, and I’m not usually one for musicals!

Remaining faithful to Disney’s 1991 adaption of the French fairy tale by Barbot de Villeneuve, widely regarded as one of the greatest animated films of all time, new director Georgia Watson and the entire team at Devizes Musical Theatre pulled out all the stops last night; amateur dramatics has never been this good, surely?!

Already clued up on the plot, as my daughter had a “thing” for the film when little, didn’t prevent me thoroughly enjoying this show, rather it’s likely it aided it; familiarity transformed from film to stage is kingpin to a universally welcomed musical, which this is. Aside from the stellar performances, it was arduously and thoughtfully produced with attention to detail, especially the costume design; they were brilliant. Easy for a cartoonist, but how do you recreate inanimate objects such as a clock and teapot as characters on stage, I wondered beforehand, but not now!

And in this, commendations in particular go to Tia Shafee and Oli Beech, also Sarah Williams, Natalie Angus and Claire Abraham, all for adding those comical elements as candlesticks, clocks and teapots. Yet it was up to Georgia Saunders to add the sparkle, as the compassionate bookworm protagonist Belle, and her relationships with Samuel Phillis as the troubled Beast, Gareth Lloyd as the bawdy egomaniac Gaston, and Graham Day portraying her troubled inventor father, all of which were played confidently and rapturously.  

Interactions between Gareth and his literal sidekick LeFou, played with camp hilarity by Adam Sturges were comedy gold, as was the “silly girls” fighting for Gaston’s affections, Georgia Claridge, Mimi Martin, Laura Bartle, and Bronwyn Hall. With special shout to Pip Emm who was last night’s Chip, a role which takes on a different young actor each performance, everyone on that stage looked to be loving the spotlight and this enthusiasm shone through, reflecting back off the audience in awe.

It never fails to amaze me how much work and effort goes into Devizes Musical Theatre’s shows, and how professional they are. Beauty & The Beast runs until Saturday 5th April, with a matinee performance on the final Saturday. Ticket holders are in for a real treat, anyone looking for a ticket should act fast as the last rose petal is about to drop; last look there were some left for tonight, the rest is already sold out. At £16 a pop, you’d pay more at the bar in a West End theatre for a glass of fizzy pop, or for parking.

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Speed Reduction on Caen Hill to 50mph

Be honest now, who likes to bomb it up and down Caen Hill dual carriageway like they’re Lewis Hamilton on a promise? Who thinks once…

Jamsters Festival at The Southgate

January last year, The Southgate Inn Devizes announced Jamsters, a monthly Friday night platform for loose groupings and associations created at their regular jam sessions…

Devizes Musical Theatre’s Next Production; Beauty & The Beast

If I had to be magically turned into a candlestick or a teapot, I believe I’d rather be a teapot than have a wax candle on fire wedged into the top of my head! Fear not, it’s not a worry I’m losing any sleep over, rather the kind of bizarre fleeting notion which popped into my mind when previewing Devizes Musical Theatre’s next production, Beauty & The Beast….

The wardrobe is definitely out of the question, anyway I digress! For if there’s one local amateur theatre collective to make you question the definition of “amateur” it’s Devizes Musical Theatre, in my experience. To pay a king’s ransom for a West End production is to expect, much less assume, you’re in for a treat, but to see the dedication and hours of labour which goes into an amateur production like those of Devizes Musical Theatre, is the surprise element, that the magic isn’t so far from a professional production.

So, get ready, Gaston, for a tale as old as time, as Devizes Musical Theatre’s curtain is rising once again for Beauty and the Beast. It’s running from Wednesday 2nd April – Saturday 5th April 2025, at Dauntsey’s School’s Memorial Hall in West Lavington and tickets are available now at www.devizesmusicaltheatre.co.uk or Devizes Books.

Devizes Musical Theatre’s last sold-out show was Sister Act back in March 2024, of which I reviewed and said “it’s the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!” But no one listens to me, so please note the show was nominated for Best Musical and Best Publicity at the prestigious Rose Bowl Awards.

“Tickets are already flying off the shelves,” we’re informed, so don’t miss your chance to experience the magic of live theatre right here in our community. Whether you laughed with the nuns, hissed at Curtis and his baddies in Sister Act, or you’re a newcomer to the DMT productions, this show is guaranteed to leave you spellbound; be their guests, be their guests, be their guests!

So Excited…. Devizes Musical Theatre’s Sister Act at Dauntsey’s

An exodus of musical lovers and, I’d assume, a healthy handful of friends and family, trekked southwards through winter’s final ambush last night, to enjoy the opening night of a dazzling performance of Sister Act at Dauntsey’s…..

It was presented by the established local amateur dramatics group, Devizes Musical Theatre. I stress my usage of the word amateur in its foremost dictionary definition; the opposite of professional. The second connotation it was in some way inept couldn’t be further from the truth in this case. A common misconception in creative arts, I find, whereby those in it for the love thrust their hearts, soul, and elbow grease into it, more so than a pro going through the motions for their paycheck. The result usually is perhaps something raw, but highly entertaining and enjoyable, and their production certainly was the latter.

The run ends on Saturday (30th March,) at the last count just fourteen tickets remained, so I advise you to be quick, and lucky, to pick some up. It’s a large hall, selling it out proves the grand reputation Devizes Musical Theatre has built locally, this performance hits their pedestal.

With a debatable focus on the singing rather than acting, the benchmark of a good musical, surely, there’s some show-stopping moments. Georgia Watson makes the perfect diva Deloris, and there’s both astounding vocals and comic timing from Louise Peak as Mother Superior and Barry Gibney, who plays the socially awkward police chief Eddie. Particularly noteworthy is Grace Sheridan who plays Sister Mary Robert, in song and conviction of the influence Deloris holds over the convent.

Yet high accolades go out to all the actors, stage directors and team; Adam Sturges, Oli Beech and Simon Hoy as the mobsters, Gareth Lloyd as mafia boss Curtis, Graham Day as Monsignor O’Hara and the huge backing of those wonderful singing nuns! It is the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!

In critical reflection, the musical concludes somewhat differently from the movie. Without spoilers, the amusing scene where Deloris prays for God’s forgiveness unto the mobsters holding a gun to her head, causing them to question their ability to shoot her, wrongly perceiving her as a nun, is replaced by a more slapstick finale akin to a Benny Hill chase scene. Yet on further consideration into my rather geeky complaint, I guess this works better on stage, such is the jollification of a musical, often bordering pantomime. And it wraps it up faster, allowing more time for these astute and timeless Motownesque songs. Devizes Musical Theatre use this to their advantage; you certainly get your money’s worth.

Veils off to first time director Emily Holmes, and musical director Naomi Ibbetson for an apt and fantastic show, which will send you off thoroughly entertained, and with a smile.

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Deadlight Dance New Single & Video

New single from our gothic duo Deadlight Dance, taken from March’s album Vox Populi…. Second tune on the album, a ballad to the poisonous evergreen…

Brian on FullTone Festival

Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra ahead…

REVIEW: Devizes Musical Theatre’s “A Gallery Of Rogues” @ Lavington Community Centre –Saturday 11th September 2021

Yes M’Lud!

By Andy Fawthrop

It’s not often that you’ll get me schlepping down to a Community Hall in the middle of nowhere (well, OK, Lavington) on a Saturday night for a dose of Light Opera, but…well…it seemed like a good warm-up for the BBC Last Night of the Proms which was due to be broadcast later that night – and so it proved to be.

Devizes Musical Theatre (DMT), in their wisdom, had chosen this slightly out-of-the-way place to perform “A Gallery of Rogues” as their 2021 production (their first since 2019 following Lockdown for most of last year). And thus, breezing my way past the various posters for WI and other local events, I found myself in this rather modern and well equipped hall.

The evening was in two parts – the first being a performance of Gilbert and Sullivan’s “Trial By Jury”, a one act comic opera, and the second being the company performing a number of well known songs from many different musical shows.

“Trial by Jury” is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced in 1875, at London’s Royalty Theatre, where it initially ran for 131 performances and was considered a hit. The story concerns a “breach of promise of marriage” lawsuit in which the judge and the legal system are the objects of light-hearted satire. As with most G&S operas, the plot of “Trial by Jury” is ludicrous, but the characters behave as if the events were perfectly reasonable. This narrative technique blunts some of the pointed barbs aimed at hypocrisy, especially of those in authority, and the sometimes base motives of supposedly respectable people and institutions. The success of “Trial by Jury” launched the famous series of 13 collaborative works between Gilbert and Sullivan that came to be known as the Savoy Operas.

In this production, using mostly modern dress, no scenery, and virtually no props, the guys and gals from DMT had nowhere to hide. Using only a simple piano accompaniment, it was down to the strength and quality of the voices only. And, after a slightly nervous start, they pretty well nailed it, with each singer growing in confidence as the play progressed. The call-and-response choruses, so beloved of G&S fans, were used to great effect and the whole production swung along with very few flaws. Of particular note were Naomi Ibbetson as The Plaintiff, and Tom Hazell as The Defendant. The supporting roles, especially the three bridesmaids, were also strongly played to great effect.

The second half consisted of a series of songs from various musicals including “Cats”, “Oliver” and “The Wizard of Oz”, culminating in a full-cast version of the Lockdown classic “Somewhere Over The Rainbow”. Not a dry eye in the house.

For me, it was a good evening of entertainment, and well worth the trip out to Lavington. And I’d say the rest of the audience agreed, as the applause was hard and long. However, I’m still mystified as to why a concert that clearly took a lot of time and effort to be produced was only to be given this single performance, and why at such an out-of-town venue. Surely more people would have gone to see DMT in action if this had used a more Devizes-central location?

Future DMT productions:

The Wind in the Willows – 3rd to 10th April 2022 at Dauntsey’s School

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The Grand Return of CrownFest

The first week into July, and two local festivals of five ticked off! CrownFest went down a hit with those who attended this fantastic reputation…

An Update on our Postcard Criticism

Earlier today I published an opinion piece on the postcard sent by someone at Devizes Town Council to the Department for Culture, Media and Sport,…

Mantonfest Magic Multiplies

Mantonfest, the longstanding gem on Marlborough’s event calendar, finalised for another fantastic year last night, with metal-driven mayhem, as the sounds of AC/DC ripped across…

Made in Dagenham, Showy at Dauntsey’s

Under the circumstances perhaps the most thought-provoking character in the musical Made in Dagenham is wife of Ford Dagenham’s boss, Lisa Hopkins; through her own reservations about her plush lifestyle, the career-aspiring housewife convinces the female factory worker’s spokesperson, Rita O’Grady, that the campaign is one of sexual equality rather than a class struggle. When while the real Ford sewing machinists strike of 1968 did indeed trigger the passing of the Equal Pay act, the issue is quite clearly rooted in worker’s liberty too.

 
So, I bite the bullet and go against my principals, arriving at the prestigious independent school, Dauntsey’s, to watch The Devizes Musical Theatre’s production of Made in Dagenham on their opening night, yesterday. A private school who brazenly parades its charity status, aids a local primary school, does a few sports coaching sessions at others and then sails around the world on its private yacht. Yet the irony of a play with the theme of working-class struggle staged in this tax-avoiding loophole abiding school, which Theresa May pledged against in her 2017 Conservative manifesto, but soon after quietly dropped, seemed to soar clear over the heads of the audience.

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And hey, who’d flunked it, the theatre there is rather luxurious in comparison to a comprehensive school hall. It served its purpose for this, rather splendidly arranged musical, which though received critical response, ending its run at the West End promptly, I enjoyed. Intrigue drew me to the performance, how one can produce a musical from this principled, true story based social-message film of the same name. That and the fact my upbringing lies in Essex, with roots from the East End, to the point of jaded memories of an aunt chasing me with a spoon of wobbling jellied eels.

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Yet it seems any movie is game for a musical adaption these days and for all that’s worth Made in Dagenham stages some apt, witty and intelligently written songs for the pivotal cast. The musical introduced some characters not in the film, of which the audacious bigot, cowboy Ford director was the most excruciatingly farcical, waving an electric guitar around like Peter Capaldi’s Dr Who car crash moment.

 
Though the script’s characters and content felt patchy at times, I loved the comical depiction of Harold Wilson, played brilliantly by Matthew Dauncey. It was almost pantomime-esque against the stern portrayal of Barbara Castle, acted equally radiantly by Laura Deacon. Yet the fourth wall remained bricked at all times. The moral as serious as the trade union’s dissolvement.

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Giving credit for its humorous components, my favourite by far was Rachel Ibbetson’s representation of factory worker clown, Claire; I guess it had to devote somewhat to the Essex girl stereotype. But mostly it remains ethically witty, rather than lambast a weak county pigeonhole. Though I felt the acting ability was varied, the aforementioned, plus lead roles of Lucy Burgess, Chrissie Higgs as Connie and Jon Paget were all fantastic in their acting and singing solos. A further credit must go to the children, Ivan Barter and Emily Noad, for their thoroughly convincing despair when the chips were down.

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I did enter with intensions to jokily knock attempts at the Essex accent, and indeed many actors did purvey more West London pronunciation, yet trivial elements aside, I came out satisfied at a job well done. Particularly poignant was the orchestra, who played marvellously, if not overpowering on-stage dialogue at times. To nit-pick further, the production could have been tighter. The lighting felt limited, microphone moments of lapse, and severe feedback at times, we must overlook; this was presented as amateur dramatics at its best, and the motivation and love of the arts clearly shone through, to demonstrate a dedicated and worthy production. Yeah, box ticked my love, I’m off shopping in Chigwell, rightly portrayed as the San Francisco of Essex!

 
Made in Dagenham only runs at until Saturday, so I’d advise you drop into Devizes Books and hope they’ve still got tickets. Shows start at 7:30 with a 2:30pm Saturday matinee.

 

Devizes Musical Theatre

made in dage

 

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