Tag: musical

Devizes Music Academy returns with uplifting production of Sister Act! 

Devizes Music Academy is set to bring joy, energy and a whole lot of sparkle to the stage with its latest musical theatre production, Sister Act later this week….. 

Following the outstanding success of previous productions SIX and Everybody’s Talking About Jamie, the Academy continues its run of ambitious, high-quality youth theatre with this feel-good favourite, based on the much-loved film.

Sister Act tells the story of Deloris Van Cartier, a nightclub singer who is placed in protective custody in a convent after witnessing a crime. What unfolds is a heartwarming and often hilarious journey of friendship, transformation and finding your voice – all set to a vibrant score inspired by disco, gospel and Motown.

Directed by Jemma Brown, with her team Sarah Davies and Teresa Isaacson, the production showcases a cast of talented young performers who have taken on an extraordinary challenge – learning their lines, music and choreography in advance, and bringing the entire show together in just five days. They are performing the show in the round – where the audience surround the stage – it’s a truly exciting project. 

Jemma said, “This show is just full of joy. It’s bold, uplifting and all about finding your place and your voice, which feels incredibly important for young people. What always amazes me is what this group achieves in such a short space of time – the commitment, the teamwork, the energy. It’s genuinely quite special to watch it all come together.”

Ruby Phipps, who plays Deloris and previously appeared in SIX and Everybody’s Talking About Jamie, said, “I’m absolutely loving being part of Sister Act. Deloris is such a fun role to play, and the music is just incredible. What makes it really special though is doing it with this group – everyone works so hard and supports each other, and it all comes together so quickly. It’s such a great experience.”

At its heart, Sister Act is a story about community, acceptance and individuality – themes that resonate strongly both on and off the stage.

The production also highlights the powerful role the arts can play in young people’s lives, helping to build confidence, resilience and a strong sense of belonging.

“In a world where it can sometimes be hard to see the positives, this show is a reminder of what young people can achieve when they are given encouragement, belief and the chance to shine,” Jemma added.

With a brilliant cast, an infectious soundtrack and a huge sense of fun, Sister Act promises an uplifting night of theatre for audiences of all ages. And the Academy is already looking ahead, with plans to take on the iconic Les Misérables next year.

Sister Act Jnr is at Devizes Corn Exchange on Friday 10th and Saturday 11th April. Tickets: www.ticketsource.co.uk/dma or from Devizes Books.

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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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Theatre Review: Everybody’s Talking About Jamie by Devizes Music Academy

An effervescent musical, full of promising young talent

Written by: Melissa Loveday

Images by: Gail Foster

After the success of SIX last year, Devizes Music Academy is beginning to make a name for itself with its second musical production, Everybody’s Talking About Jamie, which featured two electrifying performances on 19th April at Devizes School….

And wow! What an incredible show it was! Bringing this musical sensation to life – including Northern accents, multiple set and costume changes and complex dance numbers – was ambitious. Yet after only a week of rehearsals, 23 talented young performers, aged just 13 to 18, poured their hearts and souls into a performance that was dynamic, professional and full of impressive talent. It had heart, humour and heels so high I wouldn’t be able to walk in them, let alone dance!

Everybody’s Talking About Jamie

From the opening scene, it was packed with raucous energy and perfectly delivered sass that immediately transported us to a gritty Sheffield comprehensive, where Year 11s contend with the wonderful and frightening possibilities that lie ahead of each of them. Jamie New, an openly gay 16-year-old who dreams of becoming a drag queen, was instantly likeable as he and the rest of the cast swept us into his pop-fantastic daydream ‘And You Don’t Even Know It’.

Everybody’s Talking About Jamie

Inspired by the BBC Three documentary Jamie: Drag Queen at 16, Everybody’s Talking About Jamie was written by Tom MaCrae with music by Dan Gillespie Sells, from an idea by Jonathan Butterell. First produced by Sheffield Theatres, the show took London’s West End by storm in late 2017 and has brought infectious joy to audiences ever since.  

Everybody’s Talking About Jamie

But this is a story about more than a boy wanting to wear a dress. It’s a multi-layered tale of family and friendship, and having the courage to step into the person you were always meant to be. Set in a working-class area of South Yorkshire, England, the story is grounded in a world that’s relatable, keeping it from becoming overly sentimental. Instead, it feels edgy and vibrant, whilst not shying away from the struggles individual characters face.  

What made this amateur ‘Teen Edition’ so special was the thrill of watching real teenagers bring these teen characters to life. Under Jemma Brown’s expert direction, with vocal coaching by Teresa Isaacson and choreography by Sarah Davies, the cast delivered a level of talent that could easily hold its own on a West End stage.

Everybody’s Talking About Jamie

The whole ensemble was brilliantly cast, with every member delivering a believable storyline through genuine and multi-dimensional acting, powerful vocals and sharp choreography.

Jacob Leggett was made to play Jamie. At just 15, he brought the perfect mix of camp charisma and youthful innocence to the role, whilst also capturing Jamie’s wit, cheekiness and vulnerability. His rendition of ‘Wall In My Head’ was captivating, building beautifully into an emotional crescendo that gave me chills!  

Everybody’s Talking About Jamie

Meanwhile, Ruby Phipps gave Pritti, Jamie’s loyal, studious best friend, a quietly headstrong presence. Her solo ‘Beautiful’ was sung with elegant control, allowing each phrase the space and diction needed to feel both precise and spontaneous. Although she and other cast members weren’t Muslim, the production honoured the spirit of diversity by respectfully representing the Muslim community, complete with hijabs.

As a parent, I was moved by Lisa Grime’s portrayal of Jamie’s mum, Margaret, especially her song ‘He’s My Boy’. It was heartfelt and mature, with excellent vocal range, and had me reflecting on the bittersweet truth that while we strive to shield our children from pain, life will inevitably hurt them, and yet we thrive on seeing them live authentically. Our children, in all their brilliance and vulnerability, are our greatest accomplishments.

Everybody’s Talking About Jamie

Another standout came from Cory White, who doubled as the school bully and Jamie’s dad, who’s harsh lines stung, but showed subtle remorse that added depth to his characterisation.

Ted Maughan was commanding as Hugo and playful as Loco Chanelle, offering a refreshing contrast with his confident spoken-word delivery style and lively American accent.

Everybody’s Talking About Jamie

The set design was simple but effective, with props such as a balloon arch for the prom scene creating a party feel. Transitions between classroom, kitchen, bus stop and prom seemed to happen as if by magic, enhanced by effective lighting and seamless costume changes, from school uniforms to dazzling prom gowns. The spotlight reveal of Jamie’s red dress was especially powerful, leaving the audience wanting more.

Dynamic choreography and colourful harmonies elevated the production, from coordinated group numbers to breakout moments allowing individual characters to shine. Particularly memorable was the schoolgirls’ clapping routine in ‘Spotlight’, reminding us of the characters’ young age, while a dance duet between Cory White and Chloe Whitcombe during Margaret’s ‘If I Met Myself Again’ added a poignant, dreamlike quality to the song. But I especially loved the title number ‘Everybody’s Talking About Jamie’, which kicked off Act II, with its excited, gossipy feel, as multiple characters bounced their individual lines off each other before erupting into an energetic and synchronised dance sequence that had the whole room buzzing!

Everybody’s Talking About Jamie

It’s genuinely hard to believe this was amateur musical theatre. The level of professionalism, emotional authenticity and pure talent displayed by every single cast member absolutely blew me away. These young performers truly brought a little bit of glitter to the grey.

With so much promising young talent on our doorstep, it begs the question: what’s next Devizes Music Academy? Whatever it is, I can’t wait!

You can catch an abridged version of Everybody’s Talking About Jamie at the Fulltone Festival, The Green, Devizes, on Friday 25 July. For tickets, visit www.fto.org.uk

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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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!

“The Little Mermaid” at St. Augustine’s, Trowbridge, October 30th–November 3rd, 2024.

By Mick Brian
photos by Chris Watkins Media

Disney aficionados will need no introduction to “The Little Mermaid,” Disney’s 1989 film about mermaids falling in love with humans based very loosely on Hand Christian Anderson’s tale. By 2007 Disney had crated a stage musical version which officially opened on Broadway in 2008, with a later modification in 2012. But what Broadway can do, Trowbridge can do too, and this week Trowbridge Musical Theatre (a.k.a. TMT ) bring “The Little Mermaid” all the way from New York City and an undersea kingdom to St. Augustine’s Catholic College for our delectation.

This is a challenging production to pull off, with a huge cast, and multiple characters and costume changes, massive choreography numbers and immensely technical requirements, but TMT manage it sublimely in a packed and fast paced show. With a cast so vast its not feasible to list every single person sadly but it is fair to say that everybody involved brought something special to the performance. Added to which a brave decision to play it with American accents as per Broadway worked really well – kudos to all for not grating, and being thoroughly believable as sons and daughters of Uncle Sam.

Lets begin with the orchestra – with ten musicians and Kate Courage M.D. you can already appreciate the scale of this production. From the opening marvellous overture to the last note the orchestra were simply great.

The technical team brought the stage craft to life aided and abetted by some wonderful directorial touches by director Matthew Heaton… the pièce de resistance being the beautifully simple yet effective use of wave sheets to represent the sea, operated excellently by the younger members of the cast and especially effective in the ship wreck scene – top waving by  Emmi-Mae Cao, Elsie Cunningham, Iris Cunningham and Sam Hodgman. More kudos to the tech team and set designers with excellent projected backdrops and a few simple but effective set pieces.

Of the principals all provided great characterisation. Alex Ball as Flounder was a standout performance, Noah Heard as Eric executed his role as a prince falling in love at first sight to perfection with a voice that was creamy, dreamy and effortless with great diction, voice agility and ability. Triton’s daughters (all seven of them) proved wonderfully catty in their roles, and collectively strong with a great sound.

The evergreen Tim Hobbs was as brilliantly crabby as he ever is as Sebastian with some wonderful comedic touches, while Sarah Davies diva’d her way fantastically through the show as the wickedly creepy Ursula, with her wonderfully strong voice as ever.

She was superbly accompanied by the dynamic duo of Frankie Walker and Daisy Woodruffe as Flotsam and jetsam, Ursula’s henchmen eels who worked really well together. Ariel was the archetypal Disney princess portrayed to a tee by Katy Pattinson – gorgeous and tiny, with such a pretty voice and moved about the stage nicely.  Her chemistry with Eric was particularly good, and as a pair the complemented each other well. Her Act two performance in particular as a mute was really well executed with some strong physical acting, communicating superbly with facial expressions. Her scene of learning to walk was choreographed and performed extremely well.

Which brings us to the ensemble. Oh. My. Word. Ensembles make or break a show and here was a show that was made. Extremely strong in everything they did, they deserve a full bow of their own for the multiple costume and character changes required, as they sang, danced, and acted their way through being gulls, maids, sailors, chefs, princesses and the already praised “Wave” team. A specific mention here to Paul West as Scuttle the head gull with a strong comedic lead. But all members of this vast ensemble were worthy of their places I hasten to say!

Choreography by Anna Mazan was a huge feature of the show, and the time and effort put in by her and her protégés was evident. “Under The Sea” was a triumph – fantastic, energetically colourful, a massive carnival with bubble machines, jellyfish parasols and so much more in a cavalcade of splendour. You’d need to watch it many times over to catch everything that was happening on stage.

Costumes were simply fantastic. Just wonderful. A little fish told me that they weren’t without some teething problems on their arrival, but the wardrobe team did the cast proud. Chapeau!!   (If you will pardon the pun).

It’s a huge show. And its running in Trowbridge, at St. Augustine’s Catholic College until Sunday 3rd November, tickets from https://trowbridgemusicaltheatre.co.uk/tickets/





FullTone Festival’s Youth-Supporting Extra Day Announced

As if the FullTone Festival isn’t exciting enough for Devizes, the Town Council has allowed them an extra day, on the Friday 26th July…..

Seeing as everything should be set up and ready to roll for Saturday morning, it seemed a shame not to make use of this iconic stage and tech, so an extension to the festival has been added, with live music from 6pm, and it supports local youth talent.

Six: Teen Edition by Devizes Music Academy

Though FullTone stresses it does all depend on advance ticket sales, for both events. Tickets for the Friday on its own are £20, or £10 for under 18. If you buy your festival tickets together with the Friday you will receive a discount code for 20%, if you have already bought tickets for The Fulltone Festival, email jemma@fto.org.uk who will send you the code. The cut off date for this additional Friday is the 30th June, so make sure you’ve booked it by then.

Fulltone Festival 2023 Day Two

You should note, this fifth year of the Fulltone Music Festival will be the last one in its current form. I’ve personally had this contemplation for a while; as the FullTone Orchestra branches out, playing the cities and big towns, as it has been, surely it’s inevitable that the magic will rub-off with audiences further afield and they’ll come to Devizes for the festival if there are to be ones in the future; fingers, toes crossed. Spending their cash here on hotels, restaurants and shops is a great thing for the town, and reason enough to support it.

Talk in Code

But if my humble reasoning, and two days already sussed with guests like opera legend Carly Paoli, We Will Rock You star Kerry Ellis and Ricardo Afonso, indie popsters Talk in Code, a Beatles tribute and more orchestral concerts than Anthony can shake his shaky baton at, isn’t enough to entice you, note the Friday has local punker heroes Nothing Rhymes With Orange from 7pm, followed by Devizes Music Academy’s inaugural showcase Six: Teen Edition, replayed from sell-out dates at the Corn Exchange back in April.

Nothing Rhymes With Orange

I’m told the historical Gen Z party play performance, of which you can read about HERE, will have the same young cast as last time, Ruby Phipps, Amelie Smith, Jess Self, Kelsey Husband, Mia Jepson and Lisa Grime. Alongside Southampton Youth Orchestra opening the festival on the Sunday, we love that FullTone are giving young people a massive platform to perform at this, what could sadly be, the final Fulltone as it currently stands.

Six: Teen Edition by Devizes Music Academy

Obviously I think they should give me the last encore of the Sunday so I can perform my interpretation of Nessun Dorma in the style of Luciano Pavarotti, as I regularly do in the shower. But as its competence and calibre is largely debatable, usually by my kids trying to study in the next room and the neighbour’s howling dog, I will understand if they decline the offer. Imagine, if you will, as I can see it now, me on that colossal stage….. “Tramontate, stelle! Tramontate, stelle! All’alba vincerò, vincerò, vincerò!” Then, mic-drop, bath towel drop, whatever you think the ticket price is worth…..maybe, or no, perhaps just leave it to the professionals and keep this exclusively as a shower performance? It will, after all, be an amazing weekend without it, really!

Fulltone Festival 2023 – Day One

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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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“RENT” at The Rondo Theatre, Bath, March 13th-16th 2024

Ian Diddams

Written by Jonathan Larson
Presented by Maple Theatre Company

It’s always hard reviewing a show that one has seen multiple times before, performed by differing companies. It’s also hard reviewing a show that is one of one’s favourite shows EVAH. And if that wasn’t hard enough…  Its far too hard to review a show that one has performed in oneself. It’s wrong to compare – its unfair and meaningless…  differing companies, differing directors, differing theatres.  So, ignoring the seven other productions I’ve seen including the one I bummed around in (quite literally – if you know you know) ….  Here goes…..


For those that know the story of “RENT” – you can skip this paragraph. Otherwise, Jonathan Larson’s story – a glorious homage to Puccini’s “La Boheme” – revolves around a group of bohemians in the lower east side of New York City and deals with topics such as homelessness, drug addiction, betrayal, and AIDS… as well as love, friendship, recovery, and hope. All wrapped up with a stunning score of often poignant, sometimes funny, always beautiful singing with six-part harmonies. If you want to know more …  duck go go is your friend as ever.

RENT on stage is usually set in a quasi-industrial area – and Maple Theatre Company don’t buck that trend (I doubt RENT heads would allow it to be honest!). Scaffolding creates multiple levels which are used excellently throughout the show and frames several areas for the action. ON stage props and setting is minimal, but I raise my hat to the wonderful use of moveable music flight cases with wooden tops that represent beds, side tables and THE cafe table (if you know, you know). Quite brilliant also was the use of 40-gallon steel oil drums …  where “drums” covers two definitions of that word.  Chapeau to Luke Hocket, set designer (who also produced the show) and his set team of Tom Courtier and Milly Hayward.

Directing a show like “RENT” is no easy task (not as hard as reviewing it obviously 😉) as the show is basically “the same” whoever does it (as it is so iconic – maybe after 400 years, like Shakespeare, some aspects will be changed, and we will get a RENT set on a spaceship …)  but Dionna Kate-Hargreaves set her own stamp on it in subtly brilliant ways. I mentioned the use of multiple levels already but the piece de resistance of the show is in many ways …  the drumming.  (If you know you know).

And speaking of drumming that brings us to the music – a six-piece band led by MD Kris Nock rocked out the show hidden subtly off stage but in full view (once you know, you know). I wonder if Kris’ toughest task (not as arduous as reviewing obviously) was teaching three actors to hit a large piece of metal in time with two sticks for some considerable time (if you know, you know).


Tech is as ever hidden away where no one can see them up in the attic of the Rondo, and technical director Tom Courtier and his crew slid their sliders and pushed their buttons and  lit their lights to full effect. (I’ve got a deep and meaningful understanding of tech). Rule number one in a theatre is never hack off the tech guys – they have hammers, and saws, and unlimited access to 240v at all times (if you know, you know) so – GREAT WORK GUYS!!!

That’s about it then. Set, Tech, props, direction, music.  Yup. That’ll do.


Ah.

Yes.  That lot that cavorts upon the stage.  Nearly forgot them. Starting with cavorting…  choreographer and dance captain Grace Egginton and Grace Shobbrook whipped the cast into a frenzy of whirling limbs when they weren’t singing.  And often when they were come to that. It must be said the Rondo’s stage is quite….  Bijou… particularly when by necessity a good half of it is taken up by aluminium scaffolding poles that don’t bend if you collide with them (if you know, you know) so the tightness of choreography is impressive.

And so – the cast. I’ve used the line about “strutting and fretting his hour upon the stage” before so I won’t use it again.  Ooops.

It takes a dedicated cast to work “RENT” – it is emotionally draining (if you know, you know), taking its toll on the actors’ own emotions. And this cast did Jonathan Larson proud. The ensemble – they always get listed last so here they are first cos that’s important (if you know, you know) so bravo Daisy Wilson, Morgan Hames, Georgi pepper, Steven Hockett, Jasmine Lye, Sophie smith, Milly Haywood, and Sarah Easterbrook…  All of whom also starred in the all-important cameo parts that just make “RENT” simply “work”. Special mention must be made though for Jasmine, who stepped up to play the role of the harassed waiter in the café scene due to cast unavailability this evening.  Cometh the hour, cometh the Jas!

I suppose that leaves the principals. *sigh*.  OK. Well…  ummm…  errr…

Well in all honesty they weren’t good. Nope. Not at all.

THEY WERE BELTING!!!  FANTASTIC!!!  MAGNIFICENT!!!

and other superlatives.

In no particular order…  Bryan Houce played Mark…  his portrayal got stronger and stronger throughout the performance as the middle-class wannabe with no confidence (that’s Mark – not Bryan!). Mimi was played superbly by Grace Egginton who quite rightly as a choreographer played the part of a striptease dancer very well.  (Hmmm…  that maybe came out a bit wrong?) 😉Roger Davis, all angst, and anger was quite phenomenal played by Josh Phillips.  Absolutely fantastic. Liberty Williams probably stole the show for “most likely to break a wine glass at forty feet” with her incredible top note harmonising as Joanne, and Naomi Marie as Benny (déjà vu here – if you know, you know) as the brooding, mean turncoat-comes-good ex-flatmate.

If I appear to be rushing through these principals, it’s because I could write war and peace about them otherwise. Next up – in her first ever principal role (which is hard to believe, if not as hard as reviewing of course) playing Maureen was Sarah Askew.  Now Sarah is no mean belter of a top noted harmony as well, as befits a rock band vocalist (if you know, you know) but …  well.  If you need a top MOO-ERR then Sarah is your girl (if you know, you know).  And then we have Davey Evans as Collins. Another wow moment.  Collins is a complex character to play especially with the range of emotions demanded of it, and Davey perfected them all. Great voice too. Which leaves last, but of course NEVER least…  Angel. George Friend. I had the pleasure of speaking with George before and after the show – he is reprising the role he played in 2017 – and he claimed (yeah right 😉) he couldn’t believe he could still reach the high notes he needed but they were well reached, another great performance.

So that’s it. I’ve reviewed a show that’s hard to review. A show that for an opening night was quite wonderful. And let us not forget either the debut show for a brand-new Bath based community theatre company.  Top job.


“RENT” runs until Saturday 16th March at 1930 each evening with a 1430 matinee on the 16th. Tickets can be bought from
https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/rent/e-mdxlbz

and I urge you to go.

And – don’t forget to MOOOO!  (if you know, you know).

You always said how lucky you were that we were all friends. But it was us, baby, who were the lucky ones.

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Jesus Christ Superstar at The Wharf

With Jesus Christ Superstar coming to Devizes’ Wharf Theatre, I’m pondering, just how outrageous was it at the time, and how has adaptations and satires of biblical stories become more acceptable?  

So yeah, from what I remember, knee-high to a puppy at the time, he came down from heaven on a Yamaha, pulled a skid, killed a kid, trapped his balls in a dustbin lid.

Other rhymes circulated school playgrounds nationwide, but all the variations of the Jesus Christ Superstar theme were considered on the topper-most level of naughtiness, most likely because we figured it lampooned Jesus. When in all actual fact, above the tittering of school children, had the damage not already been done by the very thing we were parodying?

In a competitive era when the concept album had come of age, so rock musicals and rock opera were becoming fashionable, one had to raise the controversy bar in order to get noticed. With Joseph and the Amazing Technicolor Dreamcoat already under their belts and bugging religious zealots, Andrew Lloyd Webber and Tim Rice knew blasphemy long before Madge frolicked with an ethnic Jesus in Like a Prayer.

Cover story was, by twisting the Easter story into modern terminology and themes, it reached out to a new generation, but many didn’t see it that way. Banned briefly by the BBC for being sacrilegious, Christian and Jewish orders despised the album alike, and the musical was banned in South Africa and Hungary.

Such was the narrative, focussing on Judas rather than Jesus, his fears the compassionate movement had become a cult, Jesus’s declarations being besmirched by his followers, and this was a dangerous game which would attract the attention of the Romans, not forgoing it was condoning the common assumption Mary Magdalene was a prostitute, it might seem an unusual choice for the Wharf Theatre in Devizes. Yet, if anything, the degrading in offensiveness of Jesus Christ Superstar, is symbolic of how far we’ve progressed and become more accepting towards biblical adaptations and ret-cons.

After all Monty Python’s Life of Brian was only eight short years away, and today we live in a world where Homer Simpson prays for doughnuts, Trey Parker and Matt Stone depict Jesus in a boxing match with Satan or else hosting a call-in chat show called “Jesus and Pals,” and even locally where The Boot Hill All Stars sing a song about a “tiny Jesus” crucified on a hot cross bun!

For extreme retroactive continuity of the character of Judas, though, I’d highly recommend the self-published series by author Roy Bright, whereby, punished by God with immortality and banished to Earth, Judas rights his wrong by becoming a super-heroic, Hollywood-fashioned action hero!

Still, the revival of the controversial musical is trending, which through the aforementioned hullabaloo, took best part of decade to alter from rock opera album to the stage in London, and only because of its success in the USA. A new production was staged at the Stratford Shakespeare Festival, in Ontario, in 2011, and by the 45th anniversary of its run, on Broadway, it returned to London at Regent’s Park Open Air Theatre.

Whether you were intrigued or outraged at the time, or if like me, too young to form an opinion further than the amusing notion of Jesus’s nad-sack caught in a dustbin lid, to see it now might cast a different perspective on the synopsis than how it was perceived at the time, and you can do exactly that, a stone throw away.

A rescheduled performance from last year, The Really Useful Group Ltd presents Jesus Christ Superstar at Devizes Wharf Theatre from Friday 10th to Saturday 18th September. The strapline runs, Jesus must be stopped….  which is tricky to say the least, I mean, on a Yamaha and all!

It will, at last, be open to a full house, after restrictions have reduced capacity of our lovely theatre, and Devizine wishes it well. “It has been a long hard wait,” expresses publicity manager Karen, “as we were due to stage this just days after the first lockdown was announced.” And further to this, plans are ahead for the Christmas panto, Dick Whittington, with auditions on Wednesday next week, 18th August.

The box office is also open for the adaption of The Navy Lark, a classic radio comedy which originally featured Leslie Phillips, Dennis Price, Ronnie Barker and Jon Pertwee, on 2nd October, and Just Like That! The Tommy Cooper Show on the 16th.

The end of October sees an hilarious farce play, based on the true story of Florence Foster Jenkins, dubbed ‘the worst singer in the world’ in 1940s New York, running from 25th to the 30th of October, and a one-off on the 16th November, Dan Clews portrays Paul Simon in The Paul Simon Story.

Wharf Theatre

Tickets can be purchased by ringing 03336 663 366; from the website Wharftheatre.co.uk and at the Devizes Community Hub and Library on Sheep Street.

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