Tag: musicals

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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“Sweeney Todd” at St. Augustine’s Catholic College, Trowbridge May 28th-31st

by Ian Diddams
images by Chris Watkins

Performing Sondheim isn’t the simplest of tasks. Or, rather, singing Sondheim isn’t the simplest of tasks. With his dissonant music, off the beat lyrics and constant interchanges of characters’ lines in songs it takes a lot of practise, a good ear, and huge concentration to meet Sondheim’s demands. Many companies avoid his shows for exactly that reason – and understandably so being fair to them. So it’s an arguably brave company that goes with that direction – and congratulations must go to Trowbridge Musical Theatre (TMT) for pulling it off so well.

Many of you will have seen Johnny Depp and Helena Bonham Carter in Tim Burton’s 2007 film, but here was the full stage musical in all its gory glory, the tale of a falsely accused ex-convict turning revenge  on those that framed and convicted him allied to a little bit of pie-making on the side.

The set built all but overnight by Bernice Hudson and her crew works really well with pie shop stage left and Todd’s barber’s shop above at mid-level. Stage right is the Judge’s house, with roof garden, the intervening space representing Fleet Street. The set crew have created a three-level space as a result and full kudos to them and Lyn Taylor’s fine eye as director for providing such a visual treat so well utilised constantly drawing our eyes up, down, left, and right. More visual treats in store are the costumes, provided by Sandra Tucker and her team, really hitting the mid-nineteenth century vibe to fully set the tone, and special mention must be made of the work put into hair styling and wigs by Sarah Davies and Lauren Hamblett. Completing the triumvirate is of course the tech team of Jon Lewthwaite, Alex Jacobs and Tony Bonner bringing moody lighting and eerie sound effects expertly. Supporting these creatives was choreographer Daisy Woodruffe and dance captain Hannah Symonds keeping the ensemble moving sinuously during their street scenes, and in perfect unison in the bar scene! All ably assisted – as ever – by Team R-H of Nicky, Cameron, and Connor Runyard-Hunt back together again for this show with Stu Langford, Pete Grant, and Steve Riddle who between them lugged furniture and a huge meat grinder as well as other sundry items on and off stage. And Chris Isaacson as stage manager keeping it all under control at the back!

That of course leaves the thirteen strong orchestra led by Musical Director Samuel Warner performing the crazy Sondheim music with strong and emphatic delivery.

Any show is only as strong as its ensemble and this show’s sixteen strong group kept the show moving along nicely with their choreographed street and bar scenes and constant interactions with each other, as well as providing a bird seller, policemen and grave diggers. Special mention is worthy for Claire Warner, Emily Lawes and Hannah Symonds who performed a typically complex Sondheim trio perfectly, and the entire ensemble’s playing of inmates of Bedlam asylum!

It is the principals of course that take the limelight in any show and drive the story along, and TMT have been blessed with a very strong line-up for this show. The minor principals especially supported the main principals well. Caroline Murray as the beggar woman was deliciously wonderful as the annoying, crazy, old hag and Katy Pattinson shone in her quasi principal-boy role as Tobias Ragg the semi-adopted pie making apprentice who grows from timid shyness to cheeky confidence. Matt Wisener with only two weeks to pick the role of Beadle up, and Andrew Curtis as Judge Turpin provided the corrupt underbelly of authority. Never to be underplayed, the evergreen and versatile excellence of Paul West was once again to the fore as the charlatan barber Adolfo Pirelli, while Alan Rutland played the sleezy, corrupt asylum keeper Jonas Fogg.

Noah Heard as Anthony Hope and Amy Emberson as Johanna provide the show’s love interest as Todd’s fellow sailor colleague and daughter respectively – both with clear, strong and lovely voices and an on-stage chemistry as erstwhile lovers.

Chris Howlett delivers the serial killer Sweeney Todd to perfection …  moody, dark, surly, momentarily relaxed once the money is coming in, then finally distraught. Excellently portrayed. And of course, Michelle Hole as Mrs Lovett. Her stage presence was immense, always engaging, with strong voice and great characterisation.

There is however one absolute star of this show. It’s usually unfair to pick a star in a show where everybody has put their blood, sweat and even tears into but it is only right and proper in this performance to announce the standout part is most definitely … The chair! A fully working, depositor of Todd’s victims to Mrs Lovett’s bakehouse complete with handle and trap door. Absolutely Brilliant! Worth the ticket price alone!



“Sweeney Todd” plays at St. Augustine’s Catholic College, Trowbridge from May 28th to 31st.

Tickets from https://trowbridgemusicaltheatre.co.uk/tickets

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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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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