Tag: trowbridge musical theatre

“We Will Rock You” at St. Augustine’s, Trowbridge, May 27th–30th, 2026

by Ian Diddams

images by Trevor Porter & Claire Borovac

Juke box musicals tend to be little more than a string of hits, loosely linked together by a fairly weak storyline, and it must be said “We Will Rock You” breaks no moulds in this regard. However, Queen’s wonderful music provides a joyous couple of hours wrapped around a tale of a dystopian future where real music has been replaced by a totalitarian approach to manufactured music allied to an oppressive state a.k.a. Globalsoft, where a bunch of outcasts and renegades run a guerrilla style existence hunted by the security forces on a renamed earth – now iPlanet. A sort of melange of Ray Bradbury’s “Fahrenheit 451” meets “2112” by Rush in a “Robin Hood’s Merry men” saga with Star Wars’ vibes topped with a King Arthur reference, all vaguely linked by Freddie and friends. It must also be mentioned, and applauded, that the references and jokes have been kept contemporary since its initial scripting twenty-five years ago.

It’s a challenging show to undertake – firstly the iconic status of the music, and the unique styles of Mercury’s voice wrapped up in what is really a tribute act turned into a stage show. Secondly Ben Elton’s acerbic wit as the jokes, knob gags, and satire come thick and fast. And not to omit, in this glorious heatwave we are enjoying at the moment, thirdly the cast, band and crew sweltering away during the show! But Trowbridge Musical Theatre (TMT) with their typically large cast of almost forty members deliver the show at St. Augustine’s this week with style, energy and smiles galore, directed by Petra Schofield and produced by Maria Matthews.

The set (“Bright”) is simple but effective providing multiple height levels and stage depth; sound and lighting (Harry Sandford, Chris Sealy & Harry Weissenbruch, and Ryo Rosemann) provided top effects and follow spot, and the standard excellence of the back stage management and crew (Chris Isaacson, Nicky Runyeard-Hunt, Cameron Runyeard-Hunt, Bernice Hudson, Stewart Langford) kept everything smoothly ticking along; the sign of a good back stage crew is that you never know they are there – plaudits to them. Costumes, hair and make-up are an “unseen” team, although their input is critical to a show’s success and Karen Grant, Sandra Tucker, Lucy Adeney and Lyn Taylor deserve kudos in this area.

As a jukebox musical of course the band are an all-important and integral part of the show, so step forward Musical Director (Helen Heaton), keyboards (Helen Heaton and Sian Noctor), guitars (David May and Ben Jones), bass (Owen Heaton), drums (Alex Kemp) and percussion (Helen Altoft) who delivered the Queen “sound” – how marvellous to have a guitarist named May  in the band too! All too often a band’s volume can overpower the voices especially as in this case when the band is between the stage and audience, but levels were delightfully placed to support but not drown out the singing…  though during the big instrumentals, the lead guitar and drums could have been louder to just give that OOOMPH we have all come to love from Brian May and Roger Taylor 😊… But then again that may (ba doom tish!) just be me who likes his music LOUD!!!

No musical theatre show is ever complete without a wonderful ensemble and as ever with TMT shows, these ensembles were a highlight with tight choreography and slick background singing and stage presence. Its not realistic to mention the nigh on thirty ensemble members all individually, and its possibly unfair to just single one of them out, but I do have to say Yvonne Paulley shone throughout with her happy, smiling face, clearly enjoying herself to the maximum (and that is no slight on all the others either of course!). Regarding the choreography, Dani Fuke has clearly worked tirelessly with the entire cast, and especially the ensemble, to create such seamless excellence – bravo BRAVO!

Andrew Curtis plays the role of “Buddy” which for story purposes acts as a sort Greek chorus, providing the context and background to various key plot information. “Buddy” because his character is named after Buddy Holly though Andrew skilfully provides at times a Ben Elton lookalike as well as Buddy Holly during the show to provide an homage to the scriptwriter 😊

Ryan Chown as Brit (Britney Spears) and the ever excellent Daisy Woodruffe as Oz (Ozzie Osbourne) combine with Buddy to set the scene and bring the early plot along as a loving couple intent on fulfilling their innate desires to rebel against Globalsoft, and Chris Howlett provides one half of the oppressive Globalsoft dictatorship  as Khashoggi, the head of secret police with distinct Gestapo overtones.


The other half of the evil empire, the supreme leader of iPlanet, Killer Queen, is superbly played by Keeley Guyan in her TMT debut. Her strong vocals and stage presence shine through and she totally makes her solos her own.

That just leaves us with Carisma Dolphin as Scaramouche and Noah Heard as Galileo; both are excellent in their characterisation and delivery, Carisma especially as her portrayal of the uber sassy, girl power confidence imbued heroine of this piece.  Their on-stage chemistry as a couple grows throughout the show in line with their characters’ relationship, quite wonderfully done, and their duets were simply perfect. Now – it’s a tough call for anyone to take on songs by Freddie Mercury, and not even George Michael could fill those huge boots, but both Noah and Carisma had clearly worked hard to emulate some of Mercury’s intonations and delivery. Chapeau!

I began with a comment about jukebox musicals being just great songs and a weak storyline, but it is only fair to add that amongst this daft storyline, there are some real connections to historical and contemporary issues…  dictatorships, rebellions, oppression, the struggles of minorities, bread-and-circuses state control and so on; maybe unsurprising given Ben Elton’s past as an irony heavy stand-up comic and satirical author. So, while this is a light hearted show nonetheless it does deal with some genuinely terrible concepts beneath its surface and it is worth a moment of reflection.

“We Will Rock You” is performed by Trowbridge Musical Theatre at St. Augustine’s Catholic College, Trowbridge from May 27th until 30th, at 7.30pm with a Saturday matinee at 2.30pm.

Tickets are available from https://www.ticketsource.co.uk/trowbridge-musical-theatre

“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

“Sister Act” at St. Augustine’s, Trowbridge May 29th-June 1st

By Ian Diddams
Photos by Gail Foster

In 1971 Ken Russell enchanted film audiences with “The Devils”, which incorporated nuns in the story – somewhat controversially. This was six years after Julie Andrews, aided and abetted by yet more nuns, thwarted the Nazis in “The Sound of Music”.  By 1980 nuns had become less controversial, less politically motivated, as instead the object of scorn and fear by “The Blues Brothers”. So, by the time 1992 rolled around, nuns were old hat in the film industry and especially the musical genre. Nothing was left to use them for, surely. Enter Whoopi Goldberg, stage left in 1992, and “Sister Act” with a general plotline of “how do you solve a problem like Deloris?”


In the intervening decades the film was transferred to a stage musical in the West End then to Broadway, and subsequently via the auspices of community theatre groups to a stage somewhere very near you. The basic plotline is simple enough – naughty wannabe girl singer hanging with a hood witnesses a murder, goes on the run, hides in a convent, transforms its choir and the convent’s financial future, is discovered by ex-boyfriend, and is protected by the sisters before being saved by her teenage admirer now a policeman. Who overcomes his fear of guns by shooting said gangster boyfriend – how very P.C.!

The whole show of course is strung along by those foot tapping songs by Menken and Slater providing opportunities for vast quantities of choreography by nuns. And its these scenes of twenty-one nuns (I counted them all out, and I counted them all back) cavorting joyfully across St. Augustine’s Catholic College’s stage (where else better for a musical set in a convent? Unless maybe in a convent I suppose…) that will linger in the mind’s eye for a while yet to come.

This is Trowbridge Musical Theatre’s second nun based show in just over a year now, following on from thwarting Austrian Nazis in 2023. Perhaps it is becoming a habit for them? There would be nun better to do so let’s face it.  (*Ahem* – less puns please – Ed.) Sarah Davies makes her directorial debut and her touch is seen throughout the show with little, perfect moments. Choreography by Anna Mazan in true “Sister Act” style fills the stage with synchronised movements throughout the show, no better personified by the nuns’ ensemble’s activity …  the stage isn’t the largest and there’s a LOT of nuns strutting their wimples but a blend of sways, grinds and hand jive leaves at times a breathtaking display before your eyes.

This is a large cast and so “I haven’t got a prayer” of covering everybody – but rest assured though that EVERYBODY was “Fabulous baby!”
Frankie Walker leads from  the front as Deloris Van Cartier (“You know, like Cartiers”). Her stage presence is immense, and she captures the initial sassy character of Deloris that shifts to a later caring communal love to perfection. Tim Hobbs wades in as the grand master of chaos and nastiness as Curtis, with his unlikely trio of useless henchmen – well done with the Spanish Paul West! – including the irrepressible TJ played by Noah Heard with the slickest of moves on the dance floor.

Eddie was wonderfully portrayed by Davey Evans compete (of course) with sweaty armpits and – with some help naturally – a stunning double clothes rip change. The three “Sisters of Mercy” – Marys Robert, Patrick and Lazurus – were more than ably carried by respectively Carisma Dolphin, Daisy Woodruffe and Dani Fuke. Carisma’s vocals more than rose to the occasion, soaring over the band, while Daisy’s portrayal of the goofy nun was slapstick at its finest, and full kudos goes to Dani’s comedic timing and delivery as the straight-laced but wonderfully sardonic ex choir leader. Finally in this mini round-up is last but by no means least, the show’s Mother Superior Michelle Hole. Clear as a bell and with wonderful projection, her every line and note were delivered perfectly. A truly bravissimo performance.



Now – no musical is complete without its ensemble, its chorus. And what a chorus! If anything, and if this is not an unfair thing to say in a community theatre review, they collectively stole the show. Take a bow all twenty nuns for your rousing singing, harmonies, choreography akin to the red arrows at times, hand jive, swaying and a swinging and a grinding. As well as tiny cameos amongst it all, including (my favourite) an homage to the Dance of the Cygnets from Swan Lake at one stage (and hats off to choreographer Anna too of course!). And a special mention is needed for all of the cast that had multiple costume changes in the show stretching between a nun, fantasy dancer, bar patron, street singer, hooker and goodness knows what else in their blur of appearances. You all made it look as if you were indeed finding it “Good to be a Nun”!

The set was simple but well presented, with effective use of corners for office scenes etc. No musical of course is possible without its band and the ten piece orchestra led by Musical Director Helen Heaton with a GREAT horn section delivered all the right notes AND in the right order 😊

There is one real star of the show not mentioned yet. Top music, top singing, top performances, top choreography all lead to a top show but there was one thing that really set this entire thing off brilliantly. By far and away the dazzling STAR of the show were the costumes, so take a bow Sandra Tucker, Karen Grant, Kirstie Blackwall and Sarah Davies.



“Sister Act” by Trowbridge Muciscal theatre is showing at St. Augustine’s, Trowbridge nightly from May 29th to Saturday 1st June at 7.30pm plus a Saturday matinee at 2.30pm.

So “Spread The Love around”, grab a friend or ten and get thee to the show – tickets available from the Ticket Source box office.

No recorders were harmed in the making of this production.