This year Birmingham Repertory Theatre’s youth theatre, The Young REP, bring a tale of innocence, acceptance and learning as they stage Ayub Khan-Din’s adaptation of E.R. Braithwaite’s autobiographical novel To Sir, With Love. It tells the tale of a hopeful electrics engineer who, after serving in the RAF during the War, finds the love for a new career as a teacher. As the tale continues, the story concludes with an endearing present from the children signed, To Sir, With Love. It is a commentary on modern society and brings post-war racism to the forefront of the piece, making it as relevant now as to when it was written.
 
Philip Morris leads the piece with strength as the passive Ricardo Braithwaite. In direction with Gwenda Hughes and Tom Saunders, he creates a real raw story for this character who changes the attitudes of the children, under the inspiration of the innovative head teacher Leon Florian (Andrew Pollard) – a character based on E.R. Braithwaite’s experience with pioneering educator Alex Bloom. However, it is his relationship with the young actors that is particularly poignant in this play, the only point I would make was that they are simply under used in the show and it would have been lovely to see even more from them. Aside from this, there is real strength in the performances from the talented Young REP. Charlie Mills is suitably cast in the role of the antagonistic Denham, who has a real turning point in the play from aggressor to peacemaker. Alice McGowan also stands out as the youthful innocent who takes a shine to Mr Braithwaite; her character nicely contrasts that of Mills and others who antagonize the action.
 
Also of note is the tight relationship between young Elijah McDowell’s Seales and Morris’ Braithwaite. Seen as a figure of advice, this connection reminds us that teachers are here for so much more than just to educate. One moment that felt a little underdeveloped was the death of Seales’ mum, as it could have been used more to heighten the duo’s relationship.
 
Simon Bond’s lighting design is simple and enhances the natural state of the story well and in collaboration with Michael Holt’s design it creates a nice setting for the show. At times, Holt’s set feels quite sparse, but is strong in the classroom scenes when the school desks fill the downstage area. Combined with the projection design of Louis Price, it comments nicely on the action that happens on stage.
 
To Sir, With Love reminds us all of the importance of understanding and education. It is a play that scrutinizes the audience in their reactions to the racism and actions on stage, ensuring that the main purpose is achieved: an education.
 
Catch it at The REP; it’s a real eye opener. 

Rodgers and Hammerstein’s long-established classic, South Pacific, may need no introduction but, to some, the wonderfully capable company who have brought it back to life on the amateur stage at Sutton Coldfield Town Hall, may well do.
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Manor Musical Theatre Company, whose first show, A Country Girl, was back in 1953, have their 2017 production spearheaded by the delightfully capable duo of Barry Styles (Emile De Becque) and Beth Hooper (Nellie Forbush) whose vocal abilities seldom strayed from sheer perfection and arguably, may not have been overly out of place on a more professional stage. At times, none more so than in his rendition of Some Enchanted Evening, Styles’ portrayal of the wealthy French planter brought back spine-tingling echoes of Giorgio Tozzi back in the 1958 film adaptation. It would not have been as successful however, had the two roles been at varying degrees of poise and professionalism. Hooper was equally as captivating as Ensign Nellie Forbush, a part which, amid an intense score, boasts perhaps the greatest challenge when one simultaneously factors in the diversity of song styles and the required choreographed accompaniments.

There was more joy to be found in the band, ably led by Director of Music Peter Bushby and the roles of the wily Luther Billis (Paul Wozniak) and courageous Lieutenant Joe Cable (Andy Hooper) who shone just as bright as the leads in their respective moments. Moreover, the three children who played Jerome, Henri and Ngana De Becque not only exhibited a masterful control of the French language, but also exceptionally polished vocal and dance performances which, when considering their ages, is all the more impressive.

As ever with live theatre, it was not without some small hiccups. Early on in the performance, at the arrival on stage of the male ensemble and Bloody Mary (Susan Bushby), the orchestra, correctly I might add, piped up but due to hesitation on stage only a handful began singing. To their credit, they recovered comparatively quickly to give really quite excellent renditions of Bloody Mary and There’s Nothing Like a Dame.

Under the directorial prowess of Pam and James Garrington, Manor utilise every inch of staging, showing unprecedented innovation to maximise both the height and width of the stage which gives at once the sense of being at a far grander show, something further fuelled by the ever-capable cast.
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This is most definitely a show that does justice to, and perfectly embodies Rodgers and Hammerstein’s at once hilarious, thought-provoking and heart-wrenching classic and with the palpable camaraderie amongst the cast, it is without question well worth a watch.

​Lichfield Garrick Youth Theatre have never been a company to shy away from a challenge, and they more than proved this tonight as they presented a polished production of the gloriously infectious Legally Blonde. Featuring a catalogue of wonderful numbers, LGYT exceeded their years (and then some) in this sparkling performance.
 
Under the dynamic trio of Julie Mallaband (Director), Oliver Rowe (Musical Director) and Jessica Lambert (Choreographer), the show was pacy, vibrant and energetic. There was never a lull and the band tackled the complex score with skill, with some nice additional musical touches.
 
The shining accomplishment in this production is the company’s astute grasp of comedy. It was perhaps one of the first amateur versions I had seen where every single comedic opportunity was exceptionally delivered and Legally Blonde, when done well, is hilarious. Boasting a suite of eccentric characters, each member of the cast relished their time on stage.
 
Leading the audience through the evening is pocket-rocket performer Sophie-Rose Dickinson. Her annoyingly squeaky Elle Woods really heightens the stereotype behind her character; however she played this to her advantage, successfully showcasing an amazing character transformation between Act One and Act Two. With a superb vocal, she was an absolute hit. Nathan De Giorgi complemented her well as the endearing Emmett Forrest, whilst Dominic Sterland delivered an impressively comedic performance as Warner Huntington III.
 
It would do the company a disservice to not individually name everyone involved, as all of them stepped up to the plate in this incredibly demanding show. However, there were some great supporting performances from Ella Fellows-Moore (Brooke Wyndham), Hudson Mitchell (Kyle) and the trio of Esme Wade (Serena), Bethan McCormick (Margot) and Hattie Rumsey (Pilar). And you cannot forget the laugh-out-loud pairing of Harry Singh (Nikos) and Ollie Willet (Carlos); their cameo appearance in Gay and European was an absolute highlight.

But it was the supporting principle ladies that really shone in this show. Georgia Waldron’s Paulette was a sheer joy. Her rendition of Ireland was expertly delivered and she brought a wonderful warmth, compassion and hilarity to the character. Meanwhile, Sophia Ford’s Vivienne was a truly sassy bitch and you couldn’t help but love her. She came into her own in Act Two, when she finally had the opportunity to show off her smashing voice; blimey, that girl has some pipes!

There is no doubt that this company is overflowing with talent and it is a credit to the fantastic creative team who work so hard week in, week out, to provide such a wonderful platform for young people to perform to a fantastically supportive audience of family, friends and the general public.
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Well done LGYT, you’ve done it again!

Out Of This World is a striking piece of new writing from the acclaimed writer and director – Mark Murphy. It is a production that explores the feelings of undergoing an accident, and the subsequent effects in hospital, surgery and the handling of grief. The wonderful technical nuances are what make this such a successful play.
 
The ensemble has devised this story and, in collaboration with the design team, the final product is incredibly impactful. Notably, the aerial sequence with Itxaso Moreno as the paramedic saving Sarah Swine’s character with a series of pulleys and ropes is breathtaking and contrasts that of the comedic moments between Catherine Cusack and Swine’s characters. These scenes not only evoke a sense of comic relief to this strikingly dystopian setting, but also suggest a power struggle between the protagonist’s life decisions and are certainly a strong point in the production.
 
It is the combination in creative collaboration between Murphy’s direction, Lizzie Powell’s lighting design, Nathaniel Reed’s sound design, Becky Minto’s set & costume design, Pod Bluman’s projection design and Alex Palmer’s rigging design that makes this such a visual spectacle. The shifts in Minto’s crisp and clinical set, heightened by hard edged, clean cut, cold lighting, to an array of immersive projection is what successfully takes you from the surgery to the mind of the protagonist as she undergoes medical treatment. Minto’s set is assured and clear in its presentation with genuine moments of awe when Reed’s sound design deafeningly drops and Minto’s twenty-odd chairs drop on bungee cords from the roof of the stage. Complete design uniformity is clear; they have set a new impeccable standard, illustrating the opportunities available to other companies.
 
Murphy’s writing clearly lends itself to theatrical and visual spectacles, but there are times when the book feels somewhat underdeveloped and almost late in its explanation of the story. It is very confusing until our female protagonist (Sarah Swire) directly addresses the audience telling them what is about to happen, in an almost Brechtian approach to address the chaos of the first half an hour. When the plot does become clear, there is more scope for this stunning young actress to explore her character creating some moments of raw emotion with her late husband (Scott Hoatson). Their compelling relationship culminates when an abstract scene between the two allows Swire’s character to decide whether to stay with her husband in death, or return to life.
 
Out Of This World is a visually striking new piece of theatre with real charge and energy from the cast and creatives. They have managed to produce a work that is so technically advanced, it is to be commended. A plot that explores grief, power, guilt, control and life; it is a production well worth immersing yourself into.
 
Catch it on its tour across the UK this year. 

Stephen Sondheim's & Hugh Wheeler's Sweeney Todd is considered by many his tour de force of Musical Theatre, with a complex score and a meaty plot to sink your teeth into, Studley Operatic Society had certainly took on a huge challenge. Resetting the musical within 1930's London was certainly a brave move, for a musical set in the midst of the Industrial Revolution, but the change of scene, setting it within the great depression, with its crumbling buildings and bright red barber chairs shed a new light onto the piece.

Directors Kevin & Alison Hirons had certainly cast a superb line up of principles, with not a weak link in sight, with soaring vocals and steady characterisation, they held the show well throughout. Paul Mitchell played a demanding Sweeney Todd, his stage presence and vocals were strong throughout, a perfect leading man for the production. Lou Watton played Todd's meat grinding sidekick Mrs Lovett to a tee, her madcap comedy timing yet stumbling awkwardness hit just the right notes. The duo could really delve further into the mischievous chemistry between the two characters, the scheming malice of the two leads is always joyous within the show, and it would be lovely to see even more of that!

Special mention must go to Julian Bissell, who played the most unsettling Judge Turpin that this reviewer has ever seen, his stunning deep vocal technique truly made my skin crawl, and the staging of Mea Culpa was utterly disturbing. A delight of darkness.

With a score as complex as Sweeney Todd, it is always a big challenge for an amateur company, but the scale and scares of the piece do rely on the ensemble's ballads throughout the production. The SOS ensemble can afford to give these moments even more attack, but this company should be commended for their tackling of such a difficult and complex score - one that most amateur groups shy away from.

They have successfully set a unique atmosphere with a gargantuan set, breaking the confines of the Redditch Palace Theatres tight proscenium arch. There were some stumbled scene changes, but these can be forgiven for the ambition of the piece, you felt immersed in the world with fantastic costumes, wigs and scenery to match.
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Sweeney Todd is a fantastic 3 hours of pure Sondheim and Wheeler brilliance, and is a rare treat to find on the amateur theatre scene, get down to the Redditch Palace Theatre while you can, to see some fantastic, ambitious dark comedy from Studley Operatic Society.   ​