We Will Rock You – Manor Musical Theatre Company ⭐️⭐️⭐️⭐️⭐️

We Will Rock You – Manor Musical Theatre Company

Sutton Coldfield Town Hall

Monday 11th May 2026 – Dress Rehearsal

By Nigel Gambles

Photography –Studio 55 Photography

There was only ever going to be one word to describe We Will Rock You at Sutton Coldfield Town Hall this week — spectacular.

Manor Musical Theatre Company delivered a high-energy, crowd-pleasing rock extravaganza packed with powerhouse vocals, huge ensemble numbers and the unmistakable music of Queen, all met with rapturous applause from an audience clearly loving every minute.

Under the direction of Louise Holmes — making her first production with Manor — alongside choreographer Connie Mortiboy, the show bursts with confidence, movement and attitude from the opening moments. Together they create a production that feels ambitious, vibrant and full of genuine rock concert energy, while Musical Director Chris Arnold and the live band drive the show forward superbly throughout the evening.

Two standout debut lead performances came from Dan Hardy as Galileo and Siobhon Louise Thornley as Scaramouche. Both brought exceptional vocals, warmth and charisma to the production, while their chemistry together gave the show real heart beneath all the spectacle. Hardy delivered Galileo’s humour and vulnerability brilliantly, while Thornley’s sharp comic timing and commanding vocals lit up the stage whenever she appeared.

Juliet Fisher gave a fantastic performance as Oz, combining strong vocals with real emotional depth, while Dan McCloskey brought plenty of presence and power to Brit, helping anchor many of the show’s biggest ensemble moments.

Chloe Mason was outstanding as Killer Queen, commanding the stage with confidence, attitude and a wonderfully theatrical performance that perfectly suited the over-the-top glamour of the role. Supported brilliantly by Kian Haden as Khashoggi, the pair created a formidable villainous partnership that added real energy and drama throughout.

Meanwhile Mike Willis delivered a hugely entertaining performance as Buddy, capturing the spirit of the old-school rocker with warmth, humour and excellent audience connection. His scenes brought some of the loudest reactions of the night.

The ensemble throughout deserve enormous praise. Productions like this only succeed when the company fully commits to the scale and energy required — and Manor absolutely did that. The choreography was sharp, the stage movement constantly alive and the ensemble vocals powerful throughout.

Special mentions also go to Mia Davies, Sarah Cotter, Lia Cadman, Millie Marshall, Sammi Kelly-Griggs and Billy Skinner for their excellent supporting performances and contribution to the overall energy of the production.

Technically, the show looked superb. The lighting design from Going Dark Theatrical Services created a true arena-rock atmosphere, while Leigh Yeomans’ sound design ensured Queen’s legendary music retained all of its power and impact. Combined with strong staging, video wall visuals and an energetic live band, the production often felt far bigger than the Town Hall stage itself.

And of course, at the centre of it all is the music. From “Somebody To Love” to “Radio Ga Ga,” “Bohemian Rhapsody” and the triumphant finale, the audience response said everything. Singing, cheering, clapping along — this was musical theatre doing exactly what it should: bringing people together for a joyful night of entertainment.

Manor Musical Theatre Company’s production of We Will Rock You is bold, loud, funny and full of heart — a hugely enjoyable celebration of Queen’s music performed by a company clearly having the time of their lives on stage.

Same Time Next Year – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Same Time Next Year – Sutton Arts Theatre

Sutton Arts Theatre

Thursday 29th April 2026 – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

There’s something quietly magical about Same Time, Next Year—a play that, on paper, is beautifully simple, yet in performance becomes deeply layered and emotionally resonant. Sutton Arts Theatre’s latest production captures that magic with charm, intelligence, and a genuine affection for the material.

Bernard Slade’s classic two-hander follows Doris and George, who meet by chance and begin an annual affair—reuniting once a year over the course of several decades. What unfolds is not just a love story, but a time capsule of shifting attitudes, personal growth, and the changing world around them.

At the heart of this production are two beautifully judged performances from Jayne Lunn (Doris) and Rod Bissett (George). With only two characters carrying the entire narrative, the success of the piece rests squarely on chemistry—and here, it delivers in abundance. Their connection feels authentic and lived-in, evolving naturally from awkward beginnings to something far deeper and more complex as the years pass.

Lunn brings warmth, wit and emotional nuance to Doris, capturing her evolution across the decades with subtlety and charm. Bissett, meanwhile, delivers a grounded and engaging George, balancing humour with moments of genuine reflection and vulnerability. Together, they create a relationship that feels entirely believable—full of heart, humour, and humanity.

Under the assured direction of Joanne Ellis, the production remains focused and elegantly understated. Ellis allows the script and performances to breathe, resisting the temptation to overcomplicate the staging and instead placing full trust in the emotional journey unfolding on stage. The pacing is carefully judged, giving both the humour and the quieter, more poignant moments the space they deserve.

Costume and subtle design choices cleverly mark the passing decades, helping the audience track the changing times without distraction. Each transition feels natural, supporting the storytelling rather than overshadowing it.

What makes this production particularly engaging is its balance. It never tips too far into sentimentality, nor does it lose the lightness that makes the story so enjoyable. Instead, it sits comfortably in that sweet spot—funny, touching, and quietly thought-provoking.

By the final scene, there’s a real sense of having travelled alongside these characters—not just through their relationship, but through life itself. It’s a gentle reminder of how connections can shape us, even in the most unexpected ways.

Comedy Double Bill – Mint Theatre Society ⭐️⭐️⭐️⭐️⭐️

Charity Begins At Home / All By Myself – Mint Theatre Socirty

Stonnall Village Hall

Sunday 29th March 2026 – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

Big Laughs, Brilliant Performances: A Comedy Double Bill That Delivers

An evening of sharp comedy and thoughtful storytelling takes centre stage with this entertaining double bill from the The Mint Theatre Society, featuring “Charity Begins at Home” by Mark Whitely and “All by Myself” by Robert Scott.

Opening the night, Charity Begins at Home transports us to a charity shop in 2007, where everyday interactions quickly spiral into something far more chaotic and hilarious. The strength of this piece lies in its sharp, witty dialogue and a cast that clearly relishes every moment.

Charlotte Ball as Joyce anchors the piece beautifully, delivering a performance full of timing and character, while Andrew Huches (Burt) and Paul Warner (Bungo) bring a wonderful energy and comedic rhythm to the stage. David Daly’s Mac Man adds another layer of humour, complemented by Beth Howell as the Policewoman, whose presence lands perfectly within the escalating madness. A clever additional touch comes from the voice work of Toby Cuiver Wells, adding depth to the storytelling.

In contrast, All by Myself shifts tone and setting entirely—placing us on a desert island in 1567—but retains that all-important comedic edge. Here, the humour is more reflective, with moments of genuine warmth woven through the script.

Alex Howell leads confidently as Larry, supported by strong performances from David Daly (Pemberton) and Gareth Austin (Ashworth), each bringing distinct characterisation and presence. Beth Howell once again impresses with versatility as Miller, while Ian Toulouse (Nicholson) adds further texture to an already well-balanced ensemble.

Under the direction of Liz Daly, both productions feel cohesive yet distinct, showcasing an understanding of pacing, tone, and character that keeps the audience engaged throughout. Behind the scenes, David Daly (Stage Manager) ensures a smooth production, with Ellie Ball providing effective sound design that enhances each setting. Front of house, Michelle Warner and Alexandra Warner complete the experience with a warm welcome for audiences.

This double bill is a fantastic example of what local theatre does best—bringing together strong writing, committed performances, and a clear love for the craft. Two very different stories, one thoroughly enjoyable evening.

11, 17 & 18 April

Boldmere / Aldridge / Stonnall

7:30pm (doors open at 7pm)

ticketsource.co.uk/mint-theatre-society

Fame The Musical – Lichfield Musical Youth Theatre ⭐️⭐️⭐️⭐️⭐️

Fame The Musical – Lichfield Musical Youth Theatre

Lichfield Garrick

Wednesday 25th March 2026 – Opening Night

By Tracey Spare

Photography – Lichfield Musical Youth Theatre

For those of a certain age, the very mention of Fame The Musical instantly evokes leg warmers, sweatbands and the unforgettable journey of young performers chasing their dreams in New York’s High School of Performing Arts — and this latest production by Lichfield Musical Youth Theatre captures that spirit brilliantly.

This energetic and ambitious staging charts the students’ journey from audition through to graduation, navigating the highs, lows and relentless demands of life in the performing arts. It’s a show that naturally calls for a large, versatile company — and here, that depth of talent is one of its greatest strengths.

At the heart of the production are the principal performers portraying the recognisable characters of Nick Piazza (Ollie Clay), Serena Katz (Imogen Willis), Joe Vegas (Zach Andrews), Tyrone Jackson (Connor Orchard), Carmen Diaz (Molly Darby), Iris Kelly (Romelly Collier) and Mabel Washington (Isabella Hamilton) — each bringing focus, character and confidence to their roles. Vocally strong and emotionally grounded, these performances anchor the production with real credibility.

However, what truly elevates this show is the ensemble — the “Class of 2026” students — whose presence is felt in every moment. Whether filling the stage with tightly choreographed routines or supporting the narrative through movement and atmosphere, they deliver an impressive sense of scale. At times, with over thirty performers on stage, the coordination, energy and discipline on display is remarkable.

The choreography is sharp and dynamic, reflecting the intensity of a performing arts environment, while the musical numbers are delivered with both power and sincerity. There’s a clear sense that this is a company fully committed to the material — and crucially, enjoying every moment of it. Any hint of opening night nerves is absent, replaced with confidence and cohesion.

Behind the scenes, the production is steered with precision by Director Patrick Jervis, supported by Musical Director Oliver Rowe and Choreographer Jessica Bennett, whose combined vision brings clarity and pace to an otherwise demanding production.

The backstage and technical teams also deserve huge recognition. From lighting (Stephen Rainsford) and sound (Sam Burkinshaw) to costumes, props and stage management, every element contributes to a slick, well-executed performance that feels both professional and polished.

A particular highlight is the live orchestra, led by Oliver Rowe, whose musicianship adds depth and authenticity throughout — elevating the production beyond expectation for youth theatre.

The audience response on the night spoke volumes. A packed house — filled with proud families, friends and local theatre lovers — responded warmly throughout, culminating in a rousing finale as the full cast returned in glittering costumes to reprise the iconic title track Fame. It’s a moment of pure theatrical joy and a fitting celebration of everything the show represents.

This is a production that doesn’t just showcase emerging talent — it celebrates it. A vibrant, high-energy, and thoroughly enjoyable evening of theatre that proves Lichfield Musical Youth Theatre continues to go from strength to strength.

Performances continue throughout the week at The Garrick Theatre, with evening shows and a Saturday matinee available.

The Hills Of California – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Hills Of California – Sutton Arts Theatre

Sutton Arts Theatre

Thursday 19th March 2026 – Opening Night

By Nigel Gambles

Photography – Sutton Arts Theatre

Set against the backdrop of Blackpool during the long, hot summer of 1976, The Hills of California at Sutton Arts Theatre is a richly atmospheric and emotionally charged production that explores the complexities of family, memory, and long-buried truths.

Written by Jez Butterworth and directed by Emily Armstrong, the play centres on the Webb sisters, who reunite at their childhood home — the fading Sea View Guest House — to say goodbye to their ailing mother. What unfolds is a deeply layered story that moves between timelines, revealing their earlier lives in the 1950s, when dreams of stardom first began to take shape.

This production captures the essence of Butterworth’s writing beautifully — sharp, evocative, and often laced with dark humour. The dialogue feels natural and lived-in, allowing the emotional weight of the story to unfold gradually but powerfully.

The performances across the board are strong and committed. Phoebe Bland (Jillian) leads with sensitivity and presence, supported by Ashleigh Thomas (Penny/Diddy), Michelle Dawes (Ruby), and Nancy Wright (Patty/Mrs Smith), who together create a believable and emotionally layered portrayal of sisterhood.

There are excellent supporting turns throughout, with Connor Taylor (Tony/Mr Smith), Laura Hinton (Gloria), and Mike Rawson (Bill/Mr Halliwell) adding depth and texture to the story, while Rich Millward (Dennis/Jack Larkin) brings a grounded, engaging presence. The younger cast — Sophia Mae Firkins, Gracie Reynolds, Marnie Brown, and Ava Cattell — provide convincing and poignant glimpses into the sisters’ past, helping to anchor the narrative’s shifting timelines.

Special mention also goes to Tom Brookes (Joe Fogg), Emily Armstrong (Veronica/Joan), and Ian Eaton (Luther), who all contribute to a well-balanced and energetic cast.

Behind the scenes, this is clearly a production built on strong collaboration. Director Emily Armstrong guides the piece with a confident and sensitive hand, supported by Tom Brookes (Musical Direction) and Jannie Henderson (Choreography), whose contributions subtly enhance the storytelling.

The technical elements are equally effective. Set design by Mark Nattrass creates an intimate and believable setting, while lighting and sound design from David Ashton & Emily Armstrong, alongside Kieran Jenkins (Lighting Operation) and Elijah Topliss, Annabelle Trappett & Joe Apted (Sound Operation), help shape the mood and transitions with precision. Costume design from Emily Armstrong & Phebe Bland, supported by Sutton Arts Wardrobe & Lichfield Costume Hire, adds authenticity to the shifting eras.

At its core, The Hills of California is a story about the ties that shape us — family, ambition, and the echoes of choices made long ago. This Sutton Arts Theatre production delivers that story with honesty, warmth, and emotional depth.

⭐ Running 19th – 28th March 2026 at Sutton Arts Theatre

For tickets click Here

The Wizard Of Oz – Sutton Coldfield Musical Youth Theatre ⭐️⭐️⭐️⭐️⭐️

The Wizard Of Oz – Sutton Coldfield Musical Youth Theatre

Sutton Coldfield Town Hall

Monday 16th February – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

There’s no place like home… and on this occasion, there was certainly no better place to be than Sutton Coldfield Town Hall, where Sutton Coldfield Musical Youth Theatre transported audiences down the Yellow Brick Road in a vibrant, heartfelt production of The Wizard of Oz.

From the opening notes of Over the Rainbow, it was clear this was a special evening. The transition from sepia-toned Kansas to the dazzling colour of Oz was beautifully handled, drawing audible gasps from the audience and setting the tone for a joyful theatrical journey.

Leading the way was Lola Hinsley as Dorothy, delivering a wonderfully warm and sincere performance. Her vocals were confident and emotionally grounded, capturing Dorothy’s innocence while showing impressive strength for such a demanding role. She carried the story effortlessly — a truly standout portrayal.

And then there was Biscuit as Toto — quite simply, the scene-stealer of the night. Every entrance earned smiles, laughs, and spontaneous applause. Proof, if ever it was needed, that four legs can sometimes upstage an entire cast.

Dorothy’s companions were equally engaging:

Elliott Winhall brought charm and comedy as the Scarecrow,
Jamie Wilson offered heart and humour as the Tin Man,
Euan Barnby delivered a delightful Cowardly Lion with great physicality and timing.

Louise Heard revelled in her role as Miss Gulch / The Wicked Witch, striking the perfect balance between menace and theatrical fun, while George Wells added gravitas and warmth as Professor Marvel / The Wizard.

Supporting roles were handled with confidence by Daisy Moore (Aunt Em / Glinda) and Kian Haden (Uncle Henry / Guard), with strong contributions from principal vocalists Erin Freeman, Grace Wilson, Molly Lewis and Neve Matthews.

The principal dancers — Anna Green, Aubane Doireau, Daisy Yates, Erin Freeman, Esme Wolverson, Molly Lewis, Natalie Heard, Neve Matthews, Peyton Lockley and Sophia Reeve — brought real energy and polish to the Emerald City sequences, while the full ensemble filled the stage with colour, movement and infectious enthusiasm.

Behind the scenes, this production was steered with care and creativity by director Georgia Young, supported by musical director Imogen Botham and choreographer Ellie Johnstone, with Neve Matthews also serving as Dance Captain. The result was a tightly paced show with lively choreography and well-balanced musical moments.

Stage management by Paula Lumsden, alongside a dedicated crew including Finley Waldron, Paul Lumsden, Ian Bowley, Ed Hill, Nathan Rock, Tom Wells, Hannah Litwinne, Simon Smith, Kate Holland, Lauren Orgil and Mark Shett, ensured everything ran smoothly.

Costumes by Suzanne Harris (assisted by Liv Lawton) were bright and characterful, while lighting from Going Dark Theatrical Services, sound by Sam Bukhshav, scenery by Made to Measure Productions, and props from Theatre House combined to create a fully immersive Oz.

⭐ A Fond Farewell

This production also marks a bittersweet milestone for director Georgia Young, who, after five productions with the youth group, will now be moving on to the adult company, where she’ll be producing Frozen next year. She will be deeply missed by the youth cast and families alike — her passion, encouragement and creative vision have clearly left a lasting legacy.

What truly sets this production apart is the heart behind it. Every scene reflects the dedication, rehearsal hours, and genuine love for theatre shared by cast and crew alike.

A joyful, polished and thoroughly uplifting evening — and another shining example of just how strong Sutton Coldfield’s youth theatre scene continues to be.

Click those ruby slippers and follow that Yellow Brick Road — you won’t regret it. 👠✨

Snow White & The Seven Dwarfs – Cloc MTC ⭐️⭐️⭐️⭐️⭐️

Snow White & The Seven Dwarfs – Cloc MTC

Sutton Coldfield Town Hall

Monday 2nd February – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

From the moment the curtain rises, Snow White and the Seven Dwarfs proves once again why panto remains such a beloved theatrical tradition — and CLOC Musical Theatre Company deliver it with confidence, colour and a generous helping of warmth.

This is a lively, family-friendly production packed with playful humour, strong character work and an infectious sense of fun that clearly delighted audiences of all ages. The show balances classic pantomime conventions with plenty of modern sparkle, creating an experience that feels both comforting and fresh.

At the heart of the production is Lily Clements, who brings sincerity and charm to Snow White. Her performance is engaging and natural, grounding the story beautifully amid the chaos and comedy that swirl around her. Opposite her, Erin Mooney as Prince Ferdinand offers a confident and likeable presence, giving the central love story a gentle, believable warmth.

Comedy is very much at the forefront, and Krystian Wharton is a joy as Edna Bucket — commanding the stage with impeccable timing, knowing glances to the audience and a wonderfully playful rapport that keeps the laughs coming thick and fast. Stephen Whittick’s Grumbly adds another layer of humour, delivering his lines with just the right blend of gruffness and heart.

The supporting cast bring the fairy-tale world vividly to life. Alex Nash (Merlin), Paige Howen (Queen Avarice) and Sophia Powers (Fairy Fortune) each carve out distinctive characters, helping to shape the story and guide the audience through the twists and turns of the plot. Queen Avarice in particular strikes an excellent balance between theatrical villainy and pantomime exaggeration, earning both boos and laughs in equal measure.

The ensemble work is a real highlight. The dwarfs — Smiley (Mia Dorey), Sniffles (Lukas Wharton), Dozy (Lizzy Small), Brainy (Eloise Tanley) and Snoozy (Aine Shirley) — are full of energy and personality, working together with great chemistry and confidence. Their scenes are among the most engaging in the show, drawing big reactions from the audience.

Visually, the production is bright and welcoming, with vibrant backdrops, themed character imagery and a strong sense of cohesion across the staging. It’s clear a great deal of care has gone into presentation, helping to create a magical atmosphere that supports the storytelling rather than overpowering it.

Behind the scenes, the production team provide a strong and steady foundation for the show. Producer Teresa Biddell clearly leads with care and commitment, bringing together a production that feels cohesive, polished and full of heart. Sharon Wharton’s choreography is lively and well suited to pantomime, making excellent use of the ensemble and keeping the action flowing smoothly across the stage. Musical direction from John Jones supports the performances confidently, while Paul Douglass as prompt ensures the show runs seamlessly. Together, the team create an environment where cast and creativity can truly shine.

Above all, this is a production that radiates community spirit. The commitment and enthusiasm of the cast and production team shine through, reminding us that pantomime is at its best when it’s rooted in joy, inclusivity and shared laughter.

CLOC Musical Theatre Company’s Snow White and the Seven Dwarfs is a charming, energetic and thoroughly enjoyable festive treat — perfect for families, first-time theatre-goers and seasoned panto fans alike.

A Kick In The Baubles – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

A Kick In The Baubles – Sutton Arts Theatre

Sutton Arts Theatre

Wednesday 28th January 2026 – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

A Kick in the Baubles is festive farce at its most relatable — a sharp, affectionate comedy that finds big laughs in the chaos, compromises and quiet catastrophes of Christmas with family.

Set across Christmas Eve and Christmas Day in the Bauble household, the play centres on Frank Bauble (Andy Jones), a man who would happily cancel Christmas altogether if given half the chance. Recently made redundant and utterly worn down by the season, Frank’s dream of a calm, uneventful holiday is immediately crushed by the arrival of relatives, neighbours and well-meaning disasters. His long-suffering wife Jean (Joanne James) is determined to hold everything together — even as it becomes increasingly clear that “together” is a very loose concept indeed.

Andy Jones delivers a wonderfully grounded performance as Frank, capturing both his simmering frustration and reluctant vulnerability. He is matched beautifully by Joanne James, whose Jean balances warmth, steel and perfectly timed exasperation — the emotional anchor of the household as everything spins out of control.

The extended family bring the chaos in waves. Harry and Doreen (Phil Shaw and Lynette Coffey) provide deliciously smug comedy as the superior, slightly unbearable in-laws, with Coffey in particular leaning confidently into Doreen’s sharp tongue and self-importance. Alex (Sophia Firkins) adds youthful edge and energy, playing off the older characters with ease.

The arrival of the neighbours injects the production with an extra jolt of festive madness. Gary (Dan Holyhead) and Julie (Bexs Perry) are gloriously loud, unapologetically chaotic and clearly enjoying every moment — their scenes are packed with physical comedy and bold character choices that land strongly with the audience.

Younger cast members Milly (Tilde Porter) and Darren (Daniel Charlton) round out the ensemble with charm and clarity, ensuring that even at its busiest moments the stage never feels overcrowded or unfocused.

Under the confident direction of Maureen George, who also leads on set design, the production embraces the rhythm of farce while allowing quieter, more heartfelt moments to breathe. The domestic setting works perfectly for the piece, feeling lived-in and instantly recognisable — a Christmas living room that becomes the battleground for festive tension and escalating misunderstandings.

Behind the scenes, Stage Manager Allan Lane keeps the production running smoothly, while David Ashton’s lighting and sound design supports the pacing and mood without distraction. Lighting operators Elijah Topliss and Melissa Arslan, alongside sound operator Archie Exhall, ensure technical elements remain sharp and responsive throughout.

The set is well supported by Paul Wescott as Set Building Manager, while costumes — provided by Sutton Arts Wardrobe and the cast — help clearly define character and social contrasts. Wardrobe Mistress Rachel Marshall keeps everything cohesive, and properties by Christina Townsend, Sue Atkins and Maureen George add the finishing touches that make the space feel authentically chaotic and lived-in.

Ultimately, A Kick in the Baubles succeeds because it recognises a simple truth: Christmas rarely goes to plan — and that’s exactly where the laughter lives. Warm, knowing and consistently funny, it offers audiences the chance to laugh at the madness while quietly recognising a little of their own family in the Baubles’ living room.

A festive treat that proves sometimes the best way to survive Christmas… is to laugh straight through it

Dick Whittington – Mint Theatre Society ⭐️⭐️⭐️⭐️⭐️

Dick Whittington – Mint Theatre Society

Stonnall Village Hall

Sunday 14th December – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

Mint Theatre Group once again bring community theatre magic to Stonnall Village Hall with their fun-filled production of Dick Whittington — a lively, laugh-a-minute pantomime packed with local humour, catchy songs and plenty of audience interaction.

Leading the show with charm and confidence, Ellie Ball makes a spirited Dick Whittington, full of enthusiasm and warmth. Her chemistry with Beth Howell as Alice Fitzwarren adds a lovely romantic note to the adventure, while Charlotte Ball as Fairy Bow Bells brings a graceful sparkle to every scene, guiding Dick and the audience with poise and gentle humour.

Every good panto needs its mischief, and Duncan Gleig as King Rat delivers villainy with relish — booed, hissed and loved in equal measure. Dave Stonehouse as Sarah the Cook is a joy from start to finish, delighting the crowd with larger-than-life energy, perfectly timed gags and more outrageous costumes than you can count.

Andrew Hughes shines as the ever-daft Idle Jack, keeping the laughter coming thick and fast, while Rebecca Shiner’s Cat adds a wonderfully playful touch with great physical comedy and charm. David Daly as Alderman Fitzwarren and Paul Warner as Sultan Vinegar both bring solid character work to their roles, and Liz Daly’s Tricky Pete adds just the right pinch of panto mischief.

The show is full of colourful set pieces, cheerful choreography and a clear sense of fun shared between cast and audience alike. With strong direction from Alex Howell, clever local references and plenty of heart, Dick Whittington captures exactly what makes traditional pantomime so special.

Mint Theatre Group prove once again that community theatre can deliver professional-quality laughs and feel-good festive entertainment.

⭐️⭐️⭐️⭐️⭐️
A joyous, family-friendly pantomime brimming with humour, heart and hometown sparkle.

Beauty & The Beast – Talegate Theatre Productions ⭐️⭐️⭐️⭐️⭐️

Beauty & The Beast – Talegate Theatre Productions

Sutton Coldfield Town Hall

Sunday 14th December

By Nigel Gambles

Photography – Studio 55 Photography

Talegate Theatre Productions once again deliver a dazzling slice of festive fun with Beauty and The Beast — a vibrant, laugh-out-loud retelling of the classic fairy tale packed with sparkle, songs and plenty of silliness.

From the moment the curtain rises, the energy never dips. Bethany Oliver brings warmth and poise to the role of Belle, her vocals clear and confident, while Gareth Lord gives real heart to the Prince/Beast, making the transformation scene genuinely magical.

There’s a perfect balance of humour and heart thanks to the show’s larger-than-life characters. Steve Boyce steals many a scene as the flamboyant Dame Cheri Gateau, serving quick-fire wit and fabulous costumes in equal measure. James Bartlett as Gaviscon and Josh Dixon as Franc the Fool keep the younger audience roaring with laughter — their comic timing and audience rapport spot on throughout.

Every panto needs a good villain, and Alexandra Allison as Witch Hazel delivers just that with gusto, conjuring boos, hisses and plenty of mischievous glee. Whilst singing Defying Gravity at the end of Act One, she quite literally does so — soaring above the stage in a spectacular and magical flying scene that left the audience gasping and applauding in delight.

Choreography by Justine Lee keeps the ensemble tight and lively, with Farrah Palmer (also Dance Captain) and Sophie Atkins leading the numbers with flair. The Sparkles School of Dance junior chorus add charm and enthusiasm to every scene they appear in.

Behind the scenes, the production team shine just as brightly. With direction and script by James Worthington, the pacing is sharp and the jokes land well for all ages. The colourful costumes (by Talegate Theatre Productions) and eye-catching scenery (by Dave Law) create a rich fairy-tale world, enhanced by Bethany Knowles’ clever lighting design and Burnt Toast SFX, whose special effects add a real touch of wonder.

It’s a show that truly embraces everything a pantomime should be — fun, interactive, full of heart and festive sparkle. Whether you’re booing the baddie, laughing at the Dame’s antics, or cheering for true love’s triumph, Beauty and The Beast is guaranteed to leave audiences smiling.

⭐️⭐️⭐️⭐️⭐️
A magical, family-friendly treat brimming with energy, colour and Christmas cheer.