Come From Away – Cloc Musical Theatre Company ⭐️⭐️⭐️⭐️⭐️

CLOC Musical Theatre Company | Royal Sutton Coldfield Town Hall

Our Come From Away review takes us to Royal Sutton Coldfield Town Hall for CLOC Musical Theatre Company’s uplifting production of this remarkable musical.

2026 seems to be turning into the year of discovering musicals I’ve never seen before, and Come From Away is, I believe, the fifth new production I’ve experienced this year.

What a pleasant surprise this one turned out to be!

Given its origins in the events of 11 September 2001, I wasn’t entirely sure what to expect. What I discovered was a wonderfully lively, entertaining and often humorous musical that never loses sight of the extraordinary real-life events at its heart.

Presented by CLOC Musical Theatre Company at Royal Sutton Coldfield Town Hall, Come From Away tells the true story of what happened in the small Canadian town of Gander, Newfoundland, following the terrorist attacks on America.

When American airspace was closed, 38 aircraft were diverted to Gander International Airport, bringing thousands of unexpected visitors to a community suddenly faced with an extraordinary challenge.

What followed was a remarkable demonstration of generosity, compassion and human kindness as the local residents opened their homes and hearts to complete strangers.

And it is this remarkable story that forms the heart of the musical.

One of the most impressive aspects of this production is the versatility of its cast.

With many performers taking on two or three different characters, the ensemble moves between the residents of Gander and the stranded airline passengers, bringing a whole collection of individual stories to life.

It is a demanding approach to storytelling, requiring performers to switch characters, accents and personalities while maintaining the momentum of the production.

It would be difficult, and perhaps unfair, to single out any one performer in a production where the entire company works so effectively together. Nevertheless, there were several performances worthy of a special mention.

It was particularly lovely to see Teresa Biddell back on stage and singing again for the first time in many years, while Alex Nash and Sam Rogers delivered some wonderful spotlight moments that showcased their vocal talents.

Erin Moody also deserves recognition. Having watched her progress from youth theatre into senior company productions over the years, it is always a pleasure to see that development continue on stage.

And a mention, too, for John Biddell, who brought the character of Gander’s Mayor to life.

These are personal highlights rather than an attempt to rank individual performances. The real strength of Come From Away lies in its collective achievement, with every member of the company contributing to the storytelling, musical numbers and emotional impact of the production.

It is very much an ensemble piece, and CLOC’s cast embraced that challenge beautifully.

One of the most striking aspects of the production is just how much can be achieved with so little.

The entire show takes place on a single set, with tables and chairs providing much of the scenery.

Through clever positioning and movement, these simple pieces of furniture transport the audience between aircraft cabins, the airport and the various locations around Gander.

It is a wonderful reminder that effective theatre doesn’t necessarily require elaborate scenery. Sometimes a talented cast, imaginative staging and a compelling story are more than enough.

A particularly interesting feature is the use of video projections on the rear wall, including footage of real people from Gander whose experiences are represented in the musical.

These moments provide a connection to the actual events, reminding the audience that behind the theatrical performances are real people and genuine stories.

Music plays an essential role throughout the production, with a distinctly Irish and Celtic flavour reflecting Newfoundland’s musical heritage.

The score brings tremendous energy and movement to the storytelling, helping the production shift between moments of humour, uncertainty and emotion.

Rather than stopping the action for conventional musical numbers, the songs are woven into the narrative, allowing the story to unfold with an almost continuous sense of momentum.

Musical Director Chris Corcoran and Choreographer Teresa Biddell deserve recognition for their contributions to the musical energy and movement of the production.

The combination of music, choreography and ensemble performance gives the show a wonderfully lively atmosphere, while never allowing the entertainment to overshadow the story’s more serious origins.

Presented in a single act, with no interval, Come From Away runs for approximately 90 minutes.

The uninterrupted format suits the production particularly well, allowing the audience to follow the developing relationships and experiences without breaking the flow of the story.

Although the musical is rooted in one of the darkest days in modern history, its focus is not on the tragedy itself but on the remarkable response of a community thousands of miles away.

There is plenty of humour alongside the more poignant moments, and an underlying message that feels as relevant today as it did in September 2001.

Director and producer Joyce Eyre deserves considerable credit for bringing this ambitious production to the Sutton Coldfield stage.

In her programme notes, Joyce explains that the original musical was written for 12 principal performers, with those actors also taking on numerous supporting roles.

CLOC expanded the company to 17 performers, allowing additional cast members to become part of the ensemble.

The challenge of creating so many different locations using just 18 chairs and a couple of tables was clearly considerable, but the result demonstrates how effective imaginative direction and confident ensemble work can be.

Joyce also reflects on the challenges of the production, describing it as unlike anything she has worked on in nearly 40 years of amateur theatre.

That experience and commitment are evident in the finished production.

Credit must also go to Going Dark Theatrical Services for the brilliant and atmospheric lighting, Martin Hudson for sound, and the technical and backstage teams, whose work with scenery and projected imagery helps create the changing atmosphere throughout the show.

The entire company, both on stage and behind the scenes, can take considerable pride in what they have achieved.

CLOC Musical Theatre Company has delivered a lively, funny and emotionally engaging production that never forgets its roots or the extraordinary true story behind it.

Congratulations to Joyce Eyre and everyone involved in bringing this remarkable story to Royal Sutton Coldfield Town Hall.

A wonderful reminder that, even in the darkest moments, humanity has the capacity to shine.

Lichfield Musical Youth Theatre – Hadestown ⭐️⭐️⭐️⭐️⭐️

Lichfield Musical Youth Theatre – Hadestown

Lichfield Garrick

Wednesday 23rd September 2026 Opening Night

By Nigel Gambles

Photography – Lichfield Musical Youth Theatre

★★★★★ — Five stars simply aren’t enough.

Every so often, you walk into a theatre expecting an enjoyable evening and leave having witnessed something truly extraordinary. Last night’s opening performance of Hadestown was one of those occasions.

This ambitious youth theatre production was outstanding in every department. From its remarkable young cast and superb live orchestra to the exceptional choreography, atmospheric lighting and ingenious revolving stage, it delivered an evening of musical theatre that will stay with me for a very long time.

Welcome to Hadestown

Based on the ancient Greek myth of Orpheus and Eurydice, Hadestown tells a tragic tale of love, hope, temptation and sacrifice, weaving together the stories of two very different couples: the young lovers Orpheus and Eurydice, and the troubled marriage of Hades and Persephone.

Guiding us through this world is Hermes, our narrator and companion, who opens the show with Road to Hell and introduces the characters whose lives we will follow.

And what an introduction it was.

Jack Rowlands, at just twelve years old, was quite simply remarkable as Mr Hermes.

From the moment he stepped onto the stage, he commanded it. His confidence, charisma and natural stage presence belied his age as he broke the fourth wall, drew us into the story and guided us through its unfolding tragedy.

He performed with the heart and assurance of a seasoned entertainer, establishing an immediate connection with the audience that never faltered.

Remember the name Jack Rowlands. I have a feeling we’ll be seeing it in West End programmes before too long.

As Orpheus, JJ Watkins beautifully captured the innocence of a naïve, starry-eyed romantic whose faith in love and the power of music drives the story forward.

Opposite him, Molly Darby gave a deeply affecting performance as Eurydice, a young woman whose independence and resilience mask a desperate need for the simplest things in life: food, warmth and shelter.

Her journey from guarded self-preservation to a growing tenderness towards Orpheus was beautifully portrayed. When circumstances lead her to sign away her soul to Hades, the tragedy of their love becomes all the more poignant.

Together, Watkins and Darby brought genuine emotional depth to these doomed lovers, making the audience invest completely in their journey.

The second half maintained every bit of the first half’s extraordinary standard, beginning with a wonderful performance from Beth Whispear as Persephone.

Her singing was superb, and her increasingly playful, inebriated dancing was a delight to watch. Beneath that exuberance, however, lay a woman desperately trying to hold on to the love she once shared with her husband.

As Hades, Zach Daniels-Sully was commanding. His deep, booming voice perfectly conveyed the character’s strength, authority and power, while his presence brought a formidable weight to the underworld.

The chemistry between Whispear and Daniels-Sully was excellent. Persephone longs to recover their relationship while Hades remains consumed by his own world and nature. When the two eventually reconnect, their dance together is pure poetry — a beautiful moment of tenderness amid the darkness.

Throughout the story, the three Fates — Imogen Willis, Yohanna Gee and Niamh Mulligan — exert their unsettling influence over gods and mortals alike.Their taunting and manipulation feed the lovers’ doubts and fears.

Their combined voices were hauntingly beautiful, blending exquisitely, while each performer was equally compelling in her solo passages.

Their movement around the stage seemed more like floating than walking, an ethereal quality enhanced by their beautiful costumes. They brought an extraordinary visual and musical beauty to some of the story’s darkest moments.

The company of approximately 25 young performers filled the stage with infectious energy, enthusiasm and remarkable discipline.

The powerful ensemble scenes were choreographed with tremendous precision, using every inch of the performance space. Whether portraying the workers of Hadestown or contributing to the larger musical sequences, the company created a spectacle that was as impressive in its coordination as it was in its vitality.

There was never a sense of young performers merely filling the background. Every member of the company contributed to the world being created before us.

The staging itself was ingenious. Two revolving sections were used to striking effect, particularly during the scenes involving the workers of Hadestown and Orpheus’s journey out of the underworld.

Wafts of smoke rose through the stage, combining with the atmospheric blue and amber lighting to create an almost living, breathing underworld.

The revolving stage was not simply an impressive technical feature; it became an integral part of the storytelling, giving the production movement, momentum and an extraordinary sense of place.

At the helm of this ambitious project, director Richard Poynton delivered an exceptional production.

Bringing together a large young company, demanding musical numbers, intricate staging and a story of considerable emotional depth is no small undertaking. Yet every element felt purposeful, assured and beautifully integrated.

Jessica Bennett’s choreography was nothing short of extraordinary. Considering the sheer weight of ensemble work, the precision and energy achieved by the company were particularly impressive. The movement was never simply decorative; it helped tell the story, creating powerful images and bringing the world of Hadestown vividly to life.

Holding everything together was Oliver Rowe, the company’s Chairman and Musical Director, who also conducted the live orchestra from the keyboard.

His superb musical direction provided the foundation for the evening, allowing the remarkable young voices, demanding choreography and emotional storytelling to work in complete harmony.

The live orchestra added tremendous richness and atmosphere, bringing the score to life and remaining an essential part of the theatrical experience.

The first half was breathtaking. The second was every bit as strong.

I left the theatre having witnessed something truly special — a production filled with energy, heart, imagination and performances that will remain with me long after the final curtain.

Lichfield Operatic Society – The Sound Of Music ⭐️⭐️⭐️⭐️⭐️

Lichfield Operatic Society – The Sound Of Music

Lichfield Garrick

Wednesday 16th September

There are certain musicals that need almost no introduction. From the opening notes of The Sound of Music to Do-Re-Mi, My Favorite Things, Sixteen Going on Seventeen, Edelweiss and the magnificent Climb Ev’ry Mountain, Rodgers & Hammerstein created a score that has become part of musical theatre history.

This week those familiar songs return to the Lichfield Garrick as Lichfield Operatic Society celebrates an extraordinary milestone — its 130th anniversary.

Founded in 1896, the Society has remarkably staged The Sound of Music only twice previously, most recently in 2013, making this third production something of a special occasion.

And at the centre of it all is Maria.

A Maria full of warmth Samantha Hedley takes on one of musical theatre’s most recognisable roles and brings together the qualities Maria needs: warmth, humour, spirit and, crucially, a voice capable of carrying one of Rodgers & Hammerstein’s best-known scores.

Maria’s journey from uncertain postulant to governess and ultimately the emotional heart of the von Trapp family demands considerably more than simply delivering the famous songs. Her relationship with the children needs to feel natural, while her growing feelings for their father gradually change the direction of both their lives.

Hedley’s Maria has a lovely sense of personality about her, particularly in her scenes with the children, where the character’s playful side comes to the fore.

Opposite her, Cameron Morgan takes the role of Captain Georg von Trapp, initially presenting the disciplined, emotionally guarded widower whose seven children are summoned by whistle and expected to behave with almost military precision.

As Maria brings music back into the household, that formality begins to give way to something warmer.

The developing relationship between Maria and the Captain is one of the show’s most important threads, while the Captain’s Edelweiss takes on considerably greater meaning as events outside the von Trapp home begin to threaten everything the family holds dear.

Those wonderful children , Of course, The Sound of Music would be nothing without the von Trapp children — and Wednesday evening featured the youngsters of Team Whiskers.

Shannon Robinson leads the siblings as Liesl, with Jude Pick as Friedrich, Rosie Pilling as Louisa, Elliot McDonagh as Kurt, Eva Walters as Brigitta, Dotty Shipton as Marta and Robyn Johnson as Gretl.

Together they bring the energy and sense of family that the production needs.

Choreographer Jemma Tiso-Johnson has plenty to work with in numbers such as Do-Re-Mi and The Lonely Goatherd, and these are precisely the moments when the relationship between Maria and her young charges can really shine.

The production photographs capture that particularly well: whether gathered around Maria in their nightclothes or appearing together in their beautifully coordinated outfits, there is a genuine visual sense of this disparate group gradually becoming a family.

And little Gretl inevitably has some scene-stealing opportunities of her own!

The eldest von Trapp daughter has her own story, and Shannon Robinson’s Liesl shares one of the musical’s most charming numbers with Leo Foëtu-Foster as Rolf.

Sixteen Going on Seventeen initially provides some youthful romance and welcome lightness, but their relationship subsequently becomes entwined with the much darker political events unfolding around them.

That changing atmosphere is one of the reasons The Sound of Music has endured so successfully. What begins as an enormously warm family musical gradually becomes a story about courage, principles and the choices people make when circumstances around them become increasingly threatening.

The abbey scenes provide another of the production’s strengths.

Under David Easto’s musical direction, the nuns establish the musical world of the show from its opening moments, while the production photographs reveal some particularly atmospheric staging, with towering arches, stained glass, candles and carefully controlled lighting creating an impressive setting.

At their centre is Dawn Welch as Mother Abbess, joined by Rebecca Bowley as Sister Berthe, Heather Bustin as Sister Margaretta and Lucy Averis as Sister Sophia.

Their How Do You Solve a Problem Like Maria? brings some delightful humour, but Mother Abbess also gets one of the great musical-theatre moments of the entire evening.

Climb Ev’ry Mountain has become an anthem far beyond the confines of this musical, and its message of having the courage to pursue the life you believe in remains as powerful as ever.

Director Chris Stanley allows the warmth of the von Trapp story to sit alongside the increasingly ominous events surrounding the family.

As Nazi influence tightens around Austria, the carefree atmosphere of the earlier scenes begins to disappear.

Hein Hemke’s Max Detweiler and Kate Pilling’s Elsa Schraeder are inevitably caught up in that changing world, while Captain von Trapp’s refusal to compromise his principles ultimately places his family in danger.

The contrast is important. The songs and humour haven’t disappeared, but suddenly they mean something different.

Music, which initially brought Maria and the children together, becomes symbolic of the family’s identity and unity.

Visually, the production has considerable scale too. The Garrick stage moves between the abbey, the von Trapp home and outdoor settings, while the larger company scenes make excellent use of the available space.

The production photographs also show some striking use of colour and lighting throughout, particularly in the abbey sequences and the large ensemble scenes.

There is another lovely story behind this particular production which seems especially appropriate during Lichfield Operatic Society’s 130th year.

Three generations of the same family are appearing in the show.

On Wednesday evening Rosie Pilling appeared as Louisa, alongside her mother Kate Pilling as Elsa, while Rosie’s grandparents Lynne and Dave Hill appear as Frau Schmidt and Franz.

A musical fundamentally about family being performed by several generations of one real family has a rather wonderful symmetry to it.

And perhaps that’s ultimately why The Sound of Music continues to work.

Yes, there are those glorious Rodgers & Hammerstein songs. Yes, there’s romance, comedy and spectacle. But underneath everything is a story about people discovering what family means — and what they are prepared to do to protect it.

For Lichfield Operatic Society, a company celebrating an astonishing 130 years, this feels like an especially appropriate musical with which to mark the occasion.

A production bringing different generations together, both onstage and behind the scenes, to tell a story that has itself passed from one generation to another.

The hills at the Lichfield Garrick are very definitely alive once again

The Sound of Music runs at Lichfield Garrick until Saturday 19 September, with evening performances at 7.30pm and a Saturday matinee at 2.30pm.

Congratulations to Lichfield Operatic Society on 130 remarkable years — and here’s to the next 130.

Photographs from Lichfield Operatic Society

Sutton Arts Theatre – The Full Monty ⭐️⭐️⭐️⭐️⭐️

Sutton Arts – The Full Monty

Sutton Arts Theatre

Wednesday 10th September 2026 – Opening Night

By Nigel Gambles

Photography –Studio 55 Photography

There was a definite buzz around Sutton Arts Theatre before the doors had even opened.

This was a sell-out performance, the bar was packed and one question seemed to be hanging in the air:

Will they… or won’t they?

More of that later!

What followed was a fantastic production, packed with warmth, humour and, perhaps most importantly, heart.

From the outset, it was obvious just how much hard work director Emily Armstrong, her production team and the entire cast had put into creating an authentic and affectionate stage version of a story so many of us know and love.

Anyone familiar with the film will appreciate that transferring its distinctive world from screen to stage is no easy task, but Sutton Arts Theatre does it brilliantly. Mark Nattrass’s set design, the costumes, lighting and clever staging transport us straight into the world of mid-1990s Sheffield.

And, of course, all those favourite moments are there — not least the unforgettable Jobcentre queue gradually succumbing to the moves of Donna Summer’s Hot Stuff.

Six Men and One Crazy Idea

One of the most striking aspects of the production is its casting.

The actors may not necessarily look like their big-screen counterparts, but in personality and style they capture the essence of these familiar characters remarkably well. Crucially, though, they never feel like impersonations.

Oliver Farrelly is excellent as Gaz, nailing the brash, cheeky, jack-the-lad exterior while revealing the pain underneath. For all his crazy schemes, Gaz desperately wants to be the best father he can be to Nathan.

That relationship is beautifully portrayed by Freddie Smith as Nathan, who gives an incredibly mature and assured performance. Nathan frequently sees through his dad’s bravado better than anyone, and the partnership between Smith and Farrelly gives the story much of its emotional heart.

Luke Saldana is terrific as Dave, Gaz’s long-suffering friend and former workmate. He captures Dave’s humour and loyalty alongside his deep insecurity about his body and the damage unemployment has done to his pride and self-confidence.

Then there’s Paul Atkins as Guy, who very nearly steals the show.

Guy can’t really dance, can’t sing and has an inexplicable enthusiasm for Singin’ in the Rain — but what he lacks in conventional theatrical talent, nature has apparently compensated for somewhere considerably below the belt!

Atkins embraces every second of it and his audition is one of the biggest comic highlights of the evening.

Jerome Pinnock-Glasgow is an absolute delight as Horse, the oldest member of this unlikely troupe. His breakdancing days may be behind him, but thankfully the Funky Chicken most certainly isn’t! His performance of it is another highlight, delivered with tremendous enthusiasm and the slightly bewildered expression of a man wondering exactly what he has let himself in for.

Ethan Gibson brings real sensitivity to Lomper, finding the perfect balance between the character’s timidity and vulnerability as a troubled young man struggling with his sexuality, loneliness and personal life.

Completing the six is Rob Phillips as Gerald, the former foreman desperately attempting to remain aloof from the men he once managed while hiding an increasingly impossible secret.

Gerald has been unemployed for months, yet still leaves home each morning pretending to go to work because he cannot bring himself to tell his wife. Phillips gives him wonderful charm, gradually revealing a proud man who is rapidly reaching the end of his tether.

Together, the six develop into a wonderfully believable group. What begins as a seemingly ridiculous money-making scheme gradually becomes something much more important — friendship and a way of rediscovering their confidence and dignity.

And the Women Trying to Make Them See Sense…

The women in their lives provide both wonderful comedy and much of the emotional reality behind the story.

Michelle Riley gives a brilliant performance as Mandy, Gaz’s ex-wife and Nathan’s mum. She’s had enough of Gaz’s hare-brained schemes and what she sees as his habit of leading Nathan astray. Riley gives us a terrific mixture of anger, frustration and exasperation while never losing sight of a mother trying to do what she believes is right for her son.

Jayne Lunn is wonderful as Jean, Dave’s increasingly frustrated wife.

Jean knows something is wrong, but Dave’s insecurities prevent him from telling her the truth. Eventually those bottled-up emotions explode in one of the evening’s strongest scenes as Jean confronts him — red thong in hand and with plenty of questions demanding answers!

It’s very funny, but it’s also genuinely moving and perfectly demonstrates the emotional depth beneath the comedy.

And Sarah Stanley is excellent as Linda, Gerald’s slightly snobbish and blissfully unsuspecting wife. While Gerald desperately maintains the pretence that he’s still working, Linda merrily talks of skiing holidays and expensive restaurants without the slightest idea that the money has stopped coming in.

More Than Men Taking Their Clothes Off

And that is ultimately why The Full Monty still works so well.

Beneath the laughs — and eventually beneath the clothes — is a story about people whose livelihoods, confidence and sense of purpose have been taken away.

It deals with unemployment, body image, sexuality, relationships, friendship, fatherhood and dignity. At its heart is the idea that self-worth and human connection can be reclaimed even in the face of economic hardship and despair.

Director Emily Armstrong should be immensely proud of this production. You can see the hours of work and rehearsal that have gone into making something that ultimately looks effortless.

The same applies to Janine Henderson’s choreography.

The Jobcentre sequence is the perfect example. It has to look spontaneous — almost as though those little movements are simply happening — when in reality it takes meticulous choreography and rehearsal to stop it becoming a mishmash. Henderson gets it just right.

And then…

🎩 WILL THEY OR WON’T THEY?

Oh yes.

They do.

The finale is quite simply glorious.

As those opening notes of Tom Jones’ You Can Leave Your Hat On arrive, the anticipation that had been building since before the theatre doors opened finally erupts.

Is every move absolutely perfect?

Perhaps not.

Does it matter? Not one bit.

Because by this point the audience isn’t simply watching a carefully choreographed theatrical number. They’ve been swept up in it.

The noise, laughter, cheering and applause from a packed Sutton Arts Theatre created an extraordinary atmosphere — and, yes, our unlikely heroes ultimately keep their promise and bare all.

As my wife said to me afterwards:

“It was just like being there.”

That sums it up beautifully.

By the end, the audience were on their feet for a richly deserved standing ovation.

Funny, warm, poignant and ultimately joyous, Sutton Arts Theatre’s The Full Monty delivers everything you hope it will — and underneath all the laughter is a surprising amount of heart.

⭐ A fantastic night’s theatre and quite simply a show not to miss.

The Full Monty

📍 Sutton Arts Theatre

📅 Running until 19 September 2026

And yes…

They really do go the Full Monty. 🎩😂👏

Blackadder II — From The Top Theatre Company ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

From The Top Theatre Company – Blackadder II

Shenstone Village Hall

Wednesday 2nd September 2026 – Opening Night

By Nigel Gambles

Photography –Get Creative

I have never been a great fan of Blackadder on television, so when I was invited to review this production, I accepted with a little trepidation. Thankfully, those doubts were very quickly swept aside as From The Top Theatre Company delivered a wonderfully produced, superbly performed and genuinely hilarious evening of theatre.

Set during the reign of the wonderfully unpredictable Queen Elizabeth I, Blackadder II follows the sharp-tongued Edmund Blackadder as he tries to remain in Queenie’s favour—and, more importantly, keep his head firmly attached to his shoulders. His efforts are rarely helped by his filthy, dim-witted servant Baldrick, the hopelessly naïve Lord Percy, or the pompous Lord Melchett.

Across three gloriously chaotic comic predicaments, Blackadder becomes jealous of a celebrated explorer and embarks on a thoroughly ill-advised voyage of his own; finds himself deeply in debt to the terrifying, baby-eating Bishop of Bath and Wells; and attempts to entertain fiercely puritanical relatives while hosting a riotous drinking contest under the same roof. Naturally, he tries to escape each disaster through lies, manipulation and increasingly desperate “cunning plans”—most of which are endangered by Baldrick’s spectacular stupidity.

Dan Barnes was perfect as Blackadder, playing the cynical but intelligent anti-hero with style and flourish. Dave Crump’s Baldrick was fantastic: stupid but fiercely loyal, with comic timing that was spot-on and used to excellent effect in the opening of the show, as the company quickly found its confident rhythm on the first night.

Simon K Baker embodied Lord Percy’s pompous, incredibly dim-witted and excitable aristocratic sidekick beautifully, while Deb Crump captured Queenie’s childish, bloodthirsty and temperamental personality perfectly. Her interaction with Jodie Cockeram’s Nursie was a particular delight.

Andy Betterley got Lord Melchett’s pompous, flattering and sycophantic traits absolutely right, delivering his grovelling devotion to Queenie to comic perfection. Eliza del Cisne gave an enthusiastic performance as Bob/Kate, Blackadder’s new manservant, bringing plenty of confusion over her true identity. And Elliot Beech’s outrageously over-the-top Lord Flashheart very nearly stole the show at the end—though you will have to see it for yourself to discover exactly how.

There were so many excellent performances that it would take far too long to mention everyone individually; genuinely, I do not believe there was a weak link in the cast. The whole company worked seamlessly as a group, delivering every line with the comic timing needed to keep the virtually sold-out audience thoroughly entertained.

The rapid and numerous scene changes were handled without a hitch, helping the three stories flow at a terrific pace. Lighting from Going Dark Theatrical Services added perfectly to the atmosphere and the overall look of the production. Above all, the direction from Dave Crump and Rosie Coles was assured throughout, evident in the pace, staging and the confidence of this wonderful cast.

This was a delightful, fast-moving and very funny production from From The Top Theatre Company—and, as someone who approached it with reservations, I left Shenstone Village Hall thoroughly won over.

🎭 Curtain Up! – Booking Now For September

🎭 Curtain Up! – September On Stage

Your Guide to Local Theatre This September

🍂 Autumn brings one of the busiest theatre seasons of the year, and September is packed with fantastic productions across Sutton Coldfield, Lichfield and the surrounding area.

From comedy and drama to musicals and family favourites, there’s something for every theatre lover.

🎭 Blackadder II

📅 2nd – 5th September

📍 Shenstone Village Hall

🥖 Broken Biscuits

📅 10th – 12th September

📍 Aldridge Youth Theatre

💪 The Full Monty

📅 10th – 19th September

📍 Sutton Arts Theatre

🍫 Charlie & The Chocolate Factory

📅 12th – 13th September

📍 The Old Rep, Birmingham

🎵 The Sound of Music

📅 15th – 19th September

📍 Lichfield Garrick

🔥 Hades Town

📅 23rd – 26th September

📍 Lichfield Garrick

✈️ Come From Away

📅 30th September – 3rd October

📍 Sutton Coldfield Town Hall

✨ Throughout the month we’ll also be bringing you:

🎭 Production Spotlights

📸 Exclusive Photography

⭐ Reviews

🎬 Behind-the-Scenes Features

🎟 Booking Reminders

❤️ Company Spotlights

Supporting the amazing local theatre community across Sutton Coldfield, Lichfield and beyond.

👇 Which show are you most looking forward to seeing?

TheSCAN – The Sutton Coldfield Community Arts Network

🎭 Exciting News for Sutton Coldfield’s Creative Community!

At What’s On in Sutton Coldfield, we’re passionate about supporting the people, groups and organisations that make our town such a vibrant place to live.

That’s why we’re delighted to support The Sutton Coldfield Community Arts Network (TheSCAN) – an exciting new initiative bringing together everyone involved in the arts across Sutton Coldfield.

Whether you’re…

🎭 A theatre company
🎶 A choir or orchestra
💃 A dance school
🎨 An artist or maker
📸 A photographer or filmmaker
🎤 A musician or performer
🏛 A venue or community organisation
❤️ Or simply someone who enjoys the arts…

TheSCAN aims to become the place where our creative community comes together.

What can you expect?

🎭 What’s On
A community arts events calendar showcasing performances, exhibitions, workshops and creative events.

🎨 What To Do
Helping local people discover classes, groups, tutors and opportunities to get involved.

📅 What I’m Doing
Giving organisations, venues and creative groups the opportunity to promote their own events.

But perhaps even more importantly…

TheSCAN is about building connections, encouraging collaboration and helping Sutton Coldfield’s creative community flourish together.

If you’re involved in the arts in any way, we’d encourage you to become part of this exciting new network.

🌐 Website: thescan.org.uk

📧 Email: [email protected]

We’re looking forward to working alongside TheSCAN and supporting the wonderful creative talent that makes Sutton Coldfield so special.

#SuttonColdfield #CommunityArts #TheSCAN #SupportLocalArts #WhatsOnSuttonColdfield #CreativeCommunity #Theatre #Music #Dance #Art

Sutton Arts Theatre – RENT ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

Sutton Arts Theatre – RENT

Sutton Arts Theatre

Wednesday 24th June 2026 – Dress Rehearsal

By Nigel Gambles

Photography –Studio 55 Photography

Some musicals entertain from the opening number, while others ask a little more of their audience. Rent, currently playing at Sutton Arts Theatre, is very much in the latter category. Loosely based on Puccini’s magnificent opera La Bohème, Jonathan Larson’s iconic rock musical explores themes of friendship, love, loss, addiction and the HIV/AIDS crisis, all wrapped within an energetic and emotionally charged score.

Having never seen Rent before, I wasn’t quite sure what to expect. While I thoroughly enjoyed the production, I did find the storyline challenging to follow at times. Much of the narrative is driven through the songs, meaning audiences really do need to listen carefully to the lyrics to fully appreciate the unfolding story. Once you settle into its rhythm, however, the emotional depth of the characters begins to shine through.

Visually, the production is outstanding. Mark Nattrass’ industrial-inspired set perfectly captures the gritty atmosphere of New York’s East Village, while the costumes add authenticity and personality to every character. Combined with atmospheric lighting from Jack Tustin and Going Dark Theatrical, Sutton Arts Theatre has created a production that feels both intimate and surprisingly expansive.

Leading the cast, Dan McCloskey delivers a superb performance as filmmaker and narrator Mark Cohen. His commanding stage presence and powerful vocals provide the audience with a constant thread through the story, portraying Mark’s search for purpose and validation with conviction and sincerity.

Alongside him, Kit Oliver-Stevens impresses as struggling musician Roger Davis. Bringing both vulnerability and strength to the role, he convincingly portrays a man haunted by his past while desperately trying to complete the song that gives his life meaning. His vocals are assured and full of emotion.

One of the evening’s standout performances comes from Paul Atkins as Angel Dumott Schunard. Radiating warmth and charisma every time he stepped onto the stage, Atkins perfectly balances Angel’s flamboyant personality without ever slipping into caricature. It is a performance filled with heart, humour and compassion that resonates long after each scene.

Brooke Cooper, performing as Mimi Márquez, brings tremendous passion and conviction to the role. As the conflicted dancer battling addiction while searching for love and hope, her performance is both believable and deeply moving. Her vocals are beautifully delivered, carrying genuine emotion throughout.

Janine Henderson is equally impressive as Maureen Johnson, capturing the character’s fiery passion, confidence and uninhibited energy with complete assurance. Her stage presence lights up every scene she appears in.

The strength of this production, however, lies in its ensemble. Together they create a believable community of impoverished friends simply trying to survive, support one another and find hope despite the adversity surrounding them. Their commitment never falters and they bring tremendous energy to every musical number.

One moment, however, deserves special mention. Sammi Kelly-Griggs’ solo during “Seasons of Love” was simply breathtaking. It was one of those rare theatrical moments where the entire auditorium seemed captivated, delivering a performance that was nothing short of spectacular.

Musically, Josh Dibble and the live band provide an excellent soundtrack throughout, maintaining the show’s rock energy while never overpowering the performers. The balance between orchestra and cast allows the emotion of Larson’s score to shine.

Directors Emily Armstrong and Dexter Whitehead deserve enormous credit for bringing this ambitious production to the Sutton Arts stage. Rent is not an easy musical to stage or perform, yet they have assembled an exceptionally talented cast and creative team who deliver a production full of passion, honesty and heart.

Although the narrative may initially require audiences to concentrate, this is a production that rewards your attention with memorable performances, outstanding music and genuine emotional impact.

A bold, passionate and beautifully performed production that deserves to be seen.

Playing Thursday 25th June – Saturday 4th July (No Performance on 28,29,30 June )

For tickets 👉 Click the link https://suttonartstheatre.savoysystems.co.uk/SuttonArtsTheatre.dll/

Beauty & The Beast – Trinity Players ⭐️⭐️⭐️⭐️⭐️

Beauty & The Beast – Trinity Players

Sutton Coldfield Town Hall

Monday 1st June 2026 – Dress Rehearsal

By Nigel Gambles

Photography –Studio 55 Photography

Disney’s timeless tale of love, acceptance and transformation arrived at Sutton Coldfield Town Hall this week as Trinity Players presented a wonderfully entertaining production of Beauty & The Beast.

From the opening scenes, the audience was transported into Belle’s provincial French village before being swept away to the enchanted castle of the Beast. Packed with colourful costumes, memorable songs and plenty of humour, this production delivered all the magic audiences have come to expect from this much-loved Disney classic.

Leading the cast as Belle, Sasha Barnes gave a delightful performance, bringing warmth, intelligence and determination to the role. Her vocals were consistently strong throughout the evening, particularly in the show’s more emotional moments. Just as impressive was the chemistry she shared with Matt Hunt’s Beast, whose portrayal captured both the character’s intimidating exterior and the vulnerability hidden beneath. Together they created a believable and engaging relationship at the heart of the story.

For me, however, the standout performance of the evening came from Matthew Cotter as Lumière. Commanding the stage whenever he appeared, Cotter delivered a charismatic and confident performance packed with energy, humour and charm. His stage presence was exceptional and he lit up every scene he was involved in, earning some of the biggest reactions from the audience throughout the night.

Sam Jones was superb as Gaston, perfectly capturing the swagger, arrogance and larger-than-life personality of Disney’s iconic villain. Every entrance was filled with confidence and theatrical flair, making him a thoroughly entertaining antagonist. Alongside him, Richard McNally-Reilly’s LeFou provided excellent comic support, delivering plenty of laughs with impeccable timing and a wonderfully playful performance.

The supporting cast also impressed throughout. Phil Lines brought plenty of personality to Cogsworth, while Bex Perry delivered warmth and heart as Mrs Potts. Special mention should also go to Amy Homer as Babette, Gemma Parton as Madame de la Grande Bouche, and the talented young performers portraying Chip, Aoife Davies and Lucy Brisband.

Musically, the production was in very safe hands under Musical Director Samantha Hedley, with the cast handling the demanding Disney score admirably. Numbers such as Belle, Gaston, Be Our Guest and the title song were delivered with enthusiasm and confidence, while the ensemble performances added scale and energy throughout.

The choreography from Leigh-Ann James made excellent use of the large company, creating lively and visually engaging production numbers. Director Dan Barnes clearly understands how to balance spectacle with storytelling, ensuring the heart of the story remained front and centre while still delivering plenty of theatrical magic.

Behind the scenes, producer Lewis Wescott, the stage management team, crew, technical team and countless volunteers deserve enormous credit for bringing such an ambitious production to life. The attention to detail in the costumes, staging and overall presentation helped create a truly immersive experience for the audience.

Trinity Players continue to demonstrate why they are one of Sutton Coldfield’s most respected amateur theatre companies. Beauty & The Beast is a production filled with heart, humour and Disney magic, performed by a company clearly passionate about what they do.

A wonderful evening of family entertainment and a fitting reminder that true beauty really does come from within.

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.