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.

Aladdin – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Aladdin – Sutton Arts Theatre

Sutton Arts Theatre

Friday 5th December– Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

Sutton Arts Theatre’s Aladdin, directed by Emily Armstrong and Dexter Whitehead, is a delightful festive adventure packed with sparkle, laughter and heart. With its dazzling costumes, lively choreography and plenty of panto fun, this production truly captures the magic of the season.

Harriet Gordon shines in the title role with a fantastic voice and natural stage presence. Her chemistry with Evie O’Malley as Princess Jasmine is effortless — their duets are beautifully performed and stand out as real highlights of the evening.

Paul Atkins is a joy as Widow Twankey, stealing every scene with his outrageous outfits and quick-fire one-liners. Dave Thane makes a wonderfully menacing Abanazar, delivering just the right amount of villainy to keep the boos and hisses coming thick and fast.

Keyleigh Alison delights as Lala, Wishy-Washy’s loyal admirer, adding extra comic charm with her Brummie humour and lively stage presence. Jerome Pinnock-Glasgow gives an energetic and enthusiastic turn as the Genie, while Kane Blundell and Connor Taylor are a hilarious pairing as Sgt Tik and PC Tok, keeping the laughs flowing throughout.

Micah Hardwick-Beckford brings poise and grace as the Spirit of the Ring, providing a calm and engaging narrative thread that ties the story together. The ensemble dance numbers, choreographed by Janine Henderson, are slick, well-rehearsed and full of festive energy, complemented by strong musical direction from Gladstone Wilson and his talented band.

With colourful sets designed by Mark Nattrass and an enthusiastic company clearly enjoying every moment, this is pantomime done right – bright, funny and full of heart.

Standout performances come from Harriet Gordon, Evie O’Malley and Paul Atkins, who together anchor the show with charisma, chemistry and comedy.

⭐️⭐️⭐️⭐️⭐️
A magical, feel-good panto bursting with talent, laughter and festive sparkle — a real Christmas treat from Sutton Arts Theatre.

Into The Woods – Script Youth Musical Theatre ⭐️⭐️⭐️⭐️⭐️

Into the Woods – Script Youth Musical Theatre

Crescent Theatre – Birmingham

Friday 28th November– Dress Rehearsal

By Lee Williams

**Photography – Lee Williams Photography (For WOISC)**

If you love fairy tales but wish they had a bit more bite (and more songs), “Into The Woods” is right up your alley. This musical, created by Stephen Sondheim and James Lapine, takes stories you already know—Cinderella, Jack and the Beanstalk, Little Red Riding Hood, Rapunzel—and mashes them together in a way that’s both hilarious and surprisingly deep. Since hitting Broadway in 1987, it’s become a favourite for theatre fans everywhere. Now it’s here – presented by Script Youth Musical Theatre Company.

At first glance, it’s a strange and wild mix of familiar characters all heading into the woods to chase after their biggest dreams. The Baker and his Wife just want a kid, but a Witch has put a curse on them. Everyone’s paths cross, and things get out of hand fast. Wishes do come true—but not always in the way anyone expects.

The music in “Into The Woods” is awesome. In the original Sondheim really knew how to write songs that stick with you. From the catchy and funny “Agony” to the moving “No One Is Alone,” there’s a great mix of humour and heart. The lyrics are clever, packed with puns and deeper meanings, so there’s always something new to catch each time you listen.

The production and set here is kept simple, letting your imagination fill in the rest. There’s plenty of room for cool lighting and sound effects, and with so many characters sharing the stage, things stay lively and fun.

This show gives actors a lot to work with—no boring roles here! Whether it’s the Baker, the Witch, or even Little Red Riding Hood, everyone gets a moment to shine. Performances by Gracie Reynolds and Masie Holdsworth as the Witch are lively and pop whereas Daniel George and Niamh Scott-Walters/Lexi Roberts play the Baker and Baker’s Wife brilliantly. We must admit, Nancy Reynolds and Isla Rose Thompson play extremely cute cows!

“Into The Woods” is loads of fun, with catchy songs and sharp humour, but it also has something to say. Whether you’re watching for the first time or the fiftieth, you’ll find new bits to enjoy and think about. So, if you’re up for a musical that’s smart, funny, and a little bit dark, don’t miss your chance to get lost in these woods.

Jesus Christ Superstar – SCMTC ⭐️⭐️⭐️⭐️⭐️

Jesus Christ Superstar – Sutton Coldfield Musical Theatre

Sutton Coldfield Town Hall

Monday November 3rd – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

I know this show has enduring appeal; friends had raved about various productions of the rock opera, citing its powerful score, emotion, and timeless themes. Yes, the show still feels hauntingly relevant today. Telling the story of Jesus’s last week, themes of betrayal, fame, fear, bullying, and salvation can all be interpreted through a modern lens. Add to that a soaring, emotionally charged score, and you have a musical that still resonates today.

I first saw this show in 1973, it was the original production starring Paul Nicholas and Dana Gillespie when I was a young and impressionable teenager on a school trip to London. To this day, and after seeing many different musicals since, Jesus Christ Superstar remains one of my absolute favourites. It left a lasting impression on me through the sheer power of the music, the extraordinary vocals, and its timeless themes, which still feel just as relevant half a century later.

It takes no small amount of courage to stage Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar, a rock opera that demands powerhouse vocals, razor-sharp musical timing, and a flair for the theatrical. Sutton Coldfield Musical Theatre’s production rises to the challenge with energy, conviction, and moments of genuine brilliance.

From the opening guitar riff of “Heaven on Their Minds,” it was clear this was a group ready to give their all. Leo Foëtu-Foster’s Judas anchored the show with a strong voice and emotional intensity, navigating the character’s moral torment with a raw, human touch. Opposite him, Tom Well’s Jesus balanced serenity and anguish, delivering “Gethsemane” with a vulnerability that will hush the room. Definitely a standout moment of the evening.

Juliet Fisher’s portrayal of Mary Magdalene was another standout performance. She brought warmth and quiet strength to the role, balancing tenderness with emotional depth. Her performance of “I Don’t Know How to Love Him” was delivered with sincerity and beautiful control, providing a gentle contrast to the intensity of the surrounding scenes. The chemistry between Mary, Jesus, and Judas was believable and added a human touch to the story’s spiritual themes.

The chorus brought strong energy to ensemble numbers like “Hosanna” and “Superstar,” and their enthusiasm, vibrant presence and commitment creating a dynamic atmosphere.

Making his debut as director Simon Smith has made imaginative use of the modest stage space, using minimal props barring some stepped section at the rear and sides of the stage and the cross in the finale. Doing so he has created a fast-paced production that never loses its sense of intimacy.

A particular highlight of this production was the choreography, which was both imaginative and dynamic. Under the direction of Maggie Jackson, the movement was tightly executed and visually striking, enhancing the storytelling without ever feeling forced. From the pulsating energy of the crowd scenes to the subtle, expressive gestures in the more reflective moments, the choreography added a layer of professionalism and polish that lifted the entire production. It was clear the cast had worked hard to master the demanding routines, and their commitment paid off beautifully.

The live band, led by Sheila Pearson, provided a solid rock backing that gave the show its essential drive. At times the volume seemed a little overpowering, but the overall sound was impressive.

Lighting by Going Dark Theatrical heightened intensity and mood, while the costuming blended traditional and contemporary elements effectively. More than the technical achievements, what shone brightest was the passion of the entire company.

This production was clearly a labour of love, and that heartfelt commitment carried right through to the final moments.

Haunting Julia – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Haunting Julia – Sutton Arts Theatre

Sutton Arts Theatre

Thursday 23rd October 2025 – Opening Night

By Nigel Gambles

Photography – Studio 55 Photography

The play is set twelve years after the death by suicide of Julia Lukin, a phenomenally talented young musician who had some desperate psychological problems. Her father, who still cannot come to terms with her death, has turned her student bed-sitting room into a museum which the public can visit – for himself it is a shrine to her memory.

The production team at the Sutton Arts always produce good sets, and this one is no exception. The single bed with the teddy bear on the pillow might at first seem to be a child’s bedroom, but the roped-off barrier around the bed soon suggests something else – and this barrier becomes essential to the themes of the play.

The play promises the audience ‘thrills and chills,’ but really the play is more complex and troubling than an exciting ghost story. It explores the reasons for Julia’s suicide, and the part that three different men may have had in leading to her death.

This involves many tensions and confrontations between the men, who become increasingly disturbed by the revelations that emerge during both halves of the play. This makes big demands on the cast – it is a long play that has to be carried by just three actors. Luckily all three are capable of meeting the challenge. David Stone as Julia’s father not only conveys his own pain but also helps us realise how oppressive he may have been as a parent to a gifted but unhappy daughter. David brought out the range of his character well – sometimes garrulous, opinionated and intolerant of disagreement, but also vulnerable and frightened that he may have been at fault. Alan Groucott gives a solid performance as Andy, Julia’s former student boyfriend who has tried to put her death behind him. He seems to be the voice of exasperated common sense, but by the end he is horrified by what he hears and experiences in this room. Ian Eaton has the trickiest role as Ken Chase, the volunteer psychic who, again, turns out to have had more to do with Julia than he is willing to reveal. Julia is played by Leah Fennell although we don’t see Julia we certainly hear from her

Finally, the special effects were very striking, and at the end they certainly lived up to the claims of being spine-chilling. They made a dramatic finish to the production, and left us with a lot to wonder about.

The show is directed by Claire Armstrong-Mills who has directed many plays in Birmingham theatres. Ten of them have been at Sutton Arts Theatre, she has however never directed a ghost story, nor yet any play by Alan Ayckbourn. Claire was intrigued to be given the chance to do both in a single play, Haunting Julia. Claire has thoroughly enjoyed working on this challenging and little-produced play with a talented and committed cast and crew.