Tag: Sutton Coldfield Theatre

Sutton Coldfield Musical Youth Theatre – Our House – The Madness Musical ⭐️⭐️⭐️⭐️⭐️

★★★★★ Our House – The Madness Musical
Theatre Review | Sutton Coldfield Musical Youth Theatre | 2 November 2026
Written by Tim Firth | Directed by Paul Lumsden
An explosion of energy, outstanding young talent and infectious music made Sutton Coldfield Musical Youth Theatre’s production of “Our House – The Madness Musical” a wonderful celebration of everything that makes youth theatre so special.
There is something rather wonderful about watching young performers deliver performances that make you sit up and take notice. When an entire company displays that same enthusiasm, commitment and sheer love of performing, you know you’re in for a special evening.
Sutton Coldfield Musical Youth Theatre (SCMYT) certainly delivered one with its ambitious production of “Our House”, the musical built around the wonderfully infectious songs of Madness.
Set in Camden Town, the story follows teenager Joe Casey, whose life takes two very different paths following a single fateful decision. As Good Joe and Bad Joe navigate their contrasting futures, we discover how choices involving love, friendship, loyalty and temptation can change everything.
It’s a demanding, fast-moving musical, blending comedy, drama and energetic musical numbers. And at its heart was one extraordinary young performer.
Jamie Wilson as Joe Casey was, quite simply, WOW!
Rarely off stage, Jamie delivered a performance of extraordinary energy, stamina and professionalism. His excellent vocals, confident characterisation and seemingly effortless ability to switch between Good Joe and Bad Joe were remarkable.
The role also demanded an astonishing number of costume changes, expertly managed backstage by dresser Suzanne Harris, who surely deserves a medal for keeping everything running so smoothly!
What impressed me most was Jamie’s maturity and professionalism. He commanded the stage while remaining a generous team player, allowing those around him their moments to shine.
And the most astonishing thing? Jamie is just 17 years old!
To deliver a performance of such quality at that age is exceptional. I have absolutely no hesitation in saying that Jamie Wilson is a young performer destined to go places.
One of the great pleasures of following SCMYT over the years has been watching young performers grow in confidence and ability, and Louise Heard as Sara is a wonderful example.
I first saw Louise in the company’s inaugural production of “Joseph and the Amazing Technicolor Dreamcoat” in March 2019. Seven years later, she has developed into a beautifully assured performer with a lovely singing voice.
As Joe’s intelligent and devoted girlfriend, Louise brought warmth, sincerity and genuine emotion to the role, capturing Sarah’s love, frustration and determination as Joe’s contrasting choices shape their futures.
With “Our House” marking Louise’s final SCMYT production, this was a particularly poignant performance. What a wonderful way to bring seven years with the company to a close. Bravo, Louise, and every good wish for the future.
Euan Barnby as Joe’s Dad delivered another fine performance. As the deceased father watching over his son’s two very different journeys, Euan brought authority, sensitivity and strong vocals to a challenging role. His convincing portrayal captured both paternal affection and the frustration of being unable to prevent Joe from repeating his mistakes.
Holly Masefield as Kath Casey, Joe’s hardworking and devoted mother, also impressed. Playing a character considerably older than herself pushed Holly outside her comfort zone, but she embraced the challenge admirably. Her portrayal of a determined mother fighting to protect her family and home against commercial redevelopment was warm, convincing and heartfelt.
Providing some of the evening’s most enjoyable comic moments were George Hayes as Lewis and Elliott Winhall as Emmo, Joe’s inseparable best friends.
George brought sensitivity and loyalty to Lewis, while Elliott was wonderfully energetic as Emmo, the mischievous class clown who is always ready for a laugh or another questionable adventure.
Together, they made a delightful comedy double act, displaying excellent comic timing and natural chemistry. Their infectious humour was balanced by a genuine sense of friendship and loyalty.
Lola Hinsley as Billie and Elsie Wood as Angie both delivered solid, confident performances. As Sarah’s close friends, they brought personality, youthful energy and a convincing sense of camaraderie to the Camden Town friendship group. Both maintained an engaging stage presence whenever they appeared.
A particularly memorable character portrayal came from Faris Harlow-Makin as Reecey, the school bully and local hard man whose corrupt schemes threaten to draw Joe into a life of crime.
When Faris first appeared, I genuinely thought the part was being played by a considerably older actor, such was the maturity and authority with which he carried himself.
His commanding stage presence and convincing sense of menace made Reecey genuinely intimidating without becoming exaggerated. A powerful and impressively mature performance.
Director Paul Lumsden readily acknowledges that “Our House” has been a genuine challenge to stage, and it’s easy to understand why.
With two parallel storylines, rapid scene changes and a large teenage cast, the production could easily have become confusing or chaotic.
Instead, Paul delivered a remarkably slick and polished show, keeping both stories coherent and engaging despite the relentless pace. It was an impressive achievement that demonstrated considerable preparation, discipline and attention to detail.
He was ably supported by the wonderfully talented Charlotte Jervis, whose choreography was nothing short of exhilarating.
Her imaginative, high-energy routines perfectly captured the infectious spirit of Madness, with the cast delivering every number with tremendous passion, enthusiasm and impressive precision.
And with more than 40 teenagers to coordinate, I certainly don’t envy Charlotte the task of getting everyone moving in the right direction at precisely the right moment!
Yet she achieved just that, creating vibrant, tightly coordinated musical sequences that were an absolute joy to watch.
Musical Director Tom Wells, making his debut with SCMYT, also deserves enormous praise.
The music of Madness may sound effortlessly catchy, but beneath those familiar melodies lie some deceptively tricky arrangements.
Tom and his orchestra rose magnificently to the challenge, delivering the score with confidence, precision and all the musical character that makes these songs so instantly recognisable.
Visually, the production was equally impressive. A giant screen at the rear of the stage provided striking imagery that added depth and atmosphere, while wonderfully colourful lighting enhanced both the exuberant musical sequences and the more dramatic moments.
The screen visuals and lighting, operated by Jack Tustin of Going Dark Theatrical Services, contributed enormously to the production’s polished appearance.
Scene changes were handled with remarkable efficiency, sometimes so smoothly that they were barely noticeable. It’s the sort of backstage professionalism that audiences may take for granted but which makes an enormous difference.
No review would be complete without recognising the tremendous contribution of the ensemble.
And what an ensemble they were!
Dancing, singing and racing around the stage with seemingly boundless energy, these talented youngsters threw themselves wholeheartedly into every moment.
What was particularly delightful was the sheer enjoyment written across their faces. Here was a company clearly having the time of their lives, and their enthusiasm was impossible not to share.
Yet beneath all that exuberance was impressive discipline and teamwork, with everyone contributing to the excitement and atmosphere.
And then, of course, there is the music!
What can you possibly say about the songs of Madness that hasn’t already been said?
Wonderfully catchy, instantly recognisable and almost impossibly infectious, these are songs that have you tapping your feet and singing along before you know it.
For me, several numbers particularly stood out.
“House of Fun” and “Baggy Trousers” captured the mischievous energy and exuberance of youth, while “Wings of a Dove” brought its own wonderfully uplifting spirit.
And then there was “It Must Be Love”, a beautiful reminder that beneath all the comedy and high-energy musical numbers lies a story with genuine heart.
Every number was delivered with passion and enthusiasm, and I can almost guarantee you’ll leave the theatre with at least one Madness song going round and round in your head!
From Jamie Wilson’s outstanding leading performance to the warmth, humour and character of his fellow cast members, from the exhilarating choreography to the accomplished musical and technical presentation, every element contributed to a thoroughly entertaining evening.
Perhaps the greatest compliment I can pay SCMYT is that, for much of the evening, it was easy to forget we were watching a youth theatre company.
Sutton Coldfield Musical Youth Theatre can be immensely proud of “Our House – The Madness Musical”.
Bravo to everyone involved. One step beyond, indeed!

Meet the Cast Bringing Madness Musical Our House to Sutton Coldfield Town Hall

There’s a touch of Madness heading to Sutton Coldfield this November as Sutton Coldfield Musical Youth Theatre prepares to bring the much-loved musical Our House to the Town Hall stage.

Running from 3–7 November 2026, Our House – A London Love Story promises an energetic celebration of music, friendship, family and the choices that shape our lives, all set to the unforgettable songs of British ska legends Madness.

With rehearsals well underway, the talented young company is busy preparing for opening night, and we’re delighted to introduce six of the performers helping bring this colourful production to life.

Meet the Cast

Jamie Wilson – Joe Casey

At the heart of the story is Joe Casey, whose life takes two very different paths following one fateful decision. Jamie Wilson takes on this central role in a musical that explores love, loyalty and the consequences of the choices we make.

Louise Heard – Sarah

Playing Sarah, an important figure in Joe’s life, is Louise Heard. Their relationship is central to the story, bringing romance and emotion to a musical packed with humour and memorable songs.

Holly Masefield – Kath Casey

Holly Masefield takes on the role of Kath Casey, Joe’s mother. Kath is a key figure in the story, representing the importance of family, love and standing by those closest to us.

Euan Barnby – Joe’s Dad

Euan Barnby plays Joe’s Dad, whose presence forms an important part of the musical’s exploration of family, memories and the influence of the past.

Faris Harlow-Makin – Reecey

Faris Harlow-Makin steps into the role of Reecey, one of the characters in Joe’s world, adding to the friendships, challenges and colourful personalities that make Our House such an entertaining production.

Bobby Benson – Mr Pressman

Completing our featured cast introductions is Bobby Benson as Mr Pressman, another character who plays a part in Joe’s unfolding story.

Behind the Scenes

The rehearsal photographs offer a wonderful glimpse of the hard work taking place behind the scenes.

From energetic dance routines to dramatic scenes and full-company rehearsals, the young performers are putting their enthusiasm and dedication into preparing for the production.

Youth theatre is about much more than performing on stage. It provides opportunities to develop confidence, build friendships, learn new skills and experience the excitement of working together towards a shared goal.

And judging by the energy captured in these rehearsal photographs, audiences can look forward to a lively production!

A Musical Packed with Madness Hits

Featuring some of Madness’s best-loved songs, including Our House, Baggy Trousers, It Must Be Love and Driving in My Car, the musical follows Joe Casey through two alternative versions of his life.

With its combination of infectious music, humour, romance and heartfelt storytelling, Our House offers something for musical theatre lovers and Madness fans alike.

Don’t Miss It!

Our House – A London Love Story

Presented by: Sutton Coldfield Musical Youth Theatre

Venue: Sutton Coldfield Town Hall

Dates: 3–7 November 2026

Tickets and information: www.suttoncoldfieldtownhall.co.uk

Come along, support our talented young performers and enjoy a little Madness in Sutton Coldfield this November!

Sutton Arts Theatre – 2:22 A Ghost Story ⭐️⭐️⭐️⭐️⭐️

★★★★★ 2:22 A Ghost Story – A Spine-Tingling Triumph at Sutton Arts Theatre

Theatre Review | Sutton Arts Theatre | 21 October 2026

Written by Danny Robins | Directed by Louise Holmes

There are evenings at the theatre when a production completely draws you into its world, holding your attention from the opening moments until the final curtain. Sutton Arts Theatre’s production of 2:22 A Ghost Story was one of those evenings — a wonderfully atmospheric, beautifully performed and genuinely spine-tingling theatrical experience.

And, despite knowing the story beforehand, I very nearly dropped my camera at precisely 2:22!

That alone should tell you something about just how effective this production was.

Written by Danny Robins, 2:22 A Ghost Story takes us into the home of Jenny and Sam, a couple renovating their house while adjusting to life with a young child.

Jenny is convinced that something unexplained is happening in their home, with strange disturbances occurring at exactly 2:22 each morning. Her husband Sam, however, is determined to find a rational explanation.

When their friends Lauren and Ben join them for an evening, what begins as an ordinary social gathering gradually develops into an increasingly unsettling exploration of belief, scepticism, relationships and the possibility that not everything can be explained.

At the heart of this production are four excellent performances, each contributing enormously to the growing sense of unease.

What impressed most was the strength of the ensemble. There was no sense of four individuals simply delivering dialogue. Instead, we were watching four people interacting naturally, with all the subtle changes in emotion, behaviour and relationships that accompany a real domestic gathering.

At times, it genuinely felt as though we were looking through the window of someone’s home, observing an evening that was gradually taking an unexpected and disturbing turn.

That level of authenticity is a tremendous achievement.

Jenny played by Sammi Kelly-Griggs delivers a compelling and emotionally charged performance as Jenny, an exhausted new mother whose life is increasingly dominated by fear and uncertainty.

Every night, at precisely 2:22 AM, Jenny hears the unsettling sound of a baby crying and unexplained footsteps coming from her infant daughter’s room. Having experienced these disturbances firsthand, she is utterly convinced that something supernatural is taking place.

Sammi captures Jenny’s growing anxiety beautifully, portraying a woman who is not only deeply shaken by events she cannot explain but also increasingly frustrated by her husband’s refusal to take her fears seriously.

What makes Sammi’s performance so convincing is that her fear never feels exaggerated or theatrical. Instead, we see a mother desperately trying to protect her child while questioning what is happening around her.

It is a sensitive, intelligent and thoroughly engaging portrayal that provides much of the emotional heart of the production.

Sam, played by Kieran jenkins was particularly impressive as the fiercely rational, opinionated husband who seems utterly convinced that his interpretation of events must be the correct one.

As the evening progressed, his increasingly combative manner became genuinely frustrating. Indeed, such was the conviction of the performance that I found myself actively disliking Sam by the closing stages.

And that is a tremendous compliment to the actor.

He created a thoroughly believable, complex and occasionally exasperating character, whose insistence on rational explanations provided a powerful counterpoint to the growing uncertainty surrounding him.

Ben played by Dexter Whitehead delivers a wonderfully convincing performance as Ben, Lauren’s new boyfriend, a streetwise, slightly rough-around-the-edges character whose superstitious beliefs place him firmly alongside Jenny in the debate about the supernatural.

Dexter brings an engaging authenticity to the role, portraying a man who might lack Sam’s intellectual confidence but certainly doesn’t lack conviction or the courage to stand his ground.

Dexter portrays this mounting frustration superbly. His reactions feel entirely natural, revealing a man increasingly irritated by Sam’s condescending manner but unwilling to be intimidated into silence.

It’s a thoroughly believable and engaging performance that adds another important dimension to the production’s exploration of belief, scepticism and human relationships.

Beck Dudley delivers an excellent, beautifully observed performance as Lauren, Sam’s close university friend, a psychologist and psychotherapist whose initially cool, composed and analytical personality provides another fascinating dimension to the unfolding drama.

Beck portrays this combination of intellectual confidence and unresolved emotion with considerable relish, allowing subtle glimpses of Lauren’s personal feelings to emerge through her conversations and interactions.

And then, of course, there are the drinks!

Beck handles Lauren’s increasing intoxication particularly well, skilfully capturing the subtle changes in speech, behaviour and inhibition as the alcohol takes effect. What could easily have become an exaggerated comic portrayal instead feels wonderfully natural and believable.

It’s an impressive transformation, demonstrating both Beck’s versatility and her understanding of the character.

Her performance adds humoured an emotional complexity compelling evening.

Director Louise Holmes deserves enormous credit for the way the production develops.

The pacing was superb throughout, with tension building steadily and convincingly rather than relying on a succession of sudden shocks.

Conversations flowed naturally, allowing the characters’ personalities, emotions and relationships to emerge through the dialogue. Moments of ordinary domestic interaction provided an effective contrast to the increasingly unsettling atmosphere.

The audience became invested in the characters and their differing perspectives, making the unfolding events all the more compelling.

This was carefully controlled storytelling, with the tension increasing almost imperceptibly until the atmosphere became positively electric.

The staging was another of the production’s considerable strengths.

The contemporary living space was beautifully realised, providing a thoroughly believable setting for the unfolding drama.

Particularly impressive was the attention to detail beyond the main room. Fully operational doors leading into the backyard and shed, together with glimpses of the bathroom, created the impression of a complete, functioning home rather than simply a theatrical set.

The lighting was excellent, shifting effectively to reflect the changing atmosphere and heightening the tension whenever required.

Well-executed pyrotechnic effects added further impact, delivering dramatic moments that were both startling and entirely appropriate to the production.

And Then Came 2:22…

One of the greatest achievements of this production was its ability to maintain suspense even for someone already familiar with the story.

Knowing what was coming did absolutely nothing to diminish the experience.

As the evening progressed, the atmosphere became increasingly charged, the tension tightening until the audience was completely absorbed.

And when that crucial moment arrived, the effect was extraordinary.

I genuinely nearly dropped my camera!

It was a wonderfully executed theatrical moment, demonstrating just how successfully the cast, direction and technical elements had worked together.

Naturally, there will be no spoilers here. Some theatrical experiences deserve to retain their secrets.

Sutton Arts Theatre has delivered an outstanding production of 2:22 A Ghost Story, combining four excellent performances with assured direction, convincing staging and an atmosphere of sustained suspense

Murder on the Nile – Highbury Players ⭐️⭐️⭐️⭐️⭐️

Murder on the Nile – Highbury Players Deliver an Enjoyable Christie Mystery

Impressive staging, atmospheric lighting and some strong individual performances bring Agatha Christie’s classic mystery to life at Highbury Theatre, although the suspense doesn’t always reach the heights the story deserves.

There is something wonderfully appealing about an Agatha Christie murder mystery. The promise of intrigue, deception, suspicious characters and an unexpected revelation has kept audiences entertained for generations.

Highbury Players’ production of Murder on the Nile, directed by Ken Agnew, offers an enjoyable evening of traditional theatre, with impressive production values and several commendable performances, even if the journey towards its conclusion is occasionally less gripping than anticipated.

Set aboard a luxurious Nile steamer, the story centres on the wealthy Kay Mostyn, who is enjoying her honeymoon with her new husband, Simon. Their happiness is threatened by the unexpected presence of Jacqueline de Severac, Simon’s former fiancée, whose jealousy and resentment create an increasingly uncomfortable atmosphere.

As relationships become strained and secrets begin to emerge, the passengers find themselves caught up in a deadly mystery where appearances can be dangerously deceptive.

Unlike Christie’s original novel, the stage adaptation dispenses with Hercule Poirot, leaving the perceptive Canon Pennefather to unravel the mystery.

Patrick Mangan delivers one of the evening’s standout performances as Canon Pennefather.

Bringing authority, confidence and a reassuring stage presence to the role, Mangan provides much of the production’s dramatic stability. His measured delivery and convincing characterisation help maintain the audience’s interest, particularly when the pace elsewhere begins to falter.

There is an understated assurance to his performance, and he proves particularly effective as the story moves towards its eventual revelations. In many respects, he is the steady hand that holds the production together.

Paul Merrell also impresses as Simon Mostyn, delivering an assured and believable performance that serves the complexities of the story well. His characterisation is convincing, and he handles the changing demands of the role with confidence.

Robyn Christoffels takes on the challenging role of Jacqueline de Severac, a character whose emotional turmoil and complicated relationships are central to the unfolding mystery. There are some effective moments in her portrayal, although the emotional intensity is not always entirely consistent.

As Kay Mostyn, Isobel Clinton portrays the wealthy young bride caught at the centre of the story’s romantic tensions. While her character is integral to the developing mystery, some moments would benefit from greater vocal expression and dramatic conviction.

Nevertheless, the company works together to create an engaging collection of characters, each with their own part to play in Christie’s intricate plot.

One of the production’s greatest strengths is undoubtedly its visual presentation.

The set is particularly impressive, transforming the Highbury stage into a convincing setting aboard a Nile steamer.

The detailed bar area, period furnishings, carefully arranged tables and decorative touches establish a strong sense of place. There is an attractive richness to the setting that immediately draws the audience into the world of the play.

The attention to detail extends to the costumes, which are equally deserving of praise. From elegant evening dresses and carefully tailored suits to the more practical clothing worn by the passengers, the wardrobe contributes enormously to the period atmosphere.

The lighting is also very effective, complementing the set and helping establish the changing moods of the production. Warm tones enhance the elegant surroundings, while more subdued lighting provides contrast as the mystery unfolds.

Together, these elements demonstrate the considerable care and attention invested in bringing Christie’s world to the Highbury stage.

Indeed, the quality of the staging and costumes is among the most memorable aspects of the evening.

While there is much to commend, the production doesn’t always achieve the sustained dramatic tension that one might expect from an Agatha Christie thriller.

Christie’s mysteries depend on carefully controlled pacing, subtle shifts in relationships and the gradual accumulation of suspicion. Every conversation, glance and seemingly innocent remark has the potential to become significant.

Here, however, some scenes lack the urgency needed to maintain that sense of anticipation.

The pacing is occasionally uneven, and moments of rather flat dialogue delivery further diminish the dramatic impact. Consequently, the production sometimes feels more like a traditional drawing-room drama than a mystery steadily moving towards a dramatic climax.

This is particularly noticeable as the story progresses. Rather than building towards an increasingly tense conclusion, the momentum remains somewhat restrained.

The final moments, too, feel surprisingly abrupt. Without revealing the outcome, the conclusion arrives with less dramatic impact than the preceding events might lead the audience to expect.

A little more urgency and sharper pacing could have made those closing scenes considerably more satisfying.

Highbury Players’ Murder on the Nile is an enjoyable evening of classic Agatha Christie, enhanced by impressive staging, attractive period costumes and effective lighting.

Patrick Mangan deserves particular praise for his commanding portrayal of Canon Pennefather, providing a strong and reassuring presence throughout, while Paul Merrell brings confidence and credibility to the role of Simon Mostyn.

Although uneven pacing, occasional weaknesses in dialogue delivery and a somewhat understated conclusion prevent the production from achieving its full dramatic potential, there is still plenty to appreciate.

The quality of the set, costumes and lighting reflects the dedication and hard work that goes into bringing a production of this nature to the stage.

For those who enjoy traditional murder mysteries and the pleasure of live theatre, Highbury Players offer a worthwhile evening aboard Christie’s famous Nile steamer.

Reviewed by What’s On In Sutton Coldfield – incorporating Lichfield & Tamworth

Production: Murder on the Nile by Agatha Christie
Company: Highbury Players
Venue: Highbury Theatre, Sutton Coldfield
Director: Ken Agnew
Performance attended: Tuesday 20 October 2026

Production photography courtesy of Highbury Players

Murder on the Nile – Highbury Players

20–31 October 2026 | Highbury Theatre, Sutton Coldfield

Mystery, intrigue and murder take centre stage as Highbury Players present Agatha Christie’s classic thriller, Murder on the Nile, at Highbury Theatre in Sutton Coldfield.

Set aboard a luxurious riverboat cruising along the River Nile, this gripping murder mystery transports audiences into a world of jealousy, secrets and suspicion.

What begins as an idyllic journey soon takes a sinister turn when murder strikes, leaving the passengers caught in a tangled web of motives, deception and hidden relationships.

As tensions rise and suspicions deepen, the question remains: who is telling the truth, and who has something deadly to hide?

With its atmospheric setting, intriguing characters and trademark Agatha Christie twists, Murder on the Nile promises an entertaining evening for lovers of classic crime drama and live theatre.

Event Information

Production: Murder on the Nile by Agatha Christie

Presented by: Highbury Players

Venue: Highbury Theatre, Sheffield Road, Sutton Coldfield

Dates: Tuesday 20 – Saturday 31 October 2026

Tickets and performance times: Please check with Highbury Theatre for details.

Join Highbury Players for an evening of suspense and discover whether you can unravel the mystery before the final curtain.

Tudor Musical Comedy Society – Joseph and the Amazing Technicolour Dreamcoat ⭐️⭐️⭐️⭐️⭐️

Joseph and the Amazing Technicolor Dreamcoat – A Technicolor Triumph for Tudor Musical Comedy Society

There are certain musicals that never seem to lose their magic, no matter how many times you see them, and Joseph and the Amazing Technicolor Dreamcoat is undoubtedly one of them.

With its unforgettable songs, infectious humour and uplifting story, Andrew Lloyd Webber and Tim Rice’s much-loved musical has delighted audiences for generations. But to truly bring Joseph to life requires something more than excellent voices and colourful costumes. It demands energy, enthusiasm and an infectious sense of fun.

Tudor Musical Comedy Society delivered all three in abundance.

From the opening notes of Any Dream Will Do to the spectacular finale, this was a production overflowing with talent, personality and sheer theatrical joy.

One of the more unusual aspects of this production was the decision to share the role of Narrator between two performers, Samantha Rogers and Paula O’Hare.

Both possess outstanding voices that complemented one another beautifully, bringing warmth, clarity and personality to the storytelling. Their vocal performances were excellent, but equally impressive was their natural interaction with the children’s ensemble.

With two groups of young performers appearing throughout the week’s run, the group taking part in the performance we attended was the Any Dream Team.

Their enthusiasm was infectious, and the relationship between the children and the narrators created a wonderful sense of fun and spontaneity. Together, they brought the story to life with warmth, confidence and considerable charm.

At the heart of the production was Elliot Scott-Lolly as Joseph, delivering a performance that was quite simply brilliant.

From his very first appearance, walking through the auditorium towards the stage while singing Any Dream Will Do, Elliot immediately established a connection with the audience.

It was a lovely opening that set the tone for everything that followed.

Vocally, he was superb, possessing a voice of impressive strength, control and excellent tone, perfectly suited to the demands of the role.

But what made his performance particularly memorable was the sheer energy and enthusiasm he brought to every moment.

Rather than simply playing Joseph, Elliot made the character entirely his own. His confidence, charisma and infectious enjoyment radiated from the stage, drawing the audience into his journey from that opening number right through to the final curtain.

It was a commanding central performance, full of personality and genuine star quality.

And then there was Dylan Reed as Pharaoh — a performer who, should he ever tire of musical theatre, could undoubtedly enjoy a successful second career as an Elvis Presley impersonator!

His entrance was wonderfully understated, appearing almost demurely, wrapped in a cloak. But that air of restraint lasted only until the opening notes of Song of the King, when Dylan exploded into a performance of tremendous energy, confidence and showmanship.

With a powerful voice, an irresistible stage presence and more than a generous helping of Elvis’s famous hip gyrations, he completely stole the scene.

The audience was utterly captivated, cheering and clapping along as he delivered one of the evening’s outstanding musical highlights. And here’s a little tip for anyone attending: listen carefully about halfway through the song for a wonderfully unexpected burst of Brummie dialect. It’s a delightful touch that brought an extra helping of local humour to an already irresistible performance.

Dylan was also supported superbly by Pharaoh’s Adoring Girls, whose energetic choreography, infectious enthusiasm and rousing backing vocals elevated the entire sequence into a spectacular production number.

Together, they delivered a showstopping performance that was undoubtedly one of the highlights of the evening.

Sam Davis, making his first appearance with Tudor Musical Comedy Society, was perfectly cast as Jacob, the patriarch of this rather extraordinary family.

He brought exactly the right presence to the role, delivering a thoroughly enjoyable performance. On this evidence, one sincerely hopes it won’t be his last production with the society.

Among Joseph’s brothers, Mike Willis as Reuben impressed with his excellent voice and commanding stage presence, while Ade Cox as Simeon delivered another strong performance, particularly in his musical contribution alongside Alex Nash.

Alex is one of those wonderfully versatile performers who seems equally comfortable with whatever a production demands of him.

Whether delivering serious drama, comedy, accomplished dancing or excellent vocals, he brings confidence and conviction to everything he does.

Particularly impressive was the fact that Samantha Rogers, Elliot Scott-Lolly and Alex Nash had all appeared in key roles in Come From Away, which had finished its run just a week earlier. Their ability to move so effortlessly between two very different musicals speaks volumes about their versatility, professionalism and dedication to musical theatre.

Special mention must also go to Charlene Payton as Judah, whose performance of Benjamin Calypso was an absolute delight and one of the evening’s funniest moments.

Charlene demonstrated a wonderful flair for comedy, combining an excellent vocal performance with wonderfully expressive facial reactions, impeccable comic timing and hilarious physical mannerisms. Every gesture and expression added another layer of humour to the number, making it an irresistible piece of musical theatre.

It was a superbly entertaining performance, delivered with tremendous personality and an infectious sense of fun.

As an ensemble, Joseph’s brothers were a delight, working together with an obvious sense of camaraderie and delivering a strong, cohesive group performance.

Their comic timing, vocal contributions and infectious enthusiasm helped bring the production’s wonderfully varied musical numbers to life.

Two particular highlights were the exuberant One More Angel in Heaven / Hoedown sequence and the gloriously downbeat Those Canaan Days.

The former was an explosion of country-and-western-inspired fun, with excellent choreography, spirited performances and an infectious energy that swept across the stage.

In contrast, Those Canaan Days offered a wonderfully theatrical change of mood, with its melancholy humour providing another opportunity for the performers to demonstrate their versatility.

Joined by their wives and the children, the brothers delivered beautifully coordinated dance routines, with enthusiasm and energy filling every corner of the stage.

The choreography was particularly impressive, creating large, lively ensemble sequences that were as enjoyable to watch as they were clearly to perform.

These were moments when the strength of the entire company really shone through, demonstrating that this production was far more than a showcase for its leading performers.

It was a genuine team effort, full of character, humour and tremendous musical spirit.

Behind every outstanding musical production is a creative team whose vision, dedication and attention to detail bring everything together, and this production of Joseph and the Amazing Technicolor Dreamcoat was certainly no exception.

Musical Director Andrew Timmins, who has been associated with Tudor Musical Comedy Society since 2022, has established a strong reputation as both a musical director and conductor.

His passion and dedication were evident throughout the evening, with the excellent orchestra under his direction providing a wonderfully accomplished musical accompaniment. The orchestra brought richness, precision and vitality to the production, effortlessly embracing the show’s remarkable variety of musical styles while maintaining the pace and energy that make Joseph such an entertaining experience.

Making their Tudor debuts were Director and Choreographer Ami Radcliffe and Assistant Director Daisie Macbeth, two talented creatives bringing a wealth of experience and enthusiasm to the production.

Both have backgrounds as performers, and their understanding of musical theatre, combined with an obvious love of the creative process, shone through in the finished production.

Ami’s choreography was particularly impressive, with energetic, imaginative routines that made excellent use of the ensemble, while the overall direction maintained a wonderful balance between humour, storytelling and musical spectacle.

Perhaps the greatest testament to the work of Ami and Daisie was the performance of the cast itself.

From the leading principals to the youngest members of the ensemble, everyone appeared completely invested in the production, delivering performances overflowing with confidence, enthusiasm and enjoyment.

The staging was another example of how thoughtful production decisions can make a considerable difference to the overall theatrical experience.

Rather than relying on elaborate scene changes, the production made excellent use of a largely permanent set, with smaller props and scenic elements introduced or removed as required.

Particularly clever was the decision to dress the stage crew in costume, allowing them to move seamlessly through the action.

The changes were so unobtrusive that you barely noticed them happening, yet everything was exactly where it needed to be when the next scene began.

The costumes were another outstanding feature of the production, bringing colour, character and visual excitement to virtually every scene.

With so many performers taking on multiple roles throughout the show, Wardrobe Mistress Suzanne Harris must surely have been one of the busiest people in the theatre!

The sheer number of costume changes was remarkable, yet everything appeared beautifully coordinated, allowing the production to move effortlessly between its contrasting musical styles and settings.

Naturally, Joseph’s magnificent Technicolor Dreamcoat was a visual highlight, particularly during that spectacular final reveal, but there were plenty of other costumes worthy of special mention.

The costumes worn by Pharaoh and his Adoring Girls were especially striking. Their eye-catching blue-and-white designs created a stunning visual spectacle, perfectly complementing the Elvis-inspired musical number and the energetic choreography.

The lighting design was equally impressive, perfectly capturing the colourful, exuberant spirit of Joseph while demonstrating a sensitive understanding of the show’s quieter moments.

Bright, vibrant lighting brought the energetic ensemble numbers to life, while more subdued tones, including atmospheric blue washes during the prison scenes and Those Canaan Days, created an effective contrast and helped establish the changing moods of the story.

Jack and the team at Going Dark Theatrical Services deserve considerable praise for a technically accomplished production that complemented the performances beautifully.

And then came the spectacular finale.

The dramatic reveal of the enormous multicoloured dreamcoat, accompanied by perfectly timed pyrotechnics, provided a breathtaking conclusion to the evening.

It was a wonderful moment of theatrical spectacle, bringing together the colour, excitement and sheer exuberance that had characterised the entire production.

A fittingly dazzling finish to a show that had delivered so much energy and enjoyment from beginning to end.

Having been fortunate enough to see Joseph and the Amazing Technicolor Dreamcoat on numerous occasions, both in Birmingham and London’s West End, including productions featuring some very high-profile performers, I have long considered it one of my favourite musicals.

But if there was one quality that defined Tudor Musical Comedy Society’s production above everything else, it was the sheer enthusiasm and energy radiating from the stage.

Every single performer, from the youngest member of the children’s ensemble to the leading principals, gave absolutely everything.

And the audience responded in kind.

As the show reached its conclusion, the entire sell-out audience rose to its feet in a richly deserved standing ovation, singing, cheering and clapping along in a wonderful celebration of everything they had just experienced.

For me, perhaps the greatest compliment I can pay this production is that the enjoyment didn’t end when we left Sutton Coldfield Town Hall.

The songs were still being sung in our car on the journey home!

That, surely, is the magic of great musical theatre.

A joyous, colourful and wonderfully uplifting production, bursting with talent, energy and infectious enthusiasm. Tudor Musical Comedy Society should be immensely proud of what they have achieved.

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