A Musical Showcase

A Musical Celebration, performed at Bacup Royal Court Theatre on Saturday 6th September 2025, marked the confident debut of All About the Stage, a newly formed youth theatre society working under the umbrella of Bacup Royal Court Theatre. With a mission to involve young people in every aspect of theatre, from directing and design to acting, tech, stage management, and front of house, the production was a true showcase of youth-led creativity, supported by a handful of experienced mentors. The evening featured a wide-ranging choice of musical theatre numbers, all choreographed, directed, and technically executed by the young company themselves, under the overall direction and vocal coaching of Gill Richardson.

The cast’s vocal work was consistently strong, with secure harmonies and expressive solo performances. Gill Richardson’s coaching was evident in the clarity and confidence of delivery across the board. Sound, run by Tyler Holden, whose quick thinking during a mic dropout, lowering the music to support the vocalist’s projection showed both technical skill and calm professionalism. Tyler, and the performer on stage handled it with such professionalism and grace, the audience absolutely respected their composure and integrity, it was a real testament to their and talent and maturity. Well done both. The mix throughout was well-judged, allowing vocals to sit comfortably above the backing tracks and supporting the emotional tone of each number.

Lighting design by Kobi Mottley, overseen by Andy Holden, added vibrancy and atmosphere. A particularly striking moment came during the opening number, as the lighting sequence matched the dramatic organ swell of Phantom of the Opera. Greens and cyans bathed the stage during Wicked, and spotlights remained tight and effective throughout. Transitions were smooth, and effects were used with flair.

Wardrobe by Abbie Cooper, overseen by Gill, gave the cast a unified look in black All About the Stage polo shirts, trousers, and dance shoes. Splashes of colour were cleverly used to reflect the source material, red chiffon scarves for Chicago, with one white for the innocent, green and pink for the Wicked medley. These subtle touches added theatricality and helped distinguish character groups while maintaining ensemble cohesion.

Staging was kept simple and functional, with a raised platform along the rear of the stage and central steps leading down to the main performance area. This layout allowed for dynamic use of levels and gave space for ensemble movement and choreography. Stage management was led by David Cooper, who kept things steady behind the scenes. Entrances and exits were well-managed, and the overall rhythm of the show held together well.

Choreography was created by Summer Holden, Cerys Pearson, and Charlotte Ferris, with From Now On adapted from choreography by Rachael O’Hara (Bacup OADS). The movement throughout was energetic, well-rehearsed, and coordinated, with the cast clearly having worked hard to deliver consistent routines. Numbers like Candy Store, Cell Block Tango, and Footloose were particularly lively, highlighting the ensemble’s commitment and stamina.

Act One opened with Phantom of the Opera, performed by Cerys Pearson and Maxwell Hopkinson. Their duet was atmospheric and emotionally charged, with Maxwell anchoring the lower lines and Cerys navigating the high notes with assurance. Taylor Goulding followed with a compelling rendition of Dead Mom (Beetlejuice), capturing the urgency and emotional weight of the song with excellent vocal control. Cerys returned with Somewhere That’s Green (Little Shop of Horrors), supported by Taylor, Summer Holden, and Lilymay Higginbottom as the Ronettes, their backing vocals added charm and texture to the solo line.

Emily Chaplin, Charlotte Ferris, Summer Holden, Lola-Rose Derbyshire, and Isabelle Kershaw brought energy and attitude to Candy Store (Heathers), with sharp timing and confident delivery. Lilymay Higginbottom gave a spirited and animated performance of Good Morning Baltimore (Hairspray), capturing the character’s optimism with clarity and charm. Ava Johnson offered a moving interpretation of As Long as He Needs Me (Oliver), keeping the delivery quiet and emotive before building to a powerful finish. Taylor returned with Alyssa Green (The Prom), keeping strong vocals and a clear sense of character throughout.

Cerys and Emily gave a strong, emotive performance of Seventeen (Heathers), capturing the vulnerability and yearning at the heart of the song. Their vocals were well-matched, and the emotional arc built naturally. Cerys, Emily, Taylor, Summer, Isabelle, and Charlotte came together for Cell Block Tango (Chicago), injecting energy and frustration into their performances as they defended themselves through song. The act closed with From Now On (The Greatest Showman), led by Maxwell and supported by a harmonious ensemble chorus. The cast delivered with drive and unity, ending the first half on a high.

Act Two began with Spotlight (Everybody’s Talking About Jamie), sung by Emily to Kobi Mottley, who applied makeup behind a mirror in a quietly theatrical moment. Kobi then made his entrance for the full ensemble number Everybody’s Talking About Jamie, confidently performing in heels and a blonde wig on the raised dais. His dance work was expressive and assured, with the ensemble providing strong vocal support.

Cerys and Emily returned with What Is This Feeling? (Wicked), backed by the ensemble. Their timing landed well, and the vocals were lively and well-matched to the humour of the piece. Charlotte Ferris gave a humorous and well-paced performance of Popular (Wicked), showing strong acting instincts and a good sense of audience connection. Emily and Cerys followed with End of the Line (The Theory of Relativity), a funny and animated duet that played off their chemistry and expressive delivery. Taylor sang What Baking Can Do (Waitress) with clarity and control, handling the song’s emotional shifts with thoughtful phrasing. Satisfied (Hamilton) was performed as an ensemble number, embracing the sentiment and complexity of the song. The cast navigated the layered structure with focus, and the choreography mirrored the emotional tension and rewind motif effectively. Six (Six) featured Summer, Cerys, Charlotte, Emily, Taylor, and Lilymay, who embraced the concert-like energy and character of the piece with bold vocals and confident stage presence.

Cerys gave a poised and emotive performance of Wishing You Were Somehow Here Again (Phantom of the Opera), delivering the song with clarity and emotional depth. The evening closed with Footloose (Footloose), a lively ensemble number complete with choreographed movement that had the audience tapping along, a fitting finale to a spirited showcase.

A Musical Celebration was a confident and heartfelt debut for All About the Stage. With youth members involved in every aspect of the production, the showcase reflected the group’s ethos of empowerment, collaboration, and creative ownership. Supported by experienced mentors, the young company delivered a varied and enjoyable evening of musical theatre. Their commitment, creativity, and ensemble spirit promise exciting things to come. I would like to thank Bacup Royal Court Theatre for inviting me to their new youth society and for the hospitality shown to both myself and my plus one throughout the evening. I look forward to many more productions from All About the Stage in the future.

 

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