A Night at the Musicals

Thornton Cleveleys Youth Theatre presented A Night at the Musicals, a large-scale musical theatre revue showcasing the talents of young performers aged 9+. With an impressive 56 strong cast and a substantial 42 musical numbers, this was an ambitious celebration of musical theatre, delivered with real confidence, polish and evident enjoyment from everyone involved.

From the outset, Jen Daniels’ direction provided a clear through-line for what could easily become a fragmented evening. The show had a strong sense of structure, with seamless transitions, consistent pacing, and a lively energy that was maintained throughout. The staging made good use of the full width of the Marine Hall stage and the raised platform at the back, which gave variety to the picture and helped to keep focus moving across the space.

Praise must also go to Aimee Duxbury, Musical Director, who did an incredible job. The musical standard across the cast was remarkably high, with secure harmonies, confident solo work and a consistently strong vocal sound throughout the evening. When you hear that many capable, well-prepared singers in one youth company, it cannot be coincidence that so many “amazing singers” happen to live in the area and all find their way to the same group. That kind of consistent vocal quality reflects training, musical leadership and a culture of high expectations delivered in a supportive way, and it is clear that Aimee’s work has been central to that success.

A major strength of the evening was the choreography, led by Head Choreographer Joanna Hindle, Elaine Morrison, Shelley Dow and Jack Price. The choreography was consistently tight, well-drilled and musical, with clear shaping and good timing. I particularly enjoyed the smaller group numbers, where there was space to fully see and appreciate the detail of the choreography and the individuality of the performers. The larger ensemble pieces were also effective, with so many people on stage you are naturally limited in what can be safely and cleanly achieved, but the team used smart staging, clear patterns, and synchronised, timed movements which created impact and kept the stage picture cohesive.

A revue of this scale lives and dies on organisation and discipline, and this company clearly has both. The overall standard of performance was striking, not just in one or two standout moments, but across the company. Timing, balance, ensemble awareness and stage confidence were strong, and there was a real sense that the cast were having the time of their lives. That confidence and joy is exactly what youth theatre should nurture. It builds communication skills, self-belief, teamwork, resilience and a sense of belonging, and those benefits were visible on stage throughout.

With a cast this large it is impossible to mention every performer individually, and the absence of a name here is not a reflection of ability. However, a number of performances particularly drew the eye. Jasmine Cheeseman delivered a bold and assured “Don’t Rain On My Parade”. This is a famously demanding number, associated with Barbra Streisand, requiring stamina, clarity of diction, and the confidence to fully own the song, and Jasmine rose to the challenge with strong projection and control. Olivia Kohl, in “Love Me Love Me Not”, performed with excellent stage presence and a beautifully controlled vocal. Even without prior familiarity with the song, her performance held attention throughout, always a sign of a performer who understands how to connect with an audience. Taylor Cheeseman and Islay Woolfenden, in “My Green Light”, showed that duet work is about more than two good voices. They created genuine chemistry and connection, listening to each other and working as a partnership with complementary vocals and strong stage focus. Kayla Meades brought real personality to “Little Girls”, singing in character with commitment and turning it into storytelling rather than simply a vocal performance.

Islay Woolfenden’s “The Wizard and I” was a standout of the entire evening, and one of the strongest youth solos I have encountered in amateur theatre. This is a technically challenging song, demanding controlled phrasing, secure breath support, emotional build, and the ability to sing through the story rather than simply deliver the melody. It has also been brought into sharp focus for modern audiences through high-profile professional performances, which sets a high bar. Islay’s technique, interpretation and confidence were simply superb, and I see a very promising future in the arts for her if this is something she chooses to pursue. “Bye Bye Blackbird” was one of my favourite small group numbers of the night, the combination of lighting, costumes, choreography, strong dancers and clean vocals created a complete and stylish stage picture. “I Know It’s Today”, featuring three performers as Princess Fiona, Darcey Underwood, Jasmine Cheeseman and Islay Woofenden, is a tricky song to pull off because it relies on balance and blend, but they nailed it beautifully and their voices complemented each other extremely well. Taylor Cheeseman and Luke Moore were excellent in “Sincerely Me”. It is a fast-paced, rhythmically tight number and they delivered it with strong stage presence, clear chemistry and confident comic timing. Luke is also an ex-student of the society who has since gone on to work professionally, and that professionalism really stood out in his assured performance. I would also like to highlight Taylor more broadly, as he took the lead in several numbers across the evening and consistently impressed. He is a very talented young performer with excellent stage presence and a strong vocal quality, and he connects with an audience naturally. Chelsey Keightley also drew attention as an excellent all-rounder throughout the evening, a strong singer, an impressive dancer, and an expressive performer who consistently held focus.

Sound by Stuart Shawcross was a strength. In a show with this many numbers and soloists, sound can make or break the audience experience. Soloists were well amplified and, crucially, the overall balance was managed effectively, allowing vocals to sit cleanly over the music. Good sound work supports performers and protects young voices from strain, and that was evident here. 

The set was necessarily simple, which was a sensible choice given the size of the cast and the pace of change. Tables and chairs were brought on discreetly when required, and the raised platform with stairs to either side was used effectively to create levels and variety. One small presentational point is that the area between the stairs at the front of the platform appeared to be covered with black fabric that caught the light and looked slightly untidy. In future, a neater finish, or removing it if possible would improve the visual line.

Costume was a major success and did a great deal of the storytelling and visual interest. For a revue with minimal set, costumes become even more important, and the variety achieved here was colourful, glitzy, and consistently appropriate to the style of each number. The amount of costume change involved is no small feat, and the design team deserves real credit, particularly Suzanne Wilkinson, Head Costume Designer, supported by Cheryl Fothergill, Anne MacLaren and Lisa Kohl. 

Lighting from the Marine Hall Lighting Crew was another major positive. Each number had its own atmosphere and mood, and that variety is essential when songs are taken out of their original show context. Here, lighting supported the storytelling, created focus, and helped keep the evening visually fresh. 

Stage management by Jack Price also deserves particular recognition. Managing a cast of 56 with fast transitions, entrances, exits and prop placement requires calm coordination, clear cueing, and strong backstage discipline. A stage manager is often the engine room of a production, ensuring the show runs smoothly, safely and on time, and with a programme of this scale that is a significant achievement. The smooth flow of the evening reflected careful planning and firm control backstage.

The only significant drawback was the length. With 42 numbers, the show inevitably ran long for a Monday evening, and there were visible signs of younger audience members struggling to maintain concentration toward the end of the second half, with parents understandably working hard to keep little ones settled. A modest trim to the running order, even reducing by a couple of numbers, would likely increase impact and leave audiences wanting more. Similarly, while the large full-cast numbers were effective, overcrowded stages can make it harder to see choreography clearly, reduce spacing, and sometimes cause performances to blur visually, particularly for those further back in the auditorium. Smaller groupings often allow clearer stage pictures, stronger focus, and give performers more space to shine.

This was a genuinely impressive achievement, a well-directed, well-organised revue performed by a large youth cast, supported by strong sound, lighting, choreography and costume. The audience were engaged throughout, with plenty of cheering and warm, supportive applause, and it was clear how much the local community values what you do. Congratulations to everyone involved, on stage and behind the scenes, for delivering such a vibrant, energetic evening of musical theatre. The standard of the young performers was exceptional, and the positive impact of youth theatre was unmistakable.

 

© NODA CIO. All rights reserved.