A Night at the Musicals - Home Again

Thank you so much for inviting me along to see your production of "A Night at the Musicals - Home Again" at Thornton Little Theatre on Saturday the 27th of May 2022. The production was thoroughly enjoyable from start to finish. The show itself was of a review style concert, performing 43 numbers from 31 different musicals. The selection of numbers combined solos, duets, dance numbers and full chorus numbers. This variety provided a good mix of pace and dynamics and kept a good momentum to the production. The cast was 36 members strong, all looked to be enjoying themselves throughout.

Director, Jenny Daniels, and the rest of the creative team should be commended on the organisation of this production. The selection of material showcased some amazing talent, as well as reflecting on the comradeship of all performers within the production. The staging was creatively used throughout, making use of levels and different shapings keeping the production alive and interesting. There was a raised platform upstage centre with a stairway either side. This was used particularly well, especially in the full chorus numbers, ensuring the maximum amount of the performers were visible to full effect. I particularly enjoyed the interjection of music between pieces to keep the energy alive and provide the audience with an insight as to what was coming next, although I did wonder if perhaps this could have been used throughout all the long transitions between numbers to keep the energy high and consistent. I also wondered if the selection of songs could have pivoted more around the 'Home Again' theme to make a more cohesive performance, but this did not take away from the enjoyment of the show. 

The choreography for the production was provided by Joanna Hindle and Jack Price.  They made use of a variety of techniques and choreographic styles. What was particularly enjoyable was the break from unison in many of the numbers, interjecting differing character stories or ideas and keeping the pieces interesting on the audience's eye. One of my favourite choreographies for the production was ‘Hot Honey Rag’ from Chicago, normally performed as a duet, this number was performed by a chorus of dancers. I loved the fosse flair and tight synchronisation from the performers in this number. 

The musical direction of the production was provided by Lisa Carolan and Charlotte Greaves. All numbers were very well rehearsed and did not notice a note misplaced or out of tune. There were some nice harmonies created, most notably in the arrangement of ‘Feed the Birds’ from Mary Poppins. Personally, I would have liked to have heard more full choral harmonies throughout the production, but that's my personal preference. 

Costumes were of a good quality and provided contextualisation to the numbers, with a cast as large as this was it would have been easy to simplify some of the costumes but every credit to the costume team, Suzanne Wilkinson, Cheryl Forthergill and Anne Maclaren who took on the challenge to ensure each performance was highlighted to its best potential. I particularly loved the costume design for ‘Six’ from Six, creating individual stylings for each of the Queen’s, Annie, Harriet, Elisha, Abbie, Olivia K and Lydia, who provided individual characterisations for this number, that blended together seamlessly.

With a cast and variety as large as this, it would be impossible to review all performers and performances individually. I must say that every single performer delivered to a high standard, that was unified and provided the audience with an excellent showcase of entertainment. All cast members should be proud of your work and high energy. Below are my stand outs from the performance. 

Shinaya Hunte provided us with a few numbers as solo and duet. The quality of her voice was extraordinary. At times, when Shinaya was performing, it was difficult to remember this was an amateur youth production, most notably in 'One Night Only' from Dream Girls, due to her maturity of tone and emotional investment. The riffs she delivered at the end of the finale ‘Dancing in the Street’ from Motown – The Musical were phenomenal, great work. 

Islay Woolfenden was another soloist who provided a rounded solid performance. I particularly enjoyed the contrast in characterisation between xxx in Kinky Boots and Elle Woods in Legally Blonde. This certainly highlighted Islay’s skill and talent. You should be really proud of your work.

Charlotte Edwards  was another who stood out throughout the performance. Not only did she execute the dance numbers technically, the characterisation, facial expression and energy she brought to all numbers made her truly shine. It was a delight to watch her perform.

The star of the show for me personally was Chelsea Keightley who lifted the energy of every number she was in and was a joy to watch throughout. She executed every choreographed move with sass and flair. Her rendition of ‘Tomorrow’ from Annie was outstanding, especially seeing as she managed to control and lead the real-life dog throughout the number without being phased by it’s impromptu behaviour. For such a young performer, she has stage presence and charisma to spare. Chelsea is certainly one to watch for the future.

 

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