Boogie Nights

Boogie Nights: The Musical written by Jon Conway, is a nostalgic romp through the glitzy, groovy 1970s, weaving a simple boy meets girl narrative around a collection of disco anthems. This production was staged by Woodhouse musical Theatre Company, and they brought the era to life with infectious energy, vibrant performances and a dazzling sensory experience. The plot centres on Roddy and his dreams of stardom coupled with his tumultuous romance with Debs. This leans heavily on clichés and the outdated views from the period, but to temper this, the cast, direction and sound all elevate the show into a crowd-pleasing celebration of disco culture.

Roddy - Played by Matthew Armitage was a magnetic blend of swagger and vulnerability. As the central figure, Roddy is a cocky lad with rock star ambitions, and Matthew nailed the character’s cheeky charm, especially in numbers like "Play that Funky Music" where his hip-thrusting bravado had the audience cheering. His vocal delivery was robust, particularly in the ballad "Sorry Seems to be the Hardest Word," where he revealed Roddy’s softer side.

Jessica Faye brought a fiery edge to Debs, Roddy’s long-suffering girlfriend. Her rendition of "I Will Survive" was the night’s standout, transforming the anthem into a raw, emotional declaration of independence. Jessica ensured that Debs was no damsel. She showed strength and sass, her sharp glances and crisp line delivery cutting through Roddy’s arrogance. Jessica’s grounded performance anchored the show’s emotional core.

Terry was played by Danny Summers-Jowett, the geeky, sex-obsessed but starved sidekick and he was a riot. His dancing in "C.M.Y.A." earned some of the night’s biggest laughs. Danny leaned into the character’s absurdity, turning Terry into a lovable loser without overstepping into farce.

Trish, Paige Alexandra was Debs’ loyal friend, was a delight. Her comedic timing sparkled and her singing in "I Lost My Heart To A Starship Trooper" showcased her bright, clear voice. Paige brought a playful energy to Trish, making her the glue of the friendship circle. Her performance felt effortless, harnessing her natural strengths.

As the sleazy nightclub singer Spencer, John Danbury was a deliciously oily counterpoint to Roddy’s idealism. John’s smooth vocals shone where he slinked across the stage with a predatory grin. His portrayal leaned into the character’s manipulative streak, making Spencer both repellent and oddly charismatic. The director clearly encouraged John to play up the 1970s lounge-lizard vibe, complete with exaggerated gestures that drew laughs.

Played by Colin Roberts, Eamon is Roddy’s Elvis-obsessed father. Colin brought a gentle presence which contrasted sharply with the disco flash. Colin’s solo moment in "Always on My Mind" was unexpectedly moving. Colin’s understated acting suggested a man clinging to the past and a love that had departed him which was in perfect opposition to the high energy main narrative.

Gareth Cole brought the audience a solid performance of Dean, Roddy’s friend who has always had a soft spot for Debs. Gareth always looks at ease on the stage and effortlessly showed the caring side of this character. Singing we saw a definite contrast with Gareth, from the upbeat craziness of “C.Y.M.A.” to the more caring “Don’t Go Breaking My Heart” duet with Debs.

Niove Armitage was Lorraine, Spencer’s long-suffering wife. Niove was fabulous as she navigated the 70’s chauvinistic male attitudes which cumulated in the knockout performance of “Last Dance/Reach Out”. Class act throughout.

Supporting roles were played by Ian Broadbent and Andy Bell as Baz and Daz the door security, Mandy, Georgie Lindley and the DJ/Manager Richard Sykes. Richard opens the show with a crowd pleasing interactive session before the show starts. This was a genius idea as it allowed the audience to be involved from the start.

Antonia Frampton, Bree Lindsay, Cath Palmer, Chloe Hopkins, Clare Wraight, Emily Griffiths, Gemma Bourke, Georgie Appleyard, Gray Preston, Helen Woodhead, Isabella Courtney, Keeley Denton, Lauren Thompson, Leah Stansfield, Lily England, Neil Broadbent, Nicci Cooney, Rachel McManus, Sarah Farrow, Tom Hay, Toni Taylor, Vic Marley and William Broadbent made up the enthusiastic and very talented ensemble for this production and not a single person was out of place. Every principal cast need a strong company behind them as this was no exception here.

The set design was a love letter to the 1970s, with the Boogie Nights disco as the centrepiece. The stage shifted fluidly between the club, and other residential locations thanks to clever use of minimal props. This kept everything functional, yet the set never felt sparse, just more opportunities to fully immerse us in the era. This alongside the bright and authentic costumes made this a feast for the eyes.

Lighting was a triumph, bathing the stage in a kaleidoscope of colours that pulsed with the music, particularly during dance numbers like "Boogie Wonderland," where the lights mimicked a packed dance floor. A dramatic shift to cold blues in darker moments underscored Roddy’s unravelling, a smart choice.

Sound design was crisp and immersive, with the disco classics booming through the theatre.The live band, beautifully displayed on the stage, delivered tight arrangements under the MD’s baton. The balance of sound between the singers and the band was just right so every bar was heard alongside every word of dialogue.

Director Neil Broadbent, crafted a production that leaned into the musical’s strengths. Its humour, nostalgia, and sheer fun, drew bold, committed performances from the entire cast, encouraging them to embrace the 1970s excess with gusto. Each cast members individual dynamics all bore Neils stamp, suggesting he pushed the actors to amplify their characters’ quirks. Slick as I have come to expect.

Lauren Thompson was chorographer and her staging of the dance numbers was kinetic, with tight choreography that filled the stage. Every number felt fresh and some classic moves made a well received appearance.

Musical Director Kiera Watson wrung every ounce of disco magic from the score, ensuring the band kept the energy high and the tempos brisk. She got the very best out of her principle cast members but also some very tight harmonies out of the whole ensemble. Special mention must go to the Drummer, John, who acted his socks off throughout.


This production of “Boogie Nights” didn’t try to reinvent the jukebox musical wheel, because it didn’t need to. It was a joyous, glitter-dusted escape, powered by a solid cast and a sensory assault of colour, light and sound. The characters, while thinly drawn in the script, came alive through spirited performances which supported the vibe. Woodhouse Musical Theatre Company delivered a show that knew its audience, disco fans and theatre goers craving a good time, and gave them exactly what they wanted, a great night of boogie, unapologetic fun and a right good party.

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