Bugsy Malone

As a NODA Regional Representative, it’s always a pleasure to be invited to report on a youth theatre production, especially when we are so fortunate to have such a wealth of talented young performers in Staffordshire, all perfectly capable of working together to bring an all‑time classic to life. Musical Youth Theatre Stafford did exactly that on Thursday evening at Stafford’s Gatehouse Theatre, with a 52-strong cast delivering an outstandingly brilliant and irresistibly energetic production of ‘Bugsy Malone’, overflowing with confidence, clarity and charm. It was a joyous, high‑energy triumph from start to finish, and I loved every minute of it.

Based on the 1976 hit film written and directed by Alan Parker and starring the sixteen‑year‑old Scott Baio and Jodie Foster, the stage musical features a catchy, swinging score by composer Paul Williams - also responsible for ‘The Muppet Movie’ - and is good, clean, comedic fun, a quality this MYTS production embraced wholeheartedly.

Set in 1929, two rival teenage gangs jostle for supremacy in the bustling prohibition era streets of New York. Dandy Dan's gang has taken the advantage after laying their hands on a supply of ‘splurge’ guns - whipped‑cream‑firing weapons that are comically harmless in reality yet hugely effective in the show’s playful underworld - leaving Fat Sam and his bumbling buffoons in real trouble! Bugsy Malone, a one‑time boxer, is thrust not‑so‑willingly into the gangster limelight when he becomes the last hope for Fat Sam’s struggling gang’s fightback. All Bugsy really wants is to spend time with Blousey, the aspiring singer who has captured his heart. Fate, however, has other ideas, pulling him deeper into the city’s comic‑book gangster world just as he tries to carve out a future of his own.

After a stylish overture that perfectly captured the swinging jazz and blues rhythms of the roaring twenties - complete with some particularly excellent saxophone and trombone snatches - the curtains opened on the man himself, Bugsy Malone, setting the scene in a neighbourhood still reeling from recent splurge‑gun battles. Moments later, the lights lifted on Fat Sam’s speakeasy, a riot of colour, sparkle and youthful energy in ‘Fat Sam’s Grand Slam’. The ensemble flooded the stage with sharp choreography, confident swagger and an infectious sense of excitement, instantly transporting the audience into the smoky, jazz‑soaked world of prohibition‑era nightlife. It was a dynamic opening sequence that not only highlighted the company’s discipline and enthusiasm but also established the production’s vibrant identity.

In the title role as Bugsy, Frankie Bradbury, gave an exceptional performance, his easy, natural charm, terrific singing voice and perfect New York accent bringing great authenticity to this highly demanding role. Cleverly striking the balance between his reputation as a notorious gangster and the genuine affection he had for Blousey, the love of his life, his scenes were greatly enhanced by clear storytelling and a confident stage presence that made him instantly engaging to the audience.

As Blousey, Carys Lloyd offered a performance full of warmth and purpose. Her singing voice had a beautiful clarity and she brought a genuine sincerity to every moment on stage ensuring Blousey’s frustrations and ambitions were always sharply felt. ‘Ordinary Fool’ was beautifully sung and the chemistry between her and Bugsy was highly believable in a partnership that was very well played.

In the role of Fat Sam, the owner of the Grand Slam Speakeasy, Ella Prinold perfectly displayed the comedy and frantic energy of the character with crisp timing and great strength as she navigated the escalating gangland conflict. As her opposite number, Dandy Dan, the even more determined ruthless and ambitious gangster, Evan Bailey provided a cool, stylish and commanding performance.

Esme Rust as Fizzy the caretaker and cleaner at Fat Sam’s Grand Slam Speakeasy, wanted to be a star but didn’t have the confidence to audition. She popped in and out throughout the show with sweeping brush in hand and gave a heartfelt rendition of her song ‘Tomorrow’ expressing her strong desire to be a performer, beautifully sung in another fine performance.

As Tallulah, the club singer and Fat Sam’s moll, Skye Carrigan commanded the stage with an ease that felt both mature and effortlessly engaging, her musical moments delivered with fine, expressive vocals and a graceful fluidity of movement that suited the role perfectly.

Ethan Travers was very funny as Knuckles, a local gangster and Fat Sam’s right hand man, his sharp comic timing giving the character a lively, mischievous edge throughout the show. In complete contrast, Elsie Williams brought a welcome sense of dignity and calm to Dandy Dan’s world as his ‘doll’ Louella, offering poised assurance that enhanced every scene she entered. Ada Rust was also in fine form, delivering a spot‑on portrayal of Cagey Joe, capturing both the swagger and warmth of the character, with ‘So You Wanna Be a Boxer’ emerging as one of the evening’s standout musical moments thanks to her confident storytelling and engaging stage presence.

And not forgetting Captain Smolsky (Rory Scott) and the completely incompetent

Lieutenant O’Dreary (Franklyn Lycett) who worked really well together as a comedy duo, hilariously failing miserably to keep everything on the right side of the law!

The remainder of the minor principals and ensemble delivered consistently strong performances, each contributing with great commitment, and with many of the cast members doubling roles, the production hugely benefited from their talent and versatility. This flexibility also allowed scenes to flow with real momentum, ensuring that even the busiest moments retained clarity and drive. What emerged was an ensemble that not only supported the storytelling but actively energised it, bringing freshness and vitality in every sequence in which they were involved. The boxing sequence, ‘So You Wanna Be A Boxer?’, was particularly exciting and well staged using the whole theatre. ‘You Give A Little Love’ was also full of fun and energy and a great way to end the show.

The dancing throughout the production was exceptionally well rehearsed and confidently performed, adding real sparkle to the overall spectacle, while the wonderful chorus singing brought warmth, energy and a pleasing fullness of sound. It was clear that the entire company were enjoying themselves, particularly in the larger ensemble numbers where the whole stage area and even the auditorium gangways became wonderfully alive collectively lifting the atmosphere.

Overall, the company leaned wholeheartedly into the show’s playful spirit, capturing both its tongue‑in‑cheek gangster swagger and its buoyant charm, resulting in storytelling shaped by confident delivery, sharp musicality and an infectious sense of ensemble unity.

The stage set provided an authentic 1920s backdrop for the entire production. Relatively simple in design yet highly practical in use, a brick‑patterned wall stretched across the full width at the back of the stage, with steps rising to a higher balcony on either side of a central door. A second door was neatly incorporated into the brickwork on the right‑hand side, while a drinks bar sat beneath the balcony on the same side, offering a natural focal point for several scenes. Bentwood chairs and tables and other pieces of furniture and props were used to enhance the various scenes, some of which were cleverly set on either side of the balcony.

The costumes, co-ordinated by Karen Keen, were simply outstanding and perfectly in vogue for the era. From the pin-striped and plain black suits of the rival gangsters and sparkly flapper dresses of the dancers to the red-and-white boxing outfits of the ensemble and unique designs sported by the main characters, the production couldn’t have been better dressed.

The show was very well lit from start to finish, taking full advantage of the Gatehouse Theatre’s impressive bank of LED and intelligent lamps which had all been carefully designed and programmed by Sean Ayrden, working alongside show director Katy Ernest, to enhance the mood and excitement of the various scenes. Craig Chesters operated the follow spot with great skill. The sound too was of exceptional quality with a perfect balance struck between the band and onstage performers. There were many radio sets in use and I didn’t spot one missed cue.

The company stage manager was Sam Parton, who was also responsible for the props assisted by Karen Keen, Craig Chesters and parents, and chaperoning was managed by Ruth Stephenson and Henry Whittaker.

But, as always, my final comments, and probably the most important, must go to Director, Katy Ernest whose skill and creative genius had honed every aspect of this wonderful youth production to the very highest of theatrical standards. To Musical Director, Doug McIntosh, for the brilliant direction of all the musical numbers and the accompaniment of his magnificent nine-piece band of musicians, and to Katie McMahon for the spectacular and breathtaking choreography.

Thank you so much for inviting me to see ‘Bugsy Malone’. I’m already looking forward to visiting you all again for your Christmas Concert in December at Stone’s Crown Wharf Theatre and for ‘Footloose’ back at the Gatehouse in July next year.

Chris C Bell
Regional Representative
NODA West Midlands District 3

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