Fame The Musical

When I first saw that Manchester Musical Youth were tackling the full version of Fame: The Musical, I must admit I was filled with curiosity and a touch of apprehension. The show is known not only for its demanding choreography and vocal score but also for its mature themes, particularly in its final act. How would a youth company navigate such emotional terrain? As it turns out, with remarkable skill, precision, and maturity. This talented group of young performers didn’t just rise to the challenge, they soared.

From the moment I took my seat in the open stage format, I was struck by the inventive use of space. Raised platforms of varying heights created dynamic visual levels, immediately transporting the audience into the bustling, chaotic world of a performing arts school. The ambient sounds of New York City, honking taxis, distant chatter, the hum of urban life played subtly in the background, adding a layer of realism and immersion that set the tone beautifully.

Vocally, the production was a triumph. Under the musical direction of Kimberly Holden, the cast delivered harmonies that were rich, textured, and emotionally resonant. From the energetic ensemble numbers to the more introspective solos, the vocal performances were consistently strong. The final number, “Bring on Tomorrow,” was particularly moving, raw, radiant, and deeply heartfelt. It was clear that the cast poured every ounce of emotion into that moment, and judging by the teary eyes around me, the audience felt it too. That said, there were occasional moments where underscoring music slightly obscured vocal clarity in dialogue, but these were minor blips in an otherwise stellar musical landscape.

Directors Dave and Kimberly Holden deserve high praise for their vision and execution. The staging was thoughtful and effective, with the platforms offering not just visual interest but also thematic depth, symbolising the different perspectives and emotional heights of the characters. Their direction allowed each performer to shine while maintaining a cohesive ensemble energy that kept the story flowing seamlessly.

Choreographers Sarah Binns and Sarah Bartlett embraced the spirit of the era with gusto. Leg warmers, high kicks, and pirouettes abounded, capturing the essence of 1980s dance culture. While some movements lacked polish, occasional misalignments and unfinished gestures, the overall energy was infectious. The dancers brought a youthful exuberance that more than compensated for technical imperfections. With continued attention to body alignment and movement completion, this already impressive group will only grow stronger.

Lauren Bayley as Carmen was magnetic. She embodied Carmen’s fiery ambition and vulnerability with authenticity, delivering her solo “In L.A.” with emotional depth and vocal finesse. Her portrayal was layered and compelling, capturing both the allure and the tragedy of the character. Rose Wilson as Iris gave a beautifully nuanced performance. Her vocals were clear and expressive, and she brought a quiet strength to Iris that balanced well against the more flamboyant characters. Her duet work was particularly lovely, showing strong chemistry with her scene partners.

Sophie Trueman as Mabel was a delight. Her comedic timing was spot-on, and she brought warmth and relatability to Mabel’s journey of self-discovery. Her number “Mabel’s Prayer” was both humorous and touching, earning well-deserved laughs and applause. Oliver Horton as Schlomo was a standout. His musicality was evident throughout, and his expressive face and grounded stage presence made Schlomo a compelling anchor in the ensemble. He brought sincerity and charm to the role, especially in scenes of emotional conflict. Charlie France (Goody) and Madeline McCrink (Lambchops) brought vibrant energy and strong ensemble work. Their chemistry was natural, and they handled their musical moments with confidence and flair.

Isaac Ford as Nick delivered a thoughtful and mature performance. His dialogue was clear and well-paced, and he brought a quiet intensity to Nick’s struggle between fame and artistic integrity. His solo “I Want to Make Magic” was heartfelt and beautifully sung. Sarah Ali as Serena was, quite simply, breathtaking. Her vocal control and emotional range were exceptional. She shifted effortlessly between vulnerability and strength, and her rendition of “Let’s Play a Love Scene” was a masterclass in storytelling through song. She truly stole the show.

Lyall Rowland as Jack Zakowski brought charisma and agility to the role. His movement was fluid and expressive, and he handled Jack’s emotional arc with sensitivity. His scenes were engaging, and he showed great promise as a physical performer.

The teachers were portrayed with gravitas and maturity. Each actor held their ground, delivering performances that contrasted beautifully with the youthful exuberance of the students. Their vocals were strong, and they added a layer of reflection and authority that grounded the production.

Overall, this was a thoroughly successful and emotionally resonant production. Manchester Musical Youth have proven themselves not only capable of handling complex material but of elevating it. Their passion, discipline, and creativity were evident in every scene, and the audience was swept along for the ride.

Bravo to the entire cast and crew. Fame may be about chasing dreams, but this production showed that the dream is already alive and thriving in Manchester. I look forward to seeing what you do next.

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