Fame The Musical

Walking into Droylsden Academy for their production of Fame: The Musical, the audience was immediately greeted by an open set that cleverly established the world of the High School of Performing Arts. The creative team made excellent use of tiered staging, giving the performers multiple levels to work with and allowing scenes to flow with a sense of depth and movement. The addition of TV screens on either side of the stage was a particularly smart touch, accenting the set design with visual flair and helping to anchor the show in its late‑70s/early‑80s aesthetic. I did enjoy the visual footage of the young performers in rehearsals, this was a lovely touch to showcase how much work goes into a production. It was clear from the moment the lights came up that this was a production with ambition and a strong visual identity.

The musical opened with the energetic and iconic “Hard Work,” and the cast wasted no time launching into the demanding choreography and vocal intensity the number requires. This is my second visit to Droylsden Academy, and once again I was struck by the sheer number of performers on stage and the remarkable consistency of their energy. Every single student brought commitment, enthusiasm, and a genuine sense of ensemble spirit. It’s rare to see such a large cast maintain such cohesion, but Droylsden’s young performers managed it with confidence.

Choreographically, the production shone brightest in numbers such as “Dancin’ on the Sidewalk” and “There She Goes/Fame.” These sequences were packed with sharp movement, well‑timed formations, and a real sense of storytelling through dance. The choreography was clearly challenging, yet the cast handled it with discipline and style. The ensemble work in “Fame” itself was particularly impressive, filling the stage with vibrant energy and capturing the youthful hunger that defines the show.

There were many standout performances throughout the evening, but one that absolutely demanded attention was Leyla Francis as Joey Vegas. From the moment she stepped on stage, she demonstrated a natural comedic instinct and a boldness that made Joey instantly memorable. Her delivery in “Can’t Keep It Down” was fearless, cheeky, and brilliantly timed, earning well‑deserved laughter from the audience. Leyla clearly understands how to command a stage.

Thomas Harrington brought sincerity and emotional depth to the role of Nick Piazza. His portrayal captured Nick’s earnestness and artistic seriousness, and his vocals in “I Want to Make Magic” were heartfelt and controlled. Thomas managed to balance Nick’s ambition with vulnerability, making him one of the most grounded characters in the production.

Hannah Phillips, however, completely stole the show as Serena Katz. Her performance was layered, expressive, and vocally outstanding. “Let’s Play a Love Scene” showcased her ability to blend characterisation with vocal nuance, and her scenes opposite Nick were some of the most emotionally engaging of the night. Hannah has a natural stage presence that draws the audience in, and she handled Serena’s arc with maturity beyond her years.

Tyrone Jackson, played by Stephanie Sargaco, brought charisma and attitude to every moment on stage. Stephanie’s performance in “Tyrone’s Rap” had the audience fully engaged, and she navigated Tyrone’s humour, frustration, and vulnerability with impressive range. Her physicality in the dance sequences was particularly strong, giving Tyrone the dynamic edge the role requires.

Carmen Diaz, portrayed by Mia Pearce, delivered one of the most emotionally charged performances of the evening. Her rendition of “In L.A.” was powerful, capturing Carmen’s desperation, ambition, and eventual disillusionment. Mia’s acting choices were thoughtful, and she conveyed Carmen’s downward spiral with sensitivity. However, although the final scene involving Carmen was handled sympathetically, I couldn’t help feeling that she appeared a little too “kept” for the severity of the situation she was meant to be in. The emotional weight was there, but visually and physically she seemed slightly too composed, which softened the impact of her storyline’s tragic conclusion.

The ensemble deserves enormous praise for their work throughout the production. Whether in large dance numbers, transitional scenes, or background moments, they remained fully engaged and committed. Numbers like “Bring on Tomorrow” and “Fame” were elevated by the ensemble’s energy and cohesion, creating a sense of community that is essential to the show’s themes.

There were, however, some technical issues that occasionally disrupted the flow. Lighting proved problematic at times, particularly on the higher levels of the tiered staging. Several performers found themselves singing or acting in partial or complete darkness, which was unfortunate given the strength of their performances. Additionally, while the space is non‑theatrical, sight lines at the sides of the stage need careful consideration. Cast members passing through these areas became a distraction during key scenes, drawing attention away from the action.

The teachers were another highlight of the production. Lacie Nevins as Mr. Sheinkopf was consistently in character, bringing humour and authority to every scene. Olivia Dennerley as Miss Bell delivered a confident and engaging performance, and Grace Lawton as Miss Sherman showcased impressive vocal power in “These Are My Children.” Their presence grounded the show and added a sense of structure to the student‑driven narrative.

Overall, Droylsden Academy’s Fame was a vibrant, ambitious, and heartfelt production. Despite a few technical hiccups, the cast’s dedication, talent, and enthusiasm carried the show with ease. The students should be incredibly proud of what they achieved, a production full of life, passion, and genuine theatrical spirit.

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