Finding Peace

 

 

From 3rd to 6th September 2025, GH Productions brought “Finding Peace” to life at Burnley Youth Theatre. This was a heartfelt jukebox musical written and directed by Emma Gill. As a sequel to her earlier work “Missing Piece,” this new production deepened Gill’s exploration of grief, resilience, and reconnection, offering audiences a moving and musically inventive theatrical experience.

Set four years after the events of Missing Piece, Finding Peace follows the lives of friends and family as they navigate the lingering effects of grief and the slow, uneven path toward healing. Through a series of emotionally charged encounters, both spoken and sung, the protagonists confronted buried memories, fractured relationships, and the possibility of forgiveness. With rewritten lyrics to popular songs driving the narrative forward, the musical charts a journey from despair to hope, reminding us that peace is not found all at once, but in moments of courage, honesty, and shared vulnerability. Performed by a talented local cast, the show blended humour, poignancy, and musical theatre, the production took the audience on an emotional roller coaster, moving seamlessly between laughter, grief, and moments of quiet reflection. By the final scenes, it offered a genuine sense of catharsis, leaving many visibly moved and uplifted.

Amy Tattersall’s musical direction provided a solid foundation for Finding Peace, guiding the cast through a range of emotional and ensemble moments with clarity and control. Her arrangements of familiar songs were well suited to the tone of the production, allowing harmonies to support rather than dominate the storytelling. Ensemble vocals were consistently well-balanced, and transitions between musical numbers felt smooth and purposeful.

Choreography throughout Finding Peace was sharp, expressive, and impressively unified, with the cast moving in tight synchronicity that elevated each musical number. Emma Gill’s choreographic vision was particularly striking in the reimagined rendition of Cell Block Tango, co-choreographed with Charlotte Butter. Set within an AA meeting, this number became a standout moment, both theatrically and emotionally. Emma rewrote the lyrics to reflect the personal stories of the meeting’s attendees, blending humour and heartbreak with remarkable finesse. What was once a song of defiance becoming a layered portrait of addiction, regret, and resilience, delivered with wit, empathy, and choreographic precision. The result was a scene that drew laughter and quiet reflection in equal measure.

The production’s rendition of Holding Out for a Hero was a riot of sass, sparkle, and sheer theatrical energy. Choreographed by Lewis Bolton, the routine pulsed with boldness and pizzazz, highlighting the cast’s enthusiasm and precision in equal measure. Bolton’s flair for dynamic movement and character-driven choreography was unmistakable, turning the number into a high-octane celebration of resilience and identity. Adding a layer of ingenuity, Lewis made a cameo appearance as Josh Harris—also known as Violet Blaze—via video phone. In keeping with the script, his character was working in America, and a cleverly timed projection showed him in full drag makeup, performing live in real time. The moment was technically impressive bridging continents to bring Violet Blaze’s charisma directly into the scene.

The technical side of the show was quietly impressive. AV projections added depth without overwhelming the action. A projected letter from Kate gave the audience a final goodbye from her, anchoring the emotional arc of the piece. The calendar device was a simple but effective way to show time passing, and the park scene, with its tree and grass projection, created a peaceful space for reflection. Jo’s Café, now managed by Raven, was brought to life with thoughtful detail. A table set front stage right, with flowers and a photo of Kate, became a recurring visual anchor, standing for her favourite spot and the place where her daughters gathered each year to remember her.

The stage was deliberately simple, with settings brought on as needed to support the fluidity of scene changes. Fixed areas at either end of the stage provided visual anchors: Izzy’s office/lounge front of stage, far left, while Hazel’s kitchen occupied the right. Izzy’s room, dimly lit, evoked isolation and emotional withdrawal. The space strewn with empty bottles, glasses, paperwork, and tissues, a visual manifestation of her descent into alcoholism and grief. In stark contrast, Hazel’s kitchen was bright, clean, and orderly bathed in warm lighting that suggested stability and care. This juxtaposition between the two spaces underscored the loneliness felt by Izzy to pronounced effect.

Charlotte Butter’s work as graphic designer and stage manager was excellent. Scene changes were smooth and well-timed, the backstage team working silently, the changes often happening while the audience’s attention was elsewhere. Props were well chosen and added character, from the café’s tables and chairs to the counter of cakes and the bench in the park, which served as a quiet tribute to Kate. The nightclub scene, with high tables and a bar, added contrast and energy, while keeping the overall look consistent.

Lighting and sound, by David Hughes and Cecily Robson-Gott, complimented each scene, spotlights were tight, washes were warm or dramatic when needed, and the sound mix was clear and balanced. George Turner’s backing track arrangements supported the vocals beautifully, adding emotional weight without overpowering the performers.

Marcia Turner delivered an exceptional performance as Isabelle ‘Izzy’ Richards, grounding the character in raw realism and emotional nuance. Her portrayal of a woman unraveling under the weight of grief and addiction was never overplayed. Marcia resisted theatrical excess in favour of subtle, lived-in detail. The physicality of her drunkenness felt authentic, restrained, and deeply affecting, allowing the audience to see Izzy’s decline with empathy rather than spectacle. Her scenes with the spirit of Kate were among the production’s most poignant, she navigated these moments with heartbreaking honesty, capturing the ache of unresolved loss and the fragile hope of reconciliation. The emotional charge between Izzy and Kate was palpable, often leaving the audience in quiet reflection. A particular highlight was the musical number Sign, featuring Izzy and two officers from the Board of Psychotherapists, (James Hargreaves and Richard Parrish,) who arrive to revoke her professional licence. The trio’s vocal interplay was sharp and engaging, rewritten lyrics, paired with snappy interjections and comic timing, gave the number a satirical edge without undermining its emotional stakes. It was a moment that highlighted Marcia’s versatility, balancing humour, tension, and musicality with finesse.

Wendy Watson gave a luminous and deeply affecting performance as Kate Harris, whose spiritual presence lingered throughout the production, gently guiding her loved ones toward healing. Her portrayal was beautifully understated, never tipping into sentimentality, yet always emotionally resonant. Watson’s singing voice was exquisite, her harmonies during With You were heartbreakingly sad and perfectly pitched, weaving through the scene with a quiet grace that left the audience visibly moved. In contrast, her energy in I Can’t Do It Alone was vibrant and uplifting, injecting momentum as she tried to shake Izzy out of her emotional paralysis. Watson’s ability to shift tone while keeping Kate’s ethereal presence was remarkable. Dressed entirely in white, from tailored trousers to a flowing, delicate dress, she moved with a lightness that felt otherworldly, her choreography subtle and spirit-like. A particular moment of brilliance came during the park bench scene, where Kate was gently squashed as visitors sat down beside her. It was a clever, comic beat delivered with understated charm, reinforcing her spectral status while adding levity.

Kevin Moore gave a deeply moving performance as Mike Harris, the grieving husband who buried himself in charity work to avoid confronting his pain. His portrayal captured the quiet torment of a man on the edge, emotionally distant, unable to connect with his children, and blind to Hazel’s enduring love. Kevin’s physical stillness and emotional restraint made his moments of vulnerability even more powerful, painting a portrait of grief that was raw, complex, and painfully human. His rendition of With You was spine-tingling, delivered with aching sincerity and vocal control that held the audience in silence. Later, The Winner Takes It All became a show-stopping moment of catharsis. Kevin’s delivery was unflinching, and by the final note, there was not a dry eye in the house. It was a performance that transcended the jukebox format, turning familiar songs into vessels of heartbreak and truth.

Ruth Davies brought warmth, wit, and emotional clarity to the role of Holly Taylor, the biological daughter of Kate and Mike Harris. Born when Kate was just sixteen and placed for adoption, Holly had never met her mother, but her resemblance and those oft-mentioned “mother’s eyes” made her presence poignant. Ruth captured Holly’s yearning to connect with her newly discovered family with sincerity and charm, portraying a woman caught between personal history and newfound belonging. Vocally, she was outstanding. Her powerhouse delivery in Holding Out for a Hero was bold and electric, but it was her rendition of No-One but You, that truly resonated. The song’s themes of loss and remembrance were a perfect fit for Holly’s journey, and Ruth sang it with aching sincerity and vocal control that left the audience visibly moved.

Emma Gill delivered a quietly compelling performance as Emily Harris, the foster daughter of Kate and Mike, navigating grief, loyalty, and shifting family dynamics with emotional clarity. Mourning Kate’s loss while trying to hold the family together, her portrayal captured the tension of someone deeply devoted to Mike yet quietly unsettled by his growing closeness with Hazel, and her jealousy toward Holly, the newly discovered biological daughter, layered with vulnerability and longing. Despite the emotional friction, Emma revealed a character who needed connection, balancing humour, heartache, and resilience in a performance that felt honest and deeply rooted in the story’s emotional core.

Karen Wormwell gave a quiet and believable performance as Hazel Connor, the charity’s bookkeeper, and emotional support. Her growing feelings for Mike were handled with subtlety, and her relationship with daughter Sophie added depth. Marina Murray, as Sophie, was natural and engaging, caring, rushed off her feet, and quietly overwhelmed by the responsibility of taking over her mother’s job. Her scenes with Hazel were especially effective, showing the gentle reversal of roles with humour and tenderness.

Casey Wheelan brought humour and heart to Raven, the new manager of Jo’s Café and former foster daughter of Kate and Mike. Now a foster parent herself, Raven was loving but frazzled, trying to raise a temperamental teenage daughter while running a café famous for its cakes, despite being unable to bake. Casey’s performance of What Baking Can Do was vocally strong and a comic highlight, especially when Jo and Daisy pushed cakes into her face at the end of the song. Her portrayal balanced humour with emotional depth, making Raven a relatable and engaging character.

Jasmine Robinson performed as Daisy, Raven’s foster daughter. With all the attitude and sour-faced defiance of a goth or emo teen, Robinson nailed the look and energy. Her comic jabs at Raven’s baking were sharp and affectionate, showing a softer side beneath the scowl. Jasmine’s delivery was natural, and her presence added humour and texture to the family dynamic. A promising youth actor with strong instincts.

Elaine Taberner gave a confident and grounded performance as Jo, the café’s former manager who still baked and worked behind the scenes. Her maternal charm and understated humour made her a quiet anchor in the show’s emotional landscape, offering stability and warmth in her interactions with Raven and Daisy.

Amy Tattersall, in addition to her musical direction, played Louise, Holly’s best friend and emotional sounding board. Confident and quick-witted, Louise was the joker of the group, offering support and comic relief. Tattersall’s cameo as an alcoholic with DTs during the AA meeting delivered with sharp timing and physical comedy, adding a moment of levity that landed well.

Lewis Mumby gave a memorable performance as Scarlett, manager of Violet’s Cabaret Club. With heels to die for, a flawless wig flip, and dance moves full of flair, Scarlett was all sass and spectacle. Mumby’s performance during Holding Out for a Hero was particularly impressive executed in heels with confidence and style. The character could have easily become a caricature, but Mumby kept it grounded and theatrical, delivering a performance that was visually striking and well-paced.

The ensemble cast added cohesion and depth. Lauren Spensley was composed and believable as the AA coordinator, anchoring the recovery scenes with quiet authority. James Hargreaves supported transitions and group scenes with a steady presence and strong vocal work. Richard Parish, shirtless in a waistcoat and bowler hat behind the bar at Violet’s, added visual flair and comic energy. Fiona Monk, Heather Kitchen, Laura Wilkinson, and Becca Wilkins kept character throughout, contributing expressive harmonies and subtle reactions that enriched the background action.

Finding Peace was a carefully constructed and emotionally grounded production, brought to life by a committed cast and creative team. With strong direction, thoughtful musical and choreographic choices, and a clear technical vision, GH Productions delivered a show that resonated with its audience. The result was a production that balanced humour, grief, and connection perfectly. All proceeds from the production were donated to Sepsis UK, supporting vital awareness and research efforts. I would like to thank all at GH Productions for their kind hospitality and look forward to many more performances from them in the future.

 

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