Flashdance The Musical

Despite a two-year hiatus, The Zodiac Amateur Operatic Society are finally back on stage with their postponed production of Flashdance the musical. This 80’s style musical is a Northwest Premier and the only production to be staged in the UK in 2022 so it was no wonder that this production was played to sell out audiences all week. Directed and choreographed by Jessica Martin, this musical tells the story of steelworker Alex Owens and her quest to be a dancer in the prestigious Shipley Academy, set amongst the backdrop of Pittsburgh, Pennsylvania. The staging of this production was very good, and each area of the stage was used well throughout. Set in 3/4 round, all of the direction was sympathetic to all three sides of the audience. The bespoke set looked great and was used well within scenes (despite one of the flats being quite wobbly). Visually, this production looked fantastic. I liked the lights, gels and gobo’s that were used which added layers to location and the brilliant costumes helped establish character and style. Some of my personal peeves were actors, constantly breaking the fourth wall to sing to the audience. Despite the audience being used for some of the bar/club scenes (which worked well), at other times we shouldn’t have been included in the action, particularly during the scenes with the character of Hannah. For me, there was a little too much stereotypical musical theatre acting, instead of playing truth. The ensemble were used well throughout which helped fill the space and establish location and tone. I also liked the use of added offstage backing vocals (and pit singers) to help with the harmonies etc. It might’ve been nice to add in some extra transition scenes to aid scene changes, especially in the bottom floor/dance area section so that the audience were looking away from the stage during the (sometimes loud) scene changes. This is just my personal opinion, however.

Overall, the audience were entertained throughout. This score has a number of chart hits from the 80’s and it was great to see the smiling faces of the audience throughout the night. I have to say that each actor was fully well rehearsed and was able to enter and exit the stage using the numerous doors and wings available to them – great use of the whole space!

The musical director for this production was Craig Price. I really liked the band, especially the base guitar which helped establish tone and was a good base for the score. I felt totally at ease with Craig in charge and I have to say that I loved the way in which Craig was sympathetic to the actor. At times he held a note or played a rall until the actor was really to continue to sing, whilst being emotive. This was a great relationship between band and what was going on on stage. I really enjoyed the added BV’s and the harmonies used to add layers to songs.

Jessica Martin is a previous NODA nominee for best choreography and it’s not hard to see why. This production contained lots of different styles throughout and it was a joy to see each one. I particularly loved the choreography in the song ‘Inside’. Perhaps it might’ve been less confusing for some audience members to use other ensemble members for the ‘Chameleon dancers’; but not necessarily for me. The dancers were highly drilled and highly skilled and performed brilliantly well throughout. The hard work and dedication that has gone into choreography and skills hasn’t gone unnoticed. Well done to Jessica Martin, Jess Rigby, Laura Johnson, Abigail Bradbury and Vicky Ashdown for your excellent contribution!

The lighting design was great, and I really enjoyed the colours, gels and gobo’s that were used to add layers to scenes etc and each area of the stage(s) were well lit, however, some of the lighting cues were a little late and there was a few occasions, particularly in the first act, when actors were singing in darkness.

The were major issues with sound from the outset. The leading actress’s mic wasn’t working throughout the opening number and subsequent scenes, and far too often cues were late. The levels throughout the first act were massively off and I couldn’t literally hear a word from the cast in the opening number which is when we establish plot and character etc. To be fair, the levels were far better in the second act, but mics were still intermittent and if I was paying for my ticket – I wouldn’t have been very impressed. I wouldn’t have been upset if The Zodiac had stopped the show after the first number, fixed the mic and sound issues, and restarted the show again.

The protagonist, Alex Owens, was played by Kayleigh Ann Strong. It's fair to say that Kayleigh’s vocals were excellent, as was her acting through song. I really enjoyed the relationship she had with the character of Nick too. If I was being picky (which let’s face it, I am) I was a tiny bit underwhelmed with the finishing of lines and pointing of toes etc in the final dance routine at Shipley Academy. I understand this is being overly picky, but I just wanted to be wowed a little more. Saying that, Kayleigh is in practically every scene and worked her socks off throughout! A great performance.

Chris Doyle played the role of Alex’ love interest, Nick, I have to say, I was mightily impressed with Chris’ vocals. His duets with Kayleigh (Here and Now & My Turn) were a joy to listen to. Chris had good diction and storytelling and his rapport with Kayleigh was great.

The parts of Gloria, Kiki and Tess were played by Ciera Evans, Grace Dougall and Kat Hewish respectively. Each displayed brilliant vocals and harmonies and each had their own chance to shine in their own musical numbers. I was particularly impressed with Kat Hewish’s Tess. Kat has brilliant stage presence and a gravitas that is captivating. All three were very well cast and helped forward plot and give substance to this production.

The parts of Jimmy (Tom Ray), Harry (David Rogerson) and CC (Mike Kelsall) were a little too stereotypical for me. It would’ve been nice to see a little more heart and soul and personal struggle. Saying that, there were some great one liners delivered well and all worked well physically to portray character.

Whilst Valarie Ball showcased brilliant diction, articulation and projection, for me, the part of Hannah was a little too performed, especially in song. Perhaps this was a directorial action though? I would’ve loved to have seen more humour, especially between Hannah and her carer, Louise (played by Gabrielle Stanfield). Both showcased great stage presence and there was a nice amount of humility and realness about them when delivering text.

The ensemble played all the rest of the smaller roles. Each did well to establish location and added to scenes. I love to watch what is going on the background and every single person was in character and involved in the scene throughout. I have to say, some people were really shining and performed as if they hadn’t performed in two years! Joyful!

This production was a tale of two halves. The production values let down the first act but after the interval, we were treated to a little more heart and soul, and everyone seemed to relax a little more. The band and the choreography were strong throughout and the main cast were brilliantly entertaining. The audience were entertained throughout, and it was great to see them up on their feet during the encore/megamix.

I noticed an empty chair for Jeanie Brocklehurst, a valued and much-loved Zodiac member who was due to be a pit singer in this production. I met lovely Jeanie on a number of occasions, and I dedicate this review in her name.

I thank the Zodiac Amateur Operatic Socierty for their wonderful hospitality and wish them all the very best for their 2022 season.

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