Our House - The Madness Musical

Darwen Amateur Theatrical Society’s staging of “Our House” The Madness Musical, directed by Toby Carpenter and Rob Toner, brought a fresh, lively take on this beloved British show. Set in Camden Town, the production follows Joe Casey, a North London teenager whose life splits into two parallel paths after a fateful decision on his sixteenth birthday, run from the police after a break-in or face the consequences. As the story unfolds, the audience watches both versions of Joe’s future play out side by side: one “good” and law-abiding, the other “bad” and guided by reckless choices. These intertwined journeys explore themes of love, loyalty, class, and identity, all set against a backdrop of Madness hits and grounded in Joe’s relationship with his devoted mum, his close-knit group of friends, and his unwavering love for Sarah. Both paths lead to loss, redemption, and a deeper understanding of what truly matters.

Toby and Rob gave the show a clear sense of pace and emotional flow. Their approach balanced the story’s dual timelines with clarity, ensuring that each shift between Joe’s “good” and “bad” paths felt distinct yet interconnected. Scenes were shaped with purpose and restraint, letting the humour land naturally and the emotional beats resonate without overstatement. Throughout, their direction supported the ensemble’s energy while keeping the focus tightly on character. The production had a brisk pace, vibrant energy, and a kaleidoscope of colours that reflected the ska spirit of Madness while grounding the narrative in emotional truth. They embraced the quirky edge of the source material without sacrificing story clarity, striking a confident balance that was snappy and unrelenting—in the best way. Scene changes were fluid, and the tempo never lagged, allowing both comedy and pathos to land effectively.

Under the musical direction of Chris Bridges, the show pulsed with the unmistakable heartbeat of Madness. He brought exceptional precision and playfulness to the score, with an attention to harmony was especially notable: vocal layering throughout the ensemble numbers gave familiar songs a fresh emotional clarity, while tight harmonies in “Tomorrow’s Just Another Day” and “Simple Equation” elevated already poignant moments. The cast handled Madness’s complex vocal shifts with confidence, thanks in no small part to Chris’ vocal coaching. Ensemble vocals had depth and punch, and soloists were supported without ever being overshadowed. The band were dynamic, full of flair, and stylistically on point. The musicians captured that distinctive Madness sound, infectiously energetic but rhythmically intricate, with remarkable accuracy. Jenny Lyons (Saxophone): A standout throughout. Her solos carried the perfect balance of cheek and poignancy. Whether weaving through “My Girl” or powering into “Baggy Trousers,” her performance was a masterclass in musical storytelling.

 Jeanette Grear, with the help of Molly Coker provided choreography that propelled the show with vitality, humour, and emotional insight. From start to finish, movement was not just a feature, it was the heartbeat of the production. Scene transitions were seamless and full-bodied, with ensemble members perpetually in motion, guiding narrative shifts through clever spatial design. “Baggy Trousers” exploded with choreographic mayhem. Jessica Coupe and Andrew Jennings stole the spotlight as Andrew lifted and threw Jessica upside down with jaw-dropping acrobatic precision. It was risky, riotous, and perfectly controlled chaos, the addition of the headmistress, grey wig, and black cloak trying to control the mayhem was a nice comedic touch. Acrobatics met storytelling with glorious abandon. There was a rawness to the energy that made the routine pop, every lift, spin, and stomp spoke to youth, rebellion, and identity. Routines were an approach not an accessory, they were emotional punctuation, thematic propulsion, and comedic gold rolled into one. The juvenile detention centre routine was a standout moment of choreographic storytelling. Lines of detainees shuffled across the stage, their physicality heavy with downtrodden fatigue. As “Tomorrow’s Just Another Day” kicked in, the choreography transformed as ensemble members folded sheets and mimed labour with synchronised gestures, creating an evocative portrait of life inside a prison. Effective, restrained, and emotionally sharp. The Camden market scene burst onto the stage with a rush of movement and colour reflecting the real-world bustle of the iconic location. The umbrella sequence during “The Sun and the Rain,” where the ensemble crossed the stage in a choreographed wave, each dressed in black or white, umbrellas raised in precise rhythm was excellent.

The stage, designed and constructed by Tim Fox, Toby Carpenter, and Lee Holt, presented a large red brick wall and front door leading into number 25 Casey Street stage right. A platform ran from centre backstage towards the front. The band sat to the rear left of the stage, allowing the front of the stage room for the various scene changes, and choreographed movements. Backstage, the technical crew provided seamless infrastructure to elevate the story. Leon Walker doubled as Callum and stage manager, with the help of Lucy Todd, their oversight kept transitions fluid and focused. Cue-calling and coordination were sharp, allowing the onstage timeline hopping to occur with precision. Props managed by Jeanette Grear and Cat Brownlee offered period accuracy and specificity, aiding the immersive detail without overwhelming the stage. Lighting and sound, supplied by Darwen Library Theatre, evoked atmosphere, spotlights were tight, sound clear, effects prompt with no dropouts. The blend of vocals to music impressive.

Costume design by Jeanette Grear and Hazel Giles, with cast input and addition hire from Pendle Hippodrome, offered playful specificity and clever contrast. Costume changes were many and varied. Joe’s good/bad transitions needed rapid changes, effectively managed by Chanelle Pearson’s backstage support. Her swift work allowed scenes to remain uninterrupted, keeping the narrative tension alive and clear.

Toby Carpenter as Joe Casey led the production with energy, range, and emotion. His transitions between good and bad versions were clear and striking, vocal shifts, and facial expression all coordinated to reflect Joe’s diverging paths. Toby gave the role heart, humour, and grit, anchoring the show’s duality with ease, an excellent performance all round.

Jeanette Grear as Kath Casey gave a grounded, maternal performance. Her vocals in “One Better Day” were strong and clear, rich with emotion, and her Irish accent added texture to the role. Kath’s scenes with Joe held a quiet intensity, and Jeanette’s mix of warmth and frustration gave her character real weight.

Joe’s circle of friends was well cast. Emmo and Lewis, played by youth actors Liam Toner and Andrew Jennings, brought charm, humour, and stage presence beyond their years. Liam gave Emmo cheeky confidence and animated delivery, while Andrew brought lovable awkwardness to Lewis, landing comic timing with subtlety. Their scene during ‘My Girl’ was especially effective as Joe and Emmo sang a verse each then Lewis heartbreakingly funny as he stopped after two words, revealing he did not have a girl. Their collapse into a drunken heap was both entertaining and well staged.

Lee Holt as Dad brought quiet power to the production. Although Dad had died before the story begins, never returning home after serving prison time, his presence lingered throughout. Lee’s portrayal was ghostly but warm, hovering at the edge of scenes with watchful tenderness. His performance in “Simple Equation” was especially moving soft vocals, stillness, and a hint of sorrow that spoke volumes. His accent grounded the role, and his restrained delivery gave Dad emotional weight without sentimentality. Lee made Dad a moral compass, an echo of Joe’s better instincts and a key part of the show’s emotional structure.

Sarah, played by Katie Pratley, was portrayed with quiet strength and loyalty. A slightly upper-class Cockney girl with dreams of becoming a lawyer, she stayed devoted to Joe in both versions of his story. Her vocals in ‘It Must Be Love’ blended beautifully with the surrounding dialogue, and her facial expression gave the moment emotional weight without overstating it.

Angie and Billy, played by Chloe Kelly and Eva Webster, added spark and sass. Chloe as Angie, was sharply comic and unapologetically brash, her Cockney accent crisp and consistent. Eva brought boldness to Billy, her performance loud and full of punch but balanced with loyalty and warmth. Their double denim costumes gave a visual nod to the 80s and made their friendship feel instantly lived in.

Reecey, played by Rob Toner, was a standout. Joe’s school friend and the show’s chaotic influence, Rob balanced charm and menace with sharp character control. Reecey’s pressure on Joe, pushing him into criminal choices, refusing to leave him alone, was always lurking in the background. Rob ‘s energy and vocal delivery made the character compelling, particularly in the bank robbery scene, where costume and swagger clashed hilariously. His ultimate act, burning down 25 Casey Street in both timelines, was chilling, made worse by the glib confidence Rob brought to the role.

Mark Dickson as Harold Pressman delivered a crisp, controlled performance. As the housing developer who pays Reecey to burn down the Casey home, Mark played the villain with smooth arrogance. His scenes were sharp, his intentions clear, and his sense of entitlement gave the role depth without theatrical excess.

Leon Walker’s Callum offered a gentle contrast to Joe, smartly dressed in his kilt and soft Scottish accent, he brought kindness and quiet conviction to the role. His proposal to Sarah added tension to the second half, and his brief scuffle with Joe was well timed and neatly handled. His role as stage manager gave him dual importance, ensuring the show ran with flow and precision.

Smaller roles added plenty. Chloe Shackleton as Heather and Molly Coker as Julie were both vocally strong and full of character. Their instincts gave brief scenes presence and momentum.

Accents across the cast helped build character and identity. Joe’s Cockney was steady and grounded, while Emmo, Lewis, Angie, Billy, and Dad all carried inflections that felt rooted and consistent. Callum’s Scottish tone offered contrast, adding shape to his scenes without distraction and Jeanette’s lilting Irish accent grounded her performance perfectly.

With strong vocals, tight ensemble work, and thoughtful technical execution, “Our House” The Madness Musical was an excellent production, with notable contributions from emerging youth actors, inventive choreography, and memorable musical moments. I would like to thank everyone at DATS for inviting me to their fantastic performance, and for the hospitality shown to me and my plus one. I look forward to many more shows from them in the future.

 

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