Seven A Deadly Revue

The revue took place in a small school theatre setting in Cheadle Hulme, and the intimacy of the space worked entirely in its favour. The open‑stage setup created a sense of immediacy between performers and audience, allowing the cast’s energy to spill directly into the room. Although the lighting and back projections were simple, they were used with intention and clarity. Rather than overwhelming the performers, the design choices supported them soft colour washes, subtle shifts in tone, and clean transitions helped shape the atmosphere of each number without distracting from the vocals or storytelling.

Opening the revue was the famous Chant from Hadestown, performed by the full company. This is an ambitious choice for any group, let alone a youth ensemble, but they approached it with admirable commitment. The layered harmonies were delivered with passion and surprising precision, especially in the lower vocal lines, which can easily become muddy in ensemble work. The cast maintained a strong rhythmic pulse throughout, and the choreography, minimal but purposeful, added a sense of ritualistic urgency. The use of unison movement during the repeated “Keep your head low” motif was particularly effective, grounding the number in the show’s mythic, industrial aesthetic.

Between each musical number, the audience was treated to short, devised scenes referencing the seven deadly sins, written by Liam Dodd. This framing device was a clever structural choice. It broke up the musical content with humour and character work, giving the revue a thematic through‑line rather than feeling like a disconnected playlist. These scenes also allowed performers who were not featured vocally to shine in dramatic moments, and the ensemble handled the tonal shifts with confidence.

Rebecca O’Sullivan delivered Out Tonight from Rent with fiery charisma. Her vocal attack was bold and confident, and she navigated the song’s demanding belt lines with impressive stamina. What stood out most was her ability to balance attitude with musicality she didn’t sacrifice pitch or clarity for character, which is a common trap in this number. Her physicality matched the vocal energy, giving the performance a sense of restless, rebellious momentum. A highlight of the evening was the I Dreamed a Dream / On My Own medley, beautifully sung by Aoife Morrison and Rebecca O’Sullivan. Having heard this arrangement before, I was struck by how well the two voices blended. Aoife’s warm, rounded tone contrasted gently with Rebecca’s brighter timbre, creating a compelling emotional dialogue between the two songs. Their breath control was particularly strong in the sustained phrases both singers demonstrated maturity in their phrasing choices, allowing the emotional mood of each piece to unfold naturally rather than rushing through the climactic moments. The final harmonies were delivered with poise and sensitivity.

Meet the Plastics from Mean Girls, performed by Molly Sephton, Emma Redfern, Tilly Fletcher, Laura Jerrome, and Penny Coombs, was a burst of comedic energy. Each performer captured the exaggerated personality of her character, and the vocal blend was surprisingly tight given the comedic nature of the number. James Daley’s Meant to Be Yours from Heathers was another standout. This is a vocally demanding piece, requiring both emotional intensity and technical control. James handled the dynamic shifts well, moving from spoken‑sung sections into full belt with conviction. His diction was clear throughout, allowing the storytelling to land effectively. The emotional build of the number was well‑paced, and he maintained some vocal stability even in the song’s most explosive moments.

Closing the first act was the company’s rendition of Cell Block Tango from Chicago. Despite the limited stage space, the performers managed to evoke the essence of Fosse’s iconic style. The sharp isolations, angular poses, and controlled sensuality were all present, though a deeper exploration of Fosse’s signature grounded and internal tension would have elevated the number even further. Still, the storytelling was clear, the vocals were strong, and each “murderess” delivered their monologue with confidence and character.

Act Two saw A Fine, Fine Line from Avenue Q, sung by Daisy Mae Brindley and Martha Robert. This duet was tender and understated, showcasing both singers’ ability to convey emotional vulnerability. Their harmonies were gentle and well‑balanced, and they demonstrated excellent breath support in the longer lyrical lines. The simplicity of the staging allowed the vocals to take centre stage, and the result was quietly moving.

Larger Than Life from & Juliet, performed by Oliver Stagles and the company, brought a burst of pop energy to the stage. Oliver’s vocals were bright and engaging, and he handled the rhythmic demands of the song well. The ensemble supported him with strong backing vocals and lively choreography, creating a vibrant, concert‑style atmosphere. The number was polished, confident, and full of personality.

It must be said that this full company of talented young performers clearly put an enormous amount of work into the production. Their enthusiasm was infectious, and their commitment to each number was evident. The vocal ambition of the programme was impressive, and the cast rose to the challenge with determination.

If there is one area for continued development, it would be the performers’ work on passaggio, the transition between chest voice and head voice. There were moments, particularly in the more demanding musical theatre belt numbers, where the shift was slightly abrupt or unsupported. With continued vocal training, especially in smoothing out these transitions, the already strong vocal performances will become even more polished and versatile.

Overall, thank you to South Manchester AOS Academy for your warm invitation and hospitality throughout the evening. It was a pleasure to watch such a dedicated group of young performers, and I look forward to seeing what you create next.

© NODA CIO. All rights reserved.