SHOUT!

Pendle Hippodrome Theatre Company’s production of Shout! The Mod Musical at the Pendle Hippodrome was a vibrant, witty, and visually striking celebration of 1960s pop culture, female identity, and ensemble storytelling. The show follows five women, each named after a colour, as they navigate love, self-discovery, and societal expectations through letters to the fictional advice columnist Gwendolyn Holmes. Their stories unfold alongside a soundtrack of era-defining hits including “To Sir With Love,” “Downtown,” “Son of a Preacher Man,” and “Goldfinger,” with each number reflecting the emotional highs and lows of the characters’ journeys.

Lisa Manley’s direction and musical direction ensured a cohesive and emotionally grounded production. Her staging was fluid and character-driven, using the advice column as a clever narrative device and allowing each performer’s arc to appear with clarity and warmth. Musically, Lisa guided the cast through expressive solos and tight harmonies, supported by a fantastic orchestra that delivered a rich, era-authentic sound.

Daniel Mason’s choreography was a standout feature, drawing inspiration from the dance crazes of the sixties, Frug, Pony, Twist, and Watusi, while tailoring movement to character and mood. Ensemble routines were crisp and synchronised, and Daniel’s attention to physical comedy and stylised gesture added texture and humour. His choreography captured the exuberance of the era while serving the storytelling with flair and precision.

The scenic design, created by Pendle Hippodrome Theatre under Stage Manager Penelope Hatfield and Assistant Stage Manager Paul Thompson, was bold and effective. Large freestanding letters spelling “SHOUT” in orange, yellow, blue, green, and red dominated the rear of the stage, echoing the performers’ colour-coded costumes. These letters sat above a raised platform used for musical numbers, while colourful seating blocks added dynamic levels. Black-and-white kaleidoscope flats evoked the psychedelic patterns of the sixties, and the apron front left was cleverly used for radio-style announcements, with magazine headlines read aloud and props theatrically passed to a “Shout Girl” stage right, who acted out instructions with comic flair.

Ryan Collett’s lighting design added vibrancy and movement, with colour-coded washes supporting character identity and rotating patterns creating a kaleidoscopic effect. His rig was in near-constant motion, enhancing transitions and musical beats with visual rhythm. Marcus Whittaker’s sound design was clean, balanced, and well-judged throughout the production. The mix between vocals and orchestra was spot-on, allowing soloists to shine without being overpowered and ensuring ensemble numbers kept their punch and clarity. Transitions between scenes and musical styles were handled smoothly, with no jarring shifts or technical distractions.

Sophie Greenwood’s hair and wig design was era-specific and well-executed, while Pauline Pilkington and her wardrobe team delivered a stylish homage to sixties fashion. The ensemble dancers looked fantastic in matching white go-go boots and mod dresses, and the principal cast’s costumes were character-conscious and visually cohesive. Props by Julie Scott, Olivia Riley, and Jackie Edington were well-chosen and neatly handled, adding humour and period detail.

The ensemble brought terrific energy and cohesion to the production, supporting the principal cast with sharp vocals and well-drilled movement throughout. Their dance work was full of sixties flair, clean lines, playful gestures, and synchronised group routines that added punch to the big numbers without ever feeling overdone. Whether backing up soloists or driving full-cast moments like “Shout,” the ensemble moved with confidence and character, each performer contributing to the show’s vibrant atmosphere. Vocally, they blended well, delivering harmonies with clarity and keeping the momentum high across the show’s shifting moods and musical styles. It was a strong, characterful ensemble that helped stitch the whole production together.

Cathryn Hunter played Red Girl, the youngest of the group, clumsy, earnest, and quietly hopeful. With ‘spectacles and a spotty complexion,’ she brought a sweet awkwardness to the role that was instantly endearing. Red Girl is the one still figuring things out, unsure of her place in the world but full of heart. Cathryn’s vocals were lovely throughout, with “To Sir With Love” delivered with quiet emotion and “Puppet on a String” showing her playful side. She brought a gentle sincerity to every moment, making Red Girl someone the audience could genuinely root for.

Emma Lomas took on Green Girl, the boldest and most outrageous of the five. Sex-obsessed, sharp-tongued, and unashamedly provocative, Green Girl is all about pushing boundaries and getting a reaction. Emma embraced the role with gusto, her physical comedy and southern UK accent adding layers of humour and character. Her rendition of “Goldfinger” was sultry and confident, while “I Couldn’t Live Without Your Love” was raunchy and expressive, making the audience laugh aloud. She was consistently funny without ever tipping into caricature, keeping Green Girl grounded in her own eccentric truth.

Jessica Sanderson portrayed Blue Girl, the glamorous and guarded one, dressed to perfection and speaking with a Liverpudlian accent that gave her a distinctive edge. Blue Girl is stylish and self-assured but quietly wrestling with questions of identity and connection. Jessica’s vocals were strong and controlled, with “Don’t Sleep in the Subway” and “Diamonds Are Forever” delivered with poise and clarity. Her duet with Orange Girl, “You’re my World/All I See Is You,” was a highlight, beautifully sung, well-balanced, and emotionally resonant. Jessica gave Blue Girl a cool exterior with glimpses of vulnerability beneath.

Laura Schofield brought infectious energy to Yellow Girl, the brash American with a full-blown obsession for Paul McCartney. Loud, opinionated, and full of dramatic flair, Yellow Girl is all big feelings and bigger declarations. Laura’s comic timing was excellent, especially when spying through foliage just beyond the band pit in a moment of fangirl fantasy. Her vocals were powerful across “Son of a Preacher Man,” “I Just Don’t Know What to Do with Myself,” “These Boots Are Made for Walkin’,” and the show’s title number, “Shout.” She brought sass, humour, and a touch of vulnerability to a character that could easily have been played just for laughs.

Jade Brett gave a grounded and emotionally honest performance as Orange Girl, the married one, sensible, composed, and quietly struggling with the gap between expectation and reality. Orange Girl is the most reflective of the group, trying to hold things together while questioning what she really wants. Jade’s vocals were consistently strong, with “Wishin’ and Hopin’,” “You Don’t Have to Say You Love Me,” and “I Only Want to Be With You” delivered with warmth and control. Her duet with Blue Girl, “You’re My World/All I See is You,” was beautifully blended and heartfelt, showing the depth of feeling beneath Orange Girl’s composed exterior.

Together, the five girls formed a tight-knit and vocally impressive ensemble, with harmonies that were consistently rich and well-balanced. Each performer brought her own distinct character and vocal tone, yet they blended seamlessly in group numbers, supporting one another both musically and dramatically. There was a real sense of camaraderie on stage, whether exchanging glances during comic moments or standing shoulder to shoulder in more reflective songs, their chemistry felt genuine. The group harmonies were a particular strength, adding emotional depth and musical finesse to the production. It was clear they were listening to each other, responding, and performing as a unit.

Shout! The Mod Musical was a colourful, confident, and characterful production that captured the spirit of the sixties with style and heart. Pendle Hippodrome Theatre Company delivered a slick, well-paced show full of strong vocals, sharp choreography, and thoughtful staging. The cast worked beautifully as an ensemble, with each performer bringing something distinctive to the mix while supporting one another throughout. Backed by a talented creative team and a vibrant visual design, it was a thoroughly entertaining evening, funny, heartfelt, and packed with personality. I would like to thank Pendle HTC for their hospitality throughout the evening and look forward to many more productions from them in the future.

 

© NODA CIO. All rights reserved.