Singin' In The Rain

Singin' in the Rain is a joyful musical set during Hollywood's transition from silent films to "talkies". As film star Don Lockwood navigates the changing industry, he meets aspiring actress Kathy Seldon, whose talent and sincerity challenge both his career and his heart.

Alongside his loyal friend Cosmo Brown, Don faces obstacles with vain film star Lina Lamont, leading to a heartwarming story filled with humour, romance and some of musical theatre's most iconic songs.
This production captured the charm of the classic musical and delivered an entertaining, family-friendly evening that I would happily watch again. The story was presented clearly by director Andy Milthorpe, helped by confident musical direction by Alasdair Gordon that
ensured the narrative remained easy to follow throughout.
The performances were a real strength of the production. Charlotte Crowley delivered a loveable portrayal of Kathy Seldon, immediately making the audience sympathise with her through her warmth and sweet vocal tone. It was evident that the cast enjoyed working
alongside her, creating genuine chemistry on stage. Matthew Fleming's Cosmo Brown was effortlessly likeable, combining excellent physical comedy with energetic stage presence, while Kieran Hickey brought the smooth charisma expected of Don Lockwood. Don and Cosmo's friendship was particularly enjoyable to watch, with several fun moments that showcased their natural chemistry.
Initially, I found myself wanting Teri Edwards' Lina Lamont to lean further into the exaggerated, grating vocal quality audiences often associate with the character. However, as the show progressed, she settled comfortably into the role, using the script brilliantly and by
the second half, her delivery consistently landed with ease, earning some of the biggest laughs of the evening.

Musically, standout numbers included 'Moses Supposes' and 'Good Morning'. Both were full of life, with the chemistry between them being particularly engaging. The iconic sofa walkover in 'Good Morning' was well executed and received exactly the
reaction it deserved. It was nice to see tap incorporated into the title song as a respectful nod to the original, although it perhaps wasn't necessary as the choreography could have embraced more joy, spontaneity and playful storytelling, allowing Hickey to lead with the excitement of the moment, I felt this version limited the opportunity to fully "goof around" with the iconic number including the famous interaction with the lamppost, particularly the iconic lean, which felt slightly underused.

The choreography itself was effective, although the ensemble at times lacked consistency in energy and often failed to reach the full extension and sharpness of their movements they told the story well and filled the stage with joy.
The production design offered several strong ideas. The film set worked particularly well and the light-up rain capes created an eye-catching visual moment. The costumes clearly established both the period and the characters' social class, although Don's costume
occasionally felt noticeably more modern than those around him. The dressing room may have benefited from additional scenic detail to better convey the glamour and luxury of Hollywood but this was captured nicely with the costumes and props.

Lighting featured some lovely moments, although the brightness occasionally washed out the projections, making them difficult to read. Although the projections themselves were a creative addition, they occasionally lingered for too long, reducing their comedic impact.
Similarly, a handful of sound cues arrived slightly late following scene changes, and the orchestra sometimes overpowered the dialogue, making it difficult for performers to cut through the underscore. Musical cues could also have been slightly sharper.

One stylistic choice that would have strengthened the production further would have been allowing the cast and ensemble to move the scenery as part of the action. At times, seeing crew members enter in an attempt to disguise themselves briefly took the audience out of the world of the show. Integrating these transitions into the performance would have made scene changes feel more seamless and theatrical.

Overall, this was a thoroughly enjoyable production with charming performances, clear storytelling and plenty of heart. While there are areas that could be refined,the production succeeds in capturing the spirit of this beloved classic and provides an entertaining evening for audiences of all ages.

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