Strictly More Musicals

Returning to The Brindley Theatre stage after a two- year hiatus was an emotional affair for Centenary Theatre Company’s concert/revue show Strictly More Musicals. Having won the NODA award for this concert the first time around, the pressure was on Centenary Theatre Company to live up to their high standards and they certainly didn’t disappoint. Having four choreographers, a musical director with a sixteen-piece orchestra, a section with First Act Drama Tuition’s 40 strong Youth Cast and a worldwide pandemic was, I’m sure, a logistical nightmare for director Dan Grimes, but you wouldn’t know this from watching on the edge of your seat. This concert was a self-reflective view of this society and their struggle through the pandemic. Each of the five sections had an overarching theme in which the songs linked to. I have to say, some of the song choices were a little strange, as were the very tentative links to their theme. Some of the songs jarred a little, and when taken out of the context of their musical, they seemed a little ineffective. This was certainly in the minority. Most of the song choices were great showcases for this society and it was beautiful to see so many people of different ages on one stage, having the time of their lives. This concert/revue had it all. Whilst it was great to hear some of the classics, it was equally great to hear some of the more contemporary numbers, introducing them to new audiences. The pace in this production was excellent with the transitions between songs seamless. I enjoyed the use of video projection which gave us more context which helped make the whole production visually and audibly brilliant! This production was extremely well directed and produced by Dan Grimes! Well Done!

The orchestra were simply superb! I adored seeing them play at the back of the stage and I could really hear every section in various numbers throughout the evening. The orchestra were sympathetic to the songs and enabled the singer to express themselves in a bespoke way. Musical Director, Simon Pickup was excellent in direction, both with the orchestra and with this vast cast of over 70! The harmonies were great, and it was apparent that each singer was well drilled in their songs.

Whilst I appreciated the varying styles in choreography from the four choreographers (Lisa Connor, Danielle Segar, Kirstin Dunn & Eleanor Ross) I felt that at times, the choreography was added in on purpose, not to add to the theme or the emotion etc - It felt a little too forced at times for me. Saying that, the ‘other times’ when the choreography used was excellent! I loved the added contemporary dance solo from Cadie Dutton and the ways in which the choreography was used to aide a scene transition or as a crossover or to provide a layer or a backdrop to a song.

I cannot stress how outstanding the lighting design was! I appreciated the subtle nuances as well as the in-your-face movers and laser effects. I could literally go on and on explaining just how good the lighting was in this production but believe me, everything was noted and appreciated.

The sound was great – I could literally hear every word, as was the costume choices for each section. I particularly loved the rainbow colours at the end which had a visual and an emotional impact on the audience.

The first section was Shock (hearing the news of the pandemic and the shock that we all felt being locked down). The opening song, Façade was a great introduction that set the tone for the evening ahead. Aimee Clare’s ‘Losing My Mind’ was just mesmerising - A vocal masterclass!

The next section, Anger, was a little more well linked. I loved Mack and Mabel’s ‘Wherever He Ain’t’ (Performed brilliantly by Kirstin Dunn). The ‘Tonight Quintet’ from West Side Story was also great to watch and listen to from the whole company. Marcus Cameron displayed great vocals in ‘I Want To Break Free’. I also adored the brilliantly funny and well performed ‘Fine’ from ordinary Days by Peter Brennan and Eleanor Ross.

The standout section from Act One was First Act Drama Tuition’s Hope section. The talent from this youth society is astounding and this section was able to showcase the varying talent in dance, singing and performance ability. Directed by Kit Phillips and choreographed by Ceris Shadwell, this was a brilliant treat for the eyes and ears! The closing song of Act One from the whole company ‘In the Beginning’ from Children of Eden (one of my favourite musicals) was excellent. The youth soloists performed with such confidence and charisma – it was joyous to watch!

For me, Act Two was a higher standard than Act One in terms of energy and emotion. This was apparent in the opening ‘In Memoriam’ sequence which highlighted the passing of so many society friends and family that we’ve lost over the last two years. Sadness was the theme for this section and the four tenors singing ‘Bring Him Home’ was simply stunning and gave the entire audience goosebumps! Well done to Blair Smith, Peter Brennan, Dean Callow and Andrew Marsh!! I also really enjoyed Mike Hall (and Kenneth McConaghy’s) ‘I’m All Alone’ from Spamalot. All of the songs in this section were great, and it was fantastic to see and hear so many new faces to the stage. Aimee Clare’s ‘Dying Ain't So Bad' (Bonnie & Clyde) was mesmerising! Her acting through song was simply superb!

The final section, Celebration was joyous. Jessie Scotson’s ‘Don’t Rain on My Parade’ was brilliant – not only well sung but tapped too! I was more out of breath watching that Jessie was! Danielle Segar’s Cabaret song and dance was superb, as was ‘You But Mostly Me’ by Blair Smith & Kirstin Dunn.

Overall, this concert/revue was a joyous event that showcased the incredible talent that this society has to offer, and it entertained its audiences throughout. It was delightful to see new faces on stage and older members, giving their chance to shine. I adored the fact that this show had whole generations of family on one stage - which bodes well for the future of this society. The numbers which had the whole company singing (and dancing) onstage were fantastic!

I sincerely thank Centenary Theatre Company’s hospitality and I would like to dedicate this NODA Review to the memory of Centenary Theatre Company member (and friend) Kate Potts.

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