Summer Serenade

Set against the striking backdrop of St Mary’s Church in Clitheroe, “Summer Serenade,” the annual concert from Clitheroe Parish Church Amateur Operatic and Dramatic Society Show Choir was a joy to attend. The stained-glass windows glowed beautifully behind the choir, casting colour and reverence over a thoughtfully composed stage picture. Singers arranged on tiered seating allowed the audience a clear view of every performer. When soloists stepped forward to sing, the rest of the choir sat back both physically and musically. Woven into the atmosphere was David Hulme’s quiet yet purposeful direction. As musical director and performer, he shaped the choir with a sure hand and sharp eye, and they, responded to his leadership with ease.

Trevor Lord provided sensitive accompaniment throughout, adapting to the nuances of each performer with a calm steadiness that allowed them to breathe and shape their phrasing. From ballads to big ensemble numbers, his playing created a seamless musical thread that supported the entire cast, enhancing their confidence and emotional delivery.

Act one opened with a medley from Phantom of the Opera, a truly hair-raising experience with its chilling harmonies and dramatic crescendo, setting a high standard from the start. The mid-act Jersey Boys medley swung the mood, prompting heads to bop and smiles to bloom across the pews as the choir delivered punchy rhythms and charisma in spades. Hot Mikado closed the act in style: bright, lively, and full of character, displaying the choir’s musical range.

Among the solo highlights, Simon Thompson commanded attention with “Be Prepared” (The Lion King,) his sneering facial expressions adding texture to his commanding vocal performance. Natalie Coe’s “It’s Not Where You Start…” (Seesaw) was lively and confident, animated with a sense of showbiz verve. Ellen Meads charmed with “Popular” (Wicked), her comedic timing and clarity making the performance feel effortless. Daryl Dewhurst leaned into the humour of “My Rules” (The Goodbye Girl), delivering it with just the right touch of self-deprecation. Anne Chadwick’s “My Heart Will Go On” (Titanic) had clarity and warmth, handled with restraint that allowed its emotional power to build naturally.

Lesley Haworth’s rendition of “Tell Me on a Sunday” (Tell Me on a Sunday) stood out as a deeply moving moment, her vocal control and nuanced shading brought genuine tears to my eyes. Simply beautiful. Steve Potts gave an introspective performance of “Stars” (Les Misérables) with soft gravity. Cate Longhi, in “There’s A Fine, Fine Line” (Avenue Q), started delicately and grew to an emotive peak, balancing the song’s fragility and strength with precision. David Hulme stepped forward for “Who Needs to Dream” (Copacabana) a confident performance that reminded us of his multi-talented role in the afternoon's success.

The second act lifted off with the choir’s fantastic rendition of “Rhythm of Life” (Sweet Charity), bursting with energy and rhythmic drive. Kelly Steed brought a hushed sadness to “Send in the Clowns” (A Little Night Music), her tone sad and touching. Ryan Collett’s animated take on “Dare” (Calendar Girls) was spirited and full of warmth. Johanna Smith sang “Far from Home” (Fiddler on the Roof) with grace and poise, her vocals beautifully phrased.

Damian Marsh drew genuine laughs with “Last One Picked” (Whoop-Dee-Doo!), his comic energy balanced with charm. Rose Hurley offered softness and sincerity in “In His Eyes” (Jekyll & Hyde), crafting a quietly beautiful moment. Jade Brett, with “The Girl in 14G”, (a song by Kristin Chenoweth) gave what could only be described as a vocal masterclass: from comic patter to opera and scat, she shifted styles with flair, dazzling the audience with her command. Damian Marsh and David Hulme returned for a heartfelt duet of “Dear Theodosia” (Hamilton), executed with tenderness and connection.

Sophie Zak’s “The Life I Never Led” (Sister Act) was richly expressive, her vocal strength matched by emotional depth. She followed this with a rousing lead in “Joyful, Joyful” opening with a stunning A cappella solo and effortlessly riffing over the ensemble, a true showcase of power and finesse. The choir closed with “Being Alive” (Company), a poignant choice, and then launched into “This Is Me” (The Greatest Showman), a vibrant finale led by Kelly, full of conviction and harmony.

Throughout, the harmonies were beautifully judged, supportive without overpowering, weaving a thread of unity between the soloists and ensemble moments. The direction from David Hulme ensured that each voice found its space, and each song contributed meaningfully to the emotional landscape of the afternoon. A moving, joyful performance that showed the choir’s depth not just in talent, but in ensemble spirit. I would like to thank CPCAODS for inviting me and my plus one, it was the perfect way to spend a balmy Sunday afternoon, and I look forward to many more performances from the Show Choir in the future.

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