Summer Serenade

Summer Serenade returned to St Mary’s Church with all the warmth, inclusivity, and musical generosity that have become hallmarks of this annual Clitheroe Parish Church AODS tradition. The setting itself played a quiet but powerful role: light streamed through the stained‑glass windows, catching the air and settling over the performers. It created an atmosphere of gentle beauty, simple, sincere, and perfectly suited to a concert that celebrates voices. Under the direction and assured musical leadership of David Hulme, supported on piano by Trevor Lord, Summer Serenade offered a varied and heartfelt programme that allowed chorus members and regular soloists alike to step forward and shine.

Act One opened with a burst of energy as the full choir delivered a splendid rendition of Radio Ga Ga from, We Will Rock You. The harmonies were tight, confident, and at once lifted the roof. Momentum continued with I Just Might from 9 to 5, led with charm and clarity by Jessica Sanderson, Jade Hoyle, and Sue Chadwick, whose vocal blend was particularly pleasing. Robert Hillary and Natalie Coe followed with a charming, funny, and well‑timed duet from Frozen, Love Is an Open Door, which brought warm laughter from the audience.

Nostalgia arrived in the form of an old‑fashioned barbershop quartet featuring Anthea Herd, Ryan Collet, Steve Potts, and Trevor Lord, whose close harmonies in In the Good Old Summertime were sweet, precise, and beautifully balanced. Lesley Haworth then offered an emotionally resonant performance of What’s the Use of Wonderin’ from Carousel, her strong vocals giving the song real depth. Daryl Dewhurst brought gentle warmth to Can You Feel the Love Tonight from The Lion King, followed by Johanna Smith with a lovely, clear‑voiced rendition of If I Were a Bell from Guys and Dolls.

A moment of exquisite vocal control came from Anne Chadwick and Cate Longhi, whose beautifully sustained breath and long, controlled notes created a hush in the church, as they performed Barcarolle from The Tales of Hoffman. CPCAODS are known for harmonies that move the audience, and true to form, the tears came as Jade, Natalie, Anthea, and Oliver Bowen performed Hushabye Mountain from Chitty Chitty Bang Bang. Soft, sweet, and delicately balanced, their performance produced hair‑raising moments of vocal control.

The full choir returned for Dancing Through Life from Wicked, followed by a haunting version of Here and Now from Ghost, featuring lovely vocals from Rose Hurley. David Hulme stepped out from the MD position to duet with Rose, creating a touching musical moment. Act One closed with a strong full‑choir performance of Suspend My Disbelief from Ghost, headed confidently by David and Ryan.

Act Two began with a vibrant full‑choir medley featuring songs from Little Shop of Horrors, Grease, Oliver, and Les Misérables. A haunting version of On My Own was led by Georgina Dewhurst, whose emotional clarity carried the piece beautifully. This flowed into You Are Not Alone from Into the Woods, led by Georgia and Anthea, supported by goosebump‑inducing harmony from the chorus, before closing with a powerful number from Wicked.

Sue Chadwick stepped forward with a thrilling, animated, and joyous performance of The Lady Is a Tramp from Babes in Arms, full of personality and flair. From Chicago, Damien Marsh gave the audience Razzle Dazzle, complete with swagger, confidence, and excellent vocal control. Jade filled the rafters with an operatic, soaring rendition of Think of Me from The Phantom of the Opera, delivering impressive top notes with assurance.

A tender moment followed with Slipping Through My Fingers from Mamma Mia, performed by Cate, Anthea, Kelly Steed, and Sam Smith, whose close a cappella harmonies were touching and beautifully blended. The barbershop sound returned with Anthem from Chess, performed by Rose, Sue, Damien, and David, strong, stirring, and tightly harmonised. The full choir then offered a controlled and resonant performance of Beauty and the Beast, with clipped, sharp endings and excellent unified vocal control, followed by a vibrant rendition of We Belong from Priscilla, Queen of the Desert, full of fabulous harmonies and ensemble joy.

What stood out was the society’s commitment to inclusivity. Summer Serenade is designed to give opportunities to performers who may not always find themselves in the spotlight, and this ethos was clear in every number. The programme moved confidently between styles and eras, allowing each singer to bring their own colour to the fray. David Hulme’s musical direction ensured cohesion across the varied repertoire, while Trevor Lord’s accompaniment provided sensitivity, drive, and warmth where needed.

The staging remained simple, allowing the church itself to frame the performances. Its acoustics lifted ensemble numbers and gave soloists a resonant, confident space. The result was a concert that felt honest, heartfelt, and deeply rooted in CPCAODS’ commitment to nurturing talent across generations. The audience responded warmly throughout, clearly moved by the harmonies, the emotional clarity of the soloists, and the shared joy that radiated from the choir.

I would like to thank all at CPCAODS for their warm hospitality, my plus one and I had a wonderful afternoon, I wish them luck for all future performances and look forward to next years Summer Serenade.

 

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