The Band

NODA Show Report
The Band – Centre Stage Productions, October 14th 2025

From the moment the lights dimmed at the Gaiety Theatre on the Isle of Man, a beautiful, historic venue where just sitting in the audience feels special, you could sense a buzz of anticipation. Produced by Centre Stage Productions, this newly licensed musical, written by Tim Firth with the music of Take That, is a story of friendship, nostalgia, and the power of pop culture to connect generations. What unfolded on stage was not just a showcase of local talent, but a celebration of theatre itself, ambitious, authentic, and bursting with joy.

The Band follows five young women whose lives are shaped by their shared teenage love for a boy band. We meet them as teenagers and again years later, as they reunite and rediscover both the magic of their youth and the strength of their enduring friendship. Their journey is touched by loss, giving their reunion a deep emotional resonance. Against the backdrop of pop fandom, the musical explores how music becomes both a refuge and a reminder of the people and dreams we have loved and lost.

From the start, director Mark Hilton and assistant director Peter Shimmin’s vision felt clear and elegantly executed. Transitions between the teenage years and adult lives were handled with precision, while pacing and energy rarely faltered. Each scene felt purposeful, and the staging made creative use of the theatre space, with raised platforms and moving units transforming seamlessly from lockers to buses, bedrooms to a Prague fountain.

The Band only became available for licensing last year, meaning there was no ready-made scenery package to hire. The creative team was therefore free to build something entirely unique. The result was a bespoke, scrapbook-inspired set designed by Mark Hilton, Graham Thomas, and Kyle Withington, that chronicled the characters’ lives. A tormentor designed by Kelly Firth framed the stage like an arch of memories, adorned with photos and enhanced by dynamic lighting. It gave the production a polished, professional look, and served as a visual anchor throughout.

The use of props, managed by Sandie Divers, was equally impactful. Every item felt true to the story’s world and era. The cleverly re-covered bus seats, transformed with different fabrics to suggest a variety of vehicles, were a simple but ingenious touch. Cassette players, 1990s sports bags, and other nostalgic details transported the audience back in time, evoking the excitement and innocence of teenage fandom. Each prop carried meaning and purpose, adding warmth and authenticity to the story.

With the Gaiety Theatre’s relatively small wings and a set filled with numerous moving pieces, the technical team, led by stage manager Alex Armstrong, faced a challenge. Scene changes were executed with efficiency and precision, ensuring the audience remained fully immersed and never distracted by the mechanics of theatre-making. It was a testament to the professionalism and calm coordination of the backstage crew.

The projections by Kyle Withington also deserve praise. They helped to establish each new location and mood with clarity. Whether depicting a bus, a plane, or the glow of a concert stage, the projections worked in harmony with the set, costumes, lighting, and sound design to elevate the storytelling.

Costumes by Nora Lean, Sarah Buss, and team reflected each character’s personality through a carefully chosen colour palette. For example, Rachel’s recurring blue theme symbolised loyalty and quiet strength. Such attention to detail revealed a team deeply passionate about their craft.

The choreography by Molly Bowman was dynamic, polished, and in tune with Take That’s music. It captured the energy of the band’s iconic performances while adding layers of emotion and humour to the story. From the big, high-energy numbers to the more intimate, reflective moments, dance captains Abby Vance and Caitlyn Hampson ensured every performer moved with confidence, precision, and enthusiasm.

Lighting by Neil Dolman and James Barclay shaped both atmosphere and emotion. Smooth transitions between the exuberance of youth and the reflection of adulthood gave the show a clear visual rhythm. One minor note, however, is that the use of haze, while effective in enhancing the lighting texture and concert-style ambience, felt a touch heavy in some scenes. A slightly lighter touch would have preserved the same visual richness while keeping the focus firmly on the storytelling.

The sound by Alex Linney was well balanced throughout. At times, however, the live band slightly overpowered the dialogue, largely because the drummer was positioned near the front without a sound screen or booth. This setup added immediacy and energy to the musical numbers, but occasionally made dialogue harder to hear. The use of captioning at selected performances thoughtfully mitigated this, ensuring nothing essential was lost.

Musical director Claire Temple led from the front, joining Gareth Deakin, Jay Young, Johnny G, Ben Pitt and Mike Divers to form a tight, energetic six-piece band that brought Take That’s iconic songs to life with style and authenticity. Claire’s leadership and musicianship shone through every number, keeping the energy high and the transitions seamless. Performing such well-loved music is no small feat as audiences come with high expectations for the soundtrack of their youth, yet both band and cast rose brilliantly to the challenge, capturing the essence of Take That’s sound while letting the story’s emotional heart shine through.

This production featured three distinct groups of performers whose stories and performances intertwined beautifully, the five girls portraying the younger versions of the characters, Maddie Wood, Katie-Rose Hughes, Phoebe Cringle, Aalish Webster, and Daisy Maddocks, their older counterparts 25 years later, Sam Faragher, Sophie Lancaster, Lauren Newson, and Stacie Murphy, and the four boys who brought the band itself to life, Ben Gale, Ross Angwin, Jay O’Connell, and Bryan Del Rosario.

The two female groups carried much of the show’s emotional weight with real conviction and authenticity. Their performances were heartfelt and believable, skilfully balancing humour, nostalgia, and moments of genuine poignancy. The four members of the boys’ band deserve special mention for their focus, chemistry, and stage presence, capturing the essence of a boy band.

The wider cast also delivered strong performances, with Peter Shimmin and Neil King both making notable contributions. The swings, Catherine Harrison, Angela Gerrard, and Shannon Skillen, played a vital role, as is so often the case in amateur theatre, ready to step in at a moment’s notice and support the production’s smooth running. Meanwhile, the ensemble, Abby Vance, Caitlyn Hampson, Sherrie Poultney, Adrian Cowin, Erin Faragher, and Emma Stratford, brought cohesion, precision, and vitality to every scene. Among the many fine vocal moments, Bryan Del Rosario’s heartfelt lead vocal in A Million Love Songs stood out for its quality, clarity, and emotional depth.

You could tell the audience was drawn in by the story. The theatre itself became a kind of time machine, even those unfamiliar with Take That’s music were carried along by the emotion of the piece, while long-time fans were transported back to the days of mixtapes and teenage obsession. By the finale, the atmosphere was electric, people were dancing, a standing ovation, and a final medley that raised the roof. If this was the energy of a Tuesday night audience, one can only imagine the exuberance of a weekend crowd.

From start to finish, this production of The Band both moved and entertained in equal measure. The society’s spirit and genuine warmth radiated from the stage. With its celebration of women in leading roles, the show felt both empowering and sincere. This society has long been recognised for nurturing young talent, and this production ably continued that tradition.

The Band, by Centre Stage Productions, was a joyful reminder of why we gather to create and experience live theatre. Bravo to everyone involved on a truly memorable achievement.

 

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