The Band

NODA Show Report – The Band

 

Date: 22nd November 2025

Society: Halifax Light Opera Society

Venue: Halifax Playhouse

Type of Production: Musical

 

Director: Rachel Rogers

Musical Director: Luke R-Ross

Choreographer: Kimberley Williams

Written by: Tim Firth with the music of Take That

The musical tells the heartfelt and uplifting story of five women who were inseparable as teenagers and bonded deeply over their shared passion for The Band. Fast forward 25 years: life has taken them on very different paths, yet the pull of nostalgia and a long-held dream reunites them in the enchanting city of Prague. There, they attempt one final time to meet the boy band whose music became the emotional soundtrack of their youth.

Their voyage is tenderly underscored by the loss of a beloved friend—a loss that their younger selves were never able to fully comprehend. As the women meet again in adulthood, the reunion gently stirs up ghosts of the past and begins a healing journey each of them has silently longed for. The music throughout the show blends beautifully with the emotional highs and lows, serving as a powerful reminder that wherever life leads us, we must never stop dreaming, always follow the heart, and hold close the memories of those we have loved and lost along the way.

The set design for this production was intentionally minimal yet wonderfully imaginative. Nick Jackson created a raised rocky platform which, through clever staging, seamlessly transformed from a shower to a bedroom, then into a windswept hilltop and even a bustling airport. Behind this, a collection of LED screens displayed vibrant, shifting landscapes that transported the audience from the comfort of home to busy departure lounges and into the stunning stone fountains of Prague.

Stage Manager Claire Jackson ensured the production ran with impressive precision. Scene changes were smooth and unobtrusive, particularly given the multi-purpose set. Her coordination backstage allowed the storytelling to flow effortlessly, ensuring transitions were tight and the technical elements blended seamlessly.

Props were simple but nostalgically rich, each chosen with clear care and attention. The use of a personal cassette player, colourful bum bags and vehicles featuring authentic, patterned 90s upholstery instantly re-evoked the era and immersed both cast and audience in the warm glow of the past.

Anthony Channer’s lighting design superbly captured the changing moods of each scene. Even upon entering the auditorium, multicoloured beams swept across the stage, setting a dynamic, concert-like atmosphere befitting “The Band.” Throughout, the lighting worked in perfect harmony with the story, sculpting emotion, heightening tension, and enriching the overall spectacle.

Sound design by Chris Beardwell was effective throughout, providing a clear balance between vocals, dialogue and the band. Transitions were aided by well-judged audio cues, and the boys’ numbers achieved a convincing concert feel without overpowering the action.

Costumes by Norma Bateman were vibrant, nostalgic and wonderfully accurate to 90s fashion, reinforcing the period with flair and authenticity.Choreography by Kimberley Williams was polished, expressive and cleverly coordinated—never overwhelming, but always enhancing the storytelling and weaving the dance numbers seamlessly into Take That’s iconic music.

Musical direction by Luke R-Ross was impressive throughout, supported by second keys player Mike P. Gilroy, drummer Neil Graham, guitarist Will Scattergood and bassist Ken Gilroy. Together, this talented group delivered a powerful, energetic and emotionally resonant soundscape—bringing the beloved Take That songs vividly to life as the heartbeat of the production.

The boys - Aaron Holton, Ciaran Arthur, Harrison Clarke, Jonny Kain and Liam Grant—were simply outstanding. Their vocals were consistently strong, dynamic and engaging. At times they blended so subtly into the action you could almost forget they were onstage, while in other moments they burst forth with electric concert energy. Maintaining such vocal stamina and choreography throughout an entire show, often layered under spoken dialogue, is no easy feat—yet they achieved it with professionalism, charisma and superb stage presence.

Both female groups delivered performances full of emotion, sincerity and conviction. They navigated the blend of comedy, nostalgia, tragedy and poignancy with impressive nuance and heart.The younger cast—Blossom Palmer, Eliza McCann, Emelia Helliwell, Kitty Middleton and Leah Stansfield—were exceptional. They immediately captured the carefree joy, excitement and simplicity of life as a teen in the 90s, setting the tone beautifully for the story that followed.

Fast forward 25 years and the slightly older but equally glamorous ladies—Emily Hurst, Lisa McCann, Alex Holmes and Louise Goodchild—brought depth, warmth and resonant honesty to their performances. Each portrayed the life they had lived independently, yet with an unmistakable sense that something had always been missing: each other, and the heartfelt promise they once made together on that memorable hilltop.

Strong support came from Jeff (Christopher Greenwood) and the talented ensemble—Amelia Bailey, Cath Palmer, Gracie Rodd, Kerri Anderson, Megan Hamer and Sarah Plowman—each contributing energy, humour and character to the production.

From start to finish, this production of The Band by HLOS both moved and entertained in equal measure. It showcased the remarkable depth of local talent, not only vocally but dramatically. Considering the society produces only one major show each year, it feels a genuine shame—because the standard of performance on display is truly outstanding. It was my first time attending an HLOS production, and I very much look forward to their next in 2026. Congratulations to everyone, both on and off stage, for delivering such a heartfelt, polished and resoundingly successful show.

 

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