THE GREAT BRITISH BAKE OFF

SOUNDS MUSICAL THEATRE COMPANY
THE GREAT BRITISH BAKE OFF
Performed at Plymouth College, Plymouth
As seen by Nina Jarram, NODA SW District 3 Representative on Saturday 30 th May
2026
Directed and Choreographed by Laura Pearce
Musical Direction from Phillip Simpson
From the very first moment, this production rose beautifully, like a
perfectly proved loaf emerging from the oven. Opening with all the polish
and confidence of a professional production of Sister Act, the company
appeared in choir robes, delivering rich harmonies that were light, fluffy
and expertly layered. This heavenly sound was delightfully contrasted
with a comic sketch depicting the birth of baking, as two Neanderthals,
Kim and Kat, brought prehistoric culinary chaos to life. Their confident a
cappella singing and razor-sharp characterisation immediately
established them as versatile performers capable of switching
effortlessly between comedy and musical excellence.
The robes were soon whisked away as the ensemble transformed into
the bustling crew of a television studio. Dressed in suitably suggestive
crew T-shirts, they streamed through the auditorium and around the foot
of the stage, creating the sense of a living, breathing production
environment. While this was effective, there was perhaps an opportunity
to fold the audience more fully into the action; cue cards prompting
applause or audience participation could have strengthened the illusion
that we were part of the studio audience ourselves.
Even when not at the centre of the action, the ensemble proved
themselves indispensable ingredients in this theatrical recipe. Watching
them work was like observing an experienced brigade in a professional
kitchen: every facial expression, movement and reaction carefully
measured and perfectly timed. Their commitment to storytelling never
wavered, and they worked tirelessly to enrich every scene.
The Bakers themselves formed a wonderfully balanced mixture of
personalities and vocal talents. Vocally secure, powerful and
impressively blended, they demonstrated clear direction and thoughtful
character development. Each performer brought their own flavour to the
mix, resulting in an ensemble sound that was both cohesive and
beautifully textured.

Particular praise must go to the actor playing Izzy, who succeeded
brilliantly in making her character wonderfully unlikeable. Through
convincing arrogance and mannerisms reminiscent of an Elle Woods-
style influencer-in-waiting, she portrayed ambition with a glossy, over-
iced confidence that made her every appearance compelling.
Gemma and Ben provided the emotional centre of the show, their
chemistry proving as natural as butter and flour. Gemma delivered her
songs with confidence and skill, her vocals rich and velvety with just the
right amount of vibrato. Ben;s warmth and sincerity made him instantly
likeable, and together they created some of the production's most
engaging moments. The standout among these was undoubtedly Ben's
duet with his young daughter Lily, revealing how she had secretly
entered him into the competition. The number was baked to
perfection—warm, heartfelt and utterly irresistible. Lily more than held
her own opposite an experienced vocal powerhouse, contributing
harmonies that were every bit as sweet as the show's central theme.
Russell emerged as the kingpin of the Bakers. His stage presence
radiated energy and confidence, filling every scene with vitality and a
stunningly accurate accent and strong vocals. As a result, his departure
from the competition genuinely deflated the atmosphere in the tent, a
testament to the actors ability to make the audience invest
wholeheartedly in his journey.
Hanan was portrayed with warmth, authenticity and considerable skill.
The actors London accent felt entirely convincing, while her rapping
brought an additional contemporary flavour to the production. Amidst a
cast carrying varying degrees of emotional baggage, Hanan served as a
refreshingly uncomplicated and optimistic presence—a lighter sponge
amongst some richer, denser character studies.
Babs, meanwhile, delivered some of the evenings most delicious comic
moments. Draped in a riotous buffet of leopard print, she strutted,
sashayed and hoofed her way through the show with enormous helpings
of sass. Her showstopping eleven o'clock number, celebrating her
unabashed attraction to judge Phil, was served piping hot and earned
some of the biggest laughs of the night.

Alongside her, Pam demonstrated that age is indeed just a number.
Armed with a major song-and-dance number and an impressively
executed cartwheel, she showcased admirable skill and stamina. While
there were moments when it felt she could have allowed herself to rise a
little higher rather than matching the energy of the dancers around her,
her character work was faultless. Every detail—from physicality and
accent to costume choices and accessories—had clearly been
considered and refined. Her comic timing was exquisite. Quite simply,
Pam was the icing on an already impressive cake.
Phil, the other judge, arrived looking uncannily like the silver fox himself,
Paul Hollywood. Combined with an excellent Scouse accent, the actor
brought warmth, humour and charm to proceedings, providing welcome
levity amidst the shows more emotional moments. His vocals were
secure throughout, and his duet with Pam,'s I Never Be Me Without You,
evoked the spirit of classic comic musical pairings from shows such as
Anything Goes and Gypsy.
Another crowd favourite was Dezza, whose repeated attempts to claw
his way back into the competition proved consistently hilarious. Popping
up at exactly the right moments, he demonstrated enormous stage
presence and delivered a cameo performance packed with personality.
If comedy formed one layer of this theatrical confection, genuine
emotional depth formed another. Francesca's rendition of Grow, a song
exploring infertility and disappointment, was handled with remarkable
sensitivity. As the show's only entirely straight role, it carried significant
emotional weight, and the actor delivered it with grace and sincerity. Her
beautiful vocals, combined with effective use of the ensemble to
symbolise the ongoing struggle she faced, created one of the evening's
most moving sequences and left many audience members visibly
emotional.
Throughout the production, Kim and Kat provided a reliable narrative
thread as presenters, guiding the audience through the competition with
ease and charm. Their costume changes became events in themselves,
expertly facilitated by unseen backstage wardrobe wizards whose efforts
deserve recognition.

Among the most memorable visual moments were the wonderfully
absurd scone costumes worn by Pam and Phil during a number

debating the correct pronunciation of "scone". Combined with cleverly
directed signs representing the eternal Cornish-versus-Devonshire jam-
and-cream dispute, the sequence was delightfully silly and perfectly
pitched.
The choreography throughout was inventive and consistently engaging.
Baking movements became dance motifs, rolling pins became props of
choreographic ingenuity, and one particularly charming sequence saw
the bakers seated on stools, wielding wooden spoons as microphones in
a scene that lovingly echoed a 1990s boy band performance.
Accompanying this gloriously chaotic mixture of mayhem and emotional
recipe was a wonderfully accomplished group of musicians, headed up
by Phillip Simpson, who guided the band with both skill and sensitivity.
Like an expert baker overseeing a complex confection, he ensured every
musical ingredient was folded together seamlessly, allowing the
performance to rise into something richly textured, warmly satisfying,
and perfectly balanced between exuberance and tenderness.
This is ultimately a show that depends heavily upon strong
characterisation, and the principals delivered a feast of fully realised
performances. The company should also be applauded for taking the
bold step of launching in a brand-new venue. It was a brave gamble, and
one hopes it proves financially rewarding. The intimacy of the space
undoubtedly suited a character-driven piece such as this, allowing
audiences to savour every emotional nuance. Yet there were times
when the sheer professionalism and quality of the performances seemed
deserving of a larger stage and a larger audience.
What remained abundantly clear throughout was the extraordinary talent
gathered onstage. These are among the most versatile and
accomplished performers in the local theatre community, and it was
heartening to see so many fellow amateur dramatics enthusiasts
supporting this exciting new venture.

Like the finest showstopper challenge, this production combined
technical skill, creativity, humour and heart in generous measures.
Warm, uplifting and expertly crafted, it proved to be a theatrical treat that
left audiences thoroughly satisfied and eager for another slice.

DISCLAIMER Please be assured that the utterly delicious and
wonderfully moist slice of Victoria Sponge gifted to me during the
performance did in no way influence this review.
PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

© NODA CIO. All rights reserved.