The Village Hall

The central focus of The Village Hall is, quite fittingly, the village hall itself. Set in the quaint village of Cheerley, the audience is invited to peek behind the curtain and witness the inner workings of the local committee as they navigate a rather sticky situation: the morning’s activities are thrown into chaos when the hall keys mysteriously go missing. What unfolds is a riotous sequence of events as throughout the day some very different classes attempt to share the same space. Picture a highland dancing group trying to coexist with a life drawing class, or a Silver Surfer’s IT session running alongside Chairobics. It’s an unlikely setting for a musical, but thanks to razor-sharp dialogue, brisk and clever direction and music and lyrics paired with tight choreography, The Village Hall was nothing short of a triumph.

Woodhouse were blessed with two outstanding performers who carried the emotional undercurrent of the show with grace and depth. Becky Sutcliffe portrayed Frances, a woman bound by responsibility and a less-than-perfect marriage, with poise and quiet strength. Paige Alexandra played Helen, a character on her own journey following the loss of her wife. Together, Becky and Paige brought a delicate touch to some of the show’s most poignant moments. A special mention must go to Paige’s stunning singing voice, rich, expressive, the kind you could listen to for hours.

In delightful contrast, Ellie Stringer as Diane Coombs, alongside Ned Smith as David Goosham, brought the laughs as committee members caught breaking one of the hall’s sacred rules: fraternising. Their sneaky rendezvous in the store cupboard and wicker basket were pure comedy gold. The musical number Text Me Sexy Dynamite was a standout, with Ellie’s physical comedy drawing roars of laughter from the audience.

Enter Ken Ruston, played with deliciously despicable flair by Gareth Dickinson. Gareth was superb as the scheming, manipulative character determined to worm his way onto the committee whilst hiding a secret relating to accounts. It was a refreshing departure from Gareth’s previous roles and a testament to his versatility as an actor.

Patrick Hibbin and Melanie Murray were a joy to watch as the local vicar who struggles with memory and his dutiful wife. Their mission? To ensure the church remains sacred, reserved only for births, deaths, and marriages. One scene in particular had me explaining to my wife what “one for wipe and one for polish” meant, a moment that will stay with me!

Charlotte DeRenzy Jones as Joan Black and Louisa LeFevre as Jennifer Crump were the ever-present tea and coffee ladies and the unofficial keepers of village gossip. These roles could easily be overlooked, but Charlotte and Louisa made them central to the show’s heartbeat. As other characters evolved and went on journeys, they remained a constant anchoring the audience with their warmth and familiarity.

The village hall was brought to life by a host of brilliant characters. Colin Roberts as Rocky, the life model and former bodybuilder, had the audience in stitches with his impeccable comic timing, I’m not sure I’ll ever get off a stool the same way again. Jessica Faye, well… I’m still not entirely sure where all the bourbon biscuits were hidden, but she was absolutely on form. Alison Denton as Dot the Line Dancing Instructor, Helen Woodhead as Pam the Yoga leader, and Cath Palmer as Carol, head of the Highland Dancing Group, each brought their own flair and individuality to their roles, creating a vibrant tapestry of village hall life.

No show can shine without a solid ensemble, and Woodhouse had an abundance of talent. Nicci Cooney, Niove Armitage, Sarah Taylor, Sarah Farrow, Toni Taylor, Sharon Whitehead, Samantha-J Armitage, Matthew Armitage, Georgie Appleyard, Lucy Crossley, Antonia Frampton, Christopher Greenwood, Sarah Holmes, Gray Preston, Jill Sykes, and Wizz Whitehead all brought their experience and energy to the stage. Every character they portrayed felt real, grounded, and essential to the story.

Lauren Thompson, the show’s choreographer, is quickly becoming one of those names you look out for. Her work is consistently slick, energetic, and full of life and this production was no exception. The movement throughout was seamless and added a dynamic layer to the storytelling.

Keira Watson led the musical direction with confidence and finesse. She knows exactly how to bring out the best in both her band and her singers. The six-piece band sounded full, tight and added another professional feather in the cap of this high-quality production.

Neil Broadbent took on the triple role of Director, Producer, and Choreographer and what a job he did. The Village Hall broke convention by being staged in the round. A bold choice that paid off beautifully. While there are always moments you might miss with this format, it added a sense of intimacy and immersion, as if we were peering through a window into Cheerley’s world. Neil’s attention to detail and ability to manage every angle was impressive and speaks volumes about his directorial prowess.

The wardrobe team, led by Sue Warmby and supported by Lorraine Taylor and Liz Preston, ensured the cast looked immaculate throughout. Dressers Anne Cocking, Alanna Preston, and Clare Wraight worked like a Formula 1 pit crew backstage. They were swift and efficient which was essential to the show’s flow.

James Clarke headed the stage team with Jon Hunt as Stage Manager. Their coordination with the rest of the company was flawless, keeping pace with the director’s vision and executing the set design with precision. The Lawrence Batley Theatre’s technical department added that extra sparkle, literally at times, with crystal-clear sound and lighting effects that rivalled any professional production.

And now, to the mastermind behind it all, Richard Sykes. Known for previous works like Curtains and By George: The Chip Shop Musical, which I had the pleasure of seeing at the 2025 Bridlington Gala Weekend, Richard has once again delivered something truly special. I always judge a show by one simple measure, would I have wanted to be in it? And once again, the answer is a resounding yes. It would be easy to assume this was just a rehash of previous works, but The Village Hall was fresh, inventive, and utterly captivating. Richard is already working on his next creation, and if his past work is anything to go by, I’d advise snapping up tickets the moment they go on sale. But a word of caution, venturing into Richard’s mind might leave you changed forever!

My heartfelt congratulations to everyone involved in this truly special production. My wife and I felt privileged to witness it, and we extend our thanks to the front of house staff for their warm and welcoming hospitality.

And finally, on a slightly cheeky note, if there are any adventurous, determined women out there with a good sense of humour and a taste for fun, I know of a 61-year-old gent who’s looking for you. Just make sure you come equipped with a duffle coat and a nit comb.

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