Through The Ages

It was a pleasure to attend Second Act Society’s first production, Through The Ages, at Poulton-le-Fylde Community Hall. This felt like an important evening for the new society, and we were made to feel very welcome. There was a warm atmosphere in the room, and from the programme notes it was evident that the society has been created with community, encouragement and inclusion at its heart.

Through The Ages was presented as a musical revue, taking the audience on a journey through different styles and eras of musical theatre. A revue is very different from a book musical, as there is no single plot or set of characters carrying the evening. Instead, it relies on careful song choice, contrast, pacing and the performers’ ability to tell a story within each individual number. It can be a challenging format, but it also gives a company the chance to showcase a wide range of talent.

The evening was linked together by four narrators: Judi Adams, Louise Evans, Mitchell Birch and Dom Barber, who introduced each genre of musical as we moved “through the ages.” This helped give the show a clear structure. All four spoke well, guiding the audience clearly from one section to the next. In this type of production, links between numbers are important because they help create a sense of journey, and the narrators added warmth and context.

The programme offered a strong mix of musical theatre material, with classic numbers, contemporary songs, comedy pieces, solos, small groups, dance-led items and full company numbers. The variety gave the audience plenty to enjoy and allowed different performers to have their moment. Numbers such as “Anything Goes,” “We’re in the Money,” “Mein Herr,” “You Can’t Stop the Beat” and “Don’t Stop Me Now” gave the company opportunities to create energy and movement, while songs such as “Still Hurting,” “Summertime,” “Send in the Clowns” and “Over the Rainbow” brought more reflective and vocally focused moments.

As a debut production, it was lovely to see the enthusiasm on stage. Some performers were clearly very experienced, while others appeared to be gaining confidence, and that mixture suited the spirit of the society well. Everyone had an opportunity to contribute, and the company should be congratulated for taking on such a broad programme.

There were several excellent vocal performances during the evening. Sophie Parker was a particular standout. She sang with real control, confidence and emotional connection, particularly in “Still Hurting” from The Last Five Years. This is a very exposed song, needing vocal security, truth and restraint, and Sophie handled it very well. She has a natural stage presence and a clear understanding of how to communicate a song. Cheryl Broster also impressed. Her performance of “Summertime” from Porgy and Bess showed lovely vocal quality and control, and she brought a calm assurance to the stage. Evie Hill was another performer who stood out, bringing brightness, personality and energy to her numbers. She connected well with the audience and performed with real presence. Cassie Mochan also deserves particular credit, not only as Chairperson and one of the driving forces behind the society, but also as a performer. She brought character and commitment to everything she was involved in, and as Chairperson, Musical Director, choreographer and performer, she has clearly given a great deal to getting this society and production off the ground.

A particular mention should go to the four dancers, Holly Smart, Sophie Parker, Evie Hill and Cassie Mochan, who were excellent throughout. They brought polish, confidence and real performance quality to the dance-led numbers, especially in pieces such as “We’re in the Money” and “Mein Herr,” and helped give the production some of its most theatrical moments.

The wider company work was also important to the success of the show. Emily Winston, Marie Cordingley, Rachel Rose-Barnard, Zoltan Tar, Paul Robinson, Helen Parsons, Laura Bradley and Caitlin Pumphrey all contributed well across the evening, whether in company numbers, small group pieces or solo moments. Their involvement helped build the ensemble feel of the production. For a first production, it was encouraging to see the whole cast working together and beginning to establish a strong group identity.

The Musical Directors and choreography team of Cassie Mochan, Sophie Parker and Evie Hill, with Holly Smart also credited for choreography, had clearly worked hard to create an evening with plenty of contrast. Adam Bradley, responsible for behind the scenes and casting, also deserves credit for his work in helping bring the production together, alongside his contribution on stage. Together, the team created a programme that gave different members of the society the chance to shine.

As the society continues to develop, the main area to tighten would be the flow between numbers. At times, there were small pauses between one performer leaving and the next entering, which occasionally interrupted the atmosphere. In a revue, transitions are especially important because they help hold the evening together. Simple touches such as overlapping exits and entrances, using musical underscoring, or pre-setting performers would help maintain the pace and make the whole production feel more seamless.

The staging was simple but effective for a first production. The black curtain with pinhole lights was a nice touch and added warmth to the stage. The company used the space well and kept the focus firmly on the performers.

Costuming was kept simple, with most of the company wearing black and adding small embellishments or details to suggest the show or style of the song. This was a practical and sensible approach for a revue with so many different numbers.

Lighting was straightforward. Shaun Tattersall, credited for technical elements and sound, and Kevin Hardcastle, credited for music, tracks and lighting, supported the production well, and the show ran effectively. It would have been lovely to see a little more use of colour, particularly with the LED lighting available, as lighting can quickly help suggest mood, style and atmosphere in a revue. Even small changes in colour or intensity would have helped create more distinction between numbers.

One of the nicest things about the evening was the sense that everyone on stage wanted to be there and supported one another. This was especially clear during “Over the Rainbow,” when members of the cast stepped in naturally during a brief issue with the backing track. The society’s aim, as described in the programme, is to create a space where people feel safe, valued and able to express themselves, and that came across strongly. The company included performers with different levels of experience, and there was a genuine sense of care between them. That is a lovely foundation for a new society.

Overall, Through The Ages was a promising first production from Second Act Society. There was much to enjoy, with some excellent vocal performances, stylish dance work, a varied programme and a clear sense of warmth and community. As the society develops, more seamless transitions and greater lighting variation will help future productions feel even more polished.

Congratulations to the committee, creative team, technical team, cast and everyone involved in Second Act Society’s debut production. Starting a new theatre society is no small achievement, and this first show demonstrated talent, warmth, courage and community spirit. I look forward to seeing how the society grows and develops in future productions.

 

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