at the Civic Theatre
This is the 1988 musical of the 1980 movie. Those early Performing Arts alumni will be proud, or pushy, parents now. And this class of 2017 don't always seem quite at home in this Eighties world, where diversity and dyslexia are novel ideas. As these youngsters will be well aware, this institution resembles real arts education in the same way Lerner's Camelot does Britain in the sixth century.
But it's an enjoyable bit of summer escapism, and it gives Tomorrow's Talent a chance to show off what it does best – gifted youngsters, professional standards, and loads of crisp, energetic choreography.
The capacity crowd on opening night saw the spartan staging – the iconic logo centre stage – gradually populated by the kids, and the staff too – with director Gavin Wilkinson donning a natty cardigan to play drama teacher Myers. The show's MD is Mark Sellar, his fictional equivalent Sheinkopf played by Joshua Butcher, who's also the Assistant Choreographer.
Ruthless auditions, fervent prayers, and then the new intake must knuckle down to Hard Work. These fictional young hopefuls certainly score straight As for “attitude”, though their mentality might sometimes seem more at home in junior high.
There are many standout performances: Samuel Wolstenholme's Nick – Peanut Butter kid and Stanislavski disciple – setting the bar high with I Want to Make Magic, imaginatively backed, like several other numbers, by dancers. His shy Serena was touchingly done by Hannah Gurling on the first night. Christopher Tierney made the most of extrovert, X-rated Joe Vegas, and Daisy Greenwood gave a strong performance as outgoing, ultimately tragic Carmen Diaz. The enigmatic dancer Iris was engagingly portrayed by Katherine Maahs, and Becky Hunt gave a fine, funny character study as Mabel, the dancer who's too fond of food.
Street dancer and mouthy rebel Tyrone was given a compelling performance by Paul French, his dance moves and his stage presence both outstanding.
The role of spinster English teacher Esther Sherman is a tough call for a young actor, but Lauren Bullock came into her own with the moving These Are My Children, a hymn to the teaching profession.
But this is as much about the ensemble as the principals, and the big numbers were all stylishly done, from the opening auditions, through the title number, featuring the next generation on the upper level, to the beautifully conceived curtain calls, with Carmen resurrected atop the yellow cab.
production photograph by Louise Freeland