FAME The Musical

FAME 

The Musical

Tomorrow's Talent

at the Civic Theatre

18.07.17

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

BASSETT

BASSETT

Tomorrow's Talent at The Queen's Theatre Hornchurch
09.05.16


James Graham – whose This House won huge acclaim a few years ago – has written an intense drama for NT Connections. This is Wootton Bassett, famous for the repatriation processions which brought our boys back in coffins from the Middle East.
Today, students of Wootton Bassett School should be saluting Charlie, one of their own, another casualty of the Iraq war. Head Boy, hero, idol, Danny Zuko in the high school musical. But they are locked in their classroom, abandoned by a supply teacher at the end of her tether.
The tensions mount, beliefs are questioned, secrets revealed as the live feed is projected from Graeme's [Matthew Hockley] laptop. It's a powerful piece, if lacking in subtlety. Written for a cast of 14, where perhaps ten would have made for a tighter drama.
Directors Gavin Wilkinson and Amy Trigg shape the scene skilfully; the fears, the friendships and the dangerously volatile atmosphere are reflected in the groupings and the stage pictures.
Excellent performances all round: Kelly, outspoken and self-assured, is played by Holly Hosler-White. Academic, pedantic Jonathon by Samuel Wolstenholme. Selfish [supply and demand] Russell is convincingly portrayed by Christopher Tierney, Lucy, breaking her silence to trigger the dramatic dénouement, by Hannah Gurling.
A tremendous performance from Dominic Short as Leo, spray cans and baseball bat in his school bag, who's revealed as a racist, homophobic bully. His confrontations with Amid, the only Muslim in the school [Paul French], are electric. And just before we hear the key turn in the lock of the classroom door, he stands centre stage, reaching out to Charlie's coffin on the screen, as Spencer [Scott Olley], who's spent the entire time with his face to the wall, reads more history from Wikipedia, hesitantly praising Great Britain for standing up to the Axis bullies.
No easy answers in this Citizenship class. The students are forced to confront their tribal beliefs, to question the politics that has sacrificed the lives behind the “repats”.

This evening at the Queen's – partner theatre for the National Theatre's Connections500 – also featured Felsted Theatre Company, directed by Lauren Macey, in Stacey Gregg's I'm Spilling My Heart Out Here, which, like her Perve of 2011, deals with the loss of innocence. “What happened to childhood? - The internet.”

LES MISERABLES

LES MISERABLES

Tomorrow's Talent at the Civic Theatre

15.07.15

"selfie" from Tamara Thénardier

Taking the barricades by storm, the hundred-strong Tomorrow's Talent company in a memorable Schools' Edition Les Mis.

It's an uncluttered, polished production, directed by Gavin Wilkinson [assisted again by Emma Tapley] with admirable narrative drive and some superb stage pictures, and economical, powerful effects. The runaway cart, for example, is done with a magical combination of light, sound and chorus movement. The lighting [lighting design by Jenny Urquhart] is crucial, since scenery is necessarily minimal – gates, barricades, just one empty table, a bed for Fantine, a chair for the dying Valjean. Often the grouping of the massive forces recalls the revolution artwork of David or Delacroix.

Stage pictures like Enjolras, with his red tablecloth, facing the chorus, or the barricades manned behind the death of Eponine, or the “phantom shadows” of the fallen, match the stirring score in emotional intensity.

The ensemble work is focused and forceful – the chain gang, the lovely ladies, the topers in the Thénardiers' tavern and of course the revolutionaries marching for freedom, defending their barricade to the death.

The company includes many experienced and accomplished young performers. Even the smallest cameos – a drunken diner, Whore 1 in her pink bodice – are scene-stealingly spot-on.

Dreaming the Dream as Fantine are Anna Maria Acevedo, her eyes gleaming with hope before reality and the tigers bring her back to earth, and Lauren Bullock, a feisty Fantine, with superb vocal control.

Like Fantine, most of the parts are double, even triple, cast. Giving the versatile young performers a unique chance to live the show twice, and giving the lucky few a chance to see them tackling very different roles. Dominic Short, for instance, is a hot-headed revolutionary and a vindictive factory worker, as well as a hilariously evil Thénardier, memorably watering the wine …

Tragic Eponine, first to die for the cause, is done by Naomi Ashford – heart-breaking in On My Own – and Matilda Jackson, a credible, complex spoilt brat grown up.

Cosette – a challenging role vocally – is impressively tackled by Isabelle Casey and Alice Talbut. Her younger self – tresses recalling the Bayard illustration – by Scarlett Greaves and Polly Towers.

The street urchin Gavroche – unmasking the traitor and conducting the revolutionary chorus – is shared by Jonah Miller, cute and vulnerable, and Alexander Stuckey, knowing and cocky.

Idealistic young Marius is strongly cast – Jack Martyn with scintillating stage presence and excellent audience rapport, and Jack Harlock, a man of the people, naïve as a revolutionary, gauche as a lover, his voice at its best in an impassioned Empty Chairs.

A trio of Thénardiers, all in their different ways making the most of the coarse comedy and the colourful wedding scene: Mark Ellis and Holly Hosler-White, Chester Lawrence and Amie Whitaker, Dominic Short and Tamara Anderson.

And three superb Valjeans, too. Thomas Tull, who also brings moving gravitas to the Bishop, and opens the batting for the chain gang and for Drink With Me. A deep voice, and a credible ex-con. Mark Ellis, a rich-toned Thénardier, and a thoughtful Jean Valjean, struggling with his demons and his dilemmas, and singing superbly in Bring Him Home. And the outstanding Chester Lawrence, who also does a cheeky innkeeper and a saintly Bishop, is superb in his big numbers and as an elderly Valjean, confessing to Cosette and haunted by visions.

Two principals star in all six shows. Henri de Lausun's forceful Enjolras, great physical presence and an inspirational singer, punching the air with his rifle at the Act One curtain. And Samuel Wolstenholme as a haughty Javert, using stillness and nuanced vocal delivery to bring out the complexities of the character. His “Stars” is superbly shaped, too, though, like all of the performers on stage here, his voice is years away from its maturity.

But they have been encouraged to use technique to sell a number, which makes the production seem so flawlessly professional.

The Musical Director is Mark Sellar, who brought the same composers' Miss Saigon to this stage two years ago. And there's plenty of oomph from the pit band under the baton of Patrick Tucker.

A unique experience, seeing Victor Hugo's schoolboy revolutionaries played so convincingly by schoolboy actors, and seeing the wide Civic stage filled with children of the barricades. Thinking that this year's stirring chorus includes the performers who will take a starring role or three in years to come ...

production photograph: Louise Freeland

HOSPITAL FOOD

HOSPITAL FOOD

Tomorrow's Talent

21.02.15

Drama groups across the land are preparing performances for the National Theatre's “connections” project. Tomorrow's Talent [like their counterparts in Southend and Colchester] have chosen Hospital Food, Eugene O'Hare's hard-hitting piece set in a teenage cancer unit.

Before the regional performance in Stratford East, it's previewing at TT's Danbury HQ.

Ten youngsters, in pajamas and lounge pants, hair loss concealed with bandanas and woolly hats. Sofas, Angry Birds, drip-stands, television.

In this production, directed by Gavin Wilkinson with Amy Trigg, there's a strong sense of shared experience, and a tremendous ensemble performance. Having all the actors present but immobile during the central duologue is especially effective.

But, inevitably, in the fifty minute piece, some characters are more developed than others. The dramatic core is the imminent departure of Gus, three Christmases, four birthdays in hospital. He longs not just to live, but to be alive. In desperation, his mother has arranged for “alternative healing” in the States. He must abscond. No-one must know. He tells his friends in their hang-out day-room. But the code decrees that anything shared in the Retreat stays in the Retreat …

Mark Ellis brings an intelligent self-awareness to the role, his doubts and fears etched on his face. He dreams of screaming out the tumours, and of soaring to freedom above the floor of clouds. Two friends are particularly affected by the news. Josh – his “brother” - a movingly honest performance by Danny McNamara – chides him, in a powerful duologue, for not confiding in him first. And, tragically, can't say the things he's going to wish he'd said... Layna [Hazel Ellender], who's painfully fond of Gus, is tempted to betray him.

Memorable contributions, too, from Alexander Bloom's Sol, a swot always stuck in a Revision Guide, who lends Gus the key which will enable his escape. From Scott Olley as not-the-sharpest Reece, who almost gives the game away. And from Erin Jacobs' Sadie, the baby of the family, who's lost a ring, and who movingly remembers the secret passing of her dog Reuben, and sees death as the deepest of deep sleeps.

The piece is full of telling detail: the Remembering Nights with movies chosen by the kids who've died, the other desperate parents, turning to the internet or exorcism.

The music is well chosen. “All Those Things” from the Killers: “when there's nowhere else to run, is there room for one more sun ? - I got soul, but I'm not a soldier”. And at the end, as Gus rips the cannula from his hand, vomits [“my tears have this solemn rest”] and slips away, leaving his woolly hat for Josh to find, we hear Benjamin Clementine's Cornerstone: Friends I have met, Lovers have slept and wept - I have been lonely, alone in a box of my own …

His friends file off in tearful despair, and it's a harrowing experience for the audience too, as these talented youngsters explore issues of family, friendship and death in their own wonderfully frank way. 

company member Jessica Moore's production blog here

Hospital Food rehearsal images / NT Connections from Tomorrow's Talent on Vimeo.

WEST END STORY

WEST END STORY

Tomorrow's Talent at the Civic Theatre

29.06.14

Can it really be ten years since Tomorrow's Talent took those first steps down the path that would lead them to revolutionize performance opportunities for young people ?

West End Story was their anniversary show, celebrating past successes, with the help of returning alumni, and showcasing the fantastically gifted performers in their ranks.

Busy eye-catching choreography, professional production values, seamless segues and some forgiveable fond reminiscences made for a stunning couple of hours' entertainment.

From Chicago – an inventively staged All That Jazz – through drama – five lads on the lash and five ladies on the town, impersonated by the same five Bouncers; Wonka and Britney deconstructed in the Chatroom – classic choral work – Rhythm of Life with commendably crisp diction – and pure choreography – Move That Body – to Michael Jackson, and Mamma Mia, a mirrorball megamix finale put over with cheeky style and endless energy.

Even Shakespeare – Bart Lambert on Hamlet's sterile promontory.

A well-drilled but characterful ensemble - Our House a prime example – and so many outstanding soloists, including William Keeler with Ryan Lay in Billy Elliott, Isobelle Molloy in Matilda, Ollie Fox in Miss Saigon, and an incredibly mature performance by Chester Lawrence in Miss Saigon.

West End Story was directed and choreographed by Emma Tapley and ETT Principal Gavin Wilkinson, with Mark Sellar the Musical Director.

A nostalgic evening, to be sure, but one which left us in no doubt that musical theatre, locally and nationally, has a brilliant future.

pictured: Gavin Wilkinson with the guest artists, alumni returning to the TT fold

MISS SAIGON

MISS SAIGON

Tomorrow's Talent at the Civic Theatre

20.07.13

It's not every group that has the vision, or the resources, to stage Miss Saigon. Tomorrow's Talent, directed as a labour of love by Gavin Wilkinson, with Emma Tapley, have got things right on every level. The music, with accomplished young singers [MD Mark Sellar] and a strong pit band [including that vital saxophone] conducted by Patrick Tucker. The casting, with amazing performances from all the principals. And the staging, with Dreamland, the Embassy compound and much more wheeled seamlessly on and lit to often stunning effect. The closing of Act One is a masterpiece of stagecraft – red flags processing beyond a blue doorway, stunning acrobatics - as is the helicopter, despite the lack of airspace above the Civic stage. This is a company of 85, and the huge choruses are thrillingly effective, in Bui Doi, say, or the grim-faced masses in The Morning of the Dragon. The cynical show-stopper, American Dream, is brilliantly presented, with glitter-curtain, star-spangled blonde chorines and wholesome citizens of the Land of the Free.

Time and again I find myself mentally applauding a heart-stopping moment: those flags, that helicopter, the Chinese lantern backdrop, the lighting of the shrine scene, the bar-girls huddling in wide-screen format [for Movie in My Mind], leaving the GIs dancing with thin air, the unlikely family walking upstage to freedom, the iconic angry sun, the final tragic tableau, the fall of Saigon, with the desperate refugees waving their pathetic letters, and the ballet of the barricades allowing us to see the wire fences from every aspect.

Excellent work from every single performer – from the chorus member giving 100% to Bui Doi to the talented leads who bring maturity and experience, as well as youthful enthusiasm, to these demanding roles.

Bart Lambert is an impassioned Chris [Pinkerton for Butterfly collectors] – relaxed and natural on stage, but packing a hefty emotional punch in his Why God soliloquy.

His friend, later an impressive President of the charitable foundation, is Ollie Fox. Jessica Moore is stunning as Gigi, the seen-it-all stripper who is the original Miss Saigon, and James Murphy is Kim's blinkered betrothed, making a great impact as the ghostly guilt-figure in Act II.

What a luxury to be able to double-cast so many of the characters – and a testament to the ability of the company's aspiring actors. I was privileged to see both casts.

In the plum role of The Engineer, Andrew Steel makes the most of this sleazy survivor, who speaks Uncle Ho but thinks Uncle Sam, making him bitter and manipulative, and giving a goose-bumps virtuoso performance of American Dream. Joshua Butcher skilfully uses his voice and his body language to suggest the half-French Vietnamese, and seems a little more vulnerable, and more likeable. Every bit as effective in the big number, too.

Kim, the innocent victim of war, is superbly sung by Alice Masters, a totally convincing 17-year-old who is also able to nail the considerable emotional depth of the character. Laura Messin too – her insight into the tragic world of the "new princess" was incredible, hurt and angry at events beyond her control.

Ellen, Chris's American wife, is wonderfully done by Zoe Rogers – her vocal ability outstanding even in this exalted company – sharing the role with the excellent Emma Bennett, who successfully suggests the conflicting emotions in this tragic triangle.

In a tearful final curtain, those actors leaving for some of the country's leading drama schools were urged to return for a tenth anniversary reunion production. Tiny Tam [beautifully disciplined work from Jonah Miller/Joseph Papalie] would be old enough to take a lead, then. And what of those determined, ambitious drama students ? Will they be on a cruise ship in the Far East, or like Wilkinson, working in the war-torn West End ? Watch this space.

REVOLTING CHILDREN

REVOLTING CHILDREN

Tomorrow's Talent at the Cramphorn Theatre

16.06.13

An arresting start in scarlet and black, Gangnam Style, for this year's revue, followed by denim and white for Car Wash, which featured a clever human chassis. And a rich mix of footwear, including flippers and some sparkly sneakers, for New Shoes. The youngsters are accompanied by pied pipers from the teaching team, in a seamless, polished sequence of song and dance.

There's disciplined choral singing, too, in Beauty and the Beast and When I Grow Up, from Matilda, which also furnished Revolting Children – the finale.

A generous helping of Wonka's chocolate gives the five golden ticket winners a chance to shine, with nice monologues from Violet and Charlie. A neat ensemble production line, and, from the younger students, lively green-wigged Oompah-Loompahs.

As Tomorrow's Talent prepares for its tenth year, the future looks as busy and successful as ever. Their Glee Club Team – Figure of Eight – who contributed two accomplished guest spots to the show – will be hoping to do even better in next year's CBBC finals. And next month in the Civic, an 80-strong cast will perform Miss Saigon – its Essex amateur première – and we heard a brief Bui Doi as a teaser.

ONE DAY MORE

ONE DAY MORE

Tomorrow's Talent at the Cramphorn Theatre

17.12.2012

No straight play this year, but a stripped-back showcase of the varied talents in the group, full of fireworks and fun, with some touching moments of pathos for contrast.

We did have some sketches for light relief [directed by Emma Tapley] – Ab Fab generation gap, four posh boys, and a running gag about dumbed-down daytime TV.

A tasty menu of musical theatre, too, from Avenue Q to Matilda. Especially fine were the numbers from Les Misérables, the huddled masses economically drawn, and a beautiful On My Own from Laura Messin. Tara Divina gave a superb performance – dramatically as well as vocally perfect – of With You, from Ghost, with just a box and a picture frame for props.

Figure of Eight, now through to the final fifteen for the BBC's 2013 Comic Relief Does Glee Club, gave us a polished routine based on the popular Wilson Phillips hit Hold On.

The stage was packed with performers for the final sequence, For Now, wide-angled and confidently sung, Beyoncé's Move Your Body, and, inevitably, All I Want for Christmas. All done with that winning blend of raw energy and precision that is the trademark of Tomorrow's Talent. Musical Director was Mark Sellar, and the show was choreographed by Liz Pilgrim and Gavin Wilkinson.

RENT

RENT

Tomorrow's Talent at the Civic Theatre

11.07.12

I know now what it would feel like to be a disaffected teenager at the opera. What are these people in their attic singing about ? Why can't I get into this music ? Why can't I understand the words ?

Gavin Wilkinson's Rent uses the School Edition, and a vast chorus, to tailor Jonathon Larson's bleak rock Bohème to his incredibly accomplished company, with musical direction by Kris Rawlinson.

And that chorus, including some really young performers, is one of the strengths of the production, always inventively used, with lighting and grouping highlighting individuals and clusters. Sleeping, sweeping across the stage, singing with raw energy, they were a forceful, vital presence in the story. And the big number – Seasons of Love – was impressively put over, with two amazing soloists soaring over the masses.

The many characters were given performances of maturity and style.

Sam Toland as the troubled rock guitarist, and Tara Divina as an aggressively sexy Mimi both caught the musical idiom nicely. Ollie Fox was outstanding as the "vagabond anarchist" – his relationship with Angel [a beautifully judged interpretation from Bart Lambert] was an island of tenderness in the "coarseness and noise" – his grieving solo, with the drag frock, was superb. Ashton Reed made Maureen a credible "performance artist" – her pretentious pastiche a joy – with the excellent Deanna Byron as her lawyer lover. Benny the landlord – torn between two worlds – was strongly sketched by Josh Butcher. The "witness" [Puccini's painter] who leads us through Alphabet City, was Luke Higgins, an engaging guide who confidently carried the narrative and sang powerfully, too.

A packed house, a great company in a performance which overcame huge challenges and some unfortunate technical issues. A stunning achievement for such a young cast: next year's challenge, another very grown-up musical, another Puccini plundering, Miss Saigon.

production photo: Louise Freeland

WHEN I GROW UP !

Tomorrow's Talent Juniors at the Cramphorn Theatre

03.07.11

Despite the Pussycat Dolls title, the emphasis of this slick, enjoyable showcase was firmly on the kids here and now.

Starting with ragged urchins from Oliver and Les Mis, the huge cast filled the Cramphorn stage with colourful routines, energetically directed by Gavin Wilkinson. A costume change, and they were back for Monster Mash, My Fair Lady and The King and I, all done to powerful backing tracks.

There was drama too, notably the touching scene from David Campton's Split Down the Middle, with nicely contrasting characters from Giselle Byron and Kirstin Allen [Sophie Weatherhead and Annabella Saward in the “Hollywood” cast].

I also enjoyed the dialogue from A Proper Little Nooryeff, with Emma Shorey frustrated by William Keeler's lack of commitment to dance [Joseph Bennett and Olivia Hendrick for the matinée]; followed, cleverly, by Electricity, written for that other ballet boy, Billy Elliot. No dance moves for William here, though he more than compensated with his contribution to the stunning finale.

This is the first time the juniors have had the limelight to themselves in the Cramphorn – invaluable performance experience for these enthusiastic young people.

The seniors will be strutting their stuff next door at the Civic, where Our House, the Madness musical, runs from the 20^th to the 23^rd of July.

production photographs 

by Louise Freeland