Wales Community Theatre Players’ Show Stoppers – 11 July 2024, The Lyric, Dinnington

Review by Peter Taranaski.

There are few things as purely joyful as musical theatre. That unique mix of singing, dancing, comedic pauses and quiet tragedy speak to the questions with have in our hearts and minds. When local communities and amateur groups all come together to celebrate and perform these, often, landmark music numbers and moments, it is even better.

We had the pleasure of attending “Show Stoppers: Musical Magic”, a Wales Community Theatre Players production. Usually performing at the Montgomery Theatre Sheffield, we instead saw them at the Lyric Theatre in Dinnington whilst renovations are being completed at the Central Sheffield venue. The Lyric Theatre is a great space, lots of room and seating was available, and the deep purple stage curtain cut an inviting scene among the golden painted stage embellishments. It felt welcoming, and a good asset for the local community. Kudos should be given to the costumes, lighting, and sound; more on these later. Let us move on to the show.

Frankly speaking, we have been to various Showstoppers (and variations of) over the years, and this one was is particularly interesting compared to our previous experiences. Numbers are drawn from eight different shows, and these are a fantastic mix. Classic fans have “Oliver!” and “Chicago”, but there is a broad selection of more modern musics such as “Wicked”, “School of Rock”, and what some consider the golden child of the moment, “Hamilton” too. There are selections from “Stephen Sondheim’s Old Friends” too, which is fresh from 2023! Theres a lot here, but what did we think?

There were loads of great performances from both the youth and adult wing of the company, it would take too long to praise all, but we shall talk about some of the really impressionable moments.

A touch of class was brought to “Everyone Ought to have a maid” performed stylishly in formal dress by Joseph Bairstow, Will Marshall and James Moore. There is a kind of chummy, bounciness to this number and a delicious camp frosting by all, and particular with Bairstow’s light and chic movements; it’s energy is fantastic. “Gotta get a Gimmick” for us is a centrepiece from Gypsy, and seeing it here brings a big smile. The mischevious, entrepreneurial trio are given a good outing by Karen Fuller, Hollie Riley and Alison Wade, it is a song big in character and voice. The orchestra bring the burlesque to life as these familiar rogues are brought to life beautifully, “if you want to bump it, bump it with a trumpet”.

The Youth Ensemble for this show is great, they hold their own with the array of steps and choreography needed. They first appear for Oliver Twist’s “Consider Yourself” and have notable appearances throughout. In “Finding Neverland’s” “We’re all Made of Stars” they are positively singing their hearts out, it is effective and heart-warming, In “Stick it to the Man”, “If Only you Would Listen” and “School of Rock (Teacher’s Pet)”, they are really let loose and are enjoying their time in the light.

With Finding Neverland’s, “Play”, the jaunty medley of nursery rhymes strikes a chord, the direction allows the full extent of the song to come through with jumps, skips and circles of cast dancing in youthful abandon. The fiddle rises high, the orchestra’s tune prances as we remember being the “knight, the “cowboy” and humpty dumpty’s fate. The movement is seamless yet feels spontaneous.

Other really strong performances include Faye Wood’s “Nancy” singing “As Long As He Needs Me” from Oliver. Not only is her voice really well suited, she looks positively distraught as she laments, there is some great expression and emotion. Her dress becomes cut with the purple and yellow lighting, she looks like a human volcano keeping the bubbling rage underneath. “One Short Day” shows Jessica Wade, Bettany Wade and the Adult Ensemble all melding together as a sea of emerald as the “Wicked” songs commence. There is a great chemistry between all characters here. Preceding this, Hollie Riley’s “Elphaba” is delightfully full of over zealous pride in “The Wizard and I”, and following, Miley Shaw’s Glinda is especially brattish, catty and glamourous as the most spoilt teen in “Popular”.    

There are great performances throughout. The “Chicago” numbers really “pop”, kudos go to Bethany Wade for her excellent mannequin impression for the iconic “We Both Reach for the Gun” number. Katy Marsh is also enchanting and commanding in the role of Mama Morton with a positively fierce voice. The Cell Block Tango is a blast too, and lives up to it’s reputation. 

The Hamilton numbers are done really well, the rhythmic nature of the lyrics is tackled head on. The contemporary beat fires up and all three sisters (played by Agatha Ingail, Eve Rowles and Holley Riley) play into the grove of this number exceptionally well. When we get to “It’s Quiet Uptown” I can’t overstate how well the show captures the emotion of this fragile, emotional ache of a number. Leah Gourdin is also exceptional in the rendition of “Burn” which lingers in the mind as she burns the letters to Alexander Hamilton. It was gut-punching and the voicecraft exceptional. It is a win for a show if it succeeds in casting a light on one of the brightest in recent musical history and does it justice, and this one does. 

There was much to love here, the combination of Claire Harriott’s exceptional direction and choreography, Ray Gallagher’s tight and expressive musical direction (along with musicians) and the bubbly energy of the producers and cast make this a must see. There truly is something here for everyone and the modern additions are truly magic and welcome, especially when they are done this well.