Our Reviews

The King & I

Date: 29th September 2011
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Brian Hirst

This was the society's 50th anniversary production & they decided to celebrate it with an experiment. This was the first time that an open stage production of a musical had been put on at the town hall and a resounding success it was. The orchestra were behind the performers and this ensured there was a good balance between their sympathetic playing and the singers. Rachel Clarke and Paul Lumsden were well cast as Anna and the King. They worked well together both in dialogue and song to produce a believable relationship. Eliza Harris impressed as Lady Thiang and her interpretation of Something Wonderful was indeed that. Charlotte Gaunt was delightful as Tuptim and she combined well with Nathan Rock (Lun Tha). Shivinder Ahluwalia-Timmins (The Prince) and Daniel Veal (Louis) both showed they have a bright future on the stage. All the other principals played their parts well and the children as always captured the hearts of the audience in The March of the Siamese Children. The story of The Small House of Uncle Thomas included some nice touches of staging and choreography. The different scenes were created using a variety of stage dressings and the stage crew should be commended for the manner in which these were placed and removed in front of the effective trellis work around the rear exit from the stage.
Congratulations on your 50th birthday Tudor!

Return to the Forbidden Planet

Date: 27th September 2012
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Paul Douglass

A bold move for Tudor, but a very good one.

Faye O’Leary’s fast moving production had all the elements of a sure fire hit. A hopeless romantic (Cookie, the ships cook played by Dan Anketell).
The Love interest (Miranda, played by Charlotte Gaunt) and the mad Scientist (Doctor Prospero, Played by Paul Lumsden).

Every time I see a Tudor production they get better and better. The set, though simple, was very effective. The costumes were very good, and I enjoyed being meet at the door by the crew of the spaceship. The music was ideal. I just love 60’s and 70’s.

Three members of the company stood out for me. Paula O’Hare as Gloria, fantastic performance.
Richard Ham as Ariel, I don’t know how he managed to stay upright on the skates all evening. And Charlotte Gaunt. I have seen this young lady progress through the ranks. What an outstanding voice and presence.

A really entertaining evening.

Whistle Down The Wind

Date: 14th March 2013
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Paul Douglass

Over the last few years, Tudor has been staging some first class shows and this one was no exception. The story tells the tale of ‘The Man’, an escaped convict who is found by a group of Children in a barn and they believe him to be Jesus Christ. The story tells us of his involvement with Swallow and the rest of the children and of the favour he asks of her. We also have the sub-plot of Candy, who cannot wait to leave the town with boyfriend Amos, but when Earl tells Candy about the meeting between Amos and Swallow, Candy tells everyone about the man in the barn. This was a production not to be missed. With minimum scenery Faye O’Leary used back projection to bring the production to life. All of the company worked well together and the society should be proud of this production. To mention separately all of the principals would be unfair as they all worked well but I must mention James Pugh as The Man and Chelsea Greathead as Swallow were outstanding as was Charlotte Gaunt as Candy. The chorus worked well as a team. I feel I must mention all of the children in the show, how they brought it to life. Their number ‘When Children Rule the World’ was just brilliant. I did feel sometimes that the orchestra was a little overbearing and the sound was a little distorted by that did not spoil the enjoyment of my evening. Costumes were good. The company danced well and that was all down to Paula Waldron. Tudor, you have another hit on your hands and I look forward to your future productions.

What I did for Love

Date: 13th July 2013
Venue: Sutton Arts Theatre
Type of Production: Concert
Director: Pam & James Garrington
Musical Director: Tim Harding
Choreographer: Beth Gorringe
Author: Paul Douglass

Tudor has a lot of talented youngsters in their company and it showed in this concert, which gave them the opportunity to show their talents.

From the opening number, this Pam and James Garrington production was full of life.
I don’t want to list names because everyone was really good, but I did enjoy Emelia Henwood singing ‘Pure Imagination’ and Chelsea Greathead and Gus Wade singing ‘Come what May’.

It was a pleasure to Hear Paula O’Hare and Faye O’Leary sing items from Miss. Saigon and to hear Paul Lumsden sing again.

The audience enjoyed the jokes from compare Alan Waldron.

My only criticism is that sometimes the music came through the speakers so loud that you could not hear the children sing over it.  A good nights entertainment

Annie

Date: 29th March 2014
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Paul Douglass

This up beat family show was another big hit for Tudor.

Faye O’Leary’s production had all the right qualities, fun, laughter, and a little bit of drama, sadness and lots of excitement.

Lucy Foley as Annie was a joy to watch and was well supported by a very talented bunch of children.   Paula Waldron played Miss Hannigan, a part made for her.
The talented Paul Lumsden who played Daddy Warbucks was well matched by Paula O’Hare as Grace Farrell.
Playing Miss Hannigans brother Rooster and his girlfriend Lily St. Regis were another talented pair - Patrick Jervis and Charlotte Middleton.

Some in the audience felt that the orchestra was a bit loud but for me David Easto had it just right.   A special mention must go to Beanz the dog as Sandy. 

Such a talent.  The set looked really good.
With the talented team of Faye, David and Paula how could Tudor loose.

Well done to you all.

Jesus Christ Superstar

Date: 28th March 2015
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Paul Douglass

From the opening music to the closing chorus, this production had the audience on the edge of their seats for its shear spectacle.  This was Tudor’s 54th year of presenting musical theatre and Faye O’Leary’s production was full of life and enthusiasm.  Chris Ranger (Jesus) led this talented company and gave a powerful performance.  I have known Chris for many years and he shone in this role.  His commitment to the role is beyond reproach.  Eoin Edwards played a very energetic Judas, running around the stage but still having the breath to give us some of Tim Rice’s and Andrew Lloyd-Webber’s wonderful words and music.  Charlotte Middleton played Mary.  Her version of ‘I Don’t Know How To Love Him’ left the audience with Goosebumps.  A wonderful voice. 
This powerful and sobering show did have it’s lighter moments especially James Ross as King Herod singing his song.  There are so many in this cast that I would like to mention but feel I cannot single them out.  Everyone was superb and played their part. 
The set looked stunning, dark and moody with scaffolding at the rear of the stage.  The costumes suited the mood of the production.  The choreography by Paula Waldron was so precise.  David Easto kept the orchestra together well and even though the music was powerful every word could be heard from the stage due to the wonderful sound quality.
 Faye O’Leary has produced some marvousius shows in the past but this must be one of her best.
TMCS, you should be proud.

Honk

Date: 19th March 2016
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Paula Waldron
Author: Paul Douglass

Having not seen this show before, I was intrigued as to what it was all about.
The production tells the story of The Ugly Ducking and his adventures away from his pond.

Max Thompson – Brooks led the company well from the start as the Ugly Duckling.  He was well supported by Paul Lumsden as Drake and Paula O’Hare as Ida.  The baddy of the piece ‘Cat’ was superbly played by Nathan Rock.
The younger members of the audience really enjoyed booing him every time he came on stage.  Alan Waldron played the role of Captain greylag, surely a role written for him.  Good support came from Melania Sutton, James Rowney, Rebecca Bowley, Sarah Clarke, Carly Hyland and Mia Turley.

It was also nice to see some of the long-standing members of Tudor taking a principal role including Pat Hunt and Penny Colley.

Costumes for the production were imagative and colourful and the scenery was just right for the production.  The lighting from Lichfield Light and Sound complimented the set.

Choreographer Paula Lumsden should be proud of the work she did.  Everyone on the stage worked well together.

One crit of the production said that it was more a childrens show than adults, but I have to disagree.  This was pure musical theatre for the whole family.

Sister Act

Date: 3rd February 2018
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Jemma Tiso
Author: Paul Douglass

Before the show commenced I had the pleaure of presenting two NODA Long Service Awards. Pam Cooper for her 60  award and Nigel Gaunt, whose parents founded the society and whose daughter is Chairman, for his 50 year award.

Every so often a show comes along and you know that it could pass as professional, and, this was one of them. From start to finish the cast from Tudor gave it their all, and it showed. Deloris Van Carrier was played by Marsha Webbe, a fine actress with a very powerful voice who suited the role to a tee. She was well supported by Sally Jolifee as the Mother Superior of the convent that Deloris hides in. Curtis. The  murderer who is trying to find Deloris was played by Jonathon Blake, who together with his four associaties, played by, Elliott Perlic, James Rowney, Luke Flaherty and Ed Mears played their roles really well. Nathan Rock played Policeman Eddie, who befriends Deloris and takes her to the convent. Special mention must go to Sister Mary Robert (Hattie Rumsey) and Sister Mary Patrick (Jenny Padley) who really worked well together. Hattie has a wonderful voice and will go onto bigger roles I am sure. There were also some wonderful cameo roles in this production including Paula Lumsden as Sister Mary Lazarus.

The Set, through simple, stood out and having some of the stage crew dressed as choir boys relly worked. Costumes looked really good. Lichfield Light and Sound really got the balance of the wonderful sounding orchestra just right, you could hear every word coming from the stage.

Faye did a great job with this production. Looking forward to seeing you all in Evita.

More Songs we Like to Sing

Date: 15th July 2018
Venue: Streetly Community Centre Sutton Coldfield
Type of Production: Concert
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Beth Gorringe
Author: Paul Douglass

From ABBA to Mary Poppins and The Sixties to The Greatest Showman, this concert was full of energy from start to finish.

The audience were treated to some outstanding performances and some good chorus numbers. Amelia Waldron gave us a powerful rendition of 'There are worse things I could do' from Grease and how the audience enjoyed Elliot Beech and Paul Lumsden singing 'I wanna be like you', Paul in his grass skirt was a sight to behold. The Mamma Mia and Mary Poppins sections really showed how well the company worked together. Husband and Wife team of Sally and Alistair Jolliffe gave us the showstopper 'Wunderbar' from Kiss Me Kate and they were joined by Paul Lumsden for a superb rendition of 'Friendship' from Anything Goes.

With songs from Miss Saigon and Les Miserables led by Nathan Rock and Empty Chairs by Paul this concert had something for everyone.

For the finale the company led by Ed Mears gave us a selection from 'The Greatest Showman' .

Even through this was a small stage, director Faye Easto ensured every inch was used to maximum effect.

Evita

Date: 30th March 2019
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Faye O'Leary
Musical Director: David Easto
Choreographer: Jemma Tiso
Author: Paul Douglass

This production of Evita was first rate!

The set, though simple, worked so well and every inch of it was used.
The costumes were just right, along with good lighting.
The orchestra, under the direction of David Easto, sounded really well and were well balanced so you could hear every word from the stage.

The show opens and ends with the death of Eva, and from then on their was total commitment from this company.
Vickie Beck made an exemplary Evita and she looked like the original Eva Peron, complete with splendid costumes and wigs, she put everything into this role and 'Don't Cry For Me Argentina' was just magical and you could have heard a pin drop as she sang it.
Also the gradual onset of Eva's illness was very well played.

Che, played by Vickie's husband Pete Beck, gave an outstanding performance.
His singing was a pleasure to listen to and he held the show together well as he has hardly off stage during the whole production.

Alistair Jolliffe as Peron had a fantastic voice and really looked the part of a severe looking statesman, very dignified.
Matt Collins, his first show with Tudor, came over with great style as the lounge singer Magaldi.
Peron's Mistress, Kim Waldron, sang 'Another Suitcase, Another Hall' with such passion.

Great chorus scenes, with some good choreography.

I really enjoyed the song 'A new Argentina'

Faye Easto did a superb job with this show and the whole company should be congratulated.

Legally Blonde

Date: 10th November 2021
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Richard Poynton
Musical Director: David Hebden
Choreographer: Aimee Holding
Author: Paul Douglass

After Two year of being away, Tudor were back with a bang with the fast moving production.  Elle Woods is dumped by her boyfriend Warner who goes off to Harvard Law School. Determined to get him back, Elle follows him to Harvard eventually outdoing him both academically and in her search for love.

This was indeed a production which oozed high energy from start to finish with some excellent individual performances. Elle is rarely off the stage and Kate Millington gave a magnificent performance in this very demanding role. She never faltered in her characterization or vocally and looked wonderful never appearing phased by the quick costume changes. She is supported on her way by her ‘Greek Chorus’ who were superb and must be applauded for their slickness in their detailed choreography and who worked well as a unit never missing a beat. Margot (Janine Henderson), Serena (Charlotte Jervis) and Pilar (Emily Glasgow) were outstanding leaders of this sassy group.

Elle is befriended at university by Emmett (Ben Foulds) who conveyed a sense of empathy in his support for Elle and whose warm singing voice I particularly enjoyed. Elliot Beech was an excellent Professor Callahan commanding the stage bringing great depth to the character. ‘Blood in the Water’ perhaps one of the most melodic numbers was sung with ease and clarity. Before going to Harvard Elle meets up with beautician Paulette (Natasha Cartwright) who persuades her not to change from blonde to brunette. Paulette’s solo number ‘Ireland’ was sung with great passion and power. She has some very funny lines and Natasha gave a very strong performance with good comedy timing and facial reactions particularly when Kyle (Pat Jervis) arrives with his 'package’. This may have been a small cameo role but Pat certainly made an impact!

When Elle does meet up with her ex boyfriend she finds he has a new girlfriend. Alan Rowe was well cast as the ambitious Warner.  Emma Hill was the perfect Brooke Wyndham who led the most fantastic ‘Whipped into Shape’. The ensemble here showed immense agility in this very physical number with skipping ropes and no hitches or trips.

There are many supporting roles all of which were well portrayed but special mention must be given to Alex Nash (Carlos) and Neil Ward (Nikos) who were hilarious in the court scene and ‘Gay and European’

Richard Poynton’s production was a joy to watch and it was supported well by Aimee Holding’s choreography.  The orchestra sounded good, under the direction of David Hebden, as they did not drown out what was going on on the stage.  Costumes looked good and the lighting was well looked after by Going Dark.

Congratulations Tudor on this production.  Thanks for the invite and it’s good to have you back on stage.

Made in Dagenham

Date: 24th September 2022
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Paula Lumsden
Musical Director: Andy Timmins
Choreographer: Jenny Morris
Author: Paul Douglass, Written By: Richard Bean

I really don’t know where to start on this review of an outstanding production.

Based on the real life events over fifty years ago in 1968 it tells the story of the strike by women for equal pay at Fords Dagenham plant and Tudor Musical Comedy Society brought it to life with a passion.

You could tell, from an audience point of view, how much all of the cast enjoyed staging the production, which was slick and very energetic.
The set was very well designed and made full use of the Sutton Coldfield Town Hall stage and the back projection really finished off the set. Great Idea.

Natasha Cartwright as Rita led the company well. She put so much passion into the role as the leader of the women strikers. She was well supported by Nathan Rock as husband Eddie, who is also affected by the strike.
Both acted and sounded good. Louise Grifferty as shop steward Connie gave an outstanding performance, as did Hannah Wyss as Beryl.

There were so many outstanding performances in this production there is just not enough space to mention everyone.
But I do have to mention Paul Lumsden and Charlie Ward as Harold Wilson and Barbara Castle. Some great characterizations from both. Also John Johnson as American boss Mr. Tooley, the true villain of the piece.

I also liked the idea at the end of the production to bring the stage crew onto the set as they also did a sterling job on this show.

Musical Director Andy Timmins ensured that the orchestra did not over power the wonderful singing from the company.

Jenny Morris as choreographer ensured that the dancing was first class.

The director, Paula Lumsden did a sterling job in this her debut production.

Well done to you all, a first class performance.

Chitty Chitty Bang Bang

Date: 12 October 2023
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Richard Poynton
Musical Director: Andy Timmins
Choreographer: Jenny Morris
Author: Brian Hirst

This iconic musical presents challenges even when the performing area is large with plenty of wing space. The challenges are even greater for a society having the constraints imposed by this venue. That being said Tudor met them, overcame them and presented a first-class evening's entertainment. There are so many things about this show that audiences expect to see, and they certainly wouldn't have been disappointed with this production. Richard Poynton ensured that a good pace was maintained and used the stage and entrances imaginatively. I also liked the inclusion of 'The Spies' in the Old Bamboo routine, the use of the gearing on the proscenium flats and the re-uniting of the children with their families at the end. The choreography was slickly executed and inclusive considering the space available. The Samba was particularly colourful and energetic. The orchestra were well balanced and supportive with some good rousing numbers although on occasions I struggled to hear some of the under-scored dialogue. However, this didn't detract from the confident chorus singing, ensembles and solos.

Ben Foulds (Caractacus Potts) sang and acted with conviction and his love for his children was evident, particularly in the songs 'You Two' and the beautiful 'Hushabye Mountain'. He worked well with Natasha Cartwright as the feisty but vulnerable Truly Scrumptious and she also showed what an excellent singing voice she has. The growing relationship between them was evident. The children played by Peter Barker (Jeremy Potts) and Rachel Kirk (Jemima Potts) were delightful and I am sure that would also be true for the children in the other performances. I think that everyone playing the part of Grandpa Potts sees themselves as Lionel Jeffries and Dave Mansell certainly had the voice for it. His 'mannerisms' were excellent and 'Posh!' was accomplished piece of theatre. There are some good comedy partnerships in 'Chitty', and we were treated to some well delivered comedy timing from Alex Nash and James Fisher as the inept spies Boris and Goran. Mark Skett and Karrise Willetts as the Baron and Baroness Bomburst kept us amused by their verbal interchanges and delivery of 'Chu-Chi Face. Karrise also led the company in the energetic 'Bombie Samba'. I sensed the fear in the audience when we heard the cries 'Children, I smell children' from the wings to be followed by the menacing James Rowney (The Childcatcher). There was also a well-paced characterisation of The Toymaker by Hannah Weaver which demonstrated that her love of children was the reason that she made toys. I also enjoyed the routine of 'Roses of Success' and the addition of the tap dancer. The children who had been kidnapped also made a strong and valuable contribution to the story. I saw Team Dahl and they should be proud of what they achieved. There were lots of little cameo roles which were integral to the story, and these were also well portrayed.

There was good technical support, scenery and costumes. Congratulations to everyone involved and thank you for the evening's entertainment!

Calamity Jane

Date: 29th June 2024
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Elliot Beach
Musical Director: Andrew Timmins
Choreographer: Jenny Ashurst
Author: Paul Douglass

Well, The Deadwood Stage hit Sutton Coldfield with a bang and, even though we thought we were in the Windy City we could still see The Black Hills of Dakota. This show was another sure fire hit from Tudor.

Paula O’Hare played Calamity Jane with such ease, she was made for the role. Together with Ben Foulds as Wild Bill Hickok they led this talented company well. You could tell that they enjoyed working together. Great support came from Vanessa Blake (Katie Brown), Jonathan Blake (Danny Gilmartin) and James Fisher as Henry Miller. Another good pairing was Alex Nash as Francis Fryer and Charlotte Raybould as Susan. All of the main principals sang and danced well together. Samantha Rogers as Adelaide Adams was a joy to watch. The whole ensemble worked well as a team and supported the main principals with some fine singing and dancing.

The scenery looked good on the town hall stage and I liked the way the lights along the front of the stage looked like you were in The Golden Garter. Tudor also made good use of the side areas of the apron and the floor where the orchestra were located. Speaking of the orchestra, though large in number thanks to good sound technicians, every word could be heard from the stage. The lighting was good and gave a really good atmosphere.

Elliot Beach and the whole of the production team should be proud of this production.

Thank you for the invite and I look forward to seeing you all soon.

Charlie and the Chocolate Factory

Date: 12th March 2025
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Juliet Fisher
Musical Director: Andrew Timmins
Choreographer: Connie Mortiboy
Author: Paul Douglass

This feel good show received a standing ovation at the end of the evening from the sell out audience and this was well deserved by the cast and crew of this production.

As we are all aware, Willy Wonker has decided to open his Chocolate factory to five lucky golden tickets holders. Our hero, Charlie Bucket finds the last golden ticket and together with his grandpa Joe goes to the factory to see the wonders it holds.

Elliot Scott-Lolley led the cast well as the incredible Willy Wonka. He sang and acted really well and really interacted well with his fellow cast members including Ellie Howard who played Charlie Bucket on the evening I attended. Ellie was a joy to watch. Her partner in crime was Mark Skett as Grandpa Joe. Mark looked so good as Joe and supported Ellie well. Paula O’Hare gave a good performance as Mrs. Bucket together with Joanne Browning, Wayne Cooper and Lisa Howard as Charlie’s grandparents. Great Support came from the other four finders of the golden tickets, Alex Nash as the outrageous Augustus Gloop, loved the yodel, Bethany Davis as Russian Veruca Salt, Samantha Rogers as gum chewing Violet Beauregarde and Dan McCloskey as Mike Teevee, the over bearing teenager. I enjoyed the moment that they shrunk him down to size, great effect.

The whole company, principals, ensemble and chorus worked well together and you could tell that they were enjoying the production.

The set was good, and I felt that the projected back scenery, created by Peter Muxlow worked well. Sound and lighting was good. And, with some outstanding costumes, this created a well rounded show. I thought the back stage crew worked well and you hardly knew they were on stage changing props etc.

Juliet Fisher must be so pleased with this show and i am looking forward to seeing the society’s next production in September.
Paul Duglass – Regional Representative District 9

I must apologise for not writing to all involved in Charlie and the Chocolate Factory.

I always look forward to an invitation from Tudor Musical Comedy Society, knowing I'm in for an enjoyable evening of entertainment.

This was certainly the case last week when I had the pleasure of seeing Charlie and the Chocolate Factory.

Once again, it was clear that many hours had been dedicated in the rehearsal room, and the hard work truly paid off. Graham, our National President, perhaps summed it up best with his comments when we joined you on stage after the final curtain call.

All I can say is congratulations to everyone involved, and here's to the next production-Grease!

See you soon.
Andy Brown – Regional Councillor NODA West Midlands

Grease

Date: 25th September 2025
Venue: Sutton Coldfield Town Hall
Type of Production: Musical
Director: Elliot Beach
Musical Director: Andrew Timmins
Choreographer: Jenny Ashurst
Author: Paul Douglass, Written by Jim Jacobs and Warren Casey

Any stage production of Grease has a lot to live up to, being compared with the John Travolta and Olivia Newton-John film. But as soon as Juliet Fisher’s production got underway, the film was forgotten. We were given a stonkingly bright, colourful show and the audience loved every minute of it.

Elliot Scott-Lolley as Danny Zuko and Mia Davies as sandy Dumbrowski were very well matched, both having great acting and singing skills. They really made their on/off relationship convincing. Charlotte Raybould as Rizzo gave a strong performance as didSamantha Rogers as Marty (Great Singing). Emily Loftus as Frenchy gave us a convincing Frenchy and how everyone loved the pink hair. Great support came from Eloise Tanley as Jan, who somehow managed to eat and sing at the same time, Maria McGarrigle as Patty, Jo Browning as Miss Lynch and Charlene Payton as the Rydell Receptionist, a role she made her own.

The Male roles were also well performed. Dan McCloskey gave us a strong performance as Kenickie with strong stage presence. Alex Nash played Guitar strumming Doody well as did Alex Tuckwell as ladies man Sonny. James Rowney as Roger gave us a lonely rendition of ‘Mooning’. Great support came from Mark Welch as Teen Angel and Mike Willis as Vince Fontaine, and Janine Revell as Cha-Cha Digregorio. Last but not least the audience could not forget Billy Skinner as Eugene Florczyk.

The ensemble supported the principals well and really worked well as a team with them all staying in character.

Musical Director, Andrew Timmins, led a good sounding band and Connie Mortiboy brought the production to life with the choreography.

The set, though simple, filled the stage and looked really effective. Costumes looked good from the audience point of view right down to the shoes. Sound and lighting was effective for the production. The backstage crew did an excellent job and you hardly noticed them.

Juliet Fisher should be very pleased with this production. You could tell that the cast enjoyed it as much as the sell out audience.

Congratulations to you all, thanks for the invite from me, Andy (NODA Regional Councillor) and NODA President Graham and I look forward to seeing you all soon.
Paul Duglass – Regional Representative District 9

Having attended several productions by Tudor Musical Comedy Society, I was very much looking forward to their latest offering — the ever-popular Grease.

In September 2024, Graham Liverton was appointed NODA National President, a role held for just one year. I was delighted to welcome both Graham and his wife, Ann, to the West Midlands for what would be his final show in the role. Following the performance, Graham spoke about how much he had enjoyed the show, praising the high quality of the production — sentiments that I wholeheartedly echo, as well as the comments made by Paul within his show report.

This was a well-rehearsed production, featuring strong choreography and attention to detail. Characterisation across the cast was convincing, with performers demonstrating a solid understanding of their characters' backstories. The use of stage space, and at times, the auditorium, was creative and engaging. The iconic Greased Lightning car certainly lived up to expectations and was a real highlight.

Congratulations to the Class of 2025 for transporting us back to Rydell High and capturing the spirit of 1959 so vividly. Grease truly was the word!

I now look forward to rejoining Tudor Musical Comedy Society in October 2026 for Joseph and the Amazing Technicolor Dreamcoat.
Andy Brown – Regional Councillor NODA West Midlands

Joseph and the Amazing Technicolor Dreamcoat

Society Name: Tudor Musical Comedy Society
District: West Midlands / Nine
Title of Production: Joseph and the Amazing Technicolor Dreamcoat
Production Report by: Paul Douglass
Date of Review: 14th October 2026
Venue Name: Town Hall
Venue Town / City Sutton Coldfield
Producer / Director: Ami Radcliffe
Assistant Director Daisie Macbeth
Musical Director: Andrew Timmins
Choreographer: Ami Radcliffe

Show Report:

Once in a while a production comes along which a reviewer finds hard to write about because it was so professionally staged, this show was one of them. For this, their 65th anniversary year, Tudor could not have chosen a better production to stage.

From the opening number to the megamix finale there was so much energy and joy on the stage. Each one of the cast were really putting their all into the production, and you could tell.

Leading this very talented cast was Elliot Scott-Lolley, playing the role of Joseph. He commanded the stage. His singing was exceptional especially with ‘Close Every Door’ and ‘Any Dream Will Do’. His timing was perfect. Teaching the children the story of Joseph and later becoming the Narrators of the story were Paula O’Hare and Samantha Rogers. Again, so well sung, they worked so well together and their interacting with the children was second to none. Jacob was played well by newcomer to Tudor Sam Davis. A very strong character. Potiphar and Mrs. Potiphar were played by James Fisher and Beth Davis (in a role which was made for her). They worked so well together. The Baker and Butler in the prison cell with Joseph were played by Mia Davies and Rachel Tucker, who again worked well together.

Joseph’s brothers came over well, and, like the rest of the cast you could see that they were enjoying the piece. They sang perfectly. They were played by Mike Willis, Ade Cox, Alex Nash, Charlene Payton, Lisa Howard, Rhys Dempster, Mark Welch, Thomas Flanagan, Ellie Howard, Jocob Kishore and Alfie Macbeth. I do have to say that I really enjoyed the ‘Benjamin Calypso’, Charlene, never tell me again that you cannot sing.

One highlight of the production was ‘The Song of the King’ performed by Pharaoh himself, Dylan Reed. He sang it how it should be done, in the style of Elvis. How the audience loved this.

On the evening, I attended the production the children, who were the school children being taught the story were from the ‘Funky Pharaohs Team’ joined the cast. They were so good and gave an all-round performance and are a credit to the society. I know that some of them performed in all the productions during the show's run. I am sure the ‘Any Dream Team’ were just as good. You are the future of amateur theatre and seeing what I saw, the future is in safe hands.

Congratulations must go to the wardrobe team, led by Suzanne Harris, they looked so good from the audience point of view. The camel scene was a joy to watch and made me laugh out loud. The set was ideal for the Town Hall stage and made use of every inch of space. The prop and small scenery changes were unnoticeable, and it was great to see the stage crew dressed up in costume. Choreographer Ami did a fantastic job, everyone moving together and not a straight line in sight.

Andrew Timmins orchestra sounded so good and did not overpower the singing from stage. Every word could be heard.

Congratulations to everyone in the production, cast, production team, stage crew, everyone, you all did a fabulous job and worked so well as a team. Ami and Daisie, you did a fantastic job. The company well deserved their standing ovation.

Thank you so much for the invite. I look forward to seeing you all at your anniversary ball.

65 years and counting. When your four founding members got together for that first meeting, they would have never known that you would stage a show like this in the 65th anniversary year.

Paul Douglass, Regional Representative district 9

Additional Comments – Regional Councillor, West Midlands

As Regional Councillor for the West Midlands, I am privileged to be invited to numerous productions across the Region. These opportunities only serve to confirm the outstanding talent we have within amateur theatre and how standards continue to rise.

Over the years, I could not begin to say how many times I have had the pleasure of watching the wonderful Joseph and the Amazing Technicolor Dreamcoat. These have included both youth and adult productions, with younger members also taking part. However, I find it difficult to recall a production as well performed as that delivered by Tudor Musical Comedy Society to a highly appreciative audience.

Paul has fully captured the superb performance delivered by Elliot Scott-Lolley in the role of Joseph, and it is therefore difficult to add anything further, other than to say that I wholeheartedly agree with his comments.

Paul’s comments regarding the Narrators are equally fitting. Both had a wonderful stage presence, which helped elevate the production to an even higher level. Indeed, Paul’s observations on the remainder of this wonderful cast can only be echoed and wholeheartedly endorsed.

I was delighted to be invited onto the stage following the final curtain and the wonderful megamix finale, which gave us all another opportunity to enjoy so many of the production’s highlights. It was a real pleasure to personally convey my congratulations to the entire team, whether performing on stage, working behind the scenes or forming part of the production team.

Next on the agenda for Tudor Musical Comedy Society is something rather different – Avenue Q. I already have the date firmly in my diary and would encourage others to do the same.

Andy Brown

Annie

Date: 26th March 2014
Author: Jean Cunnington from BFAME

This is a show that needs very little introduction, if you have not seen or heard about it there is little chance that my comments will help. Nevertheless this was a production which deserved the large audience that attended when we were there. It is set in 1933, against the backdrop of the Great Depression. Under the direction of Faye O’Leary, musical direction of David Easto and choreography of Paula Waldron the show moved smoothly from beginning to end.

The set comprising two large revolves and an inset revolve totally filled Sutton Town Hall stage; this gave all of the various locations required. It also enabled the changes to be carried out continuously throughout the production with no lack of pace or momentum. To enable this to happen, and give space to the very large cast taking part, a large apron area was required in front of the tab line. This did look overpowering as the audience came in but when the tabs opened the magic revealed itself and the show got off to a flying start.

If one wanted to be particularly picky then a black and white border collie called Sandy (Beanz) did not quite ring true, however his characterisation was brilliant!

Miss Hannigan (Paula Waldron) gave an interesting performance but particularly came into her own during the rendition of “Easy Street” with her brother Rooster(Patrick Jervis) and Lily St Regis (Charlotte Middleton), this number certainly lifted the show and introduced us to three very interesting and entertaining characters. Grace Farrell (Paula O’Hare) gave a very believable portrayal of the hard working secretary to the billionaire Oliver Warbucks (Paul Lumsden). This was a very good performance which worked well and was particularly poignant during “I Don’t Need Anything but You” with Annie and the company at the end. President Roosevelt (Alan Waldron) was an interesting character who was a good foil to Oliver. As a somewhat more comic interlude, the scene at the NBC Radio Station, with Bert Healy (Nathan Rock) and the Boylan Sisters was memorable but the antics of the Sound Effects Man (James Pugh) stole the scene. Then we come to Annie the star of the show, on the night we attended it was Lucy Foley, this was a believable, warm and most engaging performance, from a talented young actress.

This large company gave the ensemble numbers with gusto, some of the very noteworthy moments were probably “Tomorrow” and “Hooverville” in act one and, “A New Deal for Christmas” in act two.

This was a production with some thirty four named parts, a chorus of thirty and two sets of ten orphans which flowed almost seamlessly from beginning to end. Congratulations is given to the production team who brought the whole together in such a well-rounded way, the technical team who worked wonders getting the show to a position where all could be seen and heard as well as actually being on stage at the right time, and not least, the company who gave such a wonderful performance.

Jesus Christ Superstar

Date: 24th March 2015
Author: BFAME

We had the same successful team as last year for this production, director Faye O’Leary, musical director David Easto and choreography Paula Lumsden. The large thrust stage was used this time without tabs. The single set stage enabled the show to move smoothly from beginning to end. The cast, by clever use of twelve two-foot cubes, producing the various locations and settings with admirable dexterity. The decision to costume the production out of period with the exception of the Romans, made a change, however the programme notes stated that the time and place was “Jerusalem, at the time of Jesus” thus this decision seemed a little incongruous.

The intention was to tell ‘the greatest story ever told’ from Judas Iscariot’s point of view. Eoin Edwards' portrayal of Judas was indeed strong and personal, right through to his suicide by hanging. A great deal of the story and atmosphere was developed and maintained by the apostles, priests, guards, lepers and many other assorted mob members. The ‘chorus’ to give them a more encompassing title, provided a very believable and interactive insight as to how the support for Jesus first built, then started to turn against him finally destroying him; before they started to reflect on the role they had played, thus starting the process that eventually led to his worldwide fame.

Memorable moments from the massed ensemble have to be “The Temple” with the people of Jerusalem and the lepers; “Herod’s Song” with Herod (James Ross) and the dancers and “The Trial by Pilate/39 Lashes” with Pilate (Phil Bourn) and the company - the flogging of Jesus was a particularly well conceived scene where his physical suffering really began to be witnessed.

Caiaphas (Paul Lumsden) and Annas (Dan Anketell) as the chief priests provided characters that most of us would not wish to be holders of such office, whereas Simon (Robert Bateman) and Peter (Patrick Jervis) as the two principal apostles were far more likable. Even if in the end they did openly reject Jesus.

Jesus played by Chris Ranger gave a fine portrayal throughout, totally within the concept of this production, his involvement with all levels of the community was well handled and controlled and summed up in “Poor Jerusalem”. The “39 Lashes” has already been mentioned but we certainly started to feel the pain, and the final “Crucifixion” scene brought it all to a head.

Mary played by Charlotte Middleton was a tour-de-force within the great scheme of things. Her portrayal moved through all levels of emotion where she certainly became a catalyst. Her sincerity during “I Don’t Know How To Love Him” will be one of the major highlights of the show.

When considering this production overall, the company gave their all, the ensemble numbers were full of energy, the show flowed seamlessly from beginning to end, and that is not just in the hands of the cast but also the technical team who enabled us to see and hear what was going on at all times. The Audience, certainly on the night we were there agreed to the shows success.

HONK!

Date: 18th March 2016
Author: LOVE MIDLANDS THEATRE

Honk! It's the definitive fairy-tale; an age old story about acceptance, friendship and love in spite of differences. So it's no coincidence that even 170 years after it was first penned by Hans Christian Andersen, almost everyone over the age of about five would know the story of The Ugly Duckling. In their colourful, fun-filled and energetic production of the musical adaptation of the story, Honk!, Tudor Musical Comedy Society do their damnedest to bring the heart-warming tale to life. Max Thompson-Brooks is suitably bashful as Ugly and plays the protagonist with a charming vulnerability with a nice stage presence. His performance is all the more impressive given he is just 15 years old. This was his first show with the society and on this evidence it will certainly not be his last.

As his parents Drake and Ida, Paul Lumsden and Paula O’Hare are the production’s shining lights. Lumsden plays Drake with a booming charm and humour and a strong vocal that was delightful from start to finish. His cameo as the cockney Bullfrog later in the show was equally enjoyable and funny. It’s Lumsden’s 20th year performing in the area and you can tell; he so very comfortable on stage – a pleasure to watch. O’Hare too was excellent. She has a beautifully effortless voice and really lights up the stage as Ugly's adoring mother. There's a lovely chemistry between her and Thompson-Brooks.

A slightly long first act comes to a colourful close before Sarah Clarke and Carly Hyland kick off the second act in style. The pair make an excellent twosome, Hyland as Lowbutt, the frightfully middle class hen, and Clarke as her equally snooty cat companion Queniee. Hyland in particular has a lovely poise and really brought out the comedy in her lines.

Elsewhere Alan Waldron is perfect as the sonorous and majorly Grey-lag and Mia Turley as his young sidekick Dot has a confidence beyond her years, while Nathan Rock is entertaining as the sly Cat who is always finding new ways to try and eat Ugly.

As the familiar tale unfolds, Ugly’s young siblings add colour and humour, while scene changes were for the most part very smoothly done with nice interludes; including some glow in the dark puppetry when Ugly takes a dive.

There's certainly no shortage of talent in the society but if there is one slight problem with the show it is the story. The Ugly Duckling is of course a children's fairy-tale but at the risk of stating the obvious, like the story, the musical is just a little juvenile and uneventful for adult audiences. That's not the society's fault though. They've cast and delivered the production just about as well as it could be performed. In truth this is a show to take your kids to and enjoy through them more than it is a show for adults. But there's no harm at all in good family fun and director Faye O’Leary and her team have plenty to be proud of.

Legally Blonde

Date: 8th November 2021
Author: Nigel Gambles (What's on in Sutton Coldfield)

The shows are back and the Town Hall is in full swing again. Legally Blonde is the first Am Dram show to be performed at the Town Hall since the outbreak of the pandemic when everything was cancelled.

This is a wonderful production by Tudor based on the hit films staring Reece Witherspoon as Elle Woods, it seems as if she has been transported into the persona of our lead played by Katie Milligan

Elle Woods appears to have it all. Her life is turned upside-down however, when her boyfriend dumps her so he can start getting serious about his life and attend Harvard Law.

Determined to get him back, Elle uses her charm to get into Harvard Law.
At school, she struggles with peers, professors and Warner. With the help of Paulette and Emmett though, Elle quickly realizes her potential and sets out to prove herself to the world. (Warner – Alan Rowe, Paulette – Natasha Cartwright, Emmett – Ben Foulds, Elle – Katie Milligan)

There is so much joy and enthusiasm on the stage the routines are slick and well performed, vocals strong and clear and a superb supporting ensemble.

I have to admit to have never seen the film or show before and I thoroughly enjoyed it, during some of the musical numbers it makes you feel like joining in.

The show runs until Saturday 13th November

Chitty Chitty Bang Bang

Date: 13th October 2023
Author: Pip Gorringe

"Chitty Chitty Bang Bang Takes Flight in Sutton Coldfield's Town Hall: A Spectacular Triumph!

Tudor Musical Comedy Society's latest production of "Chitty Chitty Bang Bang," performed at the Town Hall in Sutton Coldfield from the 10th to the 14th of October, was a breath taking, heart-warming journey into the magical world of imagination. Under the skilful direction of Richard Poynton, this musical extravaganza brought Ian Fleming's classic story to life in a way that will be etched in the hearts of its audience forever.

The cast, led by the immensely talented Ben Foulds as Caractacus Potts, delivered a performance that was nothing short of brilliant. Foulds brought his character to life with a charming blend of inventiveness and charisma, capturing the essence of a loving father and ingenious inventor. His chemistry with Natasha Cartwright, who portrayed the stunning Truly Scrumptious, was utterly enchanting. Their voices resonated with emotion and harmony, making their duets truly memorable. Foulds rendition of ‘Hushabye Mountain’ gave me goosebumps and I was singing it the whole way home.

The young stars of the show, Myleigh Davis (alternating with Rachel Kirk) and Jack Brayley-Boddington (alternating with Peter Barker) as Jemima and Jeremy, showcased a remarkable level of talent and poise. Their performances were not just adorable but displayed a level of professionalism beyond their years, leaving the audience in awe. Excellently executed, with beautiful singing voices. No foot was put wrong, and no words misspoken, we’ll be keeping an eye on these stars in the making and looking forward to seeing what they do next.

Mark Skett and Karrise Willetts embodied the Baron and Baroness with captivating humour and style. Their onstage presence and witty banter added a delightful layer of humour to the production, perfectly contrasting the heart-warming moments that were abundant throughout the play.

Vulgarian Spies Boris, portrayed by Alex Nash, and Goran, brought to life by James Fisher, were an absolute riot. Their slapstick antics and impeccable timing had the audience in stitches throughout the show. Their performances were a testament to the outstanding ensemble and character-driven comedy the Tudor Musical Comedy Society has delivered.

The magic of "Chitty Chitty Bang Bang" was brought to life by the phenomenal efforts of the production team. The musical direction by Andrew Timmins was sublime, bringing the unforgettable Sherman Brothers' score to life with precision and emotion. The choreography by Jenny Morris added an extra layer of delight to the performance, with the stunning dance sequences leaving the audience mesmerized. The energy, drive and smiles behind ‘Me Ol’ Bamboo’ in particular was an absolute delight!

But it was the star of the show, Chitty herself, that truly stole the spotlight. The masterful craftsmanship of the car, which actually flies, made Chitty an enchanting character in her own right. The way she took to the stage with a grace and elegance that was nothing short of magical, was a true testament to the creative brilliance of the team behind this production.

In conclusion, Tudor Musical Comedy Society's production of "Chitty Chitty Bang Bang" at the Town Hall in Sutton Coldfield was a spectacular triumph. The cast, led by Ben Foulds and Natasha Cartwright, brought their characters to life with charisma and talent, while the entire ensemble showcased their skills with exceptional finesse. The creative brilliance of the production team, under the direction of Richard Poynton, transformed the stage into a world of enchantment and wonder. This production of "Chitty Chitty Bang Bang" is an absolute must-see and a shining example of the extraordinary talent and dedication that the Tudor Musical Comedy Society brings to the stage. Don't miss this delightful, heart-warming, and magical experience! Tickets are almost sold out, but you can grab the last few on their ticketsource website.

Chitty Chitty Bang Bang

Date: 9th October 2023
Author: Nigel Gambles (What's on in Sutton Coldfield)

The most phantasmagorical stage musical has flown into Sutton Town Hall

We have never seen this show so were very excited to be able to see this production by Tudor Musical Comedy Society

A quick recap of the story, originally written by Ian Fleming (Of James Bond Fame) follows the adventures of Caractacus Potts, his wonderful children and their eccentric Grandpa Potts. They meet up with the beautiful Truly Scrumptious who joins them on their adventures, including a trip to Vulgaria a few lucky escapes and of course a very impressive automobile.

‘Team work makes the dream work’ is a recurring phrase within this musical and never has a truer word been spoken than with the company of Tudor Musical Comedy. Choosing such a technically advanced production, filled with prestigious musical numbers, was always going to be an enormous challenge to undertake. However it was met and overcome with great gusto and enthusiasm.

The show has numerous fantastic characters, and I feel I must highlight the two comedic duos who stole the stage every time they appeared. Firstly the dimwitted Vulgarian Spies Boris (Alex Nash) and Goran (James Fisher) certainly in the running for double-act of the year their timing was perfect and their rendition of “Act English” is a highlight.

Vulgaria must be the centre for producing fantastic comedians as the Baron and Baroness performed by Mark Skett and Karrise Willetts were just that. They especially shone during “The Bombi Samba” playing the audience brilliantly.

Moving on to the stars of the show, Natasha Cartwright as the lovely Truly Scrumptious really does have the most delicious vocals and her chemistry with Caractacus (Ben Foulds) was wonderful to watch. Anyone who has seen the movie musical will remember the iconic music-box scene and Natasha was superb in this – she is a natural leading lady.

Lets not forget the children Jemima (Myleigh Davis alternating with Rachel Kirk) and Jeremy (Jack Brayley-Boddington alternating with Peter Barker) who were wonderfully entertaining.

Credit must also go to Director Richard Poynton who has managed to make every character shine individually but also come together as a strong and united ensemble. He is supported by musical director Andrew Timmins who’s direction ensured the musical numbers were performed perfectly from the title song to “Me Ol’ Bamboo” and “Toot Sweets” all this accompanied by Jenny Morris’s excellent choreography makes for a not to miss spectacle.

One last mention must go to all the tech teams and back of house teams whom without them the show just would not be.

Calamity Jane

Date: 27th June 2024
Author: Pip Gorringe

The Tudor Musical Comedy Society has lassoed a rip-roaring success with their latest production of Calamity Jane at the Town Hall in Sutton Coldfield.
It's been a week of wild west antics, toe-tapping tunes, and enough puns to keep the audience grinning from ear to ear.

Paula O’Hare rode into our hearts as the titular Calamity Jane. Her portrayal was anything but a calamity – more like a delightfully dynamic dynamo! Paula’s infectious energy and comedic timing had the audience in stitches, proving she’s got the golden touch for the golden west.

Ben Foulds, as Wild Bill Hickok, was the perfect match for Jane, bringing a rugged charm and a twinkle in his eye that would make even the iciest cowboy melt.
Their chemistry was sizzling enough to light a campfire – a true match made in musical theatre heaven.

Vanessa Blake’s performance as Katie Brown was as sweet as prairie pie.
Her vocals were as smooth as a calm prairie breeze, and she brought a refreshing innocence to the stage that balanced the wild antics perfectly.

Meanwhile, Jonathan Blake as Lieutenant Danny Gilmartin made a dashing soldier – his presence commanding attention and his romantic subplot with Katie adding just the right touch of tenderness.

James Fisher’s Henry Miller and Alex Nash’s Francis Fryer brought their own brand of hilarity to the show.
James’s portrayal of the flustered saloon owner was spot-on, and Alex’s cross-dressing calamity as Francis Fryer was a riot, leaving the audience roaring with laughter.

Charlotte Rayboulds Susan Miller was a delight, bringing a touch of class and a lot of heart to the stage.

Samantha Rogers as Adelaide Adams was every bit the diva, her performance oozing with star power and charisma.

Behind the scenes, Andrew Timmins waved his baton as Musical Director, ensuring the music was pitch-perfect and as lively as a hoedown.

Elliot Beech, the Director, expertly wrangled this wild bunch into a seamless and thoroughly entertaining production.

The choreography by Jenny Ashurst, with Beth Davis as Dance Captain, was nothing short of spectacular – every dance number was a whirlwind of energy and precision, making sure the audience’s feet were tapping right along.

In short, Tudor Musical Comedy Society’s "Calamity Jane" was a yeehaw-mazing show!

Calamity Jane

Date: 24th June 2024
Author: Nigel Gambles (What's on in Sutton Coldfield)

My memories of Calamity Jane will be pretty much the same as most peoples, Doris Day in the movie of the same name. So I sat there and waited in anticipation. Saloon singers entered the stage and began with some well know numbers “She’ll Be Coming Round The Mountain” and “Home on the Range” to set the scene.

Calamity Jane, is rich and tuneful and contains many hits: The Deadwood Stage (Whip Crack Away), The Black Hills of Dakota, Just Blew In From The Windy City, A Woman’s Touch, My Love Is Higher Than A Hawk, and, of course, the Oscar winner, Secret Love. Its a wonderful score and I challenge you not to be singing along and tapping your feet after the first 10 minutes.

Full appreciation must be given to Suzanne Harris whose costumes are clever and present the types to be expected in the concept of America’s Wild West.

Ben Foulds is wry, laconic and incredibly laid back as Wild Bill Hickok. It is a performance of pure joy. He sings superbly throughout but his “My Love Is Higher Than A Hawk” is a genuine highlight and sets Act Two off beautifully. His rapport with Jonathan Blake’s Danny and Paula O’Hare’s Calamity is finely judged and ensures that the humour and the romance gets across. Jonathan is pitch perfect as Danny: the good looking Army man who knows he is good looking and expects the ladies to agree. Smart and smarmy, Jonathan’s Danny is the perfect foil for Wild Bill and the perfect objet of affection for Calamity. Alex Nash is equally perfect as Frances Fryer, and he brings a real sense of mischief, fun and subversiveness to his performance. He is incredibly musical and this shines through everything he does in remarkable and very satisfactory ways. He has a strong, true voice and every moment he is on stage is joyful.

Vanessa Blake is a delight as Katie Brown, the girl who would be a star. Her transition from scared wannabe to accomplished Deadwood diva is skilfully achieved. Her vocals in A Woman’s Touch are absolutely delicious. She has a gorgeous voice and real star appeal.

There is excellent work throughout the show from Maurice Buxton (Rattlesnake), Elizabeth Kirk (Joe), Alex Tuckwell (Hank). All provide colour, texture and interesting character work.

In the title role, Paula is well cast, and gives her all. Calamity is a part for a pretty woman who can successfully convince as a possible man; a true tomboy who can turn Princess. Paula has an easy, broad comic style, and she can punctuate jokes with aplomb, either with a deft double-take or a hard look or a nicely delivered line. Vocally, she is in good form. Her voice is as clear as a bell, especially in the number where she introduces the townsfolk: The Deadwood Stage. Her vocals in her duets with Bill and Katie were great, and those two songs were real treats.

She sings “Just Blew In From The Windy City” with vivacious determination and leads the cast in a great romp of a number which is the true highpoint of the production. Secret Love is not the peak musical moment it could be, but that is not to say Paula does not do it justice. She does.

This is a theatrical treat: a good, old fashioned musical done in a new fangled way. It’s great to hear such good songs so well sung by a cast that are truly enjoying performing. Their shear enthusiasm shines through

The band were very competent under the direction of Andrew Timmins and delivered a rousing score. Full credit to Choreographer Jenny Ashhurst and dance captain Beth Davies who delivered some fabulous dance scenes. Last but not least Director Elliot Beech whose directorial debut this was and he certainly delivered.

Charlie and the Chocolate Factory

Date: 12th March 2025
Author: Pip Gorringe (Birmingham World)

If you’re looking for a show that’s as sweet, nutty, and delightfully bonkers as a Wonka Whipple-Scrumptious Fudge Mallow Delight, then look no further than the Tudor Musical Comedy Society’s production of Charlie and the Chocolate Factory!

Playing at Sutton Coldfield Town Hall until Saturday, 15th March, this performance delivers an evening of pure imagination, sprinkled with humour, charm, and just the right amount of Oompa Loompa mischief.

As the eccentric chocolatier himself, Elliot Scott-Lolley was the perfect mix of charismatic, enigmatic, and ever-so-slightly unhinged—exactly what you want from Willy Wonka. From the moment he glided onto the stage, he commanded attention with his effortless stage presence and sharp comedic timing. His delivery was razor-sharp, with just the right amount of quirky unpredictability—one moment charming, the next subtly sinister, leaving the audience never quite sure whether Wonka was a genius, a lunatic, or both (probably both). He handled the musical numbers with ease, and his chemistry with the golden ticket winners made for some truly entertaining interactions.

Jack Brayley-Boddington as Charlie Bucket was the ultimate underdog. A role like Charlie Bucket requires an actor who can convey sincerity without being overly sweet, and Jack Brayley-Boddington did just that. He played Charlie as earnest, kind-hearted, and full of hopeful wonder, making him an easy character to root for. His interactions with Paula O’Hare as Mrs. Bucket were heartfelt and touching, bringing warmth to the show’s opening scenes. His natural stage presence and clear, strong vocals made him a standout, and you couldn’t help but feel a sense of triumph for him as he navigated Wonka’s bizarre world.

Mark Skett as Grandpa Joe is the Grandparent we all wish we had and was an absolute delight. He played the role with infectious energy and mischievous enthusiasm, making Grandpa Joe the lovable, slightly cheeky partner-in-crime that every child dreams of having. His comic timing was impeccable, and his sheer excitement when stepping into Wonka’s factory was contagious. You could tell he was having an absolute blast on stage, and that joy spread to the audience.

One of the highlights of Charlie and the Chocolate Factory is, of course, the four ridiculously spoiled children who meet their hilarious (and well-deserved) downfalls. The entire ensemble brought big personalities, even bigger voices, and plenty of comedic gold.

Alex Nash as Augustus Gloop perfectly embodied the gluttonous, sausage-loving boy from Germany with a hilarious mix of arrogance and cluelessness. His scenes were laugh-out-loud funny, especially his dramatic demise into the chocolate river.

Elizabeth Kirk as Mrs. Gloop delivered a side-splittingly funny performance, bringing a hilarious, over-the-top German accent and some truly impressive yodelling. A true scene-stealer.

Bethany Davis as Veruca Salt was deliciously bratty from start to finish. Her tantrums were beautifully exaggerated, and she commanded the stage with the perfect blend of entitlement and whiny outrage, making it hard to believe that this was Bethany’s first principal role in her 15 years at the society! Mike Willis as Mr. Salt played the worn-down, fed-up father to perfection, expertly balancing between indulgent and exasperated. Both their accents were on point (as well as Bethany’s excellence Ballet dancing).

Samantha Rogers as Violet Beauregarde was a sassy, gum-snapping diva, bringing boundless energy and a swagger that made her downfall even more satisfying. Her confidence as the self-proclaimed world champion gum-chewer was fantastic, and James Fisher as Mr. Beauregarde was an equally funny counterpart, playing the overbearing sports dad trope flawlessly.

Dan McCloskey as Mike Teevee played the overstimulated, screen-addicted kid with absolute conviction, his character brimming with cocky defiance. His high-energy, fast-talking performance was so convincing that you wouldn’t be surprised if he actually tried to livestream his way through the show. Hannah Weaver as Mrs. Teevee provided brilliant comedic contrast, her exhausted, overly indulgent mother routine landing every time and everyone loved her attempts to charm the oblivious Willy Wonka!

With minimal props and staging, the production relied heavily on projections and a screen, which turned out to be a stroke of genius. The clever visuals helped transport the audience into Wonka’s world, enhancing the whimsicality and surreal nature of the story. The only downside being the potentially outdated sound system, and though the orchestra was outstanding, it would occasionally be overbearing when competing with the voices of the actors.

The production team, led by Hellie England, ensured smooth scene transitions and a seamless flow from one delightfully bizarre moment to the next. Juliet Fisher’s direction kept the pacing sharp and lively, while Andrew Timmins’ musical direction ensured that every note was spot-on. The choreography by Connie Mortiboy made the Oompa Loompa numbers particularly enjoyable, with the cast executing the routines with precision and playfulness.

This production is an absolute must-see, full of fantastic performances, humour, and theatrical magic. Whether you’re a Roald Dahl fan, a musical lover, or just someone who enjoys a night of pure fun, this show delivers in spades. 

Charlie and the Chocolate Factory

Date: 10th March 2025
Author: Nigel Gambles (What's on in Sutton Coldfield)

Charlie and The Chocolate Factory The Musical opened on the West End in 2013 where it ran for 3.5 years but it took another 10 years for the show to tour the UK.

The show is based on the Roald Dahl book which tells of Charlie Bucket who spends their day dreaming of chocolate.
When Willy Wonka announces a chance for 5 children to win a tour around the famous chocolate factory, it sends the world into a frenzy but with Charlie’s family struggling to afford just one chocolate bar it looks unlikely that they would win, let alone the chance to win the biggest prize of them all.

The show is one of two halves.
Act 1 focuses on the hunt for the winning tickets, Charlie’s daily struggles and with each child that wins they get a song that introduces their character.
After the second or third winner this begins to feel a bit formulaic in nature and the pace feels slow with the audience wanting to get to the chocolate factory itself.

Charlie finding the ticket also seemed anti-climatic and the magnitude of this event glossed over swiftly.
The second act however is where the magic begins and we meet Willy Wonka and venture into the Chocolate Factory itself.
The use of a giant projection screen really helps us visualise the factory and the interior.

My only criticism is the lack of memorable songs only Candyman and Pure Imagination make from the film.

The cast are all very strong.
In the performance I saw Charlie was played by Ellie Howard in the first half and Jack Brayley-Boddington in the second.
Ellie is an accomplished performer and acts with confidence beyond her years.

Elliot Scott-Lolly plays Willy Wonka and did so with a good mix of eccentric and genius. Everyones favourite Mark Skett took on the role of Grandpa Joe who gets out of bed for the first time in years to take Charlie on the trip of a lifetime.
Mark portrayed Grandpa Joe with a huge amount of heart and had the audience rooting for him from the start.

I also enjoyed the portrayal of Mrs Bucket, played by Paula O’Hare (who played Calamity Jane last year) My favorite had to be Alex Nash who plays Augustus Gloop brilliantly and with a wonderfully comic German accent.

The rest of the golden ticket winners Bethany Davis as Veruca Salt, Dan McColoskey as Mike Teevee and Samantha Rogers as Violet Beaurearde (make sure you don’t miss the bit where she balloons in size) all play their roles with enthusiasm and skill.
Oh and keep a lookout for Alex Tuckwell as the giant squirrel Jeremy.

This is a great show professionally staged directed and choreographed with passion by Juliet Fisher and Connie Mortiboy and full credit must also go to the backstage team led by Hellie England and to musical director and the orchestra led by Andrew Timmins.

Lighting by Going Dark Theatrical Services

Anyone who has tickets for this show is in for a real treat it is wonderful.

Grease

Date: 23rd September 2025
Author: Pip Gorringe (Birmingham World)

Grease may be the word, but at The Royal Sutton Coldfield Town Hall this week, the word was brilliant. Tudor Musical Comedy Society’s latest production revved its engines and delivered a high-octane performance that was slicker than Kenickie’s hair and shinier than Danny Zuko’s leather jacket.

Director Juliet Fisher steered this iconic show with confidence, balancing nostalgia with fresh energy. Connie Mortiboy’s choreography was nothing short of electrifying – ensemble numbers like We Go Together and Born to Hand Jive had the audience itching to join in. Musical Director Andrew Timmins kept everything pitch-perfect, with the band driving the energy throughout.

The cast were a joy from start to finish. Elliot Scott-Lolley was the perfect Danny Zuko – charming, swaggering and every inch the T-Bird. Opposite him, Mia Davies made a delightful Tudor debut as Sandy, capturing the sweetness of the role while adding her own edge that made the final transformation a real showstopper.

Charlotte Raybould’s Rizzo was a true stand-out and my personal favourite character of the evening. Her solo was delivered with such raw emotion it became the highlight of the night. Meanwhile, Samantha Rogers as Marty and Eloise Tanley as Jan completed the Pink Ladies with flair (and wow, what a voice on Jan!), and Emily Loftus was wonderfully cast as Frenchy – funny, warm and instantly likeable.

Among the T-Birds, Dan McCloskey as Kenickie revved up the laughs, James Rowney’s Roger charmed with youthful enthusiasm, Alex Tuckwell’s Sonny brought cheeky humour to the gang and Alex Nash as Doody brought a touch of sweetness to the gang. Together they created a brotherhood that felt authentic and fun.

Billy Skinner’s Eugene was delightfully nerdy, and Maria McGarrigle’s Patty was so annoyingly enjoyable you couldn’t help but grin at every prance and squeal. Jo Browning played a perfectly strict Miss Lynch, while Charlene Payton as the receptionist had the audience in stitches with her comic expressions.

Mike Willis doubled up as smooth-talking Vince Fontaine and Johnny Casino, adding sparkle to both roles, while Janine Revell’s Cha-Cha DiGregorio was fiery and fabulous. And special mention must go to Mark Welch as Teen Angel, who delivered his number with heavenly charm.

A big shout out must go to the Principal Dancers – Bethany Davis, Hannah Chave, Hannah Dugmore, Jess Brisband, Libby Gilbert and Paige Howen – who not only drove up the energy of the show but their timing and grace was impeccable, adding a touch of sex appeal to every number!

All in all, Tudor Musical Comedy Society gave us a Grease that was fast, funny and full of heart. The ensemble numbers were pure dynamite, the dancing was tight, and the cast’s joy was infectious. This was a night of musical theatre that truly deserved a standing ovation – because, quite simply, it was the one that we wanted!

Grease

Date: 22nd September 2025
Author: Nigel Gambles (What's on in Sutton Coldfield)

We all know Grease we’ve seen the film with Danny, Sandy, T-Birds and Pink Ladies. Tudor MCS are, and will be performing it in style and you will be off to the Town Hall like “Greased Lightning” to watch it.

The show starts at the 25 year reunion for Rydell High, I don’t think I’ve seen this start before and I’ve seen the show more times than I can count. Anyway, this is the original opening with Eugene giving a rousing speech mentioning those who are missing. This segues ways into the T Birds and Pink Ladies singing a version of the Rydell Alma Mater, leading into a very energetic rendition of “Grease is The Word”

Its now flashback time, so off we go to Rydell High where the students are returning after summer break. Danny leader of the T-Birds meets up with the rest of the gang and reminisces about his summer on the beach and the girl he met, played by Elliot Scott-Lolley. He captures the strutting tough guy leader, his vocals are strong and he sings with confidence. Meanwhile Sandy played by Mia Davies is a school newcomer and is introduced to the Pink Ladies and she also tells of her summer romance while being put down by Rizzo, played by Charlotte Raybould. This brings us to the duet “Summer Lovin” Mia plays Sandy with a shy naivety her voice lovely crisp and tuneful.

Looking at the rest of the cast first, the T. Birds Doody, Roger, Kenike and Sonny played by Alex Nash, James Rowney, Dan McCloskey and Alex Tuckwell they absolutely nailed the camaraderie of the gang and had a perfect natural feel. Their singing was strong and energetic their individual songs also strong and effective. Now the Pink Ladies Rizzo, Frenchie, Marty and Jan played by Charlotte Raybould, Emily Loftus, Samantha Rogers and Eloise Tanley. Looking resplendent in their pink jackets were all perfect. Charlotte nailing the cynical strong alpha female, Emily looks the part of Frenchie the wannabe beauty therapist, Samantha perfect for the role of Marty, the worldly-wise member of the ladies with much experience in wine, men and cigarettes. Eloise as Jan plays the uncool member of the ladies who doesn’t stop eating excellently. All these ladies have fantastic voices singing with passion.

The rest of the cast play their roles with and gusto, bringing energy to the dance sequences and power to the group vocals indeed “Hand Jive” is just that and encourages audience participation, so you better brush up on your hand jive.

Juliet Fisher’s direction of the show is excellent and you can see her passion and commitment throughout. The cast also show this in their polished and slick delivery. Connie Mortiboy’s choreography is fantastic and the hours of practice show in the flowing and energetic dance routines. Full credit must also be given to the costumes makeup and backstage crew, also to Going Dark Theatrical Services for their excellent and atmospheric lighting.

Joseph and the Amazing Technicolor Dreamcoat

Date: 23rd September 2025
Author: Pip Gorringe (Birmingham World)

Joseph and the Amazing Technicolor Dreamcoat has rolled into Sutton Coldfield Town Hall in a glorious splash of colour, big tunes and enough family drama to make a Sunday lunch look positively peaceful. Playing from 13–17 October 2026, this feel-good production is a bright, funny night out that proves Joseph’s story still has plenty of life in it — and that one very special coat can cause an astonishing amount of trouble.

Firstly, let me say I have seen many Tudor performances and this has been by far my favourite, the opinion of which seemed to be shared by many with a standing ovation from the whole audience, rarely seen on an opening night!

As Joseph, Elliot Scott-Lolley makes the title role his own, taking us from favourite son to slave, prisoner and, eventually, the man with the plan. His amazing voice shines throughout, bringing real warmth and heart to Joseph’s journey; his rendition of “Close Every Door” literally gave me goosebumps.

The story is guided by Paula O’Hare and Samantha Rogers as the Narrators, whose amazing voices and lively personalities carry us through the twists, turns and many, many musical styles. They’re our trusty tour guides through the tale — and never leave us dreaming about any one other than them taking on this demanding role.

Sam Davis is a warm, reassuring Jacob, trying to keep a dozen sons in line. It’s no wonder Joseph is his favourite: Jacob has enough family politics to fill a whole series. His love for Joseph is clearly shown.

Among the supporting roles, James Fisher’s Potiphar brings authority to the household, while Beth Davis as Mrs Potiphar adds a mischievous spark to the infamous scene that sends Joseph from the palace to prison, oozing sex appeal with a hint of evil. You’re left wondering why Joseph wouldn’t leap at her advances! Mia Davies as the Baker and Rachel Tucker as the Butler bring memorable character to Joseph’s time behind bars — proof that even a prison can have a cracking supporting cast.

Then there’s Dylan Reed as Pharaoh, whose excellent accents add extra flavour to his royal presence. His Elvis-inspired entrance is a hip-shaking highlight: blue suede shoes may be optional, but a big personality clearly isn’t. Hannah Chave’s Desert Diva adds another welcome burst of sparkle along the way with her impressive dancing skills!

A special mention for the children in the cast, who were an absolute delight and brought bags of charm to the stage. And a scene-stealing shout-out to whoever was inside the camel costume: you were unforgettable. The camel may not get a solo, but it certainly got the audience’s attention!

The other 11 brothers were also fantastic, each with their own stand-out personalities. Their impressive voices (not to mention their comedic timing!) made us all excited when they re-entered the stage. The solos from brothers Levi (Alex Nash), Simeon (Ade Cox), Judah (Charlene Payton) and Reuben (Mike Willis) were fantastic — brilliant vocals and outstanding acting!

The show’s colour, pace and larger-than-life spirit owe plenty to the team behind the scenes. Ami Radcliffe directs and choreographs, giving the production its energy and shaping the movement into a lively, cohesive whole. For a first production with Tudor, she’s made a confident start — and those endless rehearsal notes have clearly paid off.

Assistant Director Daisie Macbeth has helped bring Ami’s vision to life, supporting the cast and creative process with care. Musical Director Andrew Timmins keeps the show’s many musical moods in hand, from tender moments to full-throttle numbers. The music is the beating heart of Joseph, and the team makes sure it keeps marching along.

If there’s one small note, the Town Hall’s sound system could do with a little modern-day miracle: at times, the vocals don’t come through as clearly as they deserve, but there was a definite improvement from previous shows I’ve seen. It’s a minor cloud in an otherwise very bright sky.

With a talented cast, a joyful production team and songs that will follow you home whether you like it or not, Joseph and the Amazing Technicolor Dreamcoat is a colourful, good-humoured evening with plenty to enjoy. You’ll leave smiling, humming — and possibly wondering if your wardrobe is due for an upgrade.

Joseph and the Amazing Technicolor Dreamcoat

Date: 14th October 2026
Author: Tom Roberts (Lichfield Radio)

Andrew Lloyd Webber’s musical re-telling of the Old Testament Biblical story of Jospeh has come a long way since its 15 minute 1972 debut at The Edinburgh Festival. A year later it opened as a full scale show in the West End, and the rest, as they say, is history.

Over 30,000 productions have been staged by schools and amateur companies to date, alongside ever popular touring productions throughout the world. Countless stars have donned the loincloth and twirled the multi-coloured coat. From Donny Osmond to Jason Donovan… it’s a gift of a role and one that Lloyd Weber remans fiercely protective of.

The show’s universal appeal lies in its simplicity. The essential ingredients are all there. Catchy songs you can’t help but sway along to, lively dance routines and engaging cameos all combine to make a show loved by kids and adults alike.

The Tudor Musical Comedy Society pulls no punches in what is a sparkling, thoroughly entertaining version of the story. It’s a huge cast yet it never seems to overcrowd the space – a testament to Director Ami Radcliffe’s staging skills. Routines and numbers follow each other seamlessly, presumably helped by an army of off-stage chaperones and assistants. It could feel messy but it never does.

Huge credit also to the sound team. Mic levels are consistent and vocals are nicely balanced and crisp – no easy task in a venue as cavernous as The Town Hall.

Performances too are strong throughout the extensive cast, from the well drilled child ensemble to the lead characters. It’s very much an ensemble show.

That said, there are some stand out performances. Elliot Scott – Lolley – as Jospeh holds the stage beautifully. His rendition of Close Every Door is a major highlight. The Narrators, Paula O’ Hare and Samantha Rogers, lead the line nicely, keeping the story rolling along and offering top notch vocals to boot. And Dylan Reid’s Pharaoh gets pulses racing with a spot-on Elvis impersonation, including hip movements that would get even Shirley Ballas in a tizzy. The lady in front of me very nearly spilt her red wine. Bless.

Joseph and the Amazing Technicolor Dreamcoat

Date: 13th October 2026
Author: What's On In Sutton Coldfield (Nigel Gambles)

There are certain musicals that never seem to lose their magic, no matter how many times you see them, and Joseph and the Amazing Technicolor Dreamcoat is undoubtedly one of them.

With its unforgettable songs, infectious humour and uplifting story, Andrew Lloyd Webber and Tim Rice’s much-loved musical has delighted audiences for generations. But to truly bring Joseph to life requires something more than excellent voices and colourful costumes. It demands energy, enthusiasm and an infectious sense of fun.

Tudor Musical Comedy Society delivered all three in abundance.

From the opening notes of Any Dream Will Do to the spectacular finale, this was a production overflowing with talent, personality and sheer theatrical joy.

One of the more unusual aspects of this production was the decision to share the role of Narrator between two performers, Samantha Rogers and Paula O’Hare.

Both possess outstanding voices that complemented one another beautifully, bringing warmth, clarity and personality to the storytelling. Their vocal performances were excellent, but equally impressive was their natural interaction with the children’s ensemble.

With two groups of young performers appearing throughout the week’s run, the group taking part in the performance we attended was the Any Dream Team.

Their enthusiasm was infectious, and the relationship between the children and the narrators created a wonderful sense of fun and spontaneity. Together, they brought the story to life with warmth, confidence and considerable charm.

At the heart of the production was Elliot Scott-Lolly as Joseph, delivering a performance that was quite simply brilliant.

From his very first appearance, walking through the auditorium towards the stage while singing Any Dream Will Do, Elliot immediately established a connection with the audience.

It was a lovely opening that set the tone for everything that followed.

Vocally, he was superb, possessing a voice of impressive strength, control and excellent tone, perfectly suited to the demands of the role.

But what made his performance particularly memorable was the sheer energy and enthusiasm he brought to every moment.

Rather than simply playing Joseph, Elliot made the character entirely his own. His confidence, charisma and infectious enjoyment radiated from the stage, drawing the audience into his journey from that opening number right through to the final curtain.

It was a commanding central performance, full of personality and genuine star quality.

And then there was Dylan Reed as Pharaoh — a performer who, should he ever tire of musical theatre, could undoubtedly enjoy a successful second career as an Elvis Presley impersonator!

His entrance was wonderfully understated, appearing almost demurely, wrapped in a cloak. But that air of restraint lasted only until the opening notes of Song of the King, when Dylan exploded into a performance of tremendous energy, confidence and showmanship.

With a powerful voice, an irresistible stage presence and more than a generous helping of Elvis’s famous hip gyrations, he completely stole the scene.

The audience was utterly captivated, cheering and clapping along as he delivered one of the evening’s outstanding musical highlights. And here’s a little tip for anyone attending: listen carefully about halfway through the song for a wonderfully unexpected burst of Brummie dialect. It’s a delightful touch that brought an extra helping of local humour to an already irresistible performance.

Dylan was also supported superbly by Pharaoh’s Adoring Girls, whose energetic choreography, infectious enthusiasm and rousing backing vocals elevated the entire sequence into a spectacular production number.

Together, they delivered a showstopping performance that was undoubtedly one of the highlights of the evening.

Sam Davis, making his first appearance with Tudor Musical Comedy Society, was perfectly cast as Jacob, the patriarch of this rather extraordinary family.

He brought exactly the right presence to the role, delivering a thoroughly enjoyable performance. On this evidence, one sincerely hopes it won’t be his last production with the society.

Among Joseph’s brothers, Mike Willis as Reuben impressed with his excellent voice and commanding stage presence, while Ade Cox as Simeon delivered another strong performance, particularly in his musical contribution alongside Alex Nash.

Alex is one of those wonderfully versatile performers who seems equally comfortable with whatever a production demands of him.

Whether delivering serious drama, comedy, accomplished dancing or excellent vocals, he brings confidence and conviction to everything he does.

Particularly impressive was the fact that Samantha Rogers, Elliot Scott-Lolly and Alex Nash had all appeared in key roles in Come From Away, which had finished its run just a week earlier. Their ability to move so effortlessly between two very different musicals speaks volumes about their versatility, professionalism and dedication to musical theatre.

Special mention must also go to Charlene Payton as Judah, whose performance of Benjamin Calypso was an absolute delight and one of the evening’s funniest moments.

Charlene demonstrated a wonderful flair for comedy, combining an excellent vocal performance with wonderfully expressive facial reactions, impeccable comic timing and hilarious physical mannerisms. Every gesture and expression added another layer of humour to the number, making it an irresistible piece of musical theatre.

It was a superbly entertaining performance, delivered with tremendous personality and an infectious sense of fun.

As an ensemble, Joseph’s brothers were a delight, working together with an obvious sense of camaraderie and delivering a strong, cohesive group performance.

Their comic timing, vocal contributions and infectious enthusiasm helped bring the production’s wonderfully varied musical numbers to life.

Two particular highlights were the exuberant One More Angel in Heaven / Hoedown sequence and the gloriously downbeat Those Canaan Days.

The former was an explosion of country-and-western-inspired fun, with excellent choreography, spirited performances and an infectious energy that swept across the stage.

In contrast, Those Canaan Days offered a wonderfully theatrical change of mood, with its melancholy humour providing another opportunity for the performers to demonstrate their versatility.

Joined by their wives and the children, the brothers delivered beautifully coordinated dance routines, with enthusiasm and energy filling every corner of the stage.

The choreography was particularly impressive, creating large, lively ensemble sequences that were as enjoyable to watch as they were clearly to perform.

These were moments when the strength of the entire company really shone through, demonstrating that this production was far more than a showcase for its leading performers.

It was a genuine team effort, full of character, humour and tremendous musical spirit.

Behind every outstanding musical production is a creative team whose vision, dedication and attention to detail bring everything together, and this production of Joseph and the Amazing Technicolor Dreamcoat was certainly no exception.

Musical Director Andrew Timmins, who has been associated with Tudor Musical Comedy Society since 2022, has established a strong reputation as both a musical director and conductor.

His passion and dedication were evident throughout the evening, with the excellent orchestra under his direction providing a wonderfully accomplished musical accompaniment. The orchestra brought richness, precision and vitality to the production, effortlessly embracing the show’s remarkable variety of musical styles while maintaining the pace and energy that make Joseph such an entertaining experience.

Making their Tudor debuts were Director and Choreographer Ami Radcliffe and Assistant Director Daisie Macbeth, two talented creatives bringing a wealth of experience and enthusiasm to the production.

Both have backgrounds as performers, and their understanding of musical theatre, combined with an obvious love of the creative process, shone through in the finished production.

Ami’s choreography was particularly impressive, with energetic, imaginative routines that made excellent use of the ensemble, while the overall direction maintained a wonderful balance between humour, storytelling and musical spectacle.

Perhaps the greatest testament to the work of Ami and Daisie was the performance of the cast itself.

From the leading principals to the youngest members of the ensemble, everyone appeared completely invested in the production, delivering performances overflowing with confidence, enthusiasm and enjoyment.

The staging was another example of how thoughtful production decisions can make a considerable difference to the overall theatrical experience.

Rather than relying on elaborate scene changes, the production made excellent use of a largely permanent set, with smaller props and scenic elements introduced or removed as required.

Particularly clever was the decision to dress the stage crew in costume, allowing them to move seamlessly through the action.

The changes were so unobtrusive that you barely noticed them happening, yet everything was exactly where it needed to be when the next scene began.

The costumes were another outstanding feature of the production, bringing colour, character and visual excitement to virtually every scene.

With so many performers taking on multiple roles throughout the show, Wardrobe Mistress Suzanne Harris must surely have been one of the busiest people in the theatre!

The sheer number of costume changes was remarkable, yet everything appeared beautifully coordinated, allowing the production to move effortlessly between its contrasting musical styles and settings.

Naturally, Joseph’s magnificent Technicolor Dreamcoat was a visual highlight, particularly during that spectacular final reveal, but there were plenty of other costumes worthy of special mention.

The costumes worn by Pharaoh and his Adoring Girls were especially striking. Their eye-catching blue-and-white designs created a stunning visual spectacle, perfectly complementing the Elvis-inspired musical number and the energetic choreography.

The lighting design was equally impressive, perfectly capturing the colourful, exuberant spirit of Joseph while demonstrating a sensitive understanding of the show’s quieter moments.

Bright, vibrant lighting brought the energetic ensemble numbers to life, while more subdued tones, including atmospheric blue washes during the prison scenes and Those Canaan Days, created an effective contrast and helped establish the changing moods of the story.

Jack and the team at Going Dark Theatrical Services deserve considerable praise for a technically accomplished production that complemented the performances beautifully.

And then came the spectacular finale.

The dramatic reveal of the enormous multicoloured dreamcoat, accompanied by perfectly timed pyrotechnics, provided a breathtaking conclusion to the evening.

It was a wonderful moment of theatrical spectacle, bringing together the colour, excitement and sheer exuberance that had characterised the entire production.

A fittingly dazzling finish to a show that had delivered so much energy and enjoyment from beginning to end.

Having been fortunate enough to see Joseph and the Amazing Technicolor Dreamcoat on numerous occasions, both in Birmingham and London’s West End, including productions featuring some very high-profile performers, I have long considered it one of my favourite musicals.

But if there was one quality that defined Tudor Musical Comedy Society’s production above everything else, it was the sheer enthusiasm and energy radiating from the stage.

Every single performer, from the youngest member of the children’s ensemble to the leading principals, gave absolutely everything.

And the audience responded in kind.

As the show reached its conclusion, the entire sell-out audience rose to its feet in a richly deserved standing ovation, singing, cheering and clapping along in a wonderful celebration of everything they had just experienced.

For me, perhaps the greatest compliment I can pay this production is that the enjoyment didn’t end when we left Sutton Coldfield Town Hall.

The songs were still being sung in our car on the journey home!

That, surely, is the magic of great musical theatre.

A joyous, colourful and wonderfully uplifting production, bursting with talent, energy and infectious enthusiasm. Tudor Musical Comedy Society should be immensely proud of what they have achieved.