‘An ACT of Musicals’ review
‘like the phoenix rising from the ashes, it delivered emphatically.’
A sold-out theatre, six musicals, and the revival of a faded company – An ACT of Musicals promised big things. And like the phoenix rising from the ashes, it delivered emphatically. In the Assembly Rooms Theatre, students, friends, and generations of families gathered to fill the auditorium. Above the rhythmic beat of music their voices rose in a hubbub of anticipation, programmes in hand. After a long absence from Durham stages, St Aidan’s Theatre Company lifted the curtains once more.
Two silhouettes outlined through the smoke introduced SMASH as the first musical. Clara Suss-Francksen and Caitlyn Leung set the standards high for the montage to follow. Though still in movement, the performance held power through rich vocal quality with Suss-Francksen’s penetrating gaze holding audiences to the end of every note. The close of the duet brought on the ensemble in a snippet of dialogue, poignant in its address of Hollywood body standards and pressure of public expectation. Yet SMASH surpassed the expectation of student theatre – a theme sustained throughout the night. SMASH showcased the mixed style choreography brilliantly arranged by Amelie Symmons. With Latin steps, combination lifts, and staccato movements, Amelie Marshall-Cawley, attired in a silver-white dress fitting for the 1940s zeitgeist, dazzled in ‘The 20th Century Fox Mambo’.
What elevated the evening beyond a sequence of numbers was the fluidity of transitions and intentional song placement. In a showcase delivering some of the biggest Broadway numbers, the risk of emotional bombardment is high. However, the conscious positioning of vivacious energy alongside moments of stillness and grounding vocals maintained the audience’s emotional engagement – a testament to Abi Barker as Director and Jemima Houwing as Musical Director. This was exemplified with the return of Suss-Francksen’s rich, low blue tones, impeccable sonic control, and subtle gestural storytelling, marking her as an actress beyond her years.
Next, audiences were taken Into the Woods, where enchantment and unity flourished. Camille Thorton-Izzard, Christine Au, Hannah Paterson, Angus Holker, Abbie Wells, and Jake O’Donnell tackled technical vocal layering with magical ease. Transitions were executed through changes in levels, tempo, and lighting, enhanced by a fleeting ballet motif. The message of ‘No One Is Alone’ pierced the fourth wall, resonating with a united audience in a world fraught with more frightening stories than those of the Brothers Grimm.
Now a change from the rustic to the refined, The Great Gatsby was a party you wanted to be at. The performance brimmed with full-cast vocal strength and post-war opulence. With Jamie Duncan (Gatsby) and James Butler (Carraway) the green light across the bay was the only thing unattainable as far as 1920s theatrical indulgence was concerned. Harry Graves’ and Paterson’s performances oozed the narrative addiction that has gripped generations to Fitzgerald’s masterpiece. Symmons delivered a refreshing Jordan Baker, showing her versatility as performer and choreographer. Jake O’Donnell, also as Gatsby, may have let Daisy slip through his fingers but he held audiences in yearning suspense. His control of emotional escalation within a single vibrato note was a masterclass in restraint and presence. Lighting gobos fractured into disco-ball shards rising to the musical crescendo; credit is due to Lighting Designer Eva Ryan and Lighting Operator Dan Haines for enhancing an already exceptional performance.
A moment must be given to Heathers. ‘My Dead Gay Son’ received one of the loudest applauses of the night. Tom Oakes and Harry Graves blended comedic satire in an exceptional, witty performance. This was an emotional contrast to Easton’s haunting portrayal of JD; gun held in hand as effortlessly as a cigarette, Easton was mesmerizing in his volatility.
The penultimate musical was Wicked, indeed. James Butler’s effortless footwork met Symmons’ high paced technical choreography with precision. To perform a musical whose anthemic songs now come with a prerequisite of power and prestige is no mean feat. It was to the delight of audiences that we returned to our dynamic duo who opened the show: Leung’s and Suss-Francksen’s textured harmonies were spellbinding. Their contrasting physicalities were nuanced and intelligent: Suss-Francksen’s guarded Elphaba countered by Leung’s assured Glinda.
However, the seminal point of the show truly came with the company performance of Les Misérables. Having seen him stand out in group pieces, Harry Eaton’s solo performance was long awaited and it didn’t disappoint. Under a beam of red lighting, rebellion and anger boiled; Jamie Duncan as Marius gave a passionate performance of internal conflict with a tangible quality of strength. Through brute physicality incorporating setting and props the emotional stakes could not have been higher. This was juxtaposed by the ethereal quality of Marshall-Cawley’s voice. Paterson’s vocal prowess as Eponine too was a first-class display of emotional depth through vocal quality. Flags were raised and so were expectations.
An ACT of Musicals was a thrilling return and a powerful statement of intent for St Aidan’s Theatre Company, showcasing Durham’s exceptional emerging theatrical talent.
By Katie Bainbridge.