‘Heroes and Villains’ Cabaret review
‘a dazzling triumph’
Fresh from their emergence as national champions at the IUMTF 2025 competition, the ‘Heroes and Villains’ Cabaret is a true testament to Durham University Musical Theatre’s new title. Jacob Vellucci leaves no stone unturned in showcasing the wonderful talent of the ‘25 troupe, deftly directing songs ranging from soaring ballads to pumping group numbers. The creative team is as impressive as the cast, with stunning choreography by Jobe Hart, Charlie Holliday, and Connie Richardson. Dan Hicks, assisted by Michael Nevin, flawlessly musical direct the show, creating exquisite tight harmonies which blend the troupe into one gorgeous voice. At the helm, Hannah Sheppard’s coordination elevates the production into what has likely been this troupe’s best performance yet.
The cabaret kicked off with Michael Nevin’s commanding take on the aptly named ‘Be the Hero’, setting up the show for success. Nevin’s leading-man charisma and rich vocals are all the more impressive fresh off the exhaustion of a five-star sell-out run of Little Shop of Horrors. Charlie Moscrop’s solo similarly exudes brilliant charisma, as he delivers the hilarious ‘When I Find My Baby’, which garnered well-earned reactions from the audience. Despite minor line stumbling, his intoxicating confidence and stage presence made his performance utterly captivating, to the point I hardly noticed - or cared - about any forgotten words.
Charlie Holliday expertly tackled the difficult ‘It’s a Privilege to Pee’, a feat made even more daunting by the use of a backing track - a challenge she effortlessly sails through. The troupe’s flair for vivid characterisation shines throughout, underlining their individual talents and Vellucci’s direction. Case in point: Damola Amusa, Lucy Atkinson, and Connie Richardson seize ‘Easy Street’ with a delightful blend of larger-than-life humour and authenticity. An electric trio, they infuse the number with boundless energy and a razor-sharp comedic instinct that left me wanting one last stroll down Easy Street.
The group numbers were all memorable highlights also, championing impressive vocals and truly effective blocking. Among them, ‘The Ballad of Sara Berry’ stole the spotlight, captivating the audience with a spectacular human throne that sparked audible gasps - a testament to Velluci’s ingenious staging. Commanded by Talia Tobias, the troupe really shined here; united as a cohesive ensemble, each member stood their ground and elevated the song with skill and grace without ever distractingly vying for dominance. Zac Jackson’s skilful lighting design is not to be undermined in making this number so successful, effectively contributing to its dark, macabre atmosphere.
DUMT’s take on ‘What Is This Feeling’ was nothing short of memorable, led by the wickedly talented Charlotte Dixon and Charlotte Field. Although at times it felt like there was a slight prioritisation of belt and volume over vocal blending, the Charlottes dominated the stage with their colourful characterisation. Dixon’s solo performance of ‘I Say No’ was similarly spectacular. An insanely difficult song, she sails through the high belts flawlessly. Connie Richardson equally delivers a lovely rendition of ‘My Grand Plan’ in her solo, where she plays a perfectly lovable Annabeth; a role she was truly born for.
The cabaret also featured two of the troupe’s numbers from their winning performance at the IUMTF competition. ‘The Oldest Established', a brilliant song choice from Vellucci and Sheppard, oozed charm and energy. Soloist Jo Price, alongside Amusa and Moscrop, embodied their characters perfectly. Although the song was clearly choreographed for a larger space, with some parts feeling slightly cramped on the smaller AR stage, they didn’t just adapt; they thrived. Jobe Hart should feel extremely proud of his intricate vision, executed masterfully by the ‘25 troupe.
Their IUMTF winning Small Group number, ‘Flying Away’, is something truly special. Filled with so much heart and soul, Al Palmer, Isabelle Evans, and Charlie Holliday deliver heartfelt, believable performances that truly tugged at the heartstrings. My only critique was that I wished the movement direction was more mindful of their vocals, as some of the lifts and other moves sometimes detracted.
My favourite number of the night was the contagiously energetic ‘I’ve Got A Dream'’, its success undoubtedly contributed to by soloists Harry Allderidge and Lucy Atkinson, who both give vibrant performances straight out of a Disney film. Harry Allderidge equally excelled in his duet alongside the massively talented George Cass in their fantastic performance of ‘Dirty Rotten Number’.
Hannah Sheppard and Jacob Vellucci should be incredibly proud of their troupe. The cabaret was a dazzling triumph, with every performer shining brightly and delivering consistently great performances. From the vocals to the choreography, the ensemble’s talent was undeniable, and made for a well-worth trip to the Assembly Rooms Theatre. Although not specifically a critique, the cabaret could perhaps have benefitted from more inventive transitions between songs to further sustain engagement and energy from the audience throughout - a successful example of this being Hicks and Nevin’s brilliant duet.
Overall, the cabaret stands as a resplendent celebration of DUMT’s wide-ranging talent, cementing their status as IUMTF 2025 champions with performances that dazzle from start to finish.
By Dylan Jimenez Morales.