‘Rewind’ review
‘The cast expertly navigate the stage with quick-witted humour and plenty of talent; the showcase is undoubtedly one to be proud of!’
Durham University’s Musical Theatre Troupe (DUMT) took to the Assembly Rooms stage for a foray back through the past in their showcase Rewind. Each performer worked cohesively as a cog in the time machine’s mechanism as the audience were escorted through history. Directed and Coordinated by Michael Nevin and Bee Wilkes, and assisted by Charlotte Blair, they explore a captivating concoction of musical theatre on this timeline and create a vibrant story through this showcase, allowing the audience to truly connect with the characters placed before them.
The show kicks off straight away with Jobe Hart running down the aisle for his audition for Back to the Future: The Musical. Hart performs on stage with a stark confidence and commands the space so well it is almost unbelievable that this first performance doesn’t earn him the role of Marty McFly for which he is auditioning. The rest of the troupe also make their first appearance in this number performing the very intricate but engaging choreography. Credit must go to Choreographer Alex Bonsall for the high level of dance exhibited in the show which fit each performance perfectly. Whilst there were lapses in the dances in certain numbers, the performers continued through with ease, really highlighting their natural presences on stage.
After a disastrous accident, Hart is sent back in time! This journey is reflected perfectly through the use of a projected clock above the proscenium which counts back the years to a level of remarkable accuracy. Operated by Anna Brezinski, the projection is a highlight that left many mouths agape upon its first use. The skill of the production team doesn’t stop there: under the lead of Jonathan Wilson-Downs as Production Manager, assisted by Lucy Smith, the lighting and sound behind the show works incredibly well. The flashing lights under each shift through time are entrancing and really aid the production. Whilst there were momentary issues with the sound and volume, the time-travel sound effects are perfectly immersive for the audience.
The journey through time starts very early on with Joe Wilson’s hilarious entrance as Joseph from Joseph and the Amazing Technicolor Dreamcoat is a stand-out moment. Wilson’s rendition of ‘Any Dream Will Do’ is engaging and charming and the use of comedically described “very inclusive parachute” is remarkable. Following on from this, the powerhouse quintet of Lara Sowande, Anna Pile, Connie Richardson, Lucy Rogers, and Talia Tobias maintain the energy with their performance of ‘Zero to Hero’ (Hercules) where their voices blend beautifully together. The comedic talent doesn’t stop there as Max Hildred performs ‘King Herod’s Song’ (Jesus Christ Superstar) afterwards. Decked out with feathers and glasses, Hildred commands the stage with flamboyance and frivolity. The dance ensemble’s charleston-inspired performance only adds to the camp nature of the performance. This was a real gem in the show.
Perfectly timed within the setlist is ‘Morning Glow’ from Pippin where the cast are illuminated in a cascading pink hue and their harmonies resonate through the theatre. This is a stiller moment which still packs an emotional punch. The ensemble as a unit continue to shine with performances from Spamalot and Something Rotten which exhibit their comfort on stage as a troupe. One of the highlights of the night is a joyous performance of ‘Six’ (Six) where Emily Halstead, Edie Whittam, Talia Tobias, Julia Panova, Amelie Symmons, and Lucy Rogers exhibit an impressive display of vocal and physical stamina as they deliver an empowering and celebratory performance, a performance which left smiles across everyone’s faces. Ollie Painter follows this up with a hilarious performance as the egotistical playwright in ‘Hard to be the Bard’ (Something Rotten) where he displays expert vocal control and expert comedic timing. The first act ends with Midun Odunaiya’s shining performance as Aaron Burr in ‘The Room Where It Happens’ (Hamilton). Odunaiya excels as the cunning storyteller and truly lures the audience in throughout the entire song until finally hitting the recognisably infamous pose.
Act 2 opens up with the entire troupe involved in a perfectly characterised performance of ‘Master of the House’ from Les Misérables. Damola Amusa and Lucy Rogers are ironically charming as the criminal couple and capture the hearts of those around… as well as their wallets. Julia Panova takes the stage next with a hilariously crazed rendition of ‘You Can’t Get a Man with a Gun’ (Annie Get Your Gun) with a flawlessly maintained accent and excellent facial expressions that leave you giggling as she exits the stage. A series of duets and trios take the stage next: including Midun Odunaiya and Lara Sowande, who ooze the class and style of the 1920s with Sowande’s undeniable vocal talent in The Great Gatsby’s ‘Better Hold Tight’; Amelie Symmons and Edie Whittam, who both tackle the notorious role of Evita in ‘Don’t Cry for Me Argentina’ (Evita) with a cool confidence which builds into this gorgeous, harmonious crescendo; followed by the final trio of Connie Richardson, Talia Tobias, and Emily Halstead returning with a slick performance of ‘Candy Store’ (Heathers).
The night draws to a close with two numbers from Come From Away which really leave room for the troupe to show their skill and they definitely do. ‘Welcome to the Rock’ is impactful and left the audience littered with goosebumps. Anna Pile’s final solo number ‘Me and the Sky’ was awe-inspiring and provoked a ripple of gasps across the theatre. Jobe Hart’s return to the audience is the perfect bookend to the show and the final number ‘Back in Time’ is powerful and very well-deserving of all its applause.
The cast expertly navigate the stage with quick-witted humour and plenty of talent; the showcase is undoubtedly one to be proud of!
By Lauren Williams.