Tone Deaf Theatre Company's Freshers' Showcase 2026 is a much-anticipated annual tradition at Durham, and this year's showcase did not disappoint. Following the interest garnered by the publicity by Marketing Producer Eve Pearce, it is no surprise that the Assembly Rooms Theatre sold out. The showcase, directed by Celine Delahaye and Louis Williams, with the assistance of AD Lois Barnett, was arranged thematically into four categories of different styles of musical: musicals based on books, movie musicals, rock musicals, and Fosse musicals. This format created a sense of cohesion between an impressive twenty-six songs that I find showcases often lack.
The evening began with a performer sitting alone on the edge of the apron, before walking towards an outstretched hand peeking out from between the closed curtains. The performer was swept in, and the curtains drew to reveal the band situated upstage on raised decking, and downstage, the full cast, each member clad in a different brightly coloured top. Despite later costume changes, these colours -- individual to each performer -- remained in their costumes in hair ribbons and bandanas. This was just one of many small details throughout the show that made the sheer care and effort that Delahaye and Williams put into the production so evident.
The audience was immediately drawn into the first number ('Magic to Do' - Pippin) featuring slick, well-executed dance, choreographed by Clara Suss-Francksen. The choreography remained excellent throughout the evening: ranging from more technical styles like an impressive tap solo by Evie Tickner in 'Someone in the Crowd' from La La Land and incredible execution of the Fosse style throughout the entirety of its segment, to (appropriately) simple yet captivating movement in numbers such as 'Sunday' from Sondheim's Sunday in the Park with George and the energetic, rousing movement in 'Revolting Children' from Matilda that truly captured the child-like glee and chaos of this number.
Tickner's adept execution of choreography throughout the show was evident, and 'Some Things Are Meant to Be' from Little Women performed by Amelia Ewing and Tickner was devastating. The performers truly embodied Jo's enthusiasm and growing desperation and Beth's composure and acceptance. Their beautifully blended voices and palpable onstage chemistry accurately conveyed the sisters' bond.
Ewing's ease in embodying a range of characters was further demonstrated in the duet with Gigi Donald ‘Science Fiction, Double Feature’ from Rocky Horror Picture Show. Both stunned vocally and showed remarkable storytelling abilities.
Donald's commanding stage presence was equally perfectly suited to the rousing solo of the titular song from Cabaret and demonstrated an amazing belting ability.
Molly Gribbon too shone in the solo 'The History of Wrong Guys' from Kinky Boots, showcasing both the comedic timing necessary for such a song and truly astounding vocal stamina.
Gribbon and Donald both featured in 'It's a Fine Life' from Oliver, which made great use of the full stage and set, singing from on top of the chairs and tables. Both fully embraced the characters' bravado and accompanying Cockney accents.
Rosie Freeman's solo lines were the highlight of the number 'Aquarius' from Hair. Freeman also impressed in 'Kindergarten Boyfriend' from Heathers. I was admittedly sceptical upon seeing this number on the setlist beforehand but, truthfully, Freeman has entirely altered my view of this song. Demonstrating incredible vocal control, a soft head-voice building slowly into a soaring belt, then a seamless transition back to the original softness; Freeman devastatingly conveyed Martha's false sense of agency forced by her helplessness.
It is particularly nerve-wracking having the first solo of the evening, but Elen Johnson delivered an effortless rendition of 'One-Way Road' from The Great Gatsby, displaying amazing acting through song, and incredible vocal strength.
Further showcasing Johnson's strength in belting, 'I Want It All' from We Will Rock You was an ensemble number featuring Johnson and James Farrow. This energetic number particularly allowed Farrow's rock vocals to shine.
Farrow and Santo Thomas starred in 'Man or Muppet' from The Muppets and had the audience in bits from the very beginning. The remaining six performers' arms peeped out from the wings and performed what I can only think to describe as "sock-puppet choreo". This was an inspired decision by Delahaye and Williams and the number was undoubtedly the comedic highlight of the night. Despite this, Farrow and Santo did not break once and delivered the entire number with unwavering and all-the-more-funny sincerity.
Thomas' solo 'It Takes Two' from Hairspray displayed soaring vocals, great stage presence, and a talent for conveying yearning.
This ballad featured just one of many examples of the work of the incredible lighting team, overseen by Production Manager Anj Karia and Lighting Supervisor Jonathan Wilson-Downs. Perhaps the most visually pleasing lighting moment, structured by Lighting Designer Abigail Harvey, was during 'Born to Lead' from Operation Mincemeat.
The ensemble number 'When You Wish Upon a Star' from Pinocchio featured a particularly beautiful acapella moment, thanks to the efforts of Musical Director Ben Armitage, with the assistance of AMDs Anna Neal and Sachin Gholkar.
Armitage's musical direction and conducting of the brilliant band shone particularly in the Fosse numbers: 'All That Jazz' and 'When You're Good to Mama' from Chicago. Other than the timing issues in 'Someone in the Crowd', the exceptionally talented band made a lasting impression, and especially given the particularly quick turnaround in which they learnt twenty-six songs, the outcome is commendable.
The band aided in the seamless transitions between songs, particularly the first three numbers of the second act, and credit ought to be given to the use of voiceovers as narration in blackouts, and undoubtedly to the entire stage team, overseen by Stage Supervisor Aoife Bowles and led by Stage Manager Fred Parker.
Overall, this year's Freshers' Showcase was the best possible way to spend the Sunday evening, and a very promising sample of what this year's freshers will go on to achieve throughout their time at Durham!
By Irini Sozomenou