Joseph and the Amazing Technicolour Dreamcoat aka Joseph, is a sung through musical, based on the character of Joseph from the Bible’s Book of Genesis, with lyrics by Tim Rice and Music by Andrew Lloyd Webber. This was their first musical performed publicly, having its professional premiere as a thirty five minute musical at Edinburgh International Festival in 1972.

The show opens with our Narrator, a schoolteacher instructing her pupils. Leah Dowell, very much the leading lady, she led us through the story line, as if glancing at animated vignette scenes in a museum suddenly brought to life, interacting with characters from ancient times, with an utterly beautiful singing voice and effortless stage presence.

Joseph, played by Zak Marmont, the favourite son of Jacob sweetly voiced, filling the role to a ‘T’

Jacob, Jordan Harrison, looked like he was having ‘The’ best time in his dual roles as Jacob and the eponymous Pharaoh, Egypt’s greatest Elvis impersonator. Always hits the mark.

The stage set was truly impressive, bathed in sumptuous lighting, sound was crystal clear, The Narrator was slightly drowned out in her first number, this was soon corrected and was spot on thereafter. The costumes helping to clearly denote the differing regions involved in the story.

As usual Keith Ragdale, doubling his roles as Director and Musical Director, brought polished performances from all involved, be they singers or musicians.

Choreographer/Producer Ed Costello, good throughout, again showing his versatility in crafting syncopated movement for the cast of seemingly thousands, well by my count around fifty four, with One More Angel in Heaven, an almost traditional hoedown being my favourite scene the cast really let themselves go.

My only gripe was how short a show it was, even with multiple refrains throughout, ending with the usual Joseph ‘Mega mix’ scene, an almost complete rerun of all of the songs. This of course is how the show script is, and no reflection on Five Towns Theatre.

Joseph was a wonderfully vibrant, visually stimulating Lloyd Webber Rice classic West End show which was beautifully presented.

Based on the hit film of the same name written by Mike White, with Music by Andrew Lloyd Webber, book by Julian Fellowes, lyrics by Glenn Slater.

The story centres around wannabe Rock God Dewey Finn, utterly embodied by Jordan Harrison, his complete demeanour and performance, brought the memorable film role originally created by Jack Black straight into focus. Very animated, larger than life persona, completely steeped in all things Rock!

Dewey permanently crashing out at former band mate, now schoolteacher best Bud Ned Schneebly’s apartment, Ned played by Zak Marmont, who is the very definition of caught between a rock and a hard place, the rock being his long term friendship with Dewey, the hard place being his very demanding and controlling girlfriend Patty, played to a tee by Kira Matthews.

The perfect counterfoil to the errant ways of Dewey, comes in the strict and formidable shape of Headmistress Rosalie Mullins, portrayed by Leah Dowell, uncannily reminiscent of Joan Cusack from the film. What an astonishing voice, her almost absentminded singing along to the school orchestra’s rendition of Queen of The Night aria from Mozart’s The Magic Flute, was truly sublime.

The children in Dewey’s class were excellently prepared to give their best throughout the show, although occasionally the individual speaking voices were sometimes lost, not sure if they weren’t collectively loud enough, or the backing band were too loud. They were all discerningly effervescing with the sheer high paced excitement of being in this show, so palpable, it oozed from the stage. Well done one and all.

I must pick out Tilly Baker as class swot Summer Hathaway, she was a total powerhouse, similarly Keeley Evans captivated as Tomika, beautiful tone and control when she was belting out her vocals.

I absolutely loved Stick it to The Man, especially the great Jon Lordesque organ solo. Also, If Only You Would Listen, a truly great thoughtful song with well thought out setting on this piece, with the initial four voices venting their collective disappointing experience of parental expectations.

Co-Directors Keith Ragdale and Abby Evans absolutely nailed School of Rock, great visuals, costumes lighting and sounds, my only real criticism is the ‘No Vacancy’ musicians didn’t look convincing playing their instruments, great histrionic vocals from Nathan Adams though.

As usual Keith Ragdale, doubling his roles as Musical Director, has well-polished performances from all involved, be they musicians or singers.

Cool rock based choreography throughout from Choreographer/Producer Ed Costello.

The success of this show in particular, rests very much on the over the top exuberance character of Dewey Finn, that contrasted by the casts reactions to his manic personality, Five Towns got this balance spot on, they absolutely blew the roof off the Rep with this show.

Based one of my all-time favourite films, written by Gary Ross and Annie Spielberg. Book John Weidman, Music David Shire and Lyrics by Richard Maltby, Jr.
A beautiful coming of age story, which transfers well from the cinema to the musical stage, whilst keeping the essence of the film intact. Chairman Keith Ragdale says in his programme message as he invites you to, sit back, engage your inner child, and enjoy the performance.
Josh Baskin, played by Jasper Eglin/Albert Whittaker-Vyse, a typical likeable 80’s boy, almost a teenager, he longs to be Big. Being big seems like the best thing in the world, Big is cool.
On a night out at the carnival with his family and best friend Billy, Ryan Moors. Josh discovers the girl who likes him has an older boyfriend, this together with the humiliation of being refused entry to a ride for being too short, makes him run blindly until he finds a Zoltar machine.
Kira Matthews as Mrs Baskin, Josh’s mum conveyed the angst of losing her son really well, lovely voice to, showcased particularly well in “Stop Time” in the old neighbourhood scene.
He drops a quarter into the slot wishing he was bigger. Josh, waking up to find he’s in an adult’s body; scaring his mum half to death as he rushes out of the house in a state of confusion. Seeking out Billy he manages to convince him he’s really changed, they set off to try and reverse the wish.
Paul Moore as big Josh had wonderment, a believable naivety in his performance, absolutely crucial to making this concept of the story work, excellent performance. He meets Toy store Chairman MacMillan, Jordan Harrison, notably growing in presence and stage craft with every role.
Discussing toy design at a giant keyboard, they duet together dancing on the keys, impressed, Mac offers him a job in Toy development. Josh playing the role absolutely straight when confronted with his very suspicious co-workers, the interplay with the “adults” was spot on.
Co-worker Susan Lawrence, beautifully sung and played by Danielle Drakeley, takes a shine to the thoughtful, maturity Josh emanates with his focused passion for toys and play. Seeing him as an adult she tries to start a relationship, Josh challenged by the emotions and feelings he is going through, throws himself into his work, as they develop a new toy together.
Meanwhile, Billy has tracked down the Zoltar machine Josh needs to wish himself back to being his old self. Josh embroiled in the new adult world he finds himself in brushes Billy aside wanting to stay as he is and enjoy being big forever. Some wonderful pathos in these scenes. A great mask scene. The Josh’s duetting was very poignant. Josh learning to be careful what you wish for.
The retro 80’s feel, the costumes, the crimped hair, power dressing etc, brought all the memories of the decade flooding back. A slight age-related technical error, with the mass mobile phone scene, at this time, mobile phones resembled bricks, and were only used by businessmen, that minor infringement aside, the production team created a wonderfully nostalgic vision.
The band sounded fabulous under the fine Musical Directorship of Keith Ragdale, as did the voices throughout the show.
Choreography from Ed Costello was exciting, evocative, with great fluid movement. A big, big cast to work with, which could have been disastrous, but, as per usual the production team made it look easy. It’s definitely not. Well done.

Based on the play by Alan Parker and hit film of the same name, with Music and lyrics by Paul Williams. The stage was flanked by two 30’s style cars, with a city skyline front tab to set the scene firmly in the USA.
From the moment the first victim got Splurge gunned from Dandy Dan - Alex Dale’s henchmen, in their wonderfully colourful zootsuits, swiftly followed by the second victim, a lawyer in a barber’s chair, there were waves of laughter emerged from the audience. Bodies continued to drop at a regularly.
As the front tabs open, tables and chairs were moved into place by the well-dressed cast, the ambiance akin to the period of prohibition, where speakeasy’s were hidden from plain site for fear of arrest and conviction. This led straight into the opening number Fat Sam’s Grand Slam Speakeasy, lavish and lively.
We meet Bugsy - Ryan Moors; he filled the role with a great balanced presence. Blousey - Charlotte Myatt; sassy, nobody’s fool, wannabe singer, going from audition to audition. Bugsy, smitten, does his best to assist in her quest. Subtle performances, very well observed by both young actors.
Fat Sam - Jack Roberts, excellent tirade at his yes men gang members, totally under the thumb of Tallulah - Keeley Evans. Excellent observations throughout the casting, each bringing the right amount of attitude/fear to build the tension of 30/40s gang warfare, particularly impressive was the fast-paced accented dialogue.
The cast ranging in age from six to nineteen were a joy to watch. Well drilled, thoroughly ensconced in their roles and in the overall performance to audience. A credit to the production team.
To counter the crimewave, the Cops led by Captain Smolsky - Oliver Oldfield, together with O’Dreary/English Reporter - Isobel Hutt. The comedic element these two brought to the production was almost slapstick at times reminiscent of the Keystone Cops, very funny indeed.
Musical Director Keith Ragdale, great band as usual; Directors Keith Ragdale and Abby Evans always work well together; the whole production team always seem to bring the best out of their cast. Choreographer/Producer Ed Costello worked his cast well, the show numbers were enthusiastic and authentic looking.
Costumes were vibrant and colourful, they really zinged on the stage, only marred by a pair of Nike trainers in the Dock 17 scene. All scenes thoughtfully lit, a few sound issues with mics distracted a little from the overall show quality.
The big cast obviously loved performing in this show, the attempted upstaging dancers, vying with Tallulah in My Name is Tallulah was hilarious. The So You Wanna be a Boxer, Slugger’s Gym was also very funny.
Absolute peach of a show, vibrant, funny, fast paced.

Based on the hit film of the same name, with Music and lyrics by Dolly Parton, book by Patricia Resnick. You know you’re on to a winner when the legend that is Dolly Parton, projected onto the 9 to 5 logo above the stage, introduces a quick show synopsis. 
Lively full cast opening number, a subtle and smooth introduction into the show. Lots of movement in the opening, impressive synchronisation of steps and great use of office props made it really zing along. This set the bar high for the rest of the show with great choreography throughout from Choreographer/Producer Ed Costello. 
Set in the 80’s patriarchal world of typewriter pools and extremes, our three heroines Violet, Doralee and Judy; skilfully embodied by Abby Evans, Kira Matthews and Leah Dowell respectively; are brought together into the world of Corporate America. Trying to make a living under the critical ever-watchful eye of the Boss’s office snitch, Roz, hilariously encapsulated by Rosemary Gresty; restrained yet played for the maximum laughter appeal. It worked well.
The man at the heart of the company, curtailing any female ambition, aspirations, or promotion, whatsoever, the odious, overbearing letch that is Franklin Hart Jr. A paragon of back slapping, old school tie misogyny, excellently portrayed by Jordan Harrison, his rendition of the lewdly salacious “Here For You” was oozingly brilliant. 
It is when Franklin oversteps the mark promoting a young guy that Violet trained, she finally blows her top, aided and abetted by Doralee and Judy, they’re forced into desperate measures to teach Franklin a lesson. This was played to perfection, building jeopardy and excitement finally climaxing Act One with a half-naked, bound and gagged Franklin suspended in mid-air in his own bedroom. 
Costumes looked very time appropriate. All the cast sang and performed well, lead’s vocals thoughtful and well-schooled. The pace and styling of the show was very good. Great Fun, suspending reality for a couple of hours. 
The almost seamless scene changes were especially slick, the cast assisting with props as and when required this worked visually very well indeed. The switching from office to Hart’s bedroom was particularly good.
Act Two. With the dastardly Hart safely tied up (literally) the three intrepid ladies run the office in his stead. Despite much interference from Roz, using Doralee’s forging skills, the girls’ management turns office morale around, productivity goes through the roof and eventually this comes to the notice of company owner Mr Tinsworthy. 
Craftily Hart manages to get the better of a distracted Judy, escaping his bonds, he returns to the office to have all three arrested for kidnapping, just as Mr. Tinsworthy arrives to praise Harts improved performance figures. Hart unaware of the improvements, lays the responsibility firmly at the girls feet, Violet gets promoted to CEO in his place, Hart and Roz are posted down South. 
An excellent big twelve-piece band rocked and funked their way through the numbers with true to era sounds under the very capable baton of Director/Musical Director Keith Ragdale. Sound was well balanced overall. 
A vibrant, lively show peppered with great songs and performances by all.

Based on the hit film, this Christmas show was a revelation, with book and lyrics by Debbie Isitt. Music by Debbie Isitt and Nicky Ager.
Three school friends, Paul, Gordon and Jennifer, love to perform, they all go off to drama school with big dreams. Two fall in love, very funny bit of comic business here; Jennifer has the chance to follow their Hollywood dreams, leaving Paul and Gordon both going into teaching, at very different ends of the Ofsted scale. 
Paul Maddens played with real heart by Thom Wilde, has become bitter with his lot, losing the love of his life, teaching unruly children at a failing school, plus getting an absolutely dismal review from sanctimonious local newspaper critic Patrick Burns, wickedly played by Nathan Adams.
Five-star review rival Jordan Harrison as obsessed sneering Gordon Shakespeare teaches at the poshest of posh schools, drilling ‘win at all costs’ mantra into his educationally privileged pupils.  
What may have started as friendly rivalry has become embittered sniping, as Gordon lords it over Paul at every opportunity.
Enter Desmond Poppy, a truly amazing performance from Andrew Turner. His off-the-wall antics as new Teaching Assistant to Paul wins over the children as quickly as it infuriates and frustrates Paul. This is a beautifully written and observed character, portrayed with a nuance and subtlety of professional standard.
The fun really begins when Mr. Poppy accidentally overhears a robust encounter between Paul and Gordon with Paul stating former girlfriend Jennifer Lore, Leah Dowell, now seconded successfully in Hollywood, is bringing ‘Hollywood’ to Coventry to sign up St Bernadette’s Nativity for the movies.
Enthused beyond reason Mr. Poppy tells everyone including his auntie, school principal Mrs. Patricia Bevans, subtlety played by Rosemary Gresty, gin bottle in hand, very concerned for the financial future of the school, she leaps on this lifeline, alerting the national media, as the lie snowballs, the excitement of all involved is palpable, oozing off the stage, the school is catapulted into the public eye with everyone wanting to be in the movies.
Paul under increasing pressure to deliver relies on Mr. Poppy’s wild ideas to create the amazing Nativity show, starting of course with auditions, I really loved Sylvia Evans Irish vicar’s one-woman recreation of ‘Ce La Vie’ by Bewitched. One of many stand out performances, particularly the children.
Incandescent with disbelief Gordon’s frantic Blue Sky session with his pupils to somehow counter St Bernadette’s Nativity, finally settling on the over the top ‘Herod The Rock Musical’. Brilliant, I’m still chuckling when I think about this scene.
Act Two opener was reminiscent of ‘Gotta Dance’ from Singing In The Rain. Hustle and bustle of Hollywood. Good movement. The Star Tour bus scene pilled the laugh out loud scale even higher.
I must congratulate everyone involved in bringing this gem of a show to the stage, despite a technical issue in Act Two quickly and ably resolved, the cast, young and old, sound, lighting, costumes were all of a high standard. The musicians under MD Keith Ragdale rose to the technical challenge and were superb throughout. I must also mention the wonderful children in the cast, they really stepped up, enthusiastically immersing themselves in the positive essence of the story.
There was such heartfelt emotion, passion, and sheer joy in this show, it was utterly infectious.  
A very funny, very entertaining quintessential feel-good Christmas story. Magical!

Lyrics by Tim Rice with Music by Andrew Lloyd Webber, Jesus Christ Superstar was their first musical produced for the professional stage over 40 years ago. A dark rock opera seen through the eyes of Judas Iscariot. Five Towns Theatre unrelentingly show after show, bring quality musical drama to the stage, the presentation, look and feel are of a professional standard. From the first notes of the incredibly tight ten piece band leaving the P.A. system I had a familiar warm feeling of expectation of the show to come. Andrew Turner as Judas was outstanding, the vocal dexterity shone from his opening number, fabulous light and shade and powerful presence. A great performance all round. The obvious tensions between himself and Jesus were physically portrayed with real passion. Nathan Adams as Jesus, should be fronting an arena touring rock band, what an amazing vocal range this young man has, hitting notes effortlessly with power and precision, yet also a tender fragility in moments that came across so well. The emotive Last Supper, the capture, torture, examination, Crucifixion scenes were so brilliantly staged, all the while he meekly and almost regally stayed calmly in character, enduring all. Excellent. Miriam Mould as Mary again really good performance, thoughtful and beautifully sung numbers, definitely need to see and hear more from her in the future. Pilate, Jordan Harrison a commanding performance, masterly, tongue in cheek, compassionate, he had fun in this role and it showed. Likewise the rest of the named characters, Caiaphas, Katie Leath; Annas, Molly Joynson; Herod, Sam Harrison; Simon, Ben Birkett; Peter, Lewis Harrison; always engaged, enjoying performing, giving their collective best efforts for the show throughout. As did the whole of the fifty odd cast members many playing multiple roles, the singing and in particular the harmonies were so well drilled and sung it belies the tender ages some of these performers actually are. Directors Keith Ragdale and Abby Evans, know their cast members so well, they get so much out of them. Having the actors integrating and working around the band, the great use of levels added a real dynamic to scenes, beautifully lit, excellent sound throughout, oozing quality. As ever Keith also had his Musical Director hat on – I must compliment each and everyone of the ten piece band, they did seem a little quiet at the start for me, that said I heard every instrument crystal clear, their collective efforts, not just in the execution or the interpretation, it was the subtle nuances and tones of each instrument which added a sparkle to the overall sound, brilliant score from 1998 I believe Keith told me, Loved it. Choreographer Ed Costello, created great flourishes of movement, be that en-mass or in small groups the visuals were well crafted throughout the production, costumes also worked well throughout, denoting different groups of performers. Five Towns has delivered a Hell of a show, powerful, passionate and visually dynamic.

The show was written by Tim Rice with music by Andrew Lloyd Webber it covers the last seventeen years of Eva Peron's life, starting at sixteen and her first taste of opportunity to better her standing in life, using men to reach ever higher circles in Argentinian society in the 1930's and 40's until her death from cancer in 1952 at the age of thirty three. Five Towns Theatre closed their last show Peter Pan at The Rep in Stoke on Saturday 25th of May 2019, to open with Evita some twenty four days later is truly remarkable, they keep doing this and might I add to a very high standard, no short cuts. There are many cross over players between the two groups who had roles in both. Amazing dedication. I will state for the record I'm not a fan of Lloyd Webber Musicals. That said regardless of originator it is the production, music, sound, lighting and cast performances that I'm appraising. Kia Matthews as Eva, had the unenviable task of filling the shoes of one of the Iconic Musical Female lead roles which she did admirably, the light and shade in her voice was lovely, she carried herself almost regally at times, her costumes and in particular her wigs were outstanding. Jordan Harrison as the shrewd and ruthless Peron, soon realises what a political asset he has in Eva, there was a real tenderness at times in their relationship which they both played well, nice interplay with the duets as well. Andrew Turner as Che (Guevara), the narrator of the show, interjected himself in and out of the action really well, a very well controlled wide ranged singing voice, gave us some lovely duets with Eva, setting the tone of a lot of the scenes with his facial expressions alone in some cases before a word was said. Molly Joynson as Mistress to Peron, her lovely soprano voice shone in Another Suitcase in Another Hall and showed its strength as it powered out at the end of A New Argentina. Ben Birkett as Magaldi, again brings a control and presence to his role, the eventual disdain from Eva as they meet again years later, about him still doing his same old act and his swift cutting reply as to her doing the same, was a window into the complexity of past relationships, especially with the knowledge of hindsight. The whole, very busy and quick changing ensemble, were a credit to the show, slick, enthusiastic, exuberant and vibrant when required, equally so, dour and sombre as required. Five Towns always seem to do good crowds on stage. Excellent work ethic throughout, all there for one another and the team. They danced with a passion and zeal capturing the heat of Buenos Aries in this turbulent time in its history, good lively choreography and movement throughout by Ed Costello, The Art of the Possible, worked very well visually as did the big full cast dance numbers. Lighting, costumes superb, props and scenery were very slickly presented and changed. The ten piece band under the Musical Directorship of Keith Ragdale really hit the spot for me, a total endorsement of the much improved sound at the Rep, every subtle musical nuance, every instrument came across superbly mixed at a perfect level to hear everything said or sang over the music, the band almost had as many changes of instrument as the cast had costume changes. Producers/Directors/Choreographer Keith Ragdale, Edward Costello and Abby Evans are a close team and it shows, they work well together to bring top class shows to the audience.

Based on the games he would play with his brothers around the Pirates of Treasure Island and the Indians in The Last Of The Mohicans, James Matthew Barrie eventually began to write a script for the play Peter Pan or The Boy Who Wouldn't Grow Up. This eventually became the book Peter and Wendy, which became an instant best seller and hasn't been out of print since. Five Towns Theatre Youth are very much a nurturing company, finding and developing new and seemingly ever younger talented performers, channelling their abilities and potential in the right direction. A case in point are the two young leads in this production, both performing at levels far in excess of their tender years. Isaac Marmont as Peter Pan, charismatic, big hearted, almost devil may care with the hint of fierceness the character emanates looking after the Lost Boys and having to escape the evil clutches of Captain Hook, his impending voice breaking was handled very well throughout. Bibi Simpson as Wendy Darling equally impressive, her trained voice was outstanding for someone of her age, fabulous. Her consummate stage awareness prior to the flying scene to uncross wires was handled easily and unceremoniously. As I said, both performing beyond their ages. I look forward to seeing their future productions Jordan Harrison wearing two hats so to speak as Mr Darling and Captain Hook, bristled with evil as the latter, a fine foil against Peter and Wendy. Corey English and Stanley Gowler as John and Michael Darling respectively performed confidently. Likewise with Cailyn Clark as Tinkerbell, her actions conveying her intentions well. Lisa Stewart brought a real caring warmth to her role as Mrs Darling. The big supporting cast as Pirates and Indians worked their collective stripey socks and feathers off, lovely singing and good movement. Producers/Directors/Choreographers Keith Ragdale and Edward Costello ably assisted by Abby Evans and Chloe Harrison brought us a really fine show with some magical moments, the flying scene over the London roof tops was pure stage magic, well done. Musical Director Keith Ragdale obviously worked on the singing, the whole cast sang well, the duets between Peter and Wendy were spine tingling. As usual the quality of the musicianship was of the highest standard. Sound had a few issues with mic levels, the band mix to my ears required less brass and slightly more drums, that said I realise this is totally subjective of course. Lighting, costumes, were really vibrant and colourful, props and scenery worked very well indeed. Being extremely picky, as you would expect Maid Liza, Eleanor Adler, should have had her hair up in a cap and a feather duster rather than a modern anti-static one, a very minor point I know. The show catered toward the younger audience with a cutesy crocodile and with elements of pantomime at times in the second half, which went down really well.

Based on the book by Hugh Wheeler, with music and lyrics by Stephen Sondheim. Sweeney Todd - The Demon Barber of Fleet Street has its own very particular challenges to bring it successfully to the stage. Five Towns Theatre continue their seemingly relentless desire to achieve the very best of performances from their cast. It seems no matter what the show, they push the envelope to produce some of the best results that local amateur theatre can achieve. The remorselessly driven Sweeney Todd, Oliver Bennett, had a real darkness to him, I enjoyed his portrayal very much, some of the quieter vocals didn't quite cut through the backing earlier on where we were sat in the auditorium but his full voice certainly did he was spot on. Abby Evans as Mrs Lovett, an absolute peach of a role for her, very well observed characterisations, manipulative, conniving, charming, comic, duplicitous. Excellent. From the tortured Dani Drakeley as the Beggar Woman, in some ways as equally lost as Sweeney, a fragile tortured mind, who knows what debasement she endured in her past to reach her lowly position in life, her outbursts and character lucidity switches we really very good. Keiran Picken as trusting besotted Anthony Hope, played well against antagonistic Jude Leath-Yates as the slimy Beadle, both well cast. Callum James as Tobias Ragg featured well in some of the memorable scenes, I particularly liked his crowd surf in Act1, again very watchable performance indeed. James Hart as Adolofo Pirelli had a chancer's menace to him. Likewise with Christian Stewart as Jonas Fogg, both enjoying being big fish in their respective ponds until dealings with Sweeney's revenge took there toll. I'm very glad to see Producers/Directors Keith Ragdale and Edward Costello heard my pleas from their last production the excellent Phantom of the Opera and gave us more opportunities to see Ben Birkett and Molly Joynson on stage, here as Judge Turpin and as Johanna. Consummate, passionate performances from both performers, superb strong voices, carrying the gravitas and helplessness of each role to a tee. Straight from the opening number the cast gave us a crowded London, it felt right. They were all very well rehearsed, they hit their spots, never looked out of place or cluttered in anyway. This is a big cast, around sixty on the Reps stage, a very big hand to all of them, they stayed in character, whatever it was, sang the amazing harmonies with an easy conviction and ability, borne of being well rehearsed. All involved grew stronger and stronger as the show progressed. The Fogg's Asylum scene in particular was outstanding - very, very impressive indeed. Music, as if Keith wasn't busy enough he also Musically Directed the show, the musicianship was absolutely sublime. Sound and lighting, scenery, every aspect had been squeezed to the maximum. Attention to detail was only slightly let down to me by some of the footwear, a minor point but a distraction, although I am being extremely picky, as I am sure you would wish me to be. Once again Five Towns has delivered a top notch production, showing a committed shared work ethic from everyone involved both on and off the stage.