Directed by Taylor Doig and Jack Nixon

Musical Direction by Mark McLauchlin and Jack Gardiner

With a cast of over thirty-five, nearly thirty musical numbers and forty-five years under their belt upholding all which makes communal youth theatre an important opportunity, it is with great pride that we congratulate Forth Children’s Theatre on an anniversary gala which radiates with quality, smiles, and hope. Oh, and a few rather spiffy vocals too.

A culmination of participants past and present come together to celebrate the opportunities their time with the group presented. Though significantly comprised of those currently involved, there are more than a few recognisable faces and voices which bring their skillset to the gala and show the younger participants a glimpse of the skills which they can carry forward both in, and outside, of the arts. 

Rather than one full show experience (that honour goes to Everybody’s Talking About Jamie, their 2024 Fringe piece), the gala is a culmination of hits from twelve musicals of the stage (and screen), mercifully constructed in a way by directors Jack Nixon and Taylor Doig (who provides some outstanding choreography) which spurns explosive ballads (not a ‘Defying Gravity’ or ‘All That Jazz’ in-sight) and offers a range of ensemble numbers mingled with some less-familiar numbers from some of the groups most successful production. This maintains the pacing at a brisk two hours and a pleasant sense of appreciation and balance of bold bombastic numbers, peppered with moments of genuine pathos and strong solos.

So then, where best to begin with a musical extravaganza, then with the song? No?

Well, this 45th-anniversary gala erupts not with a showstopper (those are coming though) but with a rousing overture of some of musical theatre’s most noted tracks and scores, courtesy of musical directors Mark McLauchlin and Jack Gardiner’s orchestration is precise throughout, though does occasionally slip into the Church Hill curse of rising about some of the lower projections from the on-stage vocalists.

But when things do kick-off, the team leap with vigour and energy from the go – Doig and Nixon structuring a tight selection of a few songs from each of the chosen musicals starting with an introductory act crammed with numbers from 13, Thoroughly Modern Millie, everyone’s favourite Hairspray, and a popular choice which brings us all into the band: School of Rock. Familiar faces Corin Wake straps on an axe and school tie for another demonstration of their comedic talents and adaptability while Orla Harrison holds some terrific presence and control when taking to the stage solo for ‘Jimmy’, managing to tap directly into the heart-felt nature of the song with grace. But if what you want to have is a bouncing, big, bold, beautiful time, then the whole Hairspray section brings some terrific ensemble moments with creative movements, flow, and performance from Maia Baxter who makes a brilliant Tracy as Emma Swaine charms with solid footwork and plenty of joie de vivre (you’ll also notice some top-notch costumes from Angie Caulfield here, featuring some quick changes even the professionals struggle with).

Quickly though, Doig and Nixon pull the rug put and promise that this gala will be more than just glitter and showbiz, drawing us deeper into some stellar Stephen Sondheim magic. Callum Farrell, Andy Johnson, and Connor Dickson’s lighting is at its best when used dramatically to enhance the environment, whether it’s the pop-neon colours for schmalzy bouncing high school drama, or a more intensive crimson for a strikingly effective ‘Ballad of Sweeney Todd’ to offer a slice of musical theatre’s seedier underbelly; Harry Aspinell’s imposing and grim use of the theatre’s space stands out against the chipper cheer which came before, while Lara Shanks’ ‘Worst Pies in London’ is serving-up their best with character performance and movement.

One of the more touching elements of the gala for families, friends, and those lucky enough to see so many of the group’s performance is observing the advancement in technique and confidence, the skills which will go on to help so many even out with the sense of live performance. Most notably in Bobby Duncan and Alisa MacLean, who we’ve covered from their days of selling orphans in Oliver! or thundering as a backing dancer: now stepping out as fully-fledged stars. Duncan especially, whose vocals have come incredibly far, delivering a stand-out and powerfully evocative ‘Wall In My Head’. MacLean leads a trio of numbers from Anything Goes. To see the evolution of control in their form, and the projection and emotion of voice in MacLean is a testament to the brilliance of Forth – who in the short year since Anything Goes, has already outdone her tremendously impressive performance from last year; delivering an emotionally-mature and memorable ‘I Get A Kick Out of You’.

While some are notable for their previous performances, their evolution, and ‘graduation’ from the team, the various ensemble performers who are just starting on their journey all contribute to an exceptionally universal sense of comradery and talent. There isn’t a step out of line or crack on the show, even down to its impressively clean (the best things are often simple) scene transitions with Gavin MacLeay’s set. A large amount of credit to the stagehands and all of those behind the curtain, shifting us from sixties Baltimore to the rooftops of Edwardian London.

And as we sweep over said rooftops in an act two opening of ‘Chim Chim Cheree’ from Mary Poppins (with another prologue for the band to impress once more) the pacing, tones, enthusiasm and issues which, while not interfering too much, have been ironed out for the second act. The mood is immediately captured and carried through with a much tighter, and more unique, selection of songs that much a lot more of the personalities and vocals of the group. Once more shifting into the darker worlds of the musicals, a visit to ‘Skidrow’ enables past performers Rachel Allison and Neil Somerville to nab a chance in the spotlight away from the youngsters, delightfully macabre and in perfect character throughout the Little Shop of Horrors sequence. Allison then leads a tuneful and peppy ‘generational’ number of the four predominant female performers with Charlotte Dickson, MacLean, and Swain.

As we round the corner back home after our whistle-stop tour of so many musicals, there are two pit-stops to mention: Charlotte Dickson’s ‘Come To Your Senses’ and Roisin Caulfield’s ‘Home’ from The Wiz. Mature and performed to a precise degree of vocal control and characterisation, Dickson’s performance of the Tick Tick Boomnumber is one of the most accomplished of the gala – as is their duet with Duncan featuring a chair-dance sequence, yet another example of Doig’s stunning choreography; so well placed within scenes. But the full demonstration of the merger of direction, song, score, and some beautiful movement from MacLean and the FCT dancers is the tribute to those associated with Forth Children’s Theatre who have passed. Caulfield enraptures the audience vocally as the FCT dancers bring a light sombre moment: respectful and beautiful. It’s an emotional gala, an intelligently presented one, but never loses focus on the joy and sparkle of the cast.

From a ‘Brand New You’ to a ‘Brand New Day’, the level of thought and measure behind the production is as impressive as the more obviously delightful talents onstage. Every element and performance here is crafted by everyone’s dedication to ensuring other young emerging artists have the same opportunities and splendid times for the next forty-five years. After an afternoon of surprises, high-quality entertainment, and community; we look forward to sharing in the golden celebration and greeting a new generation of those looking to tackle the world of musical theatre. 

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