Strictly Musicals turned out to be just that: musicals, strictly. No plot to follow, no gimmicks or glittery judges giving scores from behind a desk. Just a good, honest celebration of musical theatre, delivered with flair and a decent amount of sequins.
I’ll admit, when I clocked the poster, I feared there’d be more twirling than singing, but instead, it was a cracking selection of songs - some proper classics and a few newer bits that hadn’t yet shuffled onto my Spotify playlist. Personally, I’d have preferred a full buffet of the golden oldies, and judging by the audible “Aah!” every time a familiar show tune was announced, I wasn’t the only one craving a bit of comfort food for the ears.
The show opened with a big, bold Oklahoma! — no overture, just straight in, as if to say, “Buckle up, we’ve got a lot of show to get through.” The cast, dressed in evening gowns and black tie, stood before a shimmering star cloth, the band right there on stage like they’d wandered in from a supper club in Manhattan. It looked rather elegant, and you could tell from the off that everyone meant business.
A lovely touch throughout the evening was the narration - cast members introducing each number with a few lines about the show it came from, sometimes donning reading glasses, which gave it the feel of a slightly glamorous book club. Informative but never dull, it gave the evening some grounding without ever dragging the pace.
Anthony Williams directed with his usual steady hand, supported by Steven and Simon Mercer-Murray, who clearly know how to whip a cast into shape without losing the joy of it all. The lighting was stylish, effective, the staging unfussy and the harmonies were glorious.
Now, I must mention one truly beautiful moment: a duet of Feed the Birds and Hushabye Mountain, performed by Joanne Gill and Vicki Clarkson. I’m assuming the arrangement was written specially for this show because it was a stunning piece. Not just sung, but performed. You could have heard a pin drop. These were two performers completely in the moment, connected to the music, to each other, and to the audience. A lesson, really, in how it's done: honest, heartfelt, and full of feeling.
Elsewhere, the set list was a crowd-pleaser. With songs from Chicago, Crazy For You, A Chorus Line, Phantom, Les Misérables, 42nd Street, Hello Dolly, Wicked, Mary Poppins — it was like a musical theatre buffet, with something for everyone.
Among the evening’s standout performances, Tori Vaal deserves a special mention. There’s a quiet magic about her - she makes it look so effortless, as if singing centre stage to a packed house is the most natural thing in the world. Her facial expressions are wonderful: subtle, honest, always connected to the song, always telling a story. She has a voice you genuinely want to listen to - warm, textured, and full of light and shade. Her solo of Maybe This Time from Cabaret was a real highlight as it was heartfelt without being overwrought, confident without ever tipping into showiness. Tori also appeared in a songs from Saturday Night Fever and Company, showing a completely different side to her talent. Slick, upbeat, and full of life - proving that this lady can turn her hand to most styles without breaking a sweat. A real, natural talent.
Other standouts included Jenny Gill, Scarlet Dickinson, Sara Zahraoui and Andrew Tuton, each one bringing depth and sincerity to their performances, treating the material with the respect it deserves but still making it their own.
The company numbers - Oklahoma, Hello Dolly, West Side Story, and a big old Wicked medley to finish - were full of energy and clearly well put together. Penny Poulton led the Wicked section with such boundless enthusiasm that at one point I thought she might actually take off and do a lap of the Mechanics. She clearly knows she’s good, and to be fair, she is, however every now and then her excitement just ran away with her a bit, and you found your eye wandering to her when really it should’ve been on the whole group. That said, it’s lovely to see someone enjoying themselves so much on stage, and you can’t bottle that kind of joy. If I’m being a bit fussy, there was maybe a touch too much Wicked for me, but it’s popular at the moment, and the audience were lapping it up - and that’s what matters.
If I had one very gentle observation, and it really is gentle - it would be that in a few of the ensemble numbers, there were moments where it felt like some cast members were singing just that little bit louder than needed. Almost as if Mum and Dad were in the audience and this was their big moment to be heard. Perfectly understandable, and all done with enthusiasm, but sometimes it meant the lovely blend of voices was lost for a moment or two. When they did come together as one, though, the effect was absolutely spine-tingling and a real reminder of just how magical musical theatre can be.
It’s been a good few years since I last saw Burnley Light Opera in action, and what a real joy it was to return. It’s brilliant to see them still producing theatre at such a high level, with so many familiar faces still giving it their all and clearly loving every minute of it. These are the people who helped me find my feet in the world of Am Dram, and it’s genuinely heartening to see them still flying the flag and setting the standard for those coming up behind them.
I wish them all the best for their next production, The Hunchback of Notre Dame, this November. If it has the same heart, care, and attention to detail as this show, then it’s one not to miss.
Thank You for inviting me back.
Richard Sanderson, also known as – Colin’s Grandson.