"Summer Holiday - The Musical"

Act One

Iveshead School, Shepshed.

This show is so well timed as I found out recently that a massive new UK tour of "Summer Holiday" starts in June, so you can see Act One's production of the show before the big nationwide touring production.

Even before you reach the theatre doors, and this is something that I have noticed with all of the Act One shows at Iveshead, the journey from the building doors to the theatre doors is given thought to. The aisle you walk down is lit and all you have to do is follow the parade of buses to the main seating area, and getting you in the mood for the show.

Four London Bus mechanics, Don, Cyril, Edwin and Steve strike up a deal with London Transport. They do up a double decker London Bus, drive it around Europe as a hotel to win a contract. While on the road in France they pick up three ladies, Mimsie, Alma and Angie, on their way to a gig as the trio Do Re Mi, whose car breaks down. So the lads agree to offer to take them to their next singing job in Athens.

They also pick up a stowaway. A young, American boy called Bobby. Meanwhile, a young American female singer, Barbara has gone missing. Her mother, Stella (who is a VERY ambitious woman) and her aide, Jerry, take the story to the press and it makes the front page. They do all they can to make the story run for as long as possible.

Well we all know that Bobby is really Barbara because of the classic film which transposed into a very successful stage musical.

Mayhem ensues as, Don falls for Barbara. Eventually, when the eight bus riders reach Athens, they're arrested for kidnapping. In front of her mother, and a press conference filled with world-press, Barbara and Don declare their love for each other and the mother accepts the relationship (after realising how 'big' Don will become).

I’m a sucker for a happy ending and I love this musical and it’s wonderful soundtrack, “Bachelor Boy”, “Dancing Shoes”, “I Could Easily Fall In Love With You”, “The Last Time”, ”On the Beach”, "The Young Ones", "Move It" and “Summer Holiday” are just a few of the classic Cliff Richard hits in this musical. They just put you in the mood for popping off to the seaside on a double decker.

Jonah Robinson plays Don, the good looking hero of the story. He is a really good choice of leading man and Jonah is another one of those triple threats - in fact all four of the male leads are triple threats. Jonah has real likeability and a good voice; I especially was impressed by his part in the song "Living Doll". He sang the lower range in this harmony and while not quite being low enough for a bass, he has a really strong baritone register, which he also put to good use in the song "Time Drags By". His vocal skills are also put to good use in the harmonies with Caitlin, especially in the ballad version of "The Young Ones". This young man has a lot going for him on stage.       

Toby Ashurst (Edwin), David Sturla (Steve) and Arlen Panesar (Cyril) are great fun to watch as the four mechanics. They all get scenes to shine individually like Toby's table top performance of "Move It", which opened Act Two, David's comedy lingua franca and his initial introductions with Do Re Mi, and Arlen's explanation to the border guards. These are just a few highlights for this trio! One thing I also noted with Don, Steve, Cyril and Edwin is their dancing ability and also that this quartet looked as if they were having the best time on stage; they brought the sunshine to this Summer Holiday.

Katie Sturla (Mimsie), Amy Tarrant (Alma),Evie Hancock (Angie) and Caitlin Fitzpatrick (Barbara) are the four lead females. Their sense of fun is obvious to see, matching the lads for the energy that they put in to their singing and choreography.

Heather Fitzpatrick (Jerry) and Lexie Collins (Stella) are a wonderful comedy double act, and I love the over the top, dramatic scenes Stella brought to the show, with Jerry acting as a subtle comedy foil. A lovely, and clever piece of casting with this pair.

What I love about Act One is that they use so many young performers in their shows, which means you get to see a whole plethora of talent all in one place, so let's shine a light on the supporting cast....

Leo Gilbert (Wilf the Cafe Owner/Alpine Cafe Owner/Bridegroom), Abigail Corns (Sandra - the Waitress), Pollyanna Field (Marjorie - the Mechanic/ Announcers), Isabel Limb (Mary - the Mechanic), Orlagh Corbett (French Jogger), Elizabeth Cutts (French Cyclist), Freddie Walshe (Strange Looking Girl), Etta Brompton (Jean D'Arm), Halo-Grace Smith (WPC), Emelia Corns (Italian Guard), Emma Offiler-Russell (Commander), Nellie McLennan (Bride/Wrightmore British Officer), Emma Salter, Layla Adelakun, May Brompton and Orlagh Corbett (Bridesmaids) and Grace Smith (Wedding Singer).

The Backing Vocalists are Abigail Corns, Bella Jordan, Freya Walshe, Layla Adelakun, Nellie McLennan and Pollyanna Field.

The ensemble of Cafe Customers, Mechanics, Nightclubbers, Passers-By, Alpine Cafe Customers, Wedding Guests, Reporters and Beach Guests consist of Abigail Corns, Bella Jordan, Elizabeth Cutts,  Emma Offiler-Russell, Emma Salter, Etta Brompton, Freddie Walshe, Freya Walshe, Grace Clarke, Grace Smith, Halo-Grace Smith, Isabel Limb,  Layla Adelakun, Leo Gilbert, May Brompton, Nellie McLennan, Orlagh Corbett, Pollyanna Field and Scarlett Moncur.

Directed by Danni Starkey and Amy North. Their choices of actor for each role is 100% on the money. Danni and Amy obviously know the actors' strengths and have cast them perfectly. The pace is kept up brilliantly and the slower moments become all the more special in contrast with the high energy in the other areas.

Choreographed by Wendy Spencer, Helen Starkey, Shelly White and Danni Starkey. This is one musical where the dancing speaks volumes because of the instantly recognisable dance style of the decade, and all of those routines are on show on stage, and brilliantly recreated by this colossal cast. You can see the work that has been put into the choreography not only in the actors' bodies, but in their faces, they all look as if they are loving these routines, as well as the songs. And when you think that this big cast probably have not heard most of these songs, or danced in this way, they all looked as if they were born to boogie like this.

The costumes for the show are thanks to Wendy Spencer, Shelly White and Lorna North, and all look suitably sixties.

Musical Director is Adrian Dobson who with his band Mick Curtis (Sax, Clarinet & Flute), Matthew Lax (Trumpet), Dave Whittle (Keyboard 1), Pete Fines (Keyboard 2 & Acoustic Guitar), Richard James and Dotty Tripper (Electric Guitar), Tom Hetzel (Bass) and Andy Shelton (Percussion) recreated that wonderful sixties sound of The Shadows and a melodious Mariachi sound thanks to Matthew Lax's trumpet.

Sound is by James White, and while there were just a few crackly mic pacs, this didn't surprise me due to the energy that the actors put into the routines. On a personal level, I would have liked the volume for the main actors increased a little when singing over the band as they sounded just a little low in the mix. This was opening night though so without the auditorium being as full as it was, getting that essential mix between on stage actor and live band is never easy to get spot on until after that first show.

Lighting is by Ollie Whitehead. As good as it gets, and as good as any theatre. It was bright, colorful and created excitement with the music.

Stage Manager is Kevin Spencer and along with the Stage Crew, consisting of Pete Yeomans, Paul Savage, Mike Armes, Alan Jamieson, Amber Savage, Ruby Armes, Steve Hancock, Frank Armes, Natalie Savage and Amy North, they made sure that the transitions on stage were always smooth.

Props are provided by Danni Starkey and Helen Starkey, and there are many of them in this musical.

There is another star of this musical that I have not yet mentioned and that is the bus itself. I was truly gobsmacked when I saw this roll on to stage. In the past productions of this musical the bus itself is part cutaway, but here was a life-size bus on stage with upstairs and downstairs areas, both of which used by the cast. The inside of the bus was kitted out and the outside of this big red London bus was adorned with advertisements of the era, plus a clever advert for Act One's next musical production, "Sister Act". The buses registration number of AOC 2026 was also tied into Act One. Not sure whether this would be classed under a very large prop or part of the set design, whichever category it falls into, it certainly impressed me, as well as the ease that this big red monster was moved around the stage by the Stage Crew.

"Summer Holiday" will make you want to grab your buckets and spades and flip flops and head for the seaside, but before you do that, make sure that you catch this fantastically fun musical before it finishes on Saturday 16 May.