Youth theatre's standing ovation for Fame The Musical "richly deserved"

Based around the New York City High School of Performing Arts, the whole idea was conceived and created by David De Silva, not only becoming a stage show and movie but spawned a television series that ran for six series. The only thing that was common to all was the iconic title song which subsequently became a huge hit record across the world for Irene Cara who starred in the original movie. No pressure on 16-year-old Amelie Christie then as she took on the role as the fiercely ambitious Carmen Diaz. I expect all of the Limelight cast were not born when all the adulation surrounded the show, but the themes of audition, youth challenges, drug temptation, relationships and jealousy all are very much still with us.

From the opening number the full company are involved and what a start. Hard Work is a full production highlighting the vocalists all over this big stage and demonstrating the impeccable dance talent present as choreographed with immense precision by Vicki Sharp.

The costuming team have ensured that they reflect the youth wear of the day whether sports tops, denim or dancewear and subtley changed as the story progresses to indicate time passing.

Fraser Morrison as creative and musical director, with his creative assistant Kate Smart, should be proud of this striking production, not only for the stage craft but also for his nine-piece orchestra playing live in the pit with himself conducting. The principals have captured the street Brooklyn accent and attitude, they are hip, use the full stage and gantry well and when solo each have a command of their song. Gregor Scott plays Nick Piazza and shows a mature voice on I Want To Make Magic. Effy Duncan plays Mabel Washington and excels on Mabel’s Prayer while Anna Yates-Connor as Serena Katz shows her versatility on Let’s Play A Love Scene and Think Of Meryl Streep. Theo Hart is already a seasoned performer and on is 17th birthday showed why he is a star in many productions. His vocals are strong; his accent was faultless and even when he is hamming it as Shakespeare’s Romeo can be convincing. Young Amelie Christie gets the Carmen Diaz part of dancing on the car bonnet we all remember, and she embraces the part with all her skills gained from her already impressive CV. Her take on Bring On Tomorrow and the title song along with her contemporary dancing shows why she is one to watch mature.

Space does not allow me to credit so many more performances here, but credit too must go to the teachers Eden Murray and Bethan Laing playing parts well beyond their years.

Limelight Youth have a wealth of talent, and the full ensemble are extraordinary in their delivery under the production manager Fiona Mitchell. These kids from Fame did the company proud.