GSA Conservatoire BA (Hons) Musical Theatre Student Showcase

Published Friday 7 May 2004 at 12:35 by Mark Shenton

It is no small feat to attempt to demonstrate the talents of a graduating class of some 34 students in a 90-minute lunchtime showcase but in director/choreographer Gerry Tebbutt’s expert hands, this was swiftly, appealingly and entertainingly done in a musical revue format that could open tomorrow for a professional run.

So could all the graduating students. Straight away you notice one of the benefits of watching a class that has grown together over such an extended period. While they each seized their moment to shine in the spotlight, they were also graciously part of an ensemble.

The tone was set from the off as the entire company take to the stage in support of Natalie Langston, who had the challenging role of kicking off proceedings with a belting delivery of Kander and Ebb’s But the World Goes Round. As a vivacious explosion of talent erupts onto the stage, a beautiful young woman floods the auditorium with Broadway melody.

Intriguingly, many of the selections come from a host of recent New York shows as yet unseen over here, so that the showcase also provides a useful snapshot of the current liveliness of American musicals. Conor Sheridan, who is next up to offer an alternately lilting and passionate rendition of The Streets of Dublin from Ahrens and Flaherty’s A Man of No Importance, is a native Irishman and an outstanding vocalist.

A vivacious comic turn from Lydia Cotton enquired Is There a Straight Man in the House? in an original comedy song, before Joanna Loxton offered a shimmering operatic soprano for Gilbert and Sullivan’s Poor Wand’ring One from The Pirates of Penzance.

Duncan Patrick and Craig Perry joined forces for One Track Mind’ from Sweet Smell of Success and prove that they are on track to an imminent professional career. Patrick later resurfaced to perform a scene from William Mastrosimone’s The Woolgather, with Claire Huckle, who also performed a delightful version of I Enjoy Being a Girl from Flower Drum Song.

Another benefit to Tebbutt’s presentation is that it affords the chance to see several of the performers in different guises - and they were genuinely revelatory. It was intriguing, for instance, to watch Elliot Harper perform a scene from Berkoff’s Dog with swaggering wit and venom and later turn to a tender, lilting rendition of Kander and Ebb’s Sometimes a Day Goes By.

Again, Leon Jeans touchingly performed a little vignette - The Affair - with Natasha Moore, then went on to join the striking, tall and glamorous Alexandra James for a terrific rendition of Cole Porter’s Love for Sale.

The bouncy Eve-Louise Dalling joins Frank Owen for Little Mary Sunshine’s novelty number, Once in a Blue Moon, then joins Matt Byham for a witty rendition of I Love You, You’re Perfect, Now Change’s Marriage Tango.

And so it goes - in the onward rush of songs and scenes, there is distinctiveness and distinction in depth and talent to spare. I will not quickly forget, for example, Natasha Moore and Lauren Harrison ripping into Hairspray’s Mamma, I’m a Big Girl Now, nor Jacobien Elffers’ passionate Marieke from Jacques Brel is Alive and Well and Living in Paris, performed effortlessly in its original Flemish. Martin Dickinson, too, brought real passion and attack to The Scarlet Pimpernel’s Into the Fire, while Hannah Kirton was invitingly suggestive with Jekyll and Hyde’s Bring on the Men.

Ellie Baker offered us ample reason to Get Happy in the Harold Arlen classic, while Emily Turner got bluesy with a pop entry from Quincy Jones, Lionel Ritchie and Rod Temerton - Miss Celie’s Blues - that was heard in the soundtrack for The Color Purple.

Alex Marshall gave a beautifully impassioned version of Craig Carnelia’s The Mason, from Working. Anne-Marie Lawton excelled with Kander and Ebb’s There When I Need Him from The Act and Rhiana Rae delighted with The Biograph Girl’s Workin in Flickers.

The parade of pure pleasure and terrific talent kept on coming. Lauren Jones and Andrew Hopkins duetted marvellously in Romance, Romance’s Think of the Odds and Louisa Maxwell and Dominic Watson squared off sensationally in a medley from Andrew Lippa’s The Wild Party, joined by a superb ensemble.

Hattie Bayton offered a wonderful I’m Not from Little by Little, Savannah Stevenson sung He Touched Me from Drat! The Cat and Helena Blackman revealed charm and sultriness in Charlie Girl’s Like Love.

Into the home stretch, Michael Ethan stood out in a beautiful rendition of Parade’s haunting How Can I Call This Home?, while Richard Kent offered a sneak preview for Tender is the Night from the forthcoming West End Scott Fitzgerald musical Beautiful and Damned. Fiona Kennedy offered The Boys from Syracuse’s Oh, Diogenes! and Andreas Eldeen concluded matters with a rousing rendition of Queen’s Too Much Love Will Kill You.

If I was a casting director or agent - and there were many in attendance - I wouldn’t know where to start. But if I were forced to give my tips for the top, I’d choose Conor Sheridan, Elliot Harper and Michael Ethan.