Made in Dagenham is a show bursting with talent and spicy language. A heart-warming and empowering comedy musical based on the real story of the women sewing machinists who went on strike at the Ford Production plant in Dagenham in 1968. Led by Rita O’Grady, her efforts for equality eventually led to the passing of equal pay within the union. The show fantastically gives a voice to these strong, resilient women whilst wrapped in humour.

From the beginning, the show instantly sets the tone for the laughter ahead as the machinists catch up over their sewing machines. Beryl (Danielle Drakeley) delivers line after line with perfect comedy timing and every time she is on stage you are in anticipation of her next outrageous comment that will have you in fits of laughter. This is followed by an outstanding performance by Kira Matthews playing the incredibly likeable and ditzy, Clare, who can’t tell a thingamabob from a wossname. The dolly bird - Sandra Beaumont (Leah Dowell) produces the most amazing vocals with effortless soul and riffs which wouldn’t be out of place in a professional show.

The leading lady Rita O’Grady, played by Abby Evans, takes you on her journey of self-discovery where she finds her inner passion and confidence. She is battling her roles as a mother and a wife whilst also fighting for a better future for her daughter. Abby holds the show together with her fantastic portrayal of a busy woman. Her performance is the perfect balance of emotion and strength. The TUC speech is a thought provoking and powerful scene delivered impeccably. Another amazing vocalist, with perfect depth and characterisation in each song.

Lisa Hopkins, the managing director’s wife played by Emily Fisher is well-spoken but not snobby, plays the unlikely ally to Rita O’Grady and it is great to watch their friendship form.

Barbara Castle, played by Rosemary Gresty is likeable and strong, not mincing her words or flinching at holding her own against the men. Fiery like her hair, she belts out ‘An Ideal World’ effortlessly in a C&A dress.

The Labour Prime Minister played by Jack Harris will have you laughing out loud. Jack captures this well-known Yorkshire politician perfectly, coming across slightly clueless and chauvinistic. His solo ‘Always a Problem’ is simply hilarious!

As well as being incredibly funny, the show will bring you to tears. Connie Riley (Sylvia Evans) is a woman who has spent her whole life fighting the system and her passion convinces Rita to lead the strike. The song ‘Same old story’ will move you to tears as Sylvia takes you on her journey to strive for more. A gorgeous and poignant song.

One of the show's most dramatic moments comes when Monty played by Steve Harrison is at Connie’s bedside. Without any spoilers, Steve delivers an emotional and heart-breaking performance that has the audience in silence.

Another tear jerker comes from Jordan Harrison playing Rita’s husband, Eddie O’Grady. The well thought out staging and delivery immerses you completely as he pours his heart into this song whilst Rita reads the letter slowly being moved to tears, a moving and touching performance.

The ensemble is integral to the plot, featuring strong singing including the most incredible harmonies. An array of gutsy, characterful performances with lively, dynamic choreography by Ed Costello showcases the incredible local talent of all performers on stage.

There were many amazing songs including a rambunctious and rowdy performance of ‘This is America’ by the rooting, tooting, misogynistic American, Mr Tooley, played with the perfect arrogance by Paul Moore. The super cheesy, glamourous performance of ‘Cortina’ , a typical 1960’s advert with lots of glitz and glam…and sometimes mayhem, is a bit of an earworm. With lots of elements, your eyes will be drawn all across the stage.

The two children, Albert Whittaker-Vyse and Ava Shaw, work perfectly alongside their stage Mum and Dad and really capture the essence of a 60’s working class family.

This is a well-produced and polished production where even small details such as the stage crew wearing Ford overalls to move props has been considered. The sets are vibrant with fantastic lighting and a live band playing with gusto, expertly led by Keith Ragdale.

Full of wit and grit, this show will have you laughing, crying and leaving feeling a sense of solidarity and pride. So, get off your soapbox and come on down to The Stoke Rep for a feel-good show that will make you stand up!

Just from entering the auditorium and seeing the effective muted colours of the set, albeit with the gauze in place, I knew that this was going to be a charming production. Five Town’s production of “Honk” was delightful from beginning to end.
Some may say that Drewe’s script relies too heavily on poultry puns but the message of celebrating diversity and difference is perhaps more pertinent now than when the show was first written. “It takes all sorts to make a world” is a very important message for us all to consider.
I loved the way that this was a real team effort: alongside the wonderful opportunities for stand out performances from the older members of the cast, the younger ones were also given their opportunities to shine.
As Ida, Charlotte Myatt brought out the mother’s warmth and selfless love for all her babies. No parent could fail to be moved by her beautiful rendition of “Every Tear a Mother Cries”. This was a mature performance complemented perfectly by Ryan Moors. He held the show together bringing out Ugly’s vulnerability yet calm strength of character. In contrast Jack Harris’s Cat was always on the move. His stellar number “Play With Your Food” was hilarious and exhausting just to watch. The geese, portrayed as a bumbling Second World War Squadron, were a delight as was the scene with the domesticated cats.
The Turkey got the most out of all of his lines expressing his fear of Christmas and George Broad’s Bullfrog had standout comic touches. His manner was reminiscent of an entertaining Vaudeville turn. The entrance of the smaller frogs was magically show-stealing.
I also liked the calm of Penny as the show reaches the point where Ugly is about to be transformed into a beautiful swan.
The costumes were colourful and inventive with an interesting mix of the traditional and contemporary and clearly the cast had worked hard on all the singing. The choreography was thoughtful, appropriate and varied.
The whole cast and production team have clearly worked hard to bring to life this energetic and engaging show. At the end of each performance there must have been a theatre full of very proud parents alongside younger children now inspired to perform on the stage themselves.
I will definitely feel guilty the next time I order duck a l’orange.

Joseph and the Amazing Technicolour Dreamcoat aka Joseph, is a sung through musical, based on the character of Joseph from the Bible’s Book of Genesis, with lyrics by Tim Rice and Music by Andrew Lloyd Webber. This was their first musical performed publicly, having its professional premiere as a thirty five minute musical at Edinburgh International Festival in 1972.

The show opens with our Narrator, a schoolteacher instructing her pupils. Leah Dowell, very much the leading lady, she led us through the story line, as if glancing at animated vignette scenes in a museum suddenly brought to life, interacting with characters from ancient times, with an utterly beautiful singing voice and effortless stage presence.

Joseph, played by Zak Marmont, the favourite son of Jacob sweetly voiced, filling the role to a ‘T’

Jacob, Jordan Harrison, looked like he was having ‘The’ best time in his dual roles as Jacob and the eponymous Pharaoh, Egypt’s greatest Elvis impersonator. Always hits the mark.

The stage set was truly impressive, bathed in sumptuous lighting, sound was crystal clear, The Narrator was slightly drowned out in her first number, this was soon corrected and was spot on thereafter. The costumes helping to clearly denote the differing regions involved in the story.

As usual Keith Ragdale, doubling his roles as Director and Musical Director, brought polished performances from all involved, be they singers or musicians.

Choreographer/Producer Ed Costello, good throughout, again showing his versatility in crafting syncopated movement for the cast of seemingly thousands, well by my count around fifty four, with One More Angel in Heaven, an almost traditional hoedown being my favourite scene the cast really let themselves go.

My only gripe was how short a show it was, even with multiple refrains throughout, ending with the usual Joseph ‘Mega mix’ scene, an almost complete rerun of all of the songs. This of course is how the show script is, and no reflection on Five Towns Theatre.

Joseph was a wonderfully vibrant, visually stimulating Lloyd Webber Rice classic West End show which was beautifully presented.

Based on the hit film of the same name written by Mike White, with Music by Andrew Lloyd Webber, book by Julian Fellowes, lyrics by Glenn Slater.

The story centres around wannabe Rock God Dewey Finn, utterly embodied by Jordan Harrison, his complete demeanour and performance, brought the memorable film role originally created by Jack Black straight into focus. Very animated, larger than life persona, completely steeped in all things Rock!

Dewey permanently crashing out at former band mate, now schoolteacher best Bud Ned Schneebly’s apartment, Ned played by Zak Marmont, who is the very definition of caught between a rock and a hard place, the rock being his long term friendship with Dewey, the hard place being his very demanding and controlling girlfriend Patty, played to a tee by Kira Matthews.

The perfect counterfoil to the errant ways of Dewey, comes in the strict and formidable shape of Headmistress Rosalie Mullins, portrayed by Leah Dowell, uncannily reminiscent of Joan Cusack from the film. What an astonishing voice, her almost absentminded singing along to the school orchestra’s rendition of Queen of The Night aria from Mozart’s The Magic Flute, was truly sublime.

The children in Dewey’s class were excellently prepared to give their best throughout the show, although occasionally the individual speaking voices were sometimes lost, not sure if they weren’t collectively loud enough, or the backing band were too loud. They were all discerningly effervescing with the sheer high paced excitement of being in this show, so palpable, it oozed from the stage. Well done one and all.

I must pick out Tilly Baker as class swot Summer Hathaway, she was a total powerhouse, similarly Keeley Evans captivated as Tomika, beautiful tone and control when she was belting out her vocals.

I absolutely loved Stick it to The Man, especially the great Jon Lordesque organ solo. Also, If Only You Would Listen, a truly great thoughtful song with well thought out setting on this piece, with the initial four voices venting their collective disappointing experience of parental expectations.

Co-Directors Keith Ragdale and Abby Evans absolutely nailed School of Rock, great visuals, costumes lighting and sounds, my only real criticism is the ‘No Vacancy’ musicians didn’t look convincing playing their instruments, great histrionic vocals from Nathan Adams though.

As usual Keith Ragdale, doubling his roles as Musical Director, has well-polished performances from all involved, be they musicians or singers.

Cool rock based choreography throughout from Choreographer/Producer Ed Costello.

The success of this show in particular, rests very much on the over the top exuberance character of Dewey Finn, that contrasted by the casts reactions to his manic personality, Five Towns got this balance spot on, they absolutely blew the roof off the Rep with this show.

Based one of my all-time favourite films, written by Gary Ross and Annie Spielberg. Book John Weidman, Music David Shire and Lyrics by Richard Maltby, Jr.
A beautiful coming of age story, which transfers well from the cinema to the musical stage, whilst keeping the essence of the film intact. Chairman Keith Ragdale says in his programme message as he invites you to, sit back, engage your inner child, and enjoy the performance.
Josh Baskin, played by Jasper Eglin/Albert Whittaker-Vyse, a typical likeable 80’s boy, almost a teenager, he longs to be Big. Being big seems like the best thing in the world, Big is cool.
On a night out at the carnival with his family and best friend Billy, Ryan Moors. Josh discovers the girl who likes him has an older boyfriend, this together with the humiliation of being refused entry to a ride for being too short, makes him run blindly until he finds a Zoltar machine.
Kira Matthews as Mrs Baskin, Josh’s mum conveyed the angst of losing her son really well, lovely voice to, showcased particularly well in “Stop Time” in the old neighbourhood scene.
He drops a quarter into the slot wishing he was bigger. Josh, waking up to find he’s in an adult’s body; scaring his mum half to death as he rushes out of the house in a state of confusion. Seeking out Billy he manages to convince him he’s really changed, they set off to try and reverse the wish.
Paul Moore as big Josh had wonderment, a believable naivety in his performance, absolutely crucial to making this concept of the story work, excellent performance. He meets Toy store Chairman MacMillan, Jordan Harrison, notably growing in presence and stage craft with every role.
Discussing toy design at a giant keyboard, they duet together dancing on the keys, impressed, Mac offers him a job in Toy development. Josh playing the role absolutely straight when confronted with his very suspicious co-workers, the interplay with the “adults” was spot on.
Co-worker Susan Lawrence, beautifully sung and played by Danielle Drakeley, takes a shine to the thoughtful, maturity Josh emanates with his focused passion for toys and play. Seeing him as an adult she tries to start a relationship, Josh challenged by the emotions and feelings he is going through, throws himself into his work, as they develop a new toy together.
Meanwhile, Billy has tracked down the Zoltar machine Josh needs to wish himself back to being his old self. Josh embroiled in the new adult world he finds himself in brushes Billy aside wanting to stay as he is and enjoy being big forever. Some wonderful pathos in these scenes. A great mask scene. The Josh’s duetting was very poignant. Josh learning to be careful what you wish for.
The retro 80’s feel, the costumes, the crimped hair, power dressing etc, brought all the memories of the decade flooding back. A slight age-related technical error, with the mass mobile phone scene, at this time, mobile phones resembled bricks, and were only used by businessmen, that minor infringement aside, the production team created a wonderfully nostalgic vision.
The band sounded fabulous under the fine Musical Directorship of Keith Ragdale, as did the voices throughout the show.
Choreography from Ed Costello was exciting, evocative, with great fluid movement. A big, big cast to work with, which could have been disastrous, but, as per usual the production team made it look easy. It’s definitely not. Well done.

Based on the play by Alan Parker and hit film of the same name, with Music and lyrics by Paul Williams. The stage was flanked by two 30’s style cars, with a city skyline front tab to set the scene firmly in the USA.
From the moment the first victim got Splurge gunned from Dandy Dan - Alex Dale’s henchmen, in their wonderfully colourful zootsuits, swiftly followed by the second victim, a lawyer in a barber’s chair, there were waves of laughter emerged from the audience. Bodies continued to drop at a regularly.
As the front tabs open, tables and chairs were moved into place by the well-dressed cast, the ambiance akin to the period of prohibition, where speakeasy’s were hidden from plain site for fear of arrest and conviction. This led straight into the opening number Fat Sam’s Grand Slam Speakeasy, lavish and lively.
We meet Bugsy - Ryan Moors; he filled the role with a great balanced presence. Blousey - Charlotte Myatt; sassy, nobody’s fool, wannabe singer, going from audition to audition. Bugsy, smitten, does his best to assist in her quest. Subtle performances, very well observed by both young actors.
Fat Sam - Jack Roberts, excellent tirade at his yes men gang members, totally under the thumb of Tallulah - Keeley Evans. Excellent observations throughout the casting, each bringing the right amount of attitude/fear to build the tension of 30/40s gang warfare, particularly impressive was the fast-paced accented dialogue.
The cast ranging in age from six to nineteen were a joy to watch. Well drilled, thoroughly ensconced in their roles and in the overall performance to audience. A credit to the production team.
To counter the crimewave, the Cops led by Captain Smolsky - Oliver Oldfield, together with O’Dreary/English Reporter - Isobel Hutt. The comedic element these two brought to the production was almost slapstick at times reminiscent of the Keystone Cops, very funny indeed.
Musical Director Keith Ragdale, great band as usual; Directors Keith Ragdale and Abby Evans always work well together; the whole production team always seem to bring the best out of their cast. Choreographer/Producer Ed Costello worked his cast well, the show numbers were enthusiastic and authentic looking.
Costumes were vibrant and colourful, they really zinged on the stage, only marred by a pair of Nike trainers in the Dock 17 scene. All scenes thoughtfully lit, a few sound issues with mics distracted a little from the overall show quality.
The big cast obviously loved performing in this show, the attempted upstaging dancers, vying with Tallulah in My Name is Tallulah was hilarious. The So You Wanna be a Boxer, Slugger’s Gym was also very funny.
Absolute peach of a show, vibrant, funny, fast paced.

Based on the hit film of the same name, with Music and lyrics by Dolly Parton, book by Patricia Resnick. You know you’re on to a winner when the legend that is Dolly Parton, projected onto the 9 to 5 logo above the stage, introduces a quick show synopsis. 
Lively full cast opening number, a subtle and smooth introduction into the show. Lots of movement in the opening, impressive synchronisation of steps and great use of office props made it really zing along. This set the bar high for the rest of the show with great choreography throughout from Choreographer/Producer Ed Costello. 
Set in the 80’s patriarchal world of typewriter pools and extremes, our three heroines Violet, Doralee and Judy; skilfully embodied by Abby Evans, Kira Matthews and Leah Dowell respectively; are brought together into the world of Corporate America. Trying to make a living under the critical ever-watchful eye of the Boss’s office snitch, Roz, hilariously encapsulated by Rosemary Gresty; restrained yet played for the maximum laughter appeal. It worked well.
The man at the heart of the company, curtailing any female ambition, aspirations, or promotion, whatsoever, the odious, overbearing letch that is Franklin Hart Jr. A paragon of back slapping, old school tie misogyny, excellently portrayed by Jordan Harrison, his rendition of the lewdly salacious “Here For You” was oozingly brilliant. 
It is when Franklin oversteps the mark promoting a young guy that Violet trained, she finally blows her top, aided and abetted by Doralee and Judy, they’re forced into desperate measures to teach Franklin a lesson. This was played to perfection, building jeopardy and excitement finally climaxing Act One with a half-naked, bound and gagged Franklin suspended in mid-air in his own bedroom. 
Costumes looked very time appropriate. All the cast sang and performed well, lead’s vocals thoughtful and well-schooled. The pace and styling of the show was very good. Great Fun, suspending reality for a couple of hours. 
The almost seamless scene changes were especially slick, the cast assisting with props as and when required this worked visually very well indeed. The switching from office to Hart’s bedroom was particularly good.
Act Two. With the dastardly Hart safely tied up (literally) the three intrepid ladies run the office in his stead. Despite much interference from Roz, using Doralee’s forging skills, the girls’ management turns office morale around, productivity goes through the roof and eventually this comes to the notice of company owner Mr Tinsworthy. 
Craftily Hart manages to get the better of a distracted Judy, escaping his bonds, he returns to the office to have all three arrested for kidnapping, just as Mr. Tinsworthy arrives to praise Harts improved performance figures. Hart unaware of the improvements, lays the responsibility firmly at the girls feet, Violet gets promoted to CEO in his place, Hart and Roz are posted down South. 
An excellent big twelve-piece band rocked and funked their way through the numbers with true to era sounds under the very capable baton of Director/Musical Director Keith Ragdale. Sound was well balanced overall. 
A vibrant, lively show peppered with great songs and performances by all.

Based on the hit film, this Christmas show was a revelation, with book and lyrics by Debbie Isitt. Music by Debbie Isitt and Nicky Ager.
Three school friends, Paul, Gordon and Jennifer, love to perform, they all go off to drama school with big dreams. Two fall in love, very funny bit of comic business here; Jennifer has the chance to follow their Hollywood dreams, leaving Paul and Gordon both going into teaching, at very different ends of the Ofsted scale. 
Paul Maddens played with real heart by Thom Wilde, has become bitter with his lot, losing the love of his life, teaching unruly children at a failing school, plus getting an absolutely dismal review from sanctimonious local newspaper critic Patrick Burns, wickedly played by Nathan Adams.
Five-star review rival Jordan Harrison as obsessed sneering Gordon Shakespeare teaches at the poshest of posh schools, drilling ‘win at all costs’ mantra into his educationally privileged pupils.  
What may have started as friendly rivalry has become embittered sniping, as Gordon lords it over Paul at every opportunity.
Enter Desmond Poppy, a truly amazing performance from Andrew Turner. His off-the-wall antics as new Teaching Assistant to Paul wins over the children as quickly as it infuriates and frustrates Paul. This is a beautifully written and observed character, portrayed with a nuance and subtlety of professional standard.
The fun really begins when Mr. Poppy accidentally overhears a robust encounter between Paul and Gordon with Paul stating former girlfriend Jennifer Lore, Leah Dowell, now seconded successfully in Hollywood, is bringing ‘Hollywood’ to Coventry to sign up St Bernadette’s Nativity for the movies.
Enthused beyond reason Mr. Poppy tells everyone including his auntie, school principal Mrs. Patricia Bevans, subtlety played by Rosemary Gresty, gin bottle in hand, very concerned for the financial future of the school, she leaps on this lifeline, alerting the national media, as the lie snowballs, the excitement of all involved is palpable, oozing off the stage, the school is catapulted into the public eye with everyone wanting to be in the movies.
Paul under increasing pressure to deliver relies on Mr. Poppy’s wild ideas to create the amazing Nativity show, starting of course with auditions, I really loved Sylvia Evans Irish vicar’s one-woman recreation of ‘Ce La Vie’ by Bewitched. One of many stand out performances, particularly the children.
Incandescent with disbelief Gordon’s frantic Blue Sky session with his pupils to somehow counter St Bernadette’s Nativity, finally settling on the over the top ‘Herod The Rock Musical’. Brilliant, I’m still chuckling when I think about this scene.
Act Two opener was reminiscent of ‘Gotta Dance’ from Singing In The Rain. Hustle and bustle of Hollywood. Good movement. The Star Tour bus scene pilled the laugh out loud scale even higher.
I must congratulate everyone involved in bringing this gem of a show to the stage, despite a technical issue in Act Two quickly and ably resolved, the cast, young and old, sound, lighting, costumes were all of a high standard. The musicians under MD Keith Ragdale rose to the technical challenge and were superb throughout. I must also mention the wonderful children in the cast, they really stepped up, enthusiastically immersing themselves in the positive essence of the story.
There was such heartfelt emotion, passion, and sheer joy in this show, it was utterly infectious.  
A very funny, very entertaining quintessential feel-good Christmas story. Magical!

Lyrics by Tim Rice with Music by Andrew Lloyd Webber, Jesus Christ Superstar was their first musical produced for the professional stage over 40 years ago. A dark rock opera seen through the eyes of Judas Iscariot. Five Towns Theatre unrelentingly show after show, bring quality musical drama to the stage, the presentation, look and feel are of a professional standard. From the first notes of the incredibly tight ten piece band leaving the P.A. system I had a familiar warm feeling of expectation of the show to come. Andrew Turner as Judas was outstanding, the vocal dexterity shone from his opening number, fabulous light and shade and powerful presence. A great performance all round. The obvious tensions between himself and Jesus were physically portrayed with real passion. Nathan Adams as Jesus, should be fronting an arena touring rock band, what an amazing vocal range this young man has, hitting notes effortlessly with power and precision, yet also a tender fragility in moments that came across so well. The emotive Last Supper, the capture, torture, examination, Crucifixion scenes were so brilliantly staged, all the while he meekly and almost regally stayed calmly in character, enduring all. Excellent. Miriam Mould as Mary again really good performance, thoughtful and beautifully sung numbers, definitely need to see and hear more from her in the future. Pilate, Jordan Harrison a commanding performance, masterly, tongue in cheek, compassionate, he had fun in this role and it showed. Likewise the rest of the named characters, Caiaphas, Katie Leath; Annas, Molly Joynson; Herod, Sam Harrison; Simon, Ben Birkett; Peter, Lewis Harrison; always engaged, enjoying performing, giving their collective best efforts for the show throughout. As did the whole of the fifty odd cast members many playing multiple roles, the singing and in particular the harmonies were so well drilled and sung it belies the tender ages some of these performers actually are. Directors Keith Ragdale and Abby Evans, know their cast members so well, they get so much out of them. Having the actors integrating and working around the band, the great use of levels added a real dynamic to scenes, beautifully lit, excellent sound throughout, oozing quality. As ever Keith also had his Musical Director hat on – I must compliment each and everyone of the ten piece band, they did seem a little quiet at the start for me, that said I heard every instrument crystal clear, their collective efforts, not just in the execution or the interpretation, it was the subtle nuances and tones of each instrument which added a sparkle to the overall sound, brilliant score from 1998 I believe Keith told me, Loved it. Choreographer Ed Costello, created great flourishes of movement, be that en-mass or in small groups the visuals were well crafted throughout the production, costumes also worked well throughout, denoting different groups of performers. Five Towns has delivered a Hell of a show, powerful, passionate and visually dynamic.

The show was written by Tim Rice with music by Andrew Lloyd Webber it covers the last seventeen years of Eva Peron's life, starting at sixteen and her first taste of opportunity to better her standing in life, using men to reach ever higher circles in Argentinian society in the 1930's and 40's until her death from cancer in 1952 at the age of thirty three. Five Towns Theatre closed their last show Peter Pan at The Rep in Stoke on Saturday 25th of May 2019, to open with Evita some twenty four days later is truly remarkable, they keep doing this and might I add to a very high standard, no short cuts. There are many cross over players between the two groups who had roles in both. Amazing dedication. I will state for the record I'm not a fan of Lloyd Webber Musicals. That said regardless of originator it is the production, music, sound, lighting and cast performances that I'm appraising. Kia Matthews as Eva, had the unenviable task of filling the shoes of one of the Iconic Musical Female lead roles which she did admirably, the light and shade in her voice was lovely, she carried herself almost regally at times, her costumes and in particular her wigs were outstanding. Jordan Harrison as the shrewd and ruthless Peron, soon realises what a political asset he has in Eva, there was a real tenderness at times in their relationship which they both played well, nice interplay with the duets as well. Andrew Turner as Che (Guevara), the narrator of the show, interjected himself in and out of the action really well, a very well controlled wide ranged singing voice, gave us some lovely duets with Eva, setting the tone of a lot of the scenes with his facial expressions alone in some cases before a word was said. Molly Joynson as Mistress to Peron, her lovely soprano voice shone in Another Suitcase in Another Hall and showed its strength as it powered out at the end of A New Argentina. Ben Birkett as Magaldi, again brings a control and presence to his role, the eventual disdain from Eva as they meet again years later, about him still doing his same old act and his swift cutting reply as to her doing the same, was a window into the complexity of past relationships, especially with the knowledge of hindsight. The whole, very busy and quick changing ensemble, were a credit to the show, slick, enthusiastic, exuberant and vibrant when required, equally so, dour and sombre as required. Five Towns always seem to do good crowds on stage. Excellent work ethic throughout, all there for one another and the team. They danced with a passion and zeal capturing the heat of Buenos Aries in this turbulent time in its history, good lively choreography and movement throughout by Ed Costello, The Art of the Possible, worked very well visually as did the big full cast dance numbers. Lighting, costumes superb, props and scenery were very slickly presented and changed. The ten piece band under the Musical Directorship of Keith Ragdale really hit the spot for me, a total endorsement of the much improved sound at the Rep, every subtle musical nuance, every instrument came across superbly mixed at a perfect level to hear everything said or sang over the music, the band almost had as many changes of instrument as the cast had costume changes. Producers/Directors/Choreographer Keith Ragdale, Edward Costello and Abby Evans are a close team and it shows, they work well together to bring top class shows to the audience.