We are proud members of NODA (The National Operatic and Dramatic Association) in District 2 of the Eastern Region.

When possible we arrange for our rep Richard to come along and review our productions. Having only joined fairly recently, there are not many as yet, but as we receive them we will post them below

Screw Your Courage

Author: Ollie Elkin

Date

5th October 2025

Society

Up-Stage

Venue

Barton-le-Clay Village Hall

Type of Production

Play

Director

Keith Badham

Producer

Keith Badham

Written By

Keith Badham

Keith Badham founded Up-Stage as a way to introduce less confident young people to theatre and self-expression. Screw Your Courage was performed in the group’s 20th year by Centre Stage 21 – a late-teen subset of Up-Stage – who were eager to tackle something grittier and more challenging.

As noted in Badham’s Lazy Bee profile, Screw Your Courage presents “an enthralling new look at Shakespeare's Macbeth, set in the modern world of teenage gang culture,” where “the audience are welcomed into the action with imaginative use of asides and stage directions.” This description could not be more apt. Shakespeare’s stories are timeless, and this production continued that tradition with originality and conviction. Just as The Lion King reimagines Hamlet, 10 Things I Hate About You transforms The Taming of the Shrew, and She’s The Man reinterprets Twelfth Night, Screw Your Couragebrings Macbeth into a raw, urban world. The familiar themes of power, paranoia, morality, and the eternal struggle between good and evil were cleverly mirrored throughout the piece.

The characters’ names were adapted to suit what appeared to be a 1990s East London setting – Candice in place of Lady Macbeth, John for Macbeth, and Doreen, Edna and Rita for the three Wyrd Sisters. The movement, style, and costume design effectively reflected Badham’s interpretation. Tracksuits, gold chains, low-slung trousers and hoodies captured the essence of the youthful gang culture of the time, bringing a vivid realism to the modern adaptation.

The play opened on a darkened stage with a single bench. Stella Archer, as the narrator, entered dressed in a black tracksuit adorned with gold lettering, jewellery, and makeup – instantly setting the “chav” aesthetic. Archer’s expressive face, physicality, and confident stage presence was impressive. As the only character speaking in Shakespearean verse, her delivery reinforced her position as an omniscient observer, linking the audience directly to the unfolding story.

The Wyrd Sisters – Hannah Reeve (Doreen), Katie Timpson (Edna), and Roxy Allen (Rita) – demonstrated a strong dynamic. Roxy Allen’s use of body language, particularly her eye-roll and delivery of “bastards,” (This was delivered by Hannah Reeve as Doreen) was highly effective, while Timpson’s facial expressions were memorable and engaging. Their interpretation of the witches as gossiping pensioners with time on their hands was well-conceived. However, these scenes might have benefitted from a little more movement and variation in physical levels to enhance energy and pacing. Some exaggerated “old age” vocal and physical traits could also have added comedic depth to their portrayal. The bench used by the Wyrd Sisters provided a fitting “observer” position for the trio, and a delightful observation: the witches’ names (Rita, Edna and Doreen) form the word “RED” – a subtle but clever creative foreshadowing touch, intentional or not.

The relationships between characters were well developed, most notably between Myla Hannen as Candice (Lady Macbeth) and Chazza Simmons as John (Macbeth). Their partnership truly captured the essence of Shakespeare’s iconic power couple. The pair convincingly explored the shifting balance of dominance and guilt, from ambitious co-conspirators to tormented souls. Clear character development was evident as John sought to expand his influence within the gangs of London, spurred on by Candice to murder Bobby (Alice Southern). Their descent into regret and madness was portrayed with striking clarity – culminating in Candice’s suicide and the tragic loss of her unborn child.

Simmons handled the knife prop with trembling precision, embodying John’s cowardice with subtle realism, while Hannen commanded the stage from her first entrance. Her feline movement, poised stature, and slow, deliberate delivery projected control and confidence. The physical dynamic between them, one large and dominant, one small and cowardly – particularly during the moment Hannen circled Simmons as she persuaded him – was powerful and visually engaging.

Charlie Williams gave a standout performance as Terry (Banquo), John’s loyal but undervalued sidekick. Williams effectively portrayed Terry’s devotion through mirrored movements and posture, highlighting his effort to appear tough while maintaining moral integrity. His confrontation scene, where Terry finally spoke out against John, was particularly compelling – his voice and stature rising with conviction, only to meet a tragic fate. This moment carried genuine emotional weight and created palpable tension.

Alice Southern also delivered a strong performance, her voice carrying effortlessly across the hall with clear diction and projection. As Bobby (King Duncan), she embodied confidence and authority – the very qualities John lacked. Southern’s facial expressions were consistently authentic, whether playing Bobby or the Devil on the shoulder (Alice played the Interpreter…The Devil was played by Maddie Laurie), and she brought impressive nuance to each role. The supporting cast contributed significantly to the overall impact, particularly in the murder party scene and Terry’s funeral. The ensemble demonstrated their collective strengths, and while at times could focus on clearer articulation and varied vocal tone, their collective energy enhanced the drama of the ensemble moments.

Lighting and sound, managed by Keith and Rachiel (Rachael) Bowie, enhanced the atmosphere throughout. The use of red lighting during moments of plotting and murder created a strong sense of foreboding, while the colourful, pulsating effects in the party scene added vibrancy. Focused spotlights at key dramatic points were an excellent choice, literally and metaphorically bringing pivotal struggles to light. Props were used thoughtfully, particularly the dagger – a respectful nod to Shakespeare’s original symbolism.

Overall, Centre Stage 21 has much to celebrate. Taking to the stage requires immense courage, and every performer should feel proud of their achievements. Theatre reminds you that you are not alone, and this group exemplified that spirit beautifully. The group’s dedication to each other and to the craft is commendable.

Centre Stage 21 deserves to perform. Centre Stage 21 deserves leaders like Keith Badham who nurture and inspire. Be more like Keith. I very much look forward to seeing how these young members develop on the stage.

Shrek The Musical Jr

Author: Richard Fitt

Date

16th February 2025

Society

Up-Stage

Venue

Barton-le-Clay Village Hall

Type of Production

Musical

Director

Keith Badham

Choreographer

Keith Badham

Written By

William Steig (Book) David Lindsay-OAbaire, Jeanine Tesori (Music and Lyrics)

So, late afternoon on a Sunday afternoon in a packed hall with an enthusiastic, if somewhat partisan audience of parents, grandparents, aunts, uncles, and siblings to see an even more enthusiastic cast of youngsters ranging in age from five to 16; keen to show us what the embryonic next generation has to offer. And wow, what fun this turned out to be.

Performed entirely to blacks under the stage management of Beccy Lou Smith, with the Director, Keith Badham, who clearly needs to learn the art of delegation, additionally taking on the choreography, vocals, and the wardrobe for this show. Costumes were great, with some super head gear for Shrek, Fiona, the Pigs and particularly Pinocchio and they were a great addition to the outfits. Choreography was simple but effective and carried out with enthusiasm.

Lighting and sound were expertly supplied by father and daughter combination, Barton Players stalwarts, Keith and Rachael Bowie, and it needed to be as some of the best comic moments relied on sound cues being spot on. The particularly hilarious scene involving breaking wind at both ends in a duel between Shrek and Fiona comes to mind. The lighting was very cleverly used to provide backdrops with some very neat and subtle images thrown onto the back cloths.

As for the cast, this threw up some potential stars of the future and particularly amongst the youngest members who simply captivated the audience.

Chazza Simmons was a very confident Shrek with a great performance, and was very well paired with Tallulah Smith as, human by day and Ogre by night, Fiona who showed us her very confident singing voice. Highly impressive!

Charlie Williams, a lad of normal height provided particular comedy by playing the vertically challenged Lord Farquad on his knees, which got a laugh every time he shuffled on and off the stage, dragging his regal cape behind him. When not on his knees he also very competently and confidently narrated the story, which he shared with Chelsea Smith, who played the Captain of The Guard, and Maddie Laurie who needed a somewhat bigger stage when she appeared as the larger-than-life blow-up dragon, which she deftly manoeuvred with great skill.

Annaelle Hyllendho was a revelation as the irascible donkey, with great comic timing, she just nailed the part with a forceful performance commanding the stage as this over enthusiastic, slightly annoying character. Loved it!

Our gingerbread man, Gingy, played by five year old Cohen Buzz Jenart was another very cool character which kept us smiling. As was Poppy Widdowfield equipped with a fabulously long nose as the shy but naughty Pinocchio and Chloe Randle as Teen Fiona and The Wicked Witch.

Then we had our very enthusiastic three little pigs played by Beth Tight, Lana Reid Carr and Christopher Paxton, all kept busy also playing other multiple roles between them.

But it was the really young members of the cast who excelled, proving beyond doubt that at that age, stage fright is not an expression they have come across. Five to seven-year-olds with hand-held mics belting out complicated songs as seasoned pros was not what I was expecting, so well done indeed to seven-year-old Jaxon Hottinger as the Rat and a Dwarf and six-year-old Zelda Bee Jenart as a young Fiona. Mesmerizing!

When you consider that this group of Up-Stagers only get 2 hours rehearsal per week, Keith Badham has done a remarkable job of putting on a full production, with what is a very complicated musical score and a lot of quick-fire dialogue. But these youngsters took to it like ducks to water. Yes, there were several prompts, quite a few late entrances and one or two clearly under rehearsed scenes and, like all youngsters just starting out, need to slow their speeches down and enunciate clearly, but all was forgiven with these future stars who can revel in the rapturous applause they received. Pity they only got the one shot at it, it deserved a longer run and no doubt a run would have ironed out the little mistakes. But well done Up-Stage, as the director said to them afterwards, ‘I’m so proud of you all!’ And so he should be!

Control

VENUE Barton-le-Clay Village Hall
TYPE OF PRODUCTION Play
DIRECTOR Keith Badham
CHOREOGRAPHER Daisy Cassels
PRODUCER Keith Badham
WRITTEN BY Keith Badham

Report

Author: Richard Fitt

So, a new society and a youth one as well, which is always a welcome addition to the NODA fold. And a visit, my second within a week to Barton-le-Clay. And what a ‘WOW’ they have just made. It was only forty minutes long but it felt like it had just crammed three hours of drama into that short time frame.

Control was written and directed by that stalwart of Barton Players, Keith Badham, and in his own words has taken a long time to reach the stage for a number of reasons. But what a script to play with, it kept you riveted throughout, telling the story of a class of drama students working through their classes and witnessing coercive behaviour. To quote the programme: Robin runs a drama class that’s working towards an exam. The play not only shows what the students have created, but also a little window into the world of teaching, whilst trying to be aware of manipulative behaviours hidden in plain sight. Through a series of dream sequences and classroom exercises, we witness an unhealthy relationship between Lee and Jay as they explore their relationship.

The set was a simple bare stage and the only props used were a number if identical stools, which were demonstratively position as required. Lighting was in the expert hands of Keith and Rachael Bowie and sound was by the director himself.

This cast were certainly well rehearsed and the action was very fast paced and one could say almost choreographed, especially the crowd scenes where the use of arms and body angles were very intelligently used to depict moods and emotions, I detect a considerable input from both young Choreographer Daisy Cassels and the cast themselves on that, as this bunch of youngsters have been working together for years and are now showing maturity way beyond their years - brilliantly done!

Our two leads Leo Williamson as Lee and Olivia Horwood as Jay are both familiar faces having been in at least four show I have reviewed for Barton Players. One of the great delights of my job is seeing youngsters mature into full-fledged adult actors and these two are certainly in the top echelons of that happy band. Leo Williamson in a previous show provided one of the most memorial moments of my NODA career, when with only one word to deliver he comedically asked for a prompt. So I knew he could handle comedy, but here he amply demonstrated his ability to handle a whole gambit of emotions. Olivia Horwood is also a seasoned actress and a part product of Barton Players excellent summer school, and in this she was simply on absolute top form. Body language, facial expressions and delivery all kept you riveted to the action.

Chloe Badham as Robin the drama teacher, the only adult in the room and whom I’ve known mainly for her previous choreographic input was a revelation, having seen her only once before on stage as Nancy in Barton Player’s Oliver, as she nailed this part to the floor, with just the right amount of interfering authority and letting the artistic juices flow from her students. Very cleverly done! Not surprisingly, she also had a hand in providing additional direction for this play.

And the rest of the cast were no slouches either, as they perfectly demonstrated that the art of acting is actually the art of reacting. And react they did in spades. Their discipline, concentration and delivery couldn’t be faulted. I can’t claim to remember who was whom in this short piece, as names were rarely used and gender was avoided altogether so suffice to say the input with quips and interjections was equally riveting, so well done indeed to: Harrison Hunt (Taylor), Faith McNevin (Ali), Ashley Riley (Ash) Christian Farr (Chris), Joel Platt (Jo), Daisy Cassels (Truth), Lauren Platt (Ashton), Alex Hamilton (Alex) and Lola De Casse Weinman (Frankie)

One of many stand out moments was the mini play dream sequence involving a dog and cat by Taylor, Chris And Lee; who when asked to improve it by Robin; came back with exactly the same sketch – only this time in Spanish. Oh the arrogance of youth - Superb!

This show was the product of a well drilled cast who have obviously got to know each other over several years in the hands of a very skilled writer and director. It was almost like watching a topflight sports team who know and trust each other’s talents and limits inside out. Best summed up by my better half who was a tad reluctant to leave the warmth of her fireside home on a Sunday evening, but who has been raving about this masterpiece ever since. Top draw guys! Welcome to NODA!