Come From Away Review, November 2025 - One Show at a Time

Come From Away is the true story of a small town in Canada adapting and offering open arms to any who needed help after the awful 9/11 attacks. Through this show, BATS are showcasing a beautiful story of hope, having an open heart, and coming together when the world needs it most. From the rehearsal to the finished show, all the final details have come together, and team BATS have put on a show that demonstrates to everyone just how fantastic the company really can be. Whilst details such as lighting, costumes and set are not necessarily crucial for a show to be enjoyable, when these final touches are added, they only elevate the show further – BATS’ Come From Away is one such example of this. It was a real treat to be able to watch this beautiful musical be told by such a wonderful company.

Come From Away is very much a show where every single person on the stage is crucial, and every member of the cast was brilliantly skilled at embodying their characters across the duration of the show. The cast was made up of Hiro Fam, Nicola Morrin, Jenny Green, Sabrina Hinchliffe, Rutendo Mushambi, Laura Burrell, Richard Bond, Anna Neary, Michelle Anderson, Sally Manning, Holly Reedman, James Young, Ian Moseley, Liz Walsh, Jonathan Warriss-Simmons, and Dale Barrell. It was a joy to watch every single member of the cast stand on that stage and pour their heart and souls out. Everyone who stood on that stage is distinguished in their own right.

Thanks to Wells’ musical direction, every song sounded sublime, from the rousing group numbers such as the blood-pumping opening number ‘Welcome To The Rock’, to the stunning harmonies heard in ‘Somewhere In The Middle Of Nowhere’, Sally Manning’s performance as Hannah gives goosebumps in her rendition of ‘I Am Here, whilst ‘Me And The Sky’ performed by Sabrina Hinchliffe as Beverly Bass, was admirable to say the least. Jonathon Warriss-Simmons and MMichelle Anderson, as Nick and Diane, had a natural and endearing chemistry that felt authentic, and their performance of ‘Stop The World’ was so bittersweet. I could go on, but needless to say, everyone on that stage more than did their characters and the story justice. There is not one standout performer in this show; every single person stood out. The whole cast should be proud of the love, emotions and skilful performances they all delivered on that stage.

Come From Away is not an easy show. It is heavy and demanding and comes with high expectations, but BATS have taken this all in their stride. The choreography and movement, courtesy of Jenny Sawyer and Jade Hollingshead, is slick and perfectly precise. I got confused just watching all the chairs move around the stage, but the team made everything look seamless! The energy and emotions of such a taxing show were maintained at the highest level from start to finish, and the cast managed to balance the tender, heartfelt and heartbreaking moments, contrasted with the lighter, comedic moments perfectly. Everyone ensured that both their performances and the show were delivered with the utmost sensitivity and respect.

Come From Away really is the show the world needs right now, and there really is something in it for everyone. Whether you go alone or with friends or family, regardless of age, the one thing this show will do is make you feel. And that right there is a sure sign of good theatre – something that stirs emotion. Every show BATS puts on is special, but I think I can be bold enough to say that Come From Away is BATS at their finest. Not only have this company put on a fantastic show well worth seeing, but with this production, BATS rivals the West End. Come From Away may be a short show, but its impact is far from it, and lasts long after the final curtain.

Leyla Demirel
One Show at a Time

Come From Away Review, November 2025 - Basingstoke Gazette

Basingstoke Amateur Theatrical Society (BATS) has taken to the stage with its eagerly awaited production of Come From Away. The musical, which has captivated audiences on both the West End and Broadway, shares the true story of Gander, a small Newfoundland town that suddenly found itself with thousands of stranded passengers following the 9/11 attacks. It is a story of resilience and the best of humanity, made all the more poignant by the fact that the characters are inspired by real people.

As someone who’s seen the professional productions in Toronto, London, and most recently on tour in Southampton (yes, I’m a huge fan), I was genuinely excited to see how BATS would approach it. Being the first amateur group in Hampshire to secure the rights, the group was one of 500 applicants when they first became available, and Basingstoke should be so pleased that they were successful. 

The opening night, held on Tuesday, November 18, for local charities and community heroes, was nothing short of electric.

Sally Manning gave a breathtaking performance as Hannah, one of the ‘plane people’ desperately trying to reach her firefighter son in New York. Her renditions of ‘I Am Here’ and ‘Something’s Missing’ had the audience completely captivated, sharing every emotion with her.

Hiro Fam also made a striking BATS debut as Ali, a Muslim chef of Egyptian heritage who faces distrust from some fellow passengers and airport staff. It’s a challenging role, but like Hannah, the audience truly felt for him thanks to his sensitive and powerful portrayal.

Special recognition is due to Dale Barrell (police officer Oz) and Holly Reedman (TV reporter Janice Mosher), who both embodied their characters with authenticity and consistency, particularly impressing with their accents.

Of course, if you've seen the professional production, you'll be aware of the iconic jacket swapping as actors take on multiple roles. With a larger cast, this production does lack that element, but in return we do get to see more local talent, which is always a bonus.

The technical team faced an enormous challenge with this production, as the world of Gander is created using only tables, chairs, jackets and lighting. With reportedly over 1,000 cues, the sound and tech crew were the unsung heroes, bringing the magic of Gander to life behind the scenes.

Megan Stanley
Basingstoke Gazette

Rock of Ages Review, May 2025 - National Operatic and Dramatic Association (NODA)

Rock of Ages is musical, book by Chris D’Arienzo, arrangements and orchestrations by Ethan Popp with a rather lightweight story of boy meets girl when Sherrie arrives in LA to realise her dream and she meets Drew and they fall in love. It’s packed with rock anthems from the 1980 and we follow their story as they face the challenges as they pursue their ambition. These include: a hard nose property developer determined to gentrify LA, mixed emotions and the brutality of showbusiness.

The costumes were excellent and varied. There were raunchy outfits for the Venus Club Dancers, fabulous flashy rock star gear for Lonny and an assorted of beads and Bohemian garb for the fiery hippy, Regina. Wigs and jeans were in abundance and great attention had been given to completing the overall 80s look.

The set recreated the exterior of the club complete with ‘Girls Girls Girls sign, a large Hollywood sign and the LA city scape. A part of the set swivelled to reveal the bathroom of the club and then an office. Changes were done swiftly. The inside of the club, with balcony, was well dressed with bar and stools with the walls being adorned with gold discs and signs including a ‘Route 66’ sign. The props, especially the musical instruments, were used to great effect.

The sound and lighting were brilliant; multi coloured lights, flickering lights and lots of use of smoke. The multitude of well-known rock songs were belted out by this bunch of talented vocalists, supported by fantastic musicians.

This show was electric from the start and had a great buzz to it. We’d been warned that there was bad language and adult content and we weren’t disappointed! With an incredible cast all giving good performances, this was a trip down memory lane for those of a certain age as the show was packed with rock anthems and melodies including ‘Don’t Stop Believin’, ‘I wanna know what love is’, The Final Countdown, ‘Keep on lovin’ you’ and ‘We Built this City’. Some of the stand out performances came from Paul Morris as Lonny who narrated the story, often directing his comments to the audience and Richard Bond as Dennis Dupree, founder of the club, had excellent comic timing. There were strong vocals from Bradley Hall as Drew Boley and Chloe Ballard as Sherrie, combined vulnerability with assurance as her confidence grew. With direction and choreography by Angus Jacobs and Musical Direction by Colin Gray this was an excellent show that totally immersed the audience in the 1980s and sent them home humming a plethora of memory songs.

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Association (NODA)

Rock of Ages Review, May 2025 - One Show at a Time

Bold, Brash, Cheeky And Charming: A Surefire Way To Have A Rip-Roaring Night Out

Loud music, bright lights, and a cast dressed to the nines – key ingredients for a night out at the theatre! The rehearsals are over, and now BATS have taken to the stage and are putting all they’ve got into their latest production, Rock Of Ages.

To take on a show such as Rock of Ages takes strong vocals and a lot of energy, and the BATS company are delivering just that. After watching the rehearsal, I was left excited to see the finished show, and it seems that my excitement was absolutely justified. The opening number has the company singing and promising ‘Nothin’ But A Good Time’ – setting the bar high for the rest of the show…but they’re correct! I definitely had a good time, to say the least!

Under Angus Jacobs’ direction, assisted by Sally Manning, and Colin Gray’s musical direction, the show is a riot from start to finish. The whole cast has taken this show, run with it and put on a hilarious, joyous journey of a rock and roll show.

Leading and narrating the show is Paul Morris as Lonny Barnett. Barnett has a brilliant stage presence; he brings a natural likability to Lonny, and even though he may be ridiculous at times, Barnett’s performance makes it hard not to love him. His commentary and acting choices bring Lonny to life, and at times when he isn’t even the main focus of the scene, he is still hilarious to watch as he reacts to what’s going on.

Often acting opposite Morris is Richard Bond as Dennis Dupree. Similarly, Bond also brings a lighthearted energy to the stage. The pair are comical enough separately, so when they are on stage together, it’s almost a guarantee they’ll get a chuckle out of everyone at the very least. In fact, their performance of ‘Can’t Fight This Feeling’ is one of their most shining moments together.

The two love interests within the show are Bradleigh Hall as Drew Boley and Chloe Ballard as Sherrie Christian. Hall and Ballard have good on-stage chemistry together; they bounce off each other well, and their love for each other, both platonically and romantically, feels genuine and warm. ‘I’ve Been Waiting For a Girl (Boy) Like You’ is a beautiful and tender moment between the two and is heartwarming to bear witness to. Both Boley and Ballard embody their characters well and effectively show the emotional journeys Drew and Sherrie go on; the pair’s confidence growing as the show progresses was clearly demonstrated, and their voices, both singularly and together, are rich and with great strength behind them.

Ballard provides a sorrowful and touching rendition of ‘Harden My Heart’, showing the vulnerable side of Sherrie, yet in the same show, can belt a confident and fiery rendition of ‘Pour Some Sugar On Me’, showing a whole new side to the character and brilliantly contrasting the two.

Hall has captured the wannabe rockstar of Drew fantastically; Drew’s passion is tangible in ‘I Wanna Rock’, and he does well showing Drew’s slight awkwardness decrease as his confidence increases throughout the show. This progression of his character means we get to really hear the great strength Hall has in his voice across the performance. Granted, the roles of Sherrie and Drew are not always entirely serious, such as is the show, but both Ballard and Hall have found a good balance within their roles of the comical elements to the contrasting sincere scenes.

Stepping into the shoes of Stacee Jaxx, previously made famous by Tom Cruise, is Craig Saunders; a complete opposite to the ‘good’ characters of the show, Saunders does an exceptionally good job at playing a role so sleazy and over the top. Although Stacee Jaxx is not necessarily a good character, Saunders makes the character one who is hugely entertaining to watch. He embodies a physical representation of everything the Sunset Strip and the 80s rock scene are associated with: sex, drugs and rock and roll – aka your typical 80s rock icon, as Saunders adeptly displays in ‘Wanted Dead or Alive’. I also just want to take a moment – a special mention must be made to the fact that he sings part of ‘Don’t Stop Believing’ in Spanish, something that is not an easy feat!

As far from the 80s rockstar lifestyle of sex, drugs and rock and roll as you can get are Regina Koontz and Franz Klinemann, courtesy of Jade Hollingshead and Ben Shallow. Whilst Hollingshead and Shallow don’t have huge amounts of stage time, the time they are on stage, they more than make up for. The silliness of Regina and Franz is endearing, and it’s hard not to smile when they are on stage. The character development from the way we meet the pair at the start to when they take their final bows at the end is splendidly performed by the two. Shallow’s performance of ‘Hit Me With Your Best Shot’ is a real highlight for his character, with an infectious positive vibe radiating from the stage.

Rock of Ages is a show where every cast member is crucial and really makes a difference. The company as a whole have come together and are putting on a show that is far from easy. The remaining company members that make up the excellent cast are Ian Moseley, Laura Burrell, Harrison Crangle, Luke Sayers, Aideen Buckley, Hollie Parks, Jemma Doherty, Stuart Baker, Harriet Brannam, Dave Edwards, Anna Neary, Rachael Powell, Charlotte Savage, Ian ‘Spud’ Smith and Liv Warnes. The band completes the company and are superbly in tune with the cast. Neither one drowns out the other, and both can and should be appreciated. The enthusiasm and dedication of every single person involved with the show is admirably obvious. You can have an epic show, but without the right cast and musicians, the show will not hit the mark. This is far from a problem here; here, BATS have got an epic show, and an equally epic company making it happen.

When I saw the rehearsal, I said I couldn’t wait to see the show with all the finished details bringing everything together, and BATS did not disappoint. The choreography from dance captain Harriet Brannam is perfect with not a step out of place; it is lively, provocative and exuberant – sometimes all at once! The costumes are all things 80s; think tight clothes, cowboy boots, lots of glitter and fringe – camp and iconic. The costumes, set and lights may all be minor details, but they all add up to transform the Haymarket Theatre and transport audiences to the Sunset Strip, all from the comfort of their seats.

Energetic and terrifically fun, BATS have done it again. Everyone involved with Rock of Ages should be well and truly proud of themselves for this immensely enjoyable show they’re staging. I left with a smile on my face, a lighter heart than I went in, and tapping my feet to a song stuck in my head. Rock of Ages may bold, brash, and both cheeky and charming – as befits The Bourbon Room – but it is full of heart and is a surefire way to have a rip-roaring, entertaining night out.

Leyla Demirel
One Show at a Time

Rock of Ages Review, May 2025 - Basingstoke Gazette

BATS bring down the house with Rock of Ages at the Haymarket.

The Haymarket Theatre in Basingstoke was rocking on Wednesday night as the award-winning BATS (Basingstoke Amateur Theatrical Society) launched their high-voltage production of Rock of Ages, and what a show it was.

The 1980s jukebox musical, packed with classic rock anthems and outrageous energy, delivered an unforgettable opening night that had the audience singing, clapping, and cheering to the very end.

Set on LA’s legendary Sunset Strip, Rock of Ages tells the story of aspiring rocker Drew Boley and small-town girl Sherrie Christian, whose dreams and romance collide in a world of denim, leather, and big hair.

As they fight to save their beloved rock club from demolition at the hands of money-hungry developers, they’re joined by a host of wild and wonderful characters – all backed by a soundtrack of iconic hits like We Built This City, The Final Countdown, Wanted Dead or Alive, and I Want to Know What Love Is.

Bradleigh Hall gives a strong, heartfelt performance as Drew, striking just the right balance between awkward charm and powerhouse vocals.

He’s perfectly paired with Chloe Ballard as Sherrie, whose stage presence and emotional range made her journey from naïve newcomer to seasoned survivor compelling throughout.

A special mention must go to Richard Bond as Dennis Dupree, the grizzled club owner with a secret soft side, and Paul Morris as the hilarious narrator Lonny Barnett, whose comedic timing and cheeky asides had the audience in stitches.

Craig Saunders brought swagger and sleaze in equal measure to the role of washed-up rock god Stacee Jaxx, while Ian Moseley was perfectly cast as the uptight German businessman Hertz Klinemann.

Laura Burrell as Justice Charlier also stood out. She had a commanding stage presence and pitch-perfect timing. Burrell was a natural on stage, bringing depth and charisma to every scene she appeared in.

Under the confident direction and choreography of Angus Jacobs and with musical direction by Colin Gray, this production fizzes with energy and flair.

The ensemble cast work incredibly hard, and their passion for performance shines through every scene. From the neon-lit sets to the pulsating choreography, BATS delivers a production that rivals professional tours for sheer entertainment value.

Kiran Sajan
Basingstoke Gazette