The cast of Singin' in the Rain endured the rain on Good Friday to film the silent movie sequences that feature in the show.
Click on the image to watch the movie and browse additional behind the scenes photos.
Kirsty talks about playing her biggest BATS role to date
Headshot photo of Kirsty Bennett
Kirsty dressed up in her finery as Lina Lamont for the filming of the silent movie sequences
In real life, Kirsty Bennett has a gorgeous singing voice, showcased at children’s parties and charity events where she appears in the guise of various fairy tale princesses. But Lina Lamont, the diva-esque film star Kirsty plays in Singin’ in the Rain, has a voice best described as fingernails scraping down a blackboard.
“That’s a big challenge,” admits Kirsty. “Lina has a really harsh throaty voice so I’m working out tactics to avoid damaging my vocal chords!"
But for Kirsty it’s worth it. Lina is her biggest role in a BATS show to date.
“I’ve always loved comedy and I’ve longed to play a big character part like this,” she says. “Lina is a star of the silent movies so her fans have never actually heard her speak. So when Hollywood decides her next film should be a “talking picture”, there’s a big problem!”
Trying to teach Lina to speak ‘properly’ is one of the comic highlights of Singin’ in the Rain. Kirsty has one big musical number too, but of course the show is best known for the title song, immortalised by Gene Kelly in the most famous sequence from the 1952 MGM movie.
“It’s my mum’s favourite musical,” says Kirsty, “and it’s just as well because we’re watching the DVD a lot in our house at the moment!”
Kirsty’s own young daughter Emelia is also a fan and loves seeing her mum perform, which she’s been doing since taking dance lessons at the age of three. Kirsty’s first show with BATS was in 2005 with Sweeney Todd. After a spell as a holiday camp entertainer around the UK, she has appeared in most BATS shows since returning to Basingstoke in 2011.
“I most enjoy working with my friends on stage,” explains Kirsty. “It really is a big team effort. Everyone is really supportive of each other, and doing all they can to make this the best possible show. I can’t wait for people to see it!”
Singin’ in The Rain is at the Haymarket, Basingstoke from Wednesday 9th-Saturday 19th May. Performances at 7.30pm with extra 2.30pm shows on Saturday 12th & 19th.
ll tickets for the opening night are £18.50. For the other performances: £23.50 (adults) £15 (16s and under) - with concessions for students, over-65s and groups. All prices include a booking fee. Buy tickets online.
Rehearsal dates for the 60th anniversary concert
To celebrate our 60th anniversary year, we will be performing a one night concert at the Anvil on Saturday 23 June. You will need to audition to perform and it is open to past, current and prospective members.
The full list of dates are as follows:
Pre-auditions
Venue: Christ Church, Reading Road, Chineham, RG4 8LT, 19:30 - 22:00 hours
Tuesday 27th, Thursday 29th March
Tuesday 3rd April and Wednesday 4th April
Auditions
Venue: Market Chambers, Wote Street, Basingstoke, 10:00 onwards
Sunday 8th April
Rehearsals
Venue: Christ Church, Reading Road, Chineham, RG4 8LT, 19:30 - 22:00 hours
Tuesday 10th April (Shaftesbury Room)
Thursday 12th April (Shaftesbury Room)
Thursday 26th April (Shaftesbury Room)
Monday 14th May (Shaftesbury Room)
Monday 21 May (Wesley Hall)
Wednesday 23rd May (Shaftesbury Room)
Wednesday 30th May (Shaftesbury Room)
Monday 4th June (Shaftesbury Room)
Wednesday 6th June (Shaftesbury Room)
Monday 11th June (Shaftesbury Room)
Wednesday 13th June (Shaftesbury Room)
Monday 18th June - Orchestra call (venue TBC)
Wednesday 20th June (Shaftesbury Room)
Singin' in the Rain - Audition and Director Setting Dates
If you are thinking of auditioning for Singin' in the Rain, here are the key dates for which you will need to be available.
Pre-auditions and auditions
The action doesn't start until January. See the Singin' in the Rain future show page for full details.
Director's setting dates
Sunday 4 February, 10am - 5pm
Monday 5 February, 7pm - 10.30pm
Sunday 4 March, 10am - 5pm
Monday 5 March, 7pm - 10.30pm
Sunday 25 March, 10am - 5pm
Monday 26 March, 7pm - 10.30pm
Sunday 15 April, 10am - 5pm
Monday 16 April, 7pm - 10.30pm
Tuesday 24 April, 7pm - 10.30pm
Wednesday 25 April, 7pm - 10.30pm
Costume call
Thursday 3 May, 7pm onwards
Run of show in costume
Friday 4 May 7-10.30
Get-in and orchestra call
Sunday 6 May
Technical rehearsal
Monday 7 May, 7pm - 10:30pm
Dress rehearsal
Tuesday 8 May, 7pm - 10:30pm
Performances
Wednesday 9 - Saturday 12 May
Wednesday 16 - Saturday 19 May
Footloose Review, November 2017 - Newbury Weekly News
BATS’ best feet forward: Full-throttle musical with breath-taking choreography
The stage spin-off of the 1984 teen movie Footloose demands an exuberant, high-energy performance from start to finish and BATS’ hugely talented cast certainly obliged on all fronts. This was BATS full-throttle with bells on. Strong principals and a rock-solid ensemble ensured we were in for a treat.
Luke Sayers delivered in every respect in the large role of Ren, the snake-hipped Chicago boy exiled to small-town Bomont where booze, drugs and rock ‘n’ roll are banned. All Bomont boogie-woogie had been illegal since four kids died in a car crash on their way back from a dance.
Rhiannon Mone excelled, depicting the feisty and rebellious Ariel, daughter of the Reverend Shaw Moore, where in this role, Stephen Westwood was in fine voice.
The three ‘commentators’ Rusy (Jade Hollingshead), Arleen (Lusannsa Goodman) and Wendy Jo (Holly Reedman) absolutely nailed it, with brilliant harmonies and dance, Hollingshead giving a particularly stand-out performance.
Liam Brelsforth was terrific in his character of Willard, bringing out the humour of the character and Craig Saunders delivered strongly as bad boy Chuck Cranston. Sally Manning sang beautifully as Vi Moore, and her duet with Ren’s mother, played by Liz Scorey, was a delightful, poignant moment.
Director and choreographer Martyn Knight is to be truly congratulated on his direction and breath-taking choreography. It was incredibly delivered with a slickness that must have taken much rehearsal. I did not see a single foot put wrong, even on the first night.
Lighting was stunning and the band, under musical director, Julie Dance, offered tight and crisp accompaniment, if a little on the minimal side. Sometimes the voices in the large musical numbers overpowered them. Having said that, the production was full-throttle, there were a few numbers where I felt they could have taken their foot off the gas to provide a little variation and a sweeter sound – when you start so big you’ve nowhere to go.
But to capt it off, the Everybody Cut Loose closing montage was infectious, irresistible fun – a stellar, foot-stamping send-off to another superb BATS production.
Trevor Dobson