This is a fascinating story. A true story, based around the life of the famous entertainer Charlie Chaplin, and a familial connection to the production team.  It is this story, with the atmosphere of the streets of Lambeth and the early musical hall era at its heart, that enables a new talented company of young performers to shine.

The overture sets the scene.  Rosie Hayward and Tony Careless are on the piano and guitar, seamlessly interweaving the tunes of ‘Smile’ and ‘The Lambeth Walk’.  With imagery portrayed on a screen, and the live music pacing along we have what I would imagine attending a silent movie experience would have felt like back in the day.

The instantly recognisable character, Charlie Chaplin, opens the evening.  In front of the curtain, Oliver Back, adored with bowler hat and cane not only introduces us to the character and the story, but also to the talent that the audience will be treated to.  What could be described as on opportunity for necessary exposition, is overshadowed by Oliver’s delivery of an opening monologue.  Whilst this included emotional delivery, it was his clarity of voice and diction that pulls you in.  He has set the bar, and I am so happy to report, all – ALL – the cast match him in this respect.

… and we really do have to tip our bowler hats off to them all.  This young cast take on multiple roles.  This is not ‘just a change of costume’; they successfully bring the roles to life through their portrayals. 

Ellen Careless commands the stage.  With her lovely singing, some songs suitably clipped in character, others more upbeat jazzy numbers, with dance/movement and story to drive as well.  A triple threat performance showing versatility and a maturity.  I look forward to seeing her in more roles across the Island stage.   

We have a standout comedic performance from Polly Careless whose characters enable her to make a real connection with the audience. Her facial characteristics and mannerisms bring Billy to life. As Young Charlie, alongside Maisie Walker-Green as Young Daisy, they immediately get the audience clapping along, and kickstart the music hall feels for the production.

Generating boos and hisses from the audience, George Sales’ George Guant is suitably menacing.  But it is as Will that we see him delivering light and shade as Charlie and Daisy’s friend.  Acting through song is clearly his forte.  From the initial classroom scenes, mimicking the teacher, to some standout ensemble numbers; clarity of voice and characterful all-round. 

Sister Sarah Mercy is pitched just right.  Florence Fradgley delivers, especially with the contrasting and central role of the matriarch Lizzie Barrington.  Another mature performance, great acting, delivering the emotional scenes very well.

Ozzy Cornes also shines in this regard, as Sidney Chaplin, Charlie’s brother.  He leads a tearful and emotional story point. 

The stage presence of Noah Walker-Green does not go unmissed. A natural performer.

A congratulatory nod to the producer/script writer Val Hayward, especially for the opportunities the script gives for the all the cast to contribute.  Especially for all the amusing one-liners, which were cleverly peppered throughout, none of which escaped the audience, as they were perfectly delivered by the cast. At which point a shoutout to the director…

The aforementioned performer Ellen Careless not only rose to this directing (and choreographing) challenge but ‘nailed it’.  Brava! From the clever transition between the young and older version of the characters, to rhythmic beating and stage movement throughout, a complex and well accomplished use of the small stage. Well done to Alannah Griffiths as the flexible Pierrot navigating it well in her ‘very specific manner’. 

We were treated to a story that successfully navigated a string of standout ensemble and full company scenes throughout the production.  The ‘Goodnight Sweetheart’ lament at the end of Act 1 and the pathos at the end of Act 2. The poetry recital was great.  The Showgirls (Emily Evans, Connie Cronin and Florence) demonstrating that they can Can-Can. The familiarity of ‘Bad Guys’ and ‘The Lambeth Walk’, with accompanying colloquialisms, accents and mannerisms was entertaining.  As was the trio of George, Noah and Oliver who presented not one, but two ‘special numbers’.  No spoilers – these are two cheeky routines, sprinkled with winks to the audience and full of joy for the benefit of all chuckling away in Niton Village Hall.  Let me just say, our Island panto dames better watch out – you have competition.

The love triangle between Will (George), Daisy (Ellen) and Charlie (Oliver), was set up and concluded through a number of different scenes.  Again, it was the quality of acting, not just the singing, that shined through here.  I believed in their performance.

At the end of the story, we come full circle, Old Charlie has returned, to let us know how the story played out beyond this entertaining and enjoyable chapter.  It is here that we are treated again to Oliver’s talents; if the opening monologue pulled you in, his closing songs really do make you go “Wow!”  I’m trying to find the words… I’m sure that music aficionados will be able to give more noteworthy and technical descriptions.  I’m going to go with “choral-tastic”.

A great night had by all at Niton Village Hall, which was a perfect setting, with real music hall vibes (aided by Tony Careless as The Chairman/compere).  I could see this production popping up at other venues too; maybe a Fringe-type performance? Any opportunity for more people to be entertained by this very accomplished and talented troupe should not be missed.