Have you ever wondered, while watching a show/play/panto etc, how much goes into putting on such a production? Have you ever thought about what goes on behind the scenes? Well this stage play, written by Richard Harris, gives a very comedic take on the ups and downs of putting on a show. This brilliant play, set in a dingy church in West London, we meet a group of mismatched individuals who come together to put on a Charity dance show. We follow the journey from their first rehearsal to the big show with much laughter along the way.

Mavis (Caroline Townson), leading the dancers, works tirelessly to teach the required choreography, though—true to most rehearsals—it’s far from smooth. Caroline delivers a confident, assured performance throughout. While there were moments where the tempo dipped, she consistently brought the cast back together. In Act 1, Mavis appears nervous and slightly frustrated, but as the story progresses, she grows in confidence and authority, increasingly commanding each scene.

Every dance teacher needs someone to manage the music, and Mrs. Fraser (Glenys Lloyd-Williams) fills this role with unforgettable flair. Her expressions alone conveyed volumes, and her dry, sharply delivered one-liners made her a consistent scene-stealer. A wonderful performance.

We are introduced to Mavis’s group of “dancers,” a mix of women—and one man—from diverse backgrounds and abilities. Geoffrey, played by Steve Taverner, is the only male in the class, a humorous nod to the challenge of finding men for shows. Despite being outnumbered, Steve holds his own, delivering a confident and engaging performance. As the sole man, Geoffrey naturally attracts attention, particularly from Andy, portrayed by Jane Robert. Jane delivers a heartfelt and compelling performance, taking the audience through the emotional ups and downs of Andy’s life. As Andy battles her insecurities and lack of coordination, Jane draws you fully into her world. Her transformation—from timid and unsure to bold and self-assured—was powerfully portrayed. Jane’s performance was remarkably authentic and deeply moving.

Every production has someone eager to impress the teacher while unintentionally irritating everyone else. Vera, played by Martie Cain, fits this role perfectly. Snobbish, outspoken, and overly helpful, she often goes about things the wrong way. Martie’s comedic timing makes Vera both exasperating and endearing. Her ability to command the stage—supported by some standout costumes—resulted in a thoroughly entertaining performance.

No group is complete without the resident loudmouth, and Sylvia, brilliantly played by Ruth Anderson, fills that space. Always quick with a comment, Sylvia’s bravado may mask her limited talent. Ruth delivered Sylvia’s one-liners with impeccable timing, and her accent, stage presence, and characterisation elevated every scene she was in. As any dancer knows, it’s difficult to dance badly on purpose—and Ruth did so hilariously, then impressed in the groups’ fantastic finale routine. Bravo!

Returning to the stage after some time away, Helen Aspinall offered a warm and endearing performance as the anxious nurse, Lynne. Usually found behind the bar at Bembridge, it was lovely to see her return in tap shoes, delivering a sweet and genuinely enjoyable portrayal. Also returning after a 30-year break, Linda Davis brought a charming and playful energy to the role of Dorothy. Her nervous, perfection-seeking character was delightful to watch. Though not constantly on stage, her presence was always felt. Linda was utterly lovable and a joy to see perform.

Bobby Oddy, last seen in the village hall as a vicar, returns as Rose—a carefree, lovable, fun-seeking character. Rose forms an instant and mischievous rapport with Sylvia, the pair clearly being bad influences on each other. Sporting pink, punk-rock styling, Bobby delivers a strong and endearing performance.

Last, but certainly not least, is Maxine, played superbly by Amanda Gregory. Maxine is sharp and self-assured—perhaps a little too self-assured—yet ultimately kind-hearted. As rehearsals progress, we discover she carries a difficult past, and her conversation with Andy reveals a more vulnerable side. Amanda, no stranger to the stage, brings the strong, confident tap dancer to life with ease, delivering a truly “tap-tastic” performance. Maurice Kachuck should be incredibly proud of this production. His goal was to create a play that was clear, engaging, and enjoyable—and he succeeded. Despite being a wordy script, the direction and choreography were handled superbly, keeping the audience fully engaged throughout. It was a thoroughly delightful evening of entertainment, thanks to the entire cast, Maurice, and the dedicated team, Front and Back of house, who helped bring the show to life.

The tap routine was truly the icing on the cake—a sparkling finale that showcased months of hard work. It all came together in a glittering display of toe-tapping brilliance. Well done all on a wonderfully entertaining evening.