This effervescent, power packed, two-and-a-half-hour stage version is being presented by Mandurah’s Performing Arts Centre and Stray Cats Productions with generous support from the City of Mandurah. Shows are at 7.30 each evening until Saturday 8^th October. There are sparkling matinées on Saturday and Sunday at 2.00.

This is the same outstanding team that brought major productions to Mandurah, such as ‘Mary Poppins’ and ‘Wicked’. Both sold out for almost every show.

The innovative Set Designer was Karen Francis, who sensibly built whole sitting rooms, outback stations and cafés on wheels so the scene could be changed in minimal time with least manpower. Bronwyn White supervised the varied, colourful artwork that covered everything from the stained glass windows of the church (helped by Peter Francis), to the Wild West, boot scooting venue. The numerous props were well sourced by Sheryl Gale. The set builders also included Pat Francis, Jon Lambert, Robin and Lexie Sleet, Mark Bone, Mal Thompson. Duncan Anderson, Rory Ellis and Trevs Carpets.

The headset microphones worked perfectly, thanks to Charlotte Roberts. Karen Francis’ lighting design was lively and added excitement to the show. Well done spotlight operators Thea Clarke and Khaijun Pearce.

       The curtain rises and the theatre explodes into the opening number. Youngsters run down the aisles and onto the stage. With around 80 singers and dancers on the stage, it is vibrant.

       When teenager, Ren (Jason Arrow) is abandoned by his father, he and his Mum, Ethel (Sonja Pich), move from Chicago to the Mid-West, woop woop town of Bomont to live with Ren’s Aunt Lulu (Sarah Bridgeman) and his Uncle Wes (Jarrad Cas Thomas).

      At Ren’s new school is Ariel (Georgia McGivern), the sought-after daughter of the puritanical minister, Reverend Shaw (Scott Hanson) and his wife, Vi (Kristie Gray). Ariel has an obnoxious boyfriend, Chuck Cranston (Tate Bennett), who works at the local garage with wasters, Travis (Bailey Bridgeman-Peters) and Lyle (Brandan Halsey).

      Ariel’s school friends, Wendy-Jo (Kelsey Skinner), Rusty (Susy Wiseman) and Urleen (Megan Burne) try to warn her about Chuck, but Ariel will not listen. Ren finds himself being cast out by the school Principal (Rach Hayter) for being too outspoken. The sports coach, Mr Dunbar (Peter Sydney-Smith) and his wife, Eleanor (Tracy Bolton), treat Ren dismally because they are the best friends of the Rev. Shaw.

       Whilst in Betty’s (Anita Telkamp) ‘Blast’ soda café, shy Willard (Nicholas Gaynor) explains that due to an accident seven years earlier, the town council has a ‘no pop music and no dancing’ policy. Horrified, Ren musters his classmates and tries – unsuccessfully – to demand a senior prom, and so with a group of friends they drive 100 miles to an untamed night of liberty at the Bar BQ Club. The Club is a wild place, where Bickle (Robbie Fieldwick), Bob (Andrew William Coshan) and his cowgirl (Lisa Taylor) boot scoot, as the singers chant.

      Can Ren win over Ariel’s heart? With the help of friends, Jeter (Alex White) and Garvin (Matthew Walford), can anything be done to change Reverend Moore’s mind?

The musical director and conductor David Hicks, was on his swansong; he was joined by band members Bronwen Herholdt (keyboard), Bec Moroney (woodwind), Kelly John McCarthy (bass guitar), Troy Plackett and William Christensen both on guitar, and with Mark Beasy on Drums. The music was lively and played with passion.

I do not want to detract from the high quality of the music, but because there was no orchestra pit – the musicians being on the same level as the audience – at times the drums were overpowering. I appreciate that they cannot be played quietly, and still give the feeling and the enthusiasm demanded by the show, but perhaps some room dividers around the drums, or a sheet of Perspex (as on the recent ‘Clinton – the musical’) could muffle the sound slightly. Incidentally, the drummer’s novel performance in the garage workshop was a musical highlight.

There was a massive cast, of around 60, who were all on stage most of the time. When a scene fills and empties, it must be instant, with no queues at the wings waiting to leave the stage. This process was VERY slickly stage managed by Rachel Hayter and Ruby Spinning, with assistance from Anita Telkamp, Wayne and Vanessa Gale.

Each cast member had several elaborate and beautifully styled costumes, ranging from the choristers with their gowns and vivid satin hoods, to the crazy cowboy and cowgirl outfits. The wardrobe mistress, Kerry Tarbuck, wisely enlisted the help of Linda Lowry, Michelle Thompson, Karen Francis, Jordan Hopkins, and Cathy Wainright to ensure that every performer looked their very best. The result was stunning, plenty of colour and quality costume construction, all based on that period three decades ago.

The amazing choreography, thanks to teachers Lisa Taylor and her assistant Danielle Taylor, was creative and energetic. Every dancer had intricate body, arm and hand movements, with styles that ranged from moonwalking, boot scooting, ballet and on to swing. Even the ‘useless Willard’ became a star in the end (well done Nicholas). In every dance scene or meeting, there were several groups of actors, who were all fully involved in different activities; this gave a huge depth to each section.

The director, Karen Francis and her vocal director Kristie Gray had to oversee dozens of youngsters and complicated teching, before they even got to the singing and dancing. Karen has been so lucky in having several WAAPA trained actors and dancers leading and performing in her team. One of the girls, Kelsey, danced and sang professionally with the others – and yet she is still a Year 11 student. So much enthusiastic talent, without a single weak link. Fabulous, very well-rehearsed cast.

The half dozen main cast members just left you gasping at the rich voices and energy packed performances.

This production had at a top line-up of talented singers, with perfect pitch and plenty of power in their voices. Just amazing. Mandurah has so much to offer.

Karen’s shows are always so very professional; always being better value than the expensive shows performed in the major theatres of Australia. One tends to forget that ‘Footloose’ is simply another Community Theatre production. Congratulations to all concerned, and an extra thanks to the City of Mandurah for giving the kids a chance, and giving us Perth dwellers an extra excuse to travel down to Mandurah for on a spring day.

It will not be long before Karen’s discoveries are on major productions travelling the world. Remember where you saw them first – Mandurah.

This 3-hour production is a joint venture between Stray Cats Theatre Company and the Mandurah Performing Arts Centre. It is wonderful to see a local shire giving the children of the town a chance to see live theatre.

The musical came to Mandurah on the wettest and wildest weekend in years. After a wonderful first night, the Saturday matinee suffered a power failure – twenty minutes from the end. Five hours later the power had still not been restored, and most of Mandurah’s houses and streets were in pitch darkness. However, having seen ’Mary Poppins’ and ‘Chitty Chitty Bang Bang’ the audience was not going to be put off, the crowds still turned up, and the Arts Centre was packed. The cast gathered in the gloom and, unaccompanied, sang their hearts out, giving their loyal audience a few numbers from the show. I had made a 120 kms return journey to see the show, and it was this singing that decided me to return a further 120 kms next morning, for the full show – well worth it.

It was decided to cancel the performance and have an extra at 10.00 the next morning. The three-hour performance went flawlessly, finishing at 1.00 leaving only an hour before this energy packed show hit the stage again.

The proscenium arch and the railings around the orchestra pit were covered in gold painted bicycle wheels of varying sizes. On the ceiling of the theatre, a massive dragon flapped its wings as smoke belched forth. A map of Munchkin Land (Alan White) is projected onto the safety curtain.

       The citizens of Oz are in the streets, celebrating the death of the uncaring, Elphaba (Kimberley Harris), when, from the sky, a bubble descends carrying the much-loved, blonde, giggling Galinda (Lisa Taylor) who just loves to tell everyone how good she is. Even the monkeys (Hayley Pilcher, Terina Henry, Tracy Harrington) are excited, as they do their aerial tricks.

       Glinda tells the Ozians how Elphaba’s mother (Malia Bennett) gave birth to a green-skinned baby. Her father, the Governor of Munchkinland (Scott Hansen) loathed her and gave all of his affection to her disabled sister, Nessarose (Cassandra Power). The girls are sent to Shiz University where the nasty Principal, Madame Morrible (Alyssa Burton) rules with a stern hand and a little sorcery.

       Elphaba’s favourite lecturer is the history teacher, Dr. Dillamond (Erik Bunch), a goat-like animal professor who is discriminated against and sacked by Madame Morrible. When the unscrupulous Prince, Fiyero (Joshua Towns) arrives, Galinda is immediately in love with him. Unfortunately, when a poor Munchkin Boq (Braeden Geuer) declares his love for Galinda, she suggests that he should love Nessarose instead. Boq ends up guiding Nessarose’s wheelchair (creators Jo Bickford, Peter Sydney-Smith) whilst still yearning after Galinda.

       Having no friends, Elphaba is taught by Galinda how to attract men, and Fiyero then shows interest. The two help rescue and free a caged lion cub. Soon, the famous Wizard (Peter Sydney-Smith) asks Elphaba to visit him at the Emerald City. Madame Morrible, who now works as the Wizard’s Press Secretary, gives Elphaba the ‘Grimmerie’ – a priceless spell book.

       When the Wizard’s acrobatic, monkey servant, Chistery (Bailey Bridge-man-Peters) sprouts wings, Elphaba realises it is the Wizard who has been cruelly controlling the Animals’ freedom. Not only that, the Wizard cannot read the special codes in the Grimmerie, he is in fact a fraud. Elphaba, now known as ‘The Wicked Witch of the West’ grabs a broomstick and flies off to sanity (Mechanical crew Stephen Carr, Jamie Murray). Meanwhile, ‘Glinda the Good’ starts working for the Wizard and Morrible, against Elphaba.

     On hearing Elphaba is to be ‘melted down’, Fiyero ignores Glinda’s approaches and goes to Elphaba’s rescue. On the death of her father, Nessarose becomes the Governor of Munchkinland, but still she cannot capture Boq’s heart. Elphaba tries to help Nessarose by giving her sister special, magical shoes and the power to walk. When Boq still shows no interest, Nessarose tries the Book of Spells, accidentally shrinking Boq’s heart; he turns into the ‘Tin Man’.

       Whom will Fiyero finally fall in love with? Will Elphaba remain cursed?

Other major players included Malia Bennett, Matthew Walford, Elizabeth Willow, Cat Perez, Corinna Gosby, Nicholas Gaynor and Jared Pettit.

The scenery crew, under the supervision of head builder, David Hartly, produced lively, intricate and amazing pieces. The quality of every piece of scenery was top-class, from the crashed witch’s house to the massive talking head of the Wizard. There were the retractable wings on the monkeys (Peter Francis) and the magical Hour Glass (Paul Fieldwick). At no stage was there the impression of ‘that will have to do’, the finish was always immaculate – great work by Peter Francis, Duncan Anderson, Mal Thompson, Alan White, Wayne Gale, Daniel Corbishley, Steven Sallur, Vanessa Thompson, and Alex Paolino. There were also several impressive backdrops and sets designed by Bronwyn White. Sheryl Gale supplied the numerous props, such as spears and oil lamps.

The sound was magnificent, with a great soundscape from Peter Lovell. Ruby Liddelow flawlessly operated the dozens of dreaded microphone headsets, often famed for their unreliability.

Karen Francis’s complex lighting design was outstanding, completely capturing the mood. The bio-box operator, Clint Gerard was impeccable, and the two spotlight operators (Thea Clarke, Khaijun Pearce) were smooth and accurate, even on the narrowest of beams. Visually exciting work from the team.

Then comes the result of months of sewing. Head seamstress Cathy Wainwright had to design several changes of costumes for the cast, a total of more than 300 costumes. She was helped by Linda Lowry, Jordan Hopkins, Kerry Tarbuck, Rebeka Thomas, Rhiannon Thomas, Michelle Thompson, Bronwyn White, Erin Thomson, Geraldine Harris and Pat Francis. Again, all of the costumes were trimmed with extras, many actors wore hats and fancy tights; the result was a visual feast. Then in combination with the makeup team of Jodie Mars, Rhiannon Francis and Monique Kinnest, the characters of Madame Morrible, Dillamond, the monkeys and Chistery came alive. Superb work.

The director, Karen Francis, was the major driving force, being intensely involved in almost every aspect of the production; she gave the cast drive, enthusiasm and confidence. The vocal director was Kristie Gray, who luckily had several trained vocalists – a special mention for Kimberley and Lisa who were magnificent, strongly backed by Alyssa and Cassandra. Even Joshua, who has performed in numerous quality dramas, sang admirably in this his first major musical. The powerful backing singers, who were positioned in the orchestra pit, were Kristie Gray, Kim Moore, Daniel R. Nixon, Jason Arrow, Sean Williams, Andrew Coshan and Alexandra Cornish.

Choreographer, Megan Doohan bravely faced around 60 extras to train and direct, and yet each performer gave routines packed with every ounce of strength and enthusiasm. They smiled, danced, sang in perfect harmony.

Musical director and conductor, David Hicks, had at the end of his baton, on reed Jennifer Currenti, David Lawrence, Blake Howieson and Liam House. On Brass, Aishah Chadwick-Stumpf, Jack Sirett, Harry Josland and Ned Holland. On percussion and keyboard, Mark Beasy, Sam Bradbury, Bronwen Herholdt, Vanitha Hart, Brendan Talty and Sarah Palmer. On string Stuart Robertson, Darsha Kumar, Liza Kotze, Josh Dunne and William Christensen. The orchestra, playing first thing on Sunday morning after a late night on Saturday, were still impeccable. A three-hour show is a marathon for a musician, to have an hours rest and then another marathon, was mind boggling. well done.

Holding the whole show together were Production Managers Bronwyn White and Ashleigh Riley, aided by Anita Telkamp and Rach Hayter, and with a cast of over 70, this was no easy task. However, at the end of every scene, the packed stage would empty silently and without any pandemonium in a couple of seconds. I have seen shows where even two or three actors have struggled to leave the stage without crowding.

Kristie Hennessey took the cast’s headshots. Jon Lambert’s excellent 16-sided, full colour gloss programme was being sold for only $5 – too cheap. Some patrons were apprehensive of buying one, thinking that, like the Burswood, the price would be around $25.

This production was the ULTIMATE in community theatre, very many congratulations. I just hope it was entered for the Finleys Awards.

Breath-taking, amazing, spectacular with 400 giving a standing ovation – what more can one say?

Duncan Anderson, Wayne Gale, Peter Francis, Alan White, Daniel Corbishley built the spectacular sets, from sweet machines to a dunny – complete with massive, superbly painted backcloths (supervised by Bronwyn White). Sheryl Gale collected the numerous antique props required.
The stage managers, Corina Herbert, Rach Hayter and Angus Young had their exceptionally busy teams working efficiently, quickly and silently. Poor stage management would have meant the pace dropping off and a subsequent loss of the ‘magic’. The advanced and inventive lighting design was by Karen Francis, with the spotlights operated by Suzy Wiseman, Ruby Liddlelow, and Fiona Kennedy.

Under the supervision of their teacher, Miss Phillips (Kristie Hennessy), the eight-year-old twins, Jeremy (Sebastian Cruse) and Jemima Potts (Marissa Pereira) are looking around Mr Coggins’ (Jayden Lyon) garage backyard when they find the wreck of a British Grand Prix winner. As they play on it, the local scrap metal man (Oliver Clare) offers Mr Coggins 30/- for it. The children are sure that they can get either their widower father, an eccentric inventor and Naval Commander, Caractacus Potts (Jon Lambert) or their Grandpa Potts (Peter Sydney-Smith) to buy it and restore it.
Lurking in the background is a Laurel and Hardy-like couple of incompetent spies, Boris (Daniel R. Nixon) and Goran (Nicholas Gaynor). They have been sent to England to buy or steal this car, by their Bulgarian boss Baron Bomburst (Joshua Towns), and his miserable wife, Baroness Bomburst (Kim Moore).
However, the Potts family are poor and cannot afford the 30 shillings. A lady passes the group on her three-wheeled motor bike (thanks to Mandurah Scooters) and as it is out-of-tune, Professor Caractacus repairs it for her. The beautiful woman is Truly Scrumptious (Kristie Gray), who on hearing of Caractacus’ financial plight, suggests he should invent a new type of lolly to show Violet (Jo Bickford) and then sell the idea to the local sweet factory that belongs to her wealthy father, Lord Scrumptious (actor ?).
Eventually Caractacus raises the money from a local turkey farmer (Bailey Bridgman-Peters) and the family go to the beach in Chitty to celebrate, but fly much further. After a long flight in Chitty, the Potts family arrive in Bulgaria. When the Baroness, who hates children, hears of their arrival, she employs a Child Catcher (Scott Hansen) to kidnap Jeremy and Jemima. The Baron, who is still a child at heart, has special toys made for him by the royal Toymaker (Rory Ellis). This toymaker confides in Grandpa Potts that there are hundreds of children hiding in the sewers below the city. The children have Toby (Angus Thomson), Greta (Maren Gosby) and Susan (Nicole Cook) looking after them and fighting for their welfare.
Can the Potts family save the day? Is there romance in the air?

Under Musical director David Hicks, assisted by conductor, Vanitha Hart, the orchestra were obviously in their element with such well-known songs as ‘Chitty Chitty Bang Bang’, ‘Toot Sweets’ and ‘Truly Scrumptious’. With the help of Rhiannon Francis, the orchestra also created an exciting array of sound effects. The musicians were:- Woodwind players Bec Moroney, Luis Santos, Blake Howieson; Brass – Sascha Todhunter, Harry Josland, Ben Lim, Ned Holland; Double bass – Joshua Cusack; Percussion – Mark Beasy, Sam Bradbury and Keyboard – David Hicks and Mia Brine. The balance of the orchestra was perfect, without any individual instrument overpowering the others.
The dance sequences, choreographed by Ashleigh Riley and Megan Doohan, covered simple styles such as Grandpa Potts swaggering up and down as he sings ‘Posh’, through to the sedate Bulgarian Ball scene and the frenzied Rumba. In every routine the whole ensemble were perfectly in step. The footwork in ‘Me ‘Ol Bam-Boo’ and the arm movements for every song were complex and demanding, and yet I can honestly say that not a single person was out of step or daydreaming. Great work by the choreographers and the whole cast.
Vocal director Kristie Gray has a beautiful and powerful voice, but getting 60 raw recruits to perform well must have been a real challenge for her. The chorus performed magnificently. The Potts family and Truly were in perfect tune and pitch; the final song of the first Act was performed in Chitty as it rose up and tilted, and yet the singers still managed to belt out the number without a single nervous flicker. True professionalism.
The 20-sided, full colour, A4-sized programme, was only $5 and so the audience bought a few copies each for those proud relatives that could not make the show. Well done Kristie Hennessy, Jon Lambert, Rhiannon Francis and Jayden Lyon for the artistic creation.
With 60 performers on stage at a time, the costumiers (Gaynor Cook, Catherine O’Brien, Pat Francis, Kerry Tarbuck, Lisa Clubley, Lisa Hubbard, Karen Chivers, Linda Lowry, Cathy Wainwright, Michaelia Bertram-Hulme and Ashleigh Riley) certainly had their work cut out. The factory workers uniforms, the rumba skirts, the exotic ‘Me ‘Ol Bam-Boo’, the filthy street kids in the sewers, every scene had immaculate design and costume production. Not a single outfit was basic, the trimmings and creative thought was first class.
The car is obviously the centrepiece of the whole tale, and so it was essential that it should be special, stunning and of quality – poor Peter Sydney-Smith (Grandpa Potts) was given the task of designing and building the machine. This was not going to be a cheap project for the producers, but with the generous help of Mandurah Canvas, Battery World and Mandurah Auto Performance, all of the parts from the old-fashioned lamps to the Dickie Seat, the hydraulic hoses and the numerous trims, the car took shape. In the end the car could drive onto the stage, rise from the floor carrying four people, the tyres tilt at 90 degrees, spread its wings, tilt and tip at incredible angles. With the smoke effect under the chassis, the car was well above the clouds. The massive cheer from the audience showed their appreciation for all of the work.
A community show that could leave the professionals embarrassed. Absolute quality.
Do not miss this latest fantastic, magical, family fun show from multi-talented director Karen Francis.

This outstanding, 2 hours 45 minute local production of the Broadway musical is being proudly presented by MPAC and Stray Cats Theatre Company. It can be seen in the 550-seat, beautifully equipped theatre in the Mandurah Performing Arts Centre, on the Boardwalk in Mandurah.

The half dozen ‘sold out’ performances finish on Sunday, 24^th May.

The location is Banks’ family home, a big house in Cherry Lane, London in 1900.

There were several demanding sets (designed by Jon Lambert, Brett Morris and Karen Francis), demanding in so much that Mary had to perform her magic (effects by Brad Tudor and Anita Telkamp). The artwork of the scenic backdrops was stunning (Bronwyn White, Aiden Thomas and cast), with Sheryl Gale’s props giving the special finishing touches.

        After losing several nannies, thanks to tykes Jane (Maren Gosby, understudied by Mikayla Wyartt) and Michael (Sebastian Coe), their mother, Mrs Banks (Helen Kerr) is at her wits end and asks her officious husband (Jon Lambert) to advertise for another. Before the letter is even in the post, Mary Poppins (Kristie Gray) with gamp in hand, appears at the Banks’ household.

       Mary Poppins takes the children to the park, where they meet Mrs Lake (Kristie Hennessey), her Scottie dog and chimney sweep, Bert (Daniel R. Nixon). As they watch the children fly their kites, Mary brings a touch of magic by making the statues come alive. When the valuable male statue, Neleus (Jayden Lyon) vanishes, the nervous park-keeper (Christopher Riley) panics.

      Back at the Banks’ home, the dim butler, Robertson (Nicholas Gaynor) is getting his orders for the day, from housekeeper Mrs Brill (Jo Bickford) – he has to bake and ice a cake for a house party that evening. Being urgently called to the bank, by the Chief Cashier (Thomas Hennessey), Mr Banks is certain that his dismissal is near. On the way, he meets the ragged, bird woman (Jeanette Southall) outside St Pauls. She gives Mr Banks a few life messages.

        Mary encourages fortitude in the children in her care, along with all of her friends, by introducing the colourful Mrs Curry (Brad Tudor), Katie Nanna (Monique Kinnest) and Von Hustler (Oliver Clare) as they lead in the singing and dancing of Sherman Brothers’ ‘Supercalifragilisticexpialidocious’.

        When Mary leaves the Banks’ home, the daunting, miserable Miss Andrews (Bronwyn White) – who resembles Old Mother Riley – takes over. The children are now in constant fear.

Musical Director, David Hicks (assisted by Joshua Haines) conducted the 12-piece orchestra playing in the pit under the stage, with vigour and sparkle. The crystal voiced, lead singer, Kristie Gray, also had the massive task as Vocal Director to the cast of 50. There is inevitably a couple of the chorus – even leads – who will let a show down with bad singing or lack of focus; here we have a production that is as near perfect as one can get. It was hard to believe that the cast are all locals and not famous, established national talent.

Choreographer, Andrea Beissel had a similar task; with the stage crammed with 40 dancers, it would have been easy to take the lazy way out and have the whole troupe doing the same actions for every number. Instead, Andrea (assisted by Ashleigh Riley, Megan Doohan) gave us a treat, with several complicated routines, flawlessly carried out on the stage simultaneously.  ‘Supercalifragilisticexpialidocious’ was the piece de resistance, sung with perfect diction, this energy filled, tongue twisting number was performed at breakneck speed. The hundreds of wonderful costumes for the show, were designed by Cathy Wainright and tailored by Pat Francis, Kiara Cassano, Margaret Willison, Hannah Andrews.

Karen Francis is no ordinary director; she gets an ambitious idea and goes for it. Whether it be a play with a difficult story to present, a spicy comedy such as ‘Calendar Girls’, or an adult production like ‘Steaming’; Karen will grab it by the horns and give the audience a show to remember. How does she do it? By the earning the love and admiration of every actor and stage crew with whom she has ever worked.

When Karen decided to present ‘Mary Poppins’ my heart sank a little, this is one of the best loved children’s books and well-known films ever. It has all of the ‘avoid’ factors, children, an animal (bless Toto who was impeccably behaved), special effects, singing and a chorus of around 40 teenagers. Instant suicide. Then there is the cost risk of hiring a large theatre – double suicide! You look at the credits in the programme and find that Karen has also helped manage the production (with Jon Lambert) and is lighting designer, a foolhardy master of all? Not at all, excellent organisational skills.

A couple of small whinges, the odd headset was a little toppy, with the treble too high, giving occasional poor clarity to the dialogue. The fly wires used for the flying sequences were exceptionally thick, but the kids loved the effect, with Mary and Bert moving beautifully.

I know I joke about programmes, but 20 glossy, full-colour, A4 sides for $5 (congrats to Jon Lambert, Jayden Lyon, Kristie Hennessey, Peter and Rhiannon Francis) must be the offer of the year – so every family bought one. I have been to shows with similar programmes at $25 and virtually no one bought one.

The Stray Cats next production in mid-October, is ‘Chitty Chitty Bang Bang’ so be warned that after such a magnificent musical as this, the tickets will be gone in hours.

A truly breathtaking, quality show that could easily have run for weeks. This demonstrates what can be done with skill and a great deal of courage. Have you always hankered after trying something new? Be like Karen, GO for it!!

VERY many congratulations to all concerned, I was not at all surprised to see so many members of the enthusiastic audience giving a standing ovation. Spectacular.