Inspirations Theatre Company’s Musicals Through The Ages – 7 November 2026, Dronfield Civic Hall
Review by Nicola Bourne.
I’ll preface this review by saying that I am a massive fan of musical theatre. I keep a list of shows that I’ve seen and a wish list of shows that I’d like to see, in the future. So, yesterday’s Musicals Through the Decades concert, performed by Inspirations Theatre Company, was made for someone like me. Showcasing songs and dance styles from the 1940s Golden Age of Broadway and Hollywood musicals, right through to the current day, this production treats its audience to a medley of some of the greats, without ignoring some of the newer, lesser-known musicals. The variety on show means there’s something for everyone. I enjoyed every second of it and, even I, was introduced to a few new shows that mean my wish list is now a little longer than it was yesterday morning!
Born from choreographer, Emily Skill’s idea to show dance styles through the ages, which for an ex-dancer like me, would have stood alone as the basis for a great show, the resulting production, under Joshua Mason’s creative direction, is an entertaining mix of everything musical theatre, whether it be singing, dancing or acting. A good musical number always incorporates a certain amount of acting, as we know, and there is no shortage of talent here at Inspirations! A full company production, it includes performers of all ages and abilities, and emerging talent is clearly given the opportunity to thrive. I couldn’t take my eyes off the youngest cast member, Ted, and a particular young male dancer, who I unfortunately couldn’t identify from the programme, but who blew me away with his talent and stage presence (dancing front right at the start of the Grease number).
Musical Directors, Melanie Gilbert and Matthew Szadura, do a great job; there are so many different musicals and varied musical styles represented here. They even perform themselves; Melanie’s voice is lovely in Hello, Young Lovers from The King and I, hitting some beautiful high notes, and Matthew, who always stands out, is a great all-rounder. I especially love his version of That’s Who I’d Be from Shrek: The Musical, in which his acting ability is on show, as he sings with Shrek’s iconic Scottish accent. A lovely surprise, we also saw Joshua Mason singing Why, God Why? from Miss Saigon, proof, if it were needed, that the company is in good hands. Joshua packs so much emotion into this song and everything is enhanced by an effective background of his silhouette in the moonlight; a very polished performance indeed!
For me, there are so many musical highlights in this concert and it’s not possible to list them all or mention everyone’s individual abilities. Run, Freedom Run! has quickly become a favourite of mine though, having recently seen a production of Urinetown; it’s such a feel-good, upbeat number. The combination here of Inspirations’ quirky choreography, an a cappella segment and Matthew Alsop’s staggering performance, elevates this to a level worthy of a West End stage. I don’t think I’ve ever seen an amateur performance as good as Matthew’s; boy, can he move! I Got Life, from Hair is equally good, also showcasing his energy and dance ability. This young man is going places!!! He can act and sing and has a natural ability and confidence, much needed for a future in this business. Wow!
Tell Me It’s Not True, another personal favourite, brought a tear to my eye and Charlotte Brough sings this Blood Brothers classic beautifully, together with Matthew Szadura and Nicola Smith, with the ensemble adding to the sadness and atmosphere of this piece. Nicola’s rendition of With One Look is outstanding, with musical storytelling at its finest, as is Not My Father’s Son, from Kinky Boots, with Oliver Lowe joining the two Matthew’s for this one. Leighton Hendon’s emotions shine through in The Impossible Dream (Man of La Mancha), Caitlin Wyatt performs a great When You Believe (The Prince of Egypt) and the comedy lands well from Anything You Can Do (Annie Get Your Gun). Also, Lauren Pinder is a talented all-rounder, with a professionalism and stage presence that makes her stand out in so many numbers.
Other classics include numbers from Oliver, The Producers, Grease, Paddington the Musical, The Sound of Music and many more, each one enhanced by its own backdrop and tailored lighting. In the second act, dance routines take more of a centre stage and it’s a testament to the choreography that their corresponding musicals are easily recognisable from the dance moves alone. The most enjoyable routines for me, came from Chicago’s All That Jazz, Mambo from West Side Story, Cabaret’s Mein Herr and the previously mentioned I Got Life from Hair. Such iconic, slick moves are recreated well and there is so much fun in the younger cast dances, like Bugsy Malone and the teaser from next year’s junior production, School of Rock.
It’s a jam-packed show, for sure, and the fact that the cast had the energy to perform it again later in the day is astounding … although, I suppose it’s good practice for those eight shows a week some of you may go on to perform, as professionals!!! I’d like to commend the whole company for a thoroughly enjoyable experience. It’s my kind of show, I loved the variety and, in an ideal world, you’d all get a special mention. I have put names to faces where I am able, but the hard work that goes into something like this, is, without a doubt, a group achievement. Bravo to all of you and I can’t wait for the next one!
