Bringing together favourites from many musicals, the performance was a trip down memory lane guided by excellent vocals, lighting and choreographies.
University of Edinburgh Footlights put on a show filled with nostalgia, playfulness and talent. Bringing together favourites from many musicals, the performance was a trip down memory lane guided by excellent vocals, lighting and choreographies. Alternating between ensembles and powerful solo pieces, it kept the audience enthralled throughout both acts.
With a simple décor and overuse of smoke – both staples of university performances, Magnusson Centre was transformed into a fairytale woodland. The few trees and signs however were aptly used and were enough to create a magical atmosphere that kept the attention focused fully on the performers. Opening on a ‘Matilda’ medley, the show quickly adopted a playful and upbeat feel, and the weaving of snippets of ‘My House’ and ‘Quiet’ was an excellent foreshadowing of the emotional rollercoaster that was to come. The order of songs was fitting, shifting between upbeat dances and ballads, keeping the audience on their toes, always wanting more of what just was.
At every stage of the night, the choreography was on point. Simple enough to not take over the show yet still alive, it complemented the performers’ abilities to perfection. ‘Seize the Day’ in particular stood out because of it. Using props and position changes all the while maintaining the song’s rhythm, this ensemble showcased the strength of the entire cast and the creativity of choreographer Amelia Brenan.
Other pieces that garnered much applause were ‘Come Alive’ and ‘Almost There’, which enthralled with their impressive solo performances. The vocalists delivered a range of emotions on stage and met the demands of the sometimes challenging choices to perfection. ‘Neverland’ had an appropriate magical feel through the vocals and the lighting. Early on in the show, ‘Ride’ pulled together all those strengths, and had a balance of vocals, dramatic lights and choreography picking up the pace. The sudden shining of the spotlight on the performer as the stage was darkening was jolting and played with audience expectations, focusing their attention right back on the performance when it might have wandered.
An audience favourite, however, and for good reason, was ‘Bring him home’. This was without a doubt the stand-out performance of the night. Ewan Robertson’s powerful voice kept the audience in a trance, and everyone’s breath was caught as it went higher and higher. The reserved choreography and muted lighting fit allowed the vocals to be the focus, and the applause lasted long after Robertson left the stage. Overall, creative director Abigail Halperin and musical director Eric Rogers suitably spotted their cast members’ strengths and put together an enjoyable and lively production.
