We Will Rock You Review, May 2026 - One Show at a Time

The audience is in, the curtain is up, and Basingstoke Amateur Theatrical Society (BATS) are back on stage. BATS are very much the champions once again as they have another terrific show under their belt, this time bringing the hit musical We Will Rock You to Basingstoke’s Haymarket, running from 12th-16th May.

I previously saw the rehearsal of this show before the company reached the theatre.

Following the rehearsal, I was excited to see how We Will Rock You would be, with everything brought together, including the finer details of the set and costumes, and I was not disappointed. BATS We Will Rock You is a splendidly fun explosion of colour and sound. With slick choreography, courtesy of Jenny Sawyer and musical direction from Simon Eastwood, resulting in gorgeous harmonies, and a dedicated company that maintains full energy from start to finish, We Will Rock You is another terrific show from BATS. Yes, the show is kooky and very much over-the-top, but that’s why it works and is so enjoyable.

The two leads are fantastically cast. Dale Barrell as Galileio and Grace Trinder as Scaramouche have superb stage presence, and with their strong vocals that really do the music of Queen justice, the pair command attention brilliantly. The chemistry the two have feels genuine, and the way they bounce off each other naturally aids in bringing their characters to life that much more. With Barrell’s first song being ‘I Want To Break Free’, he quickly shows audiences what a powerful voice he has from the word go. Similarly, Trinder’s performance of ‘Somebody To Love’ really demonstrates what a skilled voice she has. Be it in the tender ‘Who Wants To Live Forever’ or the feisty ‘Hammer To Fall’, the pair’s vocals, like their on-stage chemistry, blend well together.

Gaz Cottier and Chloe Ballard as Brit and Oz are also excellently matched, with an infectious energy that is joyous to watch and makes the pair quick to love when they’re on stage. Ballard’s rendition of ‘Only The Good Die Young’ is a particularly special and poignant scene, where you could have heard a pin drop save for Ballard’s crystal clear vocals. 

Whilst Queen is the soundtrack to this show, what I think makes the BATS company performances work so well is that no one is trying to be Freddie Mercury or his bandmates. The cast is performing the iconic hits, yes, but also making the songs their own. And they do so marvellously. 

Whilst the above-mentioned performers are the leads, the whole company are stars in their own right, and each and every person deserves praise. Sally Manning and Ian Moseley are both so very good at being bad. They clearly understand and easily demonstrate that everyone loves a good villain. The rest of the company is comprised of Richard Bond, Victoria Southgate, Sophie Collins, Sabrina Hinchcliffe, Jade Hollingshead, Emily Hudson, Jade Williams, Stuart Baker, Jack Baldwin, Clara Cosh-Escott, Hiro Fam, Robert Lea, Joanna Watts and James Young. Additional vocalists are April Frost-Evans, Joanna Feasey, Holly Reedman, David Allard and Jonathan Warriss-Simmons.

From the moment the curtain rises until the moment it falls at the end, this show is full on, yet everyone takes it in their stride. The passion each person pours into their performances is palpable and brings the show alive. The hard work from every member of the company has definitely paid off, and that goes for everyone who has worked determinedly both on and off stage. The whole BATS company are a fantastic team of people who are working tirelessly to put on a show in their own time, alongside daily life, and shows like We Will Rock You show that their hard work is worth it. The futuristic setting of the show, combined with the mammoth music that is Queen, makes this far from an easy show to put on, but BATS took the challenge and ran with it very well. Every show BATS creates is a labour of love, and We Will Rock You is no exception.

Creativity, freedom, expression and individuality are what we could all do with celebrating right now, and these themes are all very much present in this show. With We Will Rock You, BATS have given audiences a camp, cheery and uplifting show – perfect for putting smiles on people’s faces and making people want to dance in their seats.

There are very few tickets left for the run of We Will Rock You, and after watching, I can see why! The whole BATS company should be proud of this show they have put together. If you’re unable to get yourself to see We Will Rock You and you’re sad to have missed out…well, that’s understandable! But BATS have set themselves a reputation for great theatre, so I am sure that whatever comes next will be just as well worth seeing.

Leyla Demirel
One Show at a Time

We Will Rock You Review May 2026 - National Operatic and Dramatic Association (NODA)

We Will Rock You is a jukebox musical by Queen and Ben Elton. It has music and lyrics by Queen, story and script by Ben Elton and original vocal score by Brian May, Roger Taylor and Mike Dixon. It’s set in the future where original thought and individuality are banned. It is world without musical instruments. In this world there’s a group of rebels, The Bohemians including Galileo who has words and music in his dreams and Scaramouche, who captures his heart. From the Star Wars style intro on a screen to the encore of Bohemian Rhapsody, the show is packed with timeless Queen classics.

Projected backdrops were used for most of the scenes including the wasteland, Wembley stadium, Globalsoft HQ, Killer Queen’s residence and The Heartbreak Hotel. The props were amazing and included a Harley Davidson.

The costumes were excellent with modern, futuristic outfits for the Teen Queens, Khashoggi and a selection of individuals styles for the Bohemians including basque and ripped tights for Oz, kilt for Britney, leather jacket and skinny jeans for Galileo, hippy style flares for Buddy and some easily recognisable pop star outfits including Boy George, Madonna, Tina Turner and Prince.

Lighting and special effects. The lighting was amazing with a variety of colours and combinations used to enhance the action. Bars of lights were used to frame the stage and many angles and coloured filters used as well as spotlights for solos. The special effects were spectacular and included frighteningly realistic skeletons appearing on screen behind the victims of the brain draining scene and a giant game of ‘Space Invaders’ to accompany ‘Another One Bites The Dust’.

This was an electrifying show with superb performances from an outstanding cast.

The Earth has been renamed the iPlanet and individual thought and creativity has been outlawed – is brought to life by an amazingly talented bunch of performers who gave their all throughout the show. Leading the Bohemians, Dale Burrell, as Galileo, performed with confidence and charisma and was evenly matched by his fellow Bohemians: Grace Tinder (Scaramouche), Chloe Ballard as Oz and Gaz Cottier as Brit was an audience favourite and full of life and humour. Sally Manning as Killer Queen had an evil charismatic presence and powerhouse vocals. Ian Mosely was sinister and commanding as the police chief, Khashoggi. Richard Bond as the hippy librarian brought warmth and humour to this comedic role but also great emotion to his solo ‘These are the days of our lives’. The subject of the show which is set in the future – the effect of globalisation and social manipulation where young people spend a lot of their time in a virtual world – is relevant today. It has a serious message but is often hilarious as some dialogue is composed of song titles strung together in sentences and is full of puns and humorous asides. Every aspect of this production was executed perfectly led by experienced Director and Choreographer, Jenny Sawyer. The dance sequences were imaginative and performed with precision. Simon Eastwood headed up the musicians and the music was incredible from all, particularly guitar solos from Daniel Bilbey. The band accompanied the performers with their extraordinary interpretation of the Queen classics. There was not one dull moment in this staggeringly enjoyable and hugely successful production from BATS. It was so good, I went twice!

Chris Horton
District 14 Regional Reprentative
NODA and Regional Editor

Come From Away Review, November 2025 - One Show at a Time

Come From Away is the true story of a small town in Canada adapting and offering open arms to any who needed help after the awful 9/11 attacks. Through this show, BATS are showcasing a beautiful story of hope, having an open heart, and coming together when the world needs it most. From the rehearsal to the finished show, all the final details have come together, and team BATS have put on a show that demonstrates to everyone just how fantastic the company really can be. Whilst details such as lighting, costumes and set are not necessarily crucial for a show to be enjoyable, when these final touches are added, they only elevate the show further – BATS’ Come From Away is one such example of this. It was a real treat to be able to watch this beautiful musical be told by such a wonderful company.

Come From Away is very much a show where every single person on the stage is crucial, and every member of the cast was brilliantly skilled at embodying their characters across the duration of the show. The cast was made up of Hiro Fam, Nicola Morrin, Jenny Green, Sabrina Hinchliffe, Rutendo Mushambi, Laura Burrell, Richard Bond, Anna Neary, Michelle Anderson, Sally Manning, Holly Reedman, James Young, Ian Moseley, Liz Walsh, Jonathan Warriss-Simmons, and Dale Barrell. It was a joy to watch every single member of the cast stand on that stage and pour their heart and souls out. Everyone who stood on that stage is distinguished in their own right.

Thanks to Wells’ musical direction, every song sounded sublime, from the rousing group numbers such as the blood-pumping opening number ‘Welcome To The Rock’, to the stunning harmonies heard in ‘Somewhere In The Middle Of Nowhere’, Sally Manning’s performance as Hannah gives goosebumps in her rendition of ‘I Am Here, whilst ‘Me And The Sky’ performed by Sabrina Hinchliffe as Beverly Bass, was admirable to say the least. Jonathon Warriss-Simmons and MMichelle Anderson, as Nick and Diane, had a natural and endearing chemistry that felt authentic, and their performance of ‘Stop The World’ was so bittersweet. I could go on, but needless to say, everyone on that stage more than did their characters and the story justice. There is not one standout performer in this show; every single person stood out. The whole cast should be proud of the love, emotions and skilful performances they all delivered on that stage.

Come From Away is not an easy show. It is heavy and demanding and comes with high expectations, but BATS have taken this all in their stride. The choreography and movement, courtesy of Jenny Sawyer and Jade Hollingshead, is slick and perfectly precise. I got confused just watching all the chairs move around the stage, but the team made everything look seamless! The energy and emotions of such a taxing show were maintained at the highest level from start to finish, and the cast managed to balance the tender, heartfelt and heartbreaking moments, contrasted with the lighter, comedic moments perfectly. Everyone ensured that both their performances and the show were delivered with the utmost sensitivity and respect.

Come From Away really is the show the world needs right now, and there really is something in it for everyone. Whether you go alone or with friends or family, regardless of age, the one thing this show will do is make you feel. And that right there is a sure sign of good theatre – something that stirs emotion. Every show BATS puts on is special, but I think I can be bold enough to say that Come From Away is BATS at their finest. Not only have this company put on a fantastic show well worth seeing, but with this production, BATS rivals the West End. Come From Away may be a short show, but its impact is far from it, and lasts long after the final curtain.

Leyla Demirel
One Show at a Time

Come From Away Review, November 2025 - Basingstoke Gazette

Basingstoke Amateur Theatrical Society (BATS) has taken to the stage with its eagerly awaited production of Come From Away. The musical, which has captivated audiences on both the West End and Broadway, shares the true story of Gander, a small Newfoundland town that suddenly found itself with thousands of stranded passengers following the 9/11 attacks. It is a story of resilience and the best of humanity, made all the more poignant by the fact that the characters are inspired by real people.

As someone who’s seen the professional productions in Toronto, London, and most recently on tour in Southampton (yes, I’m a huge fan), I was genuinely excited to see how BATS would approach it. Being the first amateur group in Hampshire to secure the rights, the group was one of 500 applicants when they first became available, and Basingstoke should be so pleased that they were successful. 

The opening night, held on Tuesday, November 18, for local charities and community heroes, was nothing short of electric.

Sally Manning gave a breathtaking performance as Hannah, one of the ‘plane people’ desperately trying to reach her firefighter son in New York. Her renditions of ‘I Am Here’ and ‘Something’s Missing’ had the audience completely captivated, sharing every emotion with her.

Hiro Fam also made a striking BATS debut as Ali, a Muslim chef of Egyptian heritage who faces distrust from some fellow passengers and airport staff. It’s a challenging role, but like Hannah, the audience truly felt for him thanks to his sensitive and powerful portrayal.

Special recognition is due to Dale Barrell (police officer Oz) and Holly Reedman (TV reporter Janice Mosher), who both embodied their characters with authenticity and consistency, particularly impressing with their accents.

Of course, if you've seen the professional production, you'll be aware of the iconic jacket swapping as actors take on multiple roles. With a larger cast, this production does lack that element, but in return we do get to see more local talent, which is always a bonus.

The technical team faced an enormous challenge with this production, as the world of Gander is created using only tables, chairs, jackets and lighting. With reportedly over 1,000 cues, the sound and tech crew were the unsung heroes, bringing the magic of Gander to life behind the scenes.

Megan Stanley
Basingstoke Gazette

Rock of Ages Review, May 2025 - National Operatic and Dramatic Association (NODA)

Rock of Ages is musical, book by Chris D’Arienzo, arrangements and orchestrations by Ethan Popp with a rather lightweight story of boy meets girl when Sherrie arrives in LA to realise her dream and she meets Drew and they fall in love. It’s packed with rock anthems from the 1980 and we follow their story as they face the challenges as they pursue their ambition. These include: a hard nose property developer determined to gentrify LA, mixed emotions and the brutality of showbusiness.

The costumes were excellent and varied. There were raunchy outfits for the Venus Club Dancers, fabulous flashy rock star gear for Lonny and an assorted of beads and Bohemian garb for the fiery hippy, Regina. Wigs and jeans were in abundance and great attention had been given to completing the overall 80s look.

The set recreated the exterior of the club complete with ‘Girls Girls Girls sign, a large Hollywood sign and the LA city scape. A part of the set swivelled to reveal the bathroom of the club and then an office. Changes were done swiftly. The inside of the club, with balcony, was well dressed with bar and stools with the walls being adorned with gold discs and signs including a ‘Route 66’ sign. The props, especially the musical instruments, were used to great effect.

The sound and lighting were brilliant; multi coloured lights, flickering lights and lots of use of smoke. The multitude of well-known rock songs were belted out by this bunch of talented vocalists, supported by fantastic musicians.

This show was electric from the start and had a great buzz to it. We’d been warned that there was bad language and adult content and we weren’t disappointed! With an incredible cast all giving good performances, this was a trip down memory lane for those of a certain age as the show was packed with rock anthems and melodies including ‘Don’t Stop Believin’, ‘I wanna know what love is’, The Final Countdown, ‘Keep on lovin’ you’ and ‘We Built this City’. Some of the stand out performances came from Paul Morris as Lonny who narrated the story, often directing his comments to the audience and Richard Bond as Dennis Dupree, founder of the club, had excellent comic timing. There were strong vocals from Bradley Hall as Drew Boley and Chloe Ballard as Sherrie, combined vulnerability with assurance as her confidence grew. With direction and choreography by Angus Jacobs and Musical Direction by Colin Gray this was an excellent show that totally immersed the audience in the 1980s and sent them home humming a plethora of memory songs.

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Association (NODA)