July
The second half of the year kicked off with the delightful Quartet by Ronald Harwood. Andrew Beckett’s excellent and meticulously dressed set was peopled by some of the most experienced members of the Sidmouth rep alumni; Hilary Harwood, Erin Geraghty, James Pellow and Paul Lavers – it was a pleasure to see the quartet at work!
Time and Time Again is our favourite Ayckbourn play and it was given a superb production under the direction of newcomer Edwina Strobl. This treat with a cast of just five was beautifully performed with a mix of comedy and cynicism. Newcomer, Adam Forrester joined the experienced Dominic McChesney, Polly Smith, Matthew Hartley and Katharine Dodds in a top notch entry into the Sidmouth Summer Season.
It is not common for the Sidmouth rep to perform a world premiere, but Foot in the Door by Richard Harris was one such. With a chequered history and without a professional debut, Richard Harris’s broad comedy, where an elderly lady overcomes devious salesmen is great fun, but lacking a bit of bite. The production was well acted and directed but maybe a little light.
The Midnight Bell from Matthew Bourne was an unalloyed treat of a show. Full of style, skill and substance, this adaptation of the work of Patrick Hamilton further underlines Bourne’s gift as a storyteller. Dominic North and Ashley Shaw shone in the leads with the work of Liam Mower and Andy Monaghan irresistible. As ever, sets and costumes by Lez Brotherston were stand out as was Terry Davies’ compositions.
It was a pleasure to review the whole of the rep season presented by Gilroy Theatre at the Marine Theatre in Lyme Regis. Opening with Deathtrap, which was strongly cast, featuring excellent performances from Neil James, Victoria Porter and, especially, Alex Ansdell, this was well produced with just a very few shortcomings. A strong opening to the season, however, and very well supported.
Another cast of four took on Tim Firth’s Neville’s Island in one of the highlights of the Sidmouth summer. A great piece of ensemble work and one of the best sets of the summer courtesy of Andrew Beckett and Rhys Cannon. Christopher Lyne, Jeremy Todd, Dominic McChesney and Dafydd Gwyn Howells were outstanding. Original, hilarious and very touching.
It is always good to find a play by a well known writer, which you haven’t seen before. A Brief History of Women by Alan Ayckbourn is just such a play. Vernon Thompson’s production at the Marine Theatre ticked lots of boxes and contained excellent performances including a bravura one from Andrew Fettes. A bit of a curate’s egg, but interesting and entertaining nevertheless.
August
Brian Clemens’ thriller, Strictly Murder was the next entry for Gilroy Theatre. Rather more satisfying by the end, but a bit uneven up to that point with a few pacing and plot issues. That said, Mitch Capaldi and Jessica Olim gave excellent performances on Rob Sherwood’s atmospheric set.
Back to Sidmouth for another thriller, the classic, Dial M For Murder directed with style by Jonathan Hunt along with a glorious set. Tension and clever plotting make this a super play and it didn’t disappoint. Performances which stood out came from Liv Koplick as the intended victim, Rhys Cannon as her lover and Richard Stemp in wonderful form as the ‘smarter than he appears’ detective.
Hamilton has been regarded as one of the musicals of the 21st Century and on its first UK tour was packing it in. Bold and clever it is mightily impressive. The Company and the band were so incredibly hard-working, but, unable to make out the lyrics from the early rapping sequences, the reviewer felt detached and so full appreciation was lost.
Returning to Lyme Regis to see a wonderful adaptation of Jane Austen’s Persuasion which featured an outstanding performance from Kirsty Cox and strong inventive direction from Janette Froud on a largely black box stage. Good ensemble work throughout. The best of the Gilroy Theatre season.
Back to see some outdoor theatre, this time with Frankenstein at the National Trust’s Fyne Court. Andrew & David Hobb’s adaptation was always entertaining and the storytelling with strong. Simple settings were used and atmosphere was created by the actors with Paul Winterford a splendid monster and Megan Carter a strong-willed Victoria Frankenstein. Great support throughout.
Jonathan Hunt is a superb director of comedy and his production of the 1940s comedy See How They Run was a total triumph. Fabulous set, fabulous performances and laugh upon laugh with split second timing. Stephanie Willson, Laura Anna-Mead, Adam Forrester, Jake Seabrooke and James Pellow all standing out in the wonderful cast. One of the shows of the summer of Sidmouth.
Su Gilroy directed the final play in her season at Lyme Regis, Fallen Angels. A delightful piece by Noel Coward with the duo of Kirsty Cox and Victoria Porter at their best and with wonderful supporting performances by Nicki Johnson and Mitch Capaldi, all but stealing the show with an hilarious cameo. A triumphant season!
The ghost story/thriller genre is not often seen at Sidmouth, but Torben Betts’ Murder in the Dark was a great addition to the season. Jaymes Sygrove made an outstanding debut in the hugely significant central role. Strong support came from Emily Outred, Anton Tweedale, Jake Seabrooke and Laura Anna-Mead in what became something of an audience favourite. With a super set and some great special effects work from James Prendergast this unusual but very effective.
A chance to indulge in some opera was taken with the production of Cesare by Handel, performed by Pleasuredome Theatre and Somerset Opera. Performed against the background of village green politics, it was hugely fun and inventive and so well realised and directed by Edwina Strobl. A complete treat!
September
The sheer class of the production of A Song at Twilight by Noel Coward shone through. Anton Tweedale directed with heart and with style on a stunningly sophisticated set with sumptuous decoration. James Pellow offered the most tender and stylish of performances as he faced the cold former lover of Claire Louise Amias. Support from Stephanie Willson was perfectly judged. Superb.
Home at Seven by R C Sherriff is a wonderful period mystery story and Claire Evans’ production more than did justice to the writing. The tiny Tabard Theatre made for a cosy venue which helped involve the audience by dint of them being so close. A strong cast lead by Sam Ellis included a wonderful supporting performance from Andrew Williams as a slightly skittish doctor.
The penultimate show of the Sidmouth Season was The Cottage by Sandy Rustin a farce/Coward parody which largely worked due to the huge capabilities of the cast who all played it to the hilt. Some scene stealing moments from Alfie French and Sam McInnerny ensured that laughter was heard throughout and it became a real hit with the audiences.
Bringing the Sidmouth Summer Season to a close was Baskerville; A Sherlock Holmes Mystery. The ensemble playing by Charlie Bryant, Alfie French, James Pellow, Sam McInnerny and Holly Ashman were brilliant in what turned out to be a scream from start to finish. Andrew Beckett is an expert in directing madcap plays like this and as teamwork goes, this was a fantastic example.
October
To Guildford to see Happy Days by Samuel Beckett. An extraordinary play given an excellent production under the inventive direction of Jaymes Sygrove. Catharine Humphreys performance as Winnie will long stay in the mind. A phenomenal achievement and a privilege to be able to see the production.
From one (virtually) solo female show to another at the Alma Tavern Theatre in Bristol for Haunted Shadows featuring Claire Louise Amias as Edith Nesbit giving voice to several of her ghostly tales. A wonder piece of story-telling and a hugely entertaining evening, smartly created and directed by Jonathan Rigby.
Back to Lyme Regis for the extraordinary play Salt; rural and raw, the staging in the round was wonderfully involving, but may not have helped with the broad Norfolk accent which created some sound issues. That said, it was performed with vigour and commitment throughout.
November
 Sun and Moon Theatre returned, this time, indoors, with their production of The Winter’s Tale at the Barnfield Theatre, proving they work as well inside as out. This well edited version carries everything you need, humour, tragedy and a wonderful bear. This further underlines what a marvellous company this is and what a pleasure it is to follow them.
Third Matthew Bourne production of the year, this time The Red Shoes – as ever, it was an absolute triumph in every department. Ashley Shaw is sensational and well backed by the likes of Leonardo McCorkindale and Liam Mower. Stunningly atmospheric via Terry Davies’ amazing orchestrations of Bernard Herrmann’s music. Costumes and sets are, as ever wonderful. Nothing to complain about, just bathe in the beauty.
December
 Just one pantomime this year and maybe I should have given Dick Whittington a miss. Over familiar routines, paper thin plotline and humour dug out of the 1970s, plus an unforgivable faux pas by one of the actors. Glitzy and colourful. This was lazy theatre from Crossroads – the panto production line which is getting tired, the more you see!
To end the year a spirited production of It’s A Wonderful Life. Joyful, amusing and heartwarming. The production by Gilroy Theatre at the Marine Theatre in Lyme Regis contained a very strong cast headed by Nick Wilkes with particularly strong support from Ray Murphy and Jessica Olim and well directed by Su Gilroy.
So the year ended with just a few productions which, as has been noted, has been the result of time needed to pursue the book I am writing. But a busy summer reviewing two repertory seasons was a real treat. As ever a mixed back but some really good productions and some wonderful work both in front and behind the scenery.
Here’s to 2026!
Cormac Richards – December 2025
