REVIEW: Encore - Communication in Action

Encore was no ordinary revue—it was a love letter to musical theatre, wrapped up in dazzling costumes, energetic choreography, and an inspired framing device that elevated it beyond the usual showcase format. Rather than simply presenting a series of songs, Encore set itself within an auction house selling off theatrical treasures. It was like Antiques Roadshow meets Broadway! This concept offered audiences a glimpse into the original shows from which their chosen songs and scenes came. This imaginative approach infused the production with a storytelling element that kept things fresh throughout.

One of the most impressive aspects of Encore was its ability to juggle an enormous cast—around 100 performers—ensuring each one had multiple chances to stand out and portray different characters. The group numbers brimmed with enthusiasm, and the soloists rose to the challenge with standout performances. Olivia Cowdrey took the stage as Annie, leading the large ensemble of orphans in a spirited, loud, and well-rehearsed Hard Knock Life. Olivia’s voice was both sweet and strong. As the sole adult female in the show, Jordan Twigg’s turn as Miss Hannigan was delightfully wicked, especially in Little Girls. Maeve Lynch as Grace brought charm to I Think I’m Gonna Like It Here, and together, this opening sequence established the high energy and commitment that carried through the rest of the show.

Alex Watson, the other adult in the mix, proved his versatility as a commanding Mr. Bumble in Oliver! to a scene-stealing Edna in Hairspray (what can’t Alex do?). Harry Morgan owned the stage as Corny Collins in The Nicest Kids in Town, rocking a sparkly red blazer and setting a high standard for the Hairspray segment. Darci Allen was a great fit as Tracy Turnblad, her powerhouse vocals shining in Welcome to the 60s, where the ensemble truly came alive and had me singing along!

Moving to Oliver!, Xavier Loxton made a sweet and earnest Oliver, while the younger ensemble got their time to shine as orphans (again) in Food, Glorious Food—a moment I particularly enjoyed, as I’ve never actually seen Oliver! on stage before. Alex Watson was a riot as Mr. Bumble in the titular song Oliver!, delivering lines with just the right amount of villainous flair. Young Charlotte Cheng as Moana was another standout, with vocals that were simply stunning; a powerhouse voice beyond her years. Seriously, her voice was better than mine, and I'm not even mad about it!

Venturing to the Land of Oz where our two favourite witches reside, Wicked's What Is This Feeling saw Mabel Tamone as Elphaba and Maeve Lynch as Glinda. While their vocals were fantastic (especially in tackling the difficult harmonies), the acting aspect could have been dialled up for greater dramatic effect. The two actresses clearly didn’t "loathe" each other in real life, so maybe they just needed to borrow some sibling rivalry tactics. The ensemble, decked out in crazy amounts of green, attempted choreography from the Wicked film, a bold move that didn’t quite work for these younger dancers but was impressive in its ambition. Maeve Lynch’s Glinda, looking pretty in pink, hit the high notes like a pro, although the vocally-demanding Popular left her catching her breath—that song is like running a marathon while singing opera. Mabel Tamone’s Elphaba was a vocal powerhouse, handling every moment like she was born to defy gravity.

A major highlight of the show was the perfectly cast Mean Girls segment, featuring Zoe Pryor portraying a very natural Cady, Hamish Treweeke nailed it as Damian, and Kira Green rocked as Janis. The Plastics were a fabulously fierce trio: Saana Chang (Karen), Mabel Tamone (Regina), and Ella Reynolds (Gretchen). In Meet the Plastics, Mabel’s portrayal of Regina was spot-on, you'd swear she was lip-syncing to the Broadway recording! Kira’s solo Apex Predator was a showstopper, belting out notes that could shatter glass. Ella was so fetch as Gretchen and Saana’s hilariously ditzy Karen brought the perfect comedic touch. While it may not have been entirely suitable for this age group, I adore the show, and the number Where Do You Belong wrapped it up with a bang—great job, girls (and Hamish!)

The Mamma Mia! segment was a crowd-pleaser, beginning with Lay All Your Love On Me, where Harry Morgan (Sky) and Estella Mitchell (Sophie) brought great energy to the number. They handled the tricky song well (which I know is tough to sing!), but it was easy to see the main reason for that number—the dance in the flippers! The Donna and the Dynamos casting was fantastic, with Keira Readman as Tanya, Maeve Lynch as Rosie, and Jordan Twigg as Donna. Jordan’s delivery made every spoken line feel spontaneous, and she would be perfect in a full production of Mamma Mia! Her rendition of the full The Winner Takes It All was simply breathtaking—her vocals soared with raw intensity, making for an unexpectedly emotional moment of the show.

The grand finale, The Greatest Show, was a spectacle in itself, with Alex Watson commanding the stage as Barnum and gathering the entire ensemble back together for a final moment of theatrical magic with high-energy choreography and tumbling tricks. Everyone on stage radiated joy—it was clear they were having the time of their lives!

The projected backdrops were large, beautiful, and perfectly suited to each segment. Costumes were appropriately chosen, and the lighting—particularly in the Hairspray and Mamma Mia numbers—was used to full effect potential. Alongside the grand ensemble pieces, we were treated to some outstanding solos and interspersed scenes that offered context for each musical, which really enhanced the revue format.

Despite facing a shortened rehearsal period due to Cyclone Alfred, Encore didn't seem underprepared. The cast and creative team put together a wonderful show that celebrated theatre with passion and joy. There was a palpable sense of fun on stage, and that energy extended out to us in the audience. Communication in Action once again proved their ability to wrangle a massive cast (and many quick changes!) into a cohesive, entertaining, and high-calibre production. If Encore were an auction of musical theatre’s greatest hits, then every number was a gem that had the audience bidding for more.