Encore Theatre Company

Calendar Girls - June 2026

‎“Encore Theatre Company brought warmth, humour and heartfelt emotion to Pontefract Town Hall with their production of Calendar Girls The Musical, beautifully capturing the spirit of Tim Firth and Gary Barlow's beloved story. Blending laugh-out-loud comedy with moments of genuine poignancy, the company delivered a production that celebrated friendship, resilience and community whilst doing justice to the music of one of Britain's finest songwriters.

The story begins within the familiar setting of the Knapely Women's Institute, where long-standing friendships and everyday routines are soon challenged by life-changing events. At the heart of the production was Annie, played by Eleanor Aldous, who delivered a strong and deeply emotive performance. Her portrayal charted Annie's journey from devoted wife to determined campaigner with sincerity and authenticity, whilst her storytelling through song ensured every emotional beat landed with the audience.

Alongside her was Clare Heins as Chris, whose natural comic timing brought many of the show's funniest moments. Heins skilfully balanced the humour with the more serious themes of the production, never allowing the comedy to overshadow the emotional core of the story. The friendship between Annie and Chris formed the backbone of the show, and the chemistry between Aldous and Heins made their relationship entirely believable and engaging throughout.

The remaining Calendar Girls were equally impressive. Bev Maher's glamorous and confident Celia, Sarah Clarkson's warm-hearted Cora, Pam Robinson's delightfully eccentric Jessie and Alex Bush's reserved but quietly determined Ruth all brought fully developed characters to the stage. Together they created a genuine sense of friendship and camaraderie that drew the audience into their world and made the emotional highs and lows all the more impactful.

The devastating diagnosis of Annie's husband John shifts the story into more emotional territory. Paul Forsberg gave a thoughtful and understated performance, portraying John's stoic determination to protect his wife whilst gently preparing her for a future without him. His scenes with Aldous were particularly moving and provided some of the production's most touching moments. Songs such as Kilimanjaro and Scarborough were delivered with sincerity and helped underscore the depth of Annie and John's relationship.

As Chris's husband Rod, Phil Clarkson provided a wonderfully grounded presence. Acting as husband, mediator and counsellor throughout the chaos that follows, Clarkson brought warmth and humour to the role and shared an easy chemistry with Heins that made their marriage feel authentic.

As the women embark upon their now-famous calendar project, the pace quickens and the comedy reaches new heights. Toby Hall's Lawrence, the nervous photographer tasked with capturing the iconic images, gave a natural, warm and assured performance that immediately put both the audience and the Calendar Girls at ease during the production's most anticipated scenes.

Among the younger cast members, Joe Tankard impressed as Tommo, Cora's son. He worked comfortably alongside both the younger performers and the adult cast, fitting naturally into every scene in which he appeared. Bobby Cook, as Danny, once again demonstrated why he continues to be a performer to watch. His natural comic timing generated plenty of laughs, whilst his lovely singing voice added further quality to his performance.

Imogen Maher delivered a likeable and convincing portrayal of Jenny, the downtrodden daughter of WI chairwoman Marie. Initially rebellious and frustrated, Jenny gradually wins over the audience as she throws her support behind the Calendar Girls and helps them achieve their goal.

As Marie, Amy-Lewise Spurgeon-Hill showed great versatility. While the role does not require the vocal showcase often associated with her performances, she fully embraced Marie's haughty, condescending nature. Her portrayal was wonderfully frustrating in all the right ways, ensuring the audience were firmly rooting against her attempts to derail the Calendar Girls' plans.

The supporting cast all played their part in bringing the community of Knapely to life. Every role, no matter how large or small, contributed to the charm and heart of the production, creating an ensemble performance that perfectly reflected the show's themes of friendship and collective strength.

Special recognition must go to Phil Clayton, who stepped into the role of Denis at short notice with very limited rehearsal time. His commitment epitomised the very best of amateur theatre, where companies come together to support one another when challenges arise.

That same spirit was evident in the production's tribute to society stalwart Sue Sheppard. Although sadly no longer with the company, her presence was still felt through the inclusion of her photograph on stage. It was a touching gesture that ensured she remained part of the production and demonstrated the strong sense of family that exists within Encore Theatre Company.

Musically, the show was in safe hands throughout. Songs including Yorkshire, Sunflower, Who Wants a Silent Night? and the uplifting finale were delivered with confidence and enthusiasm. The live band, under the musical direction of Joel Griffin, provided excellent accompaniment and added greatly to the atmosphere. Though unseen, their contribution was very much appreciated and helped elevate the overall production.

Congratulations must also go to the entire production team. Director Andy Lunn successfully balanced the show's humour and heartbreak, ensuring neither overshadowed the other. Choreographer Bev Maher created movement that complemented the storytelling, whilst Rehearsal Musical Director Karen Harris and Show Musical Director Joel Griffin ensured the musical elements were delivered to a high standard.

Calendar Girls The Musical is a show that relies upon strong relationships, emotional honesty and ensemble spirit. Encore Theatre Company delivered all three in abundance, creating an evening that was funny, moving and ultimately uplifting. Another successful production from a company that continues to demonstrate the strength of amateur theatre and the power of community.

Well done to everyone involved." Kirstie Turnbull, NODA Representative

Beauty and the Beast - January 2026

‎"Encore Theatre Company’s Beauty and the Beast delivered a joyous, high-energy pantomime packed with all the traditional ingredients audiences expect – comedy, spectacle, audience participation, song, dance and a healthy dose of magic – while still finding space to add its own creative twists.

The story was framed by the Enchantress of the Rose, played with warmth and authority by Clare Heins. Refreshingly, this was not a wicked witch but a magical fairy and narrator, guiding us through the tale as she attempted to teach the selfish Prince, portrayed by Cieara Coleman, the error of his ways. Coleman brought a strong vocal presence to the role, and her scenes opposite the Prince’s alter ego – the bad-tempered Beast, played by Amy-Lewise Spurgeon-Hill – were particularly effective. Spurgeon-Hill delivered a powerful performance, blending menace with vulnerability, and her vocals blended beautifully with Coleman’s during The Rose, the harmonies soaring with clarity and control.

At the heart of the story was Belle, played by Gemma Crask, whose gentle strength and sincerity anchored the production. Crask’s vocal ability was a highlight throughout, especially in the duet We Belong Together with Spurgeon-Hill, where their harmonies were truly en pointe. Belle was ably supported by her loyal best friend Pierre, the village idiot, played by Matt Gibb, who brought physical comedy, warmth and impeccable comic timing.

Comedy came thick and fast thanks to Gibb’s partnership with Jordan Whipp as the Dame, Polly Potts. Whipp relished the role, working the audience effortlessly and ensuring plenty of traditional call-and-response moments. Further laughs were provided by Spick and Span, the hapless servants, played by Amy Charlotte and Emily Dench, whose double-act comedy and playful interaction with the audience were a joy.

Belle’s self-centred, man-eating sisters Chardonnay and Shiraz, played by Alex Bush and Brogan Mayfield Brazier, were gloriously exaggerated, chasing the self-proclaimed hunk of the village Gaston, portrayed by Michael Tattersall. Tattersall captured Gaston’s swagger perfectly, especially in his treatment of his foolish sidekick Le Fool, played by Bobby Cook. Cook stood out, particularly in One Way or Another, an anthemic moment as the village set off to hunt the Beast. His vocal confidence and stage presence showed just how much he has matured as a performer, marking him as one to watch for future leading man roles in musicals and engaging principal roles in pantomime.

The production was bursting with ensemble energy, supported by a large cast of adults and children who were utilised well throughout. Singing and dancing were a constant feature, with Act One closing on a lively and uplifting We’re All In This Together, and Act Two opening with the infectious Everybody, immediately re-energising the audience. Other musical highlights included a strong rendition of Amazed, showcasing the impressive vocal strength across the cast, and the hugely popular Hot To Go, performed comedically by Whipp and company and met with enthusiastic audience response.

A real pleasure was the inclusion of a live band, which added depth and atmosphere to the auditorium and elevated the musical numbers. Sound and lighting further enhanced the magic, particularly during the seamless transitions between Prince and Beast, which were visually striking.

Congratulations must go to the production team for a slick and engaging pantomime: Directors Sue Sheppard and Jordan Whipp, Choreographers Bev Maher and Amanda Walker, and Musical Director Karen Harris, whose work ensured the show delivered both polish and heart.

Encore Theatre Company’s Beauty and the Beast was a vibrant, crowd-pleasing pantomime that honoured tradition while celebrating the talent and energy of its cast – a thoroughly enjoyable theatrical experience for audiences of all ages." Kirstie Turnbull, NODA Representative

Sister Act - June 2025

‎"On the hottest night of the year, Sister Act The Musical opened to a packed house at Pontefract Town Hall, with an atmosphere buzzing with anticipation as intense as the summer heat outside. Directed by Andy Lunn, with choreography by Bev Maher and musical direction by Karen Harris, this high-energy production delivered big laughs, powerful vocals, and heartfelt moments, all wrapped in glitz, glamour, and gospel soul.

The show began in front of a plain black cloth, with added scenery and props cleverly used to suggest various locations. As the action transitioned into the convent setting, the audience was met with a visually striking church backdrop—complete with stained-glass effects and warm, atmospheric lighting that helped create a reverent yet inviting space. However, as the production used an open set throughout, some transitions between scenes—especially when taking place outside the church—were occasionally unclear. More distinct lighting cues or set dressing might have helped further establish location shifts.

The opening number, “Take Me to Heaven,” immediately set the tone. Deloris Van Cartier (Seonna Garnett), flanked by Tina (Sarah Clarkson) and Michelle (Eleanor Alduos), delivered a bold, confident performance full of energy and attitude. Garnett’s vocal power was undeniable and well-suited to the diva role; she lit up the stage with her charisma. There were moments when lines were rushed, causing some meaning and emotional nuance to be lost, but overall, her performance was a commanding anchor to the story.

Curtis (Michael Tattersall) and his gang—TJ (Liam Nichol), Joey (Phil Clarkson), and Pablo (Matt Gibb)—provided both menace and comic moments. Tattersall brought a slick confidence to the role, but the character could have been developed further to become progressively more sinister, heightening the danger for Deloris. Jordan Whipp gave a memorable cameo as Ernie, the ill-fated witness whose demise sets the story in motion.

Hero cop Eddie Souther (Toby Hall) was a standout, delivering a touching, well-sung performance. His solo “I Could Be That Guy” was a heartfelt, humorous highlight, demonstrating both vocal finesse and excellent comic timing.

The convent introduced a delightfully eccentric ensemble of nuns, each bringing something special to the sisterhood. Pam Robinson’s Mother Superior was beautifully restrained and layered, her number “Here Within These Walls” delivered with sincerity and vocal control. Alice Fearnley was infectiously joyful as Sister Mary Patrick, while Imogen Maher (Sister Mary Robert) impressed with her emotional vulnerability and clear, powerful vocals—particularly in the soaring “The Life I Never Led.”

Alex Bush played Sister Mary Lazarus with stern comedic flair, but a more defined transition from grumpy choirmistress to hip-hop convert could have enriched her journey.

One performance that added an unexpected layer of detail and delight came from Amy-Lewise Spurgeon Hill as Sister Mary-Martin of Tours. Her thick-rimmed glasses, quirky physicality, and subtle comedic choices—like licking cutlery during meals—gave her character a hilarious, scene-stealing eccentricity. These well-observed mannerisms gave her a distinct identity among the larger group and were clearly appreciated by the audience.

Sue Sheppard added warmth and gentle humour as Sister Mary Theresa, rounding out a strong and engaging chorus of nuns whose harmonies grew stronger with each number.

The Act 1 finale, “Take Me to Heaven (Reprise),” was jubilant and full of promise, as Deloris began to transform the choir from flat-toned followers into a spirited gospel ensemble. The blend of voices, bright costumes, and exuberant movement made for a strong end to the first half.

Act 2: More Glitter, More Soul

Act 2 upped the tempo, glitz, and emotional stakes. “Sunday Morning Fever” was a show-stopping number that showcased the choir in full swing, with choreography (by Bev Maher) full of clever flourishes and lively transitions. Deloris’s struggle between newfound friendship and the threat of discovery deepened, leading to emotionally charged scenes between her and Mother Superior, whose reprise of “I Haven’t Got a Prayer” was a touching reflection of conflict and compassion.

The comedy highlight of the second act—“Lady in the Long Black Dress”—was a riot of character and charm. TJ, Joey, and Pablo brought the house down with their cheesy, sleazy wooing tactics and tight trio work. The number was hilariously choreographed and perfectly timed, and all three actors threw themselves into it with brilliant comic energy, delivering a memorable and much-loved crowd-pleaser.

The titular “Sister Act” number was delivered with strength and conviction, symbolising Deloris’s transformation and the bond she’d built with the nuns. By the time the glittering finale “Spread the Love Around” hit, the audience was completely won over—cheering, clapping, and even dancing in their seats.

Huge congratulations to Encore Theatre Company for delivering such a joyful, high-quality, and uplifting production. You truly raised your voices and spread the love all around. Well Done!" Kirstie Turnbull, NODA Representative

Sleeping Beauty - January 2025

‎"The delightful charm of a true community panto shone through in Sleeping Beauty, written by Sue and Andy Sheppard. Brimming with traditional elements and quirky, inventive twists, this production offered a fun-filled evening of entertainment that was both heartwarming and engaging.

The show opened with the foreboding duo of Maleficent (Amy-Lewise Spurgeon-Hill) and her eager young apprentice Nightshade (Lea Clarke). Together, they set the scene for a tale filled with dark scheming and mischief. Both actors commanded the stage with impressive vocals and a dynamic partnership that gave depth to their villainous roles. Maleficent’s presence was captivating, and Nightshade’s spirited enthusiasm brought an extra spark.

Injecting humor into the story were Pic and Mix, the bumbling brothers played hilariously by Matt Gibb and Michael Tattersall. Their antics and banter had shades of Last of the Summer Wine, adding a nostalgic and heartwarming touch. The pair’s comedic timing was spot-on, and their eventual triumph over Maleficent’s tricks made for a satisfying arc. Adding an extra layer of laughter was the traditional panto dame, Penny Farthing, portrayed by Jordan Whipp. Whipp’s take on the dame showcased his versatility, making the character both memorable and delightfully over-the-top.

The titular Sleeping Beauty (Wendy Whipp) embodied grace and sweetness, bringing a demure charm to the role. Her counterpart, Prince Kit (Becky Thompson), was commanding and charismatic, delivering a standout performance as the determined hero. The chemistry between the two characters was beautifully highlighted in their tender dream duet, a touching moment that showcased both actors’ vocal abilities. Wizard Kasta (Richard Goodall) and his apprentice (James De-Lucchi) added a whimsical touch to the proceedings, guiding the prince on his quest and injecting moments of humor and magic.

The ensemble cast was a joy to watch, with numerous supporting roles taken on by students who added energy and dimension to the production. It was heartening to see so many young performers involved, each contributing to the lively atmosphere and charm of the show.

While the production had many strengths, a few small tweaks could elevate it further. The traditional panto trope of a man playing a woman is a beloved convention, but Penny Farthing’s beard, while amusing, may have jarred with audience expectations. A nod to the classic spinning wheel, a key element of the Sleeping Beauty tale, could have enriched the storytelling and provided a more direct connection to the original fairytale.

Behind the scenes, the creative team deserves applause for their efforts. Sue Sheppard’s direction brought the community spirit to life, while Musical Director Ed Royston ensured a seamless blend of music and vocals. Choreographers Bev Maher and Amanda Walker added flair and vibrancy, with well-executed dance routines that showcased the cast’s talents.

In summary, Sleeping Beauty was a joyful celebration of community theater. Its mix of tradition and innovation, combined with strong performances and heartfelt humor, made it a memorable experience for all. Congratulations to the cast and crew for their hard work and dedication in bringing this enchanting tale to life." Kirstie Turnbull, NODA Representative

Aladdin - December 2019

‎“Encore Theatre Company like to do pantomimes with a difference and this one was no exception with several new roles introduced into the plot. This was indeed a very big pantomime with 17 roles to be produced it must have been a herculean task to direct and costume. I did enjoy Vikki Vaughan (Aladdin) I felt she acted with great confidence and was very convincing. Trevor Jones (Abanazer) gave a good performance as the evil magician but did not frighten the children as some I have seen. Gary Holmes (Widow Twanky) loves playing Dame roles he must have covered every inch of the stage in this panto. I am sure you will forgive me if I do not mention all the cast sufice to say there were many strong performances. The panto I felt was a little 'bitty' which was inevitable with such a long cast list but there was much humour in the production."Noel G Rigg, NODA Representative

“Well done everyone - a fun night!!” Sue Phillips

“Loved it!” Vanessa Clarkson

“Really, really enjoyed the show - well done everyone.” Teri Aldous

"We loved it, adults and children alike...thank you All..x!" Jan Sharp

"Well done Encore, fabulous as always!" Shirley Bell

"Took my grandson to see Aladdin at Castleford with the great Encore Theatre Company - he LOVED it!. He did the"its behind you" shouted at the baddies and rushed on stage to sing. Lovely to see a traditional pantomime through the eyes of a child. Absolute magic!" Di Salama

What's a Calorie Between Friends? - July 2019

‎“Hi everyone in ETC.
Thank you for the warm welcome you extended to me and the family when we came to see Saturday’s performance of Carole’s play. We were made to feel very special and enjoyed talking to several members FoH. The Director and cast presented an excellent production - as the laughter confirmed. Having directed the first production several years ago, it was a particular delight for me to see the show again. It does work extremely well. We all miss Carole terribly, but the evening at the theatre with your company showed what a fine legacy of writing Carole has left us. Watching the show brought great comfort to us all.
Thank you very much" Alan Tricker

“It was really good, funny and well put together xx” Jayne Whittaker

“We really enjoyed the show - haven’t laughed as much in a long time x” Nicola Rowett

“What a fab performance tonight. Enjoyed it so much. Well done to everyone involved x” Katy Earnshaw

"Brilliant comedy!" Phyllis Harvey

"Went first night - loved it x" Caroline Reynolds

Return to the Forbidden Planet - June 2019

‎"With the original script written by Bob Carlton - helped very much by one written earlier by William Shakespeare as “The Tempest” - and full of favourite songs from the 1950s and 60s this truly is the musical that Shakespeare never quite wrote. Before the show began audience were invited to take their seats for the flight on board the Intergalatic Starship ‘Albatross’ and given instructions as to what to do if the spaceship needed to reverse polarity in time of severe trouble. 
The uniformed crew, including of course a cook (Lee Gray) aboard this totally realistic spaceship (superb video screens providing the surrounding set) blasted off under the command of all round good guy pipe-smoking Captain Tempest (Dale Vaughan) along with the somewhat mysterious white-coated and bespectacled Science Officer Gloria (Eleanor Aldous). These two were soon arguing in song about it being ‘A Man’s World’- the first of the many familiar songs which somehow fitted into the plot lines seamlessly. The spaceship ran into a firestorm (‘Great Balls of Fire’) and made an emergency landing on the uncharted planet D’Illyria, whose only residents were the crazy scientist Doctor Prospero (Paul Barron) along with his daughter Miranda (Vicky Vaughan) and their robot Aerial (Becci Calvert).
Thus the scene was set for a battle between good and evil, love and disappointment, all using the words of The Bard (with some very clever puns) and the familiar tunes the audience know and love. Of course there was a problem with the Spaceship, and of course the audience needed to help the crew by “reversing polarity” as they’d been taught before the flight took off – it’s all part of the fun of this great musical.
This production, superbly imagined and directed by Andy Lunn, is a terrific evening’s entertainment. He is very lucky to have a very talented cast, the acting and singing by Eleanor Aldous as Gloria and Paul Barron (Doctor Prospero) was particularly convincing, their rendition of ‘Go Now’ particularly drawing out the emotion of the plot line. Real life husband and wife Vicky Vaughan as Miranda and Dale Vaughan as The Captain provided on-point vocals, especially in ‘The Young Ones,’ and possibly the longest stage kiss I have ever seen! As Cookie, whose love for Miranda was thwarted, Lee Gray gave a great rendition of ‘She’s not There’ – which included a rousing guitar solo by Stella Midgley – while his heart was breaking because Miranda had fallen for Captain Tempest – surely the original star-crossed lovers. 
Somewhere in the set was hidden a superb live six piece band, under the direction of Sarah Crowley, who brought all the music to life. The singing – solos, duets and harmonies were all executed with precision and clearly the performers were enjoying themselves. The sound, light, costume and attention to detail in this production is so professional, the use of the video screens to convey the spaceship and also what was going on outside in space, is totally convincing. Special mention to the ensemble crew members who had a hard task as they were hardly ever off stage, but were perfect in providing backing vocals and dance moves that gave energy and texture to the musical numbers. Similarly, how Aerial (Becci Calvert) the robot managed to stay on her Segway board and manoeuvre herself around the stage is a complete mystery – her perfect balance made it look so easy.
The finale was a real ‘blast from the past’ by the whole cast and with various cast members taking the vocal lead – Dale Vaughan’s ‘Heard it Through the Grapevine,’ was just the right warm-up for Gloria/Eleanor Aldous’s version of ‘Shout,’ which was successful at getting the audience to join in, just superb. Once again Encore Theatre Company have brought us a West-End quality evening’s entertainment which is absolutely the one space flight that you really don’t want to miss. Get your tickets for the flight of your life – you won’t regret a single minute of the journey." Ann Marie Gatford

“Went to see Return of the Forbidden Planet tonight, what a spectacular performance by all, the scenery was fantastic, the cast were superb and the band and music outstanding! A must see! There are few shows of Encore that I miss and they never disappoint. Well done everyone! Really loved it :)” Helen Easterby

“Went to see 'Return to The Forbidden Planet' tonight and had a fabulous time. I was amazed by the effects and effort that was put into this show and impressed by the voices of the cast! thank you for a great evening I cannot wait to attend the next show! ” Vicki Vondergeist

“Another excellent performance from Encore. I came to watch last night with my Mum & Kids, 3 generations really enjoyed it. Fantastic singing too. Well done to all. Looking forward to the next one” Beth Slater

“Bravo to all cast and crew and band Encore never cease to amaze me you have a fantastic theatre company, keep up the good work and see you next year for your next show” Michael Madden

“Amazing show, back again for another great night tonight and can’t wait” Teri Aldous

“Well done everyone. Brilliant show that would stand up anywhere. So professional”. Phylis Harvey

“Been to see the show tonight, it was brilliant from the acting to the singers, better than some West End shows we’ve seen, well done everyone.”. Vanessa Clarkson

Peter Pan - November/December 2018

‎“Huge well done to everyone involved in the production of Peter Pan. 
It must take forever to write, to have that much detail and keeping it up to date and relevant. 
Keep up the good work guys” Amy Becca

“Amazing tonight at Peter Pan Castleford, thank you so much and we will see you next year! Brilliant all of you xxx” Kelly Marie Walker

“Always have amazing pantos, we go every year and are never disappointed” Katy Baker

“Great evening seeing Peter Pan, one can see how much effort went into producing a hilarious interpretation of the story! Well done to everyone involved.” Adrian Peaty

“Wow Wow WOWWWWWW Amazing so proud of you all xxx Cannot wait to see it again on Saturday xxx” Lisa Nicholson

“Saw Peter pan on Thursday, brilliant performance and very professional. Will be back next year”. Simon Christopher Hall

“Just come home from Peter pan and was absolutely amazing, we had children from 3 - 7 years old that all loved it, just as much as us adults, well done to all involved, same time next year”. Lisa Dove

“Came to see peter pan last night and it was absolutely amazing, we loved every minute and had us all laughing from start to finish. brilliant show. we are looking forward to next year already.” Stephanie Judd

“Totally brilliant shows at great prices, comfortable seating and so well run and organised. @casphoenix Just got home after a truly brilliant night and wonderful performance of Peter Pan. My granddaughter was spellbound and we had a brilliant night. Yes Nana Look at you! Whit woo” Andy Kelly

Made in Dagenham - June 2018

"There was so much to admire in this production of Made In Dagenham. The casting was very strong in all roles and the show has a very compelling storyline about the rights of Ford Motor Company sewing machinists to fight for equal pay and strike actions in 1968 and the very serious tensions that it created amongst workers and family relationships.
I feel that all the cast really got very motivated by this storyline which they all performed with great conviction.
So many of the cast deserve mentions so I hope they will forgive me if I just mention two or three. Eleanor Aldous (Rita O'Grady) one of the machinists gave a most confident performance in both singing and acting. Lee Gray (Eddie O'Grady) the long suffering husband who finally gave up under the pressure his wife's actions were putting the family under also displayed a fine singing voice and some super acting qualities. The five other machinists Beryl (Alex Bush) Cass (Alice Fearnley) Clare (Clare Heins) Sandra (Sophie Moss) and Emma (Nicole Walton-Turek) all contributed with great style and conviction.
The most musical number in the show is without doubt the final number 'Stand Up' it ended the show in great style. Without question the finest feature of this production was the fantastic stage settings created by the Video/AV and Videography perhaps the best I have witnessed as a Rep for the last thirty years. Congratulations to the team who organised it. A fine night's entertainment for us all to enjoy."
Noel G Rigg, NODA Representative

"Absolutely brilliant performances by everyone on stage. The set was very cleverly conceived by using large video screens, this must have taken a good number of hours to perfect it and perfect it was. Massive congratulations to everyone at Encore."
Les Smith, NODA Regional Councillor

"We went to see the show last night, it was great!!! A very talented group enjoyed every minute of it. Never seen work from this company before but will look out for them again. Well done!" Maureen Moran

"Loved every moment - cast were superb, set innovative and costumes spot on for the era. This should be performed in York or Leeds - it’s certainly professional enough. Fabulous show" Teri Aldous

"A triumph, so uplifting and well performed. Totally bloody brilliant! Well done to everyone" Kerry Chapman

"Four of us came on Saturday night.We all enjoyed every facet of your wonderful production.The main characters casting,support casting,musical backing,modern technology scenery.At the close I turned to the young lady sat next to me and said that I felt “Drained”, as though I had been on a wonderful entertaining happy/sad journey.We send our congratulations to EVERYONE involved for giving us such a fantastic evening’s entertainment.You should all be very proud!" Gordon Merrick

"One of the best, perhaps the best performance that I have seen from an amateur theatre group. Amateur in name only; professional in every other way We saw JCS last year, and thoroughly enjoyed it. I think Made in Dagenham has just blown that out of the water! What an excellent show with fantastic performances by all. There were some very moving scenes, interspersed with plenty of comedy. The final scene was very emotional, and the staging was also spot on. Well done everyone!." Peter Barker

"The best performance ever myself and my girls attended the Saturday evening performance and it was amazing a mix of laughter and amazing vocals by all performers truly professional in every way carnt wait for the next one xxx well done all" Lindsay Hughes

"Absolutely amazing! Loved, loved, loved made in Dagenham. A show filled with talented individuals. Fantastic!" Donna Berry

"Absolutely fantastic show, great storyline, brilliant vocals, good acting, and a superb cast! Well done everyone." Anita Jane

"Wonderful show , had a really lovely evening , my Husband stated it was his favourite show by the Encore Theatre Company , Thank you and well done to every member of the cast." Sandra Turner

"Wow! What an incredible performance of Made in Dagenham! It was wonderful casting with particularly fabulous performances from Eleanor Aldous and Bev Maher. I laughed, cried and left feeling inspired. Congratulations to all involved." Rebecca Threapleton

"A piece of recent history set to music and song and brought convincingly to life by Encore Theatre Company in a performance which brought London’s West End to Castleford. With a strong cast, great musical numbers and a superb script with witty dialogue containing humour and lump-in-throat pathos the story unfolds as we meet Rita and her friends, Eddie her husband and the workers at the car plant. The show is based on the true events of 50 years ago when women machinists at the Ford Motor Company’s factory in Dagenham brought the factory to a standstill and won their fight to get equal pay for women. Rita O’Grady (stunningly portrayed by Eleanor Aldous) discovers that female machinists jobs have been reclassified as unskilled, downgraded from semi-skilled, and when friendly union shop steward Monty (Richard Goodall) tells her that it isn’t about skills but because they are WOMEN Rita decides to call a strike. Their actions are not always popular with their menfolk as the American owners lay off the male workforce including Eddie (a powerful performance from Lee Gray as Rita’s husband) as without the seat covers that the girls make the cars can’t continue down the production line. Rita and her fellow machinists – a strong and feisty bunch of ladies (Alex Bush – who made swearing into an art form as Beryl, Alice Fearnley as Cass, Clare Heins as Clare, Sophie Moss as Sandra and Nicole Walton-Turek as Emma) - continue their fight in order to get the wage they’re entitled to. With no money coming in marriages – including Rita’s, as Eddie has taken the children and gone back to live at his mother’s – are falling apart and friendships are tested to the limit when Sandra takes a job ‘promoting’ the new Cortina for £50.
The cause leads them and their strike action all the way to Government and Downing Street and to the Employment Secretary Barbara Castle (great characterisation from Bev Maher) and Prime Minister Harold Wilson (Ralph Jagger). Barbara Castle tells Rita to speak at the Trade Union Congress - aided and abetted by the Plant Manager’s wife Lisa (Vikki Vaughan) – and her argument wins over the TUC who vote for equal pay. The Government and the TUC support Rita and her movement and Ford has to back down and pay the female machinists the same rate as the men. Eventually Eddie realises that Rita’s fight for equality is right and is proud of her and her achievements. As they are reconciled, the girls go back to work and in 1970 the government of the day passed the Equal Pay Act, thanks to Rita O’Grady and her army of supporters throughout the country.
It is clear that everyone involved has worked very hard to make this musical a rousing success; even those in smaller roles have played their parts convincingly. This show had a large cast and the singing, music, movement and songs were all outstanding. Special mention must be given to Rita and Eddie O’Grady (Eleanor Aldous and Lee Gray) who held the audience’s attention throughout with their wonderful portrayals of two complex characters following their heads while their hearts were breaking. The attention to detail throughout the show, especially in the 1960’s costumes and the use of ‘old’ photos and advertising material, was excellent. The innovative use of ‘digital scenery’ really brought the stage to life took us all right into the factory, government, and to the TUC at Eastbourne. I believe there are still some tickets available for the evening shows on 7,8 and 9 June (some seats have been added) so hurry on down to see this wonderful musical – you won’t see a better show this summer".
Anne Marie Gatford