I consider myself a huge Sondheim fan, but for one reason or another, I had never managed to attend the annual Stephen Sondheim Society Student Performer of the Year competition.

This was the 17^th year of the competition hosted by the Stephen Sondheim Society, itself now over 30 years old. Held appropriately at the Sondheim Theatre, my anticipation and expectations were high, and I wasn’t disappointed.

After a warm welcome from host Rosalie Craig and the Chair of the Stephen Sondheim Society Craig Glenday, the opening number –The Ballad of Sweeney Todd- introduced us to the finalists and the two reserves Dominic Wood and Jess Pratley, who were able to briefly show their impressive vocals in the lead roles of Sweeney Todd and Mrs Lovett, ably accompanied by Assistant Musical Director John Haslam.

The competition has grown over the years, with more than 330 applicants from UK music and drama schools, of which 80 made it to the in-person auditions. From this the 12 finalists and two reserves were chosen.

Performing in groups of three, each contestant showcased their chosen Sondheim song, plus one song chosen from the list of NEW UK MUSICALS, accompanied by West End Musical Director, Nigel Lilley.

Hasia Akwaboah opened the competition with her rendition of Being Alive from Company. This demanding number is challenging to perform with its shifts of emotion and intent, but Akwaboah’s secure vocals and good audience communication was able to handle this number effectively. Her choice of My Day from Fiver by Alex James Ellison showed the potential of the big voice lurking within.

Sophie-Ann Baker delighted with her beautiful and effortless vocal range and confident personality which communicated well with the audience. It was such a treat to hear the title song from the from The Girls of Summer and her song choice from The Clockmakers Daughter certainly whetted my appetite to see a production of this show. Before I read her programme notes, I had Sophie-Ann marked down as the perfect Disney Princess!

Georgia Blessitt bravely performed Losing My Mind seated throughout, but her musicality shone through and she showed power and focus in her second song choice of Watching the Door from Van Winkle.

Rigby Edwards gave a very endearing and natural performance of Old Friends/Like it Was from Merrily We Roll Along, making it her own by keeping it in her native scouse accent. Her strong audience connection continued in her second song `Kill the Freak’. All in all, a memorable performance.

With only two male-presenting performers the pressure was on for Hudson Harden Scheel. Love is in the Air is an intentionally simple song from A Funny Thing Happened on the Way to the Forum,  but the beautiful, light tenor tones of the singer did it full justice, delivering every ounce of comedy spot on.

The first half concluded with Ladies Who Lunch from Company – another brave choice for a young singer to convey the life experience and cynicism of an older character, but Georgie Lagden made it her own with a more comedic interpretation and a wide range of vocal tones in her voice.

The National Youth Musical Theatre Ensemble opened the second half with a truly beautifully sung version of Take Me to the World  from  Evening Primrose.

One aspect of delivering a song outside of the context of the show to consider is just how much acting one should include : too little facial expression or gesture and you risk losing audience involvement; overdo it and it risks undermining the subtleties and wit of the lyrics.

Becky Bush gave it her all in The Last Midnight’ performance-wise, but lost the intensity of the power of the Witch in the process. Her choice of Time from  Benjamin Button  was difficult to appreciate musically without the full instrumental arrangement.

Maria Collins on the other hand, gave a natural but almost understated performance of Every Day a Little Death from A Little Night Music, although she managed to capture the sardonic tone of the Countess’ character.

Jamie Cushions’ confident and relaxed performances of Not While I’m Around’  from Sweeney Todd and ‘New York’ by Kit Buchan and Jim Barne were characterised by clear diction and emotional honesty throughout.

A confident and effervescent Lotte Pearl opened the final section of performers with the fast-paced Everybody Loves Louis   from Sunday in the Park with George.  Her second song choice of Juliet kind of Love was equally delightful, and I must mention her excellent diction and breath control. Again, a little less in terms of presentation would focus the energy on the song itself.

Nimi Spiff gave us the second rendition of Old Friends/Like it Was but was also able to make it her own. Her powerful vocals were given an even better chance to shine in her second song choice Stand by Dominic Powell.

The final student performance gave us the fruity tones of Ella McLaughlin in the all-too-brief heart-wrenching ballad Loving You  from Passion, which certainly put me in mind of the voice of Cleo Lane.

Whilst the judges then pondered the difficult decision of winner and runner up, we were able to enjoy performances from the National Youth Music Theatre and former SSSPOTY alumni Madeleine Morgan, Molly Lynch and Jade Oswald and finally Rosalie Craig herself.

So many would have been worthy winners of this prestigious competition, but Head Judge Jenna Russell was able to report that the panel were virtually  unanimous in their choice of Rigby Edwards as Runner Up and Georgie Blessitt as the winner.

The future of musical theatre is certainly in safe hands.

Review by Sheila Arden

You can find out more about the Stephen Sondheim society and their competition here.

If you like this review of Stephen Sondheim Society Student Performer of the Year you might also like my review of The Frogs.