13 April 2026
“an absolute tour de force”
Kirkham Grammar School has long been renowned for its excellence in music and drama, with a proud history of outstanding performances in both these arts, often indeed combining the two, for example in the many years of Jane Barrie’s innovative takes on the Shakespeare classics, backed by her hand-picked KGS student house bands. However, the school’s adventures into full scale musical theatre have been few and far between, with memorable performances of Oliver in 1990 and Cabaret in 2004 the only such productions in the School’s modern history. A showcase in musical theatre has been long overdue.
All that has now changed with last week’s production of Sister Act proving to be a triumph in every way. The appointment last September of Michael Hodgkinson as the School’s first ever Director of Performing Arts has proved to be the catalyst for bringing together music, dance and drama at a moment when a golden generation of gifted musicians and performers is reaching its prime.
KGS's Sister Act was an absolute tour de force, played to four capacity audiences with a quality of performance and production values which would not look out of place in the West End, yet by a cast of ordinary young people united by their manifest joy in singing, dancing and acting, energised by inspirational teachers.
This was musical theatre at its joyful best, and an educational experience for these young people at its most valuable and life-enhancing. The plaudits from all who had the privilege to see this production will resonate down the years for all the performers involved and stand as a benchmark and an inspiration for their successors.
At a time when it is all-too-easy for schools to lose sight of the joy of traditional co-curricular activities in the relentless drive to tick every box demanded by inspectors and reviewers, this was a timely reminder of what can be achieved when a group of students and their teachers are given licence to focus for a while on a shared goal whose value is immeasurable and enduring. Every detail of this production was spot on, showcasing talents of all ages and both genders from the School’s 11-18 community, with everyone from the smallest supporting role to the dazzling leads giving it their all with manifest joy in a job well done.
The ensemble cast of singers and dancers ensured that this production felt truly a whole-school effort, with a place for large numbers of younger performers to feel part of something big, whetting their appetites for their own place under a bigger spotlight in future years. They sang and danced with an attention to detail and a focus masked by a true sense of the fun that lies at the heart of this story. The fact that they were often performing not on the stage, but in the aisles and wings meant that during the performances, they were entirely self-choreographing, with backs to the stage. No small achievement!
The Principals were individually and collectively superb, reflecting the producers’ wonderful eye for fitting individual talents to the role:
The boys’ gang – Tom Kidd, Jake Barber, Harry Flömer and Isaac Wan – blended slapstick humour with a sensitive portrayal of the laddish insecurity at the heart of any gang of boys. Second year pupil Jake Barber as little Pablo caught the eye with his mastery of comic timing, as did Isaac Wan as Curtis Jackson, who skilfully conveyed gangsterish menace with comic ineptitude, whilst their nod to 70s smoothies the Floaters was masterful.
The sisters and dancers dazzled with every aspect of their energetic and beautifully observed performances. Just as the boys carried echoes of the T-birds from Grease, the girls carried echoes of its Pink Ladies, but their ability to switch style and demeanour between sassy exuberance and demure piousness revealed true versatility of musical and acting talent. Sophie Benson was a standout performer with a sensitive portrayal of the shy and timid Sister Mary Robert through her journey into greater self-confidence, whilst Darcie Daniels, Sophie Noblett, Tilly Musson, Gracie-May Topping, Hannah Pilkington, Eve Sharkey, Gabby Wise, Zea Trend and Raia Trend all brought an individual and collective sparkle to their performances.
Two individual male parts merit a special mention: Charlie Rooney’s Eddie Souther was another beautiful performance combining slapstick with a real depth of character development, with a deserved spotlight moment singing I could be that Guy. Declan Calderbank, meanwhile, was a wonderful Monsignor O’Hara, with a camp exuberance which lit up his sporadic appearances.
Yet as the title suggests, it’s undeniable that the lead females dominate this show, none more so than Mother Superior, played by Alice Wright and Deloris Van Cartier, played by Mia Gisslow. Alice’s Mother Superior struck the perfect note of severe dignity combined with warmth and loving care – definitely a touch of Peggy Wood in the Sound of Music there - but without the dubbed voice, because Alice’s beautiful voice has a purity and depth of tone which suited the part to perfection.
And then there’s Deloris, played by the truly generational talent that is Mia Gisslow, still a mere Year Ten. Mia is already an experienced singer and performer in a bewildering variety of registers from rock and pop to sacred choral works and has already caught the eye and ear of any who have attended KGS musical events in recent years. But here, she stole the show – no mean feat amidst a cast of so much talent. Mia strutted the stage with confidence, dominating without eclipsing her co-stars, with a performance filled with sass, energy, sensitivity and absolute joy. Mia made this role absolutely her own, whether as the sassy cabaret singer or the gospel-inspired mouthpiece for the often-overlooked joy of the Christian faith. Perhaps the best tribute that could be paid is to say that one never for a moment visualised Whoopi Goldberg’s iconic performance as Deloris, such was Mia’s mastery of the part. KGS has a true superstar, and one who wears her dazzling talent lightly, and does not allow it to eclipse others.
No review would be complete without mentioning the band, an ensemble of KGS musicians supported by professional musicians, and they played their part to the full, bringing out the best in the singers without in any way overpowering them.
And last but not least…. anyone reading through the cast list on the programme might well have asked “What about the Pope?” They need not have worried, because KGS’s very own papal presence, Mr Walmsley, was waiting in the wings, ready for the role for which he is made. Listed in the programme as a mere Co-Producer and Assistant Musical Director, Mr Walmsley was wheeled in on the Headmaster’s Chair, sprinkling holy water on the audience, fulfilling his lifelong mission to do God’s work with a song in his heart and a smile on his face.
This was a team effort par excellence. Staff and students working together in the spirit of family togetherness which lies at the heart of KGS. A cast made up not just of specialist music and drama students, but of ordinary lads and lasses inspired to push themselves beyond their comfort zone. Everyone playing their part in the knowledge that it contributes to a greater whole.
Michael Hodgkinson, his Directors Beth Leeming and Gill Lathom, together with the aforementioned Co-Producer Sam Walmsley, deserve the highest praise for pulling this off alongside all their other commitments in school life.
Surely, we shan’t be waiting another 20 years for KGS’s next big musical: bring it on, Mr H!
Adrian Long