The cast of Fame The Musical at Theatre Royal Plymouth. Picture: Johan Persson
Fame The Musical continues at Theatre Royal Plymouth until 15 August 2026.
Star rating: four stars ★ ★ ★ ★ ✩
Thirty years on from its European premiere at the Theatre Royal Plymouth, the iconic Fame returns to the West Country venue in a brand-new production that transports audiences to the gritty, rundown, New York High School of Performing Arts (PA) where young hopefuls dream of success and fame.
In a story of hope and ambition where drive meets the fine line balance between academia and artistic talent, we are whisked away on a dance-fuelled whistle stop tour through the students’ four years of training, complete with relationships, fights and struggles to succeed their greatest dreams.
Soutra Gilmour’s set is a display of beautiful genius. A fold out, almost dollhouse-style structure sits atop Plymouth’s revolve, exposed pipework, graffiti and lonely hanging lightbulbs depicting the dilapidated old school on its last legs. Steam rises from the New York streets as students dance on the sidewalks and race from canteens, offices, dance studios and classrooms.
The sound of crackling, ageing and static-like electricity buzzes around the entire auditorium, alongside the noise of busy city streets, drawing the audience even further into that world. From start to finish, audiences are drawn into that 1980s world where teachers clash on what is more important and students put in hard work to live up to family expectations, to make their dreams come true and to, ultimately, find fame.
Nick Piazza (Joe Boyle) wants to be a serious actor, Serena (Megan Ellis) wants to be taken seriously by him. Together, they make a charming and believable pair of friends brought together by circumstance. Both offer lovely vocals, Ellis really impressing with her rendition of ‘Let’s Play a Love Scene’.
Carmen Diaz (Talia Palamathanan) dreams of fame and fortune far beyond the confines of PA. A rule breaker, an attention grabber, her character illustrates the dangers of pushing too hard and going too fast. Palamathanan portrays both sides of the coin in her hopeful, dream sequence take on the title number and the Act II darker number, ‘In LA’.
Harrison Wilde injects a wonderful sense of fun and comedic flair as the stand-up comedian wannabe Joe Vegas, with his performance of ‘Can’t Keep it Down’ proving both a highlight and a hit with the audience.
Also deserving press is James Hastings for his take on the role of Schlomo Metzenbaum, driven by the hope of living up to his family name. He forms some of the show’s most charming and deepest friendships with Carmen and Georgia Leila Stoller’s Grace ‘Lambchops’ King.
Tyrone Jackson (Amonik Melaco) serves as a reminder that PA is a serious school, where dance, drama and music are taught alongside academic subjects that carry equal weight. While dance runs through his veins, reading and writing do not come as easily. Melaco creates a determined character who throws himself into dance while his teachers argue over how best to help him fulfil his potential.
Miss Sherman (Shanay Holmes) is the serious teacher who pushes for good grades, knowing that a good academic education will help those students who don’t make it in the creative industries. Her rendition of ‘These Are My Children’ breaks down her harsh exterior but it is her arguments and, at times, strong dislike, of dance teacher Mr Bell (Edwin Ray) that drives her character.
It is the tension between academia and the arts, and the recognition that some children are simply better suited to one than the other, that makes this 1980s-set story feel as important and relevant today as ever.
This is a production that is crammed full of high energy and incredibly impressive dance numbers that fill the vast Theatre Royal Plymouth stage, all choreographed by Tom Jackson Greaves (who also directs) and c0-choreographer Tinovimbanashe Sibanda.
Audience members hoping for leg warmers, jazz hands and high-kicks, long associated with the story of Fame, will not be disappointed. While some of the more tragic moments are perhaps implied a little too subtly and rushed through, Act II’s ‘Bring on Tomorrow’ highlights the contrast between dreaming of fame and simply wanting to make a difference.
With the story covering four years of these characters’ lives, the flow somehow both rattles through and drags. One minute the students are freshmen, then juniors by Act II, with these changes narrated by Miss Sherman. This progression feels a bit hurried, while lengthy sections of dialogue occasionally slow down scenes, adding little to character development. Act I, in particular, feels overlong, with several scenes following the title number, which itself seems more suited to closing the act.
Overall, this is a production of Fame that feels both like an exploration of the pitfalls of overdetermination and all-consuming drive for success and a celebration of the arts.
In a world where training in the arts is sometimes seen as considerably less vital as academic learning, this story feels relevant and important, and I pray it sees a life beyond the Theatre Royal Plymouth.
Becky Wallis
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