Hot Wheels – British Music Youth Theatre

Hot Wheels was performed by British Music Youth Theatre at the Square Chapel Arts Centre, Halifax.

Star rating: four stars ★ ★ ★ ★ ✩

It’s a racing start to British Music Youth Theatre’s 2022 season of shows, thanks to new musical Hot Wheels.

As a company specialising in creating original and innovative musical theatre, as well as providing opportunities to up and coming performers and technicians, BMYT’s standards are high and this production proves no exception.

Hot Wheels tells the story of the creation of a new Roller Derby team, and their rocky road to the Championship finals, with all the team rivalries, budding relationships, trials and tribulations you might expect, as well as a changing of hearts and minds along the way.

The show’s creator Ellie Jones has explained that she was “really keen to find a world that was inhabited by strong characters. Roller Derby kept popping up on my news feed… the more I read about the sport the more I was drawn to its ethos of empowerment, inclusiveness, tough team camaraderie and shattering of society’s expectation of feminine or ladylike behaviour”. And this is a major theme throughout.

Set primarily in a local community centre, entering into the theatre is like walking back into the school gym, complete with tennis, basketball and squash lines taped onto the floor, and the back of the stage displaying a ‘noticeboard’ of posters for various clubs and societies. The latter includes the local ‘Knit & Natter’ group which interacts with the audience before the show is due to begin. The members in character at all times, offering tea and showing their displeasure at the disruption from “those roller derby girls”.

With the audience sat on three sides of the stage, the creative team (including production and lighting design manager David Hughes and stage manager Missy Steinbach) opts for a fairly minimalist approach in terms of set, with wheeled props being used to full effect, ensuring the audience is involved at all times as the action isn’t limited to being only front facing.

The story focuses on the character of Charlie, played by Lilly Hill. Bored of everyday life she meets Molly (Georgia Anderson) who is starting a Roller Derby team. The opening musical number, ’The Daily Grind’, really sets the scene of the show, with Ellie Jones (who conceived, wrote and directed the show), Ella Grace (music and lyrics) and Lee Freeman (musical director) expertly demonstrating just how much life can become monotonous and humdrum, as well as introducing us to the other members of the to-be team.

The Knit & Natter ladies seem to be their first rivals, with their set ways and repeated refrains of ‘The World’s Not What It Used To Be’, but we’re quickly introduced to antagonist Scarlet a.k.a Scarlet Fever (Jessica Clinton) and Molly’s old teammate, which sets the scene for the oncoming rivalry and battle for the championship. As the show continues, one can’t help but root for the underdogs as they come together as friends and teammates to overthrow their rivals, as well as learning about one another along the way.

It’s not easy to allow every performer their moment within a 29-strong ensemble but the strong direction and writing from Jones, combined with the input of the other creatives, makes sure the endeavour never seems forced. When it came to the song ‘Who Do You Wanna Be?’ I was thoroughly invested in hearing how each Roller Derby player reflected on their character. This was also one of the standout numbers of the musical, with a great bluesy hook that was stuck in my head for a good while afterwards.

Unfortunately there were a couple of sound gremlins that prevented some of the microphones from operating at times, but the cast handled this really professionally and in many cases adjusted and adapted.

Lilly Hill has a beautiful tone to her singing voice and demonstrates a great acting range, whether it’s her self deprecation in the changing room during ‘Just Me Then’ or rallying the team when all seems lost.

Georgia Anderson’s Molly really comes into her own during ‘Oh Summer’ as the sadness and betrayal ring clear (Alicia Frost’s choreography makes this a powerhouse of a number).

Meanwhile, Charlie Wilks delights as Miriam, one of the Knit & Natter ladies, absolutely embodying her character and providing great comic relief alongside some tender moments.

Aside from the already mentioned songs, the ‘We’re Our Own Heroes’ finale, bringing rival teams and natty nans together, is a really strong track and an uplifting end to a most enjoyable evening.

Sara Smith