Little Triangle: JUDY -Review by Michael Astill

Little Triangle is an independent theatre company, established in 2017, that is committed to producing works that challenges both audiences and performers, all at an affordable price. Their most recent production, JUDY, stays true to these core values.

From the moment you walked into the theatre, you felt transported to a smoky cabaret club of the 1960s. The atmosphere set the tone immediately: a single spotlight illuminating a baby grand piano, a signature stool beside it, instantly iconic, a quiet homage to the diva herself, Judy Garland. The room buzzed with the excited hum of an audience ready to witness a star be born. (Pun absolutely intended)

Director and conceptualist Alexander Andrews opens the show with a charming anecdote about his affection for Judy, stating, "there's a little bit of Judy in us all." It’s a fitting introduction to what follows; a heartfelt, symbolic love letter to one of entertainment’s most complex and enduring figures.

The vibrant Addy Robertson launches into the opening number, a spirited rendition of I’d Like to Hate Myself in the Morning, immediately showcasing their vocal prowess and commanding stage presence.

During Strike Up the Band, the rest of the talented ensemble were introduced: Jack Dawson, Prudence Holloway, Kira Leiva, Sabastian Nelson, and Madeleine Wighton. Each performer embodied a different aspect of Judy, her strength, her fragility, her humour, her heartbreak. Playfully slipping on pink satin opera gloves, a symbolic gesture that was both stylish and poignant.

Much thought has gone into the symbolic elements of this cabaret. The clever use of single stools, the ensemble’s classic black and white attire, the stylised use of the lighting, specifically the use of spotlights, highlighting Garlands constant glory and presence in the spotlight, but also how glaring, unnerving and isolating that can be. A particularly powerful touch was having the ensemble remain on stage even when not performing, silently observing, a haunting reminder of the constant gaze Judy lived under.

For die-hard Garland fans, this clever cabaret was a treasure trove of references, mashups, and affectionate caricatures. For those less familiar with her life story, however, the narrative may have felt a little opaque. The show would have benefitted from more connective dialogue or inter-cast banter to help connect the audience more deeply with the material. That said, there were standout storytelling moments: the Wizard of Oz medley was nostalgic and inventive, the game of musical chairs representing Judy’s five husbands was both witty and bittersweet, and the A Great Lady/Movie Medley elegantly captured her cinematic legacy.

Musically, the production was faultless. Under the direction of Andy Freeborn and Juliette Coleman, the tight trio of piano, violin, and drums provided everything you would want in a cabaret setting, supportive, expressive, and beautifully blended with the vocals.

Each ensemble member illuminated a different layer of Garland, her fame, vulnerability, passion, and isolation. Sabastian Nelson's smooth, tender performance of I’m Always Chasing Rainbows offered a gentle nod to Somewhere Over the Rainbow, highlighting the eternal chase Judy endured throughout her career and life, the endless pursuit that defined much of her life.

The standout performances of the evening came from Jack Dawson and Madeleine Wighton.

From the moment Dawson took the stage, he embodied Garland’s sass, elegance, and wit. His sweet yet comedic take on Poor Little Rich Girl cemented his place among this talented cast, while his moving rendition of The Man That Got Away revealed Garland's heartbreak and decline.

Wighton was utterly captivating. Her vocal delivery, facial expressions, body language, every nuance radiated the essence of Judy. Her rendition of If Love Were All was an effortlessly refined high point of the cabaret.

Even outside the spotlight, both Dawson and Wighton remained fully engaged, crafting relationships and dynamics onstage that added rich subtext to the performance. Frankly, I’d pay top dollar to see a two-act cabaret with just these two.

A rousing rendition of Peter Allen’s Quiet Please, There’s a Lady on Stage, performed by Andy Freeborn, captivated the audience, who joined in on the ovation. It encapsulated both the celebration and sadness that defines Judy Garland. For me, this was the emotional climax of the evening and would have served as a beautiful segue into a tender finale. Unfortunately, the decision to invite an audience member onstage for a song directly afterward disrupted the show’s emotional rhythm and felt out of sync with the otherwise tight framework.

Thankfully, the final number brings us back: a reverent, harmonically rich mash-up of Get Happy and Happy Days Are Here Again, allowing every member of the cast to shine. The harmonies, counter-melodies, and sheer musicianship were a beautiful summation of the evening’s theme: joy tinged with sadness, glamour underscored by pain.

The creative team, cast, and musicians have crafted something heartfelt and sincere, equal parts celebration and tribute. It’s a cabaret with brains, heart, courage and a whole lot of style.