THE votes are in!

After hours of debate, discussion and deliberations, our panel of independent judges have decided their favourite amateur shows of this year.

Thespians across the South have been waiting with baited breath for the nominees of the 2015 Daily Echo Curtain Call Awards.

Today we can reveal nominees in each of our 37 categories, including the coveted Production of the Year.

For our version of the Academy Awards for amateur dramatics, the Daily Echo's team of reviewers have been scouring the area seeking out the very best actors, producers and crews in genres from comedy to drama, youth to pantomimes and musicals to Shakespeare.

The cream of the region's amateur theatre talent will come together early next year for a glitzy dinner dance where the winners of each category will be revealed.

The glamorous occasion takes place at Southampton’s Grand Harbour Hotel.

Nominees will have to wait until Friday January 29 to see if their name is inside the winning golden envelope.

Tables of ten are available for the event, with prices remaining at £39.

Fill out the booking form sent to your society, email jo.richardson@dailyecho.co.uk or call 023 8042 4715.

Best Newcomer

  • Tomorrow, Maybe. Stickman Productions. 22 original songs in a brand-new musical that deserves to be performed on professional stages.
  • Jane Hilliard and Paul AJ Rudelhoff. Writers of Play Safe. West Moors Drama. Riotous retirement based antics.
  • John Davis. John Proctor in The Crucible. Studio Theatre Salisbury. A virile performance.
  • Louisa Asquith. Director of The Memory of Water for Bishoptoke Players. Created a fine ensemble for this understated but rewarding piece.
  • Malcolm Stenner. Director of The Lady in the Van. Titchfield Festival Theatre. His straightforward and balanced approach created an entertaining slice of life and celebration of English eccentricity.

Best Supporting Actor in a Drama

  • Jim Wringe. Judge Brack in Hedda Gabler, Groundlings Adult Drama School. A formidable match for Hedda.
  • Joseph Curran. Nils in A Doll's House. Broken Arrow Productions. Poignant as Nora's family friend with a situation even more tragic than her own.
  • Jon Morgan. Roy in Neville's Island. Bishopstoke Players. Creates a standout role as this gently suicidal soul.
  • David Woolford. Selwyn Piper in Murder by the Book. The Worthy Players. Lively and engaging as a winningly egotistical character.
  • Alan James. Mr Grey in The Return of the Soldier. Titchfield Festival Theatre. An effective performance as a decent, humble man whose wife is tempted to stray.
  • Oliver Bray. O’Brien in 1984. SUSU. As frighteningly realistic as his torture apparatus.

Best Supporting Actress in a Drama

  • Val Greathead. Emily Brent in And Then There Were None. Studio Theatre Salisbury. Great intensity as a religiously unforgiving character.
  • Catherine Tarrant. Christine in A Doll's House. Broken Arrow Productions. Droll as Nora's more worldly-wise friend.
  • Karen Fitzsimmons. Mags in Beauty Queen of Leenane. Chesil Theatre. Amusing even at her worst.
  • Katy Burrows. Bertha in Hedda Gabler, Groundlings Adult Drama School. Endures Hedda's bullying behaviour well and shows some attitude herself.
  • Kay Fraser. Jenny in The Return of the Soldier. Titchfield Festival Theatre. Shows her character's sympathetic nature and inner strength.
  • Zara Newbury Skinner. Antonia Marston in And Then There Were None. Fareham Musical Society. Lively and endearing, coming to a suitably sticky end.

Best Supporting Actor in a Musical

  • Nick Rew. Malcolm McGregor in The Full Monty. SJ Theatre Productions. He stood out for his physical energy and attention to detail.
  • Alasdair Beddow. Eddie in Sister Act. Basingstoke Amateur Theatrical Society. He really impressed in this great comic role.
  • David Tatnall. The Chairman in Jack The Ripper. RAODS. He gave a splendidly verbose Leonard Sachs-like portrayal.
  • Steven Lilly. Dan Mendoza in Jack The Ripper. RAODS. He was once again in fine form.
  • Matt McGrath. Roger in Rent. Music Theatre South. Impressively confident as the narrator.
  • Barry Gibney. Che in Evita. Musical Theatre Salisbury. Was excellent and crystal-clear in his delivery.

Best Supporting Actress in a Musical

  • Jade Nicholas. Maureen in Rent. Music Theatre South. Hers was a wonderful, scene-stealing performance.
  • Marlene Hill. Maybelle in Hairspray. Portsmouth Players. A rich and powerful vocalist.
  • Lauren Kempton. Yvonne in Sunshine On Leith. South Downe MS. A predictably excellent performance.
  • Helen Stoddart. Liz in Sunshine On Leith. South Downe MS. Featured beautifully delivered solos.
  • Kerry Butcher. Adelaide in Guys and Dolls. Eastleigh Operatic & Musical Society. Performed to a particularly high standard.
  • Sally Manning. Mother Superior in Sister Act. Basingstoke Amateur Theatrical Society. Acted believably and sang beautifully.

Best Supporting Actor in a Comedy or Comic Drama

  • Ian Wilson. Douglas in Silly Cow. Maskers Theatre Company. Brought a unique characterisation that greatly enhanced the hilarity.
  • Andy Franks. Henry in Golden Years. Dalian Players. Grumpy Henry had some brilliant interactions.
  • Bruce McIntosh. Tony in Star Quality. Lymington Players. Perfectly played as the camp assistant.
  • Richard Martin. Henry Ormonroyd in When We Are Married. Chesil Theatre. He gave us a wonderful, drunken recital.
  • Steven Lilly. Danny in Jumpers For Goalposts. RAODS. Believable in some tenderly-played scenes.
  • Rick Barter. Baldini in Tunnel of Love. Titchfield Festival Theatre. He traipsed around the stage, threatening other characters, if not with his lovemaking, then with death by duel.

Best Supporting Actress in a Comedy or Comic Drama

  • Lucy Moore. Ethel in Barefoot in the Park. Chesil Theatre. Her face perfectly expressed her inner dialogue as she kept us laughing.
  • Stevie Parker. Arabella in Roleplay. Lyndhurst Drama and Musical Society. Her line delivery is glorious.
  • Clare Blackburn. Ida in See How They Run. Titchfield Festival Theatre. Her sense of mischief provided much hilarity.
  • Lesley Nunnerley. Nora in Star Quality. Lymington Players. Excellent and characterful support.
  • Margaret Smithson. Aunt Astoria in Worth a Fortune. MDG players. Gloriously obdurate.
  • Helena Gomm. Lord Julia Merton in Lord Arthur Savile’s Crime. Cheriton Players. Deliciously malicious!

Best Supporting Actor in a Youth Production

  • Angus Odling. Pharoah in Joseph and the Amazing Technicolor Dreamcoat. Footlights Youth Theatre. A wonderful rendition of this role.
  • Charlie Baxter. Bottom in A Thirty Minute Dream. Junior Hamble Players. He completely stole the show.
  • George Lambourne. Marius in Les Misérables. Barton Peveril Sixth Form College. George beautifully captured the essence of the character.
  • Doug Cairns. Hines in The Pajama Game. RicNic. A delightfully comic performance.
  • Charlie Steggall. Dodger in Oliver! Mayflower Summer Youth Project. Charlie brought great stage presence and charm to the role.
  • Alejandro Arguelles. Scar in The Lion King. King’s School, Winchester. A performance of immense subtlety and menace.

Best Supporting Actress in a Youth Production

  • Georgia Carr. Nancy in Oliver! Mayflower Summer Youth Project. Simply magnificent in the role.
  • Felicia Gray. Eponine in Les Misérables. Barton Peveril Sixth Form College. A performance of power and poignancy.
  • Georgia Quick. Oda Mae Brown in Ghost. Richard Taunton Sixth Form College. An extraordinary and scene stealing performance.
  • Jodie Griffin. Nurse in The Tragical Comedy of Romeo and Juliet. Gantry Youth Theatre. Jodie was one of the best things about this production.
  • Sophie Barnard. Mayzie in Seussical the Musical, Junior. RAODS Youth. Sophie gave a wonderfully powerful vocal performance, sassy, brash and larger than life.
  • Kathleen Brenner. Carlotta in The Phantom of the Opera. Centrestage Productions Youth Theatre. A performance of depth and power.

Best Supporting Actor in a Shakespeare Play

  • Ian Wilson. Bolingbroke in Richard 11. Maskers Theatre Company. Strong performance as the usurping lord.
  • Matt Gibbins. Mercutio in Romeo & Juliet. Southsea Shakespeare Actors. A dangerously edgy drug-abuser.
  • David Tatnall. Malvolio in Twelfth Night. Pocket Theatre. A wonderfully conceited secretary.

Best Supporting Actress in a Shakespeare Play

  • Sarah Divall. Helena in A Midsummer Night’s Dream. Broken Arrow Productions. Showed talent for both Shakespeare and physical comedy.
  • Jane Blatch-Gainey. Banquo in Macbeth. Royal Navy Theatre Association. Brought a welcome stillness and command of the space.
  • Lizzie Gilmour. Hero in Much Ado About Nothing. RAODS. Most convincing as the wronged lover.

Best Lighting, Sound and Effects

  • Graham Arnott, Jamie Herdman and Mike Ludgate. Third Week in August. Set in a pub garden with night drawing in. Fantastic!
  • Joel Powney, Lesley Bates and Alistair Faulkner. And Then There Were None. Studio Theatre, Salisbury. Enveloped in the warm nostalgic glow one expects of an Agatha Christie story.
  • Catherine Hyde and David Elcock. Medea. SUSU Theatre Group. Set and effects allowed for varied and fluid stage action.
  • James Gardner and Dan Morgan. Death and the Maiden. Titchfield Festival Theatre. Discreet but effective use of a video monitor.
  • David James and Tony Rogers. Beauty Queen of Leenane. Chesil Theatre. Richly atmospheric evocation of Ireland at its grimmest and most sodden.
  • The Technical Team. 1984. SUSU. Created the right atmosphere before and during the show.

Best Choreographer

  • Stefanie Radley and Sarah Turner. Our House. Southampton Musical Society. The whole talented cast danced their socks off from start to finish.
  • Martyn Knight. Sister Act. Basingstoke Amateur Theatrical Society. Top notch routines for a well-drilled troupe.
  • Helen Stoddart. Legally Blonde. South Downe Musical Society. Created several show-stopping sequences.
  • Christina Finn. Urinetown. Stickman Productions. The vibrant choreography was an impressive feature.
  • Suzanne Hall. The Witches of Eastwick. Winchester Operatic & Musical Society. The dancing was very cohesive and enhanced the storytelling.
  • James RH Sayers. 9 to 5. Music Theatre South. Inventively choreographed within the tight confines of the stage.

Best Opera or Musical

  • Dogfight. Music Theatre South. The standing ovation surely wouldn’t be the last.
  • Tomorrow, Maybe. Stickman Productions. This original show should be performed in major venues.
  • Rent. Music Theatre South. My favourite show and the company didn’t disappoint.
  • Sister Act. Basingstoke Amateur Theatrical Society. A brilliantly staged show.
  • The Gondoliers. Pocket Theatre. Once again they presented a faultless show.
  • Hairspray. Portsmouth Players. The singing was top-notch, the whole cast were very accomplished.

Best Musical Director

  • Nigel Finch. The Phantom of the Opera. Centrestage Productions Youth Theatre. Oversaw some stunning vocal performances and a wonderful orchestra.
  • Rachel Glover. Sister Act. Basingstoke Amateur Theatrical Society. Fantastic orchestra that matched the quality on stage.
  • Alex Clements and Sam Dando. Tomorrow, Maybe. Stickman Productions. Each impeccable solo was matched by the original music.
  • Andrew Woodford. Sunset Boulevard. Portsmouth Players. Made excellent work of the score.
  • Nigel Finch. Chess. Southampton Operatic Society. Truly sumptuous music.
  • Christopher Ball. Dogfight. Music Theatre South. Led a really excellent rocking band.

Best Actor in a Drama

  • Luke Futcher. Billy Casper in Kes. Redlynch Players. As the much put upon lad, his speeches helped us understand what the kestrel means to him.
  • Oliver Bray. Torvald Helmer in A Doll's House. Broken Arrow Productions. Shows both the loving and the overbearing sides of Norah's husband.
  • John Davis. John Proctor in The Crucible. Studio Theatre, Salisbury. Made the character his own.
  • Steve Clarke. Pato Dooley in Beauty Queen of Leenane. Chesil Theatre. Intense and warm as the heroine's lost lover.
  • Mick Keegan. Dickens/ The Signal Man/ Driver in The Signal Man. West Meon Theatre. His performance of this wordy soliloquy was compelling and powerful.
  • Mike Cottrell. Winston Smith in 1984. SUSU. His was a truly outstanding performance.

Best Actress in a Drama

  • Megan Wiseman-Davies. Hedda in Hedda Gabler. Groundlings Adult Drama School. Brusque and imperious.
  • Kae Yeboah. Medea. SUSU Theatre Group. Let us see how her actions were driven by her hopeless position as well as her anger.
  • Rachel O'Neill. Maureen in Beauty Queen of Leenane. Chesil Theatre. Radiant when encouraged.
  • Georgie Gulliford. Paulina in Death and the Maiden. Titchfield Festival Theatre. A compelling performance.
  • Matilda Murphy. JJ in Looking for JJ. Burdock Valley Players. Murphy is a compelling story-teller.
  • Sally White. Julia in 1984. SUSU. She interacted totally credibly and emotionally.

Best Actor in a Musical

  • James Taylor. Eddie Birdlace in Dogfight. Music Theatre South. A powerful performance.
  • Adam Myers. Dave in The Full Monty. SJ Theatre Productions. Portrayed with sensitivity and self-deprecation.
  • Jack Edwards. Edna in Hairspray. Portsmouth Players. A joy to behold.
  • Daniel Ferrett. Orin in Little Shop of Horrors. SJ Theatre Productions. Wonderfully over-the-top acting that stole every scene.
  • Perry Ralls. Franklin Hart Jnr. 9 to 5. Music Theatre South. A great performance as the lecherous boss.
  • James Taylor. Roger in Rent. Music Theatre South. Another emotional turn.

Best Actress in a Musical

  • Louise Gains. Deloris in Sister Act. Basingstoke Amateur Theatrical Society. Was absolutely stunning in one of the most iconic roles.
  • Lauren Kempton. Elle Woods in Legally Blonde. South Downe Musical Society. A tremendously talented leading-lady.
  • Natalie Baker. Florence in Chess. Southampton Operatic Society. This was a truly exceptional performance.
  • Laura Simmons. Evita in Musical Theatre Salisbury. A spellbinding and sensitively-played interpretation.
  • Katie Hickson. Sukie Ridgemont in The Witches of Eastwick. Winchester Musicals & Operatic Society. Perfectly encapsulated her role.
  • Emma Bryant. Hope Chadwell in Urinetown. Stickman Productions. An overdue return to my radar by this truly excellent actress.

Best Actor in a Comedy or Comic Drama

  • Jonathan Redwood. Basil Fawlty in Fawlty Towers. Fareham Musical Society. The audience started chuckling in anticipation whenever he appeared.
  • David Cradduck. Neville in Third Week in August. Cheriton Players. The life and soul of the piece.
  • Keith Edmunds. George in Don’t Get Your Vicars in a Twist. Studio Theatre Salisbury. Hilarious performance delivered at a breathtaking pace.
  • Patric Howe. The Mayor in The Government Inspector. Swanmore ADS. A stellar comedic performance worthy of a grander setting than a village hall.
  • Kevin Fraser. Alan Bennett in The Lady in the Van. Titchfield Festival Theatre. A convincing impersonation.
  • James George, Darren Gilmore and Mikey Palmer. The Bible: The Complete Work of God (Abridged). Held the audience in the palms of their hands.

Best Actress in a Comedy or Comic Drama

  • Sue Trotter. Miss Kyte in After September. Burley Players. Aloof and expressive as she gave her steely and vulnerable performance.
  • Rachel O’Neil. Clara Soppitt in When We Are Married. Chesil Theatre. Perfect as the po-faced wife.
  • Sarah Spencer-Stonehill. Doris in Silly Cow. Maskers Theatre Company. Marvellous as the razor-tongued journalist.
  • Maggie Rose. Lorraine in Star Quality. Lymington Players. Always perfectly poised.
  • Danni Fletcher. Viv in Jumpers for Goalposts. RAODS. Played an absolute blinder of a performance.
  • Marilyn Dunbar. Sybil Fawlty in Fawlty Towers. Chameleon Theatre Company. She was uncannily like Sybil in every way.
  • Georgie Gulliford. Miss Shepherd in The Lady in the Van. Titchfield Festival Theatre. Shows dogged determination and a vulnerable side.

Best Actor in a Youth Production

  • Harry Butterwick. Phantom in The Phantom of the Opera. Centrestage Productions Youth Theatre. A performance of baroque grandeur.
  • Jack Shaw-Downie. Jean Valjean in Les Misérables. Barton Peveril Sixth Form College. A towering performance of immense gravitas.
  • Dom Street. Sam in Ghost. A compelling performance of great heart.
  • Sam Wood. Fagin in Oliver! Mayflower Summer Youth Project. Sam gave a barnstorming performance.
  • Adam Brombley. Bugsy in in Bugsy Malone. Stage One. Charming and charismatic and with great stage presence.
  • Tom Hazelden. Sid in The Pajama Game. RicNic. Tom showed real star quality, stepping into the role at short notice.

Best Actress in a Youth Production

  • Megan Pake. Molly in Ghost. Richard Taunton Sixth Form College. A beautifully judged performance of great depth.
  • Sasha Davies. Nala in The Lion King. King’s School, Winchester. Sasha’s was a commanding performance, both feisty and fun.
  • Becky Stickland. Horton in Seussical the Musical, Junior. RAODS Youth. Held her own in the technicolour Seussical world with a performance of great charm.
  • Sian Samways. Blousey Brown in Bugsy Malone. Stage One. Just about perfect in the role.
  • Louisa Morgan. Babe in The Pajama Game. RicNic. An accomplished and vocally impressive performance.
  • Ella Williams. Christina in The Phantom of the Opera. Centrestage Productions Youth Theatre. A beautifully sung and compelling interpretation of the role.

Best Actor in a Shakespeare Play

  • William Baggs. Richard 11 in Richard 11. Maskers Theatre Company. A wonderful portrayal of a King believing in his God-given right to rule.
  • Chris Mills. Prince Harry in Henry V. Titchfield Festival Theatre. Grew from brash youth to warrior King.
  • Mikhail McKay. Othello in Othello. Titchfield Festival Theatre. Eloquent and physically powerful.
  • Charlie Randall. Benedick in Much Ado About Nothing. SUSU. Great comic timing and delivery.

Best Actress in a Shakespeare

  • Play Katherine Evans. Viola in Twelfth Night. Pocket Theatre. Perfect as the ship-wrecked twin.
  • Zia Wheeldon. Isabella in Measure For Measure. Titchfield Festival Theatre. Stand-out portrayal of a woman torn between family and beliefs.
  • Flora Whitmarsh. Beatrice in Much Ado About Nothing. SUSU. Nimble-tonged and sarcastic.
  • Trish Quinlan. Benedick in Much Ado About Nothing. RAODS. Confident, commanding and amusing.

Best Performance in a Pantomime

  • Sarah Kesterson. Narrator in Aladdin. The Worthy Players. Commanded the stage and then faded gracefully to allow the action to take place.
  • Clive Gammon. Old King Cole in Old King Cole. Burley Players. Reminiscent of Simon Callow, such was his talent.
  • Kerry Butcher. Dick in Dick Whittington. RAODS. The finished article talent-wise.
  • David and Richard Tatnall. The Ugly Sisters in Cinderella. Pocket Theatre. Hilarious.
  • Mark Johnson. Sarah the Cook. Dick Whittington. RAODS. Stole every scene he was in.

Best Pantomime

  • Cinderella. Pocket Theatre. What’s not to love about it? A great show.
  • Cinderella. Performing Arts Company. A thoroughly enjoyable show, inclusive of age and ability.
  • Old King Cole. Burley Players. An institution in this picturesque village – and for good reason.
  • Aladdin. The Worthy Players. A home grown affair of slapstick energy.
  • Rapunzel. Collingwood RSC. A hugely fun evening, which had the audience in stitches.

Best Set and Props

  • David James, Jo Burnaby, Sylvia Jobling and Helen Bliault. Barefoot in the Park. Chesil Theatre. Excellent attention to detail.
  • David Woodward. Beauty Queen of Leenane. Chesil Theatre. Subtly evokes the damp Irish setting.
  • Jon Morgan and Caz Gradwell. Neville's Island. Bishopstoke Players. The island setting of this play is beautifully realised.
  • Alan James and Chris Lawrence. The Return of the Soldier. Titchfield Festival Theatre. Highly evocative of a wealthy home of the period.
  • The Lady in the Van. Titchfield Festival Theatre. The set showed how Alan Bennett's property is gradually encroached upon.
  • Mike Jolly. Jack the Ripper. RAODS. A really great set design.
  • The Technical Team. 1984. SUSU. Featured a frighteningly authentic array of props.

Best Costumes

  • Sue Tatnall and Heather Cousins. Guys and Dolls. EOMS. A dazzling array of costumes.
  • Pam Hannan and Rae Owen, And then There Were None. Studio Theatre Salisbury. Costumes that reflected the 1940's setting and even included two gorgeously garbed ushers.
  • Pat Chambers. Diamond in the Sky. MDG Players. Colourful costumes, including Star Trek influenced uniforms.
  • Jackie Wilkins. Sunset Boulevard. Portsmouth Players. Greatly enhanced by the stunning wardrobe.
  • Sue Tatnall. HMS Pinafore. Pocket Theatre. As always, the cast were impressively dressed.
  • Rachel Upfold and Lizzie Harden. Seussical the Musical, Junior. RAODS Youth. Their creations were some of the most colourful and gorgeous costumes seen all year.

Best Performance in an Opera

  • Jenny Riggs. Josephine in HMS Pinafore. LOpSoc. In a very strong cast she was the star of the show.
  • Rachel Waring. Lady Chancellor in Iolanthe. LoPSoc. She led her peers with claws drawn.
  • Alexander Conway. The Fairy King in Iolanthe. LoPSoc. Great stage presence and a hypnotic voice.
  • David Tatnall. The Duke in The Gondoliers. Pocket Theatre. Another wonderfully funny performance from this true master of the genre!
  • Abigail Sturgeon. Capt Corcoran in HMS Pinafore. Pocket Theatre. She certainly made a first-class job of her performance in the leading role.
  • Lisa Axworthy. Ralph Rackstraw in HMS Pinafore. Pocket Theatre. Took the honours vocally, singing beautifully.

Best Director of a Drama

  • Norma York. Beauty Queen of Leenane. Chesil Theatre. Deals sensitively with a difficult subject.
  • Richard Stride. Hedda Gabler. Groundlings Adult Drama School. Fine attention to detail.
  • Louisa Asquith. The Memory of Water. Bishoptoke Players. An understated but rewarding piece.
  • Richard Hackett. Death and the Maiden. Titchfield Festival Theatre. Exerts a powerful grip.
  • Peter Kelly. The Crucible. Studio Theatre, Salisbury. Brings a fresh eye to each character.
  • Ruth Endersby, John Erskine and Kae Yeboah. 1984. SUSU. The show was of a quality that should be shouted from the rooftops.

Best Director of a Musical or Opera

  • Rebecca Bailey and Kevin Jones. Tomorrow, Maybe. Stickman Productions. Developed this brand new top quality production from scratch.
  • Rebecca Bailey, Kevin Jones and Alex Clements. Urinetown. Stickman Productions. The whole show was of a quality that totally belied the title.
  • Jon North and Joseph Hand. HMS Pinafore. LOpSoc. Delivered a vibrant show with a fully-engaged cast.
  • Martyn Knight. Sister Act. Basingstoke ATS. The show was so good at every level.
  • Adam Myers and Sam Quested. Rent. Music Theatre South. A vibrant, emotional production of my favourite musical.
  • Adam Myers and Sam Quested. Dogfight. Music Theatre South. The whole cast fully deserved their standing ovation.

Best Director of a Comedy or Comic Drama

  • Phil Rainforth. Quartermaine’s Terms. Lyndhurst Drama and Musical Society. A stellar cast pulled off this introspective comedy/ drama.
  • Jim Lockwoood. Star Quality. Lymington Players. Clear and well executed.
  • Marina Voak. Last Stay at Fawlty Towers. Fareham Musical Society. She directed her cast to wring every last drop of comedy out of the show.
  • Alec Walters. Barefoot in the Park. Chesil Theatre. Great direction that elicited snorts and chuckles from the off.
  • Paul King. Tunnel of Love. Titchfield Festival Theatre. A combination of Commedia del arte, French farce and silent movie.
  • Ed Howson. Jumpers for Goalposts. RAODS. A Champions league performance.

Best Director of a Youth Production

  • Jonny Carrington. Twisted Tales. IOYT. Jonny Carrington has overseen a piece of physical theatre at its very best, gripping and amusing in turn.
  • Sam Quested. The Phantom of the Opera. Centrestage Productions Youth Theatre. A stunning piece of direction.
  • Carrie Lee and Arabella Brodrick. The Lion King. King’s School, Winchester. A masterly piece of direction, drawing the best from its sizeable cast.
  • Gemma Witcombe. Les Misérables. Barton Peveril Sixth Form College. Boldly directed, creating a stylish and dramatically exciting show.
  • Lisa Gilmour. Seussical the Musical, Junior. RAODS Youth. A director of great flair and style.
  • Michelle Smith. Ghost. Richard Taunton Sixth Form College. Brought a bold an inventive touch to this material.

Best Director of a Shakespeare Play

  • Stephen Cosier. Much Ado About Nothing. RAODS. An easy on the eye, cross-gender production.
  • Katherine Evans and David Tatnall. Twelfth Night. Pocket Theatre. Hugely creative, uproariously funny, and downright silly.
  • Ken Hann. Richard 11. Maskers Theatre Company. An accessible story told with clarity and pace.
  • Will Hankey and Ellie Joyce. Much Ado About Nothing. SUSU. Thoroughly enjoyable 1960’s staging with great choreography.

Youth Ensemble Award

  • Twisted Tales. IOYT. A gripping experience, enlivened by ensemble acting of the highest order.
  • The Lion King. King’s School, Winchester. A beautifully conceived production that transported the audience to the plains of Africa.
  • Les Misérables. Barton Peveril Sixth Form College. One of the outstanding productions of the year.
  • Seussical the Musical, Junior. RAODS Youth. A brilliant rendition of the world of Seuss and its kaleidoscopic pleasures.
  • Ghost. Richard Taunton Sixth Form College. A production of the highest quality.
  • The Phantom of the Opera. Centrestage Productions Youth Theatre. A stunning show.

Production of the Year 

  • Tomorrow, Maybe! Stickman Productions. Unique and fresh.
  • The Lady in the Van. Titchfield Festival Theatre. Irresistibly entertaining.
  • Sister Act. Basingstoke ATS. It hit the spot.
  • The Phantom of the Opera. Centrestage Productions Youth Theatre. A magnificent production.
  • Star Quality. Lymington Players. This comedy has depth and pace and fully deserves the support from the local community.