Curtain Call Awards 2011 Nominations

The Daily Echo’s team of impartial judges can now announce their finalists for our prestigious Curtain Call Awards.

They have been scouring Hampshire and beyond in search of actors, actresses, directors, designers and technicians worthy of a nomination. Hundreds of nominees in 37 categories are the best of amateur theatre across the south.

Winners will be announced at our glittering Curtain Call awards ceremony in January.

The bash will be held at Southampton’s De Vere Grand Harbour Hotel on Friday, January 27.

For tickets and details, email jo.richardson@dailyecho.co.uk or call 023 8042 4715.

BEST NEWCOMER

• Steve Carroll. Dr Astrov in Uncle Vanya. Maskers Theatre Company. Grows into his role as the evening progresses.

• Thom Hayes. Jack Lane in The Herbal Bed. Chesil Theatre. A charming, lustful braggart who’s not entirely mistaken.

• Johnny Carrington. Writer and director of Mitchell’s Wings. Maskers Theatre Company in association with Oasis Youth Theatre. Strongly written, tender and witty, the play was a brilliant evocation of a singular figure and his contribution to aeronautics.

• Marlene Hill. Katisha in Hot Mikado. Southampton Operatic Society. She commanded the stage with her severity and stunning, soulful voice.

• Katy Sibbald. Peggy Sawyer in 42nd Street. Salisbury Amateur Operatic Society. She sang and danced everyone else off of the stage in her first leading role with the company.

• Bridget Wilkinson. Director of How the Other Half Loves. Southampton University Players. An impressive first attempt ensured characters were full of vitality, there was great attention to production details and lots of visual humour.

BEST SUPPORTING ACTOR IN A DRAMA

• Tim Schuler. Mr Fairlie in The Woman in White. Lyndhurst Drama and Musical Society. A very amusing portrayal of a hypochondriac.

• Frank Allen. • Guardsman Michael Bowe in My Boy Jack. RAODS. An emotional representation of the effects of war.

• Paul Green. Brendan in The Weir. RAODS. Beautifully underplayed performance, bringing out the best in his fellow actors.

• David Parker. Billy in One Flew Over the Cuckoo’s Nest. Performing Arts Winchester. Vivid portrayal of a fragile young man.

• Chris McKenzie. Ray Dooley in The Beauty Queen of Leenane. Titchfield Festival Theatre. Brings amusing and menacing qualities to his role.

• Tim Robbins. Barnubus Goche in The Herbal Bed. Chesil Theatre. His eager Puritan character appals and entertains.

BEST SUPPORTING ACTRESS IN A DRAMA

• Joanna Russell. Sonya in Uncle Vanya.

Maskers Theatre. Develops her character from naïve girl to woman, with a moving final speech.

•Rachel Carter. Sheila Birling in An Inspector Calls. Titchfield Festival Theatre. Luminous and continually affecting as the daughter.

• Joanna Warner. Sue Bayliss in All My Sons. Bishopstoke Players. A very sharp cameo; her short dialogue with Ann crackles.

• Alice Chadwick. Helen in The Herbal Bed. Chesil Theatre. A lovely performance.

•Frankie Patterson. Mag Forlan in The Beauty Queen of Leenane. Titchfield Festival Theatre. A splendid performance – cunning, spiteful and chiefly concerned with keeping up her intake of telly and Complan.

BEST SUPPORTING ACTOR IN A MUSICAL

• David Smith. Nicely-Nicely Johnson in Guys and Dolls. Performing Arts Company. This was a performance of real depth and warmth, brilliantly sung.

• Iain Steel. Lord Evelyn Oakleigh in Anything Goes. Winchester Operatic Society. A wonderful comedy portrayal which had the audience roaring as he sashayed across the stage.

• Jeremy McCabe. Rupert in Fresher the Musical, Showstoppers. His puppy-dog eagerness and naïve breeding provided much cringe-worthy hilarity.

• Matt Sturgeon. Ko-Ko in Hot Mikado. Southampton Operatic Society. It was a joy to watch Matt, who held his character and provided endless hilarity.

• Chris Wortley. The Cat in Honk. Waterside Musical Society. Scene-stealer Chris was brilliant as the predatory cat.

• Ed Pocock. Father in Children of Eden. Showstoppers. A particular vocal highlight with his omnipotent performance.

BEST SUPPORTING ACTRESS IN A MUSICAL

• Victoria Tuck. Narrator in Peter Pan. Mountbatten Players. An excellent voice both in narrating and singing.

•Sue Rourke. Lady Thiang in The King and I. Fareham Musical Society. She was in fine voice.

• Kerry Butcher. Louise in Gypsy. RAODS. Her acting and singing were of the highest quality.

• Shannon Harris. Marie Kelly in Jack the Ripper. Performing Arts Winchester. Her singing was of an exceptionally high standard.

•Stephanie Prior. Wendy in Peter Pan. Mountbatten Players. An impressive performance as the rapidly-maturing and nurturing Wendy.

BEST SUPPORTING ACTOR IN A COMEDY OR COMIC DRAMA

• Michael Tosdevin. Joe Gittings in The Late Mrs Early. Dalian Players. Genuine concern shown for his friend.

• Peter Ansell. Dr Gerald Drimmond in There Goes The Bride. Poulner Players. A lesson in bewilderment.

• Lee Ruttle. Clown in The 39 Steps. Titchfield Festival Theatre.

• Ken Hann. George in Humble Boy. Maskers Theatre Company. Intensely irritating and hysterically funny with a most memorable special effect.

• Phil Pennington. Cardinal Richelieu in The Three Musketeers. Collingwood RSC. Outstanding, conniving and treacherous.

• Frankie Huin-Wah. Mosca in Volpone. Bench Theatre. Wonderful. Full of poise, expressive gestures and stage presence.

BEST SUPPORTING ACTRESS IN A COMEDY OR COMIC DRAMA

• Lorna Matthews-Keel. Miss Bourne in The Ghost Train. Studio Theatre. Demonstrated admirably the effects of alcohol.

• Frankie Patterson. Clown in The 39 Steps. Titchfield Festival Theatre. In multiple roles, shows her ability to maintain two dialogues at once.

• Louise Jones. Linda in Ladies’ Day. Maskers Theatre Company. A finely tuned comic performance with the intonation and comic timing reminiscent of a young Victoria Wood.

•Sarah-Jayne Wareham. Mercy in Humble Boy. Maskers Theatre Company. Wonderfully funny and poignant in equal measures.

• Moira Trillo. Ouiser in Steel Magnolias. Lymington Players. Wonderful as the cantankerous yet caring old biddy.

• Hilary Causey. Phoebe Firth in Haywire. Lyndhurst Drama and Musical Society. Terrific as the curmudgeonly, cantankerous mother. Her comic timing and wicked cackle brought the character to life.

BEST SUPPORTING ACTOR IN A YOUTH PRODUCTION

• Tom Hopgood. Fat Sam in Bugsy Malone. RAODS Youth. A larger than life character who shamelessly stole every scene.

• Nick Rew. Luminere in Beauty and the Beast. Footlights Youth Theatre. A deliciously witty take on the character of the amorous Luminere.

• James Riley. Nathan Detroit in Guys and Dolls. Stage One. With great presence and a quality of crumpled charm, this Nathan showed why Miss Adelaide was devoted to him.

• Elliot Sturt. Cosmo Brown in Singin’ in the Rain. RicNic Productions. A truly multi-talented performance with the dancing skills and brilliant comic timing of a young Donald O’Connor.

BEST SUPPORTING ACTRESS IN A YOUTH PRODUCTION

• Lauren Caffyn. Ado Annie in Oklahoma! Footlights Youth Theatre. Lauren was charming and kooky in equal measures with a great gift for comedy.

• Olivia Conroy. Lina Lamont in Singin’ in the Rain. RicNic Productions. A wonderful stage presence and a talented comedienne.

• Megan Healy. Miss Adelaide in Guys and Dolls. Stage One. An accomplished and sparkling turn as Miss Adelaide capturing perfectly the wit and vulnerability of the role.

• Natalie Thorn. Mrs Potts in Beauty and the Beast. Footlights Youth Theatre. A warm, witty and totally charming performance as this very motherly character.

BEST SUPPORTING ACTOR IN A SHAKESPEARE PLAY

• Alistair Faulkner. Polonius in Hamlet. Studio Theatre. Fussy and nosey.

• Mick Keegan. Sir Andrew Aguecheek in Twelfth Night. West Meon Theatre. Stayed most in the mind long after the play.

• Chris McKenzie. Malcolm in Macbeth. Titchfield Festival Theatre. An excellent performance as the eventual young king.

BEST SUPPORTING ACTRESS IN A SHAKESPEARE PLAY

• Chloe Gardiner. Dogberry in Much Ado About Nothing. Peter Symonds College English Literature Dept. Part Dawn French, part Jack Sparrow and very comic.

• Alexia Daniels. Ursula in Much Ado About Nothing. Titchfield Festival Theatre. Showed what could be done with a mere ten lines or so.

• Holly Robertson. Olivia in Twelfth Night. Titchfield Festival Theatre. A real highlight.

BEST LIGHTING, SOUND AND EFFECTS

• Tom Evans. Woman in White. Lyndhurst Drama and Musical Society. Gave an added dimension to the play.

• Chris Angell/Kamilla Yates. The Ghost Train. Studio Theatre. No cue missed of the many in this production.

• Tom Smith, Jon Morgan and Chris Shehan. Tom Thumb. Bishopstoke Players. Impressive effects added greatly to the fun of this show.

• Rob Dixon. All My Sons. Bishopstoke Players. Added impact at some key moments.

• Clive Weeks and Jamie McCarthy. Humble Boy. Maskers Theatre Company. Excellent work that discreetly embellished the play.

• Elliot Carmichael, Jon Morgan. Peter Pan. Mountbatten Players. Perfectly captured the magic with their versatile and ethereal lighting, sound and effects.

BEST CHOREOGRAPHER

• Kim Majczak. The King and I. Fareham Musical Society. In a memorable staging, Act 2 included an impressive extended dance sequence.

• Tonderai Immanuel. High School Musical. Performing Arts Winchester. Synchronised and dramatic choreography from the talented Immanuel.

• Matt Newman. Thoroughly Modern Musical. Fareham Musical Society. Superb choreography, executed skilfully by the talented cast.

• Alex Elton. Children of Eden. Showstoppers. Creative and well-drilled and of an exceptionally high standard with the chorus numbers being a particular treat.

• Christina Finn. Jack the Ripper. Performing Arts Winchester. Despite a difficult score the choreography was excellent, especially the group numbers.

BEST OPERA OR MUSICAL

• Our House. Showstoppers. This show delivered on all counts, offering comedy, tragedy, love friendship and a rocking soundtrack.

• The Mikado. Southampton University Light Operatic Society. The quality on display was matched by the orchestra.

• Hello Dolly. Ringwood Musical & Dramatic Society. This most professional of amateur companies chose well for their centenary musical with quality performances.

• Children of Eden. Showstoppers. A fresh and vibrant production delivered by a talented cast and crew.

• The King and I. Fareham Musical Society. A memorable staging with superb casting in the lead roles.

• The Gondoliers. Salisbury Amateur Operatic Society. The show sizzled with enthusiasm and laughter, a show thoroughly professional in every way.

BEST MUSICAL DIRECTOR

• Bella Brown. Our House. Showstoppers. Superb vocals and band musically delivered with energy and pizzazz.

• John Dempster. Gondoliers. Salisbury Amateur Operatic Society. A beautifully performed overture and show from the note-perfect orchestra.

• Kezia Jacombs. The Mikado. Southampton University Light Operatic Society. The vocal quality on display was matched by the orchestra.

• Chris Guy. Hello Dolly. Ringwood Musical and Dramatic Society. The musical accompaniment was spot-on throughout.

• Vikki Rogers. Children of Eden. Showstoppers. An excellent orchestra and tight vocals topped off this involving and emotional production.

BEST ACTOR IN A DRAMA

• Matt Avery. Vanya in Uncle Vanya. Maskers Theatre Company. Beautifully balanced, convincing performance.

• Chris March. Gary in Dead Guilty. Lymington Players. He makes Gary sympathetic but edgy.

• Adam Lloyd. McMurphy in One Flew Over the Cuckoo’s Nest. Performing Arts Winchester. He creates a believable character with a huge emotional range.

• Colin Carter. Joe Keller in All My Sons. Bishopstoke Players. Generous and idealistic but driven to error and compromise by desperation.

• Clive Butcher. Michael in Dead Certain, RAODS. Extracts maximum value from his material.

• Paul Warne. Willie in Blue Remembered Hills, Hamble Players. A particularly effective performance.

BEST ACTRESS IN A DRAMA

• Georgie Gulliford. Maureen Forlan in The Beauty Queen of Leenane. Titchfield Festival Theatre. Despite some extremely bad behaviour, makes her character thoroughly sympathetic.

• Rachael Courage. Yelena in Uncle Vanya, Maskers Theatre Company. Compelling as his nervy, tense wife, as much a mystery to herself as anyone.

• Nikki Pitt. Julia Darrow in Dead Guilty. Lymington Players. On stage throughout and even managing to make “lines to self” sound natural.

• Becky Mills. Carol in Oleanna. RAODS. Quietly boiling with resentment.

• Gina Thorley. Nurse Ratched, One Flew Over the Cuckoo’s Nest, Performing Arts Winchester. Succeeds in making Nurse Ratched appear reasonable at first and then a tyrant.

BEST ACTOR IN A MUSICAL

• Andy Steeds. Cornelius Hackle in Hello Dolly. Ringwood Musical and Dramatic Society. Andy was hilarious as the downtrodden clerk.

• Richard Bennett. Horace Vandengelder in Hello Dolly. Ringwood Musical and Dramatic Society. Gave a simply superb performance in the male lead role.

• Graeme Clements. The King of Siam in The King and I. Fareham Musical Society. Very talented and oozed personality as the oppressive King.

• Matt McGrath. Montague Druitt in Jack the Ripper. Performing Arts Winchester. Played his part with just the right amount of mystery and hidden longing to keep the audience theorising about his motives.

• Peter Ward. Joe Casey in Our House. Showstoppers. It was easy to empathise with impressionable Joe because of the integrity of his acting.

• Peter Barber. Teyve in Fiddler on the Roof. Winchester Operatic Society. Peter excelled in the role of Teyve with his mesmerising characterisation.

BEST NEWCOMER

• Steve Carroll. Dr Astrov in Uncle Vanya. Maskers Theatre Company. Grows into his role as the evening progresses.

• Thom Hayes. Jack Lane in The Herbal Bed. Chesil Theatre. A charming, lustful braggart who’s not entirely mistaken.

• Johnny Carrington. Writer and director of Mitchell’s Wings. Maskers Theatre Company in association with Oasis Youth Theatre. Strongly written, tender and witty, the play was a brilliant evocation of a singular figure and his contribution to aeronautics.

• Marlene Hill. Katisha in Hot Mikado. Southampton Operatic Society. She commanded the stage with her severity and stunning, soulful voice.

• Katy Sibbald. Peggy Sawyer in 42nd Street. Salisbury Amateur Operatic Society. She sang and danced everyone else off of the stage in her first leading role with the company.

• Bridget Wilkinson. Director of How the Other Half Loves. Southampton University Players. An impressive first attempt ensured characters were full of vitality, there was great attention to production details and lots of visual humour.

BEST SUPPORTING ACTOR IN A DRAMA

• Tim Schuler. Mr Fairlie in The Woman in White. Lyndhurst Drama and Musical Society. A very amusing portrayal of a hypochondriac.

• Frank Allen. Guardsman Michael Bowe in My Boy Jack. RAODS. An emotional representation of the effects of war.

• Paul Green. Brendan in The Weir. RAODS. Beautifully underplayed performance, bringing out the best in his fellow actors.

• David Parker. Billy in One Flew Over the Cuckoo’s Nest. Performing Arts Winchester. Vivid portrayal of a fragile young man.

• Chris McKenzie. Ray Dooley in The Beauty Queen of Leenane. Titchfield Festival Theatre. Brings amusing and menacing qualities to his role.

• Tim Robbins. Barnubus Goche in The Herbal Bed. Chesil Theatre. His eager Puritan character appals and entertains.

BEST SUPPORTING ACTRESS IN A DRAMA

• Joanna Russell. Sonya in Uncle Vanya. Maskers Theatre. Develops her character from naïve girl to woman, with a moving final speech.

• Rachel Carter. Sheila Birling in An Inspector Calls. Titchfield Festival Theatre. Luminous and continually affecting as the daughter.

• Joanna Warner. Sue Bayliss in All My Sons. Bishopstoke Players. A very sharp cameo; her short dialogue with Ann crackles.

• Alice Chadwick. Helen in The Herbal Bed. Chesil Theatre. A lovely performance.

• Frankie Patterson. Mag Forlan in The Beauty Queen of Leenane. Titchfield Festival Theatre.

A splendid performance – cunning, spiteful and chiefly concerned with keeping up her intake of telly and Complan.

BEST SUPPORTING ACTOR IN A MUSICAL

• David Smith. Nicely-Nicely Johnson in Guys and Dolls. Performing Arts Company. This was a performance of real depth and warmth, brilliantly sung.

• Iain Steel. Lord Evelyn Oakleigh in Anything Goes. Winchester Operatic Society. A wonderful comedy portrayal which had the audience roaring as he sashayed across the stage.

• Jeremy McCabe. Rupert in Fresher the Musical, Showstoppers. His puppy-dog eagerness and naïve breeding provided much cringe-worthy hilarity.

• Matt Sturgeon. Ko-Ko in Hot Mikado. Southampton Operatic Society. It was a joy to watch Matt, who held his character and provided endless hilarity.

• Chris Wortley. The Cat in Honk. Waterside Musical Society. Scene-stealer Chris was brilliant as the predatory cat.

• Ed Pocock. Father in Children of Eden. Showstoppers. A particular vocal highlight with his omnipotent performance.

BEST SUPPORTING ACTRESS IN A MUSICAL

• Victoria Tuck. Narrator in Peter Pan. Mountbatten Players. An excellent voice both in narrating and singing.

• Sue Rourke. Lady Thiang in The King and I. Fareham Musical Society. She was in fine voice.

• Kerry Butcher. Louise in Gypsy. RAODS. Her acting and singing were of the highest quality.

• Shannon Harris. Marie Kelly in Jack the Ripper. Performing Arts Winchester. Her singing was of an exceptionally high standard.

• Steph Edwards. Wendy in Peter Pan. Mountbatten Players. An impressive performance as the rapidly-maturing and nurturing Wendy.

BEST SUPPORTING ACTOR IN A COMEDY OR COMIC DRAMA

• Michael Tosdevin. Joe Gittings in The Late Mrs Early. Dalian Players. Genuine concern shown for his friend.

• Peter Ansell. Dr Gerald Drimmon in There Goes The Bride. Poulner Players. A lesson in bewilderment.

• Lee Ruttle. Clown in The 39 Steps. Titchfield Festival Theatre.

• Ken Hann. George in Humble Boy. Maskers Theatre Company. Intensely irritating and hysterically funny with a most memorable special effect.

• Phil Pennington. Cardinal Richelieu in The Three Musketeers. Collingwood RSC. Outstanding, conniving and treacherous.

• Frankie Huin-Wah. Mosca in Volpone. Bench Theatre. Wonderful. Full of poise, expressive gestures and stage presence.

BEST SUPPORTING ACTRESS IN A COMEDY OR COMIC DRAMA

• Lorna Matthews-Keel. Miss Bourne in The Ghost Train. Studio Theatre. Demonstrated admirably the effects of alcohol.

• Frankie Patterson. Clown in The 39 Steps. Titchfield Festival Theatre. In multiple roles, shows her ability to maintain two dialogues at once.

• Louise Jones. Linda in Ladies’ Day. Maskers Theatre Company. A finely tuned comic performance with the intonation and comic timing reminiscent of a young Victoria Wood.

• Sarah-Jayne Wareham. Mercy in Humble Boy. Maskers Theatre Company. Wonderfully funny and poignant in equal measures.

• Moira Trillo. Ouiser in Steel Magnolias. Lymington Players. Wonderful as the cantankerous yet caring old biddy.

• Hilary Causey. Phoebe Firth in Haywire. Lyndhurst Drama and Musical Society. Terrific as the curmudgeonly, cantankerous mother. Her comic timing and wicked cackle brought the character to life.

BEST SUPPORTING ACTOR IN A YOUTH PRODUCTION

• Tom Hopgood. Fat Sam in Bugsy Malone. RAODS Youth. A larger than life character who shamelessly stole every scene.

• Nick Rew. Luminere in Beauty and the Beast. Footlights Youth Theatre. A deliciously witty take on the character of the amorous Luminere.

• James Riley. Nathan Detroit in Guys and Dolls. Stage One. With great presence and a quality of crumpled charm, this Nathan showed why Miss Adelaide was devoted to him.

• Elliot Sturt. Cosmo Brown in Singin’ in the Rain. RicNic Productions. A truly multi-talented performance with the dancing skills and brilliant comic timing of a young Donald O’Connor.

BEST SUPPORTING ACTRESS IN A YOUTH PRODUCTION

• Lauren Caffyn. Ado Annie in Oklahoma! Footlights Youth Theatre. Lauren was charming and kooky in equal measures with a great gift for comedy.

• Olivia Conroy. Lina Lamont in Singin’ in the Rain. RicNic Productions. A wonderful stage presence and a talented comedienne.

• Megan Healy. Miss Adelaide in Guys and Dolls. Stage One. An accomplished and sparkling turn as Miss Adelaide capturing perfectly the wit and vulnerability of the role.

• Natalie Thorn. Mrs Potts in Beauty and the Beast. Footlights Youth Theatre. A warm, witty and totally charming performance as this very motherly character.

BEST SUPPORTING ACTOR IN A SHAKESPEARE PLAY

• Alistair Faulkner. Polonius in Hamlet. Studio Theatre. Fussy and nosey.

• Mick Keegan. Sir Andrew Aguecheek in Twelfth Night. West Meon Theatre. Stayed most in the mind long after the play.

• Chris McKenzie. Malcolm in Macbeth. Titchfield Festival Theatre. An excellent performance as the eventual young king.

BEST SUPPORTING ACTRESS IN A SHAKESPEARE PLAY

• Chloe Gardiner. Dogberry in Much Ado About Nothing. Peter Symonds College English Literature Dept. Part Dawn French, part Jack Sparrow and very comic.

• Alexia Daniels. Ursula in Much Ado About Nothing. Titchfield Festival Theatre. Showed what could be done with a mere ten lines or so.

• Holly Robertson. Olivia in Twelfth Night. Titchfield Festival Theatre. A real highlight.

BEST LIGHTING, SOUND AND EFFECTS

• Tom Evans. Woman in White. Lyndhurst Drama and Musical Society. Gave an added dimension to the play.

• Chris Angell/Kamilla Yates. The Ghost Train. Studio Theatre. No cue missed of the many in this production.

• Tom Smith, Jon Morgan and Chris Shehan. Tom Thumb. Bishopstoke Players. Impressive effects added greatly to the fun of this show.

• Rob Dixon. All My Sons. Bishopstoke Players. Added impact at some key moments.

• Clive Weeks and Jamie McCarthy. Humble Boy. Maskers Theatre Company. Excellent work that discreetly embellished the play.

•Elliot Carmichael, Jon Morgan. Peter Pan. Mountbatten Players. Perfectly captured the magic with their versatile and ethereal lighting, sound and effects.

BEST CHOREOGRAPHER

• Kim Majczak. The King and I. Fareham Musical Society. In a memorable staging, Act 2 included an impressive extended dance sequence.

• Tonderai Immanuel. High School Musical. Performing Arts Winchester. Synchronised and dramatic choreography from the talented Immanuel.

• Matt Newman. Thoroughly Modern Musical. Fareham Musical Society. Superb choreography, executed skilfully by the talented cast.

• Alex Elton. Children of Eden. Showstoppers. Creative and well-drilled and of an exceptionally high standard with the chorus numbers being a particular treat.

• Christina Finn. Jack the Ripper. Performing Arts Winchester. Despite a difficult score the choreography was excellent, especially the group numbers.

BEST OPERA OR MUSICAL

• Our House. Showstoppers. This show delivered on all counts, offering comedy, tragedy, love friendship and a rocking soundtrack.

• The Mikado. Southampton University Light Operatic Society. The quality on display was matched by the orchestra.

• Hello Dolly. Ringwood Musical & Dramatic Society. This most professional of amateur companies chose well for their centenary musical with quality performances.

• Children of Eden. Showstoppers. A fresh and vibrant production delivered by a talented cast and crew.

• The King and I. Fareham Musical Society. A memorable staging with superb casting in the lead roles.

• The Gondoliers. Salisbury Amateur Operatic Society. The show sizzled with enthusiasm and laughter, a show thoroughly professional in every way.

BEST MUSICAL DIRECTOR

• Bella Brown. Our House. Showstoppers. Superb vocals and band musically delivered with energy and pizzazz.

• John Dempster. Gondoliers. Salisbury Amateur Operatic Society. A beautifully performed overture and show from the noteperfect orchestra.

• Kezia Jacombs. The Mikado. Southampton University Light Operatic Society. The vocal quality on display was matched by the orchestra.

• Chris Guy. Hello Dolly. Ringwood Musical and Dramatic Society. The musical accompaniment was spot-on throughout.

• Vikki Rogers. Children of Eden. Showstoppers. An excellent orchestra and tight vocals topped off this involving and emotional production.

BEST ACTOR IN A DRAMA

• Matt Avery. Vanya in Uncle Vanya. Maskers Theatre Company. Beautifully balanced, convincing performance.

• Chris March. Gary in Dead Guilty. Lymington Players. He makes Gary sympathetic but edgy.

• Adam Lloyd. McMurphy in One Flew Over the Cuckoo’s Nest. Performing Arts Winchester. He creates a believable character with a huge emotional range.

• Colin Carter. Joe Keller in All My Sons. Bishopstoke Players. Generous and idealistic but driven to error and compromise by desperation.

• Clive Butcher. Michael in Dead Certain, RAODS. Extracts maximum value from his material.

• Paul Warne. Willie in Blue Remembered Hills, Hamble Players. A particularly effective performance.

BEST ACTRESS IN A DRAMA

• Georgie Gulliford. Maureen Forlan in The Beauty Queen of Leenane. Titchfield Festival Theatre. Despite some extremely bad behaviour, makes her character thoroughly sympathetic.

• Rachael Courage. Yelena in Uncle Vanya, Maskers Theatre Company. Compelling as his nervy, tense wife, as much a mystery to herself as anyone.

• Nikki Pitt. Julia Darrow in Dead Guilty. Lymington Players. On stage throughout and even managing to make “lines to self” sound natural.

• Becky Mills. Carol in Oleanna. RAODS. Quietly boiling with resentment.

• Gina Thorley. Nurse Ratched, One Flew Over the Cuckoo’s Nest, Performing Arts Winchester. Succeeds in making Nurse Ratched appear reasonable at first and then a tyrant.

BEST ACTOR IN A MUSICAL

• Andy Steeds. Cornelius Hackle in Hello Dolly. Ringwood Musical and Dramatic Society. Andy was hilarious as the downtrodden clerk.

• Richard Bennett. Horace Vandengelder in Hello Dolly. Ringwood Musical and Dramatic Society. Gave a simply superb performance in the male lead role.

• Graeme Clements. The King of Siam in The King and I. Fareham Musical Society. Very talented and oozed personality as the oppressive King.

• Matt McGrath. Montague Druitt in Jack the Ripper. Performing Arts Winchester. Played his part with just the right amount of mystery and hidden longing to keep the audience theorising about his motives.

• Peter Ward. Joe Casey in Our House. Showstoppers. It was easy to empathise with impressionable Joe because of the integrity of his acting.

• Peter Barber. Teyve in Fiddler on the Roof. Winchester Operatic Society. Peter excelled in the role of Teyve with his mesmerising characterisation.

BEST ACTRESS IN A MUSICAL

• Liz Petley-Jones. Golde in Fiddler on the Roof. Winchester Operatic Society. Golde perfectly complemented Teyve, creating an air of inner resourcefulness and suffering.

• Alexandra Maclean. Anna in The King and I.

Fareham Musical Society. An all-round classy performance, she looked fabulous and sang beautifully.

• Alison Vincent. Sarah in Guys and Dolls. RAODS. Sang with aplomb and created a likeable and believable character.

• Helen Hodrien. Belle in Beauty and the Beast. Waterside Theatre Company. Succeeded in outshining them all as both actress and singer.

• Jemma-Louise Hunt. Rose in Gypsy. RAODS. Superby played, her acting and singing were of the highest quality.

• Suzy Collins. Dolly in Hello Dolly. Ringwood Musical Dramatic Society. Simply fabulous in the starring role, stood out among a talented company.

BEST ACTOR IN A COMEDY OR COMIC DRAMA

• James Simmonds. Teddie Deacon in The Ghost Train. Studio Theatre. Smooth transition from fool to sleuth.

• Mike Parker. Benjamin in The Graduate. CCADS. Delivers all sides of this complex young man.

• Ed Owen-Jones. D’Artagnan in The Three Musketeers. Collingwood RSC. Brilliant, particularly in his letter-writing monologues.

• Terry Smyth. Volpone in Volpone. Bench Theatre. Deliciously wicked, terrific stage presence and wonderful poise.

• James Coughlan. Justin Lazenby in Role Play. Studio Theatre. Outstanding as confused Justin. Realistic and believable.

• Brian Stansbridge. Long John Silver in Treasure Island. The Maskers Theatre Company. Enigmatically heroic villain.

BEST ACTRESS IN A COMEDY OR COMIC DRAMA

• Sally Paffett. Anabella, Pamela and Margaret in The 39 Steps. Titchfield Festival Theatre. Very attractive and witty.

• Kerry McCrohon. Mrs Robinson in The Graduate. CCADS. Her suburban femme fatale becomes genuinely sympathetic.

• Jan Spiers. Flora in Humble Boy. Maskers Theatre Company. Perfect blend of dominant brashness and poignant vulnerability.

• Jane Blatch-Gainey. Porthos in The Three Musketeers. Collingwood RSC. Terrific comic timing and reactions and a commanding presence.

• Barbara Evans. Clairee in Steel Magnolias. Lymington Players. Great Southern drawl, ideal mannerisms, always in character.

• Joanna Russel. Jim Hawkins in Treasure Island. The Maskers Theatre Company. Excelled as charismatic principal boy.

BEST ACTOR IN A YOUTH PRODUCTION

• Stephen Lilly. Bugsy Malone in Bugsy Malone. RAODS Youth. An assured, charismatic performance in the lead role that carried along the whole production.

• Joe Pickering. Joe Casey in Our House. Encore Youth Theatre. With a commanding stage presence, Joe gave an impressively nuanced interpretation of the dual roles.

• Sam Ring. Skye Masterson in Guys and Dolls. Stage One. A performance of cool assurance and charm that swept the audience as well as Sarah Brown off their feet.

• Mark Smith. Don Lockwood in Singin’ in the Rain. RicNic Productions. Mark brought an effortless cool and charisma to the role of movie star and singer/dancer.

BEST ACTRESS IN A YOUTH PRODUCTION

• Leah Powell. Dora Tomb in A Tomb with a View. Gantry Youth Theatre. Her excellent timing and characterisation make you enjoy and forget she’s acting.

• Natasha Brown. Sarah Brown in Guys and Dolls. Stage One. A good mix of innocent primness and latent womanly charms packaged with a winning vocal performance.

• Katherine Evans. Belle in Beauty and the Beast. Footlights Youth Theatre. A beautifully poised performance that captured the purity of spirit and inner beauty of the role.

• Sophie Harley. Kathy Seldon in Singin’ in the Rain. RicNic Productions. A suitably engaging and sparkling performance that added up to a star turn.

• Charlie Walker. Nancy in Oliver! Perins Youth Theatre. Charlie gave a superb interpretation, bringing great pathos to the role.

• Daisy Wheeller. Dorothy in The Wizard of Oz. Centrestage Productions Youth Theatre. A charming and beautifully sung performance and an authoritative stage presence that anchored the production.

BEST ACTOR IN A SHAKESPEARE PLAY

• Ben Tucker. Benedick in Much Ado About Nothing. Peter Symonds College English Literature Dept. Fine in terms of stage presence, audibility and easy rapport with the audience

• Stewart Taylor. Hamlet in Hamlet. Studio Theatre. Complex and compelling.

• Rob Bartlett. Mark Antony in Antony & Cleopatra. Southsea Shakespeare Actors. Sensitively portrayed a world leader increasingly torn between duty and pleasure.

BEST ACTRESS IN A SHAKESPEARE PLAY

• Katie Jacobs. Viola in Twelfth Night. West Meon Theatre. Perfectly cast.

• Jess Cutting. Cleopatra in Antony & Cleopatra. Southsea Shakespeare Actors. Her shrill and frivolous Egyptian Queen featured strongly.

• Rachel Fletcher. Gertrude in Hamlet. Studio Theatre. A superb weak-willed Queen.

BEST PERFORMANCE IN A PANTOMIME

• George Ellison. The Piper in The Pied Piper, RAODS. Gives the Piper the right tone of sinister authority, though she makes him reasonably sympathetic by the story’s resolution.

• Helen Ford and Joe Sleight. Hans and Nees in The Pied Piper, RAODS. They create an excellent comedy duo and maintain such concentration and focus.

• June Buxton. Morgana in A Knight’s Tale. Poulner Players. Commanded the stage in this evil, conniving role.

• Holly Williams. Sleeping Beauty in Sleeping Beauty. Otterbourne Village Hall Committee. Perfectly cast.

• John Pitman. Dolly in Sleeping Beauty. Otterbourne Village Hall Committee. Excellent dame with natural comic flair and memorable dances.

• Matt Lock. King Rat in Dick Whittington. Westfield Productions. Commanding and comedic villain with a gritty rock voice.

BEST PANTOMIME

• Puss in Boots. West Meon Theatre. Packed with fun characters, corny jokes and village references.

• Dick Whittington. Westfield Productions. Originally scripted panto with the coolest cat and the cutest rats.

• Goldilocks and the Three Bears. Woolston Players. Community and youth theatre at its best.

• Jack and the Beanstalk. Warsash Theatre Club. The whole performance was faultless from curtain up to encore.

BEST SET AND PROPS

• Colin Hayman. The Ghost Train. Studio Theatre. A completely realistic railway station waiting room.

• Andy Bumfrey and Nick Hall. Frankenstein. Titchfield Festival Theatre. An expressionist set added greatly to the show’s atmosphere.

• David Woodward and Jo Burnaby, The Herbal Bed. Chesil Theatre. Clever set design and wonderful props give a convincing sense of the purposeful household of physician John Hall.

• Peter Liddiard, Roger Lockett, Graham Buchanan, Philip Evans, Jez Minns, Alan Rowe, Ella Lockett and Fran Morley. Humble Boy, Maskers Theatre Company. Set and props perfectly served this complex production.

• George Philpot, Alan Griffin, Keith Dulake, Amanda Knight, Ben Dulake. War of the Worlds. CCADS. Breathtaking and impressive.

• John Hamon. Treasure Island. The Maskers Theatre Company. Brilliantly designed set transported the audience from grimy docks to sailing ship.

BEST COSTUMES

• Serena Brown. Uncle Vanya. Maskers Theatre Company. Costumes that were beautiful but historically convincing.

• Sue McCrohon. The Graduate. CCADS. Greatly added to the 60s atmosphere.

• Llyn Parker, Barbara Chase, Nina Conolly, Sylvia Jobling and Pat Jones. The Herbal Bed. Chesil Theatre. Excellent costumes helped portray the characters.

• Jeannie Seymour. Hello Dolly. Ringwood Musical and Dramatic Society. The impressive costumes matched the quality of the performances.

• Sue Tatnall. The Gondoliers. Eastleigh Operatic and Musical Society. Detailed and wellfitting costumes added to the overall ambience.

BEST PERFORMANCE IN AN OPERA

• Megan Gibson. Yum-Yum in The Mikado. Southampton University Light Operatic Society. Proving that the best things come in the smallest packages, her performance was a joy to behold.

• Timothy Case. Poo-Bah in The Mikado. Southampton University Light Operatic Society. Hilarious as one half of the comedy duo.

• Adrian Hickford. Lord Chancellor in Iolanthe. Pocket Gilbert and Sullivan. Turned in a stellar performance as a teddy-cuddling Lord Chancellor.

• Lisa Axworthy. Casilda in The Gondoliers. Eastleigh Operatic and Musical Society. Lisa was a joy to watch and listen to as she played the haughty Casilda.

BEST DIRECTOR OF A DRAMA

• Ken Hann. Uncle Vanya. Maskers Theatre Company. Did full justice to every aspect of this classic play.

• Tom Williams. The Herbal Bed. Chesil Theatre. Skilful direction makes the unseen Shakespeare another important role.

• Emily Cutler and Peter Jennison. One Flew Over the Cuckoo’s Nest. Performing Arts Winchester. True to the spirit of the book and film, entertaining and with substance.

• Richard Hackett. The Beauty Queen of Leenane. Titchfield Festival Theatre. Gives a vivid picture of lives constrained and distorted by aspects of Irish history.

• Kevin Fraser. Dancing at Lughnasa. Titchfield Festival Theatre. Creates a magical atmosphere.

• Paul Green. Oleanna. RAODS. Creates a taut production.

BEST DIRECTOR OF A MUSICAL OR OPERA

• Ben Lister. The King and I. Fareham Musical Society. This delivered a memorable staging with superb casting in the lead roles.

• Jon Haines. Our House. Showstoppers. Jon’s fresh ideas created a vibrant and compelling production.

• Chrissie Peckham. Hello Dolly. Ringwood Musical and Dramatic Society. A near-faultless performance that drew rapturous applause from the capacity audience.

• David Tatnall. Iolanthe. Pocket Gilbert & Sullivan. Pulled together a team of considerable talent for this inaugural show.

• Steve Hosking and Matthew Ronchetti. Children of Eden. Showstoppers. The directors overcame the challenges of the venue and added a host of subtle and original touches.

BEST DIRECTOR OF A COMEDY OR COMIC DRAMA

• Julian Sluggett. The 39 Steps. Titchfield Festival Theatre. Has really come up with a splendid show, worthy of Hitchcock, Barlow and this talented cast and crew.

• John-Paul McCrohon. The Graduate, CCADS. His smooth direction maintained cracking pace, humour and pathos.

• Ros Liddiard. Humble Boy. The Maskers Theatre Company. High quality production and well-directed performances with inspired scene setting for the garden dinner party.

• Chris Blatch-Gainey. The Three Musketeers. Collingwood RSC. Great combat scenes ensured the fine-line between comedy and drama were achieved in magnificent style.

• Jeff Bone. Volpone. Bench Theatre. A strong ensemble production. Great visual humour and skilfully subtle production elements.

• Rob Praine. Treasure Island. The Maskers Theatre Company. A rip-roaring, swash-buckling tale of enormous fun.

BEST DIRECTOR OF A YOUTH PRODUCTION

• David Tatnall. Beauty and the Beast. Footlights Youth Theatre. David showed his mastery of the material with a tightly controlled, beautifully realised production.

• Jacqui Ivemy. Guys and Dolls. Stage One. Jacqui showed a deft control of the material, creating an inventive and visually striking piece.

• Marilitsa Tresair. Oliver! Perins Youth Theatre. Under Marilitsa’s assured direction this was a wonderfully choreographed, atmospheric and gripping show that reduced the audience to tears.

• Noël Jones. Our House. Encore Youth Theatre. Noël delivered a wonderfully paced, energetic production that never overwhelmed the excellent performances she drew from her cast.

• Alex Millen. Singin’ in the Rain. RicNic Productions. Alex proved himself a supremely precocious and gifted talent with this brilliantly conceived and wonderfully produced show.

BEST DIRECTOR OF A SHAKESPEARE PLAY

• Mary Dawson. Twelfth Night. West Meon Theatre. Marvellous from the opening shipwreck to the happy denouement.

• Lesley Bates. Hamlet. Studio Theatre. An engrossing production.

• Rob Bartlett. Antony & Cleopatra. Southsea Shakepseare Actors. An accessible and stronglycast version.

YOUTH ENSEMBLE AWARD

• Beauty and the Beast. Footlights Youth Theatre. A finely honed, witty and visually stunning piece which delivered on all levels.

• Guys and Dolls. Stage One. An inventive and visually stunning production with a lush musical arrangement and a top notch cast.

• Oliver! Perins Youth Theatre. A production of vaunting ambition, depth and style brilliantly evoking the Dickensian drama.

• Our House. Encore Youth Theatre. A finely balanced production that meshed superbly the manic energy and humour with the affecting morality tale at its core.

• Singin’ in the Rain. RicNic Productions. A slick, confident and wonderfully acted production that delivered in terms of acting, style and dance.

PRODUCTION OF THE YEAR

• Uncle Vanya. Maskers Theatre Company. Authentic, moving and beautifully staged.

• The Herbal Bed. Chesil Theatre. Truly absorbing historical drama

• The Graduate. CCADS. Thoroughly entertaining

• The King and I. Fareham Musical Society. This show delivered on all counts.

• The Three Musketeers. Collingwood RSC. Fabulous characters, wonderful entertainment.

• Treasure Island. The Maskers Theatre Company. Strong ensemble production full of wonderfully colourful characters and a gritty realism.