Curtain Call Awards 2014 - the nominations

The Daily Echo’s team of impartial judges have been scouring the south coast seeking out the very best actors, actresses, producers and crew in genres from comedy to drama, youth to pantomimes and musicals to Shakespeare.

Now, after hours of debate and discussion, the votes are in.

We can today reveal the nominees in each of 37 categories, including the coveted Production of the Year award.

Nominees will now have to wait until Friday, January 30 to see if their name is inside the winning golden envelope.

Our glittering annual Curtain Call Awards will take place at Southampton's Grand Harbour Hotel.

Tables of ten are available for the event, priced £39 per person.

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

BEST NEWCOMER

• Hannah Edwins. Tracy Turnblad in Hairspray. Music Theatre South. A wonderfully confident first leading role.

• Eleanor Brooks and Josh Pellegrini. Directors of Metamorphosis. Performing Arts Winchester. Created a powerful and enthralling show.

• Eileen Bellamy. Minnie Brown in The Militants. The Worthy Players. Makes the impact of the Suffragette movement very real.

• Mark Wakeman. Volpone in Volpone. Titchfield Festival Theatre. A performance rich in physical comedy and lightning changes of tone.

• Christopher Gardner. George Gibbs in Our Town. Maskers Theatre Company. Touching as a young man approaching life, marriage and personal tragedy.

• Gemma Mabeley. Director of How The Other Half Loves. Bursledon Players. A debut that managed to coax convincing performances from all the cast.

BEST SUPPORTING ACTOR IN A DRAMA 

• Matt Robinson. Chief Clerk in Metamorphosis. Performing Arts Winchester. Created an uncaring and sinister character.

• Matthew Ellison. George in Precious Little Talent. RAODS. As an academic suffering the onset of dementia, he displays a natural authority that makes his predicament all the more affecting.

• Pete Westmorland. Otto Gross in The Talking Cure. CCADS. A vivid performance.

• James Forster. Reverend Hale in The Crucible. Broken Arrow Productions. An honest man, who realises his mistake too late.

• Peter Trott. Donald in Blue Remembered Hills. Titchfield Festival Theatre. A haunting performance as a sensitive and victimised child.

• Vic Milne. Chris in All My Sons. Lyndhurst Drama and Musical Society. A great portrayal of a man torn by decisions.

BEST SUPPORTING ACTRESS IN A DRAMA

• Rebecca Leadley. Sheila in An Inspector Calls. Cheriton Players. An emotional performance, made even more impressive by standing in at the 11th hour.

• Zoe Fisher. Emma Jung in The Talking Cure. CCADS. Adds a brief joyful note as Jung’s pregnant wife.

• Christine English. Sylvia Shaw in The Thrill of Love. RAODS. Perfectly ‘in the moment’ as a shrewd nightclub manageress.

• Claire Jakeman. Tillie in The Effect of Gamma Rays on Man-in-the-Moon Marigolds. Chesil Theatre. Shows sensitivity and wit.

• Jennifer Hampton. Agnes in Agnes of God. RAODS. The picture of a damaged innocent, with a fine singing voice to boot.

• Emma Buck. Ann in All My Sons. Lyndhurst Drama and Musical Society. A gripping performance.

BEST SUPPORTING ACTOR IN A MUSICAL

• Richard Chamberlin. Bob Cratchit in Scrooge. Eastleigh Operatic and Musical Society. A humble portrayal.

• Christian Coelho. Jacob in La Cage Aux Folles. SJ Productions. Uproarious physical displays.

• Adam Myers. Edna in Hairspray. Music Theatre South. A wonderful, occasionally ad-libbing, interpretation.

• Mark Johnson. Hysterium in A Funny Thing Happened on the Way to the Forum. RAODS. Hilarious, hand-wrung and writhing.

• Mark Ponsford. Wilbur in Hairspray. Music Theatre South. An hilarious performance, capping a tremendous year.

• Matt Sackman. Cousin Kevin in The Who’s Tommy. CCADS. An impressive contribution as this downright seedy character.

BEST SUPPORTING ACTRESS IN A MUSICAL

• Aimee Batchelor. Gussie in Merrily We Roll Along. Showstoppers. An inspired performance with calculated modesty and deception.

• Claire Timms. Widow Corney in Oliver! Musical Theatre Salisbury. Outwardly coy, inwardly harridan and overall excellent!

• Chinonye Iroegbulem. Maybelle in Hairspray. Music Theatre South. Twice stopped the show with impassioned solos.

• Stacey Barnett. Amber in Hairspray. Music Theatre South. Another excellent performance from a rich talent.

• Charlene Hammer. Rizzo in Grease. The Portsmouth Players. A very professional-looking amateur.

BEST SUPPORTING ACTOR IN A COMEDY OR COMIC DRAMA

• Charlie Hellard. Freddie in Oh, Clarence! Cheriton Players. A spot-on farcical characterisation.

• Neville Green. Victor Velasco in Barefoot in the Park. Lyndhurst Drama & Musical Society. Highly amusing as the initially sleazy, but ultimately warm-hearted neighbour.

• Stew Taylor. Harry Crump and Sergeant Wilson in The Titfield Thunderbolt. Studio Theatre. Wonderful, diverse characters with excellent comic timing.

BEST SUPPORTING ACTRESS IN A COMEDY OR COMIC DRAMA

• Di Buck. Mrs Banks in Barefoot in the Park. Lyndhurst Drama & Musical Society. Convincing with wonderful facial expressions and comic timing.

• Hazel Burrows. Lady Bracknell in The Importance of Being Earnest. Maskers Theatre Company. Wonderful mannerisms and vocal tone.

• Theo Ross. Topsy Lavish in Making Money. Studio Theatre. A lovely cameo.

• Kae Yeboah. Madame Arcati in Blithe Spirit. Southampton University Students Union Theatre Group. Spellbindingly amusing.

• Gemma Mabley. Pike in Dad’s Army. Bursledon Players. Very endearing, particularly in devotion to Cpt Mainwaring.

• Julie Bowring. Mary in How the Other Half Loves. Bursledon Players. Meekness personified.

BEST SUPPORTING ACTOR IN A YOUTH PRODUCTION

• Edward Morris. JB Biggley in How to Succeed in Business Without Really Trying. Encore Youth Theatre. Edward’s performance highlighted his tremendous talent for physical comedy.

• Luke Devlin. Scarecrow in The Wiz. RAODS Youth. Charming and witty.

• Nick Rew. Prospero in Return to the Forbidden Planet. Footlights Youth Theatre. A great physical performance as the mad scientist.

• Lewis Evans. Ollie in Bang Out of Order. Oasis Youth Theatre. Impressive as the confused, resentful Ollie.

• Jack Shaw-Downie. Herr Shultz in Cabaret. Barton Peveril Sixth Form College. Full of feeling.

• Callum Searle. Herod in Rock Nativity. New Forest Academy with Blackfield and Cadland Schools. A dominant and malignant presence.

BEST SUPPORTING ACTRESS IN A YOUTH PRODUCTION

• Felicia Gray. Fräulein Schneider in Cabaret. Barton Peveril Sixth Form College. A beautifully judged and deeply touching rendition.

• Beth Warne. Rizzo in Grease. Centrestage Productions Youth Theatre. Pitch-perfect as the dark angel.

• Caitlin Buckley. Miss Hannigan in Annie. Debut Youth Theatre. A beautifully pitched comic performance.

• Holly Ind. Mrs Sowerberry in Oliver! Centrestage Productions Youth Theatre. A wonderfully comic turn.

• Phoebe Venturi. Addaperle in The Wiz. RAODS Youth. Sassy and immensely fun.

• Sally Britton. The Wiz in The Wiz. RAODS Youth. Sally was in commanding, colourful form.

BEST SUPPORTING ACTOR IN A SHAKESPEARE PLAY

• Rick Oakley. The Porter in Macbeth. Titchfield Festival Theatre. Hugely funny, a natural comic talent.

• Josh Coates. Edmund in King Lear. Titchfield Festival Theatre. Strong and confident, speaking the verse well.

• Danny Carter. Macduff in Macbeth. Southsea Shakespeare Actors. A sensitive portrayal of this wronged character.

BEST SUPPORTING ACTRESS IN A SHAKESPEARE PLAY

• Shelley Hart. Duchess of York in Richard III. Titchfield Festival Theatre. Delivered the part well.

• Charlotte Thomas. Helena in A Midsdummer Night’s Dream. CCADS. An athletic portrayal.

• Abi Philo. Helena in A Midsummer Night’s Dream. Royal Navy Theatre Association. A particularly spirited performance.

BEST LIGHTING, SOUND AND EFFECTS

• Sam Glass. Bang Out Of Order. Oasis Youth Theatre. An object lesson in creating atmosphere and nuance with sound and effects.

• Tony Lawther. Ruddigore. Eastleigh Operatic and Musical Society. Otherworldly lighting added an extra dimension.

• Tony Neal, Lee Stoddart, Phil D’Souza, Steve Cubitt and team. The Who’s Tommy. CCADS. The set worked well, with innovative lighting and crystalclear sound.

• Ben Riley (lighting). A Christmas Carol. Burdock Valley Players. Fabulous. Particularly commendable within the constraints of a small village hall, demonstrating creativity and imagination.

• Rob King and team. Woyzeck. Titchfield Festival Theatre. A stunning production with effective lighting and sound effects.

• Mike Matthias (lighting design) and Jamie McCarthy (sound design) for Betrayal. Maskers Theatre Company. Effectively sets the scene and period for this ’70s Pinter drama.

BEST CHOREOGRAPHER

• Harry Andreou. Loserville. Music Theatre South. The choreography was cohesive and interesting.

• Beth Marshall, Natalie Cleave, Matt Swann. Musicals from A to Z. Fareham Musical Society. The company were well drilled and the production was slick.

• Ruthie Pinion and Scarlett Sangster. Little Shop of Horrors. Southampton University  Showstoppers. The pace of the show comes from this brilliant dancing trio.

• Harry Andreou. Hairspray. Music Theatre South. A really lively ensemble contribution.

• Adam Myers and Ellie Wolf. White Christmas. Music Theatre South. Exciting choreography with quality ‘hoofers’ to deliver it.

• Wendy Rogers. The Wedding Singer. Southampton Musical Society. Tremendously lively choreography.

BEST OPERA OR MUSICAL

• The Mikado. HumDrum. Pacey, fun and a different way to do G&S, which 100 per cent worked.

• La Cage Aux Folles. SJ Productions. This show deserved the standing ovation it got.

• Ruddigore. Eastleigh Operatic and Musical Society. Perfect comic timing, harmonious and tightly crafted.

• Hairspray. Music Theatre South. The cast received a richly deserved standing ovation.

• Avenue Q. South Downe Musical Society. The cast skated effortlessly through it. Q = Quality

BEST MUSICAL DIRECTOR

• Rob Jones. La Cage Aux Folles. SJ Productions. An accomplished orchestra and fabulous singing.

• Liz Weager. Oliver! Musical Theatre Salisbury. The singing and orchestra were remarkable.

• Daf Hughes. The Who’s Tommy. CCADS. The roaring on-stage rock band deserved their ovation.

• Valerie Tucker. The Sound of Music. Fareham Musical Society. A wonderful, note-perfect orchestra.

• Alan Pring. Fiddler on the Roof. South Downe Musical Society. A predictably superb orchestra.

• Thomas Joy. The Pirates of Penzance. LOpSoc. We anticipated a high standard and weren’t disappointed.

BEST ACTOR IN A DRAMA

• Vic Milne. Lieutenant Graham in Flare Path. Lyndhurst Drama and Musical Society. A moving performance.

• Sam Bridgeworth. Grigor in Metamorphisis. Performing Arts Winchester. Sublime acting and miming.

• Shaun Britton. Woyzeck in Woyzeck. Titchfield Festival Theatre. A heartbreaking performance as this tragic misfit.

• Eric Petterson. Victor Franz in The Price. Chesil Theatre. Superb as a New York cop nervously approaching retirement.

• John Souter. Stage manager in Our Town. Maskers Theatre Company. Directs the action with vivid description.

• John-Paul McCrohon. Carl Jung in The Talking Cure. CCADS. Conveys Jung’s scientific and amorous passion well.

BEST ACTRESS IN A DRAMA

• Ashleigh Ings. Eleanor Vance in The Haunting of Hill House. Hamble Players. Composed, mature and understated.

• Grace Dunber. Amy in Little Women. Chesil Theatre. Expertly portrayed the character’s growth and development.

• Michelle Heffer. Catherine in Proof. Maskers Theatre Company. An intense performance of a complicated role.

• Sally Goddard. Sabrina in The Talking Cure. CCADS. Really held the attention.

n Sarah Russell. Beatrice in The Effect of Gamma Rays on Man-in-the-Moon Marigolds. Chesil Theatre. A moving performance.

• Sarah Short. Kate in All My Sons. Lyndhurst Drama and Musical Society. Conveyed denial of events with a gripping performance.

BEST ACTOR IN A MUSICAL

• Dave Humphries. Scrooge in Scrooge. Eastleigh Operatic and Musical Society. Misanthropic and cantankerous!

• Ian Steel. Albin in La Cage Aux Folles. SJ Theatre Productions. Superb characterisation by this talented actor.

• Wayne Ings. Pseudolus in A Funny Thing Happened on the Way to the Forum. RAODS. Wayne excelled in this role, commanding the stage.

• Alex Hillman. Princeton in Avenue Q. South Downe Musical Society. A performance worthy of a professional stage.

• Steven Lilly. Christ in Jesus Christ Superstar. Southampton Operatic Society. Effortlessly took the step up from youth theatre.

• Danny Owen. Tevye in Fiddler on the Roof. South Downe Musical Society. Perfectly cast in the lead role.

BEST ACTRESS IN A MUSICAL

• Laura Simmons. Nancy in Oliver! Musical Theatre Salisbury. A beautifully understated performance.

• Simone Denby-Cooper. Deloris in Sister Act. The Portsmouth Players. Simone sang and sashayed with vitality and conviction.

• Robyn Fryer. Adelaide in Guys and Dolls. Southampton University Showstoppers. An actress of exceptional talent.

• Sally Goddard. Kate Monster in Avenue Q. South Downe Musical Society. An especially impressive performance.

• Annie Tatnall. Mrs Lovett in Sweeney Todd. Pocket Theatre. Predictably superb performance in this to-die-for role.

• Emma Harris. Julia Sullivan in The Wedding Singer. Southampton Musical Society. A faultless performance.

BEST ACTOR IN A COMEDY OR COMIC DRAMA

• David Cradduck. Lord Clarence Emsworth. In Oh, Clarence! Cheriton Players. Superb as the flamboyant yet vague title character.

• William Baggs. Algernon Moncrieff in The Importance of Being Earnest. Maskers Theatre Company. Mesmerising.

• Rob Smyth. Algernon Moncrieff in The Importance of Being Earnest. Titchfield Festival Theatre. Exuberant visual comedy style.

• Ben Counter. Gus in Anorak of Fire. HumDrum. Superb comic timing of word and gesture.

• James Forster. Ben in The Graduate. Southampton University Students Union Theatre Group. Makes this famous role his own.

• Nick Longland. Elyot Chase in Private Lives. RAODS. A delightful performance.

BEST ACTRESS IN A COMEDY OR COMIC DRAMA

• Jo Fox. Gwendolen in The Importance of Being Earnest. Maskers Theatre Company. Excellent as feisty, uncompromisingly dominant Gwendolen.

• Lin Warner. Helen/Rosemary in Deckchairs. HumDrum. Particularly impressive among a strong cast.

• Gillian Wilkins. Jo in Chinamen from Spring Happenings: a series of one act comedies. Chameleon Theatre Company. Created a terrific range of characters.

• Michelle Arkle. Corrie Bratter in Barefoot in the Park. Lyndhurst Drama & Musical Society. Dynamic as free-spirited, impetuous and effervescent Corrie.

BEST ACTOR IN A YOUTH PRODUCTION

• Matt Fisher. Billy Crocker in Anything Goes. Stage One. A winning performance of easy charm and great stage presence.

• Toby McLellan. Warbucks in Annie. Debut Youth Theatre. A touching and layered performance.

• Henry Morris. J Pierrepont Finch in How to Succeed in Business Without Really Trying. Encore Youth Theatre. Supremely assured.

• James Taylor. Clifford Bradshaw in Cabaret. Barton Peveril Sixth Form College. James brilliantly captured the essence of the character.

• Oliver Yeats-Brown. Emce in Cabaret. Barton Peveril Sixth Form College. Knowing, charming and yet affecting.

• Fraser Adams. Fagin in Oliver Twist. Studio Youth Theatre. An excellent performance.

BEST ACTRESS IN A YOUTH PRODUCTION

• Karmen Arnold. Steph in Bang Out Of Order. Oasis Youth Theatre. Karmen was mesmerising in the role.

• Lauren Caffyn. Nancy in Oliver! Footlights Youth Theatre. Stunning and affecting as the doomed Nancy.

• Ellie Jones. Reno Sweeney in Anything Goes. Stage One. Droll and stylish.

• Imogen Johnson. Nancy in Oliver! Centrestage Productions Youth Theatre. Imogen's was the star performance of this show.

• Sarah Tanner. Sally Bowles in Cabaret. Barton Peveril Sixth Form College. A perfectly  controlled performance of light and shade.

• Alyssia Kershaw. Dorothy in The Wizard of Oz. Basingstoke Amateur Theatrical Society. Alyssia was utterly commanding in the role.

BEST ACTOR IN A SHAKESPEARE PLAY 

• Matt Gibbins. Mercutio in Romeo & Juliet. Southsea Shakespeare Actors. Dangerously edgy.

• Sean Ridley. Puck in A Midsummer Night’s Dream. CCADS. An intriguingly androgynous creation.

• Rob Bartlett. Macbeth in Macbeth. Southsea Shakespeare Actors. A fine rendition of this ambitious yet indecisive King.

BEST ACTRESS IN A SHAKESPEARE PLAY

• Lou Mannell. Celia in As You Like It. Titchfield Festival Theatre. The stamp of a first-class character actress.

• Karen Gregory-Reader. Lady Macbeth in Macbeth. Southsea Shakespeare Actors. A devious and determined manipulator.

• Zia Wheeldon. Goneril in King Lear. Titchfield Festival Theatre. Strong as Lear’s scheming daughter.

BEST PERFORMANCE IN A PANTOMIME

• Katie Downer. Pat the cow in Dick Whittington. Peartree Players. The standout performance of the show.

• Jennifer Hampton. Molly Flanders in Pirates of the Panto. Actors Co-operative Theatre of Southampton. Singing, dancing, acting, Jennifer gave her all.

• Tamsin Fawn. Princess Beauty in Sleeping Beauty. Burley Players. Gave a mature, assured performance.

• Ryan Bishop. Buttons in Cinderella. Otterbourne Village Hall Committee. A natural aptitude for interactive comedy.

• Robin Sheppard. Nana in Peter Pan the Panto. Collingwood RSC. An effervescent and exuberant pantomime Dame.

• Lucy Sheppard. Michael in Peter Pan the Panto. Collingwood RSC. Excellent physicality, vocal and dance skills and boundless energy.

• Jon Slingsbury. Jacob Marley and Ghost of Christmas Present in A Christmas Carol. Burdock Valley Players. Terrifying as spectre Marley and full of bonhomie as the ghost.

BEST PANTOMIME

• A Christmas Carol. Burdock Valley Players. Heart-warming seasonal entertainment.

• Pirates of the Panto. Actors Cooperative Theatre of Southamoton. This show hit the mark on every count.

• Peter Pan the Panto. Collingwood RSC. Worked on every level – and there were a lot of levels!

• Snow White. Waterside Theatre Company. A fresh, vibrant yet traditional pantomime.

BEST SET AND PROPS

•Barbara Brown and David Freemantle (set) and Helena Roberts (props). Scrooge. Eastleigh Operatic and Musical Society. An excellent and inventive set and props.

• Dudley Eales. Jack-Up. West Moors Drama Society. Constructed an impressive authentic-looking bowling club.

• Alistair Faulkner (set), George Flemming and team (props). Making Money. Studio Theatre. Highlights include Mr Fusspot, the share-holding dog.

• Lorraine Biddlecombe and Adam Taussik. The Diary of Anne Frank. Southampton University Players. Gives a sense of the period and of the limited space the characters must share.

• Ian Fraser and team. The Misanthrope. Chesil Theatre. Helps this production strike a good balance between the absurd and touching aspects of Moliere’s story.

• Kevin Fraser (set design), Del and Holly Seymour (painted set decoration) and TFT props department. Volpone. A deceptively simple set which reflects the play’s Venetian setting.

BEST COSTUMES

•Sue Tatnall and Heather Cousins. Ruddigore. Eastleigh Operatic and Musical Society. Sumptuous costumes and ethereal make-up enhanced the show.

• Jan Sly, Penny Hawkesworth and Maureen Street. The Pirates of Penzance. Southampton Operatic Society. Their colourful costumes were really impressive.

• Serena Brown. The Importance of Being Earnest. Maskers Theatre Company. Ideal period costumes, especially the sophisticated ladies.

• Gerry Tuff and team. The Misanthrope. Chesil Theatre. Gives Moliere’s comedy a gorgeous Edwardian look.

• Shirley Lovell and Alison Woolford. The Militants. The Worthy Players. The costumes in this production have a great sense of authenticity.

• Angela Heather. Robin Hood. RAODS. A real treat for the eye.

BEST PERFORMANCE IN AN OPERA.

• Shaun Dodimead. Robin Oakapple in Ruddigore. Eastleigh Operatic and Musical Society. Shaun wrung every last drop of comedy from the script.

• James George. Pooh-Bah in The Mikado. HumDrum. Camp and very funny.

• Darren Gilmore. Ko-Ko in The Mikado. HumDrum. Supercilious with a sneer.

• Roseanna Bowen. Mabel in The Pirates of Penzance. LOpSoc. She again stole the show vocally.

• Adrian Hickford. The Grand Duke in The Grand Duke. Pocket Theatre. A great comedic performance in the style of Prince Charles.

• Mark Ponsford. Ludwig in The Grand Duke. Pocket Theatre. Steals almost every scene.

BEST DIRECTOR OF A DRAMA

• Mary Dawson. The Dark Earth and the Light Sky. West Meon Theatre. Superb direction ensured a spell-binding production.

• John-Paul McCrohon. The Talking Cure. CCADS. Makes a complex story gripping and dramatic.

• Hannah Wood and Ben O’Shaughnessy. Woyzeck. Titchfield Festival Theatre. Uncompromising and entertaining.

• Tom Williams. The Price. Chesil Theatre. Meticulous direction.

• Rick Barter. The Trojan Women. Titchfield Festival Theatre. A uniquely personal interpretation.

• Joanna Iacovou. Our Town. Maskers Theatre Company. Directs with great sensitivity.

BEST DIRECTOR OF A MUSICAL OR OPERA

• Sam Quested. La Cage Aux Folles. SJ Productions. Expert direction covered all the elements.

• Kay Warne and John Pitman. Stars in Your Eyes. Otterbourne Village Hall Committee. A slick, topical and fun romp.

• James George. The Mikado. HumDrum. An ingenious take on the traditional tale.

• Ben Occhipinti and Mark Powell. This Is My Song. Musical Theatre Salisbury. Skilfully knitted original dialogue together with well-selected show tunes.

• Matt Sackman. Avenue Q. South Downe Musical Society. The whole talented cast performed with great energy.

• Sam Quested. Hairspray. Music Theatre South. They fully deserved the standing ovation at the end.

BEST DIRECTOR OF A COMEDY OR COMIC DRAMA

• Colin Hayman. The Titfield Thunderbolt. Studio Theatre. All elements combined to make this an hilarious, interactive theatrical experience.

• Brian Stansbridge. The Importance of Being Earnest. Maskers Theatre Company. Elicited every drop of satire, nuance and double entendre from Wilde’s witty script.

• Caz Gilmore. Anorak of Fire and Deckchairs. HumDrum. Skilled direction of both monologue and short sketches with panache and innovation.

• Matthew Meehan. Chinamen from Spring Happenings: a series of one-act comedies. Chameleon Theatre Company. Two-handed dinner party farce vividly brought to life at break-neck speed with first-rate direction.

• Chris Hawley. Making Money. Studio Theatre. Made a complex production run smoothly with plenty of entertaining details.

BEST DIRECTOR OF A YOUTH PRODUCTION

• Jacqui Ivemy. Anything Goes. Stage One. Showed a brilliant lightness of touch to produce a stunning looking, witty show.

• Gemma Watts. Cabaret. Barton Peveril Sixth Form College. Gemma’s is a talent to behold.

• Johnny Carrington. Bang Out Of Order. Oasis Youth Theatre. Created a truly memorable production.

• Steven Lilly. The Wiz. RAODS Youth. Showed confidence and mastery of the material in his first outing as director.

• Rosemary Newman. Rock Nativity. New Forest Academy with Blackfield and Cadland Schools. The principals, the choir and the orchestra excelled.

BEST DIRECTOR OF A SHAKESPEARE PLAY

• Rob Bartlett. Romeo & Juliet. Southsea Shakespeare Actors. A fresh take on the classic with the feuding families as rival football fans.

• Neil Gregory-Reader. Macbeth. Southsea Shakespeare Actors. Great focus on the story and the verse.

• John-Paul McCrohon. A Midsummer Night’s Dream. CCADS. An energetic production, full of imagination and surprises.

YOUTH ENSEMBLE AWARD

• Cabaret. Barton Peveril Sixth Form College. A sublime production.

• Anything Goes. Stage One. A brilliant ensemble effort, creating a show of wit and sophistication.

• The Wiz. RAODS Youth. Cool, assured and energetic.

• Bang Out Of Order. Oasis Youth Theatre. A stunning tale by a largely untried cast.

PRODUCTION OF THE YEAR

• Cabaret. Barton Peveril Sixth Form College. As fine a production as you will see this year.

• La Cage Aux Folles. SJ Productions. This show delivered on every count.

• The Importance of Being Earnest. Maskers Theatre Company. A fresh, crisp approach to an oft-performed comedy.

• Metamorphosis. Performing Arts Winchester. Every aspect of this show contributes to its success.

• The Talking Cure. CCADS. A beautiful production of Christopher Hampton’s complex drama.

• Our Town. Maskers Theatre Company. A simply staged depiction of the cycle of life that encourages members of the audience to consider their own life experience.