Downfield Musical Society Dundee Archive Page

24/04/2026

1970's - GEORGE MARTIN SKETCHES

George Martin was one of the many highly skilled yet largely uncredited illustrators who helped define the output of Dundee publishing giant DC Thomson during the mid-twentieth century. Working within the company’s disciplined in-house system, he contributed artwork to some of its most popular titles, including The Beano and The Dandy, as well as boys’ adventure papers such as The Victor and The Hotspur.
Among colleagues, Martin earned a reputation for reliability and versatility. His clean, confident line work and strong sense of visual storytelling made his illustrations effective across a wide range of material, from light-hearted humour strips to dramatic adventure serials. Like many artists at DC Thomson, he worked from editorial scripts under tight deadlines, producing polished black-and-white artwork ready for immediate publication.
Because the company rarely credited its artists, detailed biographical information about Martin remains scarce. Nevertheless, his career reflects the vital contribution of DC Thomson’s in-house illustrators, whose work reached millions of readers each week and helped shape the visual identity of British comics during their golden age. Active from the 1950s through to the 1980s, Martin’s output included characters such as Young Sid the Copper’s Kid, Captain Bungle, and Desperate Dawg.
Beyond his published work, Martin also maintained a close connection to the local cultural scene. He attended numerous stage performances and produced a series of illustrative sketches capturing moments from the productions. His presentation of a sketchbook to the society became a valued memento, preserving the atmosphere and character of the performances through the eye of a professional artist whose work bridged Dundee’s publishing and theatrical heritage.
These sketches are displayed below, offering a rare and personal insight into both his artistic eye and his engagement with live performance.
See if you can recognise anyone.

19/04/2026

2025 - DISNEY'S ALADDIN JNR. - SUMMER SCHOOL PRODUCTION
2025 - HIGH SCHOOL MUSICAL JNR - SUMMER SCHOOL PRODUCTION

Following the outstanding success of the summer school format introduced in 2023 and expanded in 2024, Downfield Musical Society once again delivered a hugely popular and ambitious programme in 2025. Building on the proven model, two separate productions were staged to cater for different age groups, with Disney’s Aladdin Jr. performed by participants aged 5 to 12, and High School Musical Jr. bringing together performers aged 13 to 18. As in previous years, each production culminated in two Saturday performances for proud parents, family, and friends, bringing a celebratory end to an intensive and rewarding week.
Both shows offered the young performers the chance to explore well-loved stories and music. Aladdin Jr. transported audiences to the magical city of Agrabah, following the adventures of the streetwise Aladdin, his loyal friends, and the Genie as he seeks to win the heart of Princess Jasmine while outwitting the villainous Jafar. Packed with humour, colour, and energy, the show featured iconic songs such as “A Whole New World,” “Friend Like Me,” and “Prince Ali,” giving the younger cast the opportunity to shine in both character and ensemble numbers.
Meanwhile, High School Musical Jr. captured the spirit of teenage life, charting the blossoming relationship between Troy Bolton and Gabriella Montez as they challenge expectations and audition for their school musical. A story of friendship, identity, and following your dreams, the show included upbeat and instantly recognisable songs such as “We’re All in This Together,” “Breaking Free,” and “Get’cha Head in the Game,” allowing the older group to showcase strong vocal performances alongside high-energy choreography.
The popularity of the previous years ensured that places filled quickly, with participants once again embracing the unique challenge of staging a full production in just one week. The format remained as demanding as ever: auditions, casting, and initial workshops took place on the Monday, leaving just a few days for the young performers to rehearse, learn their lines, master choreography, and perfect the musical numbers. Despite the tight schedule, the commitment and teamwork shown by all involved was exceptional, with the casts delivering performances that were word-perfect, movement-perfect, and musically confident by the time the Saturday shows arrived.
Both productions were staged in the Starlight Showroom, fully costumed and enhanced with professional sound, lighting, and orchestral backing tracks, ensuring a polished and theatrical experience for performers and audiences alike. Under the direction of Rebecca Waghorn, with musical direction by Calum Campbell, the summer schools once again demonstrated the remarkable potential of young talent when given the right support and encouragement.
What continued to set the Downfield Musical Society summer schools apart was their commitment to accessibility. In contrast to many similar programmes, participation remained completely free of charge, reinforcing the Society’s dedication to community engagement and providing a valuable opportunity for young people to experience the magic of musical theatre regardless of background. The 2025 summer schools not only maintained the high standards of previous years but further cemented their place as a highlight of the local theatrical calendar.

19/04/2026

2023 - ANNIE JNR. - SUMMER SCHOOL PRODUCTION
2023 - SISTER ACT JNR. - SUMMER SCHOOL PRODUCTION


Following the outstanding success of the 2023 summer school, which saw young performers bring Disney’s Jungle Book Kids to life, Downfield Musical Society built on that momentum with an even more ambitious programme the following year. Expanding both the scale and age range, the Society introduced two separate summer schools, each tailored to different groups and culminating in fully staged productions.

The first of these took place in the week commencing 1st July, when children aged 5 to 12 presented Annie Jr., the much-loved musical based on the classic comic strip. Set in Depression-era New York, the story follows the optimistic young orphan Annie as she escapes the harsh rule of Miss Hannigan and finds a new home with billionaire Oliver Warbucks. Packed with enduring songs such as “Tomorrow,” “It’s the Hard-Knock Life,” and “Maybe,” the show offered the younger cast plenty of opportunity to showcase both character and energy, capturing the heart and resilience at the centre of the story.

Two weeks later, in the week commencing 15th July, the spotlight shifted to performers aged 13 to 18 with Sister Act Jr. This vibrant musical, based on the hit film, tells the story of nightclub singer Deloris Van Cartier who, after witnessing a crime, is placed in protective custody in a convent. Disguised as a nun, she transforms the convent choir, bringing new life and soul to the church through music. With uplifting numbers like “Raise Your Voice,” “Take Me to Heaven,” and “Spread the Love Around,” the production was full of humour, energy, and powerful ensemble work, giving the older group a dynamic and contemporary piece to explore.

Both summer schools followed an intensive but highly rewarding structure. The participants began their week by workshopping the show on the Monday, followed by auditions and casting on the same day—an exciting addition to the process that gave everyone a sense of ownership from the outset. The remainder of the week was dedicated to rehearsals, where the young performers worked tirelessly to learn lines, master choreography, and perfect their vocals. The results were remarkable, with casts delivering performances that were word-perfect, note-perfect, and full of confidence by the time they reached the stage.

Each production was presented twice on the Saturday for parents, family, and friends, creating a wonderful sense of occasion and achievement. Fully costumed and performed with professional backing tracks, sound, and lighting in the Starlight Showroom, the shows had all the polish and atmosphere of a full-scale production.

Under the direction of Rebecca Waghorn, with musical direction by Calum Campbell, both Annie Jr. and Sister Act Jr. proved to be tremendous successes. What set these summer schools apart from others in the area, however, was Downfield Musical Society’s continued commitment to accessibility—the entire experience was offered completely free of charge to all participants. This generous approach not only removed barriers but also reinforced the Society’s role at the heart of the community, providing a valuable and memorable opportunity for young people to experience the magic of musical theatre.

19/04/2026

2023 - THE JUNGLE BOOK KIDS - SUMMER SCHOOL PRODUCTION
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In the final week of July 2023, Downfield Musical Society introduced an exciting new innovation to summer theatre schools in Dundee, offering a fully immersive theatrical experience for children aged 5 to 12. Around fifty young participants took part in the week-long programme, which ran from Monday to Friday and concluded with two performances on the Saturday for parents, family, and friends. The response was exceptional, with approximately 200 people attending to celebrate and support the children’s achievements.

For this ambitious project, Disney’s The Jungle Book Kids was chosen, with performance rights secured in advance. Based on the much-loved Disney adaptation of Rudyard Kipling’s classic tale, the show follows the adventures of Mowgli, a young boy raised in the jungle by wolves. Along the way he encounters a host of memorable characters, including the wise panther Bagheera, the fun-loving bear Baloo, the hypnotic snake Kaa, and the menacing tiger Shere Khan. Filled with humour, heart, and familiar songs such as The Bare Necessities and I Wan’na Be Like You, the story celebrates friendship, courage, and finding where one truly belongs.

The structure of the week mirrored a professional rehearsal process. On the Monday, the children explored and workshopped the show, becoming familiar with the story, characters, and music. Tuesday was devoted to auditions and casting, giving every child the opportunity to shine and take on a role within the production. From that point onward, the young cast immersed themselves in rehearsals, learning dialogue, songs, and choreography at an impressive pace. By the end of the week, they had not only mastered their material but delivered it with remarkable confidence, energy, and precision, proving themselves word-perfect, note-perfect, and wonderfully slick in their movement as an ensemble.

This marked a significant evolution from the Society’s 2022 summer school. While the previous year had offered a broader, less focused four-day programme for a wider age range, culminating in a general showcase, the 2023 initiative centred entirely on mounting a single, fully realised production within a more intensive five-day schedule. The result was a far more cohesive, professional, and rewarding experience for everyone involved.

The performances took place in the Starlight Showroom and were staged to a high standard, complete with professional backing tracks, full costumes, sound, and lighting. Under the direction of Rebecca Waghorn, with musical direction by Calum Campbell, the production was a resounding success and demonstrated the remarkable potential of young performers when given the opportunity, encouragement, and guidance to shine.

Perhaps most notably, what truly set this summer school apart from others in the area was that it was offered completely free of charge. This generous approach by Downfield Musical Society ensured accessibility for all and stood as a genuine gift to the local community, reinforcing the Society’s ongoing commitment to nurturing talent and fostering a lifelong love of theatre in the next generation.

19/04/2026

2009 THE FULL MONTY - THE REPEAT

Following the remarkable success of their 2008 production of The Full Monty, Downfield Musical Society returned to the show for a short revival in January 2009, presenting three additional performances that drew a further 1,240 audience members—many of whom were eager repeat visitors who had already experienced the original run. Such demand was a clear indication of the production’s impact, and the decision to revive it so soon after its initial success proved entirely justified.

A contemporary press review captured both the humour and enthusiasm surrounding the revival, wryly suggesting that either the Society had wisely responded to popular demand or that its male cast had simply become rather too comfortable shedding their inhibitions on stage. Whatever the reason, audiences responded with equal enthusiasm. The now-famous finale, in which the six men committed to their full st******se, generated an electric atmosphere in the theatre, with each performance met by raucous applause and delighted reactions.

The musical itself, based on the hugely successful 1997 British film, had already established an impressive pedigree. Featuring music and lyrics by David Yazbek and a book by Terrence McNally, The Full Monty opened on Broadway in 2000, running for 770 performances and earning nine Tony Award nominations, including a win for Best Musical Score. By the time it reached the Downfield stage, it was widely recognised as a bold yet deeply human piece of musical theatre, combining sharp comedy with genuine emotional depth.

Set in Buffalo, New York, the story follows six unemployed steelworkers grappling with redundancy, financial pressures, and a loss of self-worth. At its heart is Jerry Lukowski, a struggling father determined to rebuild his life and maintain a relationship with his son. Inspired by the frenzied reaction of a female audience to a Chippendales-style act, Jerry and his friend Dave devise an unlikely plan to form their own male st******se group. As the men come together—each facing personal challenges ranging from body image insecurities to crippling self-doubt—the show explores themes of friendship, masculinity, and resilience, culminating in a courageous and liberating final act as they resolve to go “the full monty.”

For the 2009 revival, the principal cast returned to reprise their now-celebrated roles. Ewan McDyer once again led the company as Jerry Lukowski, bringing energy and determination to the central role, while Ross Glenn returned as the endearing and self-conscious Dave Bukatinsky. Paul Sullivan’s charismatic portrayal of Horse, Graham Mitchell’s sensitive interpretation of Malcolm, Graeme Neil Smith’s dignified Harold, and Ewan Campbell’s earnest Ethan ensured that the core ensemble retained the chemistry and balance that had made the original production so effective. In the key female roles, Joyce Chapman reprised her performance as the wise-cracking Jeanette, Laura Ferrie returned as Georgie, and Gillian Brown once again brought warmth to the role of Vicky. Elaine Thomson appeared as Pam Lukowski, Pol Gowans as Keno, and, for the revival, Josh Smith took on the role of Nathan Lukowski.

Under the experienced direction of Lynn MacFarlane, with musical direction by Paul Clancy and choreography by Christine Low, the production maintained its careful balance between humour and heartfelt storytelling. The creative team ensured that, despite the show’s famously daring premise, it never lost sight of its emotional core, allowing audiences to connect with the characters as much as they laughed at their exploits.

The revival not only replicated the success of the original run but reinforced The Full Monty as one of the Society’s most memorable and talked-about productions. Its ability to attract large and diverse audiences demonstrated both the enduring appeal of the show and Downfield Musical Society’s willingness to embrace more contemporary, challenging material—ultimately confirming it as a landmark achievement in the company’s history.

17/04/2026

2007 - BAT BOY THE MUSICAL - WATERFORD FESTIVAL

In 2007, after a short preparatory repeat of the show in the Whitehall Theatre, having previously presented the show at the Gardyne theatre DMS once again travelled across the Irish Sea to the Waterford Festival and staged their fourth show at the competition with “Batboy”
Bat Boy: The Musical is an American rock musical based on a June 23, 1992 Weekly World News story about a half-boy, half-bat, dubbed "Bat Boy", who grew up living in a cave.
The musical opened off-Broadway at the Union Square Theatre on March 21, 2001 and closed on December 2, 2001.
The musical opened in the West End at the Shaftesbury Theatre on September 8, 2004 and ran through January 15, 2005. It had previously played at the West Yorkshire Playhouse.
For lack of a better solution, the local sheriff brings Bat Boy to the home of the town veterinarian, Dr. Parker, where he is eventually accepted as a member of the family and taught to act like a "normal" boy by the veterinary surgeon's wife, Meredith, and teenage daughter, Shelley. Bat Boy is happy with his new life, but when he naively tries to fit in with the narrow-minded people of Hope Falls, they turn on him, prodded by the machinations of Dr. Parker, who secretly despises Bat Boy. Shelley and Bat Boy, who have fallen in love, run away together from the ignorant townsfolk and have a blissful coupling in the woods, but their happiness is shattered when Meredith arrives and reveals a secret. Soon the entire town arrives and hears the shocking story of Bat Boy's unholy origin.
DMS’s “Batboy” was directed by Graeme Neil Smith, musically directed by Paul Clancy and choreographed by Christine Low.
The cast changed slightly from the 2006 Dundee premiere and now included Alex Watt as Batboy; Melanie Doig as Shelley Parker; Ewan McDyer as Dr Thomas Parker; Gillian Brown as Meredith Parker; Christopher Wylie as Mrs Taylor and Reverend Hightower and Roy; Marcus Wylie as Lorraine as Mr Dillon as Rick Taylor; Daniel Adams as Bud and Daisy and Pan; Allison Wylie and Ned and Ruthie Taylor; Derek Johnston as the Doctor and The Institute Man; Alastair Ogilvie as Sheriff Reynolds; Ewan Campbell as Clem and Mayor Maggie and Ron Taylor; And Lisa Tosh as Young Meredith. All three programmes are attached.

17/04/2026

16/04/2026

2011 - MUSICAL OF MUSICAL - THE MUSICAL
2012 - MUSICAL OF MUSICAL - THE MUSICAL - THE REPEAT

In 2011 and again in 2012, Downfield Musical Society presented the sharply satirical musical revue Musical of Musicals: The Musical in the Starlight Showroom, delivering a demanding, fast-paced evening of musical theatre parody that both celebrated and gently dismantled five of the most influential composers in modern stage history.
The piece itself is structured as a “meta-musical”: one simple story is retold five times, each in the distinct style of a major Broadway composer. Originally premiering Off-Broadway at the York Theatre in 2003 before returning in an expanded run at Dodger Stages in 2005, the show quickly became a cult favourite in professional theatre circles. Its appeal lies in its precision—each section is not simply an imitation, but a highly informed pastiche of genuine compositional styles, vocal writing, and staging conventions drawn from major Broadway traditions.
For UK context, the material sits in a lineage of revue-style shows that became popular in fringe and studio theatre spaces across Britain in the late 2000s and early 2010s, particularly in amateur and semi-professional societies. Its performance demands—rapid character switching, stylistic vocal control, and tightly timed comedic delivery—meant it was often chosen by companies seeking a “showcase piece” rather than a traditional book musical. While not a large-scale West End commercial title, it aligns closely with the kind of high-skill, small-cast musical revues that regularly appear in London fringe venues and regional professional studio theatres, where ensemble versatility is often prioritised over spectacle.
The first segment, “Corn!”, reimagines the material through the golden-age optimism of Rodgers & Hammerstein. Set in rural Kansas in August heat, it presents the deceptively simple story of Junita (June), a young woman pressured with eviction and marriage ultimatum. Jitter threatens that she must marry him if she cannot pay her rent, while Big Willy—a carnival barker torn between love and personal freedom—complicates the emotional triangle. The character of Mother Abby becomes the moral centre, urging June to “follow her dream”, which leads into an extended dream ballet sequence characteristic of mid-century American musical theatre. The writing deliberately echoes the sweeping lyricism and pastoral innocence of shows such as Oklahoma!, Carousel, and The Sound of Music, culminating in an intentionally neat and optimistic resolution.
The second segment, “A Little Complex”, shifts dramatically into the neurotic, densely structured world of Stephen Sondheim-inspired musical theatre. Set in a New York apartment complex, the narrative becomes darker and more psychologically fragmented. Jitter is reimagined as a disturbed artist-landlord whose obsession with control escalates into a plot to eliminate his tenants. Jeune, Billy, and Abby each embody stylised neuroses—indecision, intellectual paralysis, and alcoholism—mirroring the thematic complexity found in works such as Sweeney Todd: The Demon Barber of Fleet Street and Company. The music and lyrics parody Sondheim’s trademark internal rhyme schemes and contrapuntal writing, with the narrative deliberately building toward a morally uncomfortable conclusion where the protagonist’s violent impulses are fulfilled.
“Dear Abby” pivots the tone again into the flamboyant warmth of Jerry Herman-style musical theatre. Here, Aunt Abby is recast as a charismatic Manhattan socialite whose generosity and eccentricity resolve the emotional entanglements of those around her. The parody draws on the exuberance of Hello, Dolly! and Mame, emphasising big vocal moments, glamourous costume changes, and ensemble optimism. In this version, even the previously authoritarian landlord figure is transformed through Abby’s influence into a liberated drag persona, reflecting the show’s playful inversion of identity tropes and musical theatre archetypes.
The fourth segment, “Aspects of Junita”, moves into the world of sung-through mega-musical theatre associated with Andrew Lloyd Webber. The structure becomes operatic and continuous, with heightened emotional stakes and a central obsession with fame and transformation. Junita’s desire to become a star, despite limited talent, drives her into the orbit of the mysterious Sir Phantom Jitter. Her relationship with Bill is strained by the fact that communication is symbolically and literally absent, heightening the emotional disconnection. The sequence deliberately evokes the dramatic language of The Phantom of the Opera, Evita, and Cats, culminating in a dramatic chandelier crash that parodies large-scale West End spectacle.
The final segment, “Speakeasy”, transforms the narrative into a Kander and Ebb-inspired cabaret world of cynicism and survival. Set in 1930s Chicago, the tone is deliberately bleak and stylised, drawing on the aesthetic of Chicago and Cabaret. Here, Juny is forced into increasingly desperate choices to pay her rent, while Villy is imprisoned and emotionally unavailable. The emcee figure, Jütter, presides over the action with detached irony, reinforcing the show’s final descent into theatrical cynicism and moral ambiguity.
In keeping with the original professional structure of the piece, the finale brings the cast together for a meta-theatrical closing number parodying “One” from A Chorus Line, reframed here as “Done”, which acknowledges the constructed nature of the entire evening and the repetition of theatrical form itself.
The 2011 production was directed by Graeme Neil Smith, with musical direction by Richard Waghorn and choreography by Christine Low. The company featured Zoe Glenn, Rebecca Waghorn, Ross Glenn, and Thomas Richmond, supported musically by Richard Waghorn on vocals and keyboards. The ensemble format reflected the demands of the material, requiring each performer to shift rapidly between stylistic registers ranging from golden-age musical theatre vocalism to contemporary Sondheim-style character acting and full cabaret performance.
When revived in 2012 as Musical of Musicals – The Musical – The Repeat, the production retained the same creative team and cast, reinforcing the show’s self-referential nature and allowing for refinements in timing, vocal detail, and stylistic precision. The repeat staging also reflected a broader trend within UK amateur and semi-professional theatre of revisiting high-impact revue shows, where repetition often leads to increased technical polish and sharper comedic ex*****on.
Overall, both productions demonstrated a strong understanding of the source material’s professional lineage—from its Off-Broadway origins and subsequent commercial recognition in New York, to its adaptability within UK fringe and society theatre contexts—while showcasing DMS’s capacity to handle vocally and stylistically demanding contemporary musical theatre.
Both programmes are appended

16/04/2026

2018 - AVENUE Q

In 2018, Downfield Musical Society returned to the stage of the Whitehall Theatre with a bold and contemporary choice, presenting the irreverent and sharply observed musical comedy Avenue Q. A striking blend of puppetry and live performance, the show marked a confident step into more modern musical theatre territory, challenging both performers and audiences with its mix of humour, heart, and unapologetic honesty.
Originally premiering Off-Broadway at the Vineyard Theatre in 2003, Avenue Q quickly became a theatrical phenomenon. Its transfer to Broadway’s John Golden Theatre later that year saw it run for over 2,500 performances before continuing its success Off-Broadway at New World Stages until 2019. The show famously triumphed at the 2004 Tony Awards, winning Best Musical, Best Book, and Best Original Score—famously beating Wicked in what remains one of the most talked-about upsets in musical theatre history. In the UK, Avenue Q enjoyed a successful West End run at the Noël Coward Theatre, followed by extensive national touring, becoming a favourite on the amateur circuit despite its technical and performance demands.
From a UK amateur theatre perspective, Avenue Q is regarded as a particularly ambitious undertaking. The show requires performers to master the dual discipline of acting and puppeteering—often simultaneously—while maintaining vocal precision and comic timing. Licensing through organisations such as Music Theatre International has seen the show become increasingly popular across the UK, though it remains a challenging production typically attempted by more experienced companies. Productions often feature between 12 and 20 performers, with additional backstage puppeteers and technical crew, and demand a high level of coordination in sound, staging, and character work.
Set in a run-down New York neighbourhood, the story follows Princeton, a recent college graduate who arrives on Avenue Q seeking purpose in life. What he finds instead is a colourful community of characters—both human and puppet—each grappling with the same universal questions of employment, relationships, and identity. Beneath its comic surface, the show explores themes of adulthood, uncertainty, and self-discovery, resonating strongly with modern audiences.
DMS’s production was directed by Gillian Brown, with musical direction by Paul Clancy, whose score brought out both the wit and warmth of Robert Lopez and Jeff Marx’s music. The cast embraced the unique demands of the piece with energy and commitment. Scott McRuvie led the company as Princeton, capturing the character’s wide-eyed optimism, while Ross Lesslie’s Rod and Marcus Wylie’s Nicky provided a well-balanced comic pairing. Rachel Weir brought sincerity to Kate Monster, and Claire Wallis delivered a memorable turn as Gary Coleman, a role traditionally played with tongue firmly in cheek. Lynn MacFarlane’s Christmas Eve and Alastair Ogilvie’s Brian added further depth to the show’s exploration of relationships, while Marlowe Simpson’s Lucy the Slut and Gavin White’s Trekkie Monster ensured the production never shied away from its more outrageous humour.
Supporting roles were shared across a strong ensemble, including Allison Wylie, Paul Thomson, Louise Evans, Sydney Mulligan, and Graeme Neil Smith, while the demanding puppet ensemble—Claire Bain, Jacob Dudgeon, Sian Johnstone, Carol Michalak, Shannon Middleton, Graham Mitchell, and Lisa Tosh—played a crucial role in bringing the world of Avenue Q to life. Their work, often unseen yet essential, reflected the high level of teamwork required for a production of this nature.
The 2018 production of Avenue Q stood as a testament to DMS’s willingness to embrace modern musical theatre and tackle technically demanding material. It combined strong performances with skilled puppetry and a clear understanding of the show’s balance between comedy and poignancy, offering audiences a production that was as thought-provoking as it was entertaining.
The programme is appended after the photos