The Great British Bake Off Musical.

I have a confession to make. Somewhat shockingly, I’ve never watched a single episode of The Great British Bake Off. Consequently, I arrive at Leicester’s Little Theatre entirely oblivious to the goings-on inside the famous tent, the personalities involved and any potential in-jokes. However, I can confidently reassure fellow Bake-Off novices that no prior knowledge is required to enjoy this warm, wonderfully British musical.

Since first appearing on British television in 2010, The Great British Bake Off has become something of a national institution, with its combination of culinary creativity, gentle competition and quintessentially British charm. It is perhaps inevitable that the famous baking tent eventually finds its way onto the musical theatre stage. From the joyous opening ensemble number, the production establishes its intentions. This is a cosy, feel-good evening that doesn’t take itself too seriously.

At the heart of the production are Gemma (Natasha Plummer) and Ben (Russell Carrington), two characters for whom the audience quickly finds itself rooting. Plummer brings a sincere innocence and genuine vulnerability to Gemma, coupled with an impressive ability to belt out a number when required. Carrington is equally likeable and engaging as Ben, particularly in scenes alongside his nine-year-old daughter, played on this occasion by Thea White. White is a delightful young performer, bringing a natural cheekiness and warmth to the stage. Her convincing relationship with Carrington adds an extra layer of authenticity to their scenes together. Their beautiful rendition of My Dad proves an unexpected emotional high point, bringing me and other audience members to tears.

Indeed, beneath the light-hearted premise lie some surprisingly difficult themes, including grief, displacement and infertility. Sarah Barton-Wales delivers an exquisitely poignant performance as Francesca, with her rendition of Grow capturing the character’s heartbreak with remarkable tenderness and sensitivity. It is a genuinely affecting moment that demonstrates the musical’s capacity to move its audience as well as entertain.

However, sentimentality is only one ingredient in this theatrical recipe. At the opposite end of the spectrum sits the gloriously outrageous Slap It Like That, performed by Steve Elliott as judge Phil Hollinghurst. As the strudel dough begins taking on a distinctly phallic shape and Elliott’s hips start gyrating, I wonder whether the production is really going there. It most certainly is! The resulting number is uproariously funny.

Elliott provides much comic entertainment, particularly alongside Karen Gordon’s wonderfully eccentric fellow judge, Pam Lee. Their duet, I’ll Never Be Me Without You, gives both performers an opportunity to showcase their vocal abilities and impeccable comic characterisation. Gordon is an absolute delight, fully inhabiting her character and effortlessly generating laughter.

Equally entertaining are presenters Kim (Charlotte Brown) and Jim (Martin Green), whose natural chemistry and playful interactions make them a thoroughly convincing double act. Indeed, the camaraderie across the entire company is palpable. One cannot help imagining just how much fun the rehearsals must have been.

Much credit must go to director Vaughan Barton-Ashcroft, who brings together an ensemble that clearly relishes every moment on stage. His direction captures the warmth, humour and charm of the musical, while allowing its more poignant moments the space they deserve.

Among the contestants, Dan Brewer’s Dezza provides recurring moments of tongue-in-cheek comedy, especially with his sudden, hilarious appearances.  Tom Mottram also delivers plenty of laughs as the endearingly awkward Russell, while Karen Hamilton brings warmth and down-to-earth charm to the immensely likeable Babs. Her hilarious Babs’ Lament deservedly receives one of the evening’s biggest reactions.

Kyla Burton, meanwhile, is deliciously convincing as the group’s resident mean girl, Izzy. Every movement and expression feels purposeful, and her formidable vocal power makes her a commanding presence whenever she takes the stage.

Arlen Panesar is another performer who deserves particular recognition for his portrayal of Hassan. His hip-hop number brings a refreshing burst of energy and a contemporary edge to the production. Panesar is clearly an exciting emerging talent, with a natural stage presence and infectious enthusiasm.

Holly Carrington’s choreography is another strength. Perhaps ‘bakeography’ is a more appropriate description, with synchronised movements involving rolling pins and utensils transforming familiar kitchen activities into inventive ensemble sequences.

Musical director Stephen Duguid also deserves recognition for the impressive vocal work throughout the production. The ensemble harmonies are particularly effective, demonstrating the considerable attention given to musical preparation. There are moments of real vocal beauty, alongside the exuberant, high-energy numbers that give the production its infectious charm.

That said, the production is not without its imperfections. Act One heavily concentrates on establishing the contestants and their individual stories, and while the sentimental numbers are beautifully performed, the pacing is impacted a little. Act Two finds a livelier rhythm, delivering the upbeat musical numbers and comedy that allow the production to reach its full potential.

More frustrating are the sound issues. Missed microphone cues result in some lost dialogue and lyrics, while the balance between the band and performers is sometimes problematic, and I find myself straining to hear the actors over the band. These are issues that I hope will be addressed before the end of the run.

Elsewhere, the lighting effectively complements the action, punctuating scenes without overwhelming them. The costumes, designed by Ellie Cassie, establish the distinctive personalities of each contestant, as well as adding an air of ridiculousness and apron-glamour! And not forgetting the wonderfully realised set – the colourful, versatile kitchen is particularly effective, with movable counters cleverly utilised to create different spaces.

This is a production with genuine heart, served with a generous helping of laughter and just enough emotional depth to surprise you. Whether you’re a devoted Bake-Off enthusiast or, like me, have never ventured inside the television tent, there’s plenty here to enjoy.

My advice? Head down to the Little Theatre, take your seat in the tent and enjoy a thoroughly cosy night of entertainment.

The Great British Bake Off Musical is running at Leicester’s The Little Theatre until Saturday 17 October.

Photos credit: Lisa Jayne Photography