LOCAL politics, opinion, controversy, contention and a whole host of other issues make turning up at Thurrock's much-loved Thameside Theatre as a reviewer something of a bed of nails.

The simple fact is, a writer reviewing a performance must judge it on its merits, discarding – if it is possible – the rhetoric behind a performance. So we will discard Thurrock Council's continued reluctance to support the community- driven thameside Complex.

But is should be noted, I turned up at the Thameside tonight (Wednesday, 18 June) for the opening of Thurrock Courts Players' performance of 'The Rise and Fall of Little Voice' with a definite degree of concern.

How could a small company, composed largely of amateurs, replicate an international film success and a stage production that had required the best efforts of the West End?

And ten minutes in, I was certainly thinking I might face the prospect of shattering some people's dreams with a negative review. The opening was a bit slow, shrouded with a degree of mystery about what might unfold and me thinking that I might wish to cut and run.

That concern literally lasted those ten minutes. Before I knew it, I was wrapped up in tension. Where would the plot go? What might happen? What was it all about? Clever stuff.

Well, I'm not going to spoil the plot and the denouement. If you want to know, get your backside off your sofa and pitch up for the performances on Thursday and Friday. (https://thameside-tickets.thamesidetheatre.com/ticketbooth/shows/1173662857).

What you will see is a remarkable cast of just six local people, supported by a technical team of great ability, a director (Josh Handley) with a touch of humanity and a production steeped in belief. Credit too to the technical team including Vic Grays' set design and Franki McEwan's stage management.

I have seen many a Shakespeare soliloquy delivered with raw emotion, passion and believability but in the second half of Little Voice, albeit from 'amateurs', I defy any watcher not to be moved.

This is a production that is totally composite. It would be easy to rave about Sohie Nash, who is the apocryphal Little Voice (LV). I won't mince words, she is superb, a true force of nature.

But I would be doing this show a huge injustice if I did not raise to the rafters the performances of Jill Snelling and Wayne Prince as exceptional. I have watched both in several Thurrock Courts Players' productions over the years and I have been fulsome in my praise.

In Little Voice, they go beyond that. They are outstanding – and deserving of every accolade that I hope comes their way when the NODA awards are handed out.

Pauline Neal drifts in and out of the production with total understatement, but in many ways, she is the comedic rock that holds it together. Luke Coldham and Michael Southgate repeat previous consummate performances. But this is a triumph of a company, not individuals.

I was, simply blown away; an emotional wreck, at the end.

Courts Players have become synonymous with comedic triumphs.

But my favourite previous stellar performance was 2022's dramatic 'The Audience'. I think it has been surpassed by this latest offering.

Please, if you have nothing on your agenda for Thursday or Friday evenings, go and see this. Everyone backstage or onstage deserves your support and, if you don't go, you will have missed a treat.