REVIEW: Prime Time Broadway - Honour Productions

Presented by Honour Productions

Directed by Sherryl-Lee Secomb

Produced by Tina Atiga

Musical Direction by Geoff Secomb

Choreography by Jordana Johnstone

Band Direction by Raymond Hernandez

Honour Productions’ Prime Time Broadway was a joyous, emotional, and downright entertaining celebration of life’s many chapters—from the wonder of childhood to the heartbreaks and triumphs of adulthood, all told through the beauty of song. Rather than following a single narrative arc, the show blossomed as a musical theatre revue, weaving together solos, duets, and ensemble numbers to reflect the different “seasons in life” we all pass through. The result? A vibrant, moving showcase of talent across ages, fuelled by passion and elevated by stellar vocals, a killer band, and clever song choices.

The night began on a poetic note, with a beautiful original poem about time written and performed by Samantha Thomas, setting a reflective tone that echoed through the rest of the show. From there, childhood burst forth with absolute joy. Young Vincent Taylor charmed the audience with Red Ryder Carbine Action BB Gun (from A Christmas Story), embodying the wide-eyed excitement of imagination and make-believe. He was quickly followed by Yzabel Santos, whose performance of Six Hours as a Princess captured all the innocence and sparkle of childhood dreams.

As the show journeyed into adolescence, the skill on stage ramped up. Jordan Atiga blew the roof off with What It Means to Be a Friend (from 13 the Musical)—a performance so powerful and vocally rich that it left me completely envious of this teen's talent. More young adults then burst onto the stage for a joyful, high-energy rendition of Brand New You, which felt like a giddy celebration of new beginnings.

One of the joys of this revue was the way it celebrated growth—not just thematically, but artistically. Alex Holmes, in particular, shone as a young performer coming into his own with his a heartfelt performance of Me & Mr Popularity (from In Pieces); sounding and looking completely engrossed in the sincerity of his character. Another standout moment was Caley Munro’s I Can Do Better Than That (from The Last Five Years). Not only was the arrangement phenomenal (there are so many lyrics!), but Caley’s delivery was brimming with skill, storytelling, and precision. She also later tackled Whipped Into Shape (from Legally Blonde) with high energy, transforming it into a hilariously relatable all-ages fitness class.

Throughout the show, some clever visuals and backdrop changes helped frame each “season” without distracting from the performers. And oh my - the band! Under the direction of Raymond Hernandez, this group of musicians was on fire. Especially powerful in Kirsten Brown’s solo, Stupid with Love (from Mean Girls). Her precious voice and loveable persona were an absolute treat, but it was the band behind her that brought that extra sparkle to the song. They rocked from start to finish, tight and expressive and full of life.

There were so many vocal moments that deserve thunderous applause. The stand-and-sing Mama Who Bore Me (from Spring Awakening) was a powerhouse 4-part harmony moment—those vocals! Who are these divas?! The harmonies were absolutely outstanding and felt like a mic-drop early in the show. There was also I Know Him So Well (from Chess), performed by Jamie Catungal and Kinta Suryadarma, which gave me genuine goosebumps. Their blend was seamless, emotional, and mature beyond their years.

The duet Bloom (from In Pieces), performed by Maddi Halvorson and Nathanael Tadle, felt like the perfect first date song—soft, warm, and full of fuzzy feelings and lighthearted mockery. Meanwhile, What Does She Mean By Love? (from Daddy Long Legs) gave guitarist Mackinlay Carr a chance to step out in front of the microphone. His vocal tone and confidence was deeply pleasing and impressive.

The chronological transition between songs was smartly structured, with emotional ebb and flow. One group number led into a cheeky All Shook Up wedding scene, which in turn was followed by Alicia Brite’s gut-punching performance of Why Can’t That Be Me? from Muriel’s Wedding. It was a perfect shift into melancholy, showcasing the show’s ability to swing between joy and pain with ease.

Tina Atiga delivered a show-stopping performance of And I’m Telling You (from Dreamgirls); a notoriously difficult number known for its belting and required sustain control. And let me tell you: she absolutely blew the entire roof off! It was powerhouse vocals and emotional commitment at its finest.

Meg Kiddle delivered something different from her usual style with Nothing Short of Wonderful (from Dogfight), seamlessly transitioning between the precise lyrics of the fast-paced sections and the tender vulnerability in her balladic parts. Her subsequent duet with Kiarra Wilson—Some Things Are Meant to Be (from Little Women)—was heartbreakingly beautiful and emotionally impactful. It was a perfect mother-daughter moment, followed by Laura Fois’ breathtaking rendition of Gold, which blended exquisitely with the strings and filled the theatre with a serene elegance.

And then, there was Samantha Thomas. Her rendition of I'm Here (from The Color Purple) was nothing short of flawless—no exaggeration here. Every note was rich, powerful, and heartfelt, delivered with stunning control and emotional depth. Whether the cast used handheld mics or taped ones, the sound quality in this venue was glorious, allowing Samantha’s vocals to soar effortlessly through the space.

Not to be outdone, Fiona Buchanan took the stage with a deliciously sassy and commanding performance of Mother Knows Best. She was every bit the mother—witty, theatrical, and vocally sharp, with presence to spare. Later, she joined James Hogan for the cheeky duo I Love You Like a Table (from Waitress). Their playful chemistry made it a hilarious highlight of the night.

As a final twist—an upbeat version of What I Did For Love—played with expectations. Despite the subversion, it remained a bold, moving finale that tied the night together with love for performance and the journey we all walk. It’s still one of my favourite musical theatre songs, and I adored this rendition.

From the youngest performers playing make-believe to seasoned singers belting out ballads, Prime Time Broadway was a masterfully curated evening of talent, heart, and storytelling. Every solo was carefully placed, every performer celebrated, and every song chosen with intent. I was thoroughly entertained and left with a full heart—and a newfound list of songs I now need to go add to my musical theatre playlist!

Photography by Deb Mayes and Samantha Hancock