Two years from the day it closed in London’s West End, The Great British Bake Off Musical has risen once more – this time not in London, but in the heart of Gateshead for its amateur premiere. There’s a unique sort of magic in seeing a show you love return for the first time; it begins in scepticism, but blooms into a reminder of the love you had forgotten. Caprian Theatre Company have accomplished just that, reminding me of my love of this show – capturing all the joy, heart, and hilarity of it’s roots, with a warmth that only am-dram can bring.

The plot is exactly as one would expect: an entire season of Bake Off compressed into two hours of music, puns, showstoppers, and soggy bottoms. With eight bakers, two judges, two presenters and a parade of themed weeks and technical challenges, it’s a fast-paced homage to a national infatuation. Jake Brunger and Pippa Cleary’s book and score were always strong—warm, witty, and knowing—but I truly believe they shine brightest in the hands of a community company. This is a show that’s inherently silly, deeply familiar, and deeply loved—ideal ingredients for amateur theatre.

These ingredients underpin the success of Bake Off in this environment; stripped of commercial gloss, the core themes emerge even more prominently – those being: love, friendship, food, and the deeply personal bonds of shared experience. Thus, this musical works beautifully in the world of community theatre. As much as I adored the West End run, I truly do believe that this is exactly where such a beautiful show belongs. What it might lack in spectacle, it gains in authenticity.

Clever directorial touches (attributed to Joan Oldfield) throughout spoke to the unique demands—and delights—of staging this show on a smaller scale. The use of torches during the opening ‘Prologue’ lent a hilarious caveman-meets-baking-pioneer energy, while the fire effects in the semi-final were charming in their effectiveness. The iconic workstations were recreated with care, and though tall benches can be tricky to work around, this staging made smart use of the Little Theatre’s space. Not once did a moment feel lost. The addition of ‘TV Crew’ in particular was effective in contextualising certain lines (‘Russell, you’re standing in the way’), while filling the roles played by the on-stage swings in the WE run; this was a genius move!

Costume-wise, the attention to detail was both loving and precise. From Kim’s vibrant blazers to Dame Pam Lee’s unapologetically loud ensembles, every choice felt true to character. Izzy’s denim-and-pinstripe combo returned in full force, and I was thrilled to see Babs’ infamous pink wig and Russell’s suit—an astonishing match to the original design—make a comeback. The cast executed this costuming with an impressive precision that felt true to the heart of the characters depicted.

But of course, it’s the cast that form the heart of this show. Gareth Lilley gave a hilariously committed performance as Phil Hollinghurst, nailing both the sincere “silver fox” persona and the absurdity of his big number, Slap It Like That. His rapport with Anne Taylor as Dame Pam Lee was a highlight; their duet I’d Never Be Me Without You anchored the heart of the show—tender, funny, and full of playful affection. Lisa Hopper and Ian Mordue as Kim and Jim delivered brilliant energy as our beloved presenters, capturing that Mel-and-Sue (who?) charm with giddy ease. They’re the glue of the production: narrators, cheerleaders, and chaos-bringers in equal measure.

Among the bakers, every performance felt distinct and delightful. Lindsay Kellegher’s Gemma was beautifully played, with real emotional depth; Nick Goddard’s Dezza was impossibly endearing; Georgos Marnellos’ Hassan was loveable, bringing Hassan’s arguably underdeveloped story to fruition in a way which was tentative and authentic; Laurence Scott’s Russell brought warmth and impeccable timing; and Andrea Riley’s Babs had the audience in stitches, attacking each line and note with vocal precision. Balancing the humour of the cast with a tender heart was Lauren Garforth as Francesca; her rendition of Grow was gutturally raw, real, and deeply human – it brought me to tears.

Izzy’s characterisation by Freya Lloyd was perhaps the boldest departure—her interpretation skewed more menacing than the original, with angst and razor-sharp wit motivating every interaction. The choice to ground her emotional distance not in vulnerability, but in bristling defiance, gave a compelling edge to the character—and it worked. Coupled with her impressive vocals, Lloyd’s Izzy breathed fresh life into this iconic villain.

It was the portrayals of Ben and Lily that lingered longest. I was lucky enough to attend twice and see both Lily casts (Lucy Pascoe and Harriett Hutton)—each performance of My Dad was utterly devastating in the most wonderful way. Andrew Hoyle’s Ben captured everything the character should be: gentle, earnest, quietly heroic. His vocals soared, but more than that, his scenes with Gemma and both Lily performers were charged with genuine affection. He felt like the emotional spine of the story.

Special mention must go to the band, who carried the musical heartbeat of the show with style and precision. Bake Off’s music is uniquely recognisable—pulling directly from the beloved TV series, with its distinctive melodic motifs. Such familiarity brings an added pressure: these are tunes baked into the national psyche, so the margin for error is slim. But under the steady direction of John Hudson, the band rose to the challenge. They moved deftly between the show’s eclectic palette—from the playful bounce of Slap It Like That to the raw emotion of My Dad—with both warmth and accuracy. It’s no easy task to strike a balance between pastiche and poignancy, but this band did just that, never overpowering, always supporting, and anchoring the show’s most joyful and heartbreaking moments with musical integrity.

Caprian Theatre Company have pulled off something extraordinary. The Great British Bake Off Musical may have started life on the West End, but it’s here—on a community stage—where it feels most at home. There’s nothing amateur about the heart, the humour, or the craft on display. And judging by the post-show buzz in the foyer, this is just the beginning. The future of am-dram has never looked sweeter.

The amateur premiere of The Great British Bake Off Musical ran at Little Theatre Gateshead from May 13- May 17, 2025. Find out more about Caprian Theatre Company here.

Image Credit – One Imagery