In the moments leading up to the performance at the Goodwood Theatre & Studios, Funk Soul Productions begin to establish the world of The 25th Annual Putnam County Spelling Bee through subtle, optional interaction. Some cast members appear in character in the foyer, setting a playful tone without any sense of obligation. Once the auditorium doors open, the audience is greeted by the set already in place, complete with details such as signage advertising “The Putnam Optometrists,” immediately situating the action within the Putnam County spelling bee. Audience engagement is handled with care, with volunteers supported and improvisation kept confidently in character, enhancing rather than interrupting the flow of the storytelling.
The opening number, “The 25th Annual Putnam County Spelling Bee”, quickly sets the tone, with crisp choreography and well-blended
ensemble singing that delivers the “very nice beginning” the lyric promises. The show follows six students competing in a local spelling championship, overseen by three adults. As the contest progresses and the field narrows, each speller reveals something of their inner life — from ambition and insecurity to loneliness and resilience — transforming what begins as a quirky competition into an unexpectedly tender exploration of growing up under pressure.
With a relatively small cast, the production maintains a strong sense of ensemble, with performers remaining fully engaged even when not at the centre of the action. Amelia Boys brings quiet emotional depth to Olive Ostrovsky, particularly in The I Love You Song, where her yearning and vulnerability are written clearly across her face and body. Jaxon Joy brings physicality and comic confidence to his portrayal of William Barfée. Neve Sargeant offers a fully realised and sympathetic Logainne Schwartz and Grubenierre, while Matthew Boyd’s Leaf Coneybear is played with disarming sincerity, complemented by a clearly differentiated Carl Grubenierre. Yasmin Fitzgerald embraces the pressures and polish of Marcy Park, capturing both her technical precision and the weight of expectation that defines her. Corey Major’s Chip Tolentino quickly wins the audience’s affection with fearless commitment and buoyant charm, while his brief appearance as Jesus proves an unexpected comic highlight. Ruby Pinkerton anchors the production with warmth and authority as Rona Lisa Peretti, while also bringing tenderness to Olive’s mother; Flynn Turley brings steady assurance to Douglas Panch; and Parisya Mosel impresses with clear physical and vocal transformation across Mitch Mahoney, Dan Schwartz, and Olive’s father.
Several cast members juggle multiple roles, with simple and effective costume elements used to clearly delineate character changes. Under Greenrod’s direction and design, these swift transitions maintain clarity and momentum without interrupting the flow of the story.
That cohesion is particularly impressive given that the production marks Gracie Greenrod’s directorial debut. Her approach trusts both performers and audience, allowing comedy and emotional depth to emerge organically, with performers fully inhabiting their characters at all times.
Music direction by Immi Beattie serves the production well, with the cast handling William Finn’s intricate harmonies and demanding score
with control and clarity. While there were very occasional moments where diction or pace made a lyric easy to miss, these were fleeting and did little to detract from an otherwise engaging musical experience.
Choreography by Allycia Angeles strikes an effective balance between polish and personality. Movement feels specific to each character rather than imposed, blending sharp ensemble work with natural, character-driven gestures that support storytelling.
Technical elements, including lighting and sound, are handled with care and restraint, supporting the action without drawing attention to themselves. There was a brief moment where a performer slipped out of light, but in an otherwise technically well executed production — particularly one reliant on recorded backing tracks and tightly timed cues — this was a minor distraction.
Laughter flows easily throughout the performance, but the emotional weight of each elimination is also keenly felt. Funk Soul Productions have delivered a joyful, cohesive, and thoughtfully staged production of The 25th Annual Putnam County Spelling Bee — one that balances comedy with heart and makes its audience feel they truly belong in the room.
Clever, funny, and unexpectedly tender — a heartfelt night of theatre that stays with you.
