Here’s what you missed at the West End Calling Senior Finals 2026

Judges: Simon Lipkin (Oliver!), Georgina Castle (Mean Girls), Ben Forster (The Phantom of the Opera), Alexia Khadime (Wicked)

This year, the competition at West End Calling is fierce as ever. It sounds cliché - but the talent up on that stage tonight was really something, and I was only present at one of the three finals of the day! 

West End Calling is a competition. There’s no doubt about that, but there is something about every interview and the energy in the room that makes this competitive element feel secondary to the event. Everyone seems so supportive and excited for each other that the cut-throat stereotype of show business just washes away. The audience were on their feet clapping for their friends, family and total strangers in support for the incredible work that they furnished. 

This year’s winner 🌟 with photography by Danny Kaan

The acts themselves also seemed to singular and tailored to each individual. The set list was varied from classic shows like Schönberg’s Miss Saigon to the lesser known Big Fish. There was something in there for everyone. It is telling of a group that genuinely love musical theatre, and have a curiosity to find a character that is for them. And that is the incredible thing about musical theatre. It is such a wide genre that it truly encompasses all kinds of characters that you could possibly dare to imagine. The whole evening was concluded with some guest performances joining the young artists: Remember Monday (UK’s Eurovision 2025 entry) performing their new song (Delusional) and their entry What The Hell Just Happened, and Dear Evan Hansen’s Ryan Kopel performing You Will Be Found.

Now for the feedback! Below you’ll find a breakdown of all the performances, with the performers, what they sang, the general feedback that was provided by the panel (and their ranking in the competition) - in order of appearance:

Candidate	Song Choice	Comments from Judges
Seren Jones 1st Runner Up ⭐️	Breathe (In The Heights)	Seren opened the show with this giant of female musical theatre ballads and was praised by Simon Lipkin for her acting choices that were "intelligent beyond (her) years." He said that she felt "honest and didn't push or choreograph any of the acting." Simon also reminded us that the medium of Musical Theatre requires you to tell a story with your voice - that the vocal choices need to aid the acting, and not feel purely performative - something Seren was praised for.
Craig Mackie	Fight the Dragons (Big Fish)	Craig performed a song using the only set piece of the competition - a single chair. Georgina Castle commented on the performance, praising him for his "lovely presence and warm charisma." Craig, in his interview, mentioned that the competition reminded him that theatre is for everyone, something that Georgina bounced off on advising Craig to avoid hiding behind the chair. Even though this didn't affect the audience's ability to see him or connect to his performance, Georgina suggested finding alternatives that don't cover him up to avoid breaking that bond.
Jada Wedding	No One Else (Natasha, Pierre and the Great Comet of 1812)	Jada's performance was praised by Alexia Khadime who said that she possessed a lot of natural power to her voice. With that power, she can experiment with "sitting even further back" as her natural ability will cut through. She advised Jada that she should avoid closing her eyes during the song, as it instantly breaks the bond between her and the audience.
Oscar Timmins	Gethsemane(Jesus Christ Superstar)	Oscar delivered a stunning performance - in front of former Jesus himself, Ben Forster. Ben was full of praise, noting that Oscar's voice and commitment were truly unbelievable, especially given that he himself couldn't sing this song until he was 26. The only note offered was around focus. This song is an intimate, internal conversation directed entirely to one person, and by anchoring that connection more fully, Oscar's performance would be even stronger.
Olwyn Viola	Summer in Ohio (The Last Five Years)	Olwyn delivered a confident and assured performance, showcasing a brilliant voice with impressive riffs and strong vocal drives to the end of each line. The note from Simon centred around living in the moment as an actor - rather than presenting the story beat by beat, truly discovering each thought for the first time, which will make the comedy land even more naturally. Ben also couldn't help but draw a comparison to the iconic Bernadette Peters, noting Olwyn's uncanny similarities in mannerism, tone and even appearance.
Charlotte Rose	Girl in 14G (Kirstin Chenoweth)	Charlotte delivered a brilliant and surprising performance, with her soprano voice drawing particular praise from Georgina, who noted the way it simply "pings out so beautifully." Her facial expressions and comic timing were highlighted as very funny and truthful, bringing real character to the song. The one note offered was around contrast - the elegant, natural posture she brings to the central character could be pushed further into something more disgruntled and physical, which would heighten the comedy between her three distinct characters even more.
Joe Brown	Hard To Be The Bard (Something Rotten)	This was a brilliant and brave performance, with Simon expressing genuine delight at seeing such bold, exploratory work on stage. The note centred around rooting all of that playfulness in truthfulness - making sure every comic choice connects to the story, and asking whether each moment is truly necessary or whether the music and words can do the heavy lifting on their own. Simon also reminded Joe that a performance is never finished, and that his instinct to keep mucking around and experimenting is exactly the right approach as his lens and skill continue to grow.
Bella Hutley Winner ⭐️	Losing My Mind (Follies)	A truly stunning performance from Bella, whose acting and emotional honesty left a real impression on Ben. At just 17, her ability to channel such raw emotion was praised as remarkable, with her lower register in particular noted as something that hits straight to the heart. The one note offered was about learning to place emotion in a controlled, almost artificial way so that feeling it too deeply doesn't affect the voice. Most importantly, Ben highlighted that Bella's greatest strength was not leaning on her natural talent alone, but trusting the story completely.
Layla Mccarthy-Bowes	I'd Give My Life For You (Miss Saigon)	What a performance from Layla, who tackled an iconic song with real emotional commitment and was praised warmly by both judges. Her voice was highlighted as a particularly beautiful match for the song, with one judge even drawing a comparison to Lea Salonga, which is high praise indeed. Performing while recovering from illness made her control and commitment all the more impressive. The note offered by Georgina was a personal one, to place the person she is singing to somewhere specific in the room, creating that invisible connection throughout, which will make those already heartfelt moments feel even more grounded and real.
Millie Whale Audience Winner ⭐️	I'm Breaking Down (Falsettos)	Strong choices, total commitment and a genuine stage presence made Millie's performance a real standout. Alexia praised not only her bold comic performance but the way she brings something uniquely herself to everything she does, noting that this quality is what makes performers truly special. Comedy was highlighted as one of the hardest things to pull off, requiring a complete loss of self-consciousness, and Millie never looked anything other than fully believable throughout. A well-deserved bravo all round.
Nollie Odoom Vocal Award ⭐️	Love Never Dies (Love Never Dies)	Nollie's performance left the judges genuinely speechless, with her rich and distinctive tone drawing remarkable praise across the board. In a landscape where bigger and louder so often wins out, her classical approach felt refreshing and exciting, and Ben noted she sang the piece with a rare fidelity to the score whilst still making it entirely her own. Alexia said that the soulfulness she brings to an operatic sound was highlighted as something truly unique and commercially special. The one note offered was to fight against the slightly presentational quality that classical training can bring, letting more of her natural self and personal truth into the performance, because the judges agreed that when she does, it will be something extraordinary.
Amelie Beauchamp	Just One Step (Songs For A New World)	Amelie brought genuine fun and accomplished comic instincts to her performance, with the judges quick to point out that her playful attitude is exactly the right one to have. Her natural funny bones were singled out as something that simply cannot be taught, and the moments where she pulled back and kept things small and clear were noted as her biggest laughs of the night. The note from Simon was to take that same relaxed energy and let it run through the whole song, leaning into the laid back, front footed quality of Jason Robert Brown's writing and trusting that her voice and comedy instincts will do the rest.
Betsy Andrews	Dyin' Ain't So Bad (Bonnie and Clyde)	A truly special moment from Betsy, who revealed backstage that she had never performed this song in front of anyone before. The judges were completely captivated, with one noting she was so absorbed in the performance she forgot to write anything down. The vulnerability and sensitivity Betsy brought to the song was praised by Georgina as beautiful and perfectly complementary to her sweet and lovely voice, with particular care noted in the way she handled the words. The moment her voice opened up fully towards the end was described as simply glorious.
Daisy Bullock 2nd Runner Up ⭐️	My Days (The Notebook)	What a moment from Daisy, who performed despite having lost her voice beforehand, making what followed all the more extraordinary. The judges were utterly captivated, with one describing a rare combination of vocal quality and completely natural, unforced acting that left her feeling totally connected throughout. Nothing felt over-rehearsed or placed, and that authenticity was at the heart of everything that made the performance so exciting. The highest praise of all came in the form of a simple declaration from Ben who would watch it back five times just to make sure it was as good as he thought it was. Simon ended the commentary with a simple "it was very good."
Sevi Harvey	Wishing You Were Somehow Here Again (The Phantom of the Opera)	Sevi chose a song close to her heart, having first learned it with her singing teacher back in Year 9, and delivered it on the West End stage to real praise from a judge who knows the song better than most, having played the Phantom himself (Ben). Her beautiful soprano tone was highlighted as a natural fit for the piece, a skill in itself when it comes to song selection. The note was around confidence and ownership, to dare to make the phrasing her own and truly live in the song, with Ben noting that by the end, when Sevi relaxed and found her belt, it was exactly that feeling he had been hoping for throughout.
Eve Corbishley	Where I Wanna Be (BOOP! The Musical)	Eve burst onto the stage with infectious energy, launching straight into her world from the very first moment in a way that immediately drew the judges in. Her big voice and ability to take the audience on a journey were singled out for real praise. The notes from Alexia centred around two areas to develop going forward, finding more light and shade throughout to give the performance greater shape and variety, and sharpening diction in the wordier sections where snatched breaths make clarity all the more challenging. Both are the marks of a performer with plenty more to unlock.
Niamh Cullen	Once Upon A Time (Brooklyn)	Reaching the final for the second year running, Niamh delivered a performance that left the judges breathless, with her vocals described as genuinely impressive and a closing note, an F# no less, that stopped the room. What stood out beyond the technical brilliance was a quality the judge described as her superpower, a genuine and honest vulnerability that makes her truly magnetic to watch. The note from Simon was an encouraging one, to stop being scared of that openness and instead lean into it fully, because that real human quality is exactly what makes audiences connect, and when she does, the judges agreed it will be something extraordinary.
Alyn Roberts	What Do I Need With Love (Thoroughly Modern Millie)	Alyn commanded the stage from the very first moment, bringing an energy that felt completely natural and utterly captivating throughout. The judges were bowled over not only by that infectious presence but by the breath control and technique required to pull off that final note after such a demanding performance. What excited them most, however, was the quality of his voice itself, a rich, classic baritone tone that had the judges reaching for comparisons to old Hollywood and golden age musical theatre. The consensus was clear that Alyn has a sound so authentically and uniquely musical theatre that there is an enormous amount of exciting work ahead of him.
Sylvie Erskine	Dangerous To Dream (Frozen)	A deeply personal song choice from Sylvie, who chose a piece she has connected with since watching her little sister perform as Elsa countless times. Georgina praised her beautiful voice and noted what a skill it is to find a song that fits so naturally, with the consensus being that this one was simply and completely hers. The note was an encouraging one, to lean even further into the storytelling, continuing to explore all the small moments that will make a already lovely performance truly magical.
Phoebe Tasker Acting Award ⭐️	Monster (Frozen)	Phoebe delivered a vocally accomplished and technically strong performance that was matched every step of the way by really committed acting, leaving the judges with very little to critique. The sheer consistency of it, strong from start to finish, was what stood out most. Beyond the power and polish, the judges highlighted an interesting quality in her lower register, a modern, lilting tone that feels entirely her own without tipping into something try hard, and encouraged her to seek out songs that will let that quality shine even further. High praise all round from a panel who were already in awe of the talent on display throughout the evening.
Holly Page	Someone Like You (Jekyll and Hyde)	Returning to the competition six years after her first attempt at just 13, Holly delivered a performance that fully justified her place in the final. Georgina praised her beautiful tone, sophisticated control and a gorgeous little flip in the voice on the higher notes that was described as simply gorgeous. What lifted the performance further was the genuine joy and hope she brought to what could easily become a heavy ballad, keeping the energy alive throughout. The note was around matching her vocal journey with an equal acting journey, visualising exactly who she is singing to with real specificity, so that the emotional progression in her voice is mirrored just as powerfully in her performance. A voice, the judges agreed, that is already mature beyond her years.
Millie Edmunds	In LA (Fame)	Closing the evening in style, Millie chose a song the judge knew well from the original soundtrack and proceeded to transform it into something far bigger and more powerful than it had ever felt before. The complete commitment to the acting was what drove that transformation, with Ben noting she really went there emotionally in a way that elevated the material entirely. A beautiful voice delivered with real conviction made for a fitting final performance of the night, and a moment that left a lasting impression on everyone in the room.