MUSICALS have been set in many colourful and spectacular locations – the South Pacific, Oaklahoma and the mythical Camelot among them. And now, thanks to theatrical writer Kath Sayer, we can add Harold Hill to that auspicious list. That particular hamlet

MUSICALS have been set in many colourful and spectacular locations - the South Pacific, Oaklahoma and the mythical Camelot among them.

And now, thanks to theatrical writer Kath Sayer, we can add Harold Hill to that auspicious list.

That particular hamlet in in the London borough of Havering provides the setting for the hugely successful Queen's Community Play, Harry from the Hill, which has just enjoyed a five night run at the theatre in Hornchurch.

More than 50 community players dug deep into the reservoirs of their particular talents to provide fine entertainment in an auditorium which was packed for each and every performance.

Featuring all local actors, this multi-tiered offering features actors and actresses of all ages, and tells the story of a young man in search of himself, and his biological parents.

Young Harry (played superbly by Jacob Portsmouth in his first major role), is a discontented young student mollycoddled to smothering by his stuck-up adopted mother who is horrified by Harry's announcement that he's off to Harold Hill to cement a relationship with his real mum and to find his real dad.

'Harold Hill? But that's in Essex isn't it - she's an Essex girl?' shrieked mother Deidre (Wendi Sheard), as adopted father and Wendi's long-suffering husband Peter (Barry Kirk) sides with the young hero's intended course of action.

Also throwing in their tuppenceworth are two mystical characters depicting good and evil - Angel, dressed in white of course and played by Donna Gordan-Apeagyei, and Devil, featuring Paul Ganney in sleek black suit and red tie - each trying to steer Harry on or off the straight and narrow as the case may be.

So off young Harry goes for a secret meeting with his newly-found mum, Lisa (Susan Purkiss), whose main fear is that her partner, Den (Michael McFarlane), will find out about the long lost son.

Her fears are well-founded - from his first appearance in the garden of their Harold Hill home - Den proves to be an unmitigated lout used to getting his own way, who takes an instant dislike to Harry - unlike Lisa's loveable dad Ron (Graham Bennett), who guesses the young man's true identity in an instant.

The scene ends with Harry being issued with an invitation to Den's barbecue, and somehow persuading his other mother and father, Diedre and Peter to accompany him.

Some lively song and dance ensues, along with a few insults thrown across stage as Den's character proves an even nastier piece of work than at first thought.

But even Den comes round in the end in a musical which delves deep into the history of the former council estate and the residents and groups who have populated it over the years.

Directed by Marcia Carr with musical directors, Jane Milligan and Wendy Parkin, special mention must go to the set design of Rory Davis which includes special vintage photographs given back projection above the stage throughout the performance.

Harry from the Hill was entertaining, funny, and sad, and gave a fascinating insight into a 60-year-old project which was born as a controversial post-war housing development which grew into a thriving community with a strong sense of camaraderie and friendship.

As its five show run came to an end, the feeling of the patrons was it was among the best community play so far. And so say all of us....