Local Theatre Faces Scrutiny After “The Sound of Music” Cast Members Allege Abuse and Misconduct

by Chris Peterson

Community theatre is supposed to be a sanctuary. It’s where kids find their voice, adults rediscover their imagination, and people come together purely for the love of creating something beautiful. It’s where mistakes are forgiven, friendships are formed, and the applause at the end means more than any paycheck.

That’s why the recent allegations coming out of a community theatre group in England are so unsettling.

According to a report from Roch Valley Radio, members of St. Gabriel’s Amateur Dramatic and Musical Society (ADMS) — including children — claim they were subjected to repeated bullying, verbal abuse, and sexual misconduct from a former male associate of the group.

A formal complaint was filed with the National Operatic and Dramatic Association (NODA), which supports community theatres across the U.K. Even more troubling, it’s alleged that the accuser's identity was revealed to the accused, which could represent a serious breach of confidentiality and child safety.

The group, which rehearses at St. Gabriel’s Catholic Primary School and performs at the Curtain Theatre, was reportedly given a 30-day right of reply but hasn’t issued any public response. The show — ironically, a production of The Sound of Music — is still going on as scheduled.

It’s important to note that as of now, no independent investigation or public findings have been released, and the full details of what happened remain unclear. But even at this stage, the allegations raise serious questions about how community theatres, in England and even here in the U.S., handle safeguarding, communication, and accountability when something goes wrong.

And the silence itself speaks volumes. When serious concerns about safety are raised, saying nothing sends its own message. It tells participants that reputation matters more than responsibility, and that’s never acceptable when children are involved.

When kids take part in theatre, the adults leading them have a sacred responsibility. A rehearsal room should be a space of trust. Directors and stage managers aren’t just teaching lines and blocking — they’re shaping young people’s confidence, sense of belonging, and emotional wellbeing.

Too often, small theatre groups rely on good intentions instead of structure. They assume that because it’s “just community theatre,” everyone will behave. But that’s not how power works. Authority in volunteer settings can be even more complicated, because it’s based on charisma, tradition, or seniority instead of clear accountability.

What’s being described in Rochdale isn’t just a personal failing; it’s a systemic one. If young people were truly mistreated, the problem extends beyond one individual. It’s about the culture that allowed it, the adults who looked away, and the lack of clear safeguards that could have stopped it sooner.

One quote from the article hits like a gut punch: “People were afraid to speak out because they didn’t want to be seen as troublemakers.” That line could come from almost any industry that’s struggled with abuse — sports, education, entertainment. Once fear takes root, safety collapses.

Community theatre should be the opposite of that. It should be a place where every voice matters, where collaboration feels joyful and safe. When participants start whispering about what’s happening offstage, the art itself begins to lose its integrity.

For St. Gabriel’s ADMS, the question now is whether the show should go on. That phrase — “the show must go on” — is practically sacred in theatre. But when serious allegations are hanging in the air, pressing ahead without addressing them sends the wrong message.

Continuing as if nothing happened tells participants that appearance matters more than safety. It tells parents their kids’ well-being is negotiable. And it tells anyone who might want to come forward in the future that they probably shouldn’t bother.

So what happens next? First, the people who came forward need to be protected, not punished. That should be non-negotiable. Second, oversight bodies — whether it’s NODA in the U.K. or local arts councils in the U.S. — must take complaints seriously and act quickly. And third, every community theatre should take a hard look at its own culture.

Ask the uncomfortable questions. Is there someone who holds too much unchecked power? Is there a system for reporting misconduct? Do young actors know who to talk to if something feels wrong?

It’s easy to assume “it couldn’t happen here.” But that assumption is exactly how it happens.

We owe it to the kids who join theatre because they believe it’s a safe space to dream. We owe it to the parents who trust us to look after them. We owe it to the art form itself, which can’t claim to tell the truth onstage while ignoring it backstage.

Because if the rehearsal room isn’t a safe space, then it doesn’t matter how good the show is.