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Category: Theatre

  • THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    ★★ | The Wedding Singer, Sheffield Lyceum Theatre 

    THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    Robbie Hart is a popular wedding singer who has his belief in love shattered when he is jilted at the alter by his fiancé. But as he has promised to sing at the wedding of affable waitress Julia to her sleazy, materialistic boyfriend, Glenn, he spends his time helping her prepare for her big day. But amongst the gift registry and dress shopping, the two of them slowly fall for each other, and as Julia’s big day approaches, will they both find the courage to tell each other how they feel?

    This 80’s set musical is based on the film of the same name and is packed with a full list of original songs, a smattering of ensemble pieces and a rapping granny. In terms of the cast, Ray Quinn (The X-Factor) stood head and shoulders amongst the performers, with a good performance as Glenn, whilst Cassie Compton (The X-Factor) and UK Eurovision singer Lucie Jones provided competent support and, to their credit, some superb singing.

    But aside from a handful of good performances, sadly, the whole thing just simply didn’t hang together. The onslaught of songs became intrusive to the progression of the narrative, the clunky and cumbersome set changes interrupted the flow and the show overall fell somewhere between lacklustre and dull. Add into that an incredibly cringe worthy seduction scene between Robbie and his ex-fiancé, a significant lack of chemistry between the two leads and some borderline offensive stereotypes of gay men which felt more like ridicule than parody and you have a rather disappointing production.

    But where the show really lets itself down is in its lack of an 80’s feel, especially given that the decade is ripe for the picking in terms of its cultural identity.  Part of the charm of the film that the show is based on is its nods to the decade, from the fashions to the music; something that is noticeably missing from this show. It takes more than a randomly placed Rubiks Cube, a Sony Walkman and a reference to the size of a mobile phone to set the 80’s scene. But the biggest omission is that the original songs didn’t have even a tinge of 80’s synth pop to them and were so generic that, on the whole, they could have come from any musical set in any decade; whilst the costumes missed the opportunity to fully exploit the decade that fashion forgot.

    The show did finally come alive during the last scene and the curtain call, but it was far too little far too late, and couldn’t avoid the show receiving a rather muted reception from the generally unimpressed audience.

    The Wedding Singer is currently playing at Sheffield Lyceum Theatre until Saturday 22nd July 2017

     

  • THEATRE REVIEW | Dirty Dancing, Palace Theatre Manchester

    ★★★ | Dirty Dancing, Palace Theatre Manchester

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    THEATRE REVIEW | Dirty Dancing, Palace Theatre Manchester

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the Palace Theatre Manchester until 22nd July 2017

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | The Play That Goes Wrong, Malvern Theatre, Worcestershire

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Malvern Theatre stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Malvern Theatre until 22nd July 2017

     

    Originally reviewed at the Birmingham Rep

  • THEATRE REVIEW | Boys in the Buff, Stockwell Playhouse, London

    ★★★★| Boys in the Buff

    REVIEW | Boys in the Buff, Stockwell Playhouse, London

    If you want an entertaining, fun, sexy and scandalous night at the theatre, then Boys in the Buff is the show for you.

    It’s a show that objectifies the male body, and a musical bacchanalia full of fabulous song and dance by a crew who don’t take the show, or themselves, too seriously – they’re having fun and they let the audience in on all the fun as well.

    Natalie Harman as Diana is the hostess with the mostest – our compere for the evening. However, she, unfortunately, tells the boys what they can, and cannot do, and that means she demands that they don’t take their clothes off too soon in the show:(! But before they do the dirty and exciting deed, we are treated to song after song of camp musical numbers in a show that packs a lot into its 90 minutes runtime.

    Energetic and handsome William Frazer as Dan belts it out in the cute number “I Can Fly,” while the gang of men gets physical in “The Gym.” Shaun Riddick as Richard practically brings the house down in “My Foreskin and Me” and the hot and sexy and muscly Adam O’Shea gets to strut his stuff (along with his buff body) throughout the show which will have you screaming for more. And finally, there’s Phil (Julian Quijano), who soon finds the confidence to strip off for the audience.

    It’s all done in a style that creates a cosy Chicago-style like cabaret show in a venue that’s perfect for its content – the Stockwell Playhouse (AKA Lost Theatre). Boys in the Buff is a musical revue with lots of skin on show that’s The Full Monty but with lots of laughs and thankfully some Monty.

    Boys in the Buff is playing at the Lost Theatre until July 29th

  • THEATRE REVIEW | Yank!, Charing Cross Theatre, London

    ★★★| Yank!

    THEATRE REVIEW | Yank!, Charing Cross Theatre, London

    A gay fictional World War II love story that tells some of its story via musical numbers is now playing at the Charing Cross Theatre.

    In Yank!, Stu (Scott Hunter), also given the name ‘light loafers’ by his 89th squadron fellow soldiers, is an 18-year-old wet behind the ears soldier drafted for WW II. His fellow soldiers know that he is gay, hence the nickname, but they must also contend with trying to save their lives as battles loom ahead. It’s not too long before Stu and fellow soldier, the hot and sexy Mitch (Andy Coxon), get together. After a few side glances and more than a few cheeky conversations, they expectantly kiss when they’re forced to share a bunk bed (ah, it’s all of our fantasies!). But is Mitch really gay or is he caught up in the moment? Their sort of relationship takes a turn when Stu is offered a job writing for Yank Magazine (it might just as well be called Wank magazine). It’s a job Stu wants because it will take him away from fighting on the front lines and will hopefully one day help him to publish the diary he has written of his exploits as a soldier. Stu’s new position takes him all over but he begs his editor Artie (Chris Kiely) to go to Hawaii as this is where the 89th is fighting, and it’s of course where Mitch is. Stu can’t stop thinking about Mitch and they rekindle the romance they had, well now it’s more than a romance, it’s a full blown relationship as Mitch discusses them moving back to his hometown and living together. But it’s the evil Tennessee (Lee Dillon) who steals Stu’s diary and turns in into the authorities in a time when homosexuality was absolutely forbidden in the army. And things will not be the same for Stu and Mitch and the rest of the 89th- war, death, and jail rear it’s ugly head.

    Yank! is reminiscent of the war musicals of Rogers & Hammerstein (South Pacific) where romance, between a man and woman, was inter-spliced with memorable musical numbers. In Yank!, brothers David and Joseph Zellnik have created a gay WWII love story that pays homage to these 1940’s musicals and cleverly takes the name of their show from the WWII army publication Yank, the Army Weekly. Having opened up, appropriately, on gay pride weekend, Yank! is a celebration of gays in the military, but it does make a few missteps along the way. Hunter is fine as the scared soldier Stu, but I didn’t find him as charismatic as he should’ve been, while some of the staging and songs are a bit off, including a song about pin-up girls (“Betty”) that goes on way too long. Coxon shows that he’s the true stage actor among the cast – his acting and singing are excellent, while the rest of the supporting soldiers do the best they can do with what they have been given (a scene about gay telephone operators is a bit dreadful and really doesn’t need to be in the show). There is at times clever use of the stage, including during the battle and interrogation scenes, and Sarah-Louise Young is just about perfect in her various roles. Director James Baker just doesn’t get it exactly right in making this show a must see event. While it’s a show that is light on its feet and has a few snappy musical numbers, it’s not groundbreaking nor particularly excellent.

    Yank! is playing that the Charing Cross Theatre until the 19th August

     

  • Book tickets to see Mamma Mia, The Musical at Sunderland Empire Theatre

    Tickets for Mamma Mia the UK Tour are available to buy today.

    Books tickets for Mamma Mia at Sunderland Empire Theatre

    What is Mamma Mia About?

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    BOOK TICKETS

    RUN DATES

    17th October  – 11th November 2017

    Our review

    ★★★

    The real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were. (Paul Szabo)

    Watch a clip from Mamma Mia UK Tour

     

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  • Book tickets for Cilla, The Musical at The Liverpool Empire 2017

    Tickets for Cilla, The Musical at The Liverpool Empire are available to pre-order today.

    Book tickets for Cilla The Musical at the Liverpool Empire

    What is Cilla, The Musical About?

    The spectacular rise of one of Britain’s best-loved entertainers of all time.

    Cilla – The Musical is the new spectacular and heart-warming musical adaptation of the critically acclaimed hit ITV television series by Bafta Award winner, Jeff Pope. It tells the extraordinary story of the teenage girl from Liverpool whose teenage dreams of stardom lead to her becoming one of Britain’s best-loved entertainers of all time.

    It’s an introduction by a young John Lennon to music mogul Brian Epstein that changes Pricilla White’s life forever. By the age of just 25 she would be known as singer and TV Star Cilla Black, Number One selling artist and at the forefront of the Brit-Pop music scene.

    The musical score is the ultimate soundtrack to the 60’s including Cilla’s greatest hits Anyone Who Had a Heart, Alfie and Something Tells Me, Twist and Shout by the Beatles, California Dreamin by The Mamas and The Papas’ and many more.

    Directed b Bill Kenwright and Bob Tomson

    Executive Producer – Robert Willis

    Our review

    We’ve not reviewed this musical yet

    Runtime

    TBC

    Show times

    14.30PM and 7:30PM

    Buy Tickets

    Watch a clip from Cilla, The Musical

    As soon as this goes live we’ll update

    Theatre Information & Directions

    Liverpool Empire Theatre

    We use ATG tickets as our official ticketing agent.

  • Pre order tickets for Cilla, The Musical 2017

    Tickets for Cilla, The Musical are available to pre-order today.

    Book tickets for Cilla The Musical

    What is Cilla, The Musical About?

    The spectacular rise of one of Britain’s best-loved entertainers of all time.

    Cilla – The Musical is the new spectacular and heart-warming musical adaptation of the critically acclaimed hit ITV television series by Bafta Award winner, Jeff Pope. It tells the extraordinary story of the teenage girl from Liverpool whose teenage dreams of stardom lead to her becoming one of Britain’s best-loved entertainers of all time.

    It’s an introduction by a young John Lennon to music mogul Brian Epstein that changes Pricilla White’s life forever. By the age of just 25 she would be known as singer and TV Star Cilla Black, Number One selling artist and at the forefront of the Brit-Pop music scene.

    The musical score is the ultimate soundtrack to the 60’s including Cilla’s greatest hits Anyone Who Had a Heart, Alfie and Something Tells Me, Twist and Shout by the Beatles, California Dreamin by The Mamas and The Papas’ and many more.

    Directed b Bill Kenwright and Bob Tomson

    Executive Producer – Robert Willis

    Our review

    We’ve not reviewed this musical yet

    Runtime

    TBC

    Buy Tickets

    Watch a clip from Cilla, The Musical

    As soon as this goes live we’ll update

    Theatre Information & Directions

    This show is on tour

    SEPT 07 – 16th Liverpool Empire
    SEPT 19 – 23rd Edinburgh Playhouse
    SEPT 26 – 30th Milton Keynes Theatre
    OCT 10 – 14th New Alexandra Theatre Birmingham
    NOV 07 – 11th New Wimbledon Theatre
    NOV 14 – 18th Regent Theatre
    NOV 21 – 25th Palace Theatre Manchester
    JAN 23 – 27th Grand Opera House York
    JAN 30 -3rd King’s Theatre Glasgow
    FEB 13 – 17th New Theatre Oxford
    MAR 13- 17th Bristol Hippodrome Theatre
    MAR 20- 24th New Victoria Theatre Woking

    We use Ticketmaster as our official ticketing agent.

  • THEATRE REVIEW | Mamma Mia, The Marlowe Theatre, Canterbury

    ★★★| Mamma Mia 2017 National UK Tour

    REVIEW | Mamma Mia, The Marlow Theatre, Canterbury

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    Currently on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.
    Mamma Mia plays at The Marlow Theatre, Canterbury until 29th July 2017 
    Review taken from the Sheffield Theatre’s production.

  • Book tickets for the Titanic The Musical Tour 2018

    Tickets for Titanic The Musical are available to pre-order today.

    Book tickets for the Titanic The Musical Tour 2018

    What is Titanic The Musical About?

    In the final hour of 14th April 1912, the RMS Titanic, on her maiden voyage from Southampton to New York, collided with an iceberg and ‘the unsinkable ship’ slowly sank. It was one of the most tragic and infamous disasters of the 20th Century. 1517 men, women and children lost their lives.

    Based on real people aboard the most legendary ship in the world, Maury Yeston and Peter Stone’s stunning musical focuses on their hopes and aspirations. Unaware of the fate that awaits them, the Third Class immigrants dream of a better life in America, the newly-enfranchised Second Class dream of achieving the lifestyles of the rich and famous, and the millionaire Barons of the First Class dream of their mastery lasting forever.

    Our review

    ★★★★ Titanic carries a particular magic through its inventive writing and original score. I particularly enjoy that the focus is on four separate couples – just the right amount of stories to get involved with on a production of this scale, and the interplay between the ship’s designer, owner and captain is excellent. It is very worth seeing and, if you can allow the design issues to float by, you will be fully immersed in a very enjoyable production with some truly excellent performances. Robin Foreman-Quercus (2013)

    Runtime

    2hr 40ms

    Buy Tickets

     

    Watch a clip from Titanic The Musical

    Theatre Information & Directions

    This show is on tour

    12 – 21 April 2018                                                                                             Box Office: 023 8071 1811

    Southampton, Mayflower Theatre                                                          Website: mayflower.org.uk

    23 – 28 April 2018                                                                                             Box Office: 028 9024 1919

    Belfast, Grand Opera House                                                                       Website: goh.co.uk

    30 April – 5 May 2018                                                                                      Box Office: 029 2063 6464

    Cardiff, Wales Millennium Centre                                                             Website: wmc.org.uk

    7 – 12 May 2018                                                                                                Box Office: 0843 208 6000

    Salford, The Lowry                                                                                          Website: thelowry.com

    21 – 26 May 2018                                                                                              Box Office: 0114 249 6000

    Sheffield, Sheffield Theatres                                                                      Website: sheffieldtheatres.co.uk

    28 May – 2 June 2018                                                                                     Box Office: 0844 871 7648

    Glasgow, King’s Theatre Glasgow                                                             Website: atgtickets.com

    4 – 9 June 2018                                                                                                  Box Office: 0844 338 5000

    Birmingham, Birmingham Hippodrome                                                  Website: birminghamhippodrome.com

    11 – 16 June 2018                                                                                             Box Office: 0844 871 3014

    Edinburgh, Playhouse                                                                                    Website: atgtickets.com

    18 – 23 June 2018                                                                                             Box Office: 01752 267222

    Plymouth, Theatre Royal                                                                              Website: theatreroyal.com

    25 – 30 June 2018                                                                                             Box Office: 01604 624811

    Northampton, Derngate                                                                               Website: royalandderngate.co.uk

    2 – 7 July 2018                                                                                                    Box Office: 0115 989 5555

    Nottingham, Theatre Royal                                                                         Website: trch.co.uk

    9 – 14 July 2018                                                                                                 Box Office: 01253 625252

    Blackpool, Winter Gardens                                                                          Website: wintergardensblackpool.co.uk

    16 – 21 July 2018                                                                                               Box Office: 020 3285 6000

    Bromley, Churchill Theatre                                                                          Website: churchilltheatre.co.uk

    BUY TICKETS FOR TITANIC THE MUSICAL

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  • Casting announced for National Theatre’s run of Bent

    The National Theatre will mark the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales by staging the first of many LGBT+ events.

    A group of world-class actors and directors will look at how theatre has charted the LGBT+ experience through a series of rehearsed readings and post-show discussions in the Lyttelton Theatre.

    The fourth play in the NT’s Queer Theatre series of rehearsed readings is Bent by Martin Sherman (1979), directed by Stephen Daldry on Sunday 9th July 2.30pm.

    Following Nazi Germany’s Night Of The Long Knives in 1934, gay lovers Max and Rudy are taken away to Dachau by the Gestapo. Desperate to avoid the dreaded Pink Triangle, Max claims to be Jewish. In amongst the horrors of the Camp, he meets Horst who wears his Pink Triangle with pride.

    Cast announced today includes:

    George Mackay, Simon Russell Beale, Giles Terera, Pip Torrens, Paapa Essiedu, John Pfumojena and Adrian Grove.

    The NT’s Queer Theatre event series is hosted in partnership with Pride in London and includes:

    • Neaptide by Sarah Daniels, directed by Sarah Frankcom, Thursday 6 July, 7.30pm
    • Wig Out! written and directed by Tarell Alvin McCraney, Friday 7 July, 7.30pm
    • Certain Young Men written and directed by Peter Gill, Sat 8 July, 7.30pm
    • Bent by Martin Sherman, directed by Stephen Daldry, Sunday 9 July, 2.30pm
    • The Drag by Mae West, directed by Polly Stenham, Monday 10 July, 7.30pm.

     

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