THEGAYUK

Tag: Four Star Musical

  • THEATRE REVIEW | The Prince of Egypt, London

    THEATRE REVIEW | The Prince of Egypt, London

    ★★★★ | The Prince of Egypt, Dominion Theatre, London

    Dreamwork’s animated 1998 film ’The Prince of Egypt‘ comes to life at the Dominion Theatre. 

    With music and lyrics by veteran composer Stephen Schwarz, and directed by his son Scott Schwartz, ‘The Prince of Egypt’ faithfully follows the film in the telling of two men – Moses (Luke Brady) and Ramses (Liam Tamne) – who were raised as brothers but, in one of the dark secrets of the family, are not actually brothers.

    Moses was born a Hebrew, and after an accident where Moses pushes an Egyptian guard off a temple being built by the Hebrew slaves, he runs off and encounters what turns out to be his real sister and the real members of his family – all Hebrews. While his adopted father dies, Ramses takes over as the Pharaoh – King – while at the same time still condemning all Hebrews to a life of slavery, which will now include his brother. With the brothers divided, what will become of their relationship, and of the Hebrews who desperately seek their freedom? 

    The production values in this show are worth the price of a ticket. From the illuminated pharaohs and hieroglyphics, which are projected on to the sides of and on the stage, to the amazing costumes and sets, ’The Prince of Egypt’ was made for the huge stage that is the Dominion Theatre. And the dancers are all actually superb, morphing from statues to flowing water to wind to sand dunes to the burning bush where God tells Moses that he needs to return to Egypt and guide the Hebrews to freedom.

    Yes, we also get to see Moses part the red sea, with videos of waves projected onto the sides of the stage to make it look like the Hebrews are actually walking between the red sea. Disney, just like their other productions in the West End, looks like they spared no expense in this production. Kudos go to Sean Cheesman, choreographer, who has guided the dancers to be practically another character in the show, to the production and set design and costumes (Jon Driscoll, Kevin Depinet and Ann Hould-Ward respectively), and the performances of both Brady and Tamne. Also, the singing voices of Christine Allado, Alexia Khadime and Mercedesz Csampai are just beautiful. While there were a couple of scenes that had us scratching our heads, overall it’s an amazing production and one not to miss.

    Book now, click here

  • THEATRE REVIEW | La Cage, London

    THEATRE REVIEW | La Cage, London

    ★★★★ | La Cage, Park Theatre, London

    When you walk into a theatre and you see that the set is a grand staircase leading into a living room with a large statue of David and various photos of men and drag queens on the wall you know you’re in for a drag of a time. This is exactly what ‘La Cage’ delivers.

    Actor Simon Callow adapted the show for the stage, who was asked to write an English version of the original 1973 play (which inspired three french films, a hit musical, and a hit American film – The Birdcage). Directed by Jez Bond, ‘La Cage’ is written in its original time and location, and French speaker Callow astutely brings the flavour of the original farce to life. 

    Drag queen extraordinaire Albin (Paul Hunter) and Georges (an amazing Michael Matus) own and live above drag queen bar La Cage, along with their extremely camp butler Jacob (Syrus Lowe) who can sure wear high heels. Georges’ son Laurent (Arthur Hughes) arrives to inform him that he’s getting married to a girl whose parents are very religious and conservative, and that they’re coming to town to meet his ‘parents.’

    Laurent’s natural mother is invited as well but leaves it to Albin to pretend he’s Laurent’s mother and it’s all one huge farce on the day and things get worse downstairs in the club as all hell breaks loose as Albin is not in residence. Dishes with naughty pictures and innuendos galore go into overdrive as the show goes way over the top with an ending identical to the other productions but in this production is all a bit too easily sewn up. 

    A lot happens in just over two hours and the cast easily keep up the comedy and energy. From the grand dame that is Albin to the almost not in control Georges they help to maintain a bit of the drama while the show spins its characters all over the place. And while you’ll admire their dedication and tenacity, you might find yourself laughing throughout but to a point where it’s not even funny. 

    Book tickets here

  • Theatre Review | Guys And Dolls – Crucible Theatre, Sheffield

    Theatre Review | Guys And Dolls – Crucible Theatre, Sheffield

    ★★★★ | Guys And Dolls – Crucible Theatre, Sheffield

    In an attempt to gather enough money to organise an illegal craps game, racketeer Nathan Detroit enters into a wager with gambler Sky Masterton that he can’t convince a girl to accompany him on a gambling trip to Havana. The catch? The girl in question is Sarah Brown, a religious and upstanding member of the Salvation Army, whose only interest in men like Masterton is in trying to convince them to leave behind their life of sin. So whilst Nathan Detroit does everything he can to avoid marrying his long suffering fiancé Miss Adelaide, Sky Masterton unexpectedly falls in love with the Sarah, as he tries to win the bet.

    Robert Hastie’s revival is punchy, pacey and perky and zips along at a cracking pace. With an ingenious set design of sliding panels which slot together to form the backdrop of prohibition era New York, and zoot suits which are as sharp as the script, Sheffield Theatres production of this classic musical is utterly delightful.

    Kadiff Kirwan oozes charisma as Sky Masterton and Martin Marquez brings a cheeky charm to the stage as Nathan Detroit. But whilst the ‘guys’ were great, the stage belonged very much to the ‘dolls’. Natalie Casey, as the lovelorn Miss Adelaide, beautifully balances comedy and sadness whilst giving a masterclass in musical theatre; and Alex Young brings warmth, humanity and female independence to the role of Sarah Brown.

    There is some dazzling choreography which the cast (and the audience) delight in, and the big numbers, including ‘Luck be A Lady’ and ‘Sit Down You’re Rocking the Boat’, don’t disappoint at all. For a show written some 70 years ago, there is something about this production which feels really fresh and vivacious. Thoroughly enjoyable and tremendous fun, Guys And Dolls is the perfect antidote to the dark winter evenings and is everything you would want from a feel-good classic musical.

    Guys and Dolls plays at Sheffield Theatres until 18th January 2020.

  • THEATRE REVIEW | La Clique, London

    THEATRE REVIEW | La Clique, London

    ★★★★ | La Clique, Leicester Square Spiegeltent, London

    It’s getting cold outside but La Clique is back in town to steam things up!

    Back in London after a ten-year absence and now performing in the Christmassy Leicester Square Spiegeltent – La Clique brings with it a potpourri of sexy performances compered by naughty woman Bernie Dieter (Little Death Club). In cosy environs we are treated to performances that are both fun and hot! The sexy Steven Williams shows us what he can do in a bathtub, while not so innocent David Pereira shaves his body on stage – au natural. Charlie Wheeler then twirls his sexy body on a large hoola hoop.

    Then there’s Ursula Martinez who seems to find a red handkerchief in almost every part of her body. Plus we’re treated to the gorgeous singing of Kelly Wolfgramm who, along with the La Clique Palace Orchestra, bring the house down with her beautiful voice and their smashing music.

    Don’t go once or twice, go to La Clique a few times as the performers are not the same at every performance. We missed the fire breathing Heather Holliday but we’ll definitely catch her at another performance.

    La Clique is a must must must for you and your friends. It’s on until January 4th, 2020.

    http://www.christmasinleicestersquare.com/whats-on/la-clique

  • THEATRE REVIEW | Soho Cinders, London

    THEATRE REVIEW | Soho Cinders, London

    ★★★★ | Soho Cinders, Charing Cross Theatre, London

    Cinderella In Soho is the premise of the new fun musical Soho Cinders.

    Now playing at the Charing Cross Theatre until December 21st, the show tells the story of Robbie (Luke Bayer), who is in love with closeted mayoral candidate James Prince (Lewis Asquith) – who by the way is married – to a woman! Robbie is also being pursued by the rich and well-connected Lord Bellingham (Chris Coleman). But poor Robbie – he’s got two evil stepsisters who have taken ownership of the laundromat in Soho that his mother was supposed to have left him and that he still manages, along with Velcro (Millie O’Connell – very good, and the voice of reason in the show) while the step sisters keep on raising his rent. Luckily the money that Lord Bellingham gives him keeps him affloat, but all Robbie wants to do is to be with his Prince Charming.

    Meanwhile the Prince campaign is run by the determined William George (Ewan Gillies) who will stop at nothing to make sure Prince wins. But gay love affairs are always hard to keep secret – so will Robbie and Prince manage to stay together amidst the campaign and the lure of the money from Bellingham, and what tricks do the evil stepsisters have up their sleeve next?

    There is no glass slipper in this production, but what there is are good songs, a cast that are enjoying their work, smooth direction from Will Keith, and an all-around Panto vibe. Soho Cinders is a lot of fun and a great night at the theatre.

    http://www.charingcrosstheatre.co.uk

  • THEATRE REVIEW | Curtains – National Tour

    THEATRE REVIEW | Curtains – National Tour

    Curtains The Musical ©The Other Richard

    ★★★★ | Curtains The Musical, Sheffield

    On the opening night of a new musical the star of the Broadway-bound show is murdered as she takes (what turns out to be) her final bow. But the actress is not the only thing that dies on stage that night, as the show is an absolute stinker. Enter, stage left, Detective Frank Cioffi, whose keen detective skills are matched only by his love of musical theatre. With everyone in the cast and crew a suspect, can Coiffi catch the killer, get the girl and transform the musical into a Broadway smash?

    Written in 2006 by Kander and Ebb, who are best known for Cabaret and Chicago, this musical has a beautifully old fashioned air to it, with a look, feel and sound of the classic musicals of Cole Porter and Irving Berlin. The show gently, but lovingly, ribs the genre with its tongue very firmly in its cheek, parodying Oklahoma!, the backstage relationships of 42nd Street and the on/off stage antics of Kiss Me, Kate. The songs are instantly catchy and warmly familiar on first listen, but retain the odd glimpse of Kander and Ebb’s trademark sound running through them. Throw into the mix a pastiche of Agatha Christie’s The Mousetrap, and you get to the heart of what this musical whodunnit is about.

    TV’s Jason Manford is wonderfully affable as Detective Frank Cioffi and nestles neatly alongside the broadly talented cast, and Ore Oduba (Strictly Come Dancing winner) is good fun as the show’s songwriter and Emma Caffrey was an utter delight as the show’s wannabe starlet, Bambi. The static set provides a suitable backdrop to the backstage shenanigans, with the audience swiftly moving to the front of the curtain during the big rehearsal numbers using a directorial trick which works remarkably well.

    Overall, Curtains has a healthy dose of subtle and gentile comedy, some cracking, foot tapping songs and the whole show is lovingly put together. It transpires to be a thoroughly pleasant and undemanding evening of old fashioned entertainment, which was incredibly enjoyable.

    Curtains is at Sheffield Lyceum Theatre until 2nd November 2019 before continuing on its extensive national tour.

  • THEATRE REVIEW | tick, tick…BOOM, Penge

    THEATRE REVIEW | tick, tick…BOOM, Penge

    ★★★★ | tick, tick…BOOM, Penge

    Jonathan Larson, the genius behind Rent – perhaps one of the greatest musicals of all time – created a show about his struggle with getting a show produced before Rent – the show is ‘tick tick…BOOM’ – and it is now playing at the Bridge House Theatre in SE20 – Penge.

    Larson, who died sadly and unexpectedly of an aortic aneurysm in January, 1996 – a few weeks before Rent‘s world premiere – at the age of 35 – was very talented, and as the Writer, Composer and Lyricist of tick tick…BOOM his extreme talent was just starting to bloom when he died.

    But tick, tick…BOOM is actually what turns out to be a celebration of his life – telling the story of Jon (a very good Alex Lodge) getting ready to turn 30 and still waiting tables for a living but soon to workshop a show he has written called Superbia.

    He’s besotted with his girlfriend Susan (a good Georgie Ashford) and is not very jealous of his rich gay best friend Michael (James Hume), who seems to have it all but in all actuality does not. So tick, tick…BOOM takes us through the trials and tribulations of Jon’s struggle with the upcoming workshop, and his relationships with his girlfriend and best friend.

    Songs in this show, including ‘Therapy’ and the opening number ’30/90′ pre-tell the songwriting style of Larson and what was to come in the masterpiece that was Rent. If you, like me, are a fan of Rent and have never seen tick, tick….BOOM, it’s worth the journey to Penge to see this show (the theatre is conveniently located next to Penge East overground train station).

    If you’ve never seen Rent, then this show is also worth a watch as the story is relevant to pretty much all of us as we struggled to become successful in our first jobs. And the cast is all wonderful, and Lodge is just about perfect as Jon, with a glimmer of a sparkle in his eye that tells us the real Jon knew he had a gift.

    The show was first performed Off-Off-Broadway in September 1990 by Jonathan Larson in a workshop at the Second Stage Theatre under the title ‘Boho Days.’ It originally premiered in London with Neil Patrick Harris as Jon at the Menier Chocolate Factory and ran for three months.

    This production ends on October 27th, so book now.

  • THEATRE REVIEW | Mamma Mia! The Party, London

    THEATRE REVIEW | Mamma Mia! The Party, London

    ★★★★ | Mamma Mia! The Party, The 02

    ★★★★ | Mamma Mia! The Party, The 02

    Enter the world of ABBA, and Greece, by attending MAMMA MIA! THE PARTY at The O2 London – it’s the best in immersive theatre. And what a great idea!

    Yes, it’s the 02, but once you enter you are transported to a Greek-style courtyard (on the Greek island of Skopelos no less) where it will make you forget the horrific Jubilee Line ride that took you there.

    It’s a romantic courtyard that seats over 200 people with tables scattered on top of balconies, lower levels, stage level and the ground floor – surrounded by Greek-style leaves hanging down from the walls. And at the centrepiece of all this is the water fountain in the middle of the room. You have to see it to believe it – it literally stops you dead in your tracks when you enter the room where you automatically want to start snapping photos and selfies with you and your friends.

    But as it’s a party, there is food and drink involved, as well as great singing and dancing, performed by a cast that belongs in the West End! But it’s the East End – far from the West End, but never mind – for three hours you will forget this and suddenly Greek language will spew forth from your mouth.

    And the show that is performed right before your very eyes is the story of Nikos and his wife Kate who run this exotic and wonderful restaurant together with their family and friends. Told through dialogue and ABBA songs, it’s a warm, romantic and funny story which evolves and unfolds during the evening, taking place around the guests as they sit at their tables enjoying a delicious Greek meal. The evening ends with the main floor bring transformed into a 1970’s disco where audience members are welcome to stay and dance.

    On arrival, you’ll be greeted with a smile and a complimentary welcome cocktail, after which you are welcome to purchase drinks from the several taverna bars.

    The London cast includes Fed Zanni as Nikos, Steph Parry as Kate, Joanna Monro as Debbie, AJ Bentley as Adam, Julia Imbach as Konstantina, Elin König Andersson as Bella, Kimberly Powell as Nina, Pauline Stringer as Grandma, Gregor Stewart as Fernando, with Linda John-Pierre playing Debbie at certain performances and Allie Ho Chee playing Bella at certain performances.

    In between all this are yummy starters such a mezze selection followed by succulent meat dishes paired with tempting sides, and it all ends on a deliciously sweet note with authentic Greek desserts.

    Ticket prices start from £135 per person including VAT.

    This includes a welcome drink, a set four-course meal, a show and an ABBA disco at the end of the evening.

    There are different types of tickets to choose from: Premium, Band A, Band B, Band C (on some performances) and Band D. Premium and Band A ticket holders are seated at tables on the ground floor in the Courtyard and on the Terrace levels, and Band B and C ticket holders are seated at tables in the Terrace levels and Balcony. Band D seats, which offer a partially restricted view, are located in the Terrace levels.

    MAMMA MIA! THE PARTY has music and lyrics by Benny Andersson and Björn Ulvaeus (some songs with Stig Anderson), and a story by Calle Norlén, Roine Söderlundh and Björn Ulvaeus, adapted for the UK by writer, comedian and broadcaster Sandi Toksvig.

    However, there are three things that could be improved.
    1.) The queue. Arrive early as you will be waiting at least 30 minutes to get inside. Doors open at 18:30 (12:00 for daytime shows) but you definitely want to be seated sooner rather than later and before the food starts to arrive. Any later and you might miss the first course. Get there at 6 so you can be one of the first in, and then you can soak up the room before it fills up.
    2.) The heat inside the venue. We were very warm the whole night and didn’t feel any air. It could be cooler in the venue – perhaps they can create a nice beach breeze to make the too a bit more bearable and comfortable temperature-wise.
    3.) The food. We were a table of 4 and received the same portions of food as the single guy sitting at the next table (and he had the best seat in the house). If they can proportion the food according to the table size that would make much more sense.

    These quibbles are valid quibbles, but they won’t ruin your night. And while the show is not cheap (prices from £130 to £218) you will get your money’s worth, whether or not you like/love ABBA. ‘You are my Dancing Queen…..’.

  • THEATRE REVIEW | Big the Musical, London

    THEATRE REVIEW | Big the Musical, London

    ★★★★ | Big the Musical, Dominion  Theatre

    Big the movie was such a hit when it was released in 1988 as it brought out the inner child in all of us. Big the Musical, which just opened at London’s Dominion Theatre, doesn’t quite do the same.
     
    Playing for a short 9-week run, Big the Musical doesn’t bring the films magic to the stage, but it is, nonetheless, a show of pure fun where the audience is expected to believe there is an actual boy on stage in a man’s body who wants to be a boy again.
     
    The man, played by a charming Jay McGuiness (last seen in the awful Rip it Up). He wishes he was grown up so one day he encounters a Zoltar machine who grants him his wish, and he then finds himself trapped inside a man’s body. He is no longer recognised by his mom (Wendi Peters), nor by his next-door neighbour and best friend Billy.
     
    By sheer luck, and by being at the right place at the right time, he gets a job at a toy company where he has to act like an adult but still maintain his childlike innocence. He charms people at the office, including co-worker Susan (Kimberly Walsh) and his boss Mr McMillan (Matthew Kelly), where he is expected, along with the rest of the employees, to come up with a new Christmas toy. The Zoltar has given him 40 days to remain a man. Will that give him enough time to develop the toy and perhaps a grown-up relationship with Susan? Or does he long for his simple boyhood days?
     
    While there is not one memorable song in the show (not very good for a musical as big as Big), the actors all do their best and ultimately succeed.
     
    McGuiness is well-cast as Baskin (while several very good actors briefly play the young Josh and Billy), and Walsh is perfectly cast as the co-worker/love interest. With music by David Shire and lyrics by Richard Maltby, and a book by John Weidman and direction and choreography by Morgan Young, they all have a huge stage to fill at the Dominion Theatre, and they do.
     
    And the art and set directors successfully manage to fill it with carefully erected sets which include Josh and Billy’s homes (including Josh’s bedroom), the office, the carnival and a ballroom for the company party. But don’t expect to be humming any memorable tunes after it’s over. But you will have memories of a fun and good night out, but not necessarily a ‘big’ night out. 
     
    Big The Musical plays at the Dominion Theatre until 2nd November 2019. Book tickets here.
     
  • THEATRE REVIEW | Falsettos, London

    THEATRE REVIEW | Falsettos, London

    ★★★★| Falsettos


    A dysfunctional Jewish family is at the heart of the new show Falsettos.

    Now playing at The Other Place theatre near Victoria Station, Falsettos is a funny, toe-tapping, well-acted and sung musical set in NYC in the late 70s and early ’80s. But later in the show reality kicks in and the show takes a turn.

    The show opens with the hilarious song ‘Four Jews in a Room Bitching.’ The four Jews include Trina (a wonderful Laura Pitt-Pulford), and Marvin (a very good Daniel Boys), who were married with a young son Jason (various actors play the part but on the night I saw it it was a fantastic George Kennedy).

    However Marvin turned gay when he meets, and falls in love with, Whizzer (Oliver Savile), and they move in together, leaving Trina single. But the family is recommended to go see a shrink Mendel  – (Joel Montague) to accept their new circumstances. It all becomes very confusing for Jason, who spends most of his time alone in his bedroom with no friends to hang out with. Jason and Whizzer become very close and it’s Whizzer who tells Jason to see the shrink as well. Trina and Mendel soon fall in and all seems fine with everyone, but suddenly Marvin and Whizzer break up, and then Whizzer starts getting sick.

    As it’s the early 1980’s in NYC, it’s no surprise what disease Whizzer is struck with.

    The show then unexpectedly turns very dark, so unlike the first half which was hilarious and fun!

    When Falsettos first premiered on Broadway in 1992 theatre audiences (a lot of them gay men) were just getting over the multitude of deaths from the 1980’s AIDS crises, a chapter in LGBT history that is dark and grim. But through its storytelling via music (Pit-Pulford brings the house down with songs ‘Trina’s Song’ and ‘Holding to the Ground’), and a wicked sense of humour (the funniest moment is when the second half opens and Mendel points to an audience member and says ‘you are a homosexual.’)

    Falsettos will set the right notes for your theatre-going experience. The cast is all wonderful (give Pitt-Pulford an award pronto).

    This show, directed by Tara Overfield-Wilkinson, succeeds in it’s first showing in London in a venue where every seat is good, and with a very good cast.

  • Theatre Review | Evita, London

    Theatre Review | Evita, London

    ★★★★ | Evita, London

    One of the biggest, best and most well-known of shows has made another return to London.

    Evita, which has been around since 1978, tells the story of Eva Peron (a/k/a Evita) who was the wife of Argentine President Juan Peron from 1946 until her early death in 1952 at the very young age of 33. She has been immortalised in this show that was written by the duo Tim Rice and Andrew Lloyd Webber, with this being perhaps their most popular and famous collaboration.

    The songs in this show are epic. “You Must Love Me,” “Buenos Aires,” and of course “Don’t Cry for Me Argentina” – perhaps one of the most famous songs ever written for a piece of musical theatre, are all here. Madonna brought Eva to life in the 1996 film version which made Eva perhaps more popular than when she was alive.

    Now there is a new production in the gorgeous venue that is the Regents Open Air Theatre. In a set that can be called bare-bones (there is, unfortunately, no proper set, just a wide staircase that leads up to the orchestra), it allows the cast to sing and dance to their heart’s content.

    Samantha Pauly is tasked to play the lead role – it’s a role, if you remember, where Elaine Paige and Patti Lupone both nailed. Pauly doesn’t quite nail it – she doesn’t quite have the voice and vocal range of these two divas, but she admirably gives it her all.

    The character of Che, played superbly by Trent Saunders, is our narrator who guides us through the story, and sings superbly in the anthem “And The Money Kept Rolling In (And Out).”

    Che continues telling the story when Eva meets and falls in love with Juan Peron, and in the process literally kicking his current lover out of the Presidential Palace, her rise in popularity and then, unfortunately, her sudden illness which leads to her death.

    But this production doesn’t quite convey the magnitude spell Eva had, and it leaves out the balcony where she used to wave to her admirers. Also, some scenes don’t quite add up: when a little girl suddenly appears (in a ghastly getup) to beg for money and then walks off with a wad of cash, and when the cast, and Eva, perform in their underwear – these are scratch your head moments.

    But all of this aside, it’s a huge huge musical with amazing songs, great dancing by a cast who works hard to entertain you, and all performed in a beautiful setting.

    https://openairtheatre.com