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Tag: Four Star Musical

  • THEATRE REVIEW | The Wild Party

    ★★★★ | The Wild Party

    The Wild Party review
    CREDIT: Scott Rylander

    Have you ever been to one of those parties where the memory of it makes you shudder and sigh in equal measures? You know the kind: the music’s loud, the people are louder, there’s way too much gin, people are taking drugs like they’re about to become illegal or something, your boyfriend sneaks off and does someone else in another room and you can’t quite even remember what or even who you did. No? Me neither. I’m more of a Bridge and canapés person but I like to dream.

    ‘The Wild Party’ depicts just such a party but back in the era of Vaudeville, dancing the Black Bottom and blasting out jazz. Based on a controversial narrative poem from 1927, this musical is a rollicking romp and a visual treat. Queenie and Burrs are ageing Vaudeville stars that decide to liven up their flagging relationship by throwing a wild party with a bath tub full of gin and an assortment of bohemian friends with fluid sexuality. Cue the entrance of old friend Kate with her hot gigolo lover, Black and things get messier than expected.

    Award-winning choreographer Drew McOnie (In the Heights, Bugsy Malone, Jekyll and Hyde) directs the piece and injects it with jaw dropping moves. Limbs flail, jazz hands waggle and a sinister pair of brothers hot-shoe it all over the stage. It’s visually dazzling if slightly overwhelming at times. The music is pure 1920s jazz and has enough oomph to carry the show which is needed as there isn’t a huge amount of plot: there’s a party with sex, drink and drugs and it goes wrong.

    Original Les Miserables star Frances Ruffelle is a treat to watch as Queenie. Simon Thomas is painfully handsome as gigolo Black and Dex Lee is a suitably sinister and sexually appealing Jacky, a coke-crazed bisexual rich kid. It’s a show that’s brash, loud and relentless which is no bad thing. What it lacks in plot and delicate characterisation it more than makes up with rousing choreography and, to quote another show featuring Vaudeville stars, ‘razzle dazzle’.

    The Wild Party plays at The Other Palace until 1st April 2017

  • THEATRE REVIEW | Strictly Ballroom – The Musical – West Yorkshire Playhouse, Leeds

    THEATRE REVIEW | Strictly Ballroom – The Musical – West Yorkshire Playhouse, Leeds

    ★★★★| Hunky dance champion, Scott Hastings throws the uptight world of the Australian Ballroom Federation into disarray when he strays from tradition and introduces his own steps onto the dance floor of the competition. Horrifying his mother, his coach, his friends and, most importantly, the federation’s chairman, his new moves ignite a spark in Fran, the dance school’s ugly duckling. As Scott rejects his potential new partners and routines, he secretly practices with Fran, falling in love as they do. But as they head to the Pan-Pacific Grand Prix Finals, not everything on the judging panel is ‘strictly ballroom’, and Scott is forced to choose between dancing from the approved moves and dancing from his heart.

    In 1992, Baz Luhrmann opened his Red Curtain Trilogy of films with this offbeat satire on the world of ballroom dancing and the film quickly garnered critical praise and cult status. The show has come full circle, moving from stage to screen and back to stage in a production which is wildly vivacious, colourful and as camp as they come. Featuring songs from the film along with a number of new musical numbers, the camp factor is ramped up to the max, with the whole thing swishing around in a swirl of sequins, feathers, 80’s pastel shades and deliberately dodgy wigs.

    Broadway veteran Sam Lips makes his UK theatre debut in the role of Scott, with his strengths primarily in his voice and his dancing; whilst Gemma Sutton relishes in a believable transformation from shy wall flower to leading lady, as Fran.  Richard Grieve steals every scene he is in with his portrayal of the flamboyant Les Kendall and there are brilliantly understated performances from Tasmin Carroll and Stephen Matthews as Scott’s parents. Flesh out the cast with an ensemble of excellent dancers, including a plethora of perfect pecs and bulging biceps and you have a top notch cast who are clearly enjoying themselves as much as the audience.

    The ingenious set design by Soutra Gilmour opened out into the key locations with remarkable versatility and comfortably accommodates Drew McOnie’s steady direction and thoroughly enjoyable choreography. The first act focuses primarily on the narrative, which never strays too far from the familiar film, whilst the second act opens up into a barrage of musical numbers which are unyielding from the opening number right up until the curtain falls, bringing the crown to their feet in thunderous approval.

    With Strictly Come Dancing riding high in the public consciousness, the UK premiere of Strictly Ballroom is well timed, and proves just as undemanding but far more enjoyable than its nearest television counterpart. Whilst underneath the glitz, glam and gayness of it all, there is a rather corny Pygmalion-eque love story, this is one evening at the theatre that is more about the joy of the journey rather than the destination. Cheesy, tongue in cheek and with a distinct flavour of both irony and homage to the art form, it’s a smile inducing spectacle, and one can only hope that a national tour will follow.

    Musicals really don’t come any gayer than this, and the show is a piece of unadulterated, joyous, feel-good theatre.

    Strictly Ballroom is currently playing at West Yorkshire Playhouse, Leeds until 21st January 2017. For tickets, further information and details of their new season, visit their website at www.wyp.org.uk or call the box office on 0113 213 7700

     

  • THEATRE REVIEW | La Soiree

    THEATRE REVIEW | La Soiree

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    PR Supplied

    ★★★★ | La Soiree

    The best show in Central London is now playing for a limited time only in Leicester Square – it’s La Soiree!

    Back in London for a 7th time, La Soiree is a theatrical experience that will wow and shock you – it’s circus, vaudeville and burlesque all rolled up into one in a show that’s funny, mesmerising, and very enjoyable. In the especially-built venue that is the Spiegeltent right in the middle of Leicester Square, it’s a show in the round, in a velvet-draped salon of carved wood, polished mirrors and the feeling of having stepped into another world, and where every seat has a good view of the shenanigans the performers get up to. Grab a drink at the bar and have fun watching these amazing performers:

    -Denis Lock is a bubble-making master. He makes bubbles in all sorts of shapes and sizes, including a carousel – he really needs to be seen to be seen!
    -Songstress Acantha Lang, from New Orleans, sings intermittently throughout the show – her vocals are large and high octane! She’s a diva and she owns it!
    -Captain Frodo is a hilarious comedian who is able to put his whole body through two small tennis racquets – it’s contortionism at it’s very best!
    -The very naughty and funny Ursula Martinez – she finds hankies in the most unusual places – enough said!
    -Daredevil Chicken is a man and woman duo who do incredible costume changes and are able to toss bits and pieces of bananas into theirs (and audience members) mouths. They are side-splittingly funny!
    -Jarred Dewey likes to swing, on a swing (he’s a trapeze artist)! And he does it with very little clothes on.
    -Hamish McCann, while shirtless, performs a jaw-dropping pole act that makes it look like he’s literally walking up a light pole. He makes it look easy.

    For two hours you will be entertained, and your jaw will drop, not only at the amazing feats these performers accomplish, but also because it is all very hilarious and raucous.

    So step away from the busy and blustery streets of London into this plush cabaret venue where you will have a really good time!

     

    Christmas in Leicester Square run until 8th January 2017, 0207 492 9942

     

  • THEATRE REVIEW | Moby Dick! The Musical

    ★★★★ | You don’t have to be a fan of aquatic placental spout-squirting marine mammals to appreciate Andrew Wright’s take on Moby Dick – but a penchant for choreography that could power a fleet of trawlers, an affection for Glee-style musical numbers and an esteem for the male form, in two beautiful varieties, will help you stay afloat.

    St. Godley’s Academy for Young Ladies are in a bit of financial bother. Headmistress (X Factor’s Anton Stephans) decides to stage a musical version of Herman Melville’s classic novel Moby Dick to keep the shark from the porthole. Think St. Trinian’s meets Peter Pan with a wave of Carry on Cruising – Ofsted would have an algae-ridden-seabed day.

    In amongst the spot-light rivalry, over-the-blouse gropes, double entendres, an inappropriate use of a ruler, African jigs, amateur projector marine displays, dark angel trolly dashes, Sinitta (probably just because it was press night), the occasional can-can and a male striptease – in amongst the pandemonium of jollity is a cast humpbacked-full of enthusiasm, each sperming their own individual clicks, pulses and whistles.

    Ishmael (Rachel Anne Rayham) would give a chorus of orcas a swim for their money with her compelling vocal cords. Anton’s animated boat-race did him no favours with Mr Cowell but worked superbly spurting life into the Headmistress and Ahab. And Glen Facey’s pirouettes, fouettés and fish dives were executed without so much as a splash.

    School uniform isn’t mandatory, and you may be encouraged to dance with the Head, but there’s no Moby about enjoying this Dick – it’s a sure thing.

    Wednesday 12th October – Saturday 12th November 2016 Tuesday to Sunday, 7.30pm
Saturday and Sunday matinees, 2.30pm

    Union Theatre, 204 Union Street, London SE1 0LX – phone: 020 7261 9876

    Tickets are available starting at £15

    Book: www.uniontheatre.biz

  • THEATRE REVIEW | Vanities: The Musical

    THEATRE REVIEW | Vanities: The Musical

    ★★★★ | Vanities: The Musical

    Imagine an afternoon Channel 5 film full of ‘women’s issues’. Or one of those novels that you take on holiday, read, instantly forget and then leave in the hotel room when it’s over. Syrupy sweet and wholesome but emotionally stirring on some levels. Predictable yet mildly intriguing and easy to digest but enjoyable nonetheless. That’s “Vanities” in summary. Oh, I almost forgot to mention: it’s also tremendous fun.

    Review of Vanties the musical
    CREDIT: Pamela Raith

     

    The story follows the friendship between three women through being High School cheerleaders in 1963 (yes, it’s American. Very American), living together in a sorority house at university in Dallas, reuniting in their late twenties in New York and finally meeting again as they are hitting 40 back in Texas. Joanne is traditional and wants to be a wife and mother, Kathy is driven and organised and wants a career as a sports teacher and Mary just wants adventure (a.k.a. sex and travel). There we have it in three handy female stereotypes: earth mother, career woman and bitch/whore. Naturally. There’s infidelity, hurt, alcoholism and nervous breakdowns plus the odd abortion, betrayal and blazing row. It’s soapy, light and watchable.

    There are, however, various qualities that elevate Vanities above this form. Firstly, the songs: they’re almost a parody, aping the girl groups of the 60s and 70s with tones of Bacharach, The Supremes and The Shangri-Las. Kirschenbaum’s lyrics are witty and amusing and although they’re not the most memorable riffs, they’re easy to listen to, raise a smile and work well in the context. Racky Plews’ choreography echoes the styling of the music and there are some moves worthy of a lip-syncing runner-up in RuPaul’s Drag Race.

    Secondly: the cast. Lizzy Connolly, Ashleigh Gray (a previous Elpheba in the Wicked U.K. tour) and the lovely Lauren Samuels (who was award nominated for ‘Bend It Like Beckham’) are all equally strong and carry the show with ease.

    Thirdly, the staging: the tiny space of Trafalgar Studios 2 is transformed into a shifting, overtly feminine space full of the cluttered paraphernalia of girlhood. The show works well at such close quarters, given the minuscule cast and scrutinised emotion.

    A 2009 sickly saccharine musical that was based on a 1974 Broadway comedy and that has never managed to hit this side of the pond? It may not sound like the best proposition for a good night out. Sit back, relax and this hollering, dancing all female group will show you just how wrong that assumption would be. Just don’t take your straight male friends. I’m not entirely sure that they’re going to ‘get’ this one. School of Rock or Groundhog Day, anyone?

    Vanities: The Musical plays at the Trafalgar Studios until 1st October 2016

    Follow Chris Bridges on Twitter

  • THEATRE REVIEW | Allegro, Southwark Playhouse

    ★★★★ | Allegro

    CREDIT Scott Rylander

     

    With Allegro, the charming space at Southwark Playhouse sees the UK premiere of a dusty old 1947 musical. Thanks to the partnership of Thom Southerland and Danielle Tarento (Titanic, Grey Gardens, Dogfight and Parade) this forgotten piece has had the cobwebs blown off it, regained its sparkle and is a welcome find rather than a lacklustre piece of tat from the store cupboard of musicals that should stay dormant.

    Rodgers and Hammerstein’s musicals have been entertaining theatre audiences since the early 1940s when they hit the scene with Oklahoma. The pair went on to score a string of hits with The Sound of Music, The King and I and South Pacific among many others. Given their continued critical and commercial success it was a surprise when Allegro floundered and failed to win over American audiences when it premiered. Theories abound as to why this was: a misguided choreographer/director, a storyline ahead of its time or too radical a departure from accepted musical theatre form. Whatever the reasons, it’s resulted in something quite extraordinary for us in that we now have a ‘new’ musical from an iconic writing duo to enjoy.

    The storyline isn’t the strongest around, the intention of the show being to tell a simple tale of an all American everyman. It’s a little flawed, has the odd flabby moment in Act One and is occasionally too sentimental for modern tastes but has an endearing core message. None of that matters though and it’s easy to overlook the cracks in the core material. The genius of the show lies with the team behind it. Southerland has stripped back the show and presents it on a pared down set of almost perpetually moving ladders and platforms with a cast of sixteen and an eight-piece band. The cast form the musical equivalent of a Greek chorus, commenting on the life of small town doctor Joseph Taylor Jr. as he moves from birth through to an early mid-life crisis at 35 with individual members stepping forward and taking on the roles of significant people.

    Unlike the ill fated first run where a reputedly Gorgon like choreographer reigned havoc, the choreography is one of the key factors that makes this performance work. Lee Proud makes use of the limited space and the company move with panache, seamlessly augmenting the narrative. The ensemble singing is as strong as the individual numbers and really packs a punch. Some killer numbers and an accomplished cast combine to make this a winning show. Gary Tushaw as Joseph is handsomely wholesome without being nauseating and Kate Bernstein is particularly enlivening as his waspish nurse, Miss Lipscombe. Her take on “The Gentleman is a Dope” is a sight and sound to behold.

    Forget Jesus Christ Superstar. If this team continue to breathe life into shows that are as dead as Lazarus then we’ll definitely be hailing them as a the new Messiahs of musical theatre.

    Allegro plays at Southwark Playhouse until 10th September

    Follow Chris Bridges on Twitter

  • Theatre Review | The Rocky Horror Show

    ★★★★ | The Rocky Horror Show takes the audience on a strange journey, as Brad and Janet, two ordinary high school kids, have a little car trouble and end up at the castle of Frank-N-Furter; a cross dressing scientist cum force of nature, on the evening that he is to bring his Frankenstein-esque playmate, complete with “dark hair and a tan” to life. Featuring the songs The Time Warp, Sweet Transvestite, Science Fiction/Double Feature, I’m Going Home and Dammit, Janet;  will things ever be the same for our two high school sweethearts?

    Photo Credit – Sean Webb

    The role of Frank-N-Furter is so iconic, that you need a larger than life personality to fill the fishnets, and Liam Tamne does a great job blending Frank’s camptastic alluring persona whilst maintaining an underlying gruffness in his vocal performance of the songs, whilst Richard Meek excelled as Brad, particularly in his rendition of Once In A While. Dominic Andersen was the personification of perfection as he filled out the gold hot pants of Rocky, and Norman Pace (of Hale and Pace fame) traded quips with the audience as the Narrator. Sadly, Kristian Lavercombe was a slightly too shouty Riff Raff and Paul Cattermole (S Club 7) was nothing more than functional as Eddie/Dr Scott.

    Rocky Horror is presented here in all its gloriously loud, brash, colourful, neon Day-Glo garishness, with a set which looks luxurious and holds an almost cartoon-like feel to it; all accompanied by an excellent lighting design by Nick Richings which flooded the stage in reds, greens and purples, and some steady direction by Christopher Luscombe. But within that polished veneer, it loses some of the darker undertones of the piece, leaving it with a slight hint of almost being a caricature of itself. The slight stumbling block of this production is that, ironically, it is done so well.

    But that said, the show is a phenomenon, and the atmosphere at any Rocky Horror performance is one which has to be experienced. This production is a fresh take on a classic show and one which engages the audience like no other. So pull on your fishnet stockings, warm up your vocal chords and go and “give yourself over to absolute pleasure”.

    The Rocky Horror Show is at Sheffield Lyceum (www.sheffieldtheatres.co.uk), who has just launched their new season, until Saturday 25th June 2016 before continuing on its national tour until the end of the year. See www.rockyhorror.co.uk  for full details.

     

  • THEATRE REVIEW | Aladdin

    ★★★★ | Aladdin

    Disney has done it again. They’ve produced another musical based on one of their very popular animated movies – this time it’s Aladdin.

    Already playing on Broadway where it opened in 2014 to very good reviews, Aladdin takes the colorful animated movie and successfully transfers it to the stage. It’s a production so colourful, so full of life, with quite a few memorable scenes, that it’s likely this show will follow in the footsteps of The Lion King and Beauty and the Beast in entertaining lots of children (and adults) for years to come.

    Of course the Aladdin film is most famous for Robin Williams as the voice of the Genie. It was a natural fit; his huge character persona so in line with the genie’s. In the stage version, the genie is just as memorable (played by a campy and very funny Trevor Dion Nicholas), who practically steals every scene he’s in. He can grant three wishes in this love story between Aladdin (Dean John-Wilson) and the Princess Jasmine (Jade Ewen). Aladdin is poor, and hangs out with a trio of losers and thugs in the town of Agrabah. Meanwhile Princess Jasmine is very unwilling to enter into an arranged marriage by her father the Sultan (Irvine Iqbal). But lurking in the background is the Sultan’s Prime Minister Jafar (Don Gallagher) – his right hand man – who wants to overthrow the Sultan and will do whatever it takes to do so. This entails locating a dangerous cave where there’s a special lamp that grants wishes.

    Back in town, Princess Jasmine dresses as a commoner and walks around town and meets Aladdin. They’re smitten with each other but the romance hits a rocky start when Aladdin gets arrested for being in the palace. He’s saved by Jafar, who enlists him to go into the cave to retrieve the lamp. But it’s Aladdin who, accidentally, gets to own the lamp, and like in the film, he has three wishes to make, wishes that will not only change his life but the lives of his friends and Princess Jasmine as well.

    Aladdin is not a perfect musical. There’s not very many memorable musical numbers (except the well-known ‘Friend Like Me’ and ‘A Whole New World,’ which plays out on a magic carpet flying above the stage with the stars twinkling all around. It’s a magical and mesmerizing scene).

    John-Wilson is good as Aladdin, but he doesn’t wow us. Gallagher as the evil Prime Minister is especially good. He’s evil, cunning and very clever, with the aide of his assistant Iago (Peter Howe).

    Former UK Eurovision contestant Ewen, as Princess Jasmine, is very good and proves that she can sing AND act. However it’s Dion Nicholas as the genie who you will cheer and applaud. But it’s the sets, wow the sets, that are the real star of the show.

    Moroccan deserts, palaces, villages, sunsets, and perfect costumes are all worth the ticket price. And while Aladdin resurrects the story and music written for the 1992 movie by Alan Menken and lyrics by Tim Rice and the late Howard Ashman, it’s no Lion King but it sure comes close.

    Alladin plays at the Prince Edward Theatre (London)

     

  • Theatre Review | Into The Woods – West Yorkshire Playhouse

    ★★★★ | Into The Woods (National Tour)

    A baker and his wife long for a child, but a curse placed on their family many years ago prevent them from having their hearts desire.  But when the Witch who cursed them offers to lift her spell over the family in exchange for them bringing her four specific items; the two of them set out into the woods on a quest which interweaves four very familiar stories.

    Photo Credit : Manuel Harlan

     

     

     

     

     

    Stephen Sondheim’s darkly comic fairy tale mash up is a curious beast. The first act is a charming, comical and whimsical look at the intertwining tales of four familiar stories, Cinderella, Jack and the Beanstalk, Rapunzel and Little Red Riding Hood. The familiarity of the stories and the light comic moments wash over you with a feeling of warm nostalgia, bringing the first act to a close with a happy ending, as all good musicals (and indeed, as all good fairy tales) should. The second act, however, takes a much darker tone, reflected in the subject matter, the musical numbers and the presentation, as Sondheim bleakly examines the impact adults have on their children and how death affects us all. Jack is raised by a single mother, Rapunzel and the witch have a dysfunctional mother / daughter relationship, Cinderella pines for her dead mother and the Baker has his own issues with his absent father. Sondheim certainly pulls no punches as to how parents influence their offspring.

    Performance wise, the co-production between West Yorkshire Playhouse and Opera North is a visual and aural treat. Colin Richmond’s set design starts as a faithful recreation of a primary school classroom, which transforms with remarkable versatility as the tale unfolds, and the staging of the play within a school setting reinforces the themes of parental influence in the second act. The forest of playground swings added eerie gravitas to the set which was enhanced by the digital projections at the rear of the stage. Puppetry further laid on the childhood charm and there is a ‘giant’ character as the second act opens which is enough to induce both laughter and reawaken childhood fears simultaneously.

    The cast sang remarkably, as one would expect, and it was a genuine pleasure to see a musical where absolutely every cast member could sing beautifully; providing expression, emotion and perfect diction in every line.  Claire Pascoe excelled as The Witch both in acting and singing, whilst Ross McInroy had velvet voice which I could have happily listened to all evening.

    Sondheim can often be quite heavy going, and the second act certainly felt very dark (and perhaps just a tad long), as it became increasingly bleak in its portrayal of what happens “after happily ever after”. But despite this, you can’t help but leave the theatre feeling that you have been on a journey, as the show itself presents as somewhat of a metaphor for the woods themselves – the more you journey into it, the darker it becomes.

    Into The Woods is a co-production between Opera North (www.operanorth.co.uk) and West Yorkshire Playhouse (www.wyp.org.uk) and is playing until 25th June 2016. For details or to book tickets visit their websites or call the theatre on 0113 213 7700

     

  • THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    Set in the prohibition era, Chicago tells the story of Roxie Hart, who shoots her lover and finds herself of death row; alongside Vaudeville star Velma Kelly. Enter slick lawyer and media manipulator, Billy Flynn, who takes on Roxie’s case and simultaneously pushes Velma out of the headlines. As the two women catfight for the spotlight, the dirty tricks and rivalry escalate as each try to ensure that they make the front page. ★★★★

    Photo Credit - Catherine Ashmore
    Photo Credit – Catherine Ashore

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  • Theatre Review | Priscillia – Queen of the Desert – National Tour

    ★★★★ Priscilla Queen of the Desert | In this joyous musical based on the cult film of the same name, three drag queens “unplug their curling wands and go bush” to travel across the outback; as they bitch, bicker and laugh their way across the desert en route to a show in a casino in Alice Springs.

    The trio continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs” as they fall in love, cement their friendship and learn about life on the way to the show of their lives.

    Following the story of the cult film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of gay club disco classics, including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, meaning that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Jason Donvan was functional as Tick, and poked a little fun at his Neighbours days, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam, whereas Simon Green filled the stiletto’s of Bernadette perfectly, with a rounded, character filled performance. The supporting cast were, as you would expect, ludicrously attractive and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a sharp, funny script, including many of the quotable lines from the movie and all of the characters  that you know and love from the film (including good ol’ Shirl). But where the show really came into its own was in the musical numbers, taking some from the film and adding some new ones just for the show. The routines were over the top, bold, brassy and ballsy, with costumes to match (flip flop dress, anyone?). Everything from dancing paintbrushes, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    If you haven’t seen the show, then go and treat yourself. If you have, then go again, even if it is to spot a few changes in the production this time around, (although not all of them work – especially ditching It’s Raining Men as the opening number). There is an underlying message of acceptance in society and strength in friendship underneath it all, but it is smothered in a thick layer of campness and kitch which plants the show firmly in realms of the feelgood musical.

    Overall, this was a really great, fun show and a piece of feel-good, uplifting and ultimately heart-warming theatre which has its tongue firmly lodged in its cheek. It’s a real feast for the eyes, the ears, the heart, the soul and the funny bone.

    Priscilla is currently at Sheffield Lyceum Theatre until May 28th 2016 (www.sheffieldtheatres.co.uk) before continuing on it’s national tour. See www.priscillathemusical.com for details.