THEGAYUK

Tag: Four Star Musical

  • THEATRE REVIEW | The Full Monty, UK Tour 2015

    ★★★★ | The Full Monty, UK Tour 2015

    In 1997, a film about unemployed steel workers turning into unlikely strippers became the most successful film in the UK (until it was overtaken by Titanic), garnered four Oscar nominations and cemented the phrase ‘the full monty’ into popular culture.

    Set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Loomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go the full monty.

    Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a straight play, which forgoes thin plot and thinner characterisations which simply link musical numbers, and instead provides a play with heart, rounded characters, a genuinely funny script (particularly in the second act) and, of course, the ending that the predominantly female audience were waiting for.

    Despite a few rather dubious Sheffield accents (you can’t fool the home crowd, you know), the cast worked well as an ensemble. Andrew Dunn (“Dinnerladies”) and Louis Emerick (“Brookside”) provided the better performances of the evening; both with effective yet understated performances, whilst Gary Lucy (“Eastenders”) provided the eye candy.

    The show is beautifully written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, but despite the running time of the play being approximately 40 minutes longer than the film; it never feels like it is padded out. What does come across much more in this production is the social commentary hidden beneath the comedy and narrative and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.

    Overall, the show remains a feel-good, funny and enjoyable show, which I have to say I enjoyed much more on second viewing, and the whoops of delight by the time the curtain fell proved it was a real crowd pleaser.

    The Full Monty is currently playing at Sheffield Theatres until the 23rd May 2015. For information and to purchase tickets visit www.sheffieldtheatres.com.The play is taking a break over the summer, but will be embarking on another national tour in the autumn.

  • THEATRE REVIEW | Oh What A Lovely War, Theatre Royal Stratford East

    ★★★★ | Oh What A Lovely War, Theatre Royal Stratford East

    Oh What A Lovely War, written by Joan Littlewood in 1963, depicts the essence of the First World War unbelievably well. Littlewood galvanised the idea of hunger, loss, bravery and even fear very convincingly. She said she wanted to write songs that were gritty and truthful to the events of the trenches. The most moving moment in the musical was when the soldiers sang I Don’t Want To Be A Soldier after having been shown real-time war images that showed trenches where men had been blown up or even the image of a few soldiers managing to brave a smile for the passing camera, as there was destruction in the foreground.

    I was touched by the homage that The Theatre Royal Stratford East production paid to the fallen 2.5 million men who fought bravely in WWI. Even as an audience member in 2015, I felt that the pain and sadness felt at the time were shared across the spectators during some scenes and the use of multimedia was the best I have seen in a long time. In occasional scenes, a screen would come down and facts of the number of deaths during the different stages of the war were displayed, as the action ensued, which added to the nostalgic effect.

    As an ensemble, The Theatre Royal Stratford East performed formidably, with natural singing, dancing and acting flair, in particular, Alice Bailey Johnson whose voice was sublime, and multi-part played roles in a dynamic fashion, especially with different accents. Ian Redding, who most might remember as Tricky Dicky in Eastenders, was a delight to watch. His comedic timing was outstanding, and the funniest part of the show for me was when he played the Sergeant. In this scene, Ian’s character was shouting at his platoon, but instead of words, he was just spitting spluttering and talking gibberish at them.

    Although the set was ornate and well designed, it appeared to look unstable, as when actors leaped onto certain staircase-like stages, it wobbled and did not look safe. However, this did not distract us from the action, as the cast leaped around beautifully.

    The ending was the most moving moment of all. After singing They Didn’t Believe Me, the audience were shown more images of the First World War and it paused on the last picture, where four soldiers smiled and it looked as though they were staring right at us. Here, the cast paused too and looked up to screen in respect to the spirited soldiers.

    Not only did this show break the fourth wall, it also summoned onto the stage the emotions that would have been felt during the era of 1914-1918, where the Great War took place. A must see, but with a word of warning: bring your own tissues, to contain your tears of joy, but also of grief.

  • THEATRE REVIEW | Beautiful

    ★★★★ | Beautiful

    Will you Still Love me tomorrow. I feel the Earth Move. You’ve got a Friend. These are just a few songs written by Carole King and Gerry Goffin that are included in the new West End Show Beautiful – The Carole King Musical.

    While Carole King might not be known to the younger generation, anyone 50 and older know her, and her music, very well. In the 1960s she, along with her husband Goffin, wrote dozens and dozens of hit songs including The Locomotion, You’ve Lost That Loving Feeling, and Up on The Roof. Beautiful tells the story of King’s life, how when she was a young girl and sold her first song to music producer Don Kirshner, to meeting her songwriting partner, and partner in life, Gerry Goffin, to being a single mother as well as a very very successful singer and songwriter. In Beautiful, King is played by the energetic Katie Brayben, from the piano playing right down to the curly hair, the resemblance is very good.

    Beautiful covers King’s life from age 16 to the age of 29, when she’s at Carnegie Hall performing So Far Away – a hit single from her mega-selling and multiple grammy winning album Tapestry. It’s just Brayben and the piano on stage. The show then goes back in time, the time when teenager King (Brayben) is at home in Brooklyn wanting to go into Manhattan to sell songs to Kirshner, but her mom tells her that she’s not going into Manhattan all by herself. When King does get to Kirshner’s (played by Gary Trainor) office, she meets people there who will be the key players in her life. She meets Cynthia Weil (Lorna Want) and Barry Mann (Ian McIntosh), a songwriting couple, but more importantly she meets Goffin (Alan Morrissey). They start a romance, but King gets pregnant so her and Goffin (played by Alan Morrissey) get married. He loves her, and they literally make beautiful mussic together – they are at their best when writing songs, and they write some of the biggest hits of the 1960s. But over time Goffin starts to feel like he’s being tied down and wants to take advantage of their new celebrity status, while King wants them to go home at the end of each day and spend time as a family. It’s a stressful situation for King, and it doesn’t help that Goffin is having mental problems to go along with his infidelity. And this is the plot of Beautiful – the relationship between King and Goffin and their very close friendship with Weil and Mann.

    But in between this storytelling we get great musical performances by the ensemble in the show – the actors who play the musicians that King and Goffin write songs for. And this is when Beautiful comes alive. The ensemble really lets it rip, and brings life and colour to the show when they perform songs such as 1650 Broadway Melody, Some Kind of Wonderful and On Broadway, among others.

    Beautiful is a female singer, songwriter, mother, daughter, an American, and British-born Brayben does a fine job in portraying King. Recently seen in American Psycho, Brayben can sing and act, and can hit all the notes, and like King, Brayben writes her own music. Her hairstyle changes throughout the course of the show, most of these styles, however, make her look much older than the character she is playing.

    Morrissey is fine as Goffin, excited about their love yet still not sure that’s he’s happy or not in their relationship. Want and McIntosh are excellent as their best friends, and even more so when they provide emotional support after King’s breakup of her marriage. The staging of the show is fine, moving from living rooms to recording studios to Kirshner’s offices – but it’s Peter Kaczorowski‘s lighting that literally and figuratively lights up the stage. If only the book of the show was as good. By Douglas McGrath, the book is very mundane and not very dramatic – sure we care about King’s life but give us more of the music and razzle-dazzle and less of their bickering and conversations.It’s a musical that should be a musical, yet Beautiful plays more like a drama show with bits of music thrown in. But the show redeems itself when near the end, Brayben (as King) and the ensemble bring down the house with the song ‘You Make Me Feel Like a Natural Woman” – it’s a moment when you realize that King really is the greatest female songwriter of all time.

    Beautiful The Carole King Musical plays at the Aldwych Theatre,  until 5th August 2017

  • THEATRE REVIEW | Bathhouse, The Musical

    ★★★★ | Bathhouse, The Musical

    For their second production of 2015, Above The Stag have chosen to revive their hugely successful production of Bathhouse The Musical.

    It comes with a few changes of cast and new choreography by Carole Todd, a choreographer of some renown, who comes with an impressive list of credits which includes West End musicals as well as work at the Royal Opera House and Sadlers Wells.

    What was always a hugely entertaining and hilarious show now emerges slicker, tighter and cleaner.

    In case you missed it last time, the show is set for its entirety in a Bathhouse, with the cast wearing nothing but towels throughout. The story (such as it is) revolves around the adventures of young Billy, who starts out a bathhouse virgin, but finishes a lot more experienced. He is guided through his adventures by the disembodied voice of Giles Brandreth.

    The score is a wonderfully witty amalgam of styles ranging from hoedown to full out Broadway ballads with quite a few other musical references between. With song titles like I’m a Bear Chaser, the hilarious Penises Are Like Snowflakes, Clickin’ for Dick and Seduction Tango, the jokes aren’t exactly subtle, but nor are they meant to be.

    In a show that is such an ensemble piece, it would be invidious to single out any one individual. Each and every one gets their moment to shine and they are all excellent, so kudos to Will Ferris, Matthew Harper, John R Harrison, Ryan Lynch, Luke Webber and Tim McArthur, who also directs the fast-paced production, which doesn’t flag for one second.

    Great entertainment, not so pure and simple.

    Bathhouse the Musical runs at Above the Stag until 29 march 2015.

  • THEATRE REVIEW | Top Hat, Sheffield Theatres and National Tour

    ★★★★ | | Top Hat, Sheffield Theatres and National Tour

    Based on the RKO Pictures musical of the same name, the story is one familiar to the genre – a will they / won’t they love story filled with mistaken identity, rekindled romance and gentle comedy. Jerry Travers (played by Alan Burkitt) is a huge Broadway star who jets to London to star in his first West End show, produced by his friend, Horace Hardwick. He meets and falls for Dale Tremont (Charlotte Gooch), but she mistakes him for Horace, the husband of her friend, Madge Hardwick. Thinking that he is cheating on his wife, Dale gives Jerry the cold shoulder despite having fallen head over heels with him. Dale goes to visit Madge in Venice, but will the arrival of Jerry and Horace, who are unaware of her confusion, lead to true love?

    I can’t resist a good, old-fashioned, large-scale musical; and Top Hat did not disappoint. The songs by Irving Berlin were irresistible and the large ensemble based production numbers had me tapping my feet and grinning from ear to ear. Highlights were the opening number; Puttin’ on the Ritz, which kicked things off nicely, the Act One closing tap dancing spectacular, Top Hat, White Tie and Tales, and the sweeping renditions of Cheek to Cheek and Let’s Face The Music and Dance, all of which were performed brilliantly.

    Birkett, as Jerry Travers, effortlessly tapped, glided and leapt his way through the dance routines, wholly impressing with every step. Gooch, as Dale Tremont, was warm, likeable, glamourous and very well cast as the 1930’s trendsetter. John Conroy gained most laughs as Bates, the long-suffering butler, and the look, feel and vocal performances of the cast as a whole accurately captured the atmosphere of the 1930’s.

    The production values were incredibly high and some of the best I have seen in a touring musical for some time. Top Hat is a show which is grand in scale, and has none of the feeling of being stripped back or watered down that can often accompany West End touring productions. The detailed art deco sets were beautifully constructed and visually grandiose, reflecting the decadence of the story’s 1930’s setting. The costumes were simply stunning and elegant, both in their design and in their sheer volume; and the show’s direction was very impressive, utilising screens to enable multiple set changes and to focus the audience’s attention forming a production which was slick, polished and professional overall.

    The only flaw I found was the slightly uneven pace between the two acts. The first act flew by, with a barrage of show-stopping numbers, whereas the second act was much more narrative based and more spaced out musical numbers.

    Despite reaching the grand old age of 80 this year, Top Hat is certainly up there for musical lovers and has lost none of its whimsical charm for such an old lady. If you enjoy shows like High Society, Anything Goes or any of those old Fred Astaire/Ginger Rogers films, then Top Hat is a quality production of a top-notch tap spectacular.

    Top Hat is playing at Sheffield Theatres until 7th March 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour through to the end of July 2015 (www.tophatonstage.com/ )

    DATES:
    Tue 24 Feb – Sat 7 Mar
    SHEFFIELD Lyceum Theatre
    Tue 10 – Sat 21 Mar
    BIRMINGHAM Hippodrome
    Tue 31 Mar – Sat 11 Apr
    NORWICH Theatre Royal
    Tue 14 – Sat 25 Apr
    CANTERBURY The Marlowe Theatre
    Tue 28 Apr – Sat 9 May
    PLYMOUTH Theatre Royal Plymouth
    Tue 12 – Sat 23 May
    SOUTHAMPTON Mayflower
    Wed 27 May – Sat 6 Jun
    DUBLIN Bord Gais Theatre
    Tue 16 – Sun 21 Jun
    BROMLEY Churchill Theatre
    Wed 24 Jun – Sat 4 Jul
    SUNDERLAND Empire Theatre
    Tue 7 – Sat 18 Jul
    WOKING New Victoria Theatre
    Tue 21 – Sat 25 Jul
    EASTBOURNE Congress Theatre

  • THEATRE REVIEW | The Sound Of Music, National Tour 2015

    ★★★★ | The Sound Of Music

    Let’s be honest, The Sound of Music needs no introduction. The story of Maria, who is sent from the Abbey to look after the Von Trapp family, is one that is known to most. This classic musical is crammed full of songs that you cannot help but know the words to, such is their foothold in popular culture. “Climb Every Mountain”, “My Favourite Things”, “Sixteen Going on Seventeen” and, of course, “The Sound of Music” are all in there, but the question is, with a show which has been performed so frequently over so many years, what can a new version bring to the stage?

    Firstly, this production brings a very good cast. Danielle Hope, who made her professional debut as Dorothy in the Wizard of Oz, following winning the BBC’s Over the Rainbow program, was very impressive. Her singing voice was beautiful and effortless and her stage presence could be felt. Staying on the right side of twee, she made a very good Maria and had won me over by the conclusion of her first number. Jan Hartley utterly blew the audience away with her goose pimple-inducing rendition of “Climb Every Mountain” and Grace Chapman was equally impressive and perfectly natural in her role as Liesl. Most surprisingly for me though, was the incredible talent of the youngsters playing the Von Trapp children.

    This production also brings with it a remarkable set. Appearing grand in scale (especially for a touring production), detailed and effective, it lifts the production and makes it feel fresh.The lighting and direction were of a high standard and the addition of a live orchestra only enhanced the experience. The sound in the theatre was perfect with a superb balance of music and lyrics and the performers delivered perfect diction in every line allowing the words to be heard clearly. Technically, it was a well-put together show.
    Where the production faltered slightly was in the overly camp portrayal of (Uncle) Max Detweiler and that sometimes, especially during the party scenes, the number of people in the touring cast didn’t quite fill the stage. However, I wouldn’t necessarily hold these very trivial quibbles against such a broadly enjoyable production.

    Having seen the Sound of Music undertaken by numerous professional companies over the years I have to say that this is perhaps the best version I’ve seen. Of course it’s camp, of course it’s kitsch, but therein lays the fun and the enduring appeal of this show. This touring production seems to really revitalise the show as a whole, so iron your wimple, polish your sailors whistle and catch this production on national tour.

    The Sound of Music plays at the Sheffield Lyceum until 14 February 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour (http://www.kenwright.com/index.php?id=1440)

    By Paul Szabo

    Also playing at:
    Kings Theatre, Glasgow
    Sands Theatre, Carlisle
    New Theatre, Cardiff
    Wimbledon Theatre, Wimbledon
    New Theatre, Hull
    Milton Keynes Theatre, Milton Keynes
    New Victoria Theatre, Woking
    Hippodrome Theatre, Bristol
    Congress Theatre Eastbourne
    Grand Theatre, Leeds
    Grand Opera House, Belfast
    Bord Gais Theatre, Dublin
    The Lowry, Salford

  • THEATRE REVIEW | Apartment 40C

    ★★★★ | Apartment 40C

    Relationships are difficult things; from their tenuous beginnings through to their rocky patches, moments of pure joy and sometimes bitter dissolutions. Apartment 40c looks at the lifespan of a relationship of a New York couple by looking at their lives over the course of three pivotal evenings.

    Tom Lees and Ray Rackham’s clever new musical uses six actors to play the same two characters at different points in their lives. The characters often mingle on stage, unaware of the existence of their older or younger incarnations.

    Fresh-faced Alex Crossley and Alex James Ellison lend a romantic comedy element to the piece, playing the couple when they first meet in the apartment. Lizzie Wofford and the handsome hunk Drew Weston play the couple as they hit a difficult patch with brooding resentment, differences of opinion and betrayal threatening their once blissful intimacy. Nova Skipp (last seen in the incredible Damn Yankees at The Landor) and Peter Gerald play the couple in later life, returning to the apartment to arrange its sale.

    The story is well balanced with comedic moments, poignant numbers and rousing passionate songs. The music and lyrics are as good as you’d hear in any big West End musical (if not better, at times). Tom Lees and Ray Rackham’s show has a touch of Sondheim about it in places but ultimately has a unique and very distinct style of its own. The cast are spectacular with a standout performance from Lizzie Wofford who has the most amazing voice and is a breathtakingly accomplished actress. Drew Weston’s torso is worthy of a mention too. The sight of his six pack as he strode on stage in nothing but a towel led to a lot of shuffling and creaking of seats in the theatre.

    The set is well constructed and barring a few weak moments, this is an outstanding musical and a rare treat. Catch it while you can and I can almost guarantee that you’ll also catch some rising stars of theatre.

    Apartment 40C runs until the 20th of December at the London Theatre Workshop.

  • THEATRE REVIEW | STOMP – Sheffield Lyceum and National Tour

    ★★★★ | STOMP – Sheffield Lyceum and National Tour

    Mixing tap dancing, street dance, percussion, juggling, humour and incredible feats of physical performance, STOMP enters its 25th year with a show which utilises everything from paint pots to bin lids to create rhythmic set pieces which are dazzling, fresh, funny and exhilarating.

    Initially, one did wonder, having only seen the odd set piece from STOMP before on TV variety shows, how they would be able to fill a continuous one hour forty minute show without it becoming repetitive, but they were able to move from one set piece to the next seamlessly, always managing to add something new and different from what had come before. Using everything from brooms, sinks and dustbin lids through to shopping trollies, cigarette lighters and giant rubber rings, the variety of set pieces was more than enough to keep the show rattling through its running time, and the show arrived at its curtain call before you knew it and before you wanted it to.

    You couldn’t help but admire the sheer physicality of the performers, whose stamina throughout their relentless performance was undeniable. Their precision and sense of timing was impeccable, demonstrated nowhere better than in a routine involving a rapid flickering of cigarette lighters creating an effect which was reminiscent of a string of Christmas lights. The physical prowess of the performers impressed as they undertook what can only be described as a percussionist parkour; utilising and clambering over the set and props and leaving you in no doubt that they were giving it their all.

    With a static backdrop, covered in objects which transform into impromptu percussion instruments, the set was straight forward, but both the set and the performance were enhanced by some subtle but very intelligent lighting which also worked as a distraction tool, allowing the performers to disappear and reappear elsewhere, adding to the energy and vibrancy of the piece. The sounds of the beats, bangs and stomps, as the cast belted them out, were so loud that they resonated in the chest and added to the excitement of the performance.

    The show was also peppered with a lot of humour. A few looks, glances or exaggerated gestures exchanged between the cast members conveyed a simple narrative and each individual performer managed to develop an unassuming on-stage persona, which separated out the cast members from each other.

    The show was far better than expected and the combinations of skills on display were both impressive and enjoyable. STOMP is certainly deserving of their reputation after 25 years of tours and performances and the show has much more to it than you might expect.

    STOMP is at the Sheffield Lyceum Theatre until 8th November 2014 (http://www.sheffieldtheatres.co.uk/whats-on/ ) before continuing on its national tour. For details, visit http://www.stomp.co.uk/location/uk/

  • THEATRE REVIEW: Urinetown, Apollo Theatre, London

    With a terrible title, something that the writers are keen to point out, Urinetown is the anti-musical- musical and it’s bloody brilliant.

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  • THEATRE REVIEW | Opera North La Traviata – National Tour

    ★★★★ | Opera North La Traviata – National Tour

    Set in Paris circa 1700, Alfredo Germont, a demure young man falls in love with Violetta, a courtesan, who is the toast of society because of her lavish, debauchery filled parties. But Violetta is dying and despite initially dismissing him, she falls for Alfredo and gives up her lifestyle to be with him. As they move to the country and with her fortune dwindling, Violetta is visited by Alfredo’s father, who is worried about the impact upon his daughter’s marriage prospects as a result of Violetta’s former profession, and he talks her into leaving Alfredo to secure the family’s future. But with Alfredo confused at why his love has abandoned him and with Violetta’s health failing quickly, can love bring the two back together before it is too late?

    Opera North has produced a simply sumptuous production of Verdi’s beautiful and heart-breaking opera, both in terms of performance and presentation. During the opening scene where Violetta appears, silhouetted by a full moon, the combination of modern theatricality and traditional opera makes it clear that you are about to watch something special. From the sexually charged ensemble piece of Violetta’s party during the opening, to the ghostly visitations voyeuristically poised over Violetta’s death bed, the director, Alessandro Talevi, provides a refreshing take in terms of the opera’s presentation.

    Hye-Youn Lee, as Violette and Ji-Min Parkas Alfredo were well matched in terms of their performances, with Lee providing a sweet and sensitive performance, whilst Roland Wood stood out from the remainder of the cast as Alfredo’s desperate and scheming father. It is only when you hear opera sung live you are hit with the sheer power of their voices, especially as the soaring sounds echoed around the opulence of the Leeds Grand Theatre. The live orchestra sent a shiver down the spine, from the opening notes played by the piercing strings to the swelling crescendos of the closing moments, and sounded exquisite.

    Opera is often overlooked by theatre goers because of the perception of it being impenetrable and highbrow, but Opera North have produced a theatrical piece which is beautifully put together, but accessible to all. La Traviata is embedded in popular culture and you will recognise it from the silver-clad roof top bus ride in Priscilla, Vivien’s first opera in Pretty Woman or the story of Satine and Christian in “Moulin Rouge!” Whether you are an opera novice or aficionado, this production oozes quality and has much to recommend it.

    Despite being sung in Italian, the show has surtitles; two screens which provide the audience with details of what is being said. These surtitles are detailed enough to enhance and drive forward the narrative, but do not translate every single word, thereby allowing you to easily understand the interactions of the characters without it ever preventing you from being able to watch the stage and to appreciate the music, staging or performances.

    La Travita is currently being performed alongside a two other productions, The Bartered Bride and The Coronation Of Poppea (the latter two being sung in English) which comprise Opera North’s Autumn season and are being performed at different venues around the country, including Leeds, Nottingham, Belfast, Manchester and Newcastle.

    For full details, visit their website at http://www.operanorth.co.uk

  • THEATRE REVIEW | West Side Story, Sheffield Lyceum And UK Tour

    ★★★★ | West Side Story, Sheffield Lyceum And UK Tour

    Set in the mid 1950s, two rival gangs battle it out for control of their little piece of the Upper West Side of New York. The Jets, local boys whose families have lived there for generations, are at loggerheads with The Sharks, the Puerto Ricans, who are trying to settle into their new lives. Tony, the former leader of the Jets meets with Maria, the sister of Bernardo who is the leader of The Sharks, and the two fall madly in love. But as their love grows, so does the rivalry between the gangs, leading to tragedy.

    This revival of the classic musical, based on Romeo and Juliet, is a thoroughly entertaining piece of theatre. The show has a gritty edge to it and a dark, dramatic and emotional story at its heart. The score, with music by Leonard Bernstein and lyrics by Stephen Sondheim, includes Tonight, Maria and Somewhere, all of which still pack an emotional punch. The mood is lightened by the mischievous Gee Officer Krupkee, the flamboyant America and the whimsical I Feel Pretty, with the whole of the classic score being played beautifully by the live orchestra and expertly sung by the cast.

    Both Louis Maskell, who plays Tony, and Katie Hall as Maria, were in stunning voice, with Hall’s almost operatic qualities complimenting Maskell’s emotion filled vocals. Matthew Hawksley, making his professional debut, stood out from the crowd with his convincing performance as “Action”, comfortably conveying the characters frustration and pent up aggression and Djalenga Scott entertained as the feisty Anita.

    But the ensemble pieces were where this show really excelled, with the set, which reflected the back alleys and fire escapes of the inner city, being deceptively versatile, opening up to create a generous dance space for the large and very talented cast to undertake the breath-taking dance routines. By going back to the original choreography by Jerome Robbins, the dance in this production is simply superb to watch – with the sequences assisting in conveying and moving forward the narrative; the standout scenes being the Mambo at the gym, and the Ballet Sequence.

    The lighting was also well designed, utilising colour washes and silhouettes alongside low level highlighting, providing a visually interesting interplay of light and shadow. The balance between vocals and music was fine – but the only quibble in terms of the production was the volume of the speaking in between the musical numbers was a little low, meaning it was sometimes difficult to hear what was being said.

    The show has everything to please both established fans and to introduce a new generation of theatre goers to this beautifully crafted piece of theatre. Some may find it heavy going, but for those who would like a little more narrative, character and drama from their musical theatre then this show is the one to see.

    West Side Story is currently at the Sheffield Lyceum Theatre until Saturday 12th July 2014 (http://www.sheffieldtheatres.co.uk/event/west-side-story-14/ ) before continuing on its national tour (http://westsidestorytheshow.co.uk/home ).