THEGAYUK

Tag: Four Star Musical

  • THEATRE REVIEW | The Buddy Holly Story – Sheffield Lyceum and National Tour

    ★★★★ | The Buddy Holly Story – Sheffield Lyceum and National Tour

    In this rock ‘n’ roll spectacular, the greatest hits of Holly’s all to short career are featured, including Rave On, Peggy Sue, Heartbeat, Every day, Raining in My Heart and True Love Ways and it was wholly refreshing to see a show based on the songs of one artist which wasn’t just a run of the mill jukebox musical, as the songs actually formed part of the story as opposed to just being shoehorned into a flimsy narrative. Pleasingly, the show focussed generally on the more upbeat numbers, as opposed to the slower ballads, which gave the show a real energy.

    The actors and musicians were wholly impressive, with a relatively small cast filling out a number of roles. Their musical ability was second to none, with many of the performers playing a number of musical instruments and undertaking absolutely cracking renditions of the classic songs, all played live on stage. Glen Joseph, in the title role, really came to life in the musical numbers, especially in the latter half of the second act, when his confidence and talent shone through. Lydia Fraser sang spectacularly, and Will Pearce impressed as Ritchie Valens with his performance of La Bamba

    In terms of its presentation, the show is very basic, with a largely static set and a lack of spectacular song and dance numbers. But the show is not so much about the visuals, but all about the music, and the onstage cast simply couldn’t be faulted in terms of their musical prowess. The first half of each act was narrative driven; and the latter half was more focussed on the musical performances. With the musical numbers performed either as scenes in the recording studio or as concert performances, the songs flowed naturally through the story and still sounded absolutely superb, despite them being written nearly 60 years ago. Those who are not so familiar with Holly’s music will be surprised at the number of songs they will recognise.

    The show could have done with a slightly more dynamic set and staging, and the volume of the music far outweighed the vocals during some of the numbers, but those quibbles aside, the show was tremendously entertaining and infectious with the temptation to tap your feet and sing along proving absolutely impossible to resist. The whole theatre was up on their feet during the closing scenes and encore; and the standing ovation that the cast received was well deserved.

    As a rock ‘n’ roll musical, Buddy is hard to beat.

    Buddy – The Buddy Holly Story is currently playing at the Sheffield Lyceum until the 14th June (http://www.sheffieldtheatres.co.uk/event/buddy-14/ ) before continuing on its national tour (http://www.buddythemusical.com/ )

  • THEATRE REVIEW | Billy Elliot, Victoria Palace, London

    ★★★★ | Billy Elliot, Victoria Palace, London

    The West End show, adapted from the film of the same title, has been running for nearly ten years now. With Elton John adding the music to the Lee Hall’s lyrics and script you could almost guarantee a great night out. However, the real praise here goes completely to the current cast of the Billy Elliot The Musical, whose energetic boys steal the show.

    The whole cast of kids were to be commended for their efforts, and not in a school play ‘oh didn’t they do well’, but with instances of showing up their adult dance partners, with slicker, more energised, and more grounded routines.

    Highlights included a spine tingling section of Swan Lake where Billy dances with his future self on a mist covered stage before taking flight in a magical and beautiful moment, brought together by the powerful music of Tchaikovsky.

    A show stealing scene with Billy reading a letter from his dead mother to his new Ballet teacher Mrs.Wilkinson had most of the audience welling up with great delivery timing and precision. About half way through the first half the emotional roller coaster starts which must be applauded to not only the great casting of Billy (11-year-old Matteo Zecca) and Mrs Wilkinson (Ruthie Henshall), but also to the penmanship of Lee Hall who mixes the grit of the mining industry strikes in the North East with the delicacy of ballet beautifully. Director Stephen Daldry has sewn the two lives together to make at times a comedic and bitterly honest stage experience.

    By the end of the show, which did fly by, I was ready to dust off my tappers again and head to the kitchen floor after an all-cast dance routine put other shows, such as A Chorus Line, to shame.

    I must round off with saying that both Billy and his best friend, the brilliantly and unphased camp, cross dressing, Michael (Tomi Fry) certainly have what it takes for a very long and successful career on the stag.

    Bravo them boys.

    Billy Elliot The Musical is on at the Victoria Palace, London. Tickets from £20.50

    Booking until: Currently booking until 16 May 2015
    Theatre: Victoria Palace Theatre, Victoria Street, London, SW1E 5EA
    Box Office: 0844 248 5000
    Tickets: £20.50 – £68.50 (until 21 June 2014 to include £1 theatre restoration levy)
    £20.70 – £68.70 (from 23 June 2014 to include a £1.20 theatre restoration levy)
    Performances: Monday – Saturday at 7.30pm
    Thursday and Saturday matinees at 2.30pm
    Website: www.billyelliotthemusical.com
    Twitter: @billyelliotuk

  • THEATRE REVIEW | Somewhere Under the Rainbow- the Liza Minnelli Story, Landor Theatre, London

    ★★★★ | Somewhere Under the Rainbow- the Liza Minnelli Story, Landor Theatre, London

    Liza is about to go on stage, pacing nervously round her dressing room in a silk robe she bursts into song, tells a few anecdotes and even shows us a few of her dance moves.

    Following on from sell out runs and rave reviews in Dublin and Edinburgh; this show is making its London premiere at The Landor Theatre in Clapham.

    Minnelli is a hard act to capture well but Sharon Sexton absolutely nails it as the gay icon. She’s got an amazing voice and her acting skills are second to none. This isn’t just a tacky cabaret style impression of Liza but a wry yet touching portrayal of a woman full of paradoxes. By turns feisty and brash yet also vulnerable and fragile, this is a Minnelli you can believe in. Sexton’s version of Sondheim’s “Losing My Mind” is heart wrenching and her Mein Herr is performed with breath taking skill. Her whole repertoire is performed with dazzling panache.

    If you know much about Liza already then you’re not going to get a deep and detailed insight into her life and her marriages, drug addictions and traumas. The show does, however, give us a glimpse of what Liza is about and how she’s fought her way through life with a smile on her face and a pair of tap shoes never too far away.

    This is definitely fringe theatre at its best and a show worthy of a larger venue. This is definitely one to catch during its short run

    Somewhere Under the Rainbow runs until the 17th of May 2014

    Buy tickets here: http://www.landortheatre.co.uk/index.php/booking-office/musicals/somewhere-under-the-rainbow-84/

  • THEATRE REVIEW | Dirty Dancing, UK National Tour

    ★★★★ | Dirty Dancing, UK National Tour
    Set in the 1960’s, Frances “Baby” Houseman goes to Kellermans holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. But 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.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage in this national tour. For the main, the show follows the story of the film very closely, particularly during the first act, with the bulk of the script being comfortingly recognisable from the film version. There are some additional scenes, particularly during the first half of the second act, which develops the story and which expands on both life at Kellermans and further explores the relationship between Baby and Johnny.

    The main cast members were surprisingly like their cinematic counterparts, in particular, Roseanna Frascona who played Frances “Baby” Houseman, throwing herself into the role whilst Lewis Kirk gave the best performance of the evening in the lead role of Johnny Castle, demonstrating some of the better acting and dance moves. The chemistry between the two leads worked well, although overall, the acting from the entire cast was not of the highest quality, and gave the impression that the cast were chosen for their ability to dance or sing as opposed to them being good all-round performers. That said, cast member Robin Lake’s singing voice stood out for his show-stopping version of In the Still of the Night. But the attraction of this show is not so much the quality of the acting but the dancing. All of the routines and set pieces were well put together, well executed and all handled more than competently by the cast, with many of the routines lifted directly from the movie.

    The show was packed full of all the songs you know and love from the film soundtrack, with combination of the orchestra performing on stage and some pre-recorded tracks. The soundtrack included Hey Baby, Love Man, Hungry Eyes and (I’ve Had) The Time of My Life along with the instrumentals such as De Todo Un Poco and Johnny’s Mambo. The set was versatile and effective, using backdrop projections and colour washes to separate out the scenes and locations and the scene changes were slick and undertaken smoothly and simply.

    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. The show was fun and the feel-good ending had the crowd on their feet, shouting and cheering. For those who have not seen the film, the show is a good introduction to the world of Kellermans. To established fans of the film, the show will be hard to beat.

    The show is currently playing at Sheffield Lyceum Theatre until the (tickets and information can be found at http://www.sheffieldtheatres.co.uk/event/dirty-dancing-14/ ). The show then continues on its extensive national tour, details of which can be found at http://www.dirtydancingontour.com/

  • THEATRE REVIEW: A Spoon Of Sherman, St. James Theatre

    ★★★★ | A Spoon Of Sherman, St. James Theatre

    Billed as ‘The Songbook of Your Childhood’, this celebration of one of the world’s best-loved songwriting duos is so very much more than that; it is the songbook – nay, the soundtrack – to my life.

    The first Act opens with an Al Sherman medley. A prolific songwriter in the 1930s and 40s, Al Sherman wrote for Frank Sinatra, Bing Crosby, Billie Holiday, and many others. It’s very evident from hearing these numbers that such talent runs in the genes. His sons, Robert and Richard, would go on to continue this fine art for many years as The Sherman Brothers, and their songbook provides the main focus of the evening.

    The musicals the brothers are best known for fly in thick and fast – Mary Poppins, Chitty Chitty Bang Bang, The Jungle Book, Bedknobs and Broomsticks, The Parent Trap, Charlotte’s Web, Winnie the Pooh, The Slipper and the Rose, and so many more. Delightfully, A Spoonful of Sherman also includes some of their lesser-known, but no less delightful, back catalogue.

    The four singers – Greg Castiglioni, Stuart Matthew Price, Charlotte Wakefield and Emma Williams – are supremely talented and versatile, swinging with apparent ease between ballads and the more lively numbers; between comical and serious without a flinch. This is never more evident than the perfectly executed leap from The Jungle Book’s “I Wanna Be Like You” to “The Age of Not Believing”, from Bedknobs and Broomsticks.

    Now, I may be a little bit biased here (I hereby confess to a lifelong obsession with Chitty Chitty Bang Bang), but Emma Williams stands out for me. Partly because every time I see her, I remember the many trips I took to the Palladium while she played Truly Scrumptious in Chitty, but also because of her exceptionally sweet and clear voice. Her performance of “Mother Earth and Father Time” from Charlotte’s Web is beautiful and a definite highlight of the evening.

    A Spoonful of Sherman is hosted by the affable Robert J Sherman, the son of Robert B Sherman. An accomplished songwriter in his own right, we are treated to a few numbers from his musical, Bumblescratch, which workshopped in London last year. It is clear he has inherited his father’s, and grandfather’s, innate talent.

    And then, it’s here. As sad as it is to leave the rest of the evening behind, I hear a few distinctive notes which signal the start of the Chitty Chitty Bang Bang medley and the world melts away. It is everything I want it to be, and there can be no higher praise than that from such a devoted fan.

    All in all, A Spoonful of Sherman provides an entertaining insight into 90 years of songwriting history. In every note, this exquisite tapestry of song is an entirely fitting tribute, not only to the Shermans’ talent, but to the very art of songwriting.

    A Spoonful of Sherman plays at 19:45 on Monday 21 and Tuesday 22 April at the St James Theatre. Tickets are £18-£25 from https://www.stjamestheatre.co.uk/events/a-spoonful-of-sherman-2

  • THEATRE REVIEW | Julie Madly Deeply, Trafalgar Studios

    ★★★★ | Julie Madly Deeply, Trafalgar Studios

    Julie Madly Deeply is an affectionate look at the life of one of the most iconic stars of stage and screen, Dame Julie Andrews.

    Lifelong fan, Sarah-Louise Young, already a well-known name on the cabaret circuit, quips and quotes her way through the show she wrote with an eloquent ease, interspersing anecdotes with just some of the many songs Andrews is best known for from Thoroughly Modern Millie, Mary Poppins, The Sound of Music, My Fair Lady and The Boy Friend.

    Young infuses the show with her natural warmth and plenty of wit, and her devotion to Andrews is evident throughout. She speaks of her with passion and charm, using her perfect diction and clear singing voice to effectively mimic the star. Young’s versatility is evident as she effortlessly jumps between characters, including Audrey Hepburn and a deliciously slurring Liza Minnelli who pops up with familiar regularly.

    Musical Director Michael Roulston plays a perfect role, supporting and guiding Young throughout. His comedic flair and wonderfully expressive manner adds a great deal, and their chemistry is clearly visible.

    The staging is sparse, with just a chair, microphone and piano, but no more is needed. The focus is entirely held by Young and Roulston, and the characters they weave into this story (including a penguin that requires some help to leave the stage).Post-interval, one more prop arrives, in the form of a truly extraordinary Alpine landscape covered dirndl. Never before have I seen a movie so accurately embodied in costume.

    There is not a dull moment in either Act, and Young joyously wraps the evening up with what can only be described as a “Sing-along-a-Julie” finale, which has even the shyest audience member singing along to a medley that reminds us all just how many of Andrews’ songs are embedded deep within us.

    A thoroughly modern retrospective which is wholly deserving of a sell-out run, Julie Madly Deeply is a witty, charming and entirely fitting tribute to a true star. I have no doubt at all that, if Julie herself were to see the show, she would be deeply flattered.

    Julie Madly Deeply plays at Trafalgar Studios until 4 January, 2014. Tickets are £20-30 from http://www.atgtickets.com/shows/julie-madly-deeply/trafalgar-studios/ and well worth every penny.

  • THEATRE REVIEW | Priscilla Queen Of The Desert, Sheffield Lyceum and National Tour

    Three drag queens “unplug their curling wands and go bush” to travel across the outback en route to a show in a casino in Alice Springs. Along the way, they bitch, bicker and laugh their way across the dessert, and continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs”.

    Tick (Noel Sullivan), Bernadette (Richard Grieve) and Adam (Graham Weaver) buy a budget Barbie camper; christen it Priscilla and head into the outback to perform a show at a casino run by Tick’s wife in Alice Springs. Stopping off along the way, the trio make friends, get themselves into trouble, fall in love, strengthen their friendship and following the bus breaking down, pick up mechanic Bill who leaves his wife (who has an extraordinary talent which she shows off in the local pub) as they head to the middle of nowhere for the show of their life.

    Based on the film of the same name, this stage musical was excellent fun. Following the story of the film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of camp disco classics, opening with “It’s Raining Men” and including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, which meant that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Noel Sullivan (who is perhaps best known for being a member of “Hear’say”) was functional as Tick, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam. Richard Grieve was much better than expected as Bernadette. But Graham Weaver stood out with an enjoyable performance as Adam/Felicia. The supporting cast were, as you would expect, ludicrously attractive and beautifully toned and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a cleverly designed set (with the bus on stage) and a sharp, funny script with all of the characters that you know and love from the film. But where the show really came into its own was in the musical numbers, taking some from the film and some new ones introduced for the show, the routines were over the top, bold, brassy and ballsy, with costumes to match. The enthusiasm of the cast was clear and it was abundantly obvious that they were enjoying themselves as much as the audience.

    The costumes in themselves are worthy of a mention. Some were recreated from the film (flip flop dress, anyone?) and the others just added to the campness of the proceedings. Everything from dancing paintbrushes to dancing birthday cakes, hicks, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    The only downside of this production was that the music was a little loud over the vocals on the odd occasion, but these are very minor quibbles when the show was as much fun as it was.

    The show is one which is perhaps best seen on a Friday or Saturday evening. Its two hour running time quite literally flew by with the whole thing never really slows down. 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 Queen of the Desert is currently at Sheffield Lyceum theatre

  • THEATRE REVIEW: Gotta Sing, Gotta Dance, UK TOUR

    ★★★★ So much more than the title suggests, Gotta Sing Gotta Dance is a true celebration of musical theatre at its very best.

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  • THEATRE REVIEW | Liza, Liza, Liza at The Tabard Theatre, London

    ★★★★ | Liza, Liza, Liza at The Tabard Theatre, London

    Meine Damen und Herren, Mesdames et Messieurs, Ladies and Gentleman! I bring you not one, not two but three Liza Minnellis, all on one small stage for your delight and delectation.

    Acclaimed stage and screen writer Richard Harris (Outside Edge, Stepping Out) has penned a brilliant new play which is a tribute, a raucous examination and a celebration of all things Ms Minnelli. More than that, it’s also a reflection on what it is to be human in a mad world and although we may not all be from such stellar circles as Liza, there’s much to identify with.

    The set is glitzy and bright with a giant ‘Liza!’ sprawling across it, partly obscuring the piano and dashing pianist and on limps Liza, post hip replacement with a cane. Within seconds the audience is rapt as she wisecracks her way to the chaise longue. The play cleverly combines three incarnations of Liza: Firstly, the gauche and enthusiastic teenager trying hard to make her mark on a world ready to judge her against her mother and balance a home life mad enough to drive a nun to blasphemy. Secondly: the chain smoking ‘middle’ Liza hurtling into a self destructive spiral of drink, drugs and unsuitable men as her career both soars and plummets and finally: the older wiser and more cynical Liza who’s more than able to laugh at herself and her own foibles and failings. Oh what a dirty laugh it is too. All these Lizas are of course, overshadowed by the dominating influence of Judy Garland who begins the play shouting through from a dressing table at the back of the stage.

    Multiple lovers and failed marriages, battles with weight, booze, pills and depression: it’s not hard to see what it is that gay men seem to feel such an affinity with her about. What Harris and the fantastic cast of three actresses manage to do is to present a life story that contains no self pity, plenty of humour and a hell of a lot of spirit. There are killer one liners, great vocal performances (but not too many; it’s not a musical) and some very credible acting that rises above being just cheap impersonations. The three actresses all manage to own the stage, which is a feat in itself.

    Liza, Liza Liza runs until the 29th of September

    Buy tickets here: http://www.tabardweb.co.uk/liza

  • THEATRE REVIEW | Titanic, Southwark Playhouse

    ★★★★ | Titanic

    It’s always difficult to reinterpret a story we all know as well as that of the Titanic – certainly, the ending can be no surprise (SPOILER: THE SHIP SINKS), but this brand new production does manage to stir up some new human stories from onboard the ill-fated vessel.

    Unfortunately, it does this on a set that I found as uninspiring as the music. On a story we know this well, emotional investment is crucial and it is a huge disservice to an otherwise excellent musical that so little feeling comes across. This was, in no way, the fault of the excellent actors and musicians, but rather of the sound design which simply didn’t carry any real feeling forward. I first felt a stirring of emotion towards the end of Act 2, with the heart-breakingly touching song Still by the elderly Straus couple (performed wonderfully by Judith Street and Dudley Rogers) as the ship disappears beneath the waves.

    Other notable performances came from James Austen-Murray, Jonathan David Dudley, Philip Rham and Simon Green.

    The passengers are introduced during a lively number, according to their class, and the aspirations that the Titanic carried are conveyed incredibly well throughout, but never more so than during Lady’s Maid, midway through Act 1.

    Cressida Carre’s choreography is lively and inventive, and in keeping with the emotion that the music is intended to carry, as is excellent direction from Thom Southerland. Unfortunately, this is also let down by some aspets of the set design. I have a fairly vivid imagination, but transforming a black stage with a single white table, set in a distinctly average style, into a first class saloon was just too much for even my mind to manage.

    Despite these few failings, 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.

    TITANIC plays at the Southwark Playhouse until 31 August. Tickets are £22 from

     

    http://southwarkplayhouse.co.uk/the-large/titanic

  • THEATRE REVIEW | Miss Nightingale: The Burlesque Musical

    ★★★★ | Miss Nightingale: The Burlesque Musical

    It’s 1942 and Britain is in the grip of war. Northern nurse Maggie Brown has moved to London to try her hand at a singing career but along with her Jewish refugee song-writer, George, she faces rejection at every turn.

    Things change when the pair meet aristocratic nightclub owner Sir Frank Worthington-Blythe and the saucy burlesque singer, Miss Nightingale, is unleashed on a rapturous London crowd. Complications ensue when Maggie’s relationship proves to be less than perfect and Sir Frank falls in love with George.

    Near the start of the show George states that he wants to bring a touch of pre-war Berlin to war time London and the show certainly achieved that aim with witty numbers, corking dance routines and enough sauce and innuendo to outdo even the cast of a Carry On film. The show is very funny and incredibly infectious with a fantastic set of songs which run the gamut from bawdy through to mournful. Composer, Matthew Bugg has written some corking numbers which had the audience cheering and applauding like crazy and the standing ovation from the crowd at the Leicester Square Theatre proved that the show was a massive hit.

    Award winning burlesque star Amber Topaz is a tiny but powerful ball of cheekiness with a talent to amuse, titillate and dazzle and the two male leads are also well cast and show incredible talent. As well as acting, they sing beautifully and play instruments in the band. How’s that for multi tasking?

    The main theme of the musical is the difficulties faced by gay men in Britain in the 1940s, with fears of damaged reputations, prosecution and ruined lives. The love story between Frank and George is actually quite charming and beautifully rendered.

    For a cracking night out I’d recommend this wholeheartedly.

    The show is on 7th July at Leicester Square Theatre followed by
    • 9th to 13th July: Yvonne Arnaud Theatre, Guildford
    • 15th to 17th July: Victoria Theatre, Halifax
    • 18th to 19th July: Lyceum Theatre, Sheffield
    • 22nd to 27th July: Theatre Royal, Windsor

    Book tickets and read more here: http://missnightingale.co.uk