THEGAYUK

Tag: Palace Theatre Manchester

  • THEATRE REVIEW | Dirty Dancing, Palace Theatre Manchester

    ★★★ | Dirty Dancing, Palace Theatre Manchester

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

    THEATRE REVIEW | Dirty Dancing, Palace Theatre Manchester

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

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

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

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

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

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | Funny Girl, Palace Theatre, Manchester

    ★★★★ | Funny Girl, Palace Theatre Manchester

    In the opening lines of the show, Fanny Brice declares, ‘That’s where I live, on stage.’ In a rip-roaringly fantastic return to the show by Sheridan Smith; it’s impossible to believe she belongs anywhere else.

    The narrative of Funny Girl lacks originality. The rags to riches rise to fame, peppered with a predictably turbulent love story. These are popular tropes of the post-war musical, and Funny Girl is no exception. Act one of Isobel Lennart’s book just about generates enough excitement to retain one’s interest in the story. Act two doesn’t fair too well in this department. Michael Pavelka’s sparse, asymmetrical set design left the stage feeling desolate at times. And, while some have interpreted the precariously tilted proscenium arch as a representation of Fanny’s life – I think it’s a metaphor too far for this light-hearted musical comedy. However, like many things in this production, the lack of dramatic pace and uninspiring set design dissipates in a heartbeat when Smith is on stage.

    The show is an unapologetic star-vehicle for the lead role, which was popularised by Barbara Streisand in the 1969 film – an indisputably tough act to follow. But Funny Girl is the story of vaudevillian Fanny Brice, and her meteoric rise to fame in the Ziegfeld Follies – a story which has distinct echoes of the show’s star Sheridan Smith. Smith herself is fast becoming the doyen of British theatre, and with performances like this, the hype is more than justifiable.

    She sings with ample vocal ability and dances with confidence and flair. But Smith is ostensibly an actress – and it is her sublime characterisation, which never falters, where her unique ability to captivate is most alive. Her character Fanny claims to have ’36 different expressions’. To say Smith has expression is to dilute the honesty of her performance. In the wrong hands this role can be two-dimensional, but Smith’s astute comic timing, palpable likeability and wholly believable vulnerability chimes the chord of truth every second she is on stage.

    The ensemble also gave a solid performance, and orchestra was in fine shape too. The same could not be said for my legs after being sat in the grand tier of the Palace Theatre in Manchester for three hours. I normally give the note: ‘restricted legroom’ a perfunctory glance and have no problem. I think, the tangible desire for the audience to jump to their feet was to congratulate Smith on a stellar performance – but the audible sigh of relief from my fellow grand tier survivors leaves one to wonder. Seat issues aside: a star was not born at the Palace Theatre this week, but rather cemented into history as one of our most talented leading ladies.