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Tag: Sheffield Lyceum

  • Theatre Review | Peter Pan Goes Wrong – National Tour

    Theatre Review | Peter Pan Goes Wrong – National Tour

    ★★★ | Peter Pan Goes Wrong – Sheffield Theatres

    The cast of Cornley Polytechnic Drama Society are back, with a disaster filled version of Peter Pan. Somewhere between the scenery collapsing, the technical hitches, backstage fallouts and some unrequited love between cast members, the troupe try to desperately to keep the show on the rails as chaos increasingly takes over, Peter Pan stops thinking happy thoughts and the crocodile becomes the star of the show.

    Mischief Theatre returns following on from The Play That Goes Wrong and The Comedy About A Bank Robbery with two hours of laughter-inducing slapstick humour as the fictional cast try desperately to get through the performance. With slick precision and perfect comic timing, the cast plough through a barrage of jokes with a broad scattergun approach to the humour, as some jokes hit the mark, some miss completely and with another gag always rapidly following the last. 

    There were certainly plenty of smiles, chuckles and belly laughs to be had throughout the show’s duration, although the last ten minutes did descend more into silliness than comedy, but this didn’t detract from the feel-good factor the show produces. Cast member Oliver Stenton steals most of the scenes he touches; whilst Tom Babbage captures the hearts of the audience as the hapless Max.

    If you have seen Mischief Theatre before, then you will know exactly what to expect and you won’t be disappointed as they continue with their trademark humour. If you’ve not, then Peter Pan Goes Wrong is a great introduction to them with an enjoyable, silly and easily entertaining show. 

    Peter Pan Goes Wrong is at Sheffield Theatres until 1st February 2020 before continuing on its national tour.

  • Theatre Review | Rough Crossing – National Tour

    ★★☆☆☆ | Rough Crossing

    As a theatre company board a cruise ship to cross the Atlantic to New York for the premier of their new piece, it’s not just the waters that become choppy. Following the overhearing of an ill-timed romantic interlude between his two leads, Hungarian playwright Turai tries to keep his upcoming production on track, by re-writing parts of his script to cover up for their indiscretion. But with only four and a half days to rewrite and rehearse the play, it is all hands on deck to keep things afloat.

    Turai is played with an air of camp sophistication by John Partridge (EastEnders) and bounces nicely off Matthew Cottle (Spooks) as his downtrodden writing partner; whilst rising star Charlie Stemp outshines them both with a confident portrayal of the cabin boy, Dvornichek.

    Despite an impressive and lavish art deco set, sadly, the play holds little else in terms of appeal. The script is neither witty nor amusing, eliciting only the briefest isolated pockets of laughter (primarily from the same audience member); whilst the direction is lacklustre at best and inexplicably tacks on a wholly misplaced musical number at the end of each act. The whole thing doesn’t really know quite where to put itself – it is not quite sophisticated comedy, not quite farce, not quite “Carry On” and not quite musical comedy. Sadly, unlike the fictional ship, the whole story seems to go absolutely nowhere.

    Tom Stoppard’s play is a wordy affair with a rapidly delivered script which is awash with very gentile and outdated comedy and a smattering of physical slapstick thrown in; and fans of Stoppard’s work will no doubt relish the opportunity of seeing one of his lesser revived pieces performed in a professional, touring production.

    Despite a few issues with diction at times, the production is competently presented, but ultimately the show itself never really sets sail and ends up casting the audience member’s interest adrift.

    Rough Crossing is currently at the Sheffield Lyceum until 27th April 2019 before continuing on its national tour.

  • THEATRE REVIEW | Calendar Girls The Musical – National Tour

    ★★★☆☆ | Calendar Girls The Musical

    When Annie’s husband John dies from leukaemia at an early age, her close friend Chris, suggests that they raise funds though their Women’s Institute group to purchase a comfortable sofa for the visitor’s lounge in the hospital where John was treated. But Chris’ plans are to forego the usual Jam and Jerusalem traditions of the organisation and to get the girls to agree to pose for a nude calendar with only WI pastimes to hide their modesty.

    Based on the well-known true story, Tim Firth’s script vacillates between tickling the funny bone and tugging on the heart strings as it works its way to a laughter inducing denouement and a touching closing scene; but never at the expense of (if you’ll pardon the pun) fleshing out the main characters and the supporting cast. Gary Barlow’s accompanying music is pleasant and carries forward the narrative with a mix of the catchy and the bittersweet, with Anna Jane Casey’s heart-breaking rendition of Kilimanjaro, a song about the struggle to carry on after the loss of a loved one, a real highlight.

    But the show is rightly all about the girls, and Casey is just superb playing the bereaved Annie, bouncing nicely off Rebecca Storm as her best friend Chris. Thrown into the mix, amongst others, are Denise Welch (TV’s Loose Women), Fern Britton (This Morning) and Karen Dunbar, who all come together to give you a group of ladies who form a formidable ensemble cast.

    Based on the true story, Calendar Girls follows in the footsteps of the film and original stage play in celebrating the remarkable achievement of the group of women. Whilst is it a little twee at times, it carries a strong story about friendship, challenging expectations and taking a risk, as conventions and traditions are dropped as quickly as the girls’ clothes.

    Calendar Girls The Musical is at the Sheffield Lyceum until 13.04.19 before continuing on its national tour.

  • THEATRE REVIEW | American Idiot – National Tour

    THEATRE REVIEW | American Idiot – National Tour

    ★★★☆☆ | American Idiot – National Tour

    In a post 9/11 America, three friends go their separate ways to try to find both themselves and where they belong in society. Will stays in suburbia to try and make his relationship with his pregnant girlfriend work, Tunny joins the army and Johnny stays in the city to find friendship but finds a part of himself he never expected. But it doesn’t take long for the American Dream to come crashing down around them as they become increasingly disenfranchised trying to fit into a world where they don’t seem to belong.

    Based on the songs of pop-rock band Green Day, America Idiot presents itself as a sing-through rock opera, where the relentless barrage of songs tells the story and there is little room for any script. The show opens with the title song and, for the first act, literally doesn’t let up from there. Tom Milner (Waterloo Road) as Johnny is a charismatic lead with a performance brimming with cocksure swagger and confidence, whilst Joshua Downen portrays Tunny’s journey from angry young man to war veteran with subtlety.

    After exploding onto the stage, the first act is loud, bold, brash, rebellious, angry and exhilarating; and has an unyielding, in your face energy which carries the audience along for the ride, assaulting their senses and reverberating the bass guitar in their chest. However, the second act doesn’t maintain the energy of the first, and as they story grows very dark and the pace slows down, the show loses some momentum.

    America Idiot reflects a warts and all portrayal of a recent time in American politics and a biting attack on a divided society which will be recognisable to angst ridden teens; whilst Green Day’s music continues to speak to a generation and still maintains relevance in today’s current political climate.

    America Idiot is at the Sheffield Lyceum until 30th March 2019 before continuing on its national tour. The show contains adult themes and strong language.

  • THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    ★★★★★ | The Rocky Horror Show

    Nearly 45 years on from its debut, Richard O’Brien’s cult musical needs very little introduction. The show follows Brad and Janet, two 50’s Americana sweethearts who stumble upon 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 to life.

    As a musical it remains larger than life; and like Frank’s creation himself, the show has taken on a life of its own. With its affectionate nod to the B-Movie science fiction genre of the 50’s, it’s cult following is unparalleled and its fans amongst the most fiercely loyal you will find.

    The role of Frank-N-Furter is so iconic, that you need a larger than life personality to fill the fishnets, and Stephen Webb does a great job blending Frank’s camptastic alluring persona whilst maintaining an underlying gruffness to his vocal performance, along with Philip Franks as the narrator, brilliantly trading quips with the audience. But to be fair, you would be hard pressed to find a weak link within the cast in this top-notch production.

    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.

    Rocky Horror is a phenomenon, and the atmosphere at any Rocky Horror performance is one which has to be experienced. This production provides a fresh feel to a classic show and one which engages the audience like no other. So pull on your fishnet stockings, warm up your vocal cords, leave your inhibitions in the foyer and go and “give yourself over to absolute pleasure”.

    Rocky Horror is at the Sheffield Lyceum until Saturday 23rd February 2019, before continuing on its national tour. For details visit the show’s official website.

  • THEATRE REVIEW | Rock of Ages – National Tour

    ★★★☆☆ | Rock of Ages – National Tour

    (C) JEREMY DANIEL

    A number of years before TV series Glee rekindled people’s love of Journey’s “Don’t Stop Believin’”, Rock of Ages had been using the song as its centrepiece for some time; as the show tells the story of a bunch of misfit characters who battle to save their favourite bar, fall in love and work their way through a catalogue of eighties soft rock classics.

    Beautifully held together by narrator, Lonny (a deliciously camp performance from Lucas Rush), and with a strong ensemble cast, the show’s humour is a little close to the bone on occasions but proves to be immense fun, with plenty of laugh out loud moments, some great ensemble set pieces and some excellent vocal performances. Luke Walsh stands head and shoulders above the crowd as Drew, belting out the musical numbers with, seemingly, no effort whatsoever and never once having to strain or force a note.

    The production has certainly benefitted from a makeover, especially in the excellent lighting design; the musical numbers come at you thick and fast and the cast gets the audience involved from the outset. Whilst underneath it all, the show has a message about following your dreams, it’s the party atmosphere, energy and enthusiasm of the cast that sweep you along as the show heads towards its rousing finale and brings the crowd to their feet.

    Rock of Ages cranks up the comedy, camp and chaos to eleven, and proves that “sex, drums and rock ‘n’ roll” are still very much alive.

    Rock of Ages is on National Tour. For details visit the show’s website at http://www.rockofagesmusical.co.uk/ 

  • Theatre Review | The Messiah – National Tour and West End

    ★★☆☆☆ | The Messiah

    The Messiah unfolds as a travelling theatre troupe of two actors and an opera singer arrive by camel to masterfully enact the Nativity, albeit through personal breakdowns, misguided scenes and direct address to the audience in this comedic three-hander.

    Hugh Dennis (TV’s Outnumbered and Mock The Week) effectively plays Maurice Rose, the kind of guy you wouldn’t want to sit next to on a long train journey, and who is the relatively straight man to John Marquez’s innocently naive fall guy, Ronald Bream. The humour is subtle, if repetitive at times, centring mainly on the deadpan delivery of the multiple characters and the mispronunciation of words and phrases, with a few trips and blunders thrown in as the characters struggle to get through the play.

    The quality of the production overall is more than functional, with a versatile set, a decent lighting design and two fine central performances from the male leads.

    But where the show itself stumbles is in its portrayal of a deliberately bad performance by the amateur company, which is so convincing, it actually just feels like watching a badly acted play. Furthermore, an underused Lesley Garrett looked slightly uncomfortable and out of her depth at times as the demanding diva; although to be fair to her, she did so with her tongue planted firmly in her cheek.

    Sadly short on laughs, the handful of jokes stretch thinly over the show’s running time and even some forced audience participation can’t conjure up enough Christmas sparkle to elevate the show to a “must see”.

    The Messiah is currently on Tour at Sheffield Theatres, before heading to Chichester, Cheltenham and Richmond; and arriving at The Other Palace in the West End on 3rd December for Christmas.

  • Theatre Review | Northern Ballet’s The Three Musketeers

    Theatre Review | Northern Ballet’s The Three Musketeers

    ★★★☆☆ | Northern Ballet’s The Three Musketeers

    In the latest production from Northern Ballet, The Three Musketeers leap from page to stage with a ballet based on the famous novel, which is packed full of drama, action and swordplay, whereby the theft of the Queen’s necklace leads young d’Artagnan on a quest to save Her Majesty’s reputation, fall in love and join the famous trio.

    The fact that the piece is choreographed by David Nixon comes as no surprise, given that his very distinct and personal style is eminently evident throughout the ballet and his attention to detail in everything from the pas de deux to the ensemble pieces is clear. There is a jaunty and pleasant score performed by the Northern Ballet Sinfonia; but what adds to this production is the set, which is large, varied and effective, providing a grandiose backdrop to the proceedings and simply, but effectively, differentiating between the locations.

    Kevin Poeung is well cast in his role as the young musketeer, and he continues to hone his craft beautifully. Mlindi Kukashe steals every scene he is in with a devilishly underplayed Cardinal Richelieu and Sean Bates delightfully ramps up the camp as King Louis; whilst the remainder of the cast provide such a fast-paced ballet during the ensemble pieces that it is often difficult to know where to look for fear of missing something.

    The narrative is relatively clear, if perhaps a little light, but manages to hit the key elements of the novel; there are plenty of swordfights and heroics to keep the ballet moving along nicely and there is some technically excellent dancing on display. What is, however, noticeably absent is the titular Three Musketeers, whose contribution to the narrative and attendance on stage is surprisingly limited; but overall the production makes for a rather undemanding, pleasant and entertaining ballet.

    The Three Musketeers is currently at Sheffield Lyceum until the 27.10.18 before heading to Canterbury Marlowe Theatre. Northern Ballet’s programme continues into the New Year, details of which can be found on their website.

  • Theatre Review | The Band – Sheffield Theatres

    ★★★★☆ | The Band

    In 1993, teenager Rachel and her best friends are obsessed with The Band, and sneak off behind their parents back’s to a concert where, on the way home, they discuss the future, make promises to each other and swear that they will be best friends for ever. But when something happens that shatters their world, the girls go their separate ways. 25 years later, The Band brings them back together, when Rachel wins a competition to see them in Prague, and decides to invite the group she had lost touch with. But with an awkward reunion on the cards, it’s going to be a trip they will never forget.

    What elevates The Band high above other jukebox musicals is the story written by Tim Firth. Firth successfully interweaves great characterisations with nostalgia, comedy and genuine emotion in a heartfelt story about friendship, self-belief, realising that it is never too late to achieve your ambitions and that life doesn’t always pan out how you planned.

    The back catalogue of Take That songs is ripe for the picking, and with plenty of hits spanning their 30-year-career, including Relight My Fire, Greatest Day, Prey, Shine and Back For Good, the show primarily presents the musical numbers not as standalone songs, but almost as if it is the soundtrack to the character’s lives; and cleverly places them naturally into the story; meaning that they are there to support the narrative and not because the fans expect them to be shoehorned into the show somehow.

    In a cast which is fairly faultless and which works incredibly well together, Rachel Lumberg excels as Rachel, the bubbly woman whose love of The Band brings her friends back together; Alison Fitzjohn provides many of the laughs as the self-depreciating Claire and the young ensemble who play the teenage friends are brilliantly put together.

    As for “the Band” the Let It Shine TV show winners,  were everything you would expect; putting on a great performance as they belted their way through the musical numbers,  singing and dancing their hearts out with confidence and professionalism; and looking great to boot.

    The presentation of the show, especially for a touring production, is big budget and incredibly well done, with inventive staging, immersive lighting, a solid sound design and direction which keeps the show moving along flawlessly. The production is incredibly slick and polished and barely stops for breath as it speeds along.

    The success of the show is how all of the individual elements are present and come together to produce the whole package; and The Band surpasses all expectations and is a crowd-pleasing, foot tapping, fun packed show crammed with genuine warmth and emotion at its heart.

    Details can be found at the show’s website.

  • THEATRE REVIEW | The Play That Goes Wrong

    ★★★☆☆ | The Play That Goes Wrong

    There is an old saying in theatre that “the show must go on” and nowhere is that old adage put more to the test than in The Play That Goes Wrong, a comedy of errors which collates every actor’s worst nightmare and throws them at the cast who are determined to carry on regardless.

    Borrowing heavily from The Mousetrap, The Play That Goes Wrong is a scattergun comedy set around the fictitious Cornley Polytechnic Drama Society, who is performing The Murder at Haversham Manor, a murder mystery set in the roaring twenties. Despite the best endeavours of the cast, nothing quite goes right for them, as scenery collapses, actors are knocked unconscious, props break and unprepared understudies stand in.

    With a varied blend of visual gags, slapstick, farce, wordplay, one-liners, missed cues and a rather more animated corpse than one would expect, the gags come thick and fast; some hitting the bullseye and others missing the target; but the whole thing is so fast-paced, that there is always another gag heading your way imminently. Garnering some genuine laugh out loud moments, the show has a sensible one hour forty minute runtime meaning that even if a few of the gags begin to outstay their welcome, the show does not.

    Whilst there is plenty of fun to be found and a lot of chuckles, guffaws and belly-laughs to be had, the ending of the show descends into a rather shouty and chaotic handful of closing scenes which, unfortunately, slightly takes the edge off of what has come before. But that said, the cast is delightful, in particular, Kazeem Tosin Amore; and there is some excellent split second comedic timing and plenty of physical dexterity on offer as the fictional cast try desperately to keep their faces straight, their upper lips stiff and prevent the performance collapsing into a catastrophe.

    The Play That Goes Wrong is currently at Sheffield Theatres until the 4th August 2018 before continuing on its national tour.

  • THEATRE REVIEW | Thriller Live! – Sheffield Theatres

    ★★★☆☆ | Thriller Live!

    Celebrating the music, dancing and performances of the entertainer, Thriller Live is a whistle-stop tour of Michael Jackson’s greatest hits, rolled into a relentless package of iconic dance moves, legendary performances and classic songs.

    From his early days in Mowtown, through the Jackson 5 years and onto his solo success, the show features a quartet of singers who perform against a backdrop of spectacular choreography which is performed with unyielding vigour and energetic enthusiasm by the vivacious cast of dancers who fill the stage; accompanied by a talented bunch of musicians in the live band.

    Cleverly taking the routines, or snippets of them, highlights included music video recreations of ‘Smooth Criminal’ and ‘Thriller’, great renditions of ‘Man in the Mirror’ and ‘I Just Can’t Stop Loving You’ and some tracks you wouldn’t immediately associate with Michael Jackson, including ‘Dangerous’ and ‘This Place Hotel’.

    Despite the vocals not being of the highest order, some forced audience participation and a couple of songs descending into an overblown mess, there is still plenty of enjoyment to be found here. Regardless of the controversy surrounding his life, Michael Jackson’s enduring appeal undoubtedly remains, especially if the shouts, whoops and cheers from the audience were anything to go by.

    Whilst musical revues can often come across as sycophantic, Thriller Live manages to sidestep being the gushing praise-fest that it could be, and instead allows the party atmosphere, music, songs and dance routines to speak for themselves in an undemanding evening of foot tapping, high end cabaret.

    Thriller Live is rounding off its national tour at Sheffield Lyceum Theatre until 21st July 2018, but you can still catch the show in the West End.