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Tag: Sheffield Lyceum

  • THEATRE REVIEW | Dusty: The Dusty Springfield Musical, Sheffield Theatres and National Tour

    ★★★★☆ | Dusty: The Dusty Springfield Musical

    It wasn’t just her voice that made Dusty Springfield so distinctive. In 1964, she was deported from South Africa for refusing to play to segregated audiences. She stood up against male musicians who wouldn’t be told how to play their instruments by a woman. She was the first singer to be open about their bisexuality and had a long-term relationship with a black woman at a time when both sexuality and race were incredibly sensitive social issues, and she championed black artists breaking into the UK mainstream. But behind the beehive and eyeshadow was a tragic individual brimming with self-loathing and doubt, and one who struggled with her mental health, sexuality and substance misuse.

    During one key scene, when asked whether she had any regrets, Dusty says “I wish I’d been more open”, and with her troubled private life, her own issues and guilt around her sexuality, and her willingness to stand up for what she believed in, it is easy to see why Dusty became, and remains, a gay icon. Written by Jonathan Harvey (Beautiful Thing; Gimme, Gimme, Gimme), the play nestles somewhere in between musical biopic and jukebox musical, and looks at Springfield’s life from her first solo hit to her death in 1999, without shying away from her darker years and the troubles which blighted her in private.

    Katherine Kingsley not only carries the show, but is quite simply outstanding, with a performance that captures the look, sound and emotions of the iconic performer to perfection, particularly in the show’s denouement, with a powerhouse performance of “You Don’t Have to Say You Love Me”; whilst Joanna Francis stands out as Lois, Springfield’s long-term partner, with a voice which drips with pure soul. Harvey’s script handles Dusty’s bisexuality and lesbianism with sensitivity, and the show provides many touching scenes between Dusty and Lois. It is refreshingly pleasing to see such a positive and tender portrayal of a lesbian relationship in mainstream theatre.

    Harvey’s script is warm and instantly accessible, although a little clumsy at times in its integration of high drama and sitcom humour; and whilst the songs are undeniable classics and span the length of her career, they are perhaps not abundant enough. Whilst the set is over-reliant on projected images and the production values overall require a lot of spit and polish, the enthusiasm of the cast and some outstanding performances elevate Dusty to a suitably heartfelt and, ultimately, very enjoyable tribute to a classic artist.

    Dusty: The Dusty Springfield Musical is at Sheffield Lyceum Theatre until the 14th July 2018 before continuing on its national tour.

  • Theatre Review | Jersey Boys, Sheffield Lyceum

    ★★★☆☆ | Jersey Boys, Sheffield Lyceum Theatre

    From the streets of Brooklyn to the height of fame, Jersey Boys tells the story of Frankie Valli and the Four Seasons, their musical legacy, including Big Girls Don’t Cry, Walk Like A Man, Can’t Take My Eyes off You  and Working My Way Back To You is showcased in this musical biopic.

    Rising from humble beginnings to major success, the boys bond, bicker and battle their way to becoming one of the most successful groups of their generation; but their success comes with a background of prison time, heartbreak, family problems and the testing of loyalty.

    With a number of musical biopics doing the rounds, what makes Jersey Boys stand out from the crowd is that it not only has an interesting story, but it boasts a narrative which doesn’t shy away from the darker moments of the group’s story; and all of this is neatly packaged into a show which is surprisingly fast paced and has a slick and polished production. But the story has heart, and underneath the sequined jackets and the boys’ bravado is a story about friendship, loyalty and about making those around you your family.

    What leads this tour to stand out from previous tours is the excellent on-stage chemistry between the four leads. Their harmonies are excellent, their timing impeccable and their dance moves simple but tightly performed. Michael Watson as Frankie Valli hits his falsetto highs with ease, whilst Simon Bailey steals the show as the motormouth Tommy Devito, filling his character with a cocksure swagger and an overconfident arrogance; which is nicely juxtaposed by  Lewis Griffith’s subtle underplaying of the role of Nick Massi.

    Whilst the music takes centre stage, and the 33 musical numbers come thick and fast, the attention to detail stands out. The supporting cast, the costumes, the trademark choreography, the lighting and the live orchestra all added to the rounded production values of the show. Despite its gritty backstory, the show remains a foot stomping, singalong, feel-good affair, which encapsulates the spirit of the group and effortlessly brings the audience to their feet as the curtain falls.

    Jersey Boys is playing at the Sheffield Lyceum Theatre until the 30th June 2018 before continuing on its national tour.

  • THEATRE REVIEW | An Officer and a Gentleman – The Musical – National Tour

    ★★★☆☆ | An Officer and a Gentleman

    Officer and a Gentleman review

    Based on the classic film of the same name, An Officer and A Gentleman tells the story of Zack Mayo, a trainee fighter pilot who is from the wrong side of the tracks and is trying to make his way through the Naval Academy. Paula is a local girl working in a factory where she and her colleagues see the only way of escaping their humdrum lives is by being swept off their feet by a pilot and whisked away. But what starts off as a little bit of fun between the two of them becomes something more, but will either of them admit their true feelings?

    The show, and the first act in particular, thunders across the stage with dizzying speed and a relentless energy, in a production which is noisy, loud, bold and incredibly unsubtle; where a collision of lighting, sound, projected images, live music and a barrage of costume changes combine to be the absolute antithesis of the “less is more” school of thought.

    Jonny Fines makes for an appealing enough lead as Zack Mayo, with his ridiculously ripped form and a wry smile, nestling in nicely alongside his fellow recruits who appeared to have been hand-picked primarily for their pecs and ‘ceps appeal.  But despite the testosterone-fuelled world depicted in the story, the stage belonged firmly to the female ensemble, bringing some decent vocal performances to lift the broadly functional performances of the cast.

    Nikolai Foster’s direction takes the scattergun approach of throwing sufficient tricks, bells and whistles at the audience in the hope that some of them will stick, with a roughly even split of hits and misses. The show is set to an eclectic mix of 80’s classics, the musical numbers varied in terms of quality and performance, with a belting rendition of Alone by Emma Williams only serving to highlight the pub circuit stylings of some of the other musical numbers. There is a mix of soft rock classics (“I Want to Know what Love is”, “The Final Countdown”), some bubble-gum pop (“Girls Just Wanna Have Fun”, “Material Girl”) and some of the lesser celebrated 80’s staples (“Hearts on Fire”, “Working for the Weekend”) compounding the scattergun feel of the show, but not necessarily in a bad way.

    But that is where the show really hits its stride. It never pretends to be anything other than what it is intended to be, namely a fun, cheesy and fairly corny slice of entertaining escapism. By the time the show draws to a conclusion with its iconic ending set to a sweeping rendition of Up Where We Belong, you can’t help but be suckered in by the feel-good factor of this slice of 80’s cheese.

    An Officer and A Gentleman is currently at Sheffield Theatres until the 9th June 2018 before continuing on its national tour

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  • THEATRE REVIEW | Art

    ★★★ | Art, Sheffield Lyceum Theatre

    Art centres on a picture. A picture of some white lines. Some white lines on a white background. A picture which costs Serge £200,000. But is it art? His friend, Marc doesn’t think so, but Marc is a traditionalist and not a fan of modern art. Their friend, Yvan, is fairly indifferent, but is too busy focusing on his pending marriage and doesn’t want to offend either of them by agreeing or disagreeing. But over the course of an evening, the debate rages, and the three of them bicker, fall out and deliver some home truths; as the painting proves to me more of a talking point than they expected.

    Mark Thompson’s stage design is deceptively simple. The blank walls, the clean lines and the minimalist furniture all reflect the canvas in question, but looking closer, the set also reflects the three main characters, with three differently styled chairs reflecting each of their tastes.

    With so little on stage, Art heavily relies on its script and performances to hold the audience’s attention over the play’s 90-minute runtime. Yasmin Reza’s script (translated by Christopher Hampton) is wordy, fast-paced and remains sharp and witty, with some nice comedic elements and a satisfying pay off. Nigel Havers is well cast as Serge, carrying an air of superiority and condescension; Denis Lawson satisfies as Marc who favours the traditional over the modern; whilst Stephen Tompkinson upstages both of them, with a surprisingly impressive turn as Yvan, bringing laughter, pathos and emotion to the stage as the piggy-in-the-middle of the bickering group.

    Over 20 years since it landed in the West End, Art remains an enjoyable piece which in itself provokes debate as to whether its real intention is a serious point about the appreciation of art from an individual perspective, whether it is poking fun at the pretentiousness of the superiority that can accompany a highbrow point of view, or whether, Like Yvan, it sits somewhere in the middle.

    Art is at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 21st April 2018 before continuing on its national tour. Visit www.arttheplay.com for full details.

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★☆☆ | Northern Ballet’s Jane Eyre

    THEATRE REVIEW | Northern Ballet's Jane Eyre
    THEATRE REVIEW | Northern Ballet’s Jane Eyre

    In a timely revival, Northern Ballet celebrates one of the great literary heroines of all time, Jane Eyre, a fiercely strong and independent woman who moves from the unloving care of her Aunt to the strictness of the Lowood Institution; and subsequently on to Thornfield, the home of her employer and subsequently her true love.

    Cathy Marston’s choreography nestles neatly between traditional and contemporary ballet, and is set to a score which moves between being playfully uplifting and darkly dramatic. The Northern Ballet Sinfonia was on point with their performance, having swelled their numbers from the previous tour of this production.  The set is deliberately sparse, primarily comprising of screens and curtains which are used to focus the attention on particular areas of the stage and its simplicity compliments to complexity of the narrative and provides for a workable dance space; whilst the costumes give a flavour of the bleakness of the Yorkshire Moors which are occasionally peppered with bold colour

    Dreda Blow charms as the titular character, whilst Javier Torres gives a brooding and charismatic performance as Rochester; and Victoria Mason breathes life and insanity into the role of Rochester’s wife. In a company which danced with technical precision across the board, Mlindi Kulashe and Kevin Poeung both stood out from the ensemble and their consistency of performance and development from ballet to ballet continue to impress.

    Given the rich story and the numerous events depicted in the book, there is a lot for Marston to fit into the ballet’s two hour run time, and whilst the key plot points are hit; the narrative is not always as clear as it could be. Those familiar with Bronte’s work will find much to enjoy within this production, whilst others may find the programme notes useful in keeping track.

    That aside, Jane Eyre is a ballet which contains a flowing visual style, rich characterisations and a faithful adaptation of a timeless story which manages to maintain a feeling of freshness and originality in a frequently told tale.

    Northern Ballet’s Jane Eyre is at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 14th April 201, moving to Cardiff New Theatre, London Sadlers Wells and The Lowry, Manchester. Visit www.northernballet.com for details.

  • THEATRE REVIEW | Fat Friends The Musical – Sheffield

    ★★★☆☆ | Fat Friends The Musical

    As her wedding day approaches, Kelly buys her dream wedding dress, even though it is two sizes too small for her.

    When Julia Fleshman, the head of a national slimming club chain, comes to town to judge a slimming contest live on TV, Kelly ends up going viral with her body confident comments; and seizing the opportunity for some publicity, Fleshman offers to pay for Kelly’s wedding if she can slim into the dress in time for the big day. But with the wedding only six weeks away, the pressure is on…

    Fat Friends is very much a piece of crowd-pleasing theatre. Pulling together multiple stories of the good folk of Headingly, a town near Leeds, the stage is filled with likeable, if slightly caricatured, characters and is a straightforward evening of undemanding fun.

    The show boasts a good cast, with Jodie Prenger taking the lead as Kelly, and doing so with a cocky northern confidence and a belting singing voice. Sam Bailey (The X-Factor) is great as Kelly’s Mum and Natasha Hamilton (from Atomic Kitten) is the scheming Julia Fleshman. Thrown into the mix is an affable turn from Kevin Kennedy (Coronation Street) and ex-cricketer Andrew “Freddie” Flintoff, who takes to the stage and fares better than expected with a slightly stilted, if not tongue in cheek, portrayal of Kevin, Kelly’s nice but dim fiancé.

    The songs are amiable enough and used to move the story forward, and whilst they were perfectly pleasant to listen to and shoehorned a few laughs into the lyrics, they served their purpose well enough in terms of keeping up the show upbeat and jolly, but were ultimately fairly forgettable. The live orchestra added to the atmosphere within the theatre and the set design was a colourful cartoonish affair which was well lit and effective in its simplicity.

    Written and directed by Kay Mellor, who wrote the original TV series that the show is based on; Fat Friends is a rather loud, boisterous and upbeat show, which really resonates with its target audience. It’s a rather clichéd musical by numbers, with a heavy-handed script, fairly trite lyrics and a rather unsubtle approach to its humour, but what it lacks in sophistication, it makes up for with likeable characters, a few good belly laughs and buckets-full of near the knuckle, northern charm.

    Fat Friends is currently playing at Sheffield Lyceum Theatre until the 17th February 2018 (www.sheffieldtheatres.co.uk) before continuing on its national tour until the 2nd June 2018. Visit the show’s website at www.fatfriendsthemusical.com for details.

  • THEATRE REVIEW | Strangers on a Train, Sheffield Lyceum

    Strangers on a Train | ★★☆☆☆

    During a chance encounter on a whiskey-soaked train journey, two strangers, Guy Haines, a respected architect and Charles Bruno, a drunken playboy, jokingly plot to commit a murder to assist the other in moving on in their lives. Bruno proposes that Haines kill Bruno’s overbearing father, whilst Bruno himself will kill Haines’ adulterous wife. But what starts out as a drunken joke becomes something more sinister, as Bruno keeps up his end of the bargain and expects Haines to do the same.

    Based on the novel by Particia Highsmith, the narrative of the piece starts promisingly enough, with sufficient threads of the story put forward to generate interest, but the early promise simply isn’t sustained, as the play draws itself out into something over long and turgid, leading to an incredibly dry second act which never even begins to gather momentum.

    Feeding into the dryness of the piece are the performances from the cast which were truly terrible across the board. Jack Ashton is suitably dashing and fares best of the bunch with a rather flat portrayal of Haines, but never comes close to depicting a man whose life is in turmoil as a result of the relentless harassment by Bruno, the murder of his wife or his harboured dark secrets. Chris Harper is just plain irritating rather than menacing, with a pantomime-villain portrayal of Bruno, being more akin to an annoying drunken work colleague at the office party than a scheming manipulator and calculating killer; and Helen Anderson’s over the top histrionics as Elsie Bruno were sharply juxtaposed with the stiff, wooden delivery of Hannah Toiton as Haines’ new wife.

    Anthony Banks’ direction is sadly lacking, and manages to produce a play with no drama, no tension, no menace and no pace. The set, comprising of a series of sliding panels, projections and micro-sets looked lavish and generally worked well, which was the saving grace of the production; but sadly a flashy set design is not enough to prevent this thrill-less thriller from coming off the rails.

    Strangers On A Train is currently at Sheffield Lyceum before continuing on its national tour until 31 March 2018; calling in at Glasgow, Birmingham, Manchester, Woking, Richmond, Cambridge, York, Aylesbury and Cardiff.

  • THEATRE REVIEW | The Nutcracker, St Petersberg Ballet, Sheffield Lyceum

    ★★★☆☆ The Nutcracker | Sheffield Lyceum

    Formed in 1996, the St Petersberg Classic Ballet brings the classic ballet, The Nutcracker, to life with this traditional presentation. The ballet, set to the instantly recognisable score of Tchaikovsky, tells the tale of Clara as she is whisked off to a magical land by a nutcracker prince to celebrate the defeat of the Rat King.

    If you want to extend your Christmas by seeing this traditional festive treat, then this production is very much rooted in the archetypal school of ballet, with tutu’s and tights aplenty; a static set of rather plain backdrops with a virtually non-existent use of props and a dance space which allowed for an impressively performed display of the type of technically competent dancing you would expect from a Russian ballet company.

    As a whole, the company’s performance was enjoyable and well executed. There were some aspects which were handled very well, including the snowflake scene at the conclusion of the first act, with a very full stage of dancers in a flurry of mesmerising rhythmic and tightly controlled waves of movement, an energetic Dimitriy Popov standing out as The Mouse King and a tremendously hypnotic performance by Kana Fujise as the Eastern Dancer, swathed in an almost dreamlike vision of swirling, vivid orange robes.

    There were some creative choices which didn’t sit easily, primarily the addition of four male dancers to the pas de deux between the Prince and Clara, which seemed to detract from the characters relationship; and the very limited set didn’t assist in setting the scene, especially during the second act. The show did lack some of the narrative flair that I have seen in other productions of this ballet, and at times the emotions of the characters did not come across subtly, primarily due to the fixed smiles of the dancers who appeared so focussed on their dancing that the conveyance of the characters personalities seemed to be forgotten.

    Quibbles aside, the show provided a pleasant evening at the theatre. Undemanding, enjoyable, relaxing and easy to watch. There was nothing innovative in this production which brought anything new, dynamic or particularly different to the ballet itself;  but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

    The company is performing The Nutcracker at Sheffield Lyceum until the 13th January 2017 (see www.sheffieldtheatres.co.uk for details) before visiting a number of venues around the country with their trio of ballet’s, The Nutcracker, Giselle and Swan Lake, until the end of February 2018. Visit www.pmbpresentations.com for details.

  • THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    ★★★ | The Kite Runner 

    THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    Set against the historical backdrop of social and political change in Afghanistan, The Kite Runner tells the story of Amir and Hassan, who are best friends despite their difference in religion, class and social standing. The pair are inseparable, until Amir stands by as a shocking event tears apart their world and their friendship. But as the years pass, Amir has the opportunity to redeem himself and redress his guilt in a way which he would have never imagined possible.

    The play is based on the best-selling book by Khaled Hosseini and is a heart-breaking tale of friendship, betrayal, divided loyalties, family acceptance and social pressure. It also touches on themes of culture, religion, terrorism and of the life experienced by a country faced with invasion, dictatorship and war. Whilst the central the themes are numerous and remain relevant, the staging is stripped back and straightforward; and the whole show is presented with no fuss or spectacle, which allows the writing, script and narrative to shine through. The play’s strength lies in its flowing language which reflects the source material and, as you listen to the actors, you feel like you are reading a book. The addition of traditional Afghan instruments providing an atmospheric, minimalist soundtrack which enhances the uncluttered approach and provides a real atmosphere to the proceedings.

    In terms of performances, David Ahmad was broadly engaging in his performance as the narrator and protagonist, Amir, although never fully convinced in terms of his emotions; whilst Jo Ben Ayed provided a subtle turn as the meek and withdrawn Hassan. Standing out from the ensemble cast was Emilio Doorgasingh as Baba, Amir’s father, with a commanding and intimidating stage presence befitting of his character.

    It is an ambitious play which encompasses many themes and many key aspects of the character’s lives over a number of years, meaning that there is a lot to get through, and the second act does feel slightly crammed and borders on being a little overlong towards the end; but the story overall remains absorbing and holds the attention.

    The Kite Runner is a visually restrained production which provides for a thought-provoking, relevant and touching story which carries with it a lot of emotion.

    The Kite Runner is at Sheffield Theatres until 21st October 2017 before continuing on its national tour.

  • THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    ★★ | The Wedding Singer, Sheffield Lyceum Theatre 

    THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    Robbie Hart is a popular wedding singer who has his belief in love shattered when he is jilted at the alter by his fiancé. But as he has promised to sing at the wedding of affable waitress Julia to her sleazy, materialistic boyfriend, Glenn, he spends his time helping her prepare for her big day. But amongst the gift registry and dress shopping, the two of them slowly fall for each other, and as Julia’s big day approaches, will they both find the courage to tell each other how they feel?

    This 80’s set musical is based on the film of the same name and is packed with a full list of original songs, a smattering of ensemble pieces and a rapping granny. In terms of the cast, Ray Quinn (The X-Factor) stood head and shoulders amongst the performers, with a good performance as Glenn, whilst Cassie Compton (The X-Factor) and UK Eurovision singer Lucie Jones provided competent support and, to their credit, some superb singing.

    But aside from a handful of good performances, sadly, the whole thing just simply didn’t hang together. The onslaught of songs became intrusive to the progression of the narrative, the clunky and cumbersome set changes interrupted the flow and the show overall fell somewhere between lacklustre and dull. Add into that an incredibly cringe worthy seduction scene between Robbie and his ex-fiancé, a significant lack of chemistry between the two leads and some borderline offensive stereotypes of gay men which felt more like ridicule than parody and you have a rather disappointing production.

    But where the show really lets itself down is in its lack of an 80’s feel, especially given that the decade is ripe for the picking in terms of its cultural identity.  Part of the charm of the film that the show is based on is its nods to the decade, from the fashions to the music; something that is noticeably missing from this show. It takes more than a randomly placed Rubiks Cube, a Sony Walkman and a reference to the size of a mobile phone to set the 80’s scene. But the biggest omission is that the original songs didn’t have even a tinge of 80’s synth pop to them and were so generic that, on the whole, they could have come from any musical set in any decade; whilst the costumes missed the opportunity to fully exploit the decade that fashion forgot.

    The show did finally come alive during the last scene and the curtain call, but it was far too little far too late, and couldn’t avoid the show receiving a rather muted reception from the generally unimpressed audience.

    The Wedding Singer is currently playing at Sheffield Lyceum Theatre until Saturday 22nd July 2017