Tag: Theatre Review

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THEATRE REVIEW | Whisper House, The Other Palace, London

★★ | Whisper House

The Whisper House is a 2009 musical with music and lyrics by Duncan Sheik, writer of the multi-award winning rock musical Spring Awakening. Never performed before in the UK, this felt like it could be an exciting possibility for Andrew Lloyd Webber’s new venue. The bar has been set high with recent jazz musical The Wild Party and the raucous studio hit This Joint is Jumpin’. Sadly, this ghost story felt more soulless than spooky. It was more of a stifled yawn than a sneaky whisper. In spite of a great cast, clever use of lighting and an evocative set, it’s a musical with a dreary book and songs that seem to merge into one anther.

In wartime America, pre-pubescent Christopher is sent to his aunt’s eerie old lighthouse following the death of his father and his mother’s subsequent admission to a psychiatric hospital. Aunt Lily is a mournful woman, encumbered by a club foot and haunted by a past event. Oh, there’s also two convenient singing ghosts who waft about the stage making dramatic hand movements around people’s faces and pulling quaint horror film faces. Yes, it’s as bad as it sounds. There’s also a flimsy plot involving a Japanese man who works for her and the xenophobia of the times. There are storms, of course, and water swishing about. It’s a weak storyline and an inadequate framework for the equally dull songs. There’s something strangely hypnotic about the whole thing and not in a good way. I came away unsure how long I’d been in the theatre, whether there was a storyline and without any ability to recall the songs.

If you’re a die-hard musical theatre fan and love Spring Awakening then you might enjoy this as a rare chance to see a musical that unsurprisingly failed to hit London before. You’ll definitely enjoy the cast and their fine voices. My general advice, though, would be hollered loudly rather than whispered: stay away.

Whisper House plays at The Other Palace until 27th May 2017

22nd April 2017
THEATRE REVIEW | How to Succeed in Business Without Really Trying, Wilton’s Music Hall, London

★★★★ | How to Succeed in Business Without Really Trying

Wilton’s Music Hall in the East End has another hit on its hands.

How to Succeed in Business Without Really Trying is their fun and superb new show now playing at the historic venue. And it’s got the right cast to succeed without really trying to be a hit!

Mark Pickering plays J. Pierrepont Finch – an ex-window washer who cleverly climbs the corporate ladder by taking tips from a book called ‘How to Succeed in Business Without Really Trying’ (obvs). His first step is to get a job, so he starts in the mail room at World Wide Wicket Company, working with Bud Frump (a very good Daniel Graham) – the nephew of CEO JB Biggley (Andrew C. Wadsworth). Company secretary Rosemary Pilkington (Hannah Grover) takes a liking to Finch, but Finch has more climbing the ladder to do, and soon enough he’s a junior executive. In the blink of an eye, he’s promoted to run the advertising department. And eventually, Finch will be after Biggley’s job, who has employed in the company his mistress Hedy La Rue (an excellent Lizzii Hills). She’s stacked but not too bright, and unfortunately, she gets enlisted in Finch’s new advertising campaign where she gives away the clues to a company competition, which could possibly lead to hers, Finch’s, and the company’s downfall. It’s a story told in laughs and colourful songs.

The cast is perfect and the staging particularly brilliant. Especially good are Pilkington (great voice and timing) Hills (great comedic wit), Graham (perfect for the role as the spoiled nephew who doesn’t quite get what he thinks he deserves – with great facial expressions), and Matthew Whitby as the HR Director. Excellent direction by Benji Sperring brings this production, which is based on the 1952 book and the 1961 Broadway musical (and which has not been seen in London since 1963 when it played at the Shaftsbury Theatre). It’s pretty much as relevant today as it was when it was originally produced. And the very last song – “Company Way” – where Maisey Bawden finally comes into her own and belts her heart out, leaves the audience wanting more.

How to Succeed in Business Without Really Trying plays at the Wilton’s Music Hall, London until April 22.

15th April 2017
THEATRE REVIEW | Gypsy Queen – National Tour

★★★| Gypsy Queen – National Tour

In a story set in the testosterone-fuelled world of boxing, “Gorgeous” George O’Connell, a street brawler from the travelling community is approached to be coached professionally for the sport by a local gym owner. But George’s deepest secret cannot be contained when openly gay boxer Dane “The Pain” Sampson makes a move on him in the changing rooms. The two men fall in love as George tries to come to terms with his sexuality, but they face their biggest fight when George’s internalised homophobia rises to the fore and his actions lead to a tragedy that neither of them could ever have envisaged.

Photo Credit – PR Supplied

In 2015, boxer Tyson Fury caused controversy by stating in an interview that homosexuality was one of three components that would see “the devil come home”. The comments caused a media storm, a backlash against the boxer and demands for him to be removed from the BBC Sports Personality of the Year shortlist. This play by award-winning playwright Rob Wright throws, and squarely lands, a counter punch at those comments by not only telling the story of gay men in the middle of the ultra-masculine environment of the sport, but by also putting forward a gay central character whose background is not that dissimilar to the background of Fury himself.

Using two actors to portray all of the characters in the story, the play has a script with charm, warmth and some genuinely funny moments, as the pair struggle with their relationships with their parents, their fledgeling relationship with each other and the pressures and prejudices of both their professional and personal communities. The set, comprising of a changing room bench, is repositioned to transport the scenes to the various locations, and the characters demarcations come from the use of simple costume changes and some nifty versatility from the two-hander cast.

Rob Ward centrally plays Gorgeous George with a cocksure swagger and confidence; whereas Ryan Clayton balances this out with a measured performance as Dane, played with a sensitive vulnerability. But it is Clayton’s performance of Mrs O’Connell, the foul-mouthed but well-meaning matriarch of George’s family that turned out to be a scene stealer.

Whilst the presentation and performance of the show could do with a little polishing, there is a lot to recommend it. With its 70 minute runtime, the play is well written, well-paced and laced with humour, allowing the central message to come through without ever sounding preachy. The uncertainty portrayed by George in coming out is something that many gay men will relate to, and the exploration of the underlying homoeroticism in such a masculine sport is a welcome and timely one.

Gypsy Queen is a funny, poignant, thought-provoking and relevant piece of theatre and one which is well worth catching.

The show contains full frontal nudity, scenes of a sexual nature and strong language. Gypsy Queen is currently on national tour and details can be found at http://www.gypsyqueentour.com/ . The show was reviewed at Doncaster CAST Theatre, who has The Faaaabulous Ceri Dupree Show coming soon. Visit https://castindoncaster.com/ for details.

Photo Credit – PR supplied

14th April 2017
THEATRE REVIEW | 46 Beacon, Trafalgar Studios, London

★★★★ | 46 Beacon

It’s 1970 and for Robert, the air is heavy with the promise of straight, gay and even group sex as the hedonistic sixties leave behind a legacy of enhanced freedom for gay men.

A suave and handsome British actor, Robert, has invited gauche teenage virgin, Alan, to his Boston hotel room for a drink and a chat (and hopefully an easy no-strings shag without his ‘room mate’ back in London finding out). The gin flows and it’s not just flesh that’s bared as they probe each other in more ways than one. Alan is overwhelmed, unsure of himself and his sexuality. Appearances are deceptive, though and Robert isn’t quite the carefree shagger he initially appears to be.

This is a charming play that’s both warm and witty with plenty of wry humour and a touching message. The pace flags occasionally but picks up again. Overall it’s a resonant play touching on themes of alienation and feeling lost within the life you’ve made that I’m sure will be familiar to lots of us.

The setting might be 47 years ago but as the saying goes: the more things change the more they stay the same. This is an incisive and fascinating glimpse of gay life that whilst humorous, I’m sure will make you wince at times as you recall your own past. Well worth 83 minutes of your time.

46 Beacon plays at Trafalgar Studios until 29th April 2017

12th April 2017
THEATRE REVIEW | Miss Nightingale, The Vaults, London

★★★★ | Miss Nightingale, The Vaults, London

CREDIT: Robert Workman

The story of a chanteuse called Miss Nightingale who is caught between three men in 1940’s London during WW2 is now playing at The Vaults under Waterloo Station.

Leaving war-ravaged Berlin behind, Maggie Brown (a very talented Tamar Broadbent) and Polish George Nowodny (an excellent Conor O’Kane) arrive in The Big Smoke with Brown’s musical talent. Almost immediately, Brown is spotted by producer Sir Frank Worthington-Blythe (Nicholas Coutu-Langmead) and is urged to start singing for her supper. She’s a hit and starts dating Tom the drummer (Niall Kerrigan). But when their relationship goes down the drain (a bit unexpectedly), Brown, now known by her stage name of Miss Nightingale, falls into the arms of Frank. But Frank and the seductive George have struck up a relationship, all of this amidst the constant threat of blackouts, bombs and The Blitz – life in London during World War II was a treacherous and at times tortuous place.

Miss Nightingale is similar to the storyline in Cabaret where the songs are catchy and campy, however, there is the fear of the unknown, and it’s set amidst the drama and terror that is happening in the outside world. Broadbent is absolutely wonderful as the star of the show, petite yet singing with a big voice and big personality – she commands the stage. Coutu-Langdmead is just as good in his meaty role as Brown’s best confidante and Frank’s lover – though he’s got lots of emotional scars from his past that he can’t soon forget. But the actors in this show not only act, they also play the instruments! O’Kane is especially adept when he’s playing several instruments during one of Broadbent’s songs – is there nothing this man can’t do? The action (and drama) takes place in the small stage space that is The Vaults, not much space to move around but the actors do it, and class it up with their excellent performances and singing.

I can’t recommend this show enough – it’s got everything going for it – and there’s a cosy bar for those all important pre-show and interval drinks!

Miss Nightingale is playing at The Vaults until May 20th.

12th April 2017
THEATRE REVIEW | 42nd Street, London

★★★★★ | 42nd Street, Theatre Royal Drury Lane, London

It’s got Razzle. It’s got dazzle. It’s the tapiest and most glittering show in town. It’s 42nd Street!

42nd Street is back in London and it played to a star-studded crowd on opening night (even the Duchess of Cambridge was there!). There were more stars in the room than in the skies, and there were more sparkles on stage than on Guy Fawkes night! 42nd Street is one of the most well-known and loved musicals of all time. Originally a 1933 film and based on a novel by Bradford Ropes, 42nd Street made it to broadway as a musical 47 years later (what took it so long?). It found it’s way to our shores in 1984, playing at the Theatre Royal Drury Lane (where it’s playing now!) and launched the career of Catherine Zeta-Jones, who was a chorus member fortunate enough to be bounced to the lead role one night when the main star and the understudy were both sick. The lead role, of wanna be musical star Peggy Sawyer, will definitely make Clare Halse, who is in this new production, a star.

Mark Bramble, who originally wrote the book (along with Michael Stewart) directs this new production, and it’s a non-stop bacchanalia of fun! And with an amazing and flawless cast of over 50, 42nd Street has gotten better with time, even though it tells the same old time-trodden story of a young girl from a small town – Peggy Sawyer – who goes to the big city and dreams of making it big. She gets a job as a backup dancer in a new show called Pretty Lady, and the Pretty Lady in the title is Dorothy Brock (fabulously played by singer Sheena Easton). Brock is in love with Pat (Norman Bowman), who disappears off to Philadelphia. So Brock wants to follow him there, forcing the show to move to there. But Brock breaks her ankle, so after getting fired for causing Brock to break her leg, Sawyer is roped back into the show, this time as it’s lead, and she’s only got 48 hours to learn the part, to learn the dance moves, and is wooed and coddled by director Julian Marsh (Tom Lister). But it’s Billy (Stuart Neal) who really takes a liking to her. Will she be ready and rehearsed in time to open the show? Will the nerves get the best of her? I’m sure we can all figure out how it plays out – and plays out it does, much to our delight!

But the story line pretty much takes a back seat to the musical numbers. Songs such as ‘I Only Have Eyes for you’ – beautifully sung by Easton, and ‘Lullaby of Broadway’ and ‘We’re in the Money – sung by the entire cast, are just as memorable now as when they were originally written. Act 1 moves us from the stage of the 42nd Street theatre to The Gypsy Tea Kettle Restaurant and then on to Philadelphia, while Act 2 takes us from the dressing rooms to Philadelphia train station – all realistically cleverly designed. And those dance numbers – wow! There is one amazing scene where a dozen or so female dancers are on the floor while a mirror hovers above them for the audience to see – it’s breathtaking! This cast is definitely the hardest working cast in town – from the opening number where they tap themselves to death to the finale where they all come down the amazing light-up stairs – it’s one singing sensation after another. Halse is superb (with an excellent voice) as the lead, Easton is delicious as Brock – who would’ve guessed Easton had so much acting talent, and it’s her acting stage debut! And Maggie Jones and Christopher Howell excel in their supporting roles. With excellent choreography by Randy Skinner, 42nd Street is simply a must show to see.

42nd Street is playing at DTheatre Royal Drury Lane, London until October 14, 2017.

9th April 2017
THEATRE REVIEW | This Joint Is Jumpin’

★★★★ | This Joint Is Jumpin’

CREDIT: Darren Bell

London seems to have gone a bit tap dancing mad. What with “42nd Street” and “An American in Paris’ it seems that you can barely enter a theatre before someone starts toe tapping. That’s no bad thing either.

The studio theatre at The Other Palace at Victoria (The St James’ Theatre with an oddly chosen new name) is a perfect cabaret venue. It’s intimate, stylish and only lacks an evocative haze of cigarette smoke to make it feel sufficiently retro. This lively show is a tribute to Fats Waller and the joint definitely jumped more than a little with glasses and bottles rattling on the tables and feet spontaneously tapping in the audience. Tap dancing, a live band and lively banter make this a full on joyous show to see.

It’s not so much a musical but more a jazz and tap dancing gig. There are thin links that are entertaining, funny and occasionally moving but there’s no discernible plot to link it. As well as a tribute to Waller there’s a nod to black history which adds emotional wallop. The main draw here though is the performers. Broadway star Lilias White is a mesmerising powerhouse of a pocket rocket, belting out tunes with panache and making the hairs rise on whichever part you have that rise. The tap is frenetic and loud, the songs are raucous/melodic/blasting and the men are a sight to behold. Joseph Wiggan is notable as a tap supremo with jaw dropping moves and singers Michael Mwenso and Vuyo Sotashe rock the roof off. There’s a cheeky pianist, an MC with attitude and a great backing band. It’s a tiny stage but somehow they managed to fit 11 performers on there.

Pour yourself a gin, sit back and let the music take you over. This might be retro jazz but there’s nothing dated or tired about this show.

This Joint Is Jumpin’ is playing at The Other Palace, until 15th April

8th April 2017
THEATRE REVIEW | The Full Monty – National Tour

★★★ | The Full Monty – National Tour

In this tale 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 Lomper 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 relatively straight play, which does away with thin plot and thinner characterisations to simply link musical numbers; and instead provides a play with heart, rounded characters, a genuinely funny script and, of course, the ending that the audience were waiting for.

Even overlooking the rather dubious Sheffield accents (you can’t fool the home crowd, you know), the production felt a little shouty at times; and the cast were broadly functional as an ensemble but never really excelled. That said, what Gary Lucy (“Eastenders”) lacked in performance, he made up for in the eye candy stakes; and Anthony Lewis gave a suitably downbeat performance as the depressed Lomper, especially during his coming out scene. But standing out from the crowd was Chris Fountain (“Hollyoaks”, “Dancing on Ice”) who really lit up the stage and outshone the rest of the cast, with a performance bursting with enthusiasm, confidence and a level of sexiness which was hotter than a steelworks smelting pot.

The show is 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, and despite the running time of the play being approximately 40 minutes longer than the film; it generally doesn’t feel too padded out. What does come across much more in this production is the political and 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, and the whoops of delight by the time the curtain (and the undergarments) fell proved it was a real crowd pleaser.

The Full Monty is rounding off its current tour in the theatre where it had its world premiere, so don’t miss your last chance to catch up with the boys for a while. The Full Monty is playing at Sheffield Theatres until the 15^th April 2017. For information and to purchase tickets visit www.sheffieldtheatres.co.uk .

4th April 2017
THEATRE REVIEW | Adam and Eve and Steve, Kings Head Theatre, London

★★★ | Adam and Eve and Steve, Kings Head Theatre, London

It’s not Adam and Eve but Adam and Eve and Steve (plus the Devil) at The Kings Head Theatre.

A musical version of the biblical story that we all know and love so well is just what we need in this time of Brexit and Trump. But in this story Steve (Dale Adams), and not Eve, is accidentally created by God (the voice and later the body of Michael Christopher) – thanks to Beelzebub – the Devil (played to camp perfection by Stephen McGlynn). But Adam (an innocent looking Joseph Robinson) thinks that Steve is actually Eve, but then God waves his magic wand and creates the real Eve (a sexy Hayley Hampson) and it all becomes very confusing for Adam. Beelzebub tempts them all to take a bite of, as he calls it, the pom (a/k/a apple) against God’s wishes. But Steve wants to be with Adam, and Eve wants to be with Adam, and Adam is confused, and what does Beelzebub (and the mostly gay audience) want?

For Adam and Steve to hook up, and, of course, Beelzebub (and us) wants everyone to sin! Set to a sinfully silly musical score (‘I want to shop for furniture’ was one of the most memorable tunes) and tons of references to the existing world (Uber, Ikea, gluten free), with lots of skin on show, Adam and Eve and Steve won’t change your life but it will make you forget all about the outside world for a luckily brief 75 minutes.

Adam and Eve and Steve Plays at the Kings Head Theatre until 29th April 2017

1st April 2017
THEATRE REVIEW | Northern Ballet’s Casanova – National Tour

★★★★ | Despite his reputation for romance and his wild sexual liaisons, Casanova remains a historical figure with much more to offer than just a debauched lifestyle; and it is those lesser known aspects of his life which are subject to a brand new feature length ballet. Casanova was a trainee priest, musician, writer, social climber, mathematician, prisoner, gambler, food lover and fluent in seven languages. There is much more to Casanova than there first appears and this ballet explores his life and reputation in a way which debunks the perception that he was little more than a philandering Lothario.
Photo Credit – Justin Slee

With striking visuals, choreographer Kenneth Tindall tells the detailed and intricate story of Casanova’s extraordinary life and manages to pack in many aspects of his life in a way which never feels rushed or forced. Using a range of techniques, Tindall brings out the best in the company with routines that range from grand, sweeping set pieces to intimate movements; all of which combine to convey the story not only efficiently, but also in an absorbing and intriguing way. On a stage flooded with golds, oranges and purples, the first act is faced paced and dramatic; which subsequently yields to a more intimate second act filled with gentile and tender routines; leading to a finale which beautifully rounds off the show.

There is an abundance of flesh on display, and the ballet does not shy away from Casanova’s sexual appetite, finding himself in the company of both men and women. In a refreshingly open way, there are scenes of sensuality between Casanova and a number of men; and the number of muscular arms, tight pecs and washboard abs on display gently, but tastefully ,nudge the production towards an edge of homoeroticism at times.

Photo Credit – Caroline Holden

Giuliano Contadini makes the most of his characters many layers and provides what is perhaps is most rounded performance to date as the titular character and the remainder of the cast are all proficient in their multiple roles.

The production values are high, with lavish costumes and gilt edged props which reflect the sumptuousness and extravagance of the period setting. Add into that a set which creates a versatile dance space and multiple locations by the use of three pillars and a variety of forced perspectives; a stunning lighting design and an original score which is cinematic, sweeping and stirring and you have all of the elements of a very fine production.

Casanova is currently playing at Sheffield Lyceum Theatre until the 1^st April 2017 before visiting Norwich Theatre Royal, Milton Keynes Theatre, Cardiff New Theatre, Salford The Lowry and Sadlers Wells. Visit www.northernballet.com for full details.

29th March 2017
THEATRE REVIEW | The Frogs, Jermyn Street Theatre

★★★ | The Frogs, Jermyn Street Theatre

Stephen Sondheim is the grand master of some of the wittiest, campest and catchiest musical theatre numbers of all time. He’s also still going strong and still writing at 86. His back catalogue is staggering with Sweeney Todd, Into the Woods and Company to name a few, so it’s exciting to see a rarely revived 1974 musical re-surface.

There’s always a worry that there’s a reason a musical stayed under the water (be warned, the ‘frog’ puns are just too easy to resist) and in this case, it’s easy to see why this one floundered and never quite hit the shoreline.

The story is based on an ancient Greek comedy and concerns a demi-god and his slave who decide to travel to the underworld to bring back a great writer. It’s as silly a story as it sounds and a mad musical but one with a timely political undertone about the role of the arts in society. The chorus sidle on and off the stage playing a variety of parts, jazz-handed and legs crossing and high-kicking in the tiny space of The Jermyn Street Theatre. Dionysos and his slave have some great interactions but the songs are sparse with long discourses in between about theatre and the arts. It sounds dull but isn’t at all, apart from a peculiar piece in the second act that slackens the pace. This being Sondheim, the lyrics are densely packed and razor sharp. It can feel like a list of ‘in’ jokes at times with riffs on theatre etiquette and the behaviour of actors but they’re funny ‘in’ jokes nonetheless. Michael Matus as Dionysos is a musical theatre stalwart/legend and it’s a privilege to see him perform in such an intimate venue.

The Frogs was originally performed in a swimming pool with Sigourney Weaver and Meryl Streep splashing around amongst the cast. According to Sondheim, the acoustics made it sound like it was being sung in a urinal and it bombed. Nathan Lane (The Birdcage, The Producers and The Good Wife) re-invigorated the play in 2004 but still; it’s a difficult beast.

If like me you’re a Sondheim fanatic then you’ll love this. If you’re not initiated then it might feel like a drag.

The Frogs plays at the Jermyn Street Theatre until 8th April 2017

20th March 2017