Tag: Theatre Tour

THEATRE REVIEW | Priscilla Queen of the Desert – National Tour

Rating: 2 out of 5.

Everyone’s favourite big, gay bus is hitting the road again, as Felicia, Tick and Bernadette unplug their curling tongs and go bush, travelling across the Australian outback and making their way to perform a show in Alice Springs. Between the breaking down, bickering and bigotry, the trio learns about life, love and friendship whilst strutting their stuff in their high heels.

As Felicia says at one point in the film that the show is based on, “there’s nothing like new frock to brighten your day, girls.” The show has been re-imagined and like the bus itself, it is given a fresh coat of paint. But not every frock is made of satin and this production, unbelievably, manages to suck most of the fun out of what is, in reality, a superb show.

Joe McFadden is woefully miscast as Tick, hardly making any eye contact with the audience and flipping between being virtually inanimate to over-exaggerating every gesture, whilst Miles Western portrays transsexual Bernadette more as a gay man than a trans woman; with only Jordan Cunningham bringing much to the main trio as Adam and his drag alter ego Felicia.

The corrugated iron-based background set is bland, gone are the recreations of the Oscar-winning costumes (to remove the flip-flop dress is a crime) and the titular bus doesn’t fare too well either. There is an abundance of unnecessary creative decisions – the “comedic” shooting of a kangaroo, a flashing nun and the addition of a set of dancing hicks whilst Adam belts out La Traviata from the top of the bus – which simply don’t sit well within the show. The delivery of the script fell flat. There is an increase in the sexualisation in the show, containing more groin thrusting that is really needed and seemingly replacing the camp with a vague sleaziness.

The choreography was safe rather than outrageous, and the staging made the performance space seem almost empty when the ensemble cast were performing. Those who are seeing the show for the first time may well find much to enjoy, but disappointingly, this is an incredibly uninspiring production.

On the plus side, the Divas’ were able to belt out the tunes, the soundtrack comprising of a selection of disco classics is stomping and the musical numbers are undertaken with energy and enthusiasm by the ensemble. But sadly, the re-imagined show looked cheap, the costumes were disappointing and tacky, the performances from the main cast were broadly poor and the over the top camp felt sadly lacking.

It must be difficult to drain the life out of such a buoyant and uplifting show, but somehow, this production manages to do just that.

Priscilla Queen of the Desert is at Sheffield Theatres before continuing on its national tour

6th March 2020
THEATRE REVIEW | Everybody’s Talking About Jamie – National Tour

Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single-parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will.

The West End smash is venturing out on a national tour, and starting its 20 venue run at its spiritual home of Sheffield Theatres. For a touring production, the presentation of the show is spot on, with a simple but versatile set and a slick and polished look and feel, as it heads out with a broadly fresh cast.

Leyton Williams (Bad Education) reprises his West End role as Jamie, and whilst his vocals were not the strongest, his portrayal of Jamie was deliciously delightful. Amy Ellen Richardson absolutely nails her two show-stopping numbers as Margaret, Jamie’s mother; and George Sampson (Britain’s Got Talent) is impressive as Dean, the school bully. But it was Shane Richie who proved to be the biggest surprise of the night, balancing a measured performance as Hugo with a flamboyant turn as Loco Chanelle, his drag alter ego.

The strength of the show lies not just in the performances, but in the excellent writing and the superb score. Beautifully blending comedy and emotion, the story is one which easily balances the comedy with genuine feeling. ‘He’s My Boy‘ is nothing short of a torch song, and the more tender moments between Jamie and his Mother nestle beautifully in the feel-good warmth of the sharp script. But there is also tremendous pop bubble-gum fun to be had with many of the musical numbers, and the choreography, characterisations and ensemble cast bring both the stage and the characters to life.

The show doesn’t re-tread the usual ground with someone struggling with their sexuality, nor about seeking acceptance from their peers. Jamie is out, proud and everyone in his life loves him, which provides a refreshing change to coming of age stories such as these. The struggle is with Jamie’s self-image and his self-belief; and of the impact of his absent and rejecting father; and is very much a story about what makes a family rather than focusing on the acceptance or otherwise of Jamie’s sexuality.

The new touring production for 2020 brings with it a vivacious burst of energy and the show remains as utterly joyful and triumphant as ever. I laughed, I cried and I cheered on multiple occasions over the show’s duration, and if you’ve not been able to catch the show in the West End, then the national tour is bringing Jamie to a theatre near you. Move aside, Blood Brothers, there’s a new standing ovation musical in town.

21st February 2020
THEATRE REVIEW | Mowtown The Musical – National Tour

★★★ | Mowtown The Musical

After borrowing $800 from his family, Berry Gordy bought a small house in suburban Detroit, built a recording studio and laid the foundation for one of the most successful record labels of all time. Boasting Diana Ross, Lionel Richie, The Jackson 5, Smokey Robinson and Marvin Gaye, amongst others, Motown records grew to be a phenomenon. Featuring songs including ‘Aint No Mountain High Enough, I Heard It Through the Grapevine, My Girl, Dancing In The Street and Signed, Sealed, Delivered, Motown The Musical delves into the story of the label including its meteoric rise and its troubles as the hits dried up.

The show is punchy and well-paced, moving along at breakneck speed through the label’s back catalogue set against a backdrop of both the rags to riches story of Berry Gordy and the recent social and political history of America. At a time when race riots, the assassination of JFK and Vietnam were at the forefront of the American consciousness, Gordy simply wanted to unify people with his music. The show presents a rather sanitised version of the record label’s history, and touches on Gordy’s relationship with Diana Ross and on his management of some of the biggest names in music. But it is the music which is the major draw here, and it doesn’t disappoint.

Edward Baruwa steps into the shoes of Gordy remarkably well, and has a soulful voice and a natural charisma, holding the show together with his almost constant on stage presence. Olivia Hibbert does a fine impression of Diana Ross, and Daniel Haswell stands out amongst the large ensemble with his performance as Stevie Wonder. The production is incredibly slick, with vivid colours, stunning costumes and an incredibly effective use of projected backdrops which is superb as it transports the audience from scene to scene.

It is difficult to deny the legacy of what Gordy created; the songs remain absolute classics, the artists are legends and the music lives on. Cramming such a sprawling tale into a two and half hour show is a challenge, but by keeping it relatively light and focussing on the music, Motown The Musical is ultimately a feel-good celebration of some of the biggest songs ever recorded.

Motown The Musical is at Sheffield Theatres until 30^th November 2019 before continuing its national tour.

21st November 2019
THEATRE REVIEW | Joseph and the Amazing Technicolour Dreamcoat – National Tour

★★★ | Joseph and the Amazing Technicolour Dreamcoat – National Tour

Andrew Lloyd-Webber’s well-loved family musical tells the biblical story of Joseph and his eleven brothers. Joseph is favoured by his father and is given a Technicolor coat, which causes his brothers to become so jealous of his favourable treatment that they take him into the desert to kill him. But seizing an unexpected opportunity to make some money, the brothers sell him into slavery instead and Joseph is taken to Egypt where his ability to interpret dreams is put to good use by the Pharaoh.

The two hour show is jam packed full of songs that you can’t help but know the words to, including “Any Dream Will Do”, “One More Angel In Heaven” and “Close Every Door”. Visually, the show was vibrant, colourful, full of an enthusiastic and energetic cast and some enjoyable choreography.

Jaymi Hensley (Union J, X-Factor) stars in his first major musical role and provides a mixed performance, sounding wonderful belting out the songs at some points in the show, but completely over-doing the forced and unnecessary vocal gymnastics and operatic trills at others.

Production wise, as expected, the costumes, set and a particularly effective lighting design were all awash with a variety of colours, and the whole thing came across as a fun and lively production which was professionally put together. Despite being first performed in the late sixties, the music still retains a fresh feel, with an eclectic mix of musical styles, from Country to Rock n Roll, and from Calypso to a parody of French Ballads.

Overall, Joseph is an evening of pleasant and undemanding entertainment which delivers on many levels, particularly in terms of production, but also in terms of nostalgia (most people of a certain age will remember doing this show as their school play). It’s great family entertainment and is ultimately enjoyable, if fairly cheesy, fun.

Joseph is currently at Sheffield Theatres until 9^th November 2019 before continuing on its national tour

6th November 2019
THEATRE REVIEW | Curtains – National Tour

Curtains The Musical ©The Other Richard

★★★★ | Curtains The Musical, Sheffield

On the opening night of a new musical the star of the Broadway-bound show is murdered as she takes (what turns out to be) her final bow. But the actress is not the only thing that dies on stage that night, as the show is an absolute stinker. Enter, stage left, Detective Frank Cioffi, whose keen detective skills are matched only by his love of musical theatre. With everyone in the cast and crew a suspect, can Coiffi catch the killer, get the girl and transform the musical into a Broadway smash?

Written in 2006 by Kander and Ebb, who are best known for Cabaret and Chicago, this musical has a beautifully old fashioned air to it, with a look, feel and sound of the classic musicals of Cole Porter and Irving Berlin. The show gently, but lovingly, ribs the genre with its tongue very firmly in its cheek, parodying Oklahoma!, the backstage relationships of 42^nd Street and the on/off stage antics of Kiss Me, Kate. The songs are instantly catchy and warmly familiar on first listen, but retain the odd glimpse of Kander and Ebb’s trademark sound running through them. Throw into the mix a pastiche of Agatha Christie’s The Mousetrap, and you get to the heart of what this musical whodunnit is about.

TV’s Jason Manford is wonderfully affable as Detective Frank Cioffi and nestles neatly alongside the broadly talented cast, and Ore Oduba (Strictly Come Dancing winner) is good fun as the show’s songwriter and Emma Caffrey was an utter delight as the show’s wannabe starlet, Bambi. The static set provides a suitable backdrop to the backstage shenanigans, with the audience swiftly moving to the front of the curtain during the big rehearsal numbers using a directorial trick which works remarkably well.

Overall, Curtains has a healthy dose of subtle and gentile comedy, some cracking, foot tapping songs and the whole show is lovingly put together. It transpires to be a thoroughly pleasant and undemanding evening of old fashioned entertainment, which was incredibly enjoyable.

Curtains is at Sheffield Lyceum Theatre until 2^nd November 2019 before continuing on its extensive national tour.

1st November 2019
THEATRE REVIEW | On Your Feet – National Tour

★★★ | On Your Feet, Sheffield

(C) PR SUPPLIED

Tracing her rise from Cuban immigrant to global superstar, On Your Feet tells the story of Gloria Estafan and the Miami Sound Machine.

From humble beginnings, the group went on to sell over 100 million records, albeit not without struggling to bring their fusion of Latin beats and Pop to the charts. But the American dream turns sour when at the height of her fame, tragedy hits the family.

You might think that Gloria Estafan’s life was not really eventful enough to carry the narrative of a two-hour show, and, well, you may be right.

There is very little in this musical biopic that hasn’t been seen before. The show feels a little self-indulgent at times, only ever skimming the surface of Estafan’s life and there are no huge revelations. The story ambles along without really getting very far in act one; and despite the narrative thickening out a little during act two, it remains a rather superficial look at her life.

Narrative aside and despite a rather lacklustre set, this is a big production with a quality feel, an excellent lighting design taking us from the heat of the Cuban sun to packed out stadiums, some stunningly beautiful costumes, a stage full of actors and a superb live band on stage. Francesca Lara Gordon plays Gloria Estafan as a sassy, headstrong and determined woman, and had a voice enabling her to belt out the pop tunes and softly sing the slower numbers; and there was a tangible chemistry between her and George Ioannides as Emilio Estafan.

With a good mix of ballads, upbeat pop and Latin American music, the show bursts into life during the musical numbers which are filled with passion and energy. With infectious Latin rhythms and dance routines that positively sizzle, outstanding choreography and an ensemble cast as hot as the Miami sun, the show really does impress during these moments and proves to be utterly irresistible.

On Your Feet is a musical biopic with the emphasis firmly on the music rather than the biopic, and provides a couple of hours of foot-tapping, feel-good fun.

On Your feet is at Sheffield Theatres until 19^th October 2019, before continuing on its national tour.

16th October 2019
THEATRE REVIEW | The Woman in Black – National Tour

★★★★ | The Woman in Black

(C) PR SUPPLIED / FORTUNE

Set in an old theatre in the late 1950s, a solicitor, Arthur Kipps, enlists the assistance of a young actor to tell his story. His tale revolves around a terrifying incident when he was younger, when he travelled to Eel Marsh House to settle the estate of a long-standing deceased client. Alone in his client’s mansion, he is plagued by the sound of a pony and trap, an unexplained banging noise and a door which appears to be locked from the inside. What secrets does the estate hold? And who is the woman in black he keeps seeing?

This effective ghost story is beautifully crafted and uses simple techniques to create a very taught atmosphere. The lighting design, in particular, was incredibly well done – who would have thought that a dark stage with just a door highlighted would draw worried mumblings from those around you? The production slowly cranks up the tension, drawing you to the edge of your seat and then throwing you back into it with some effective jump scares.

The narrative of the show remains faithful to the original novel, and the production avoids spoon-feeding you the story, leaving you to create your own horrors in your imagination. The set, staging and props were remarkably effective in their simplicity and created an atmosphere where you held your breath with the central character as he explored the darkness; and the way in which the audience is manipulated via the events unfolding on stage is testament to the quality of writing behind the show and the impressive performances of the two actors, Robert Goodale and Daniel Easton.

The Woman In Black is well-crafted fireside ghost story which proves that there is more to what is unseen than what is seen. This show is a chilling pre-Halloween treat and a perfect way to spend a dark, stormy winter evening.

The Woman In Black is currently at Sheffield Theatres until 12^th October 2019 before continuing on its national tour and is also playing in the West End.

10th October 2019
THEATRE REVIEW | We Will Rock You, National Tour

★★★ |We Will Rock You, National Tour

WE WILL ROCK YOU by Elton, , Writer and Director – Ben Elton, Set Designer – Mark Fisher, Costume Designer – Tim Goodchild, Lighting designer – Willie Williams, Churchill Theatre, Bromley, UK, 2019, Credit: Johan Persson

Set in a distant, dystopian future where musical instruments and composers are banned, where generic pop music is imposed on the public and rock music is all but unknown, a small group of “Bohemians” struggle to restore the idea of thought, fashion and, most importantly, rock music as they break free of the grip of the Killer Queen.

Seventeen years after it opened, this theatrical juggernaut heads out on a theatre tour bringing with it some of Queen’s most iconic songs. The show is a full-on assault to the senses, with a set made up of giant screens displaying animated, projected backdrops, a colourful array of costumes and music and vocals so loud that the bass reverberates in your chest.

During the first act, the songs come thick and fast, with the wafer-thin plot serving little more purpose other than linking one song to the next, but the second act yields a little more to the rather silly narrative whilst still packing in enough hits to keep you entertained.

Such big songs require big voices and the two leads, Ian McIntosh and Elena Skye can certainly belt out the tunes, giving solid vocal performances; whilst audience favourite Michael McKell provided some excellent comic relief throughout.

But the real stars here are the songs, and the show packs in all the Queen hits you are expecting. Despite a plot which is utter nonsense, We Will Rock You will have you rocking your way out of the theatre.

We Will Rock You is currently at Sheffield Theatres before continuing on its national tour.

7th October 2019
Theatre Review | Northern Ballet’s Cinderella – National Tour

Northern Ballet dancer Hironao Takahashi in David Nixon OBE’s Cinderella. Photo Emma Kauldhar

★★★★ |Northern Ballet’s Cinderella

Northern Ballet continues to delight with a charming retelling of a classic fairy story. Cinderella leads a life of servitude to her wicked stepmother but escapes her life by sneaking out, where she encounters a magician who is more than meets the eye. When Cinderella is left home alone on the night of the Prince’s ball, the Magician appears to transform her into a princess; as she and the Prince meet and fall in love, the clock strikes twelve and Cinderella flees, leaving only a glass slipper behind.

Sometimes, such familiar stories can feel laboured and over-familiar but Northern Ballet injects new life into the traditional fairy tale by putting in enough fresh ideas to add something new, without ever detracting from the familiar narrative. Transporting the story to Russia whilst adding in an expanded narrative and a scattering of magic tricks and circus skills, the company presents something just a little different, but with its roots firmly planted in well-known story.

Mlindi Kulashe delighted the audience with a comedic performance as the magician, and Abigail Prudames charmed as the titular heroine; both of whom stood out from a company who gave universally solid performances.

Where Cinderella really succeeds is in its simplicity. The choreography is so clear in delivering the narrative, it allows you to simply sit back and enjoy the performances. There are sufficient magical moments to maintain its fairy tale status whilst allowing the dance to take centre stage, and the lavish new costumes, some new sets and the live orchestra only adds to the atmosphere of this production.

Whether you are looking for a family orientated evening at the theatre, or for something to start to get you in the festive mood, Cinderella is an engaging ballet which works its magic on you by radiating a feel-good warmth and familiarity.

Northern Ballet’s Cinderella is playing at Sheffield Theatres until 28^th September 2019 before continuing on its national tour; whilst their production of Dracula will be beamed live into selected cinemas on Halloween

25th September 2019
THEATRE REVIEW | The Girl On The Train – Birmingham

★★★ | The Girl On The Train – National Tour / Birmingham

Based on the best selling book by Paula Hawkins, The Girl On The Train stars Samantha Womack (Eastenders) as Rachel Watson, a troubled woman who romanticises about a couple she sees from her commuter train window every day, as she imagines the life she could have had. When one of the couple goes missing, she finds herself drawn into the mystery; but the gaps in her memory and her inability to separate out reality from her fantasy leads to her becoming a suspect in the woman’s disappearance.

Samantha Womack is entertaining as Rachel and she is ably supported by a small but proficient cast. The set changes are fairly slick, the set is sufficiently detailed, and the lighting and sound design all compliment the mood of the piece.

But for a thriller to work, it’s the story that counts, and over the course of the first act, the plot developed nicely and pulled in the audience, with a narrative which blurred fact and fiction, and imagination and reality; but as the second act unfolded the story became increasingly convoluted with a few too many red herrings and clumsy plot twists for it to maintain its momentum.

Having not read the book or seen the film, I’m not sure whether fans of either will find enjoyment or disappointment in this play, but as a standalone piece of theatre, it is competently presented and entertaining enough, but not a show which I would imagine will go on to become a classic.

The Girl on the Train is at The Alexandra, Birmingham until the 31st August 2019. Book tickets now

This review was taken from a showing at Sheffield and does not account for any cast changes or changes to the direction since then.*

27th August 2019
Theatre Review | Avenue Q – National Tour

★★★★ | Avenue Q, National Tour

Fresh out of college, looking for somewhere to live and clutching his useless degree, Princeton arrives on Avenue Q, where he meets affable (if lazy) Nicky, his closeted gay roommate, Rod, and Kate, a nursery teacher with big ambitions. The gang try and navigate the trials and tribulations of life, whilst discovering what the internet is really for, why taking a date to a strip club is a bad idea (especially on a school night) and why you should never throw a coin off the top of the Empire State Building.

At one point in the story, Rod settles in to read his favourite book, Broadway Musicals of the 1940’s, and if you part the fur on this show a little, you will find that underneath it all, Avenue Q is very much a traditional musical at heart, with a will they/wont they love story, a sultry love rival and some ups and downs along the way. One of its particular strengths is in its beautifully crafted musical numbers, which flip between a good excuse for a laugh (The Internet is for Porn) and sweeping songs which progress the narrative (There’s a Fine, Fine Line).

The script remains sharp and funny, with a rapid fire delivery of gags, and a story which nestles a number of social issues into the comedy without ever preaching. Rod struggles to come out of the closet, and his ode to his best friend (and secret crush) is filled with sadness. Princeton is a little lost in life, Kate feels that she is destined for bigger things and the perverted Trekkie Monster spends his day, shall we say, (ahem) socially isolated.

With many of the cast playing multiple roles, Tom Steedon steals most of the laughs as Trekkie Monster and Nicky; whilst Cecily Redman belts out the musical numbers with a stirring voice; and the cast effortlessly bring the puppets to life, to the point where you find yourself more focussed on the puppets than the actors.

If you have ever wondered what an adult version of Sesame Street might look like, then Avenue Q has the answer. The show remains laugh out loud funny, with some close to the knuckle humour which perfectly blends comedy with poignancy to leave you feeling warm and fuzzy inside.

Avenue Q is at Sheffield Theatres until 3rd August 2019 before continuing on its national tour

4th August 2019