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Tag: Theatre Tour

  • THEATRE REVIEW | Miss Meena And The Masala Queens – West Yorkshire Playhouse

    ★★★| Miss Meena And The Masala Queens – West Yorkshire Playhouse

    Miss Meena’s drag club is on the brink of closing; and like Miss Meena herself, it is tired, run down and needing a boost. But two strangers are about to enter Miss Meena’s life, both of whom have very different consequences for her. With people that she can trust, and people she can’t, close by, Miss Meena must decide whether or not the show will go on.

    CREDIT: David Fisher

    Tackling the difficult subject of sexuality and drag in the British Asian community, Miss Meena is a socially relevant piece of theatre and one which serves both the purposes of being entertaining, but also telling the seldom heard stories of the British Asian drag community. The story is in many ways very familiar, and there are a number of elements which make the narrative and the characters feel a little like a British Asian combination of the Priscilla and Burlesque movies.

    From the small cast, Raj Ghatak stands out, with a heartfelt performance as the titular character; and there is some decent support from Jamie Zubairi as Munni; whist Nicholas Prasad fills out the sling backs nicely as Shaan.

    But it is the writing that really shines through, and whilst the story is a narrative which is familiar, it is the detail within the characters and the universal themes of conflict for the gay community which shine through. Most of the characters struggle with their sexuality or their identity in some way, and each of them tackle their internal struggle differently. There is a real theme of family running through the show, from the perspective of both family in the traditional sense, but also the family made up of those we chose to surround ourselves with. There is also a relevant and valid social comment about the LGBT community having a safe space to go to; and the purpose of that space; whether it is to express themselves, away from a repressive family environment, or whether it is somewhere to be supported by those who understand the impact of such repression.

    That said, and despite the themes, the show remains uplifting, comedic and fun, with some great Bollywood lip-synch numbers which serve the purpose of being musical interludes rather than narrative progression, some physical comedy, a few snappy one-liners and a genuine warmth that resonates from the stage. By the time the show concludes in a cascade of glam, sparkle, saris and a bhangra version of a gay anthem, the characters really do feel like old friends.

    Miss Meena and the Masala Queens is a relevant, entertaining and socially progressive piece of theatre.

    Miss Meena and the Masala Queens is currently playing at West Yorkshire Playhouse, Leeds until Saturday 17th June 2017. Visit www.wyp.org for details. You can read our interview with Pravesh Kumar, the director, here

     

  • THEATRE REVIEW | Dirty Dancing – Sheffield Theatres and National Tour

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

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

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

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

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

    The show is currently playing at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 10th June 2017, before continuing on its extensive national tour, calling in at a number of venues including  Edinburgh, Bristol, Manchester, Leeds and Liverpool between now and September 2017.  Visit www.dirtydancingontour.com for details.

  • THEATRE REVIEW | Mamma Mia – Leeds Grand Theatre and National UK Tour

    ★★★| Mamma Mia – Leeds Grand Theatre and National UK Tour

    Mamma Mia Theatre Tour Review

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

     

    Currently on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.

    Mamma Mia is currently playing at Leeds Grand Theatre (www.leedsgrandtheatre.com ) until Saturday 8th July 2017. Leeds play host to the forthcoming tours of Wicked and The Band; and present the World Premiere of Kay Mellor’s Fat Friends in November 2017. The show then continues on its national tour, calling in at Canterbury, Bournemouth, Brighton, Aberdeen, Sunderland, Oxford, Glasgow, Llandudno, Northampton, Wolverhampton and Sheffield. Visit  http://www.mamma-mia.com/uk-tour/index.php for details and tickets.

     

  • THEATRE REVIEW | Northern Ballet’s The Boy In The Striped Pyjamas – CAST Theatre and National Tour

    ★★★| Northern Ballet’s The Boy In The Striped Pyjamas

    Based on the best-selling book, The Boy in the Striped Pyjamas tells the story of two boys; Bruno, the son of a concentration camp Commandant and Shmuel, a young Jewish prisoner; as they befriend each other from opposing sides of the barbed wire fence.

    Boy In The Stripped Pyjamas review

    Whilst a ballet based on the Holocaust may not seem an obvious choice, Northern Ballet’s production is well conceived. Utilising a muted colour palette alongside an original score which is laden in strings and piano to create a real sense of foreboding; the ballet is surprisingly well paced and despite its setting, manages to find some gentle and rather tender moments amongst the difficult subject matter, nowhere more evident than in the burgeoning friendship between the two boys.

    Never straying very far from the original source material of the children’s book, Daniel de Andrade’s choreography is straightforward and uncomplicated; conveying the narrative without fuss and providing a clearly defined demarcation between different characters and scenes, which ultimately leads to the production of a ballet which is readily accessible to the whole family.

    Matthew Koon impresses with his portrayal of Bruno, conveying the character’s innocence and bringing to his performance a child-like vivaciousness, which contrasts nicely with Filippo Di Vilo’s suitably understated portrayal of the hopelessness of Shmuel. However, it is Mlindi Kulashe’s performance as The Fury, which stands out; bringing a menacing presence and an incredible suppleness which comes across in his technically impressive performance.

    Given the setting of the story, the ballet has the potential to be divisive in terms of its appropriateness; but Northern Ballet have produced a rather simplistically presented piece which handles matters with sensitivity and respect, and brings with it a genuine emotional punch which is derived from its narrative and characterisations.

    The show had its world premiere at CAST in Doncaster (www.castindoncaster.com)  before commencing its national tour calling at Wolverhampton, Leicester, Richmond, Aylesbury, Stoke, Bromley. Leeds and Hull. Visit www.northernballet.com for further details.

  • THEATRE REVIEW | La Strada – Sheffield Theatres and London’s West End

    ★★★ |  La Strada – Sheffield Theatres and London’s West End

    Based on the film by Frederico Felini, La Strada is set in the heart of the Italian Countryside, and tells the story of the Gelsomina, who becomes the assistant to a travelling showman, Zampano, as they move from town to town trying to earn their keep. But things change when they join a travelling circus and they meet Il Matto, a clown, who teaches Gelsomina that there is more to life than her current existence and encourages her to find herself.

    La Strada is a show with a very European flavour and a real feel for the source material, being Fellini’s classic 1950’s Italian film. The music is a broadly uplifting fusion of gypsy, jazz and folk, providing a jaunty soundtrack which melts into the story rather than providing standalone moments, and whilst the show is billed as a musical, it would perhaps be better pitched as a drama with musical interludes.

    Overall, the show carried with it an impressive presentation. Sally Cookson’s direction is distinctive and stylish, with a slew of innovative theatrical techniques, carefully choreographed movement and almost constant activity on and around the stage. The set has a feeling of 1950’s European cinema, with its muted colour pallet and its use of shadows and silhouettes, and the provision of the on-stage musicians added a nice touch. Feeling almost cinematic in its staging, the show does has a certain magic about the way in which it presents itself.

    La Strada boasts a large international cast, led by Audrey Brisson and whilst the performances were functional, they never really excelled. The story is filled with pathos and it is bold in its attempt to portray what is effectively a road movie on a single, static set. The pacing of the show is very slow and the narrative is thin, almost only allowing the audience to glimpse snapshots of the character’s lives, rather than allow them to join them on their journey;  which is where the production struggled overall and where the emotional punch of Fellini’s film was somewhat lost

    La Strada is a show which is a luxurious, visual feast, but one which has a low-key narrative, and a steady pace; and is a more high-brow musical  for people seeking an alternative to the saccharine-coated West End extravaganzas or the traditional staples of musical theatre. It is very much style over substance, but may well reward the patient audience member.

    La Strada is currently at Sheffield Lyceum Theatres (www.sheffieldtheatres.co.uk) until 27th May 2017, before transferring to the West End, playing at The Other Palace in London from the 30th May to the 8th July 2017. Visit www.theotherpalace.co.uk/whats-on/la-strada for details.

     

  • THEATRE REVIEW | The Faaaabulous Ceri Dupree Show – National Tour

    THEATRE REVIEW | The Faaaabulous Ceri Dupree Show – National Tour

    ★★★| In this one man, twenty-one woman show, the Faaaabulous Ceri Dupree brings an evening of glitz, glamour and variety to the theatre. Featuring a combination of original songs, colourful characters, female impersonations, anecdotal comedy, an abundance of feathers and sequins, quick fire one liners and healthy dose of tongue in cheek sardonic barbs aimed at members of the audience, the show is unashamedly old school drag.

    Photo Credit – PR supplied

    Taking the scattergun approach to comedy, there was a good mixture of comedy, ranging from gentle observations to the slightly risqué to the downright crude, with the vast majority of the gags hitting the spot. Throw into this, a slew of characters, from Dame Edna Everage to Camilla Parker Bowles, from Shirley Bassey to Mary Hopkins and from Amy Winehouse to Gladys Pugh, there were plenty of laughs to be had.

    The show is a bit of a mixed bag in terms of success. Parts of the act were hilarious – such as the Dame Edna section, which involved copious amounts of ribbing members of the audience, whereas the Amy Winehouse impersonation fell rather flat and garnered little response. Some of the jokes were probably around when Bernadette was touring with Les Girls, and some of the relevance of the characters, such as Gladys Pugh (from Hi-Di-Hi) and Mary Hopkins would be lost on many of the younger members of the community (although gays of a certain age (like me) will find it hilarious).

    But that said, the show shone brightly in the main, especially with the original songs, some hilariously blue and innuendo filled humour, a song-laden second act and genuine warmth resonating throughout. With drag standards all present and correct, Joan Collins, Shirley Bassey, Kathyrn Jenkins, Charlotte Church and even the Queen don’t escape unscathed. As the show rounds to a close with the mirror balls spinning and the audience on their feet for a rousing rendition of I Am What I Am, you know that you are firmly in the campest of floorshows.

    The show is pure cabaret, of the ilk which is reminiscent of the old days of variety in the style of Hinge and Bracket or Danny La Rue.  What makes the show stand out is that it does away with the bitchiness and backstabbing and places the fun and entertainment value of drag squarely in the centre of the stage. Whilst there is very little here that you won’t have seen before if you had been knocking around the scene in the eighties, the show ups the ante of the pub cabaret circuit and delivers a quality and style of show which is becoming harder to find on the scene.

    Slick, polished and with more laugh out loud moments than anticipated, this is a show which will either take you back to your youth, or show you how it used to be done properly.

    The Faaaabulous Ceri Dupree Show was reviewed at CAST in Doncaster, who have a varied and packed programme of shows and is a cultural gem in the heart of the city. Visit https://castindoncaster.com/ for details. The show is on national tour and details can be found at http://www.ceridupree.co/index.html

  • REVIEW | Liza Sings Streisand

    REVIEW | Liza Sings Streisand

    ★★★★★ | Liza Sings Streisand

    It’s a lot of gay men’s wet dream to see the words “Liza Sings Streisand’. Before you get too excited though, n this instance it is Liza with a Zee singing the back catalogue of Barbra but it’s a thoroughly British Liza, Ms Pulman who’s a member of Fascinating Aida. Don’t let the fact it’s not Minnelli disappoint too much though.

    This Liza has got style oozing out of her pores and a belting set of lungs that do justice to Barbra in a lovingly curated cabaret show.

    This isn’t ‘Stars in Your Eyes’. She doesn’t come out with crimped hair, a false nose and a Brooklyn accent and to be fair, why would she? We know that Barbra is busy in her underground shopping mall viewing her antique collection so a loving tribute is better than an imitation. Liza Pulman is very English and beautifully poised. Dressed to kill in stylish gowns and backed by a six piece band, she starts out with a few brief reminisces about Streisand, recapping some of her career highs. She’s comes across as warm, knowledgeable but definitely more Home Counties than New York.

    The primary attraction though is her musical output. She captures Barbra’s style perfectly and it’s no surprise, given her voice, when Liza talks about her own past and operatic training. She’s clearly a Barbra mega-fan and has studied Streisand’s style and rhythmic anomalies. She’s also taken care in choosing a wide range of songs with a few Broadway numbers, as well a sweep through the decades. There are also some musical re-arrangements done in full Barbra style that actually work really well.

    Liza is touring the UK through till November with return visits to The Crazy Coqs at Zedel in Piccadilly in May and June. She’s a treat for jaded eardrums and a great night out for any Streisand fans.

     

    Find out more http://www.lizapulman.com/liza-sings-streisand/

  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, UK Tour

    ★★★| The Curious Incident Of The Dog In The Night-Time, UK Tour

    Christopher Boone, a 15 year old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is currently playing at Sheffield Lyceum Theatre until Saturday 20th May 2017 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 10th July 2017. For further details, visit http://www.curiousonstage.com/tour/

  • THEATRE REVIEW | Shirley Valentine – National Tour

    THEATRE REVIEW | Shirley Valentine – National Tour

    ★★★★ | Shirley Valentine – National Tour

    Shirley Bradshaw is a bored housewife from Liverpool, who has brought up her children, is trapped in a loveless marriage; and who spends her days talking to the kitchen wall and dreaming about Shirley Valentine, the girl she used to be before she was married. So when her best friend offers her the chance to head to Greece for a holiday, Shirley reluctantly takes it, and over the course of her holiday, she rediscovers her zest for life, falls in love with the idea of living and realises that it’s never too late to be yourself.

    PR Supplied

    Jodie Prenger, who is perhaps best known for winning the role of Nancy in BBC’s I’d Do Anything, is impressive in this one-woman show, where she delivers the monologue beautifully; injecting life into the script and forming a believable and likeable take on the character. Her delivery is natural and enjoyable and her comic timing is surprisingly good. It is a formidable task to hold the attention of the audience when you are the only person on stage for the best part of two hours, but Prenger manages it with ease and displays the underlying vulnerabilities hidden beneath the bold veneer of the housewife in a performance which makes you feel like you are catching up with an old friend.

    That said, even with such a good performance from Prenger, the real star here is Russell’s writing itself. Shirley Valentine is a heart-warming story of self-empowerment and a show which remains as beautifully crafted, witty, funny and well observed as it ever was. Throughout this monologue, what Russell creates is an instantly familiar character that you simply can’t help but warm to immediately, as her straightforward look on life is presented via a series of genuine laugh out loud moments which seamlessly flow into moments of calm reflection and sadness as Shirley takes stock of her life.

    But the most surprising thing is how a script about a bored middle-aged housewife written in the mid 1980’s can so easily relate to today’s gay community. What Shirley Valentine realises is that there is an abundance of joy in living your life for yourself, not for others; and that that it is never too late to be yourself or to be the person that you want to be – a theme that many gay men and women will undoubtedly recognise.

    Shirley Valentine is an engaging and enjoyable piece of theatre and, despite the shifting political and social landscape in the 30 years since the play was written, its message still resonates today; and you can’t help but leave the theatre with a warm glow.

    Shirley Valentine is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 29th April 2017 before continuing on its national tour up until 23rd September 2017. Visit http://shirley-valentine.com/ for full details

  • THEATRE REVIEW | Jane Eyre – National Tour

    ★★★★ | Jane Eyre – National Tour

    Following being orphaned, Jane Eyre is placed in the ward of her cruel aunt, who favours her own children over Jane and eventually sends her to school, where Jane meets Helen, who teaches her that “there are no evil people, only evil deeds”. Growing into a strong, confident young woman, Eyre becomes a teacher and eventually a governess, and she takes employment at Thornfield Manor, where she meets and falls in love with Rochester, her employer. But Rochester is a deeply complex man who harbours dark secrets and carries with him the weight of a past which is about to come back to haunt him.

    Charlotte Bronte’s seminal work needs very little introduction and under the impressive direction of Sally Cookson, the story is beautifully brought to life in this National Theatre production, using a slew of innovative and varied theatrical techniques to provide a highly contemporary take on a classic tale. The set, consisting of a white curtained backdrop and multi-level wooden platforms accessed by a series of ladders and steps proves to be incredibly versatile and surprisingly effective in its portrayal of the various locations. The cast scramble over the set with energy and enthusiasm as they portray multiple characters meaning that there is an almost constant flow of movement on stage.  Simple props and a healthy dose of imagination on behalf of the audience provide for an effective, original and inventive presentation.

    Nadia Clifford’s portrayal of the titular character is one which is full of confidence, life and determination, and Tim Delap’s performance as Rochester compliments it well, with his aloof and brooding quirkiness. Overseeing events is Melanie Marshall, who observes and narrates key aspects of Eyre’s life with bursts of jazz infused song utilising her beautiful and distinctive voice. The remainder of the cast play numerous roles with clear demarcation between characters and, in the case of Paul Mundell, with a little humour injected into the proceedings.

    Quite what Bronte purists will make of the production is unknown, as, whilst the production sticks closely to the source material and lifts out text, passage and prose from it, this is not your run of the mill period costume drama. Instead, it is a refreshingly inventive, highly stylised and imaginatively presented piece which never loses the spirit of the novel, and which is as trailblazing and as forward thinking as the central character herself.

    Jane Eyre is on National Tour calling in at numerous venues including Leeds Grand Theatre, Belfast Opera House, Glasgow Theatre Royal, Cardiff Wales Millennium Centre, Milton Keynes Theatre, Norwich Theatre Royal and Brighton Theatre Royal and is currently booking until 23rd September 2017. Visit the National Theatre Website for details. Many thanks to Sheffield Theatres for facilitating this review.

     

  • THEATRE REVIEW | Thoroughly Modern Millie – Leeds Grand Theatre and National Tour

    ★★★ | Thoroughly Modern Millie – Leeds Grand Theatre and National Tour

    Set in the prohibition era in 1920’s New York, Millie Dillmount arrives from Kansas determined to snag herself a rich husband, but ends up broke after being robbed, and finds her way to the Hotel Priscilla, a run-down establishment owned by Mrs Meers. Millie tries desperately to seduce her rich boss, whilst all the time falling for penniless Jimmy Smith. But when it comes to it, will Millie choose wealth over love, and will she ever work out why the girls in the hotel keep mysteriously disappearing?

    Photo Credit – Darren Bell

    Thoroughly Modern Millie is a traditional, old-school musical in a similar style to those written by Irving Berlin and Cole Porter. Using catchy songs, a will they/won’t they love story and gentile comedy, the show bounces along in a rather enjoyable manner and maintains all of the elements one would expect from such a production. The rather straightforward plot is interspersed with a number of pleasing ensemble dance breaks and littered with toe-tapping songs which progress the narrative. Throw into the mix a rather silly subplot involving disappearing hotel guests and an ending that could only happen in a musical and you have a fun show overall.

    Joanne Clifton (Strictly Come Dancing) throws her all into the title role and surpasses expectations as Millie. The dancing, as you would expect, was spot on, but her voice was an unexpected treat, with only a little overacting letting her down at times. Sam Barrett proved to be quite a charming leading man as Jimmy Smith and the ensemble proved their worth in the dance routines, in particular, Damian Buhagiar who stood out from the crowd with his committed and well-performed dancing.

    Where the show faltered was with an uncomfortably out of date portrayal Mrs Meers, the white slave trader (yes, that’s right!) as a pantomime style Chinese woman, complete with chopsticks in her hair and rather poor Pidgin English which jostles harshly against such an otherwise whimsical plot. The set was slightly uninspired, despite its art deco/Chrysler building influence; and a rather long penultimate scene in which Graham MacDuff’s portrayal of a drunken Mr Graydon and some fake corpsing certainly outstayed their welcome. The show could have also done with a reprise of one of the songs performed by the full cast to round off the evening as the curtain fell.

    Overall, the show is light, bubbly, breezy and undemanding and a generally solid production of a little performed, if slightly dated, musical. Clifton shines in the singing and dancing stakes and the show is ultimately a feel-good, if rather throwaway, piece of theatre.

    Thoroughly Modern Millie is currently at Leeds Grand Theatre (www.leedsgrandtheatre.com) until 22nd April 2017, before continuing on its national tour until the 15th July 2017. Full details can be found at the show’s webpage at http://modernmillie.co.uk/