THEGAYUK

Tag: Three Star Musical Review

The latest Three Star Musical Review from THEGAYUK.

  • 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 | Room, Theatre Royal Stratford East, London

    ★★★ | Room, Theatre Royal Stratford East, London

    Theatre review of Room at Theatre Royal Stratford East

    The story of a mother and son held captive in a room was so beautifully and emotionally told in last year’s film Room. There is now a stage adaptation of that Oscar-winning film playing at Theatre Royal Stratford East.

    Emma Donoghue, who wrote the book in which the film was based on, also wrote the stage adaptation, and it’s an interesting one. The stage show mimics the plot of the movie, however, more elements are added to it. First off, there’s a narrator who speaks out loud the thoughts of 5-year old Jake (ably played by Harrison Wilding on the night I saw it); it’s Jack’s perspective this show is told from (as in the book); and surprisingly the show is also told via songs – effective at times but a bit inappropriate at other times.

    Room, in case you missed the film, is about a woman and her son who are being held hostage by a man simply known as Old Nick (Liam McKenna). The mother, Ma (excellently played by Witney White), has been imprisoned by him for seven years. Ma and Jack are unable to leave the room, locked in by the man who is Jack’s father who takes his liberties with Ma whenever he wants. And Ma has to be ever so grateful when he brings her and Jack the staples and necessities they need to live on. But it’s Jack who has adapted to living in the room – it’s all he knows. He also knows to hide in the wardrobe when Old Nick comes to visit – it’s these time that the show takes, to great effect, a dark and eerie tone. It’s complemented by the set – a room in the middle of the stage – that cleverly swings around when Nick is ‘visiting’ – so we see Jack’s frightened viewpoint from the wardrobe – which is also his bed – it’s expertly thought out. Jack’s thoughts come via the narration by Fela Lufadeju – Big Jack – who is Little Jacks’ voice and his conscience. It’s narration that at times is cute and funny and at times very serious, but it also does get in the way of the very dramatic story unfolding on stage.

    Without giving too much away, and as mentioned above, the rest of story plays out in similar parallel with the movie, with the second half taking place in a home (as opposed to a room), where Ma and Jack have to adjust to life outside the room. It’s with the help of Ma’s mother (a good performance by Lucy Tregar) that shifts the second half into another gear, a bit slower and less intense than the first, but dramatic nonetheless.

    Room has elements that work and don’t work. Room’s premise is very theatrical, with the whole story being told inside four walls, which this production excellently shows. In the first room there are the items that Jack has named (plant, TV, etc..), then there’s a hospital room, and then on to Grandma’s house, it’s a set superbly designed by Lily Arnold. And there is also excellent use of lighting and visuals on the walls that are characters and images seen through the eyes of a child. The cast does a very good job and it’s a helluva emotional show to be performing seven times a week (three young actors take turns playing the role of Jack). But the use of Big Jack is a device that doesn’t quite work, and some of the songs (music by Kathryn Joseph) in the second half just don’t quite work with the dark theme of the show. Nonetheless, if you loved the movie and read the book, then this is must-see theatre, and only it’s playing until June 3rd.

    Room plays at Royal Theatre Stratford East until the 3rd June 2017. Other dates include:

    Dundee Rep
    13 June – 17 June 2017
    01382 223530
    www.dundeerep.co.uk

    Abbey Theatre, Dublin
    24 June – 22 July 2017
    +353 (0) 1 87 87 222
    www.abbeytheatre.ie

     

  • 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/

  • 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 15th April 2017. For information and to purchase tickets visit www.sheffieldtheatres.co.uk .

     

  • THEATRE REVIEW | Adam and Eve and Steve, Kings Head Theatre, London

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

    Adam and Steve theatre review, kings head
    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 at the kings head

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

     

  • THEATRE REVIEW | The Frogs, Jermyn Street Theatre

    ★★★ | The Frogs, Jermyn Street Theatre

    The-Friogs-2-THE-FROGS-1-George-Rae-Zanthia-and-Michael-Matus-Dionysos-and-cast-Photo-David-Ovenden1

    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

  • THEATRE REVIEW | La Cage Aux Folles

    THEATRE REVIEW | La Cage Aux Folles

    ★★★ | La Cage Aux Folles

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    You’ve probably heard of or seen this musical in some form or other. You might know it as the 90’s Robin Williams/Nathan Lane comedy film The Birdcage, the original French farce and subsequent film version from the 70s or the often revived 80’s Broadway musical.

    It’s a queer little story in more ways than one. Drag queen Albin and his long-term lover Georges run a nightclub in St Tropez. Georges’ son (from a drunken one night stand) who they’ve raised together wants to bring home his fiancée and her ultra-conservative parents. There’s one condition, though. Albin must be hidden away for fear of embarrassing their son with his high camp ways. 

    Famously launching the gay anthem ‘I Am What I Am” onto the world, this is a musical that emerged during a storm of reawakened prejudice amidst the AIDS crisis yet managed to lure thousands of people into seeing a heartwarming and fun show about gay men in a committed relationship. It revved up an astonishing reaction in an army of straight men dragged along by their wives and girlfriends who then ended up dancing in the aisles and cheering on a flamboyant and camp main character as he fought against prejudice. Quite a feat.

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    This touring production is a bit of a paradox. It feels undercooked and underwhelming in parts and there’s a distinct lack of comic timing from swathes of the cast. In spite of this, it’s also incredibly good fun. Yes, it’s like a night at ‘Funny Girls” in Blackpool. Yes, it’s more Danny La Rue in pantomime than RuPaul. Yes, the drag queens would certainly get a dressing down from Michelle Visage for sloppy padding but it’s got an infectious charm nonetheless.

    John Partridge (best known for his role as Christian Clarke in Eastenders) as Albin shows his musical theatre pedigree and belts out a tune with panache. He’s also not a bad ad-libber (although be warned, public transport users. The show overruns due to this). The sets are stylish but wobbly. The costumes are glitzy and although the plot is absurd it’s tolerable. Forget production values and all that stuff though. All in all, it’s a fun night and the audience at The New Wimbledon Theatre were ecstatic.

    ‘La Cage aux Folles” is on a national tour throughout 2017, book tickets here

  • THEATRE REVIEW | The Boys in the Band, Vaudeville Theatre

    THEATRE REVIEW | The Boys in the Band, Vaudeville Theatre

    ★★★| The Boys in the Band

    A play that was originally produced off Broadway in 1968 has returned to the West End again, it’s the famous gay play ‘The Boys in The Band.’

    Written by Martin Crowley, and fresh from last year’s run at the Park Theatre, the durability of this play is a testament to the crisp and hilarious writing, and the performances of the actors, of the trials and tribulations of eight gay men (and one possibly straight man) which makes this play endure.

    The story, in case you don’t know, is about a birthday party for Harold (a very good Mark Gatiss), a posh 42-year old gay man who seems to have everything. The party takes place in the very nice apartment of Michael (Ian Hallard, Gatiss’s real-life husband), with posters of film divas (Marilyn Monroe, Bette Davis and lots of Judy Garland) that cleverly hang on the walls. The first to arrive at the birthday party is Donald (Daniel Boys), good looking and employed as a cleaner. He seems to be the most stable of the bunch. Then there’s Hank (Nathan Nolan) and Larry (Ben Mansfield), a couple who bring down the mood because of the constant tension between them. Do they really love each other? Then there’s Emory (an excellent James Holmes – the true star of the show). He’s witty, camp, funny and hilarious with the best lines. Emory, incidentally, has hired a not too smart male stripper named Cowboy (Jack Derges) who was supposed to arrive at Midnight (Midnight Cowboy – get it?), but arrives before the birthday boy gets there. He’s as hot and sexy as you would expect, and Derges plays him perfectly. Then there is a straight friend of Michael’s who comes to the party because he happens to be nearby. Throw this in along with a phone game and all of this creates more drama and tension in a play with a multitude of characters that you will either love or hate, though more than likely you will hate them

    ‘The Boys in the Band’ is a play that is very outdated. It portrays gay men as bitter, angry and more importantly, lonely and outcast, but times have changed. And this show, which has been produced many times, has the same cast who were in the Park Theatre production last October. The actors are all very good (Holmes is really living it up on stage and looks like he’s really enjoying himself), the set is very clever, and the rest of the cast are very good, but it’s time to put this story to bed. ‘The Boys in the Band’ has been done to death. And as one of the characters says in the show ‘show me a happy homosexual and I’ll show you a gay corpse’ – this show is no longer relevant.

    ‘The Boys in the Band’ is playing at London’s Vaudeville Theatre until Saturday, February 18th.

    https://www.nimaxtheatres.com/vaudeville-theatre/the_boys_in_the_band

  • THEATRE REVIEW | Ghost – The Musical – Sheffield Theatres & National Tour.

    THEATRE REVIEW | Ghost – The Musical – Sheffield Theatres & National Tour.

    ★★★| Based on the 1990 film of the same name, Ghost follows the story of Sam and Molly, whose life together is cut short when Sam is murdered in a seemingly random street robbery. Sam’s ghost stays close to Molly, but he soon finds out that the cause of his death was no accident and that the reasons behind his murder lie a little too close to home. Getting in contact with Oda Mae Brown, a fake medium who can actually hear him, Sam sets out to convince Molly that he is still with her, and to protect her from danger.

    PR Supplied

    This musical, with songs and lyrics written by Dave Stewart of The Eurythmics has been around for some time, and this new production has overhauled the show, giving it a clean, contemporary and fresh feel.  The show follows the plot of the film closely, complete with the famous scene at the potter’s wheel to the dulcet tones of the Righteous Brothers.

    With a strong central performance and a beautifully natural voice, Carolyn Maitland stood out from the cast with her performance of the recently widowed Molly, whilst Jaqui Dubois gave a sass-filled comedy performance as Oda Mae, hitting the right comedy notes and bringing some relief from the on-stage sadness portrayed by the lead characters. Whilst there was nothing really wrong with his performance, Andy Moss (Hollyoaks), for some reason, didn’t particularly convince as Sam, not quite having the gravitas and weight that would really drive the character home convincingly.

    The set was impressive for a touring production, which constantly changed and adapted to portray the different locations, and when you throw into the mix the well-constructed lighting scheme by Nick Richings, an immersive sound design and a well-balanced audio which picked up the clear diction of the cast, you had a technically solid production.

    But where the show falters, surprisingly, is in its musical numbers. The songs themselves were enjoyable enough to listen to during the show, but despite the pop credentials of the writer, they were instantly forgettable and didn’t contain the usual hook or melody which has you humming them as you leave the theatre.  The songs fell somewhere between trying to progress the story and trying to be an entertaining piece of pop, but tended to fall between the two. What was also rather disappointing was the choreography, which was rather simplistic and lacklustre, adding to the feeling that the songs weren’t either show stopping production numbers or narratively progressive.

    Despite its faults, his reworked production improves significantly on previous versions of the show, pulling out more of the emotional aspects of the story and proving to be a pleasant, if ultimately fairly forgettable production and one which fans of the film will certainly delight in.

    Ghost is currently on National Tour until the 22nd April 2017 (www.kenwright.com/microsite/ghost-the-musical/). Ghost was reviewed at Sheffield Theatres, whose production of Everyone’s Talking About Jamie premieres on the 9th February 2017. Visit www.sheffieldtheatres.co.uk for details.

     

  • THEATRE REVIEW | Promises Promises, Southwark Playhouse

    THEATRE REVIEW | Promises Promises, Southwark Playhouse

    ★★★ | Promises, Promises – Southwark Playhouse

    Promises, promises review southwark playhouse
    CREDIT: Claire Bilyard

    ‘Promises Promises’ has a fine pedigree. It’s a 1968 musical based on the classic 1960 Billy Wilder film, ‘The Apartment’. The script is by King of the one-liners Neil Simon and the music is from the outstanding duo Burt Bacharach and Hal David.  The set list contains the lilting ‘A House is Not a Home’ and the glorious ‘I’ll Never Fall in Love Again’ which topped the charts for Dionne Warwick and Bobby Gentry. Surely, this a case for high expectations being met if ever there was one? Sadly it’s a bit of a mixed bag and isn’t all it pledges to be.

    The main problem with the piece is the tone of the musical which feels dated and uncomfortable to watch. It’s more reminiscent of Benny Hill’s stomach curdling capers than the suave sex appeal of ‘Mad Men’. Chuck is a junior executive who accidentally hits on a way to curry favour with his married bosses by lending them his bachelor pad to take their girlfriends to for sex. After a lot of songs, dialogue and an inordinate amount of set up, Chuck realises that the object of his affection, waspish cafeteria worker Fran, is being taken back to the flat by the boss of the company. The first act limps along and feels uncomfortable because of the dated references to women whilst the second act takes a darker turn but feels equally uncomfortable in its bizarre response to one character’s suicide attempt.

    There’s a cringe-worthy set piece in Act One where a group of married executives prance around and sing about where to take a girl to have sex on the sly. The girls are of course young and pretty (and largely devoid of character) whilst the executives are overweight and lumbering. The rest of the songs blend into one at times and the script feels less than zippy. Chuck addresses the audience and feels like he should be hilariously funny to watch but he just isn’t. The odd strong one liner that should be really funny (a woman downs a drink in one and he says ‘I’d hate to see her eat!’) barely raises a laugh, feeling lost amongst a swamp of too much dialogue and too many songs.  At three hours there feels like not much content over a lot of time.

    There are plenty of positives, though. The cast is really skilled and likeable. In spite of his humour falling flat, there’s something really quite loveable about Gabriel Vick’s portrayal of Chuck. Vick is a decidedly good looking man who can belt a tune out and is magnetic. He’s worth the ticket price alone. I defy you not to come out of the theatre with a slight crush on him. Equally strong is Daisy Maywood as the sharp-tongued but soft-centred Fran. Naturally, there are good songs among the setlist (it’s Bacharach and David. They write bloody good songs). Simon Wells slightly creaky set feels fun and is versatile and the choreography is filled with joyous moments.

    Although this musical misses the mark by a mile in many ways it’s still worth a stroll to the delightful Southwark Playhouse just to see such strong performances and sit back for a few hours and let the music wash over you. Just don’t listen to the words too closely.

    Promises, Promises plays at the Southwark Playhouse until 18th February 2017

  • THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    ★★★| When 70’s disco lounge singer Deloris Van Cartier witnesses Curtis, her married, crime-boss lover, murdering one of his cohorts; she is placed in witness protection in the last place on earth anyone would look for such a sassy little lady – a convent. Trying desperately to fit in, whilst doing nothing but standing out, she is assigned to take over the choir, whose screeching vocals are enough to curl your wimple. But as the singer tunes up the choir, Curits finds out where Deloris is, and sets out to make sure she doesn’t testify against him.

    Picture Credit – Curve Theatre PR Supplied

     

    Featuring the songs “Raise Your Voice”, “Take Me To Heaven”, “Fabulous Baby” and “Spread the Love Around”, Sister Act is a fun, spirited and vivacious show with very catchy songs, warm characters and a spring in its step. With a large, static set and a vibrant lighting design by Liam Jones, the production is bolstered by the presence of Alexandra Burke who, to her credit, could certainly belt out the big numbers. There was some very able (and tuneful) support from Joe Vetch as Detective “Sweaty” Eddie Souther, and a real smooth criminal in Aaron Lee Lambert as Curtis, the Shaft influenced, soul styled bad guy. Throw into the mix some enjoyable physical comedy from Curtis’s cronies, and you have the basis of a good show.

    But with every heavenly blessing, there are some sins to atone for, as Craig Revel Horwood’s direction doesn’t quite hit its stride, with a heavy reliance on over-exaggeration of movement and gurning facial expressions; which meant that instead of the comedy flowing naturally from the effervescent script, it felt somewhat forced. The inclusion of musical instruments being played by the cast on stage worked in parts, but served as a distraction in others; and felt as though it stifled the choreography, which is a shame given the directors “Strictly” credentials. But once confession is over, all is forgiven as the show yields to its musical-number-filled second act and feel-good finale.

    Sister Act is a high energy bundle of fun, and whilst this production and ensemble cast doesn’t sparkle quite as brightly as other productions of this show, it has enough big tunes, bold characters and beating heart to make for an toe-tapping, if ultimately throwaway, evening at the theatre.

    Sister Act is currently on a UK Tour until 7th September 2017 and details can be found at http://www.sisteractuktour.co.uk/ . The show was reviewed at Sheffield Theatres, who’s upcoming production of new musical “Everyone’s Talking About Jamie” opens on the 9th February 2017. Visit https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie for details.