THEGAYUK

Tag: Three Star Musical Review

The latest Three Star Musical Review from THEGAYUK.

  • THEATRE REVIEW | English Touring Opera’s Don Giovanni – Sheffield Theatres and National Tour

    ★★★ | English Touring Opera’s Don Giovanni – Sheffield Theatres and National Tour:

    Lust, passion, revenge, deceit, drama and sex all combine in the gloom of the subterranean tunnels in Don Giovanni, the classic opera, performed by English Touring Opera.

    Picture credit – Richard Hubert Smith

    Opening with him fleeing the scene of a murder, Don Giovanni is pursued by his past, including the bitter lover he jilted, the bride-to-be he seduces (along with her jealous husband-to-be), and also by the daughter of his latest victim who seeks to redress the balance of his wrongdoings. This opera is brimming with drama from the passionate opening bars of the overture to the supernatural denouement. Part thriller and part comedy, the opera is ambiguous enough for you to decide whether Don Giovanni is a murder, philanderer and criminal, or whether he is a hero of defiance who refuses to allow his behaviour to be governed by social convention and authority.

    Mozart’s opera has shades of both light and dark in it, with delicate comic touches and some witty one liners buried in the brooding tale of lust, murder, insatiable sexual appetites, betrayal and revenge.  Sung in English, this version is relatively accessible and is presented with subtitles to ensure that even an opera novice can get the most out of the story.

    Out of the cast, George von Bergen was as charismatic as Don Giovanni himself in his portrayal of the titular character, with his booming baritone voice and cocksure swagger fleshing out the anti-hero of the piece, whilst Matthew Stiff provided much needed comic relief in his cheeky turn as Leporello, Giovanni’s servant.

    The static set design worked well, with the oppressively tall structure and a metal staircase dominating the stage and to some extent, blurring the time frame of the piece, making the themes of the opera feel simultaneously traditional but still relevant. Equally, the themes of above and below ground level intimated by the catacombs remind the audience that this is an opera which also deals with the issue of class and Anna Fleischle’s design reflects that nicely. Guy Hoare’s lighting design is subtle and unobtrusive throughout, but yet explodes into dramatic and assertive visuals which not only accompany, but utterly enhance the culmination of the story in the closing scenes. Musically, Mozart’s score was beautifully played by the English Touring Opera’s orchestra and the addition of live music always enhances a piece such as this.

    Opera is often shunned and thought of as being rather elitist, but the reality is very different. Don Giovanni pulls together the darker themes of opera, enhances it with some lighter moments, but which retains all of the passion, power and dramatics one would expect.

    English Touring Opera is currently at Sheffield Theatres , before continuing on its extensive UK tour until the 10th June 2016 with a trio of operas – Don Giovanni, Iphigenie En Tauride and Pia De’ Tolomei. For more information and to book tickets, visit www.englishtouringopera.org.uk

  • THEATRE REVIEW | The War of the Worlds, Dominium Theatre, London

    ★★★ The War Of The Worlds | The well known battle between Victorian England and the Martians plays out on stage with a musical mix of contemporary dance, theatre and screen images with Jeff Wayne conducting centre stage.

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  • THEATRE REVIEW | Let It Be

    ★★★ Let It Be | Beatlemania returns to the stage with a show celebrating the music, fashions, phases and classic performances of arguably the most influential pop group in history.

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  • THEATRE REVIEW: Grey Gardens, Southwark Playhouse

    Based on the 1975 cult classic documentary film of the same name, Grey Gardens tells the real life rise and fall of Jacqueline Kennedy Onassis’s aunt and cousin, Edith and Edie Bouvier Beale. ★★★ (more…)

  • THEATRE REVIEW: Chitty Chitty Bang Bang West Yorkshire Playhouse & National Tour

    Ian Flemming’s fantasmagorical story of Chitty Chitty Bang Bang comes to life on stage this year at West Yorkshire Playhouse, bringing with it everyone’s favourite “Toot Sweets”, banging about with “Me Ol’ Bamboo” and, of course, taking off with the fantastic flying car. ★★★

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  • THEATRE REVIEW | Kinky Boots, Adelphi Theatre, London

    ★★★ | Kinky Boots, London

    It’s a huge hit on Broadway and it’s now finally opened in London. ‘Kinky Boots’ is in the house!

    If the name rings a bell, it’s because Kinky Boots was a 2005 film about a struggling shoe factory about to go out of business until they change their product line and start making boots that are sexy, and, literally, not worn by the everyday woman. The musical version of Kinky Boots follows the same story, but it’s got a book by Harvey Fierstein (Torch Song Trilogy and La Cage Aux Folles – books he also wrote), music and lyrics by Cyndi Lauper (“Girls Just Want to Have Fun”), and choreography by Jerry Mitchell (The Full Monty and Hairspray). That’s a lot of power and muscle behind a show, and it works, to a degree. (The show won six Tony Awards).

    Killian Donnelly (the breakout star of The Commitments and co-star of Memphis) easily and comfortably plays Charlie Price, whose late father leaves him his shoe factory in Northhampton. It’s losing money, and Price might be forced to close it down, something that would make his London-bound fiancee Nicola (Amy Ross) happy. By chance, he comes to the aid of a drag queen who is being beaten up in a park. The Drag queen, Lola, played very ably and loudly by Matt Henry, is grateful to Price for saving him. But their meeting turns into a business relationship where Lola plants the idea into Price’s head to have his factory make Kinky Boots – boots for him and his fellow drag queens – boots that are big, flashy and preferably red! And eventually, Lola gives up her life (and leaves her fellow drag queens) in London to go up north to help in the factory to lead in the design of some Kinky Boots. But he’s not too accepted in a town and factory where no drag queen has walked in heels before. Even though he’s dressed as a man, some of the other workers make fun of him, especially Don (Jamie Braughan), who challenges Lola to a boxing match. Of course, conflict and arguments take place between Price and Lola, and Lola decides that she’s had enough of the northerners and heads back down to London. Meanwhile, Price is being wooed by one his employees – Lauren (Amy Lennox – wonderful) But it’s bad timing as Price is about to show his latest models of shoes at a Milan fashion show – he’s got no Lola, no models, and tons of shoes that need to be worn.

    And you can only guess what will happen next. To say this show is predictable is an understatement.

    While there are no surprises in the plot, it’s the music that raises the show up a notch or two. Lauper has injected her personality into songs that only she can write – when all the actors sing “Everybody Say Yeah” – it’s a song that will stick in your head for the rest of the night – in a good way. And of course each actor has their own song moment – Donnelly sings his heart out in “Soul of a Man” while Lola is given “Hold Me In Your Heart”- a song that highlights his very deep baritone voice in a soulful way (it sounds a bit like the song in Dreamgirls – “And I am Telling you I’m not Going”. If there’s one person who steals the show it’s Lennox – she’s hysterical in the role of Price’s colleague who pines for him while he’s focused on keeping the business afloat.

    Production values are fine – the set morphs from factory to the fashion show. For me it’s the drag queens that make this show good – their sparkling clothing and sass and attitude and sequins are just right – for without them Kinky Boots wouldn’t be so Kinky at all.

    At the Adelphi Theatre 020 3725 7068 | http://www.kinkybootsthemusical.co.uk/tickets.php

  • THEATRE REVIEW | Putting On The Ritz National Tour

    As someone who was raised on a diet of the films of the golden age of Hollywood and classic MGM Musicals; and as someone who finds a full on show-stopping musical dance break hard to beat, the lure of a musical revue of the songs of George Gershwin, Irving Berlin and Cole Porter proved hard to resist.

    Putting together a collection of some of the most timeless and well-known songs, including “Puttin’ On The Ritz”, “Top Hat”, “Let’s Face the Music and Dance”, “I’ve Got My Love to Keep Me Warm”, “Anything Goes” and “I Got Rhythm”, the soundtrack was top notch and a real demonstration of the enduring appeal of these masterfully written slices of perfection. There was a pleasant spread of songs, taking into account the upbeat numbers, but also slowing the pace with some ballads, including “Someone To Watch Over Me”. There were a few odd choices – a rather over the top performance of “Summertime”, a couple of instrumental songs which really should have been sung (“Cheek to Cheek”) and a few absent favourites, but overall, with such a vast catalogue to choose from, there was a good spread of the well-known and seldom heard.

    Despite the staging being fairly bland; an unimaginative glittery set, a backdrop curtain with a cascade of fairy lights and a rickety staircase; the numerous costumes changes came thick and fast, with enough sequins, feathers and glitz to satisfy even the hardiest of ‘Strictly’ fans. Lighting and direction was fairly functional, but the choreography was fast paced, upbeat and a good mixture of ballroom, jazz, tap, swing and Charleston, performed in a rather polished fashion.

    The low quality production values aside, the cast performed competently albeit with an abundance of fixed grins. The six vocalists were able to give the songs enough joie de vivre to do them justice, with the three male vocalists eclipsing the female trio. Trent Whiddon and Gordana Grandosek (from ‘Strictly Come Dancing’) were rather impressive, although criminally underused, making the most of their handful of routines, floating lightly across the stage and making the whole thing look absolutely effortless. The remaining cast of dancers did give it their all and the numbers were well choreographed, building nicely and feeling very playful.

    The show is certainly more “cruise ship cabaret” as opposed to “West End spectacular”, but despite its low production values, slightly cheesy feel and constantly grinning cast, the show was foot tappingly entertaining where the stars of the show were the songs themselves. I’m sure that this was never intended to be life changing theatre, but it never pretends to be; and managed to completely sweep up the audience with its charm and its firm footing in the tradition of good, old fashioned entertainment. The running time of just over two hours went far too quickly, making this show a nice little guilty pleasure.

    Puttin’ on the Ritz is at Sheffield Theatres until 20th June 2015 before continuing on its national tour, calling at numerous venues around the country until the 14th November 2015. For details, visit the show’s official website.

     

     

  • THEATRE REVIEW | Barnum, UK theatre tour 2015

    ★★★ | Barnum

    Cameron Mackintosh’s new production of Barnum charts the rise and rise of one of America’s most famous showmen, Phineas T. Barum, whose showmanship and panache for the spectacular led him to become one of America’s richest men. Starting off with a small sideshow, brick by brick he builds his entertainment empire into the greatest show on earth, whilst all the time being supported by his patient and understanding wife. The balance between his dreams and her grounded reality are evident, but his love is tested when he meets beautiful opera singer, Jenny Lind.

    Barnum, as a show itself, is perhaps not best remembered for its storyline, which is thinner than the usual musical; nor for its particularly memorable songs. The show itself is a fairly episodic affair, with the set pieces being broken up by scenes, mainly between Barnum and his wife, which carry the narrative. However, what this production will be remembered for is an absolute abundance of colourful, joyful energy during the big numbers, assaulting the senses with rousing singing and spectacularly choreographed routines. Filling the stage with a plethora of circus skills, including tumbling, ribbon work, silks, tightrope waking and balancing, there is no denying the fact that this is a performance which has been polished to within an inch of its life.

    Playing very much to his strengths, Brian Conley won me over in his performance as Barnum, as his wry smile and casual banter with the audience kept him just on the right side of being the confident, consummate showman; both as the character and in himself.

    Whilst this may have been Conley’s show, he was supported by a large and talented cast, including Linzi Hateley, Kimberly Blake and Landi Oshinowo, a packed out ensemble of very talented dancers and circus performers and a live orchestra. The scale of the production is impressive and it is clear to see the budget, quality and experience behind the production itself, with not only the visuals being bold, brash and ballsy, but in also the technical presentation of the show being wholly impressive, nowhere more evident than the superb lighting designed by Paule Constable.

    With its colour, vibrancy, sense of fun and its full throttle energy, Barnum may well be very much style over substance; but the style it has is undeniably top notch.

    Barnum is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 11th April 2015, before continuing on its national tour (www.barnummusical.com) calling at Leeds, Milton Keynes, Liverpool, Plymouth, Southampton, Canterbury, Birmingham, Salford and Cardiff.

  • THEATRE REVIEW | Blood Brothers – Sheffield Lyceum and National Tour

    Over the last 29 years, Blood Brother has nuzzled its way into the hearts of theatre goers with its blend of music, comedy, pathos and social commentary.

    The show tells the story of Mrs Johnstone, a single mother struggling to make ends meet. Finding herself pregnant with twins, she realises that she can only afford to keep one of them, so enters into a pact to give one of them to a well-to-do neighbour, Mrs Lyons. The boys meet and become best friends, never knowing that they were twins secretly separated at birth. But as they grow up, their friendship is tested; as their lives take different paths, leading to tragedy. Featuring the songs “Bright New Day”, Marylyn Monroe” and the heart-breaking “Tell Me It’s Not True”, the show still packs out theatres up and down the country and is affectionately known as “the standing ovation musical”.

    There is a reason why this play has been so enduring, and that is primarily down to the superb writing by Willy Russell. The loud first act establishes the characters nicely and is very comedy orientated, if sometimes a little bit too shouty in its presentation. But it is in the second act where the writing shines through, with both the progression and changes of the characters and the genuine drama which captivated the audience as it unfolded, leading to the ending which still packs an emotional gut-punch. The production values of the show were very high indeed, with its detailed sets, costumes and props and the presentation as a whole was relatively polished.

    There are some very good performances in this production, primarily from Sean Jones, who portrays the transition of Micky from giddy schoolboy to troubled young adult with ease, having made the role very much his own over the years. Kate Jarmon as Mrs Lyons provided an impressive turn as a woman descending into madness and paranoia and rounding off the leads were Joel Benedict as Eddie and Danielle Corelass as Linda, both of whom were equally as strong.

    With those performances in mind, it’s a real shame that Marti Pellow disappoints as the Narrator, looking awkward and uncharismatic as he skulks around the set utilising an indeterminable accent whilst over singing and over emphasising every syllable of every word he delivered. Maureen Nolan, offered a really warm portrayal of Mrs Johnstone garnering a genuine empathy from the audience, but whose singing voice was not quite on form on the evening, which is a shame when I have seen her perform much better.

    Having seen the show many, many times, this was the first time I felt that Blood Brothers is now starting to show its age a little, with its overuse of electric drums and echo microphone; but it could be said that in some way, that adds to the nostalgia and emphasises that the socio-economic issues addressed when the play was first written are still relevant nearly 30 years later.

    Blood Brothers is opening its 2015 tour at the Sheffield Lyceum (www.sheffieldtheatres.co.uk) before touring the country until May, details of which can be found at http://www.kenwright.com/index.php?id=590

  • THEATRE REVIEW | Rock Of Ages

    ★★★ | Rock Of Ages

    The Bourbon Room is the hottest club on the Sunset Strip, being the epitome of rock ‘n’ roll excess. Run by Dennis and Lonny, the club finds itself under threat from an over-eager property developer and so tries to raise money by staging a farewell gig by Arsenal, the biggest rock band around, fronted by the charismatic Stacee Jaxx. Meanwhile, bar tender Drew craves to be on stage and Sherrie, who is just a small-town girl, arrives in LA to chase her dreams. Drew and Sherrie fall in love, but neither quite say it, so when Stacee Jaxx comes between them and the club is about to be pulled down, can Rock ‘n’ Roll win through?

    This jukebox musical was crammed full with a truckload of guilty pleasure soft rock classics, including “We Built This City”, “Hit Me With Your Best Shot”, “Just Like Livin’ in Paradise”, “Here I Go Again”, “Wanted Dead or Alive” and “Don’t Stop Believin’”, with the musical numbers coming thick and fast, accompanied by the live band a scantily clad ensemble.

    Ben Richards, as Stacee Jaxx, was criminally underused, but spent most of his time making the audience swoon as he stripped to the waist and swaggered around the stage. Cameron Sharp stole many scenes as the camp German, Franz, and treated the audience by displaying his thighs which would make a pro-rugby player jealous. Noel Sullivan exceeded expectations as Drew and Cordelia Farnwoth was a versatile lead. But the energy and enthusiasm of Stephen Rahman-Hughes as Lonny, the comedic narrator, made him stand out from the remainder of the cast.

    The stage was busy and detailed, combining a static background, video projection and moveable props, all complimented by some well-designed lighting. The live band was good, and the balance between music and vocals were about right. The costumes reflected the stonewashed denim and excessive lace of the era, but the choreography and dancing could have been tighter than it was.

    Rock of Ages is energetic, bold, brash, loud and in your face – reflective of the rock movement at the time – and nestles neatly between being an affectionate tongue in cheek tribute to the times and a knowing, self –mocking piece of fun with an abundance of flesh on display and a playful feel to it. It amounts to a generally fun but throwaway piece of musical theatre which was lapped up by the crowd and the finale garnered whoops and cheers, bringing everyone to their feet and singing along.

    Rock of Ages is currently playing at Sheffield Lyceum Theatre until Saturday 1st November 2014, before rounding off its national tour. For more detail, visit the official website at: www.rockofagesmusical.co.uk/

  • THEATRE REVIEW | Fashion Victim, The Musical

    ★★★ | Fashion Victim, The Musical

    Fashion Victim, The Musical originally premiered in 2007 by Toby Rose and stared Pop Idol winner Michelle McManus. Now directed by Robert McWhir, setting up shop in the beautiful Cinema Museum in London and boasting a cast of performing fashionistas, the show promises to be the number one spot for all front row fashion wannabes.

    The strong cast led by the amazingly talented and side splittingly funny Carl Mullaney also consists of the leading lady Rosie Glossop, sexy James Wilkinson, beautifully articulate Aimee Barrett and fashion model Aaron Blake. Model and actress Camilla Rutherford also stared in the show as a first in a series of celebrities to make a small cameo appearance. I have to say beautiful as she is, Camilla’s performance was as awkward as she seemed standing there and I felt perhaps another great cast member would be more prudent than a lacklustre celebrity presence.

    Through a cleverly written, modern and stylish script and a set of catchy pop tunes we are told a classic story of “style-crossed” lovers. Average girl meets hunky model boy with impressively chiselled cheekbones, girl shags boy for fame, girl leaves boy for more fame, girls gets busted for being a press hungry whore, boy regains fame and somehow everyone ends up happy. Not the most original story (though perhaps not the most classic story either) but it’s fun, fashionable, bitchy and sexy. We can’t want for much more than that, can we?

    Speaking of sexy, if your anything like me you’ll enjoy seeing the scrummy male dancers wearing well, not a lot. Celebrity choreographer Ryan Jenkins knows how to get them moving I’ll tell you that!