White Christmas - Lowry Theatre, Salford

White Christmas
By Irving Berlin
Director: David Morgan
Reviewer: Iris Beaumont

White Christmas is filled with so many fantastic numbers by Irving Berlin including Happy Holiday, Sisters and of course the unforgettable title song White Christmas and a snow scene which leaves you feeling warm throughout, you can’t help but be engrossed from the start.

It is war torn Europe, Christmas Eve 1944, three soldiers are trying their utmost to raise moral and bring a little laughter into the hearts of the troops they are stationed with, when a flying visit by their General (Roy Dotrice) to wish them all a Happy Christmas comments on wondering what they will be doing in ten years time we are sent forward in time to 1954.

Bob Wallace (Aled Jones) and Phil Davies (Adam Cooper) are busy working as a double act, singing and dancing their way across America playing in many of the local theatres, where upon chance they meet Judy (Suzanne Shaw) and Betty (Rachel Stanley,) otherwise known as the Haynes sisters.

Phil is swept off his feet in love and decides by hook or crook to follow the Sisters all the way to Vermont, tricking Bob to go along with the promise of Snow – only to find when they get there it’s not as white as they had hoped and the Hotel they are booked in is ran by their old General, with the hotel close to closing a plan hatches into place and the show really begins to move.

With stunning set and costume designs, that literally take your breath away by Anna Louizos, you are already whisked away in this lavish and engrossing production and with direction by David Morgan things are kept full of pace throughout with some extra splashes of Christmas sentimentality and comic moments splashed in for good measure.

Excellent performances are given by all the cast and one really couldn’t find fault with any of them, but Louise Plowright as Martha the receptionist really shines out strong with her powerful and beautiful voice and Emily Fitton as the General’s Grand-Daughter couldn’t help but touch your heart.

I have had many excellent experiences of productions over the years at the Lowry and this is the show that tops them all. White Christmas really lifts your heart and gets you ready for the festive season that lies ahead, a show for all the family, if you are stuck for present ideas this Christmas why not buy your loved ones tickets for this show, which is guaranteed to make an impact for years to come!

Photos: Alastair Muir
Runs until Sat 9th Jan 2010

Dreamboats & Petticoats - Lyceum Theatre, Sheffield

Dreaamboats & Petticoats

Director: Bob Tomson

Reviewer: Sarah Lyth

Billed as ‘The Greatest Days of Your Life!’ the team of Laurence Marks and Maurice Gran have written a musical that promises to rock and roll away the icy nights of Sheffield during its stay. Dreamboats and Petticoats bounces along with all the energy, passion and verve of the Rock ‘n’ Roll era and flounces through Sheffield on its jaunt direct from the Savoy Theatre in the West End.

Set in 1961, the action takes place in a youth theatre full of dreamers, singers and wannabe lovers. The heartthrob Norman breaks the heart of our Bobby as he whisks away his beautiful pin-up Sue as the boys compete for another prize...the fame that would come from winning a national song writing competition. Little does Bobby know but it is the quiet Laura who, along with her piano, who will take his music and his heart to the heights he is aiming for.

The colour, glitz and glittering lights echoed the rhythm and energy of the classic rock ‘n’ roll hits as the tunes weaved their wave through the believable narrative. From the very first song the audience were clapping and singing along, laughing and gasping and feeling the heartache in turn as the young dreamers created their music and dance on stage.

As Bobby, Josh Capper captured the aching of young people who fall in love, yearn to be free and capture their dreams. Peter Gerald used a heady mix of comedy and older wisdom to portray a father and a grandfather with many a story to tell. Clare Ivory’s Donna stood out as one of the performance’s stars who, along with Wayne Smith’s Ray, provided a depth and an edge to the story that made it all the more believable.

The musicians were in a class of their own, mixing powerful performances on the instruments with clever staging to impact the audience with the visual brilliance of the scene as well as with the immensely energetic sound. It seemed that as the visuals and the sounds were entwined, so the story and the hearts of the audience were caught up in the golden sumptuousness of the production. Every toe was tapping and every hip was shaking by the end!

This was a bright and warm production that left the audience dancing, smiling and singing their way out of the Lyceum, aware that they had experienced a truly classic treat.

runs until Saturday 5th Dec

Never Forget - Liverpool Empire

Never Forget

Writer: Danny Brocklehurst, Guy Jones & Ed Curtis

Music/Lyrics: Gary Barlow

Director: Ed Curtis

Reviewer: Jacqui Senaun

This show certainly opened with a bang. It captured the audience straight away and the audience fell silent and full of anticipation as the music started, and with it being Take That songs it was buzzing.

The show tells the story of a son, Ash (Mark Wilshire) setting out to help his mum, Babs (Penelope Woodman), save her pub from debt collectors. Ash, as just got engaged to Chloe (Aimee Atkinson) and together with her brother, Jake, (Adam C Booth) decide to enter a tribute band competition to win £10,000. They are then joined by another 3 young men, Adrian (Tom Bradley), Dirty Harry (Philip Olivier) and Jose (Scott Garnham) who are all from different backgrounds to form the Take That tribute band. The story is then told, rather slowly using either, quite long and drawn out conversations or rather more excitedly a Take That song, something with which Shameless writer and this shows Director should be able to avoid with ease,

The plot centres mostly on Ash and his relationship with Chloe. Him being lured away by a talent scout that promises him the money he needs so desperately, quicker. He then loses his friends, his mum but most importantly Chloe. The second half of the show moved faster. The band getting back together and Ash and Chloe’s relationship back of track, the song and dance scenes were exciting and superb. The actors really seemed to come to life during this half of the production and they had the audiences clapping and singing along to the songs.

The stage sets were very well designed and the changes between the scenes were effortless and well carried out, although I have to say there were an awful lot of scene changes. At one moment you were in a pub and the next in a dance studio and then back to the pub, which at times took you a while to work out what was going on. The rain scene towards the end of the first half was brilliant though, with the words never forget falling with the rain.

The Finale of the show, was by far the most exciting moment in the show. The whole Theatre were on their feet joining in with the singing and dancing and the atmosphere was fabulous and it was at this point where I did not want it to end. The children were brilliant and added so much to the song Never Forget.

Although this is just another Jukebox Musical with songs from a famous band, it was an entertaining show and is worth going to see.

Photos: Paul Coltas

Runs until Sat 5th Dec

A Christmas Carol - Birmingham Rep

A Christmas Carol

by Charles Dickens

Adaptor: Bryony Lavery

Music & Lyrics: Jason Carr

Director: Nikolai Foster

Reviewer: Rob Yates

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A Christmas Carol is a classic christmas show and this adaptation is no different. Although it often features on the family circuit I would hesitate to take a young child (under 5) to this production. As a story essentially about Ebeneezer Scrooge's dreams with three very different spirits there are some dramatic scenes throughout.

The musical is ably narrated by a group of spirits who move keep the story moving forward at a steady pace. They are evident in many scenes as Scrooge meets Christmas Past, Christmas Present and Christmas yet to come.

Brilliant choreography from Nick Winston ensured each scene that Scrooge experienced had a different dynamic and feel. Ranging from the quiet and simple choreography of christmasses past to bright elaborate dances associated with christmas present.

With some very good use of props and the space provided by a large stage each dance had a unique character that added to the story and the composition that it supported. For the performance on this night Poppy Tierney was brilliant as both Lydia Cratchit and Mrs Dabchick as she stood in for Rosalie Craig.

The performance that most caught the eye though was from Carl Au who stared as Nephew Fred, Fiver and one of the ghosts. In particular his performance as a ghost was most dramatic, and it was no surprise to read he is an accomplished dancer.

The set was clever while having all the necessary parts to ensure the scene was obvious it was often a minimalist set, with just a bed being sufficient to set the scene of Scrooge's bedroom. This was contrasted by large screens and elaborate decoration, the devil being in the detail. A clever revolving stairway functioned as Scrooge's office, and with the narrator ghosts functioning as stage hands it was easy to create two scenes one for the back and one for the front of the office.

Its no surprise that this show is clearly a family Christmas favourite especially with such a welcome ending. For an evening of high quality family entertainment it is definitely worth a visit to A Christmas Carol. I thoroughly enjoyed myself.

Photos: Manuel Harlan

Runs until 9 Jan 2010

Scrooge - The Mayflower Theatre, Southampton

Scrooge

Book, Music and Lyrics: Leslie Bricusse

Based on ‘A Christmas Carol’

by: Charles Dickens
Director: Bob Tomson

Choreography: Lisa Kent

Reviewer: Jim Nicholson

Years ago I remember seeing the original version of this starring Anthony Newley and Jon Pertwee and on leaving the theatre feeling underwhelmed but with the one positive thought that ‘Thank You Very Much’ would have fitted very nicely into Lionel Bart’s ‘Oliver’.

Well I can report that not only must I have matured somewhat in those intervening years, so to has this show. What a great night out it now is. Still the score is not the strongest and still ‘Thank You Very Much’ stands out like a true anthem, but now the book, the staging, the cast, the choreography, the set and the illusions have all come together to provide a compelling two and a half hours which culminates with even this old stager trying not to show the wife that there is a tear in the eye.

The cast are wonderful, ‘every one of them’, led by the charismatic and seemingly ageless Tommy Steele, just two weeks away from his 73rd birthday. He scowls, he growls, his face is a picture of perfection as he really captures the soullessness of Ebenezer ‘miserly old grouch’ Scrooge. He can still hold a note that many youngsters of today would kill for and that smile, is it not the cheekiest ever.

Claire Marlow as the ‘Ghost of Christmas Past’ has a glorious voice and Suzie Chard as ‘Mrs Fezziwig’ is ‘laugh your socks off’ funny. The booming voice of man mountain James Head as the ‘Ghost of Christmas Present’ rocks the house sending out a moral message heard by all. Overworked and underpaid Bob Cratchit (played by Geoffrey Abbott) is charitable to all, ‘no matter what’, and has a great rapport with ‘Tiny Tim’. Our Tim along with other members of ‘the Babette Langford Young Set’ do their tutors proud. Always cheerful the Cratchet families finest quickens the pulse and stirs the heart with his show of supreme optimism.

Barry Howard gets all the best ‘how did they do that’ moments as the chain burdened Jacob Marley. Illusionist Paul Kieve has come up with a number of scenes to keep the kids talking for weeks. Paul Farnsworth has produced a fine set, with Cheapside, London 1860 looking very, very authentic, if perhaps short of a little seasonal snow.

The choreography on the big numbers fills the stage with grown ups and kids alike and helps keep that smile on your face. Lisa Kent can feel very proud of her work here with ‘December the Twenty-Fifth’, ‘The Minister’s Cat’ and, of course, ‘Thank You very Much’ being the stand out routines.

This really is a show that has improved dramatically with time and now not only tugs at the heartstrings but certainly does the genius of Charles Dickens great credit.

Runs until Sat 5th Dec

Joesph - Lyceum Theatre, Sheffield

Joseph and the Amazing Technicolour Dreamcoat

Music: Andrew Lloyd-Webber

Lyrics: Tim Rice

Director: Bill Kenwright

Reviewer: Laura Wardell

What can you say about Joseph that hasn’t already been said, even after 40 years this show is still pulling in the punters and is still the show that so many people have a soft spot for.

This lively and upbeat show takes a whistle stop tour through the popular bible story in which Joseph is the favourite son of Jacob who is given a technicolor dreamcoat by his father, much to the despair of his brothers who sell him in to slavery. Joseph has dreams which appear to predict the future and ultimately, get him out of a tricky situation. Along the way Joseph encounters a baker, a butler, seven fat cows and an Elvis inspired Pharaoh as well as running in to his brothers again after a long period of absence.

As this production began touring around the same time as Lee Mead began his West End run as Joseph following his win on the BBC programme ‘Amy Dream Will Do’, it is difficult not to compare this production to the slick polished show at the Adelphi Theatre that charmed audiences for 2 years however the wardrobe department provide a great range of costumes which vary from what the audience might expect given that the show is set in Ancient Egypt and the lighting design (Mark Howett) used during ‘Joseph’s Coat’ are quire impressive. It is also worth noting that Joseph’s chariot of gold is also perhaps not what you imagine it to be but is certainly an entertaining moment!

There is very little that can be done with Joseph in terms of reinventing it however this production has taken the comedic approach and run with it throughout the show, proving popular with the audience and even with the suited businessmen in the auditorium! It is hard no grin at the various inflatable sheep, neon signs and light up halos that adorn the stage at various points.

Everyone is familiar with the music and songs from Joseph, given that it was short musical piece written to be performed in schools and is often many people’s first introduction to musical theatre. The orchestra are faultless and it is difficult not to tap your foot along to the upbeat numbers which follow one after another.

Craig Chalmers is a very typical Joseph, he looks and sounds the part and is certainly very comfortable on stage and still seems to be enjoying the role even after this extensive tour. He excels with the comedy elements of the show however fails to capture the emotional required to pull off a convincing ‘Close Every Door’ which is one of the shows most iconic songs. Tara Bethan as the Narrator demonstrates a strong vpoice with a good range however is hampered by an awful costume which makes her look more like a magicians assistant than a leading lady. The rest of the cast certainly give a 100% and help to keep the show moving at a blistering pace although the Apache dance in Canaan Days is slightly disappointing and should be made more of a feature.

Joseph has once again proved itself to be a popular family favourite and a guilty pleasure of many a theatre goer. This current production is no doubt still riding on the coat tales of ‘Any Dream Will Do’ and has lasted longer than the most recent West End revival and long may its success continue. This show is 2 hours of entertainment and should be viewed as just that. It is one of my personal favourites despite not being the most intellectually challenging show and this production has managed to capture the essence of Joseph well – pure fun and tongue in cheek humour that will prove to popular for many years to come.

Runs until Sat 29th November

Scrooge - Liverpool Empire

Scrooge
Writer:Leslie Bricusse
Based on Dickens' A Christmas Carol
Director: Bob Tompson
Reviewers: Sarah & Reece O’Toole
And Julie & Grace Proudfoot

At this time of year it’s hard to go anywhere without seeing a poster for Pantomimes or in this case Dickens’ Classic Scrooge (A Christmas Carol). Where Pantomimes are out to bring laughter and humour to Christmas, Scrooge brings its own story and morals to the stage.

Bill Kenwright The Liverpool born musical producer has bought 73 year old Tommy Steele in to play the cantankerous miserly Ebenezer Scrooge in this touring production. It's a wonderful story, with a bit of everything. There's beauty, wonder, belief, magic and hope – what actor wouldn't want to work with something that had all those? And to do it as a musical is even better.

The production opens in the dusty offices of Scrooge and Marley – a Victorian moneylenders – where Scrooge pecks through the coins and harasses his meek employee, Bob Cratchit(Geoffery Abbot). It’s Christmas Eve and Bob Cratchit is working, while all the time wanting to get home to his wife and family, but Scrooge as other ideas, all he cares about is money and profit margins, he keeps his workers poor while he lives a lonely life of luxury. It is after the day’s work when he has retired to his bed that this story comes alive. Scrooge is visited by 4 ghosts each one with a different message for the tight-fisted old miser, and each one must get their message through before the dawning of Christmas day.

Containing a total of 14 songs, done brilliantly, in the old cockney style, the musical also features illusions from Paul Kieve – the man behind the "magic" of the Harry Potter films. Within the towering stage-set, by Paul Farnsworth showing the rotting tenements of Victorian London, Kieve creates a series of clever visual tricks – not least the appearance of Marley's face within Scrooges' door knocker, a magical moment that left us gasping with disbelief.

The 4 Ghosts the first being Jacob Marley played by Barry Howard was loud and totally made his presence felt on the stage. The ghost of Christmas Past and Christmas Present Played by Claire Marlow and James Head respectively gave a very convincing performance but it was David Lindon’s Ghost of The future that really bought the illusions and magic out in force.

Tommy Steele used a lot of humour in his role and sang and danced around the stage incredibly well, almost like a man half his age.I cannot finish this review without mentioning The performance of the boy who played Tiny Tim (no name in the programme) he was fantastic and really put his heart and soul into his role, He had me in tears more than once, and certainly deserves to be named in the cast list.

A magical and enchanting production that has real heart and soul, proving that the magic of Christmas isn't all about 'he's behind you's' and 'oh no it isn'ts'

runs until Sat 28th Nov

High School Musical 2 - The Opera House, Manchester

High School Musical 2
Book by: David Simpatico
Director: Jeff Calhoun
Choreographer: Lisa Stevens
Reviewer: Poppy Helm

Since the original film in 2007, the High School Musical series has fast ascended into the ranks of cult classic. Released in 2008, the originally titled sequel, High School Musical 2, plays at the Opera House on the Manchester leg of it's 2009 tour.

We join the Wildcats as they begin their summer holiday by securing jobs at an exclusive country club. Troy, Gabriella and the rest of the gang have their plans disrupted by the devious Sharpay with her determination to win both the resort talent contest and Troy's affections. Friendships are tested and loyalties stretched as the gang struggle to understand what they want and how to find it together.

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With a plot that is more sweet then sophisticated, this is an ideal introduction to the theatre for little ones. This show is at it's best when the cast work together as one; the energetic dance numbers and colourful costumes cannot help but bring out the child within. The ever-changing set (Kenneth Foy) is a triumph of slick simplicity with intelligent design; the vertically hung 'swimming pool' that seems to be viewed from above is particularly effective.

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Although the relationship between Troy and Gabriella is a little lacking in chemistry, it doesn't seem to temper the enjoyment of the young audience at which this production is targeted. Lauren Hall is the outstanding performance, throwing herself into the role of the selfish and demanding Sharpay with relish.

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Ian Reddington as Mr Foulton provides some almost Basil Fawltey-esque comedy, ensuring that the adults stay as interested as the kids.

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The orchestra occasionally overpowers the vocals but, despite this, the cast seem to really hit their stride with the musical numbers in Act 2, delivering a mixture of lively ensemble pieces and downbeat duets.

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It's near impossible to restrain even the most stoic audience member from tapping their toes to 'I don't dance' or 'Bet on It'. The finale, complete with beach balls and streamers thrust out into the audience, has the kids jumping in their seats. And as long as they're happy, this show has achieved everything it set out to do.

Runs until Sat 28th Nov

Annie - Alexandra Theatre, Birmingham

Annie

Music: Charles Strouse

Lyrics: Martin Charnin

Book: Thomas Meeha

Director/Choreographer: Roger Hannah

Reviewer: Robert Yates

Annie is now considered a classic family musical, with productions of broadway leading to a much loved film. This production from Chris Moreno is now in its eighth consecutive year, with several members of the cast repeat performers. Birmingham is the last stop of a 5 month UK tour.

The musical opens in the orphanage with Molly and Annie taking leading roles. Both Lydia Tunstall (Annie) and Holly Delaney (Molly) put in sterling performances with plenty of character and strong voices to match. It bodes well for a show for which the lead is a young 10 year old girl.

Following the story of Annie as she is taken in by the billionaire Oliver Warbuck and instigates a nationwide search for her parents the musical races through a number of classics including "Tomorrow" quite early in the script. The ever drunk owner of the orphanage Su Pollard (Miss Hannigan) is way over the top in a pantomime esq performance. Much more could have been made of the comical side of this role in her interaction with the orphans.

Despite not being the headliner Simone Craddock (Grace Farrell) is undoubtedly the star of the show. With a winning smile and a very convincing performance Simone Craddock added a touch of quality to the limited amount of acting that was scattered throughout the show. David McAlister (Oliver Warbuck) only provides fleeting moments of the awkardness that defines his relationship with Annie when they first meet.

The marine guard played by Oli Sills was brilliant and the reactions of the other characters to his cameo is fabulous. Danny the Dog (Sandy) in his eighth tour added to the murmurs of laughter and excitement with a well timed chase across the stage. The climax of the musical in Oliver Warbucks mansion when Annie is reunited with her orphan friends is a heartwarming ending that will leave you with a feel good factor.

The choreography for the opening scenes with the orphans is a clever mix of dance and use of props. The choreography for the adults left more to be desired and became a little predictable and appeared repetetive. It is clear from this production that both Chris Moreno and Roger Hannah have had much recent experience in pantomime. By the interval some of the cliche dance moves were beginning to appear for a second time and by the end of the show it seemed that every song had very similar choreography. The orphans did provide some relief in the shows climax, acting as reindeer to the Presidents sleigh.

The constant changes in the set designed by Alan Miller-Bunford were very effective with some of the changes appearing to occur in seconds, this led to a very smooth performance. No complaints can be made about the musical direction of John Donovan either after a fine performance from the musicians.

Its no surprise that this show is clearly a family favourite with some of the younger members of the audience overly excited often calling out the name of Annie. For an evening of family entertainment and a night singing the memorable songs as you leave the theatre it is definitely worth a visit to Annie.

Runs until Saturday 21st November

A Man of No Importance - Union Theatre, London

A Man of No Importance
Book: Terrence McNally.
Lyrics: Lynn Ahrens.
Music: Stephen Flaherty.
Director: Ben De Wynter
Reviewer: Adrian Pumphrey

There are not many fringe stage productions that make you feel as though you have front seats at a large stage but ‘A Man of No Importance’ is certainly one of them. With a relatively large cast and a fantastic score, this musical drama warmed the heart on what was a very wet night. With many a song that would stay in your head and fine acting, this made for a great night out.

With an understated start, it wasn’t long before the cast were filling this studio stage with prose and poetry aplenty as you were very much taken into the world of a small Dublin community. The main character Dublin bus conductor Alfie (Paul Clarkson) is a man keen to bring the locals together in putting on a performance of Oscar Wilde’s Salome. As people get together to rehearse, not everyone it seems is so happy about the staging of such a questionable play. But the story is less about a few locals putting on a production and more a story of acceptance, of discovery and openness to change with poetry reading Alfie at the heart.

The acting in this piece was fantastic with great performances from Roisin Sullivan and Patrick Kelliher as Adele and bus driver Robbie respectively. The whole cast however brought the play to light admirably with each adding their own flavour to the show. The huge character of the writing turned what is on the surface a smaller-than-life situation into a larger-than-life musical without seeming ‘laboured’.

What really brought this to life though was the songs such as ‘Streets of Dublin’, ‘Man in the Mirror’ and the wonderfully comical ‘Books’. With intelligent melodies and interesting lyrics, composer Stephen Flaherty and Musical Director Christopher Peake gave us a great study in bringing out the music in seemingly mundane situations.

But this was no play that was pulled along by the merits of the melody. The story taken from Terry McNally’s book was as subtle and intense as it was gripping. With a slow pace and a solid performance, the plot drew you in from the start and didn’t really let you go even at the end. The first act gave you the sense of a hearty village play with many a theme to sway to. But the darker side of the performance started to rear its head ready to bite us on return from the interval which of course was completely thrilling.

‘A Man of No Importance’ was a well put together performance and a great exploration of musical theatre. There was not much to fault here at all. This is only helped by the edgy venue of the Union Theatre. A great space which is used to great affect. One thing is for sure, the world of fringe theatre could learn a lot from this wonderful production.

runs until Sat 5th Dec

Beauty & The Beast - The Opera House, Manchester

Beauty and the Beast
Music: Alan Menkin
Lyrics: Howard Ashman & Tim Rice
Book: Linda Woolverton
Director/Choreographer: Alison Pollard
Reviewer: John Roberts

One cannot deny the fact that love it or hate it, the house of mouse has created some of the best loved films, and Beauty and the Beast is arguably one of their best. This theatrical version of the film is the sixth longest running show in Broadway history, has grossed more than $1.5billion in box office sales and been seen by more than 5 million people worldwide, not bad for a love story between a sickly sweet girl and a hideous beast!

This current tour is being produced by UK productions and although it is evident that they don’t have the spending power of the original Disney production, it still manages to pack plenty of magical moments guaranteeing the young and old in the audience leave humming the tunes with a huge smile of their faces.

Everyone by now knows the story of The Prince who, turning away the cries of help from an enchantress is turned into a hideous beast, where he will stay until he can find out the real meaning of true love. Belle happens to find herself in the Beasts castle after trying to save her inventor father who, found trespassing on the Beasts land swaps places with her father...over time both Belle and the Beast learn to cope with each other’s differences and realise that true love can conquer everything...even horns and vast amounts of facial hair.

The strength of this production lies in the cast’s enthusiasm and boundless energy that shines throughout. Helped by Alison Pollards direction and choreography the production stays true to the original material but sprinkles lots of comedic elements which keep the darker sides of the story this side of child friendly, although perhaps one could argue that at times this borders on elements of pantomime.

Ashley Oliver looks every bit the fairytale princess as she swoops around the stage, eyes wide open and the saccharine sweet smile plastered across her face, but she is most defiantly not the strongest or most pleasing singer to listen too, her high pitched voice bordering at times at the grating rather than the great! Shaun Dalton as the Beast is owns the stage and has a real presence about him, his ability to play the strong over powering Beast coupled with the more silly and humorous elements of The Beasts learning is well balanced and his rendition of ‘If I Can’t Love Her’ at the end of Act One is a real show stopper.

Phil Barley (Lumiere) and Ashley Knight (Cogsworth) have ample chemistry as the two leading mantelpiece adornments, from Barley’s amorous French candlestick with full on flames to Knight’s more stiff upper-lipped carriage clock, but it is the duo of Ben Harlow as Gaston and Eddie Dredge as sidekick Lefou that steal the show with excellent comic timing and animated facial expressions throughout.

Charles Camm’s set looks like it came straight from a picture book, and although at times it looked a little on the small side it packs plenty of charm, especially when combined with the stunning visual projections by John Port along with lighting by David Howe really helps give the show a strong and atmospheric edge that you rarely see in touring productions.

Overall this is a pleasing production although it doesn’t have the WOW factor that the previous Disney Tour had, it is full of your faviourite songs including 'Be Our Guest' and the title track as well as some new numbers, that it will still feel you have had your monies worth and leave you with a warm glow which is just perfect for these long winter nights!

Photos: Robert Workman
Runs until Sat 14th Nov

Scrooge - Palace Theatre, Manchester

Scrooge
Based on A Christmas Carol by Charles Dickens
Adaptor: Leslie Bricusse
Music/Lyrics: Leslie Bricusse
Director: Bob Tomson
Reviewer: Jimmy Hardwick

Surely few stories have entered our national consciousness as deeply as Charles Dickens' classic 1843 novella 'A Christmas Carol'. From its first readings given by the author himself the book has spawned numerous plays, films and poor sitcom plots; in fact it was one of the first film adaptations being filmed in 1910 and now in 2009 a Christmas film staring, believe it or not, Jim Carrey. So it was with a sense of happy familiarly that an audience of all ages settled down to enjoy a performance of Leslie Bricusse's adaptation on a suitably Dickensian, foggy night.

The plot of 'A Christmas Carol' is familiar to all English speakers and remains one of the simplest and satisfying in all literature. Yet its ubiquitousness should not blind us to Dickens' skill and pacing. It speaks to our deep desire for the possibility of change, even in the worst of us. Throw in a foggy London town and street urchins and we have what must be the stereotypical English Christmas. Bricusse's adaptation stays very close to the text and structure of the book while his songs are mostly simple, elegant tunes.

Paul Farnsworth's set design fits perfectly with the plays understated and authentic feel. Mercifully free of too much London fog, the lighting (Nick Richings) keeps a minor but ever present feel of danger. A technical problem with Scrooge's work desk (probably too tight to buy a good one) necessitated a five minute break and a repeat of an earlier scene. Yet the set and lighting helps tells the story without ever calling attention to itself, a notable feat.

Tommy Steele's excellent Ebenezer Scrooge is, in many ways, more a grouchy grandfather then the embodiment of the evil capitalist Dickens painted. But for me, Steele pitches it just right for this production. He is naturally funny as well, a few well timed faces to the audiences brought great laughs, while his voice is, naturally for a former pop superstar, excellent; he is a great pivot for the rest of the cast.

Highlights in the large ensemble include Helcro Johnston's exuberant Mr Fezziwig, James Head's even more exuberant Ghost of Christmas Present and Harrison Shoemark as a angelic Tiny Tim. Special mention must go, however, to Craig Whiteley and Abigail Jaye as young Scrooge and his unfortunate fiancée Isabella. Parts that could easily become sentimental are played with wonderfully understated and believable emotion.

Bob Tomson's production has perhaps sacrificed some of the fear of the original ghost story for a more family friendly play. That is not a criticism, this is after all an adaptation, and there are still some genuine shocks and bangs to be enjoyed (perhaps too much for the very young). As the audience filed out at the end of the play there was a distinct Christmassy, uplifted feeling. It was almost enough to make this reviewer exclaim “God bless us every one!”...Almost.

Runs until Sat 14th Nov

Rocky Horror Show - Liverpool Empire Theatre

The Rocky Horror Show
Book/Music/Lyrics: Richard O’Brien
Director: Christopher Luscombe
Reviewer: Stephanie Rowe

Its astounding that from the moment the audience enters the theatre to see "The Rocky Horror Show" its members are aware that they are in for an experience quite unlike any other show past or present. That awareness is both comforting and awe-inspiring, especially when they are all dressed like characters from the show both male and female alike. The electrifying atmosphere from the usherette appearing on stage to the finale of the “Time Warp” the dancing in the aisles and the heckling of the narrator, all added together make this a most definite Adult Only show.

This production of Richard O'Brien's "The Rocky Horror Show" is indeed full of wonder and touches the human spirit in magical and often unanticipated ways. The show's songs, still fresh and powerful after twenty-five years, can easily stir both memory and longing and, without as much as a warning, can elicit irrepressible joy as well as an awareness of a time gone by that is probably not recoverable except through memories from the past or visions of some future whose dimension is circumscribed only by the framework of fantasy.

Brad and Janet embark on a journey which is to turn their dull unexciting lives upside down. Having just been to a friend’s wedding Brad proposes to Janet and they set off in search of Dr Scott to share the news of their betrothal. The evening turns stormy and when the car gets a flat tyre, Brad and Janet set off to find help in a mysterious castle they had seen a couple of miles back.

The Rocky Horror Show has all the ingredients of a depraved society gone mad and one must ask oneself when and where do the lines draw on such immorality, yes the show has the energy and the excitement even the comedy factor to keep one interested and laughing but it also goes a bit too far in the debauchery stakes.

Michael Starke as the narrator manages to sort out the hecklers without any trouble giving his humour a true chance to shine through and allows you to drawn along by his cheeky liverpudlian wit. The performances of Haley Flaherty (Janet) and Mark Evans (Brad) leave you in no doubt as to their innocence. While David Bedella as Frank ‘N’ Furter played the role so well you could have easily mistook him for a real transvestite, it was an amazing spectacle to behold.

The clever use of Phantoms to help the scenery flow with the storyline was a truly remarkable piece of ingenuity designed by Janet Bird and with lighting by Nick Richings together they give the whole stage a fearful ghostlike form, which allows smooth running and transformation between scenes.

Having only seen clips of the Rocky Horror Show, I was looking forward to seeing the whole performance and to possibly singing along to the songs I knew from the show and not considering myself to be a prude by any means was slightly embarrassed by the sexual innuendoes in the bedroom scenes and felt a little would have been more than enough leaving the rest to the imagination, but that is my opinion and obviously not that of the audience there tonight who whistled and sang and danced their way through the whole presentation.

High Energy, remarkable acting and close to the knuckle humour all made this a very enjoyable night at the theatre.

Photos: Eric Richmond

Runs until Sat 14th Nov

Blood Brothers - Theatre Royal, Brighton

Blood Brothers
Book, Music and Lyrics: Willy Russell
Directors: Bob Tomson & Bill Kenwright

Reviewer: Howard Holdsworth

In a production performed to celebrate its 25th anniversary this great musical proved that it has truly stood the test of time. A musical, which, although it has its light and very funny moments, is based around misery and despair should not really manage to bring a whole auditorium to its feet. But it did. This has happened for a quarter of a century in the West End, on Broadway and around the world. Tonight was to be no exception for this production really did do justice to the vision and the message of Willy Russell’s musical.

At the very core of the show was a simply mind-blowing performance from Lyn Paul. In a role which is just about as far removed as you can get from performing “I’d Like to Teach the World to Sing” at The White House for Nixon’s inauguration she excelled from the moment she took to the stage. It is 12 years since she was invited to take the starring role of Mrs Johnstone by Bill Kenwright in the London production, but she made the transition back into the role tonight seem effortless. She was utterly convincing both with the spoken word and with her singing which was flawless and deeply moving. In another time and another place she would be weighed down by “gongs”.

Sean Jones (Mickey) and Simon Willmont (Eddie) both gave beautifully crafted performances as the twins from the different side of the tracks. One of the great strengths of this particular production was the way that the cast took on the task of growing from children of 7 to grown adults in their late twenties. The youthful moments provided particular fun and sparkle for the audience, who were quick to show their admiration for the energy and wit of Jones and Willmont and of Anna Sambrooks (Linda) and Daniel Taylor (Sammy).

There was a highly impressive performance from Paula Tappenden (Mrs Lyons) who managed to show a range of emotions whilst living on the edge. The glue of the show was provided by Robbie Scotcher as the Narrator. This device can backfire if not handled well, but Scotcher has a fine singing voice to support his clear spoken delivery.
The actors found themselves working in an ensemble which showed real unity of purpose. The skilful scene changes were deftly done and were supportive of the clearly defined central set, which served for backstreet, playground, upmarket townhouse and countryside, all supported with an evocative backdrop of Liverpool.

Under the supervision of Musical Director, Kelvin Towse, the multi-talented 8 piece ensemble was note perfect, which reflected what was happening on stage where the cast was both word and note perfect throughout.This is an excellent production of a deeply moving musical which you must see if you can grab the chance.

Runs until Sat 14th Nov

Blow Up! The Credit Crunch Musical - Kings Head/Leicester Sq Theatre

Blow Up! The Credit Crunch Musical

Writers: Charlie Talbot & Dunstan Kornicki
Director: Philip Talbot

Reviewer: Honour Bayes

The financial markets may be crashing and people may be at their lowest ebb in decades with the loss of years of savings staring them bleakly in the face, but can anything seem truly grey with an Oompah Band? It would appear not in this sweetly comic Edinburgh show which has pulled up its German socks to come to the big city.

Comedian Charlie Talbot’s delicately constructed German banker, Max Klein, takes us through the rise and fall of the financial markets in sentences which are as clipped as his accent is dodgy, all the while carrying the baleful look of a child who has been caught with his hand in the cookie jar. Peppered with classic song choices and Oompah inspired moments of genius, each stage of the ‘crash’ seems to have a pertinent song; in Klein’s world Britney Spears’ Toxic explains toxic mortgages and Dolly Parton jiggles us through the hectic hours of a banker’s 9 to 5 working day. Don’t even get me started on the genius of how the five members of Oompah Brass are used to make sense of debt derivatives.

It is a simplistic formula with chat following song too predictably for a consummate theatrical liking. But it’s hard not to fall for the charm of Max Klein and his 5 Oompah dwarfs (meant in the most affection way of course – these guys are fabulous). It helps that they are all impressive professionals, dazzling at points with financial quips and moments of brass arrangement that leave you with a permanent smile on your face.

An inspired parody sung by Klein of Paul Simon’s ‘You Can Call Me Al’ leaves you wishing for more of the same and one feels like this piece could have been done better with more time spent on integrating music with comedy lyric in this way. May be this would have transported this potential gem into a full blown London hit. But it remains true that they are a loveable lot who theatricalise the ludicrous nature of the orgy of greed with marvellous aplomb.

Enron it’s not, but it’s almost there; there’s a method in this German financial Oompah Band madness and once they understand how to bleed it for all its worth, much like the bankers they so gleefully lambast, God help all of us.

The show runs on different nights bewteen the Kings Head Theatre and The Leicester Square Theatre for more information Click Here.

Beauty & The Beast - Lyceum Theatre, Sheffield

Beauty and the Beast

Music: Alan Menken

Lyrics: Howard Ashman & Tim Rice

Book: Linda Woolverton

Director: Alison Pollard

Choreographer: Alison Pollard

Reviewer: Ruth Lovett

Half term would not be complete with out a trip to the theatre and this half term week sees the tried and tested Disney classic, Beauty and the Beast return to the Sheffield Lyceum. Ever popular with adults and children alike, this feel good show is always a crowd pleaser and serves as a reminder to the quality of Alan Menken’s work with a delightful score that continues to thrill audiences year on year.

Beauty and the Beast tells the tale of a young prince who is turned in to a beast as punishment for being selfish and spoiled by an enchantress disguised as an old beggar woman offering him a single rose in return for shelter on a cold, dark winter’s night. When the prince turns down the simple gift, the beautiful enchantress reveals herself and casts a spell on the Prince and his household which can only be broken if the Prince can learn to love and be loved in return. The rose offered as a gift was enchanted and to break the spell, Prince must learn to love before the last petal falls or remain a Prince forever.

To remain true to the Disney story the production requires lavish sets and relies quite heavily on strobe lighting (David Howe), pyrotechnics, animation and at times, rather excessive amounts of dry ice to create the feeling of magic and to bring the fairytale to life which delights the audience, particularly the children. The variety of costumes (Elizabeth Dennis) used bring the characters to life in a unique way, notably Lumiere the candlestick (Phil Barley) and the ensemble when portraying the various items if tableware, cutlery and crockery in the charming ‘Be Our Guest’ sequence.

This is a well rehearsed cast who, on the whole, produce a confident and well executed show and for me, the ensemble in this production really make the show, particularly in ‘Be Our Guest’ as the audience enjoy identifying the various kitchen items and the Chris Cage as the carpet is a pleasure to watch. Gaston (Ben Harlow) provides the slap stick comedy moments which can be a little excessive at times but perfect for children who find it hysterical when he routinely ridicules poor Lefou (Andrew Margerison at this performance) and Ashley Oliver as Belle and Shaun Dalton as the Beast capture the essence of Belle and the Beast respectively well although Belle does seem to be won over by the Beast very quickly and without much resistance.

Overall this production is charming and great viewing especially for families. Although not particularly emotionally challenging, Beauty and the Beast is a classic and will undoubtedly continue to thrill audiences for many years to come.

runs until Sat 31 Oct.

Chicago - The Palace Theatre, Manchester

Chicago
Book: Fred Ebb and Bob Fosse
Music: John Kander
Lyrics: Fred Ebb
Director: Scott Faris
Reviewer: Mathew Nicolls

Oh, Chicago. How much do I love Chicago? A lot. An awful lot. Frankly, it's bombproof, and feels like it's been around forever. This isn't actually the case, however. Bob Fosse's re-teaming with John Kander and Fred Ebb, their follow-up to the smash hit Cabaret (arguably the greatest musical of the 20th century), was met with critical bewilderment, and beaten in the awards season by the same year's A Chorus Line.

It took over 20 years, and a shift in cultural feeling, and Walter Bobbie's superb production, to ensure the world fell in love with it. Although the sleaze of crime, conspiracy and celebrity is rooted in the seamier side of 1920s Chicago, it took celebrity circus events of the '80s and '90s (think O.J Simpson) to allow this glittering black diamond of a show to connect with the public. And what a show.

Bob Fosse's ruthless vaudeville romp actually has a heart as black as coal, a snide sense of humour, and a gleeful lack of moral purpose at its centre. Even more remarkably, it doesn't have one single duff tune, and has some of the snazziest choreography you'll see on a stage all year. It's a simple story. Bored housewife Roxie Hart (Emma Barton) shoots her lover in a crime of passion. Sent to prison, she spurns the affections of her doofus husband, Amos (Adam Stafford), and dreams of a career on the vaudeville stage. But so does fellow inmate Velma Kelly (Twinnie-Lee Moore), and presided over by slick lawyer Billy Flynn (Gary Wilmot) it's a razzle-dazzle fight to the death to emerge as top dog.

I was lucky enough to see the original cast of the West End production (Ute Lemper, Ruthie Henshall, Nigel Planer, Henry Goodman) and the show's 12 year residency in London, and numerous tours - not to mention the Oscar-winning movie - is testament to its appeal. As a show, it's faultless, with a plethora of great showtunes (All That Jazz, Razzle Dazzle, Cell Block Tango etc) and whip-smart lyrics. This production steers clear of the visual excess of its 1970s predecessor, and plays all of its action on a small runway strip in front of the tiered orchestra.

Kander's score romps through rags, jazz, Charleston and tap, whilst Ebb's lyrics are as funny as they are brutal. Ken Billington's superb lighting highlights the sexy ensemble in all their glory, and the ten-piece band, conducted by Garth Hall are superlative, and the true stars of this current tour. Sadly, this time round, it feels like a three star photocopy of a five star original.

Quite frankly, and most disappointingly, none of the leads communicate the charm and charisma needed to carry off their roles. Emma Barton and Twinnie-Lee Moore tick all the boxes, but don't suggest a whisper of danger (they're playing convicted murderers), and are absurdly miscast as two ageing showgirls wondering why life has passed them by. Veteran Gary Wilmot is fine, but vocally underwhelming, and never entirely convinces as the most charming lawyer in a tough city. Adam Stafford's Amos is amiable enough, but doesn't strike much of an emotional chord. Elsewhere, accents wander, the diction isn't always clear, and this touring production's lack of va-va-voom means it pales when compared to its London incarnation (or, indeed, previous tours.)

I would have loved to report that this was as good as it's always been, but, sadly, it isn't. The ensemble are as taut and pneumatic as a chorus girl's garter belt, and give the evening some much needed oomph, but, all told, this has the distinct whiff of a poor relation who has turned up a bit late to the party. If you've never seen it live on stage, you definitely should, but if you like your musicals tight, snazzy, and dripping in energy, then it might be best to give this one a miss this time around. Oh, Chicago, how could you?

Runs until Sat 7th Nov

High School the Musical 2 - The Mayflower Theatre, Southampton

High School Musical 2
Writer: David Simpatico
Director: Jeff Calhoun
Choreographer: Lisa Stevens
Reviewer: Jim Nicholson

Something strange came over me on my way out of the theatre tonight, I think its called a smile. Well, how did that happen as I had just seen ‘High School Musical 2’. What a shock to realise I had actually enjoyed myself! What next, admit to having been a ‘Spice Girls’ fan or perhaps even to have voted for ‘John and Edward’.

Now lets think, why did I enjoy it? The plot has the depth of a tyre tread, Les Dennis is ‘Les Dennis’, most of the songs are easily forgotten (by me) and Disney have spent pence on this compared to the likes of ‘The Lion King’ and ‘Beauty and the Beast’.

But what other stage musical could keep the attention of a thousand under nines in the audience for two and a quarter hours. These kids do not want a plot that calls for ‘Colombo’, in actual fact they get exactly what they want, a set of goodies, a horrid spoilt baddie funded by Daddies money who in the end sees the light and actually brings the boy hero, that she had wanted to steal, and our girl hero back together again.

The kids know all the songs, they sing along to every last lyric and this is when the show really does win over the likes of me and each and every child’s parents because the enthusiasm of the youngsters is passed onto us ‘olduns’ and this combined with such high energy on stage means you can not help but enjoy the night.

Kenneth Foy, the set designer, has come up with some simple but effective painted drop down scenery which gives a very unusual effect, such as the pool allowing our sunbathing beauties to be stood whilst appearing to sprawl on their lilos and the baseball diamond allowing a bases loaded home run with the aid of revolving doors.

The true songbird of the show is the fantastic Niki Mae, who as ‘Gabriella’ is the melodic pinnacle of many scenes. Liam Doyle also gives a good performance as our star pupil having won the GMTV ‘Search for a Troy’ competition.

Lisa Stevens choreography is high octane and a number of the dance routines also result in the full chorus sounding at its very best. Dance stars Matt Kennedy as ‘Ryan Evans’ and Spin (what a stage name!) as ‘Zeke Baylor’ lead the company in a fantastic staging of ‘Humuhumunukunukuapua’a’ where the volcanoes erupt in grand fashion. Spin, along with Carlton Connell, who plays ‘Chad Danforth’, bring foot tapping percussion to the kitchen as every utensil plays its part in a great version of ‘Work This Out’.

Although not a big fan of Lauren Halls, ‘Sharpay Evans’, singing voice (was I meant to be?), there is no doubt she really gets the spoilt Daddies girl off to a tee.

If you have a nipper badgering you for a night out at HSM2 and you are thinking ‘not a chance’, think again, you will actually enjoy it. Ps I did not really vote for ‘John and Edward’, honest!
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Photos: Eric Richmond

Runs until Sat 31st Oct

Joseph - The Palace Theatre, Manchester

Joseph & his Amazing Technicolor Dreamcoat
Music: Andrew Lloyd-Webber
Lyrics: Tim Rice
Director: Bill Kenwright
Reviewer: John Roberts

Joseph and His Amazing Technicolor Dreamcoat has been a family favourite for many years, thrusting many male celebrities into the colourful coat and loin cloth, including Jason Donavan, Philip Schofield, Darren Day, Donny Osmond and the late Stephen Gately but for the last two years producer Bill Kenwright has used Craig Chalmers one of the finalists from BBC’s search for the West End Joseph (which was won by Lee Meade.) This formula has worked a treat for producer/director Kenwright in past shows but unfortunately this current lead falls remarkably short and flat compared to the high quality of the rest of the production.

The first thing that strikes you with this production is the set designed by Sean Cavanagh, which is vibrant and has a feel of an illustrated book, and the brilliantly colourful costumes, some of which wouldn’t look out of place in a carnival really stood out. The show also excels in some of the best stage lighting seen in a touring production for a long time designed by Mark Howett it really helps to add to the atmosphere of the production, one especially liked the LED lights on the staircase and the down lights used as prison bars in Go Go Go Joseph.

Director Bill Kenwright has littered the show with many light and comic moments, from the Inflatable sheep, to moments of comic voice over’s and parodies of Elvis and American High School Jocks and Cheerleaders, these element keep the show feeling fresh and never lacks in pace...that is until the very end of the production when we are greeted with the Mega Mix, one can understand having a few verses as a reprise during the curtain call but the gratuitous and indulgent megamiz goes beyond the pale, after all why do we need fifteen minutes of songs we have only just listened to sung to us again with a dreadfully loud 90’s club mix backing track?

Uniformly the cast are excellent throughout, Tara Bethan gave a stunning performance as the Narrator, again another contestant from a BBC talent show this time the search for Nancy, her vocals were warm and seductive and her innocent like charm shone in her eyes as she led the audience through the story of Joseph. Stephen Webb as the Pharaoh could shake his hips like no other, seductively weaving his Elvis like charms to all the women in the audience, relishing his time on the stage. Richard J Hunt is also worthy of high praise as the Baker/Judah being highly animated throughout and displaying excellent comic timing he really has excellent stage presence and a real scene stealer.

But this Is Joseph...and you really do need an actor that has charm and charisma to hold the cast together but Craig Chalmers is more wooden and less enigmatic than a mannequin in Marks & Spencer’s and he really does pull the energy and overall impact of the show right down especially with his weak and overly nasal vocals...Mr Kenwright it is time for a change, let the loin cloth and coat grace someone new and bring a new life to what otherwise is a highly enjoyable evening.

Runs until Sat 24th Oct

Danicng in the Streets - Darlington Civic Theatre

Dancing In The Streets
Director/Musical Supervisor: Keith Strachan
Reviewer: Ian Cain

By no stretch of the imagination could I ever be considered an expert on Motown music. Sure, I knew of it – who doesn’t? – and pretty much liked what I’d heard of it. But, to fully appreciate the stage show, ‘Dancing In The Streets’, you really should have a basic understanding of the genre and its lasting legacy...So, here’s the history lesson.

Originally two separate labels, owned by Berry Gordy, Tamla Records and Motown Records became known as Tamla-Motown in 1959. It would go on to be one of the most important and influential record labels of all time – and was the first label ever owned by an African American. From 1961 to 1971, Motown had 110 top ten hits, and artists such as Stevie Wonder, Marvin Gaye, The Supremes, The Four Tops and The Jackson Five were all signed to the label. Motown played a significant role in the racial integration of popular music, breaking down race barriers and producing some of the best loved songs and artists of all time.

‘Dancing In The Streets’ spectacularly celebrates that golden era of Motown as many of those famous acts are recreated on stage.The talented and energetic cast are transformed into stars such as Martha Reeves, Marvin Gaye, Gladys Knight and Lionel Richie with the help of stunningly authentic costumes designed by Tony Priestley and choreography by Carole Todd that pays homage to the dance moves of the day.

Although it is, obviously, the musical performances that dominate the show, a chronological history of Motown is skilfully weaved throughout the piece and delivered by a master of ceremonies. For the most part the performances are top-notch. Songs such as ‘Please Mr Postman’, ‘Heat Wave’, ‘Three Times A Lady’ and ‘My Girl’ are brilliantly delivered and rapturously received by the audience. However, the artist performing as Diana Ross lacked the vocal power to be audible above her backing ‘Supremes’, which I felt was a real shame.

Nevertheless, the show does absolutely ooze the feel-good-factor and it wasn’t long before the majority of the audience were on their feet and dancing in the aisles. In fact, ‘Dancing In The Streets’ is a fun and funky show that you can’t help but enjoy.

Runs until Sat 17 Oct 2009.